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A Classic Written in Heat of the Moment
By STEVE HARVEY
It isn't widely known, but singer Mel Torme, who died over the weekend, co-wrote "The Christmas Song" in 100-degree weather on a summer day in Toluca Lake. The 1945 song starts, "Chestnuts roasting on an open fire/Jack Frost nipping at your nose. . . " That line was penned by Torme's collaborator, Bob Wells, who hoped that by thinking cold thoughts in his non-air-conditioned house he could cool off. They didn't know how hot they would become.
IS THIS A TEST? David Bell took a snapshot of a Hollywood psychic's sign that would require callers themselves to have extrasensory powers (see photo).
STATE OF CONFUSION: Dick Andes of Redondo Beach noticed that one local newspaper headline about a national spelling bee would have caught the eye of any of the contestants (see accompanying).
A BRIDE GRIM: This being the traditional month for weddings, the San Fernando Folklore Society is still adding to the "Bothered Bride" category of urban folk tales on its Web site (www.snopes.com).
Typical is this version of about a decade ago: At a "big wedding in Simi Valley," the bride turned to the assembled friends and relatives just before the vows were spoken. She thanked everyone for the beautiful gifts and praised her parents "for all they've done for me." Turning to the groom, she then supposedly said: "And I want to thank you for sleeping with the maid of honor last night." She threw her bouquet in the groom's face and stormed out. Talk about a chill in the air.
CYBER SEX? Speaking of promiscuity, Kent Bridwell of West L.A. sent along an ad that seemed X-rated at first reading (see accompanying). Turns out it's computer speak and has nothing to do with sex, I was informed. I was unable to comprehend exactly what it does mean, having by then lost interest.
MASKED CREATURES OF SAN PEDRO: Art Vinsel of the Beacon House wrote that Manny Moreno, the operator of the recovery facility's nonprofit thrift store, was "tired of rowdy raccoons using the roof over his head as a martial arts arena. He theorized they were apparently males trying to impress a cute female raccoon who lived under the house across the street."
A resident had also complained about the masked creatures. "The lady who lives in the penthouse of our building says they're peeping Toms," Moreno told Vinsel. "She doesn't care that they aren't human. She doesn't like being peeked at through her curtains."
So, using dog food as bait, Moreno began catching the animals in a carrier trap. So far, he has released three in a park on the Palos Verdes Peninsula.
And his trapping talents have won him a nickname: Manuel Boone.
MY HOMEWORK: I was a half-hour tardy for the start of the 50th birthday party of my old junior high--now called Palms Middle School--in West Los Angeles. Luckily, no one was taking roll call but I nevertheless had a momentary flashback to my erratic years there in the late 1950s. Once I relaxed, it was interesting to see the past and present collide.
When a mom recalled how the girl's vice principal had measured her skirt in the 1960s to see if it was too short, her young daughter said in astonishment, "You wore skirts to school?"
Alex Morrison, a former teacher and football coach, recited a note he received from a mother who had been told her son was disruptive at school. "At home, my problem," the note said. "At school, your problem."
And there were all the exclamations of people recognizing photos in the vintage yearbooks on display. Like one grad who said of a classmate: "He bit off his father's ear."
Memories.
miscelLAny:
L.A. County Sheriff Lee Baca and former L.A. Police Chief Daryl Gates are both alumni of L.A.'s Franklin High, as are Indy 500 winner Rodger Ward, Olympic swimming champ Sammy Lee and tennis star Bobby Riggs. Late in his career, Riggs lost a much publicized match to Billy Jean King, who was a graduate of Long Beach Poly High.
Steve Harvey can be reached by phone at (213) 237-7083, by fax at (213) 237-4712, by e-mail at steve.harvey@latimes.com and by mail at Metro, L.A. Times, Times Mirror Square, L.A. 90053.
L.A. River planners float three design proposals for a major new park
Here's a look at the preliminary plans for Taylor Yard, the former rail yard where the city of L.A. is starting its makeover of the L.A. River.

redpajama_set_name: RedPajamaCommonCrawl


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Home » Market News » New, Expanding And Renewing Tenants To Debut At High Point's Showplace
New, Expanding And Renewing Tenants To Debut At High Point's Showplace
International Market Centers (IMC) announced that 12 new, expanding and renewing tenants are debuting in Showplace for Fall 2019 High Point Market, running Oct. 19 – Oct. 23, 2019. Showplace features more than 80 exhibitors showcasing a variety of design aesthetics and a mix of price points.
"Showplace features more than 600,000 square feet of home furnishings resources with a comprehensive selection of product offerings from companies such as American Leather, Surya and Four Hands," said Scott Eckman, executive vice president, president of furniture and home décor leasing for International Market Centers. "Showplace is a key destination for many Top 100 retailers, designers and buyers, as well as attendees looking for the latest and greatest on-trend item."
For Fall Market, iRest (massage chairs and beds) will be making its High Point Market debut in Showplace and Jaipur Living (rugs and textiles) will be expanding.
High Point Market newcomer iRest is a China-based manufacturer of massage chairs and beds. Through its products and research, the global brand is dedicated to the development of health industry science and technology solutions.
Expanding exhibitor Jaipur Living is a lifestyle brand with a business model centered on passion for people, product and design. Its product line includes an assortment of rugs that range from contemporary and classic to designer and luxury, as well as pillows and home décor.
"High Point is the premier market for the home décor industry and we always do well in High Point," said Jaipur Living Director of National Sales Teresa Roberts. "We consistently experience high foot traffic and great buying patterns."
In addition to these new and expanding exhibitors, 10 tenants are renewing showrooms in Showplace this fall, including: Copeland Furniture (furniture); East Enterprises (table lamps, porcelain accessories and lampshades); Kaleen Rugs (area rugs and broadloom); Lauren Galleries (artwork); LR Resources, Inc. (hand tufted, hand knotted, and handwoven area rugs); Muniz (furniture and accessories); Pinestone Furniture, Inc. (wall art); Red Horse Signs(designs printed to distressed wood panels, clocks, and canvas tapestries); Sunpan (home furnishings); and Trade International Inc. (furniture).
LR Resources is a producer of Indian hand tufted, hand knotted and handwoven area rugs made from a variety of materials including wool, natural grasses and cotton.
"High Point Market has become our most important market each year," said Mike Thompson, vice president of sales for LR Resources. "The assortment of accounts and prospects that attend have definitely made it a must-attend market for us."
Sunpan is a global furniture company focusing on the design and manufacturing of transitional and contemporary furnishings. The Sunpan line includes accessories, bar, bedroom, dining, living and outdoor, among other products.
"If you're in the furniture business, High Point Market is the one show you cannot miss," Sunpan National Sales Manager Carl Lovett said. "High Point Market gives Sunpan the opportunity to share new products and inspiration with customers from around the globe."
Beyond exhibits, Showplace will offer marketgoers a variety of educational and networking opportunities, including social events and showroom offerings. Between 8:30 and 9:30 a.m. from Oct. 19 to Oct. 22, there will be complimentary coffee and sweets in the Showplace Atrium; and between 5 and 7 p.m. from Oct. 19 to Oct. 22, Showplace will host Sunset on 3 with complimentary beer, wine and hors d'oeuvres served on the third floor balcony. Additional information about events in Showplace for Fall Market is available online at http://www.imchighpointmarket.com/seminars-and-events.


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January 12, 21 - 9:28 am - LABS
Mexico considering to acquire 24 million doses of Russia's Sputnik V COVID-19 vaccine
Mexico could buy 24 million doses of Russia's Sputnik V COVID-19 vaccine, said Mexico's Health Minister Hugo Lopez-Gatell on a Monday's news conference. "We're thinking that we could use up to 24 million doses of this vaccine, for 12 million people," considering that the vaccine requires two jabs.
Lopez-Gattel traveled to Buenos Aires last week to discuss Argentina's vaccination campaign using the Russian immunizer and evaluate the use of Sputnik V in Mexico and the production of AstraZeneca's vaccine. Mexico will receive its first batch of AstraZeneca shots from Argentina to finish production of them, a top Mexican health official said, reported Reuters.
Both Mexico and Argentina have authorized the use of AstraZeneca's vaccine and plan to manufacture it jointly for Latin America.


Due largely in part to depleted inventory levels, home prices have experienced a steady increase. Despite encouraging inventory trends and what appears to be a looming buyers' market, the number of homes made available to prospective buyers remains relatively low. The reintroduction of equity to nearly every major market has severely reduced the number of foreclosure listings. Moreover, new construction projects will continue to be suppressed by the price of the current market for the foreseeable future. These factors, and others, will likely result in price increases that are slightly less torrid than what we have come to expect. However, such a consensus could be wrong if inventories are not replenished.
2.) Where Is The Home-Construction Recovery?
2013 was the beneficiary of impressive price growth. However, new construction projects have failed to live up to expectations. Current market conditions don't provide this particular industry with the economical environment it needs to thrive. In other words, home prices are still too low to justify construction costs (land, labor and materials). Construction companies of a smaller nature are also faced with tighter credit standards.
According to analysts familiar with the market, new-home demand may remain stagnant because of equity issues. The majority of move-up buyers don't have enough equity to "trade up" to a new home. With that being said, 2014 will soon identify whether or not new-home starts have gained traction. Pay attention to household formations and price adjustments made by construction companies in favor of selling more homes. Their moves will indicate the direction of housing starts.
3.) What Will Happen To Mortgage Credit?
2014 is expected to host a myriad of changes within the housing sector. Among those changes are rumors of easement. More specifically, lenders may ease certain "overlays" that have been imposed in recent years. With the market on what appears to be a sustainable path to recovery, mortgage insurance companies are more comfortable insuring loans with smaller down payments. Confidence may translate into the easier acquisition of a mortgage for prospective buyers.
Even if obtaining a loan does become less convoluted—by no means a given—borrowing costs and fees could rise. Banks also face new mortgage regulations that could keep most of them cautious. Borrowers with more volatile or harder-to-document incomes, including self-employed investors, could continue to face tough underwriting.
4.) What Will Institutional Investors Do With Inventory?
Several well-established institutional investors have purchased tens of thousands of discounted properties with the intentions of renting them out. Current market conditions favor buy-and-hold exit strategies.
These homes tend to be concentrated in a few of the regions that have been hardest-hit by foreclosures over the past five years. Investor purchases played key roles in stabilizing prices, especially because investors were acquiring properties at a time when supplies were already low. However, what will happen after the initial rush to invest subsides? More lenders and investors are extending debt financing to some of these property owners, which should help boost returns. Can owners perfect the expense management associated with maintaining and leasing tens of thousands of individual homes?
Doubt has already forced some of the larger investors to sell their homes, to smaller investors no less. With current market conditions being that which they are, large investors have been selling their properties to other investors as turnkey rentals. This trend may benefit investors of a smaller nature. Keep an eye out for institutional investors dumping properties.
5.) When Will Housing Affordability Reach A Tipping Point?
As you may already be aware, price appreciation is a double-edged sword, particularly in pricier metros like San Francisco and Los Angeles. On a positive note, equity has begun to return to the market. With assets now returning to their original value, borrowers are much less likely to foreclose on their property. However, with properties receiving a bump in value, it is important to note the decline in affordability. Price inflation makes it increasingly difficult for prospective buyers to find a home they can afford. This will be a bigger problem if cash buyers retreat from the market in 2014 and/or if interest rates rise in a meaningful way.
Consider: In Los Angeles, prices have jumped by nearly 30% in the past two years, to a median of $448,900 in the third quarter. Assuming a 20% down payment, the monthly payment of principal and interest on the median priced home has jumped from $1,255 in the third quarter of 2011 to $1,823 in 2013—a 45% increase.


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Die Titan-Rakete wurde ursprünglich als militärische Interkontinentalrakete von Martin Marietta gebaut. Sie fand jedoch später ihre Hauptanwendung als Trägerrakete in der Raumfahrt. Die Titan war von den USA eigentlich als Ersatz für die Atlas-Interkontinentalrakete konzipiert. Durch vielfältige Modifikationen entstand eine ganze Familie von Interkontinental- und Trägerraketen.

Titan I, II und Titan II Gemini

Die Entwicklung der Titan I begann 1955. Aufgrund ihrer mangelnden Zuverlässigkeit und der langwierigen Startvorbereitungen war sie als Gegenschlagswaffe nicht geeignet. (Aus Sicherheitsgründen musste die Rakete vor dem Start aus dem Silo gefahren werden, weil sonst Explosionsgefahr durch den verdampfenden Oxidator Sauerstoff bestand.) Schon während der Erprobung der Titan I wurde deshalb mit der Entwicklung der Titan II begonnen, die aufgrund der Treibstoffkombination (Stickstofftetroxid/Aerozin 50) problemlos aus Silos starten konnte. Titan II gehörten von 1963 bis 1987 zum Arsenal der landgestützten strategischen Interkontinentalraketen der USA. Dieses schwerste jemals verwendete amerikanische ICBM-System, vorgesehen zur Zerstörung der am stärksten verbunkerten sowjetischen Einrichtungen, trug einen Mk-6/W53-Sprengkopf (9 MT). In den 1970er Jahren waren 54 Raketen (1984 noch 37) auf drei SAC-Basen in Arizona, Kansas und Arkansas stationiert.

Neben dem Militär interessierte sich schon frühzeitig die NASA für die Rakete. Sie wählte im November 1963 (noch während ihrer Entwicklung) die Titan II als Träger der zweisitzigen Gemini-Raumschiffe, da kein anderer Träger zu diesem Zeitpunkt eine solche Nutzlast (3,6 t) tragen konnte. Sie diente in abgewandelter Form auch als Träger für verschiedene unbemannte militärische Satelliten. Die letzte Titan II (Variante Titan 23G) startete 2003 einen militärischen Wettersatelliten.

Titan III

Titan IIIA, IIIB, 34B

Als Weiterentwicklung der Titan II wurde ab 1962 für die US Air Force eine Trägerrakete entwickelt, die über eine zusätzliche dritte Stufe verfügte. Diese Variante, die Titan IIIA (mit der "Transtage"-Oberstufe), kam nicht über das Erprobungsstadium hinaus. Viel erfolgreicher wurde die Titan IIIB (mit Agena-D als Oberstufe). Sie wurde in großer Stückzahl zum Start von Spionagesatelliten verwendet, die für den Start mit der Agena ausgelegt waren und diese verwenden mussten. Mitte der 1970er Jahre wurden auch die beiden Stufen der Titan III weiter verbessert und zur Aufnahme von mehr Treibstoff verlängert, wodurch die Titan 34B mit Agena-Oberstufe entstand.

Titan IIIC und IIID
Der nächste Entwicklungssprung bestand in der Titan IIIC, die durch zwei seitlich angebrachte große Feststoff-Booster und modifizierte Erststufen über eine wesentlich höhere Nutzlast (> 12 t in niedrige Erdumlaufbahnen) verfügte. Anders als bei allen anderen Raketen wurde die erste Stufe nicht zusammen mit den Boostern, sondern erst kurz vor deren Ausbrennen gezündet. Die Booster der Titan-IIIC- bis -IVB-Raketen stellten dadurch eine aus zwei Teilen bestehende, der bisherigen ersten Stufe vorgeschaltete Stufe dar. Weil man die Bezeichnung der bisherigen Stufen nicht ändern wollte, wurden die Booster deshalb als "nullte Stufe" bezeichnet. Die Titan-Raketen waren deshalb Bündel- und nicht Parallelstufenraketen. Die Titan IIIC verwendete die Transtage als Oberstufe und wurde ab 1965 eingesetzt. Sie konnte Satelliten direkt in geostationäre Umlaufbahnen bringen.

Es folgte die Titan IIID (IIIC ohne Oberstufe ab 1971) für den Start von Spionagesatelliten in niedrige Umlaufbahnen.

Titan IIIE/Centaur

Für die NASA wurde die Variante Titan IIIE entwickelt. Diese verwendete eine leicht modifizierte Centaur-Version der damaligen Atlas-Centaur als Oberstufe. Die Centaur war bei der Titan IIIE mit in der neuen voluminösen Nutzlastverkleidung untergebracht. Die Centaur-Oberstufe verwendete eine energiereichere Treibstoffkombination als die Transtage, so dass ihre Nutzlast für hohe Umlaufbahnen deutlich größer als bei der Titan IIIC war. Die NASA verwendete sie in den Jahren 1974–1977 zum Start der Raumsonden Helios, Viking und Voyager 1 sowie Voyager 2. Sie konnte 15 t in eine niedrige Umlaufbahn, 3,4 t in einen geostationären Orbit und 1,5 t in eine Flugbahn zum Jupiter bringen.

Titan 34D
Danach sollte die Titan vom Space Shuttle abgelöst werden. Da sich das Shuttle-Programm jedoch verzögerte und dennoch schwere Lasten in den Orbit transportiert werden mussten, wurde die Titan 34D entwickelt. Sie war eine Kombination aus den verlängerten ersten beiden Stufen der Titan 34B und verlängerten Feststoffboostern. Sie konnte neben der Transtage auch die IUS als dritte Stufe verwenden. Sie hatte ihren Erststart am 30. Oktober 1982 und konnte 14,5 t in eine niedrige Umlaufbahn bringen.

Parallelentwicklungen

Titan 23G

1986 bekam Martin Marietta Corporation den Auftrag, die ausgemusterten Titan-II-Interkontinentalraketen zu Trägerraketen umzubauen. Dazu wurden die Startanlagen der Titan IIIB in Vandenberg modifiziert; außerdem wurden die Navigationssysteme der Titan-II-Rakete verbessert und sie erhielt eine neue Nutzlastverkleidung. Die so entstandene Rakete erhielt den Namen Titan 23G. Der erste Start erfolgte am 5. September 1988. Nach insgesamt 13 Starts wurde am 18. Oktober 2003 mit dem letzten Start einer Rakete das Titan-23G-Programm beendet.

Titan III/Commercial
Auch versuchte der Hersteller Martin Marietta die Titan kommerziell auf dem Satellitenstartmarkt anzubieten. Dazu entstand die Commercial Titan III, die über einige Modifizierungen in erster und zweiter Stufe sowie über eine neue voluminöse Nutzlastverkleidung verfügte. Sie entsprach aber ansonsten einer Titan 34D. Sie konnte in Verbindung mit verschiedenen Oberstufen gestartet werden. Der Erstflug fand am 1. Januar 1990 statt. Nach weiteren drei Flügen wurde die Produktion der Rakete jedoch eingestellt, da sie zu teuer und daher kommerziell nicht wettbewerbsfähig war.

Titan IV

Titan IVA

Aber auch nach dem erfolgreichen Start des Shuttle-Programms waren die Tage der Titan noch nicht gezählt. Durch Startverzögerungen und erst recht durch die Challenger-Katastrophe wurde die Titan IV in Planung genommen. Am 14. Juni 1989 hob die neue Rakete zum Jungfernflug ab. Sie war nochmals größer und schwerer als die Titan III und 34D und konnte dadurch fast 18 t in einen niedrigen Orbit befördern. In Verbindung mit einer verbesserten Centaur-Oberstufe konnte Titan IV bis zu 4,5 t in einen geostationären Orbit bringen.

Titan IVB
Die letzte Stufe des Programms ist die Titan IVB. Sie wurde als Träger für besonders schwere Lasten konzipiert und unterscheidet sich von der Titan IVA durch größere, schubstärkere, moderne Feststoffbooster mit schwenkbaren Schubdüsen. (Die Booster der Titan IIIC–IVA hatten starre Schubdüsen; gesteuert wurde, indem aus einem separaten Tank Stickstofftetroxid zur Schubvektorsteuerung in die Booster eingespritzt wurde.) Dadurch war sie in der Lage, 21 t in eine niedrige und 5,5 t in eine geostationäre Umlaufbahn zu befördern. Sie startete erstmals am 23. Februar 1997. Bei ihrem zweiten Flug brachte die Titan IVB in Verbindung mit einer Centaur-Oberstufe die Raumsonde Cassini-Huygens auf den Weg zum Saturn. Dies war zugleich der einzige nicht-militärische Einsatz einer Titan IV.

Ende des Titanprogramms
Der letzte Start einer Titan IVB in Cape Canaveral fand am 30. April 2005 statt. Der endgültig letzte Start einer Titan-IV-Rakete und damit des gesamten Titan-Programms erfolgte am 19. Oktober 2005 von Vandenberg aus. Die extrem teure Titan IVB wurde durch die moderneren und deutlich günstigeren Raketen Delta IV Heavy und Atlas V ersetzt. Schon beim Start von Cassini-Huygens wurde ein Startpreis von 433 Mio. US-Dollar genannt, der später noch deutlich übertroffen worden sein soll.

Tabelle der wichtigsten Titanversionen

Siehe auch
 Liste der Titan-IV-Raketenstarts
Liste von nuklearen Boden-Boden-Raketen

Trivia
In der Fernsehserie Stargate Kommando SG-1 steht das Stargate in einem fiktiven ehemaligen unterirdischen Raketensilo für die Titan (Rakete), welches in der 21. Folge "1969" der zweiten Staffel von den Protagonisten besucht wird.

In Star Trek: Der erste Kontakt wird im Jahr 2063 eine Titan-V-Rakete benutzt, um das erste warpfähige Raumschiff der Menschheit, die Phoenix, ins Weltall zu bringen.

Weblinks

 Die Titan-I- und II-Raketen
 Die Titan-III- und IV-Raketen

 Titan-Varianten und Startlisten (englisch)
 Titan Missile Museum in Arizona (englisch)
 Norbert Brügge: Titan Family (deutsch/englisch)

Einzelnachweise

Raketentyp (Raumfahrt)
Militärische Raumfahrt der Vereinigten Staaten
NASA

redpajama_set_name: RedPajamaWikipedia


text:
REMI BARCLAY MESSENGER
REMI MESSENGER
(previously Remi Barclay Bosseau)
504/ 80 Lorimer Street Docklands, Victoria 3008
remib1@mac.com
(03) 9646 1649 mobile 0422 629 905
(Married an Australian and moved here in 2003)
Founding member/actor of the following professional theatres:
Ø 1989 – 2000 VOICES OF EARTH with Olympia Dukakis , Leslie Ayvazian and Joan MacIntosh
Ø 1970 – 1990 WHOLE THEATRE, Montclair, New Jersey/ Actor, Producer, Teacher including Artistic Director of THUNDER IN THE LIGHT
Ø 1968 – 1970 THE PERFORMANCE GROUP, Wooster St., New York City, Actor in ensemble directed by Richard Schechner
Selected Theatre highlights in the U.S.A.
1995 American Conservatory Theater, San Francisco, California- Understudy to the lead, Olympia Dukakis in HECUBA by Euripides – directed by Carey Perloff, artistic director of ACT. When cast, it was in contract that I would actually play the role seven times before an audience of 1000 each time; I was on stage at all other performances as Nurse to Hecuba along with Viola Davis who played the narrator; I was invited to stay and become teaching staff in their Actors Conservatory but I returned home.
Ø 1967-70 In New York City, I was a founding member of THE PERFORMANCE GROUP, directed by Richard Schechner. Renovated The Performing Garage- still an active experimental theatre on Wooster St. Soho in NYC (now The Wooster Group) I had originally worked with Richard at Tulane University, including as his Asst Director on Victims of Duty by Ionesco in the French Quarter (1967).
~We developed the OBIE-award winning DIONYSUS IN 69 based on improvisations on Euripides' THE BACCHAE. During this time, we studied with Jerzy Grotowski and his company who were in NY with The Constant Prince. We spent months learning his psycho-physical techniques for the actor. We travelled to Europe where we won 1st Prize at Belgrade International Theatre Festival, and also toured the USA. We then developed an experimental production of MAKBETH (sic). Brian DePalma made a film of our DIONYSUS. This was a powerful period of innovation and creativity in the performing arts in New York City where the theatre community was highly responsive to political and social developments, nationally and internationally.
1970- 73 I was participant in an encounter group for actors in New York City. This group evolved from a focus on individual issues to the challenges of couples in the theatre, led by Olympia Dukakis and Louis Zorich. From this group, developed the core of The Whole Theatre Company, a cooperative of artists – actors, directors, designers – that lasted 20 years. The first three years were highly experimental including my creation of a method of approach to rehearsal that developed from the psycho-physical work of Grotowski and my own techniques of "worlds of imagination." We developed an original piece based on EDITH STEIN by Arthur Giron, the true story of a Jewish philosopher who became a Carmelite nun in Nazi Germany. The group travelled to Europe together during the filming of Fiddler on the Roof in Yugoslavia, then New York and Connecticut before choosing Montclair, New Jersey as the place to build a resident theatre. We maintained our cooperative structure until 1979 when we expanded to a full regional theatre contract. I was one of three original members that lasted the full 20 years.
1970-1990-Whole Theatre, Montclair, New Jersey –(See selected roles on stage on next page.) I was one of five on the Executive Committee of the Board of Trustees, guiding development of this professional theatre. Over a 20-year period, annual budget reached $1.5 million. Actors were in all management positions for first five years.
~1979 – one of three primary negotiators of groundbreaking union contract with Actor's Equity Association to represent a theatre company that was both management and talent.
~Served on Team for 20 years that hired and supervised staff, ranging annually from 30 to 50 people. Planned programming, hired artists show by show, raised funds, searched and found an old bank building, converting it into a well equipped professional theatre.
~Created and implemented programs designed to address specific life issues for more than 100 companies, schools, universities and institutions. Co-conceived and implemented educational programs of artist-teachers throughout New Jersey, generating $150,000 in annual grants and contracts. Also generated several thousand new audience members, students and new board members.
~1988-1990 Artistic Director of Thunder in the Light, which had two successful seasons, budgeted at $75,000 in the first season and $105,000 for the second season. Program reached 1500 individuals each season. Based on Living Stage in Washington, DC, I wrote all performance materials and directed artists. Facilitated extensive audience discussion and interaction.
1984 – I was in residence at Goddard College, Vermont, with Peter Schumann and The Bread & Puppet Theatre, developing an original piece based on JOSEPHINE THE SINGER by Kafka. I was lead singer and co-narrator of this provocative and stunningly visual piece. We also performed the first winter Bread and Puppet Pageant outside on the Goddard campus. We then brought JOSEPHlNE to New York City at the Judson Church. In 1984, I spent the summer with Bread & Puppet in their home, Glover, Vermont, rehearsing and performing their remarkable summer circus and pageant with the theme of justice in Central America for an audience of 40,000. I created a bi-lingual performance piece entitled HANDS about torture and courage in Nicaragua.
Ø 1989-2000 Co-developed Voices of Earth, a theater ensemble with Olympia Dukakis , Leslie Ayvazian and Joan MacIntosh
~work based on Sumerian myth of Inanna and Ereshkigal
~This company designed and implemented programming (first just for women and then for men and women) at venues around America including OMEGA Institute in Rhinebeck, New York, Yale University in Connecticut and the Public Theatre in NYC.
1993-1994 Living Stage of Arena Stage, Washington, DC, Assistant Director and actor with Robert Alexander
~Beyond performances, I presented inspirational speeches about children at risk and the impact of arts education to Washington, DC audiences, including members of the United States Congress and White House staff.
1990 – 1993 New Jersey State Council on the Arts Project Leader, Arts Magnet School; Master Teacher, Artist-Teacher Institute
1990 – 1993 Established a college theatre company Controversy, which trained students in group dynamic process to manage and transform issues including family violence, racism and self-destructive behaviors, building resilience, empathy and life skills.
2002 – Taught at New York University, Manhattan, New York City
Selected roles in Regional Theatre:
– Hecuba by Euripides, adapted by Timberlake Wertenbaker, Hecuba and Nurse
– Our Town by Thornton Wilder, Emily Webb
– Imaginary Invalid by Moliere, Angelique
– Mother Courage and Her Children by Brecht, Yvette Pottier
– Berlln to Broadway with Kurt Weill, Six Member Ensemble, my songs included "Surabaya Johnny"
– The Maids by Genet, Madame
– The Rose Tattoo by Tennessee Williams, Rosa
– You Can't Take It With You by Kaufman and Hart, Alice Kirby
– House Of Bernarda Alba by Lorca, Amelia
– Six Characters In Search Of an Author by Pirandello, Leading Lady
– Edith Stein by Arthur Giron, Sister Ruth
I directed the following workshop productions:
– Manhattan Project's Alice based On Lewis Carroll
– Sam Shepard and Joe Chaikin's Tongues
– Jean-Louis Barrault' s Rabelais: A Dramatic Game For Those Who Long To Touch The Mystery
– An Event based on Theodore Roethke' s Poem Dolor
– Series of Original Performance Pieces entitled America At Full Moon based on folk, jazz & pop songs of the 1960s and 70s
– Event based on Peter Handke's Self-Accusation and Offending the Audience
– Extensive developmental work on new versions of The Oresteia, Medea and Electra with Olympia Dukakis and Elise Lynch (Movement/ Mask Teacher, New York University School of the Arts)
1968-80 I studied and worked with numerous theatre professionals in projects, classes and workshops including Jerzy Grotowski, Joe Chaikin and members of The Open Theatre, Meredith Monk, Elizabeth Howell, Rod Derefinko, Robert Modica, Peter Flood, Anna Halprin, Wynn Handman, Artistic Director of American Place Theatre and various faculty members of New York University School of the Arts. (Happenings with Jean-Jacques Lebel in Paris 1965)
Personal: Born in Springfield, Missouri; grew up in Houston, Texas; Philosophy and Theatre major at Tulane University in New Orleans; year in Paris 1965-66, moved to New York City in 1967, moved to Melbourne in 2003
Detailed CV available for Teaching and Drama Therapy work.