E01   1 <#FROWN:E01\><h_><p_>Friendly Competition<p/>
E01   2 <p_>These five runners prove that competition and camaraderie can 
E01   3 go hand in hand.<p/>
E01   4 <p_>By Elizabeth Kaufmann<p/><h/>
E01   5 <p_>Going for a run is one of the simplest ways to feel your body 
E01   6 move - all you need is a good pair of shoes and a safe place to go. 
E01   7 For the women profiled here, that feeling is enhanced by the 
E01   8 camaraderie and competition of an all-women's race. The high 
E01   9 spirits generated by women running with women and the collective 
E01  10 letting-go of old fears and inhibitions keep women such as these 
E01  11 returning to their favorite races year after year. Often, they 
E01  12 surprise themselves - and others - with their accomplishments, be 
E01  13 it a personal record or simply a newfound self-confidence.<p/>
E01  14 <h_><p_>Tufts 10K for Women<p/>
E01  15 <p_>Lyn Licciardello<p/><h/>
E01  16 <p_>When Lyn Licciardello, 43, first ran the race now called the 
E01  17 Tufts 10K for Women 15 years ago, her two daughters were 
E01  18 <quote_>"tiny little things."<quote/> Then they grew, and when the 
E01  19 elder one, Amy, turned 15 in 1989, mother and daughter stood 
E01  20 together at the start of the Tufts 10K.<p/>
E01  21 <p_><quote_>"Of all the running I've done, that race was a 
E01  22 highlight,"<quote/> says Licciardello, a part-time nurse form North 
E01  23 Andover, Massachusetts. <quote_>"I love the feeling I get at the 
E01  24 starting line, of all those women who are healthy and doing some 
E01  25 activity together. It's just a joyous occasion. And I loved being 
E01  26 able to have my daughter share that with me."<quote/><p/>
E01  27 <p_>They didn't run together for long, however. <quote_>"She beat 
E01  28 me by a lot,"<quote/> laughs Licciardello. <quote_>"She placed 
E01  29 fourth in her age group. It topped off the day."<quote/><p/>
E01  30 <p_>While her daughters excel as runners - North Andover High 
E01  31 School freshman Crissy is a cross-country league all-star, and Amy 
E01  32 runs cross-country at Quinnipiac College in Hamden, Connecticut - 
E01  33 Lyn considers herself a regular person who runs to stay healthy and 
E01  34 admits to having won a few age-group trophies.<p/>
E01  35 <p_>She generally prefers mixed races and runs with her husband, 
E01  36 Tom, but Tufts is the one exception, and she has run it every year. 
E01  37 Big and prestigious, the race is nonetheless accessible, providing 
E01  38 a forum for all levels of runners to hobnob with world-class 
E01  39 athletes. One is local heroine Lynn Jennings, who won the first 
E01  40 race when she was 17 and has recaptured the title several times 
E01  41 since.<p/>
E01  42 <p_>The course, too, has a distinctly local flavor, starting and 
E01  43 ending at Boston Commons, with upwards of 4,000 women squeezing 
E01  44 through the city's narrow streets. <quote_>"One of the neat things 
E01  45 about this race is that it turns back on itself several times so 
E01  46 you can see the frontrunners coming,"<quote/> Licciardello says. 
E01  47 <quote_>"It's so electric because you're rooting for the winners at 
E01  48 the same time you get to participate."<quote/><p/>
E01  49 <p_>There's a feeling of camaraderie, too, that women don't get 
E01  50 from a lot of things. <quote_>"When I was in high school, we were 
E01  51 told we weren't capable of running any distance,"<quote/> she says. 
E01  52 <quote_>"We covered a mile and a half in the gym, but they told us 
E01  53 we had to walk part of it. A lot of women my age are afraid to run 
E01  54 in events. But when they hear that just women are going to do this, 
E01  55 and it's a real big thing and it's acceptable and they give you a 
E01  56 long-sleeved shirt, they say, 'Maybe I can try that, and if there 
E01  57 are that many women, then surely I won't come in last.' A lot of 
E01  58 women run just this one race. That's why it's so great. It gets 
E01  59 them out of a shell."<quote/><p/>
E01  60 <h_><p_>Nike Women's Race 8K<p/>
E01  61 <p_>Henley Gibble<p/><h/>
E01  62 <p_>It's fitting that Nike asked Henley Gibble, 48, to serve as 
E01  63 race director for the Nike Women's Race 8K in Washington, DC. She's 
E01  64 as legendary to women's running as the shoe company is to the 
E01  65 sport.<p/>
E01  66 <p_>Gibble's love affair with running began in 1975, when she 
E01  67 started running but couldn't find many kindred spirits. That 
E01  68 changed in 1976, when she founded one of the first women's running 
E01  69 clubs in the country, the Washington RunHers Unlimited Club. 
E01  70 <quote_>"We decided on purple for royalty and green for new 
E01  71 beginnings, but there was no clothing made for women then - we had 
E01  72 to wear men's polyester purple shorts and lime-green 
E01  73 shirts,"<quote/> she recalls. <quote_>"Everyone laughed at the 
E01  74 hideous purple and green RunHers women coming, but they didn't 
E01  75 laugh for long, because we started winning all the competitions. 
E01  76 There was no one to run against us."<quote/> Other clubs took note, 
E01  77 and women's memberships blossomed, which was exactly what Gibble 
E01  78 had hoped for.<p/>
E01  79 <p_>Running transformed her, and over the years, she watched lots 
E01  80 of other women build confidence as they got involved. Her activism 
E01  81 continued, ranging from lobbying for the inclusion of a woman's 
E01  82 marathon in the 1984 Olympics to improving police patrols of 
E01  83 DC-area running trails and publishing a regular bulletin to keep 
E01  84 women runners informed of recent attacks. She was the first woman 
E01  85 president of the Road Runners Club of America, from 1986 to 1990, 
E01  86 and is currently the club's first paid executive director. In 1989, 
E01  87 Nike asked her to direct the women's 8K.<p/>
E01  88 <p_><quote_>"The idea was to have a superb, high-quality event on a 
E01  89 flat, fast course and build a reputation that this was a course not 
E01  90 only for the elite woman runner who could set records, but also for 
E01  91 the ordinary person out there,"<quote/> she says. A lot of money 
E01  92 has gone into supporting the grass roots runner, says Gibble, 
E01  93 including clinics the day before led by the elite athletes. Elite 
E01  94 athletes are attracted to the race because it's fast and 
E01  95 competitive, with good prize money - a total of $25,500 in 1991.<p/>
E01  96 <p_>A dedicated runner herself with a marathon PR of 3:08, Gibble 
E01  97 puts in 45 miles a week for personal fitness, running four to nine 
E01  98 miles a day. <quote_>"It's very much a part of my life, just like 
E01  99 brushing my teeth,"<quote/> she says. She gets as much pleasure, 
E01 100 however, from watching everybody else, and the 1991 Nike 8K was 
E01 101 particularly moving. <quote_>"We could see that Lynn [Jennings] was 
E01 102 really close to breaking the world record, and when she got about 
E01 103 200 yards from the finish, she realized she could do it,"<quote/> 
E01 104 she says. <quote_>"Here's this woman who had just gone all out for 
E01 105 the whole race, but she put on the afterburners and sped down the 
E01 106 road. Everybody burst into tears when she crossed the finish line. 
E01 107 She had done it."<quote/><p/>
E01 108 <h_><p_>Columbine Classic 5K<p/>
E01 109 <p_>Juanita Keeler<p/><h/>
E01 110 <p_>Seven years ago, Juanita Keeler, 48, was flying an ultralight 
E01 111 aircraft when she made a bad landing in an Illinois corn field. The 
E01 112 accident broke her back and paralyzed her from the hips down. Eight 
E01 113 months later, her husband of 21 years left. They had no children, 
E01 114 and she was completely on her own.<p/>
E01 115 <p_>She began to pick up the pieces of her life and moved to 
E01 116 Denver. <quote_>"I'd been doing a lot of experimentation: who I am, 
E01 117 what I want to do, where I want to go in life,"<quote/> she says. 
E01 118 Before the accident, she hated running. But as she searched for her 
E01 119 real self, she decided to try racing. In 1988 she entered the Zoo 
E01 120 Fun Run 10K to see if she could do the distance. <quote_>"There was 
E01 121 one other wheelchair entrant and he had a racing chair. I think it 
E01 122 took me three times longer,"<quote/> she laughs. <quote_>"I'd done 
E01 123 absolutely no training, but I decided I liked it and would 
E01 124 eventually get a racing chair. What blew me away was the 
E01 125 camaraderie and encouragement that people gave me along the 
E01 126 way."<quote/><p/>
E01 127 <p_>In 1990 she bought the racing chair and entered every 5 -  and 
E01 128 10K she could fit in. One was the all-women's Columbine Classic 5K, 
E01 129 held each year in Denver's Washington Park. Started in 1978 by the 
E01 130 Colorado Columbines running club, the event raises money for the 
E01 131 Safe-House for Battered Women in Denver. With 4,373 finishers in 
E01 132 1991, the race raised $20,000 for the shelter. <quote_>"It was a 
E01 133 very neat experience being with all women and seeing the men and 
E01 134 staffers and friends on the side cheering,"<quote/> says Keeler. 
E01 135 <quote_>"And what I really liked was the idea of women helping 
E01 136 women."<quote/><p/>
E01 137 <p_>In her brief racing career, she has already branched out into 
E01 138 longer events, including the Midnight Sun Wheelchair Marathon, a 
E01 139 nine-day, 367-mile extravaganza from Fairbanks to Anchorage, 
E01 140 Alaska. The racers are timed as they cover a predetermined distance 
E01 141 each day; camp moves each night, with motor homes provided for a 
E01 142 maximum of 15 competitors. Keeler entered the race in 1991, the 
E01 143 lone woman in a field of 12 men. Keeler, who says she had trained 
E01 144 very little, finished the event, only the second woman in a manual 
E01 145 chair to do so in the race's eight-year history.<p/>
E01 146 <p_>Wheeling has become a soul-saving outlet for her. <quote_>"I 
E01 147 think when you're first injured you're a victim, and you have to 
E01 148 get past that victim mentality,"<quote/> she says. <quote_>"I 
E01 149 wouldn't do things because I didn't want people to see me struggle. 
E01 150 I finally came to the realization that if they didn't like it, they 
E01 151 could look the other way. I was going to do what was good for me. 
E01 152 So I race, and if I look funny, so what?"<quote/><p/>
E01 153 <h_><p_>Alaska Women's Run 10K<p/>
E01 154 <p_>Marcie Trent<p/><h/>
E01 155 <p_>Marcie Trent, 74, started running when she was 50. She and her 
E01 156 husband homesteaded on 160 acres in Anchorage in 1946 and raised 
E01 157 five children there. Seventeen years later, her husband and eldest 
E01 158 son were killed in a plane crash. After being widowed four years, 
E01 159 she married Bill, a runner. She encouraged him to try the Fairbanks 
E01 160 Marathon, and when he raved about the experience, she decided to 
E01 161 walk it with him the following year. She ran a mile a day for six 
E01 162 months, walked the marathon and almost finished within the runners' 
E01 163 allotted time.<p/>
E01 164 <p_>The next year, training just two miles a day, Trent ran the 
E01 165 marathon. <quote_>"That really got me excited,"<quote/> she 
E01 166 says.<p/>
E01 167 <p_>Trent was 60 for the premiere of the Alaska Women's Run 10K in 
E01 168 Anchorage in 1978. She had already run the Boston Marathon at the 
E01 169 age of 57, the oldest woman to do so at the time, finishing in 
E01 170 3:27:45. She proceeded to win the 60-and-older division of the 
E01 171 Alaska run for 10 straight years. Then, even though she was racing 
E01 172 against 60-year-olds (the race doesn't have a 70-and-older 
E01 173 division), she placed in the top five until 1991. She holds 
E01 174 national age group records for a one-hour run, half marathon and 
E01 175 marathon.<p/>
E01 176 <p_>In '91 the Alaska race attracted competitors from 25 states, 
E01 177 plus one from Canada and one from Thailand. <quote_>"It's just 
E01 178 about the best-organized race in Alaska,"<quote/> she says. 
E01 179 <quote_>"The staff works on it 11 months a year, and it has grown 
E01 180 from 257 people in 1978 to 3,095 this year. It's on a beautifully 
E01 181 wooded bike trail that goes through the heart of 
E01 182 Anchorage."<quote/><p/>
E01 183 <p_>No prize money is offered, but it's nonetheless competitive. 
E01 184 <quote_>"Alaska women don't come in first any more,"<quote/> says 
E01 185 Trent, <quote_>"but that's OK. The majority of the women are there 
E01 186 for the fellowship, and that's what makes it so 
E01 187 outstanding."<quote/><p/>
E01 188 <p_>Two years ago, Trent began suffering injuries, breaking both 
E01 189 wrists and crushing some ribs. Her heigt shrank by three inches, 
E01 190 and she was diagnosed with osteoporosis. <quote_>"I've had to slow 
E01 191 down,"<quote/> she says. Fortunately, her doctors haven't 
E01 192 discouraged her from running. <quote_>"Oh, no way,"<quote/> she 
E01 193 says. <quote_>"Exercise is supposed to be the best thing. If I can 
E01 194 just keep going every day, I'll keep my bones strong. The only 
E01 195 thing is, I don't run on pavement, and I don't bounce down hills 
E01 196 like I used to."<quote/><p/>
E01 197 <p_>She likes to train on trails with <quote_>"people half my 
E01 198 age,"<quote/> including two sons, one of whom runs at her pace. And 
E01 199 she's always accompanied by D.O.G., her black lab whose mileage she 
E01 200 tracks along with hers. <quote_>"He's logged 25,000 miles in nine 
E01 201 years,"<quote/> she says proudly.<p/>
E01 202 <p_>Still, he's got 37,000 to go before catching up to her.<p/>
E01 203 <h_><p_>Susan G. Komen<p/>
E01 204 <p_>Race for the Cure 5K<p/>
E01 205 <p_>Becky McClenny-Stull<p/><h/>
E01 206 <p_>Becky McClenny-Stull, 35, has a personal reason for running in 
E01 207 the Susan G. Komen Race for the Cure 5K each year in Dallas, which 
E01 208 donates the proceeds to breast cancer prevention and research.
E01 209 
E02   1 <#FROWN:E02\><h_><p_>GROWING ROSES ORGANICALLY<p/>
E02   2 <p_>IT'S EASIER THAN YOU THINK!<p/>
E02   3 <p_>Many beauties are so disease-resistant all you need are their 
E02   4 names, but we'll tell you how to get gorgeous flowers from the 
E02   5 other kind, too!<p/>
E02   6 <p_>By CATHERINE YRONWODE<p/><h/>
E02   7 <p_>Although cultivated roses are descended from hardy, vigorous 
E02   8 wild brambles, many gardeners believe that they are tender, spindly 
E02   9 little things that cannot be grown without a regular program of 
E02  10 toxic spraying. <quote_>"I love roses,"<quote/> one often hears, 
E02  11 <quote_>"but I just can't raise them organically!"<quote/><p/>
E02  12 <p_>It's true that roses <tf|>do fall victim to disease, especially 
E02  13 to fungus attacks which damage their leaves, but it's also true 
E02  14 that you <tf|>don't have to spray them. At least not as much as you 
E02  15 probably think, if you do some homework before you plant and select 
E02  16 varieties with natural immunity to disease. And when you <tf|>do 
E02  17 spray, there are a number of safe, organic products that will 
E02  18 prevent those diseases without kicking a hole in your garden's 
E02  19 ecosystem.<p/>
E02  20 <p_>This two-pronged approach - selecting disease-resistant 
E02  21 varieties and handling diseases that do show up with 
E02  22 environmentally friendly methods - will change your attitude toward 
E02  23 roses forever. Once you see how easy organic cultivation can be, 
E02  24 you'll wonder why you ever tried to grow roses any other way.<p/>
E02  25 <p_>Let's start with disease resistance. Roses, like other plants, 
E02  26 carry genes that may protect them from - or subject them to - a 
E02  27 variety of diseases. Unfortunately, continued breeder emphasis on 
E02  28 the look and color of the flowers alone has resulted in the loss of 
E02  29 natural rose attributes such as drought tolerance, disease 
E02  30 resistance and frost hardiness from many of today's most popular 
E02  31 varieties.<p/>
E02  32 <h|>BLACKSPOT
E02  33 <p_>A look at one of the worst diseases of roses demonstrates how 
E02  34 breeding for flower type has hurt plant health.<p/>
E02  35 <p_>Blackspot (<tf_>Diplocarpon rosae<tf/>) is a fungus that causes 
E02  36 black patches with fringed margins to form on the plant's leaves. 
E02  37 It spreads by spores which develop rapidly when they land on wet 
E02  38 foliage. Infected leaves soon turn yellow and fall to the ground, 
E02  39 where they serve as launching pads for the next generation of 
E02  40 spores.<p/>
E02  41 <p_>Blackspot occurs throughout the United States. It is not a 
E02  42 severe problem in warm areas with low summer rainfall, but in some 
E02  43 climates, it can kill roses. Plants defoliated by blackspot try to 
E02  44 grow new leaves as soon as possible. Undeveloped leaf<?_>-<?/>buds, 
E02  45 which would have overwintered safely in dormancy, are forced into 
E02  46 fall growth, leaving them insufficient time to harden off before 
E02  47 winter. This results in frost-damage, dieback or even death.<p/>
E02  48 <p_>Good cultivation practices (removing all fallen leaves and 
E02  49 watering at ground level so the foliage stays dry) will help 
E02  50 control blackspot. You should also consider planting one of the 
E02  51 many blackspot-resistant varieties on the market. It may also help 
E02  52 to understand how the disease came to be such a problem in the 
E02  53 first place. Here's the story:<p/>
E02  54 <p_>The wild Iranian rose, <tf_>Rosa foetida<tf/>, is a thorny, 
E02  55 five-petaled yellow shrublet with a very limited habitat range. 
E02  56 Unlike most wild roses, which tolerate all sorts of weather, 
E02  57 temperature and soil conditions, this species demands dry heat, 
E02  58 full sun and sandy soil. Because it evolved in a climate where the 
E02  59 water-dependent blackspot fungus did not thrive, <tf_>Rosa 
E02  60 foetida<tf/> never had to develop resistance or tolerance to this 
E02  61 common disease.<p/>
E02  62 <p_><quote_>"So what ?"<quote/> you ask. <quote_>"I wasn't 
E02  63 interested in growing it anyway."<quote/><p/>
E02  64 <p_>Ah, but it is this species that has cursed many modern roses 
E02  65 with both fungicide-dependency and the heightened threat of 
E02  66 winterkill.<p/>
E02  67 <p_>Domesticated hybrid roses originated in the gardens of ancient 
E02  68 Rome and China. From pre-history until the end of the 19th century, 
E02  69 almost every hybrid rose in the world had been bred in a temperate, 
E02  70 moist climate from species that were either resistant to blackspot 
E02  71 or tolerated it without complete defoliation.<p/>
E02  72 <p_>These 'heritage roses' - classified into family groups such as 
E02  73 alba, china, damask, gallica, polyantha, banksia, hybrid musk, 
E02  74 wichuraiana, hybrid perpetual and rugosa - were limited in color 
E02  75 mostly to scarlet, pink or white. The search for a vivid yellow 
E02  76 rose brought a double form of <tf_>Rosa foetida<tf/> named 
E02  77 <tf|>PERSIANA into the hands of gifted French breeder Joseph 
E02  78 Pernet-Ducher. In 1893, he finally accomplished the difficult cross 
E02  79 between <tf|>PERSIANA and a hybrid perpetual rose. This mating 
E02  80 eventually produced a fabulous golden-orange seedling called 
E02  81 <tf_>SOLEIL D'OR<tf/>, the ancestor of most modern hybrid teas and 
E02  82 floribundas whose flowers are yellow, orange or fiery-red. But 
E02  83 these new colors came at a terrible price: susceptibility to 
E02  84 blackspot.<p/>
E02  85 <p_>Imagine for a moment now that instead of roses, we were 
E02  86 discussing tomatoes. Would you rush right down to  the nursery and 
E02  87 buy plants known to be susceptible to verticillium or fusarium wilt 
E02  88 if those fungal diseases were common in your area? Of course not - 
E02  89 you'd ask for disease-resistant varieties. You know that 
E02  90 <tf|>prevention of disease is half the organic battle, and that 
E02  91 selection of resistant varieties is the simplest way to sidestep 
E02  92 the battle entirely.<p/>
E02  93 <p_>Well, that's the way to sidestep the battle of blackspot on 
E02  94 roses: grow varieties that are not descended from <tf_>Rosa 
E02  95 foetida<tf/>! In practice, this means growing heritage roses, 
E02  96 varieties that were popular before the introduction of <tf_>Rosa 
E02  97 foetida<tf/> genes made blackspot a household word among rosarians. 
E02  98 These 'old roses' (and many new ones unrelated to <tf_>Rosa 
E02  99 foetida<tf/>) are numerous. All you need to know is what to ask 
E02 100 for. Among the heritage roses you will find virtually every type of 
E02 101 plant, including huge, spring-flowering shrubs, magnificent 
E02 102 climbers, charming dwarf bushes and Arctic<?_>-<?/>hardy hedges. 
E02 103 Yes, most blackspot<?_>-<?/>resistant roses are white, pink or 
E02 104 scarlet - but what they lack in color range they more than make up 
E02 105 for in trouble-free growing.<p/>
E02 106 <h_><p_>POWDERY MILDEW<p/><h/>
E02 107 <p_>Before you send away for those blackspot-resistant heritage 
E02 108 roses, do yourself a favor and cross varieties known to be 
E02 109 susceptible to powdery mildew (<tf_>Sphaerotheca pannosa 
E02 110 rosae<tf/>) off your buying list. This fungus grows on the surface 
E02 111 of the foliage, covers the plant with white felt-like spores, 
E02 112 causes leaves to curl up and turn purple, and makes flower buds die 
E02 113 without opening.<p/>
E02 114 <p_>Ugly as it is, powdery mildew does not kill plants, and many 
E02 115 roses in many classes are resistant to it. In general, only 
E02 116 wichuraianas, chinas, and polyanthas, plus a few red and dark-pink 
E02 117 hybrid teas, are significantly susceptible to this disease and even 
E02 118 they can be helped. Powdery mildew spreads fastest among 
E02 119 drought-stressed plants when evenings are cool and the air is humid 
E02 120 and still - conditions common in California and the Southwest, 
E02 121 especially if you give your roses a nice sprinkler bath when you 
E02 122 come home from work. To deny this fungus a foothold, space plants 
E02 123 far enough apart to ensure good air circulation, mulch them with 
E02 124 compost to prevent drought-stressing, and irrigate at ground level 
E02 125 in the morning or afternoon to discourage humid conditions at 
E02 126 dusk.<p/>
E02 127 <h|>RUST
E02 128 <p_>If you live on the West Coast, where rose rust fungus 
E02 129 (<tf_>Phragmidium disciflorum<tf/>) is a serious problem, avoid 
E02 130 varieties known to be susceptible to it. Rust covers entire plants 
E02 131 with tiny spores that resemble bright-orange curry powder. Like 
E02 132 blackspot, it causes defoliation severe enough to weaken plants and 
E02 133 hasten their demise. Luckily, the number of varieties resistant to 
E02 134 rust is great, and when a rose is resistant to rust, it is almost 
E02 135 completely immune (unlike blackspot, for which 'resistance' often 
E02 136 means simply 'tolerance').<p/>
E02 137 <h|>ANTHRACNOSE
E02 138 <p_>Anthracnose (<tf_>Sphaceloma rosarum<tf/>) fungus causes 
E02 139 circular white dots with reddish margins to form on the leaves. It 
E02 140 mostly attacks climbing roses with glossy foliage, but it's not 
E02 141 deadly. Its range extends along the Atlantic and Pacific coasts, 
E02 142 and from the Gulf Coast up into Arkansas. In my experience, 
E02 143 varieties resistant to blackspot seem to be resistant to 
E02 144 anthracnose as well. It is more common on varieties that get 
E02 145 powdery mildew.<p/>
E02 146 <h_><p_>DOWNY MILDEW<p/><h/>
E02 147 <p_>Entirely different from powdery mildew, <tf_>Peronospora 
E02 148 sparsa<tf/> is a serious problem only on greenhouse and exhibition 
E02 149 roses. Characterized by yellowish blotches on the topsides of 
E02 150 leaves and grayish 'down' on the undersides, it can lead to 
E02 151 complete defoliation. Downy mildew requires continuous high 
E02 152 humidity and low air circulation for its growth, so it is not often 
E02 153 found on outdoor plants. Most varieties resistant to blackspot and 
E02 154 powdery mildew are also resistant to downy mildew.<p/>
E02 155 <h_><p_>COMBATING FUNGAL DISEASE<p/><h/>
E02 156 <p_>Planting fungus-resistant heritage rose varieties is the 
E02 157 biggest step you can take toward disease-free organic rose-growing. 
E02 158 But if the bright colors of modern hybrid teas and floribundas 
E02 159 tempt you, or if you've already planted such roses and now want to 
E02 160 wean them from toxic sprays, don't despair. It's easy to treat even 
E02 161 these 'tender' plants the safe, organic way.<p/>
E02 162 <p_>Start with regular cultural cleanliness: Pick up and burn - 
E02 163 <tf_>do not compost<tf/>! - infected leaves. Always water roses at 
E02 164 their bases, never on their leaves. Interplant 
E02 165 blackspot-susceptible varieties with those that do not develop the 
E02 166 disease; this will cut down the speed with which 
E02 167 water<?_>-<?/>splashed spores can travel through your garden. Avoid 
E02 168 heavy doses of nitrogen; the resulting lush, sappy growth readily 
E02 169 falls prey to blackspot, rust and especially powdery mildew. Mulch 
E02 170 with compost; this has been shown to help prevent disease in almost 
E02 171 all plants, including roses.<p/>
E02 172 <p_>As a last resort, spray - but not with toxics. For powdery 
E02 173 mildew, try a solution of baking soda (3 tablespoons per gallon of 
E02 174 water), an old<?_>-<?/>time remedy that works well when applied at 
E02 175 the first sign of infection. Here in Northern California, sulfur 
E02 176 dust, wettable sulfur in solution (2 heaping tablespoons per gallon 
E02 177 of water) or Safer's Garden Fungicide spray (a sulfur-based 
E02 178 product) applied once or twice per season will keep blackspot, 
E02 179 powdery mildew and other fungus diseases down to acceptable levels 
E02 180 on all but the most susceptible plants. In other areas, you need to 
E02 181 spray more often.<p/>
E02 182 <p_>(Don't use sulfur when the temperature is above 
E02 183 85<*_>degree<*/> F; the foliage may burn.)<p/>
E02 184 <p_>And don't waste baking soda or sulfur on your resistant 
E02 185 varieties - a truly fungus-resistant rose will be able to stand 
E02 186 shoulder-to-shoulder with an infected one and never lose a leaf to 
E02 187 illness.<p/>
E02 188 <h_><p_>THE FUNGUS-FREE LIST<p/><h/>
E02 189 <p_>If reading about those rose diseases scared you a bit, now's 
E02 190 the time to relax. A list that included every fungus-resistant rose 
E02 191 would fill a book. I grow about 350 varieties myself, spray only 
E02 192 once a year (with sulfur) and have little trouble with disease. 
E02 193 There are hundreds of widely available old-fashioned varieties - 
E02 194 even whole classes of varieties - that are as disease-resistant as 
E02 195 a rose can be.<p/>
E02 196 <p_>Some may perform better than others in areas with different 
E02 197 climates, so check the catalog descriptions carefully. When you 
E02 198 order, tell the supplier that you want to choose varieties that can 
E02 199 be grown organically in your area, and ask if your choices are 
E02 200 suitable. Here are some of my favorites:<p/>
E02 201 <p_><tf_>HYBRID MUSKS:<tf/> This class of highly fungus-resistant 
E02 202 shrub and semi-climbing roses derives from complex crosses between 
E02 203 <tf_>Rosa moschata<tf/> ('musk rose'), <tf_>R. multiflora<tf/> 
E02 204 ('many-flowered rose'), and various cultivated roses. Developed 
E02 205 primarily between 1900 and 1930, hybrid musks bear their flowers in 
E02 206 large clusters and bloom repeatedly throughout the summer. They are 
E02 207 the most shade-tolerant of roses. They should not be pruned except 
E02 208 to eliminate crossing or weak branches. <tf|>BELINDA and 
E02 209 <tf|>BALLERINA are similar in name and form; <tf|>BELINDA bears 
E02 210 large, erect trusses of single, light-pink flowers on a 7-foot 
E02 211 shrub, while <tf|>BALLERINA has clusters of bright-pink flowers 
E02 212 with white eyes on a 5-foot shrub. <tf|>PAX and <tf|>PROSPERITY 
E02 213 both bear clusters of white semi<?_>-<?/>double flowers on 7-foot 
E02 214 shrubs.<p/>
E02 215 <p_><tf_>BUFF BEAUTY<tf/> may be the finest hybrid musk. It forms a 
E02 216 7-foot shrub with clusters of full, biscuit-colored blossoms that 
E02 217 fade to white in the sun; its fragrance is more like a 
E02 218 pineapple-banana fruit smoothie than a traditional 'rose' scent.<p/>
E02 219 <p_><tf_>HYBRID RUGOSAS:<tf/>This class of shrub roses derives from 
E02 220 the wild Asian seaside species <tf_>R. rugosa<tf/> ('wrinkly 
E02 221 rose'). The tough and distinctly wrinkled rugosa leaves foil most 
E02 222 fungal attacks except rust, and rugosas have the additional 
E02 223 benefits of being salt and drought tolerant and exceptionally frost 
E02 224 hardy. Although they naturally form large bushes, they can be kept 
E02 225 within bounds by light pruning. The best known varieties are 
E02 226 <tf_>F.J. GROOTEN<?_>-<?/>DORST<tf/> (clusters of dark-pink double 
E02 227 flowers that are serrated like carnations), <tf_>PINK 
E02 228 GROOTENDORST<tf/> (exactly like F.J., but medium pink), 
E02 229 <tf|>FIMBRIATA (like a white <tf|>GROOTENDORST), and <tf|>HANSA (a 
E02 230 striking purple semi-double).
E02 231 
E02 232 
E03   1 <#FROWN:E03\><h_><p_>ESCAPE FROM WAKE ISLAND<p/>
E03   2 <p_>BY JOHN ELOTT WITH WILLIAM W. MOSS<p/><h/>
E03   3 <p_><tf_>The short, squat soldier with khaki leggings kicked 
E03   4 through the rubble of the bomb-shattered building. A gleam of metal 
E03   5 caught his eye and he stooped over for a closer look. Picking up 
E03   6 the soiled white cap, he stared at the gold insignia attached just 
E03   7 above the still glossy visor. Since he could not read the 
E03   8 inscription, he assumed it belonged to one of the American 
E03   9 defenders who had surrendered the island to him and his comrades a 
E03  10 few days earlier. He tore it from the cloth brow and stuffed it in 
E03  11 his pocket. It would make a nice souvenir. What the Japanese 
E03  12 soldier did not know was that the former owner of the hat almost 
E03  13 became one of his prisoners. Wake Island. December 8, 1941. It was 
E03  14 the worst of times. But 36 of the island's occupants had a way out. 
E03  15 All they had to do was get an overloaded, bullet-riddled airplane 
E03  16 into the air and across an ocean now dominated by the Japanese 
E03  17 Navy.<tf/><p/>
E03  18 <p_>The Vought-Sikorsky Vindicator banked sharply over the bow of 
E03  19 the <tf_>USS Lexington<tf/> as the aircraft carrier knifed sleekly 
E03  20 through the blue Pacific 1,000ft (300m) below. Now parallel to the 
E03  21 ship, the silver dive bomber continued on a reverse course until it 
E03  22 was abeam of the carrier's stern. Attempting to maintain a 
E03  23 30-second interval between himself and the preceding aircraft, the 
E03  24 pilot pulled the airplane once more to the left, rolling out of his 
E03  25 turn a half-mile (0.8km) behind the carrier and a scant 100ft (30m) 
E03  26 above the water. Speed was critical - no more than 5-10kt 
E03  27 (9-18km/h) above the stall. A slight drift to port prompted an 
E03  28 immediate reaction from the Landing Signal Officer (LSO), and the 
E03  29 pilot corrected his alignment. With the aircraft now solidly in the 
E03  30 'slot', the LSO signaled the pilot to cut his power. The airplane 
E03  31 flashed across the stern of the ship and settled heavily on the 
E03  32 deck, an arresting cable deftly snaring its tail hook and bringing 
E03  33 it to an abrupt halt. Ensign William W. Moss had successfully 
E03  34 completed his 103rd carrier landing.<p/>
E03  35 <p_>As a glider pilot, Bill Moss was already well-versed in the 
E03  36 fundamentals of flight when he entered the US Navy in November 
E03  37 1935. After winning his wings at Pensacola a year later, Moss 
E03  38 joined the 'Flying Panther' Dive Bomber Squadron and eventually 
E03  39 served on all three carriers assigned to the Pacific Fleet. But 
E03  40 today's landing would also be his last. His tour of duty was up, 
E03  41 and when the fleet returned to San Diego he would bid his shipmates 
E03  42 farewell and head for Brownsville, Texas. Newly hired by Pan 
E03  43 American Airways, he would report for duty in December 1939.<p/>
E03  44 <p_>Following training and indoctrination, Moss was deemed 
E03  45 qualified to occupy the right-hand seat in Pan American's Douglas 
E03  46 DC-2s and new DC-3s, and began flying down through 
E03  47 M<*_>e-acute<*/>xico to Central America and the West Indies. Later 
E03  48 he would be based in Trinidad and then re-assigned once again to 
E03  49 Brownsville.<p/>
E03  50 <p_>In spring 1941, Bill Moss was transferred to Pan American's 
E03  51 Pacific Division based at Treasure Island, San Francisco Bay. He 
E03  52 was in the big leagues now, treading where such legendary figures 
E03  53 as Edwin C. Musick, R. O. D. 'Rod' Sullivan, and Fred Noonan had 
E03  54 made aviation history on board the <tf_>China Clipper<tf/> in 1935. 
E03  55 The culmination of years of planning and preparation, the inaugural 
E03  56 flight to Manila on November 22, 1935, also represented the 
E03  57 fulfillment of a dream for Pan American founder, Juan T. Trippe. 
E03  58 Using his 'stepping stones across the Pacific', Trippe had 
E03  59 demonstrated that flying to the Orient, if not practical, was at 
E03  60 least possible.<p/>
E03  61 <p_>Two more Martin 130 flying boats, the <tf_>Hawaii Clipper<tf/> 
E03  62 and the <tf_>Philippine Clipper<tf/>, soon joined their more famous 
E03  63 sistership, and by the end of 1935, weekly service to Manila had 
E03  64 been established. Although no passengers would be carried until the 
E03  65 following year, Pan American's Pacific Division was in business. 
E03  66 The endeavor proved to be a risky venture, however, and, after four 
E03  67 years of operations, the Pacific routes had yet to make any money 
E03  68 for Trippe. Undaunted, he commissioned the Boeing company in 
E03  69 Seattle, Washington, to build an even bigger airplane and, in early 
E03  70 1939, the first of 12 Boeing 314 flying boats was delivered to a 
E03  71 Pan American ferry crew waiting at Astoria, Oregon. Even then, 
E03  72 there was a way around Washington's state sales tax. The truly 
E03  73 colossal Boeings were a welcome addition to the Pacific fleet, now 
E03  74 reduced to two airplanes following the loss of the <tf_>Hawaii 
E03  75 Clipper<tf/> between Guam and Manila in July 1938.<p/>
E03  76 <p_>Following his arrival at Treasure Island, Moss was immediately 
E03  77 assigned to one of the big Boeings as, in his words, <quote_>"Fifth 
E03  78 Officer in Charge of Mail Sacks."<quote/> But new responsibilities 
E03  79 came quickly and by the end of 1941, Moss was functioning 
E03  80 alternately as navigator and relief pilot.<p/>
E03  81 <p_>Because crews and equipment were cross-utilized, Bill Moss was 
E03  82 not surprised to find himself assigned to the <tf_>Philippine 
E03  83 Clipper<tf/> for a trans-Pacific crossing in December 1941. But it 
E03  84 came about mainly as a result of happenstance. A first attempt by a 
E03  85 different crew had been thwarted by strong winds and forced to 
E03  86 return to San Francisco. To abort, even when half-way across, was 
E03  87 not uncommon. The 2,400mi (3,850km) leg between San Francisco and 
E03  88 Hawaii was the longest non-stop segment flown by any airline in the 
E03  89 world. Theoretically, the Martin 130 had that kind of range. But 
E03  90 since ground speed seldom matched airspeed, distance could not 
E03  91 always be measured by time aloft. Endurance was, in itself, no 
E03  92 guarantee of a timely arrival in Hawaii.<p/>
E03  93 <p_>Glenn Martin's engineers had built a remarkable airplane. 
E03  94 Still, the Model 130 was based on technology developed in the 
E03  95 preceding decade and only 30 years removed from mankind's first 
E03  96 powered flight. It was improvements in other fields that made it 
E03  97 possible for its crews to successfully complete the flight to 
E03  98 Hawaii more often than not. Modern meteorology now bore little 
E03  99 resemblance to the fanciful prognostications contained in the 
E03 100 <tf_>Old Farmers Almanac<tf/>. New scientific techniques permitted 
E03 101 forecasters to predict the weather with exceptional accuracy. In 
E03 102 fact, Pan American meteorologists provided pilots with a variety of 
E03 103 tracks to select from so that they could take advantage of the most 
E03 104 favorable winds.<p/>
E03 105 <p_>Then there were the new radio direction finders, the brainchild 
E03 106 of Trippe's electronics wizard, Hugo Leuteritz. Although celestial 
E03 107 navigation and dead reckoning were still in use, Leuteritz 
E03 108 developed a system that would require neither clear skies or 
E03 109 guesswork. Utilizing a modified version of the British-designed 
E03 110 Adcock Direction Finder, base stations could take precise bearings 
E03 111 on a flight while it was still hundreds of miles away, as well as 
E03 112 providing close-in assistance when the aircraft was on approach. 
E03 113 While not infallible, it would play a vital role in navigating the 
E03 114 vast reaches of the Pacific. Without it, scheduled air service to 
E03 115 the Pacific probably would not have been possible. But Trippe had 
E03 116 remained apprehensive about the reliability of the apparatus, and 
E03 117 did not approve its use until the eve of the first survey flight to 
E03 118 Hawaii in April 1935.<p/>
E03 119 <p_>Even with his modern equipment, Trippe still had a problem. The 
E03 120 nemesis, it seems, was fuel. Although the Martin 130 could carry 
E03 121 just over 4,000USg (15,000l) of gasoline, that represented almost 
E03 122 half of its maximum gross weight. As a result, the traffic 
E03 123 department and flight operations were seldom in agreement on the 
E03 124 ration of fuel versus payload. Traffic complained that for every 
E03 125 gallon of gasoline that was carried, 6lb (2.7kg) of payload had to 
E03 126 be left behind on the loading dock. Operations contended that is 
E03 127 where those pounds would end up anyway if the airplane had to turn 
E03 128 back. Obviously, a compromise was always struck.<p/>
E03 129 <h_><p_>OFF TO HAWAII<p/><h/>
E03 130 <p_>At 1545, Flight 1551 once again eased away from the float at 
E03 131 Treasure Island. It was December 3, 1941, and with the 
E03 132 <tf_>Philippine Clipper<tf/> now under the command of Capt John 
E03 133 Hamilton, a second attempt would be made to get across to Hawaii. 
E03 134 Under full throttle, the big flying boat lifted slowly from the 
E03 135 waters of San Francisco Bay and a few minutes later made its 
E03 136 traditional pass over the Golden Gate Bridge. Ahead of them lay 
E03 137 2,400mi (3,850km) of open sea and a minimum of 18 hours flying.<p/>
E03 138 <p_>At 500ft (150m), Capt Hamilton called for 'rated power', and 
E03 139 then 'climb power' when the altimeter indicated 1,000ft (300m). All 
E03 140 engine functions, including propeller pitch and synchronization, 
E03 141 were now handled by Flight Engineer Ed Barnett up in the 
E03 142 <}_><-|>cabane<+|>cabine<}/>, a small, cramped enclosure located 
E03 143 just forward of the wing root. In the right-hand pilot's seat, 
E03 144 First Officer William Moss kept an eye on cylinder head 
E03 145 temperatures which were always a concern on take-off. While the 
E03 146 cowl flaps would vent much of the engine's heat, the drag that they 
E03 147 created placed some constraints on their use.<p/>
E03 148 <p_>Immediately behind Moss, Flight Radio Officer Don McKay was 
E03 149 preparing to send his first radio report. Company regulations 
E03 150 required all flights to communicate with a base station every 15 
E03 151 minutes, even though such contacts might consist of nothing more 
E03 152 than an exchange of abbreviated 'Q' signals. For example, 'QTP' 
E03 153 meant 'I have left port' (outbound), or 'I have entered port' 
E03 154 (inbound); 'QWC' informed the circuit that the operator was 
E03 155 momentarily away from his station answering nature's call. A 
E03 156 'short' report every 30 minutes provided base stations with the 
E03 157 flight's position, altitude and fuel quantity. Hourly, a 'long' 
E03 158 report included detailed weather information and ground speed 'made 
E03 159 good' during the previous 60 minutes. Although the airplanes were 
E03 160 equipped with a radio-telephone for short-range communication, all 
E03 161 other traffic was transmitted by short-wave radio using 
E03 162 international Morse Code.<p/>
E03 163 <p_>In the cockpit behind the pilots, Navigator John Hrutky began 
E03 164 calculating their position even before the Marin Headlands were out 
E03 165 of sight. He would use the bearing provided by the San Francisco DF 
E03 166 as long as the signal remained stable. Later, if there were no 
E03 167 cloud cover, he would confirm his plots by thrusting an octant 
E03 168 through an open hatch at the rear of the aircraft to get a fix from 
E03 169 the stars.<p/>
E03 170 <p_>Capt Hamilton leveled off at 5,000ft (1,500m). At a leisurely 
E03 171 300ft (91m) per minute, the climb<?_>-<?/>out had taken almost 15 
E03 172 minutes. Flight Engineer Barnett refined the fuel mixtures and 
E03 173 began monitoring his fuel flow meters. How fast they were using 
E03 174 their fuel was more important than how much. Fuel remaining would 
E03 175 become meaningful only after he had determined how long it would 
E03 176 last.<p/>
E03 177 <p_>Now configured for maximum fuel economy, the aircraft began 
E03 178 flying itself as Capt Hamilton engaged the Sperry Automatic Pilot. 
E03 179 The instrument would keep the plane in reasonably level flight, but 
E03 180 would require frequent monitoring and adjustment to hold the 
E03 181 aircraft at a constant altitude and on the heading specified by the 
E03 182 navigator.<p/>
E03 183 <p_>Back in the passenger cabin, Steward Charlie Relyea scanned the 
E03 184 passenger list again, looking for familiar names. Normally, there 
E03 185 would have been a sprinkling of celebrities - movie stars, 
E03 186 diplomats, industrialists. But since the war began in Europe, most 
E03 187 seats now were occupied by men in uniform. He began preparations 
E03 188 for an elaborate six-course dinner which would include appetizers, 
E03 189 fruit salad, soup, a hot entree and dessert. And, even on the 
E03 190 flying boats, there was a choice of coffee, tea or milk.<p/>
E03 191 <p_>Darkness came quickly and within an hour and a half after 
E03 192 leaving San Francisco, the stars were the only visible external 
E03 193 point of reference. Periodically, Third Officer Elwood Leep 
E03 194 relieved his fellow crew members, a function Bill Moss had 
E03 195 performed <}_><-|>may<+|>many<}/> times and which he had 
E03 196 relinquished without regret. It was a thankless job, although 
E03 197 essential training for a pilot who someday hoped to earn the 
E03 198 coveted title 'Master of Ocean Flying Boats'.<p/>
E03 199 <p_>At the equi-time point, Flight Engineer Barnett calculated 
E03 200 their fuel quantity based on their rate of consumption since 
E03 201 leaving San Francisco. It compared favorably with the gauges and 
E03 202 should be sufficient to get them the rest of the way across. 
E03 203 Navigator Hrutky concurred. Clear skies had permitted him to obtain 
E03 204 star sights during most of the flight, and with bearings now being 
E03 205 provided by the Pearl City DF, he felt confident about their 
E03 206 position.
E03 207 
E04   1 <#FROWN:E04\><h_><p_>CD PORTABLES:<p/>
E04   2 <p_>THE BEETHOVEN TEST<p/>
E04   3 <p_>Ken Pohlmann takes five of the newest, smallest CD players 
E04   4 through their paces in the city of Beethoven.<p/><h/>
E04   5 <p_>THE Viennese customs inspector was not amused. He looked bored 
E04   6 when I pulled out the Kenwood. He smiled when I produced the Denon. 
E04   7 He frowned when the Technics and JVC hit the counter. Then his 
E04   8 eyebrows danced when the Sony joined the pile. What was this 
E04   9 American up to? Smuggling portable compact disc players into 
E04  10 Austria?<p/>
E04  11 <p_>I quickly explained to him that I was conducting an important 
E04  12 test for STEREO REVIEW, that although many reviewers test portable 
E04  13 players while sitting in front of their word processors or perhaps 
E04  14 while walking their dogs, I was attempting something a good deal 
E04  15 more significant. I explained that I was bringing five of the best 
E04  16 CD portables to Vienna to challenge them with her demanding 
E04  17 resident: Ludwig van Beethoven. I would study them in his old 
E04  18 haunts, pound them the way he pounded his pianos, and listen to 
E04  19 them with his music. It would be the ultimate cultural, physical, 
E04  20 and sonic test. The inspector pondered all that, perhaps considered 
E04  21 calling airport security, then waved me through.<p/>
E04  22 <h_><p_>Denon DCP-150 on Probusgasse 6<p/><h/>
E04  23 <p_>I boarded the bus to the City Air Terminal at Landstrasse, and 
E04  24 half an hour later I caught the U4 subway line to Heiligenstadt. 
E04  25 Beethoven moved eighty times during his thirty-five-year stay in 
E04  26 Vienna. He was constantly in flux because of landlords nagging him 
E04  27 about money or noise, but most of all because of his own restless, 
E04  28 temperamental nature. The house on Probusgasse 6 probably stood 
E04  29 etched in his memory, however, because it was there, despairing 
E04  30 over his encroaching deafness and continuing poverty, that he 
E04  31 poured out his pessimistic emotions in the <tf_>Heiligenstadt 
E04  32 Testament<tf/>. Sitting in the courtyard of the house where 
E04  33 Beethoven lived and suffered in the summer of 1802, and wrote the 
E04  34 Second Symphony, I reached into my knapsack, pulled out the first 
E04  35 player, the Denon DCP-150, and loaded in a disc of the Second 
E04  36 Symphony.<p/>
E04  37 <p_>The DCP-150 is the bulkiest among the five portables I tested, 
E04  38 but it offers several unique features, such as a built-in 
E04  39 remote-control receiver. The top surface contains a button to 
E04  40 mechanically release the clamshell lid and buttons for forward and 
E04  41 reverse track skipping (fast search in forward or reverse when held 
E04  42 down), play/pause, and stop. The front of the chassis sports a 
E04  43 versatile Mode button that sequences through eight modes of 
E04  44 operation: track repeat, disc repeat, random track playback, disc 
E04  45 repeat with random tracks, track programming (up to thirty-two 
E04  46 tracks), disc repeat with programmed tracks, random playback of 
E04  47 program tracks, and disc repeat with random programmed tracks. A 
E04  48 Set button changes the time display from elapsed time in the track 
E04  49 to remaining time in the track to total remaining time. Volume 
E04  50 control is handled with a rotary potentiometer.<p/>
E04  51 <p_>The liquid-crystal display shows track numbers and timings and 
E04  52 has indicators for battery strength, track programming, random 
E04  53 playback, and other functions. A shortcoming: The display is 
E04  54 unlighted even when the unit is powered via AC. Nestled beside the 
E04  55 display is the sensor window for the integral remote-control 
E04  56 receiver. The chassis itself is finished with a suede-like material 
E04  57 that has a nice feel and helps you keep a secure grip on the 
E04  58 player.<p/>
E04  59 <p_>The right side of the DCP-150 has a headphone jack and a 
E04  60 three-way slider for tone control: flat, bass boost, or bass and 
E04  61 treble boost. Another three-way switch selects normal playback, a 
E04  62 hold function that disables transport controls, or a resume 
E04  63 function that returns the laser pickup to where it was when the 
E04  64 unit was last switched off. Around back is a 6-volt DC input 
E04  65 jack.<p/>
E04  66 <p_>The left side of the chassis contains jacks for analog and 
E04  67 digital audio output. The coaxial digital output employs a mono 
E04  68 mini<?_>-<?/>jack connector (an adaptor cable would be required to 
E04  69 change it to a standard phono<?_>-<?/>jack connector). Optical 
E04  70 digital outputs are more common on home CD players, but many 
E04  71 portables have started using this kind of coaxial output. 
E04  72 Underneath the chassis are not one but two battery compartments, 
E04  73 each holding a rechargeable battery, and they can be used singly 
E04  74 for 2 hours of playing time or together for 4 hours.<p/>
E04  75 <p_>The wireless remote control has twenty-five buttons. There are 
E04  76 buttons to control the transport, select operating modes (such as 
E04  77 random track playback), adjust the volume, and switch the power on, 
E04  78 along with an eleven-key key numeric keypad. When you use the 
E04  79 remote, the display changes accordingly; for example, the timing 
E04  80 display changes to show a numeric volume setting.<p/>
E04  81 <p_>THE DCP-150 employs an eight-times-oversampling digital filter 
E04  82 with dual 18-bit digital-to-analog (D/A) converters. The converters 
E04  83 are made by Analog Devices and are the same ones found in some 
E04  84 expensive home CD players. The DCP-150's power supply senses 
E04  85 whether battery or AC power is being used. When you're using 
E04  86 batteries, the maximum output level is reduced to conserve power. 
E04  87 (A high output is needed to maximize signal-to-noise ratio in the 
E04  88 output to a home system, when you would be using AC power, but it's 
E04  89 not needed to drive headphones directly in portable use with 
E04  90 batteries.)<p/>
E04  91 <p_>The DCP-150 comes with a soft vinyl-and-fabric carrying case, a 
E04  92 stereo connecting cable, and an AC adaptor/charger. One 
E04  93 rechargeable battery is supplied, and more are available as 
E04  94 optional accessories. A stand-alone recharger is also available.<p/>
E04  95 <p_>I liked the Denon player's human engineering (ergonomics). All 
E04  96 the transport buttons are grouped together on top, and when they're 
E04  97 pressed they respond with a nice tactile click. The Mode button 
E04  98 nicely consolidates the functions of many different buttons- it is 
E04  99 a simple matter to sequence through them to find the one you want. 
E04 100 I also liked the textured case, which is practical and pleasant to 
E04 101 hold.<p/>
E04 102 <p_>Although the DCP-150's metal construction makes it quite heavy 
E04 103 (at 24 ounces it's almost twice as heavy as the next heaviest 
E04 104 player in our test group, the Sony), it imparts a solidity that is 
E04 105 aesthetically more pleasing than the lightness of plastic; and it 
E04 106 also makes the player more immune to damage from accidental drops. 
E04 107 The label on the top of the player calls it a 'Precision Audio 
E04 108 Component,' and that's not an exaggeration.<p/>
E04 109 <p_>Best of all was the solidity of the sound quality. As I 
E04 110 listened to the Second Symphony, gazing into the window where 
E04 111 Beethoven must have gazed out, I felt that the DCP-150 was 
E04 112 delivering everything that Beethoven intended us to hear. Who 
E04 113 knows, if he had owned a DCP-150, perhaps that summer of 1802 might 
E04 114 have been a happier one for him.<p/>
E04 115 <h_><p_>JVC XL-P90 On Hauptstrasse 92<p/><h/>
E04 116 <p_>From Heiligenstadt it is only a short uphill walk to the 
E04 117 D<*_>o-umlaut<*/>bling district and the house on Hauptstrasse 92 
E04 118 where Beethoven lived in 1803. It was a charming house in 
E04 119 Beethoven's time, owned by a vinegar maker, and set in a row of 
E04 120 small houses; a narrow meadow separated it into two parts. He 
E04 121 worked on his Third Symphony while living there, and I put a 
E04 122 compact disc of it into the JVC XL-P90, the smallest of the players 
E04 123 I tested. It measures a mere 5/8 inch thick, with an overall size 
E04 124 approximately equal to two stacked jewel boxes.<p/>
E04 125 <p_>There are eight buttons on the top cover. One pops the 
E04 126 clamshell lid, one starts and pauses playback, and one stops 
E04 127 playback, turns off the player, and clears the track memory. A 
E04 128 Memory button is used to program sequences of up to twenty tracks, 
E04 129 a Random/Intro button selects either random track playback or plays 
E04 130 the first 15 seconds of each track, a repeat button repeats either 
E04 131 a track or an entire disc, and a pair of forward/backward buttons 
E04 132 provide either track skipping or two-speed audible fast search. The 
E04 133 front of the chassis contains a thumbwheel for volume control. The 
E04 134 display on top shows track numbers and timings and has indicators 
E04 135 for low battery, repeat, random playback, and so on. The display is 
E04 136 lighted when the unit is powered through its AC adaptor.<p/>
E04 137 <p_>THE right side of the chassis has connectors for audio line 
E04 138 output, DC power input, and headphone output. There is also a 
E04 139 three-way slide switch for flat response and two levels of bass 
E04 140 boost, which affects only the headphone output. The left side has 
E04 141 connectors for a coaxial digital output (using a minijack) and for 
E04 142 JVC's proprietary Compu Link-1 remote-control system. There is also 
E04 143 a slide switch to turn the resume-playback function on and off or 
E04 144 select both resume-playback and a hold function. There are no user 
E04 145 controls on the back of the unit, but there is a screw mount and 
E04 146 two mounting pins for attaching an external battery pack. A battery 
E04 147 compartment on the chassis's underside holds two flat rechargeable 
E04 148 batteries, providing about 1 1/2 hours of playback time.<p/>
E04 149 <p_>The clamping spindle has three spring-loaded plastic tabs to 
E04 150 secure the disc, and these undoubtedly provide a firmer grasp and 
E04 151 greater impact immunity than the usual loading system. The output 
E04 152 section contains a pair of 1-bit D/A converters.<p/>
E04 153 <p_>Although I left most of the accessories at home in Miami, 
E04 154 several come with the XL-P90: a DC adaptor for powering the player 
E04 155 from a car's cigarette lighter, an audio adaptor for playing it 
E04 156 through a car's cassette deck, two rechargeable batteries, an AC 
E04 157 battery charger/adaptor, a stereo audio cable, an external AA 
E04 158 battery case, a soft vinyl carrying case, and a pair of earphones. 
E04 159 Optional accessories include a wireless remote control and a 'home 
E04 160 audio station unit,' a docking chassis that contains a wireless 
E04 161 remote receiver, a battery recharger, and phono-jack outputs and 
E04 162 other input, output, and power connector.<p/>
E04 163 <p_>As I boarded the U4 subway for the quick ride back to 
E04 164 Schottenring, I examined the XL-P9. It is a handsome player with 
E04 165 robust yet lightweight metal construction. The quality of its 
E04 166 manufacture is apparent, but its small size presents some problems. 
E04 167 In particular, the buttons are quite tiny. Often<?_>-<?/>used 
E04 168 buttons such as forward and backward track skip are difficult to 
E04 169 push without pressing nearby buttons as well. That makes the player 
E04 170 awkward to use, particularly when you are on the move. The sound 
E04 171 quality was good but somehow did not particularly impress me. 
E04 172 Still, if small size is your paramount concern, the JVC is about as 
E04 173 small as a CD player will ever get.<p/>
E04 174 <h_><p_>Sony D-515 Discman On M<*_>o-umlaut<*/>lkerbastei 8<p/><h/>
E04 175 <p_>At Schottenring, I switched to the U2 subway and took a quick 
E04 176 ride to Schottentor. The apartment building I was looking for, on 
E04 177 M<*_>o-umlaut<*/>lkerbastei street, was only a block away from the 
E04 178 subway station. Beethoven returned to the apartment at 
E04 179 M<*_>o-umlaut<*/>lkerbastei 8 again and again, and he occupied it 
E04 180 for longer periods than any of his other residences. While living 
E04 181 there he worked on the Fourth and Fifth Symphonies, <tf|>Fidelio, 
E04 182 the Violin Concerto, and a host of other compositions. I loaded the 
E04 183 D-515 Discman as I walked through a low corridor and climbed the 
E04 184 hundred steps to his fourth-story apartment.<p/>
E04 185 <p_>From a styling standpoint, the D-515 is a radical departure 
E04 186 from earlier Sony CD portables. Gone are the squared corners and 
E04 187 silver edge trim, replaced by rounded contours and a hand grip. In 
E04 188 short, the D-515 looks like no other Sony CD player and, indeed, 
E04 189 seems to represent an entirely fresh approach to the design of 
E04 190 portable CD players. The sides and bottom are made of a rubbery 
E04 191 plastic that provides a firm, no-slip grip; this is enhanced by a 
E04 192 contoured hand grip across the back of the case. The top of the 
E04 193 case is shiny metal, with a striking finish.<p/>
E04 194 <p_>There are six buttons on top of the player. The Play Mode 
E04 195 button sequences through four modes: Intro mode, which plays the 
E04 196 beginning of each track on a disc; 1 mode, which repeats one track; 
E04 197 Shuffle mode, which plays all tracks in random order; and RMS mode, 
E04 198 which is used to program up to twenty-two tracks. The repeat/enter 
E04 199 button is used to repeat a whole disc, and in the RMS mode the same 
E04 200 button is used in conjunction with the forward and backward 
E04 201 track<?_>-<?/>skip buttons to select and program tracks.
E04 202 
E04 203 
E05   1 <#FROWN:E05\><h_><p_>Presidential pups<p/>
E05   2 <p_>In Part II, the author looks at the White House dogs from the 
E05   3 Harding administration on<p/>
E05   4 <p_>By Terry Sue Shank<p/><h/>
E05   5 <p_><quote_>Whether the creator planned it so, or environment and 
E05   6 human companionship have made it so, men may learn richly through 
E05   7 the love and fidelity of a brave and devoted dog. Such loyalty 
E05   8 might easily add luster to a crown of immortality."<quote/><p/>
E05   9 <p_>When Ohio newspaper editor Warren Gamaliel Harding wrote those 
E05  10 words in <tf_>The Marion Daily Star<tf/> on March 11, 1913, as part 
E05  11 of his impassioned editorial condemning the cruel poisoning of Hub, 
E05  12 a neighbor's beloved Boston Terrier, he had no way of knowing he 
E05  13 would one day become America's 29th president. It is not at all 
E05  14 surprising, then, that he lavished so much affection upon the first 
E05  15 gift he received after moving into the White House - a small 
E05  16 Airedale puppy.<p/>
E05  17 <p_>As a rule, Harding didn't have any special favorites among the 
E05  18 dogs in his life; he appreciated each one as an individual with its 
E05  19 won distinctive personality. But when Caswell Laddie Boy arrived on 
E05  20 the scene, a gift from an old friend, Marshall Sheppey of Toledo, 
E05  21 OH, it soon became clear that the precocious pup, with his 
E05  22 beguiling bright eyes, cocked head and intelligent face, was the 
E05  23 undisputed No. 1 presidential pet.<p/>
E05  24 <p_>Within a few short weeks, Harding's energetic, extroverted 
E05  25 Airedale was a national celebrity. Laddie Boy, who took his White 
E05  26 House responsibilities seriously, had his own valet and a busy 
E05  27 social calendar and was even known to sit in on important Cabinet 
E05  28 meetings in his own special chair.<p/>
E05  29 <p_>In 1921, when the Hardings decided to resume the traditional 
E05  30 White House Easter egg roll, which had been discontinued during 
E05  31 World War I, it was Laddie Boy who was there to greet the children 
E05  32 and amuse himself and the happy crowd by frolicking about the lawn 
E05  33 retrieving colored eggs. And on May 11 of that same year, when the 
E05  34 Humane Education Society held a Be Kind to Animals parade, it was 
E05  35 first dog Laddie Boy, seated with dignity atop his own float, who 
E05  36 led the procession through the streets of Washington, D.C.<p/>
E05  37 <p_>Laddie Boy became so well-known, both nationally and 
E05  38 internationally, that on July 17, 1921, the editorial section of 
E05  39 the <tf_>Washington Star<tf/> printed a mock interview with the 
E05  40 famous pet that ran for nearly an entire page and included two 
E05  41 editorial cartoons. In that tongue-in-cheek article, Laddie Boy 
E05  42 gave his opinions on some of the most prominent issues of his day. 
E05  43 He commented on the flock of sheep President Wilson had allowed to 
E05  44 graze on the White House lawn during World War I, spoke out against 
E05  45 a ban on Mexican hairless dogs and advocated an eight-hour day for 
E05  46 America's watch dog population. The eloquent Airedale talked about 
E05  47 Prohibition and discussed his view of such notables as Thomas 
E05  48 Edison, Albert Einstein and the entire Harding Cabinet.<p/>
E05  49 <p_>When President Harding died suddenly on August 2, 1923, during 
E05  50 a tour of the western U.S., Laddie Boy mourned with the nation. The 
E05  51 next day the Associated Press carried the following news item: 
E05  52 <quote_>"There was one member of the White House household today 
E05  53 who couldn't quite comprehend the air of sadness which overhung the 
E05  54 executive mansion. It was Laddie Boy, President Harding's Airedale 
E05  55 friend and companion. Coming to the White House a 
E05  56 raw<?_>-<?/>boned, callow pup, Laddie Boy has, in two years, grown 
E05  57 to the estate of dignity and wholesome respect for his official 
E05  58 surroundings."<quote/><p/>
E05  59 <p_>Immediately after Harding's death, the Boston Newsboys' 
E05  60 Association began a campaign to commission a statue of Laddie Boy 
E05  61 to be presented to Florence Harding in honor of her late husband, 
E05  62 the newspaperman who had become president. Every newsboy in America 
E05  63 was asked to donate one penny of his paper route money. Those 
E05  64 pennies were then melted down and sculpted into a life<?_>-<?/>size 
E05  65 statue of the famous dog by artist Bashka Paeff. Laddie Boy posed 
E05  66 for at least 15 sittings.<p/>
E05  67 <p_>Sadly, Florence died before the newsboys' gift could be 
E05  68 presented to her. That statue of Laddie Boy is today on display in 
E05  69 the Smithsonian Museum of American History of Washington, D.C. It 
E05  70 bears the simple inscription <quote_>"Cast From Newsboys' Pennies, 
E05  71 In Memory Of Their Friend, Warren Gamaliel Harding."<quote/><p/>
E05  72 <p_>Upon Harding's unexpected death, his vice president, Calvin 
E05  73 Coolidge, was sworn in as the 30th president of the U.S. The White 
E05  74 House became the new home for Calvin and Grace Coolidge, their two 
E05  75 teen-age sons, dozens of birds, two cats, a racoon named Rebecca 
E05  76 and <quote_>"an abundance of dogs."<quote/><p/>
E05  77 <p_>Included among the Coolidges' canine collection were the Chows 
E05  78 Timmy and Blackberry; Peter Pan, a Wire Fox Terrier; a fun-loving 
E05  79 Shetland Sheepdog named Calamity Jane; and Ruby Rough, an 
E05  80 affectionate brown Collie. And despite the fact that the Coolidges 
E05  81 also owned Airedale Paul Pry, half-brother to Harding's devoted 
E05  82 Laddie Boy, the presidential couple were probably most closely 
E05  83 identified with their two beautiful white Collies. Grace Coolidge 
E05  84 had dubbed the elegant pair Rob Roy (after a Highland outlaw in a 
E05  85 novel by Sir Walter Scott) and Prudence Prim (for her sweet, 
E05  86 feminine nature).<p/>
E05  87 <p_>Prudence Prim was especially attached to Grace. The ladylike 
E05  88 Collie accompanied the first lady almost everywhere, and even slept 
E05  89 by her bed at night. At tea time, proper Prudy moved politely from 
E05  90 guest to guest in a most mannerly way. And when Grace made Prudence 
E05  91 a straw bonnet trimmed with ferns and green satin ribbons, the 
E05  92 fashionable Collie became a hit at White House garden parties. (A 
E05  93 fine pastel on velvet portrait of Grace Coolidge and Prudence Prim, 
E05  94 painted by G. Jacoby in 1925, is now on exhibit in the visitors' 
E05  95 center at Calvin Coolidge's birthplace in Plymouth, VT.)<p/>
E05  96 <p_>Rob Roy belonged to Calvin Coolidge, or perhaps it was vice 
E05  97 versa. The handsome dog, whose only bad habit was chasing cars, 
E05  98 slept in his master's room, attended press conferences, and often 
E05  99 lay at the president's feet as he entertained world leaders and 
E05 100 talked politics. Occasionally guests expressed the opinion that 
E05 101 Coolidge paid more attention to Rob Roy than he did to them.<p/>
E05 102 <p_>Even though Prudence Prim was Grace's dog, the first lady's 
E05 103 official White House portrait was painted with Rob Roy at her side. 
E05 104 When Howard Chandler Christy arrived at the executive mansion to 
E05 105 paint the portrait, he requested that Grace wear a red gown as 
E05 106 contrast against the blue sky and snowy white Collie. Calvin 
E05 107 objected; he wanted his wife to wear a white brocade satin gown 
E05 108 which he especially liked. <quote_>"If it's contrast you 
E05 109 want,"<quote/> he told her solemnly, <quote_>"why not wear white 
E05 110 and paint the dog red?"<quote/> The president's veto was 
E05 111 overridden. Christy's portrait of Rob Roy and Grace (wearing her 
E05 112 red dress) now graces a wall in the White House China Room.<p/>
E05 113 <p_>Of Rob Roy's death in September 1928, Calvin Coolidge later 
E05 114 wrote:<quote_>"He was a stately gentleman of great courage and 
E05 115 fidelity. He loved to bark from the second-story windows and around 
E05 116 the south grounds. Nights he remained in my room and afternoons 
E05 117 went with me to the office. His especial delight was to ride with 
E05 118 me in the boats when I went fishing. So although I know he would 
E05 119 bark for joy as the grim boatman ferried him across the dark waters 
E05 120 of the Styx, yet his going left me lonely in the hither 
E05 121 shore."<quote/><p/>
E05 122 <p_>There was at least one political animal who would have 
E05 123 preferred that his master had never been elected to the highest 
E05 124 office in the land. King Tut, Herbert Hoover's Belgian Sheepdog, 
E05 125 never did adjust to life in the White House. Ironically, it was Tut 
E05 126 who had indirectly helped Hoover win the presidential nomination of 
E05 127 the Republican party.<p/>
E05 128 <p_>Although Hoover was in reality a warm, good-hearted individual, 
E05 129 on the surface he often gave the impression of being an 
E05 130 emotionless, machinelike politician, interested only in statistics, 
E05 131 reports and fact-finding surveys. That cold public image almost 
E05 132 lost Hoover his party's nomination.<p/>
E05 133 <p_>One day a Hoover campaign worker ran across a photograph of the 
E05 134 politician and his loyal shepherd. The informal pose showed a 
E05 135 smiling Herbert Hoover affectionately holding King Tut by the 
E05 136 forepaws. Immediately, the shrewd party official had thousands of 
E05 137 copies of the photo printed. The snapshot, which was published in 
E05 138 newspapers and magazines all across the country and blown up into 
E05 139 life-size campaign posters, became a valuable tool in the drive to 
E05 140 soften and humanize Herbert Hoover's public image. Autographed 
E05 141 copies of the photo were mailed out to thousands of political 
E05 142 admirers.<p/>
E05 143 <p_>Once Herbert and Lou Henry Hoover had settled into the White 
E05 144 House, King Tut appointed himself official presidential protector. 
E05 145 Although the president's faithful pet had never been trained as an 
E05 146 attack dog, he seemed quite confident that he could do a much 
E05 147 better job guarding the first family than any of the dozens of 
E05 148 Secret Service agents who swarmed over his master's new home. In 
E05 149 good weather or bad, Tut could be seen patrolling the tall iron 
E05 150 fences and repeatedly checking and rechecking each and every White 
E05 151 House gate and door.<p/>
E05 152 <p_>At first, the White House staff considered Tut's zealous 
E05 153 behavior rather amusing, even admirable. But gradually it became 
E05 154 all too clear that the situation was serious. King Tut appeared 
E05 155 nervous and overwrought. He rarely ate or slept, and had begun 
E05 156 terrorizing White House visitors and workers. It wasn't funny 
E05 157 anymore. The president's obsessive protector was dangerous.<p/>
E05 158 <p_>For a brief time King Tut was muzzled, but that seemed only to 
E05 159 aggravate the situation. Finally, because there was no longer any 
E05 160 way to control the dog, he was sent back to the Hoovers' former 
E05 161 residence on S Street. Without his beloved master and mistress to 
E05 162 protect, poor Tut pined away and soon was dead.<p/>
E05 163 <p_>Several other canines - some with enviable pedigrees and long 
E05 164 lists of dog show awards - were also in residence at the White 
E05 165 House during the Hoover administration. There was Patrick, a huge 
E05 166 Wolfhound; Big Ben and Sonny, friendly Fox Terriers; and a handsome 
E05 167 Collie named Glen. Their canine assortment also included Eaglehurst 
E05 168 Gilette, a stunning setter, and Lou Henry Hoover's two special 
E05 169 favorites, Pat, an easygoing German Shepherd, and Weegie, a playful 
E05 170 Elkhound from the Hemson Kennels of Ski, Norway.<p/>
E05 171 <p_>In March 1990, Mildred Hall Campbell, who was Lou Henry 
E05 172 Hoover's personal secretary more than 60 years ago, sent me a 
E05 173 photocopy of the Hoovers' official 1932 White House Christmas card. 
E05 174 On the left leaf of that card was a picture of a smiling President 
E05 175 Hoover on horseback. On the right was a lovely photograph of the 
E05 176 first lady and her favorite dogs. The handwritten greeting read, 
E05 177 <quote_>"A Merry Christmas and a Happy New Year from Herbert Hoover 
E05 178 and from Lou Henry Hoover and Weegie and Pat."<quote/><p/>
E05 179 <p_>When Franklin Delano Roosevelt was inaugurated for the first 
E05 180 time in 1933, his favorite dog was a black-and-tan German Shepherd 
E05 181 named Major. The presidential pet, who had been trained as a police 
E05 182 dog, had one particularly disconcerting habit that terrified White 
E05 183 House guests and tried the president's patience. The dog would walk 
E05 184 up to a visitor, take the startled person's wrist firmly between 
E05 185 his jaws and study his face carefully. Not until he had determined 
E05 186 the person was a friend (often as much as half a minute later) 
E05 187 would Major finally release his so-called fake bite and allow the 
E05 188 frightened guest to enter.<p/>
E05 189 <p_>Unfortunately, the bites Major took out of Sen. Hattie 
E05 190 Caraway's leg and the trousers of British Prime Minister Ramsay 
E05 191 MacDonald were not fake. When the irritable dog eventually sank his 
E05 192 teeth into the hand of a passing citizen, who had reached through 
E05 193 the fence to pat him on the head, that was it. Another presidential 
E05 194 police dog was banished from the White House.<p/>
E05 195 <p_>The Roosevelts had other difficult dogs. For some unknown 
E05 196 reason Meggie, Eleanor Roosevelt's Scottish Terrier, liked to sleep 
E05 197 in ash-filled fire<?_>-<?/>places. She did not, however, appreciate 
E05 198 the necessary baths that followed. Like Major, Meggie was a 
E05 199 habitual biter. When the first lady's belligerent little Scottie 
E05 200 bit the nose of <tf_>The New York Times'<tf/> Washington reporter 
E05 201 Bess Furnam, and soon afterward bit both Sistie and Buzzie Dall, 
E05 202 the Roosevelts' grandchildren, the dog was given to Dr. David E. 
E05 203 Buckingham, the White House veterinarian.
E05 204 
E05 205 
E06   1 <#FROWN:E06\><h_><p_>RACING TACTICS<p/>
E06   2 <p_>Strategies for handicap racing<p/>
E06   3 <p_>John Yeigh suggests some moves that will help keep you at the 
E06   4 top of the fleet<p/><h/>
E06   5 <p_>Although handicap racing is a far-from-perfect format, it is 
E06   6 popular -   and fun. It's not the same as one-design racing, but 
E06   7 you can use the differences between these formats to improve your 
E06   8 position in your fleet.<p/>
E06   9 <p_>First, you should honestly assess your boat's potential 
E06  10 relative to other boats. Although most handicaps are generally 
E06  11 correct, your 'Cruiser 35' will probably never beat the 'Slowtub 
E06  12 65' on a heavy-air reach, and it won't take a 'Rocket 27' in 
E06  13 light-air round-the-buoys-racing. Each boat performs differently in 
E06  14 different conditions, and in some types of weather your boat may 
E06  15 perform better relative to other boats than it does in others. Even 
E06  16 the multiple ratings of the International Measurement System (IMS) 
E06  17 can't entirely compensate for all the differences in boats.<p/>
E06  18 <p_>Second, my observation is that the fastest rated boats in a 
E06  19 class split do tend to win unless the rating band is very narrow -  
E06  20 less than 30 seconds per mile between the top and the bottom. I 
E06  21 have observed Performance Handicap Racing Fleet (PHRF) and IMS 
E06  22 boats finishing in the front of the pack (first to third) when they 
E06  23 are rated fastest in a class split. These same boats typically 
E06  24 finish farther back (fourth to sixth) when they are not the fastest 
E06  25 rated in another class split. If your boat is rated among the 
E06  26 slowest in your class, you might consider making a rating 
E06  27 adjustment, such as reducing sail area or shortening the spinnacker 
E06  28 pole, to move down to the top of the next class.<p/>
E06  29 <p_>Unfortunately, handicaps do not account for either the benefits 
E06  30 of sailing in clear air or the adverse effects of sailing in a 
E06  31 dying wind. A fast boat can break away after the start, while 
E06  32 slower boats have to sail in bad air. To have any chance, slower 
E06  33 boats must always sail in clear air, and the time separation 
E06  34 between boats can increase significantly if the wind drops.<p/>
E06  35 <p_>When you are racing, keep in mind that the separation between 
E06  36 corrected-time finishes is typically a minute or more. Don't be 
E06  37 tempted to risk a 30- to 60-second setback for the potential gain 
E06  38 of just a few seconds.<p/>
E06  39 <p_>Also understand that boat speed alone doesn't win races, 
E06  40 although it can keep you in the top one-third. Properly dealing 
E06  41 with wind shifts and current is usually what wins races. Most 
E06  42 sailing areas do have favored ways to go, so you should spend more 
E06  43 time understanding what those features are and perhaps less time 
E06  44 working on small improvements in boat speed.<p/>
E06  45 <p_>Similarly, crew maneuvers never win a race, but they can lose 
E06  46 one. Good execution is much more important than speed. For example, 
E06  47 a crew that takes two additional boatlengths to set the spinnacker 
E06  48 loses only about 2 seconds. A fouled spinnacker set loses far more 
E06  49 time.<p/>
E06  50 <h|><*_>black-square<*/>Starting
E06  51 <p_>When you are starting a race, conventional dinghy tactics say 
E06  52 you should determine the favored end of the line and start there. 
E06  53 However, I believe a good keelboat start for handicap racing is in 
E06  54 the middle of the line, clear of other boats, moving at full speed, 
E06  55 and sailing in clear air. With a long or a heavily favored line, 
E06  56 you should position yourself toward the favored side of the middle. 
E06  57 Even if one end of the line is favored by 4 boat<?_>-<?/>lengths, 
E06  58 if you stay in the middle you will be behind the leading boat at 
E06  59 the weather end by only 8 seconds or so if you are sailing at 5 
E06  60 knots (see table), but you still will be ahead of most other 
E06  61 boats.<p/>
E06  62 <h|><*_>black-square<*/>Beating
E06  63 <p_>After the start you have only 4 reasons to tack: (1) You are 
E06  64 sailing in bad air; (2) you have good reason to believe the other 
E06  65 tack is favored; (3) you need to cover; or (4) you are near the 
E06  66 layline. Unlike a dinghy, a keel<?_>-<?/>boat loses a lot of time 
E06  67 tacking, at least 8 seconds even with a perfect tack. A tack is 
E06  68 also an opportunity to lose time with a poor sheet release or 
E06  69 override. Here are some of the worst reasons to tack: <quote_>"The 
E06  70 crew has been inactive,"<quote/> <quote_>"Maybe we'll do better on 
E06  71 the other tack,"<quote/> and my favorite, <quote_>"I don't know, 
E06  72 but what do you say we tack?"<quote/><p/>
E06  73 <p_>Be very cautious about tacking on a header if you are sailing 
E06  74 in an oscillating wind. For a keelboat, a wind shift of less than 7 
E06  75 degrees is probably not enough to warrant a tack. The wind often 
E06  76 shifts back within 30 to 60 seconds, so much of the shift's benefit 
E06  77 is going to be lost during the tack. I have seen boats make 20 
E06  78 tacks to chase lifts, only to fall behind the boats that haven't 
E06  79 tacked.<p/>
E06  80 <p_>Unless you are going to a larger genoa, try to avoid making 
E06  81 headsail changes on an upwind leg. The change loses time, and here 
E06  82 again there is the possibility of a foul-up. Because a headsail 
E06  83 change is often made to protect sailcloth from increasing wind 
E06  84 speeds, you might want to reconsider having new genoas made with 
E06  85 superlight cloth. The benefit that is gained in light winds may be 
E06  86 offset by the time that is lost making the headsail change.<p/>
E06  87 <p_>When you approach a weather mark, undershoot your initial 
E06  88 layline<?_>-<?/>approach tacking angle by 5 to 10 degrees, because 
E06  89 you might get a lift (Fig. 1). If you are sailing with 
E06  90 higher<?_>-<?/>rated boats, you may have to abandon this safety 
E06  91 margin, sail on to get clear air, and go to windward of the parade 
E06  92 of faster boats to the layline. Bigger boats usually can outpoint 
E06  93 you, and they have large wind shadows.<p/>
E06  94 <p_>On your final tack to the mark, it usually doesn't hurt to 
E06  95 overstand by a couple of boat lengths. This costs only 8 seconds at 
E06  96 5 knots, compared with the potential time loss from pinching, 
E06  97 shooting up to the mark, tacking twice ('four-putting'), or gybing 
E06  98 around in front of the mark and going behind incoming 
E06  99 starboard-tackers. This time loss can be significant compared with 
E06 100 the same maneuver in a dinghy, where you might not lose any 
E06 101 places.<p/>
E06 102 <h|><*_>black-square<*/>Reaching
E06 103 <p_>On a reach your options are to sail high of the course to the 
E06 104 next mark, sail low of the mark, or sail on the rhumb line. If you 
E06 105 are in clear air, sailing the rhumb but going high in the lulls and 
E06 106 low in the puffs is almost always the best strategy. If you are 
E06 107 sailing with boats rated within 20 seconds per mile of yours, you 
E06 108 will probably have to sail high enough that they cannot pass and 
E06 109 hope you don't have to sail too low later.<p/>
E06 110 <p_>If faster boats are close behind you, it usually pays to dive 
E06 111 low immediately after the rounding and build up some leeward 
E06 112 separation. Let them sail by you clear to windward without a 
E06 113 luffing duel. This strategy also works well when you have 4 to 5 
E06 114 boatlengths of separation between boats that are rated evenly. 
E06 115 Going low keeps you from sailing too high early and keeps you 
E06 116 inside at the reach mark.<p/>
E06 117 <p_>Whatever else you do at the leeward mark, never get caught on 
E06 118 the outside of another boat going around the mark. This guarantees 
E06 119 you'll have bad air and will have to tack immediately.<p/>
E06 120 <p_>If you are outside another boat, give up a few seconds and do 
E06 121 an early spinnacker takedown. Then fall in behind the inside boat 
E06 122 and make a good rounding, staying wide on the near side and close 
E06 123 on the far side. If you do this correctly, you should have 
E06 124 relatively clear air upwind (Fig. 2). The only exception to this 
E06 125 strategy is if boats are right behind you. Leave some cushion and 
E06 126 count on a slow rounding as the front boat turns sharply.<p/>
E06 127 <p_>Your strategy for all remaining windward legs should be similar 
E06 128 to that on the first windward leg. If you are in the lead pack, 
E06 129 cover as many boats as you can. A loose cover is usually best; it 
E06 130 ensures against a time<?_>-<?/>losing tacking duel and helps herd 
E06 131 the fleet astern, because those boats tend to follow the leaders. 
E06 132 If you are ahead on corrected time but are physically astern of 
E06 133 faster-rated boats, cover them by following in clear air.<p/>
E06 134 <p_>If you are among the leaders on a downwind leg, again cover 
E06 135 loosely by sailing the favored gybe, position yourself between your 
E06 136 competitors and the mark, and always keep your air clean. Let all 
E06 137 boats rated 20 seconds per mile faster than you go by, and sail as 
E06 138 low as your boat's polars allow. Know your boat's downwind gybe 
E06 139 angles and never just follow other boats. Their gybe angles could 
E06 140 be quite different from yours.<p/>
E06 141 <p_>If you are behind on the last down<?_>-<?/>wind run, consider a 
E06 142 gybe away from the fleet. After all, what do you have to lose? The 
E06 143 best way to get back into the money is to hit a favored shift.<p/>
E06 144 <p_>If you are on the last beat to the finish and you are ahead, 
E06 145 always use a loose cover. If you are in the upper middle of the 
E06 146 fleet, you might try to pick off a couple more boats. If you are 
E06 147 behind, think about taking a flyer out to the layline. Remember, 
E06 148 keelboats make up time slowly, and that's the only way you can 
E06 149 score a big recovery.<p/>
E06 150 <p_>When you are approaching the finish, you should switch to 
E06 151 dinghy tactics and closely cover the boats that rate near you. You 
E06 152 don't want one of them to get on the inside of a lift on the last 
E06 153 shift. As you come up to the line, don't forget to shoot up into 
E06 154 the wind to gain a few seconds.<p/>
E06 155 <p_>In handicap racing you are racing the clock as well as 
E06 156 individual competitors. Don't become obsessed with individual boats 
E06 157 when you're out on the course. Keep the clock and these 
E06 158 conservative strategies in mind, and you may begin to get 
E06 159 consistent finishes near the top of your fleet.<p/>
E06 160 
E06 161 <h_><p_>RIGGING<p/>
E06 162 <p_>Low-stretch halyards<p/>
E06 163 <p_>Chris Kulczycki uncoils the tale on which material to use for 
E06 164 your halyards. Who needs that nasty wire?<p/><h/>
E06 165 <p_>Strong, low-stretch halyards for mainsails and jibs are 
E06 166 important to a boat's performance. A halyard that stretches will 
E06 167 allow the sail's luff to scallop or deform, resulting in reduced 
E06 168 pointing ability and speed. Until recently, wire halyards were used 
E06 169 on most boats because only wire was able to resist stretching 
E06 170 adequately. Today, modern low-stretch cordage opens up the option 
E06 171 of rope halyards (Photo 1). Whether you are replacing existing 
E06 172 halyards or setting up a new boat, it's wise to consider the 
E06 173 advantages of various types of wire and rope, and it's important to 
E06 174 check and maintain those halyards regularly after they are 
E06 175 installed.<p/>
E06 176 <h_><*_>black-square<*/>Wire halyards<h/>
E06 177 <p_>Stainless-steel wire halyards have long been popular because 
E06 178 wire has low stretch and is relatively inexpensive. Wire's high 
E06 179 strength allows small-diameter halyards to be used, lessening 
E06 180 windage on external portions of halyards. But wire can be hard on 
E06 181 hands and equipment, and it wears out fairly quickly. The reel-type 
E06 182 winches still used on older boats with all-wire halyards 
E06 183 occasionally slip or release accidentally -   something to consider 
E06 184 when going aloft on a halyard. A reel<?_>-<?/>type winch allows the 
E06 185 sail to be raised only by turning the handle, a slow process. For 
E06 186 these reasons all-wire halyards are rarely used today.<p/>
E06 187 <p_>With the development of practical techniques, it became easier 
E06 188 to splice a braided rope tail onto a wire halyard (Fig. 1). Rope 
E06 189 tails make wire halyards easier to handle and allow a conventional 
E06 190 open winch to be used. With the addition of mechanical stoppers, 
E06 191 one winch can be used for several halyards.<p/>
E06 192 <p_>The splice joining wire to rope seems to worry many sailors. If 
E06 193 properly made, wire-to-rope splices are extremely strong, and 
E06 194 though they are more difficult to make than a rope splice, anyone 
E06 195 with a bit of patience can make one.<p/>
E06 196 <p_>Normally, 7*19 steel wire (made of seven strands of 19 wires 
E06 197 each) is used for halyards.
E06 198 
E06 199 
E07   1 <#FROWN:E07\><h_><p_>Tips'n tales from the cab<p/>
E07   2 <p_>A mainline engineer's experience filling in on a branch line<p/>
E07   3 <p_>BY VERNON HART<p/><h/>
E07   4 <p_>BRANCHLINE railroading seems like an ideal theme for a layout 
E07   5 with unique character. An imaginary cab ride down a little streak 
E07   6 of rust may provide some insights into what I mean. Let's begin 
E07   7 with some background information.<p/>
E07   8 <h_><p_>FILLING IN FOR THE 'OLD MAN'<p/><h/>
E07   9 <p_>The scene is backwoods south Missouri in the early 1970s. The 
E07  10 'Old Man,' as the regular engineer is known, is on vacation. As the 
E07  11 youngest promoted engineer on the division, I'm assigned to fill 
E07  12 the vacancy and work his job with the regular crew. (Seniority 
E07  13 means everything on the railroad and any undesirable outlying jobs 
E07  14 are always foisted upon those with the least seniority.) At the 
E07  15 time, I had four or five years of 'mainline' experience, but not 
E07  16 nearly enough to feel comfortable reporting for work with the old 
E07  17 man's legendary crew.<p/>
E07  18 <p_>Arriving at Willow Springs, the little town that served as the 
E07  19 home terminal for the branch line, I began to investigate this 
E07  20 'legend' for myself. In the cold gray light of dawn, I walked 
E07  21 toward the old side-door caboose near the station. This ancient 
E07  22 'woody' was the private domain of the 'Ranger', an old conductor 
E07  23 notorious for his low opinion of enginemen like me!<p/>
E07  24 <p_>Looking in the open side door, I was amazed by what I saw. An 
E07  25 ornate antique barber's chair was mounted in front of the door! A 
E07  26 polished brass spittoon sat nearby, while spotless cooking utensils 
E07  27 lined the shelves near the old wood stove. A stainless-steel 
E07  28 lavatory sink completed the 'kitchen' corner, and an oversize sofa 
E07  29 occupied most of the other wall!<p/>
E07  30 <p_>Judging from the refinements, I suspect the caboose was 
E07  31 officially 'lost,' with all records of it gone in a fire years ago. 
E07  32 No wonder I had never seen the old woody turn up for servicing in 
E07  33 Springfield!<p/>
E07  34 <h_><p_>WORKING THE 'TURN'<p/><h/>
E07  35 <p_>On Sundays, the Frisco ran an extra job called the 'Turn' to 
E07  36 clear the Springfield yard of cars destined for various on-line 
E07  37 industries as well as cars for the branch line. Sunday was the 
E07  38 layover day for our locals, so the Turn usually set out around 20 
E07  39 cars at Mountain Grove and 30 or so at Willow Springs, and 
E07  40 delivered an engine and caboose for the branch.<p/>
E07  41 <p_>It usually continued on to West Plains with the remaining 20 
E07  42 cars. After 'peddling' all the 'shorts,' or local cars, the Turn 
E07  43 returned to Springfield, picking up cars that had been set out the 
E07  44 day before by assorted trains with tonnage problems (insufficient 
E07  45 power to pull the hills).<p/>
E07  46 <p_>My thoughts returned to the job at hand, and I eased away from 
E07  47 the caboose unnoticed and headed for the tie<?_>-<?/>up track to 
E07  48 inspect my locomotive. The old Geep looked okay with good oil and 
E07  49 water levels ... the governor oil was sufficient, however a can of 
E07  50 Havoline nearby told me that it probably leaked. The engine's brake 
E07  51 rigging seemed okay ... shoes thin ... sandboxes full ... ice 
E07  52 needed for the cooler, along with drinking water.<p/>
E07  53 <p_>Climbing down, I headed for the depot to fetch supplies. The 
E07  54 station agent greeted me and nodded toward the crap game going on a 
E07  55 few feet away.<p/>
E07  56 <p_><quote_>"This here is Joe Bob and Lou,"<quote/> he announced. 
E07  57 He nodded toward an adjoining room, <quote_>"The Ranger is in 
E07  58 there."<quote/><p/>
E07  59 <p_>The agent continued, <quote_>"Can't get no time on the main 
E07  60 'til they run two north. Gotta switch the shorts in Two and Three 
E07  61 West before we can switch the town, or make up yer train. Boogers 
E07  62 covered up the north end last night, when 234 had to reduce tonnage 
E07  63 here. Then a pup conductor set out Marvin's junk on the south end 
E07  64 this morning."<quote/><p/>
E07  65 <p_>Marvin was the roadmaster responsible for track maintenance in 
E07  66 the area. He had a habit of storing his assorted tool cars, tie 
E07  67 flats, ballast cars, air dumps, and machines at Willow Springs 
E07  68 instead of in town. Even so, any knowledgeable conductor would not 
E07  69 have blocked our revenue cars when he set his stuff out in the 
E07  70 small yard.<p/>
E07  71 <h_><p_>MEETING THE RANGER<p/><h/>
E07  72 <p_>Obviously, the agent was preparing me for a long day. I walked 
E07  73 into the next room to meet the Ranger. To my surprise, he had no 
E07  74 black cape and his fangs appeared normal. The Ranger was a husky 
E07  75 man of about 60. Time was being kind to him, as his graying hair 
E07  76 complemented his tanned, healthy appearance.<p/>
E07  77 <p_><quote_>"Glad to meet you, Mr. Hart. We've heard good things 
E07  78 about you."<quote/><p/>
E07  79 <p_>Like so many things in life, this dreaded confrontation had 
E07  80 been totally disarming. The railroad 'grapevine' was, and still is, 
E07  81 incredible. If you were judged a good engineer early on, the 
E07  82 reputation would stick unless you really fouled up. The same held 
E07  83 true if your first impressions were negative. You were branded 
E07  84 'bad' for life.<p/>
E07  85 <p_>A harsh crucible? Yes. However, full<?_>-<?/>size railroading 
E07  86 is a dangerous profession. Railroaders all know that the best way 
E07  87 to stay alive is to be careful and determine, by any possible 
E07  88 means, the degree of trust that can be placed in a co-worker. The 
E07  89 less-than-fair rumor mill is heavily used for this purpose.<p/>
E07  90 <p_>The Ranger continued, <quote_>"We have time on the controlled 
E07  91 siding. Joe Bob will line ya outa the stub, 'n I'll have Lou hand 
E07  92 ya up supplies when ya come by the depot. We ken pull the empties 
E07  93 outa the mill 'n be ready to set 'em up as quick as we get time on 
E07  94 the main."<quote/><p/>
E07  95 <p_>I knew exactly what he had in mind. The Ranger's crew members 
E07  96 were all ranchers on the side, so they made sure the feed mills got 
E07  97 priority service. They would dig the feed cars out of the shorts, 
E07  98 along with any cars that belonged in our train, and spot them at 
E07  99 the mill.<p/>
E07 100 <p_>Once the mill was taken care of, the Ranger made the decisions 
E07 101 regarding which cars would go in our train. Since the branchline 
E07 102 job seldom had enough power to get all the tonnage over the hills, 
E07 103 he chose the most needed cars and we built our train accordingly, 
E07 104 finishing things off with his personal caboose.<p/>
E07 105 <p_>Once we were under way, the main<?_>-<?/>line locals were stuck 
E07 106 with switching the rest of the yard, delivering cars around town, 
E07 107 and sorting out the road<?_>-<?/>master's equipment.<p/>
E07 108 <p_>Next month, I'll pick up the story with a trip up the branch to 
E07 109 show you what rural railroading is really like.<p/>
E07 110 
E07 111 <h_><p_>COMPUTERS in MODEL RAILROADING<p/>
E07 112 <p_>CONDUCTED BY BOB FINK; P.E.<p/><h/>
E07 113 <p_>THE RESPONSE to our introduction to Computer-Aided Drafting 
E07 114 (CAD) tools has prompted me to dig deeper and extend the coverage 
E07 115 this time. Also, Don Mitchell will share his pick of the 2-D CAD 
E07 116 packages.<p/>
E07 117 <h_><p_>THE LAYOUT DESIGN CYCLE<p/><h/>
E07 118 <p_>You might call this column CAD re<?_>-<?/>visited. Back in 
E07 119 September we talked about CAD and some of its model 
E07 120 rail<?_>-<?/>road applications. Since then, a number of readers 
E07 121 have responded, telling me about their systems and the best choice 
E07 122 of software for their needs. I spent some time last winter 
E07 123 analyzing CAD packages in the practical range for layout design.<p/>
E07 124 <p_>I studied the phases involved in the layout design sequence. 
E07 125 Figure 1 shows what everyone goes through if they intend to build a 
E07 126 believable model rail<?_>-<?/>road. With this in mind I looked at 
E07 127 various commercial programs offering the best value for each phase 
E07 128 of the design sequence, and here's what I found.<p/>
E07 129 <h_><p_>GETTING STARTED<p/><h/>
E07 130 <p_>The first and probably most difficult phase of layout design 
E07 131 for most folks seems to be putting workable ideas on paper. Whether 
E07 132 you're setting out to model a section of a real railroad or to 
E07 133 free-lance a realistic track plan, that first phase can be 
E07 134 frustrating. If there were only a way to quickly condense the 
E07 135 important elements of, say, a real freight yard, sketch it, and 
E07 136 test it for practical operation, you'd be on your way. Surprisingly 
E07 137 there is!<p/>
E07 138 <p_>Design Your Own Railroad is produced and marketed by 
E07 139 Abracadata, some of whose earlier 'Just for Fun' offerings have 
E07 140 been reviewed here. The depth of useful features in this new one is 
E07 141 astounding. The IBM version I worked with is extremely well 
E07 142 written. See fig.2.<O_>figure<O/><p/>
E07 143 <p_>Learning time, the biggest drawback to most high-end stuff, is 
E07 144 minimal with Design Your Own Railroad. In an evening you'll find 
E07 145 yourself connecting scale track elements and testing car and train 
E07 146 placement. I found that I could quickly set up a yard lead 
E07 147 arrangement, add scale turnouts that actually throw, populate the 
E07 148 tracks with cars of the length I use, and switch them with a 
E07 149 locomotive. Potential operational or space problems will show up 
E07 150 before terminals and sidings have been added to the overall 
E07 151 scheme.<p/>
E07 152 <p_>The program goes well beyond a practical layout design aid and 
E07 153 lets you fill in room constraints or sketch in scenery and 
E07 154 structure arrangements.<p/>
E07 155 <p_>The pull-down menus, ease of movement in the drawing, and 
E07 156 component editing allow you to turn out many workable ideas in a 
E07 157 lot less time. There's even a menu to develop way<?_>-<?/>bills and 
E07 158 shipments with a revenue accounting system to play out the 
E07 159 financial end of railroad operations.<p/>
E07 160 <h_><p_>FROM CONCEPTS TO DESIGN<p/><h/>
E07 161 <p_>Getting all the working areas (yards, service facilities, 
E07 162 sidings, etc.) to fit as realistically as possible in a limited 
E07 163 space is the next hurdle in designing an operating layout, and 
E07 164 should start long before the sawdust flies. Most of us building 
E07 165 layouts let this phase just 'happen.' You can luck out sometimes, 
E07 166 but here again your computer can keep you out of trouble.<p/>
E07 167 <p_>The key to a workable track plan for realistic operation is 
E07 168 that the trains move reliably from place to place. With portions of 
E07 169 the layout constructed at different elevations, we have some of the 
E07 170 same grade problems as the prototype. Vertical separations and the 
E07 171 grades connecting elements of the track plan are extremely 
E07 172 important yet often difficult to visualize.<p/>
E07 173 <p_>A program that lets you see vertical separations and grades is 
E07 174 CadRail. The newest version, 3.0, should be out by the time you 
E07 175 read this.<p/>
E07 176 <p_>To a layout designer CadRail's most important features are 
E07 177 establishing distances along the track (stationing) and automatic 
E07 178 elevation calculations for grades. The new version provides a 
E07 179 profile view to help you 'see' how vertical separations are taking 
E07 180 shape.<p/>
E07 181 <p_>In CadRail I found all the features of track placement needed 
E07 182 to complete my design. The manual is well written, and the program 
E07 183 is easy to learn. The Grid and Snap features are especially useful 
E07 184 in track layout. A library of HO scale yard ladders, curves, and 
E07 185 sample layouts is another asset.<p/>
E07 186 <p_>CadRail is a practical layout design program that keeps getting 
E07 187 better as more and more railroaders use it and offer their 
E07 188 feedback.<p/>
E07 189 <h_><p_>PUTTING IT ALL TOGETHER<p/><h/>
E07 190 <p_>There's always going to be a final phase of seeing the 
E07 191 completed scale plan set in its surroundings. A lot of us shirk on 
E07 192 this one too and let the trackwork determine where the 
E07 193 bench<?_>-<?/>work should go.<p/>
E07 194 <p_>With a full-featured drafting program you're able to draw 
E07 195 benchwork on one layer, overlay track on another, and lock in your 
E07 196 overall room constraints on a third. Finding a moderately priced 
E07 197 program that will do this is possible. Most of the track plans Don 
E07 198 Mitchell designed for MODEL RAILROADER and his Kalmbach book, 
E07 199 <tf_>Walkaround Model Railroad Track Plans<tf/>, were done with a 
E07 200 CAD program called EasyCAD 2. Be sure to check out Don's review in 
E07 201 the sidebar for details.<O_>sidebar<O/><p/>
E07 202 <h_><p_>AND THE WINNER IS ...<p/><h/>
E07 203 <p_>I haven't tried to stack one program against another here. 
E07 204 These are the best three for the money that I've seen so far, and 
E07 205 they match up just right to layout design objectives. Of course, 
E07 206 you don't need all three. It depends on where you're starting and 
E07 207 how deeply you want to become involved. I'd like to hear your 
E07 208 findings on this useful application of computers in model 
E07 209 railroading.<p/>
E07 210 <h_><p_>Trains ... ... of thought<p/>
E07 211 <p_>Commentary by Tony Koester<p/><h/>
E07 212 <p_>GOT A LETTER the other day from a fellow who asked about an 
E07 213 article on the HO scale Allegheny Midland's Wheeling Division.
E07 214 
E07 215 
E08   1 <#FROWN:E08\><h_><p_>THE 10 FASTEST 'STREET' CARS IN AMERICA<p/>
E08   2 <p_>By Joe Pettitt<p/><h/>
E08   3 <p_>Yikes! We had a lot of motors up against the rev limiter in hot 
E08   4 rod land while looking for the 10 'fastest' street cars in America. 
E08   5 (Yeah, we know drag cars are properly referred to as quickest, but 
E08   6 'the fastest street cars' sounded better.) It seems everybody we 
E08   7 talked to had the baddest, the most brutal street car ever 
E08   8 conceived by a rodder. And, of course, we heard rumors and tales 
E08   9 that a friend of a friend had the quickest car in the world, but he 
E08  10 only raced for money and didn't want anyone to know how fast it 
E08  11 really is. So it goes.<p/>
E08  12 <p_>Hey, maybe those rumors are true, but we're not interested in 
E08  13 ghost stories, we're interested in the fastest street cars in 
E08  14 America. And as far as we can tell, we have 10 of the baddest 
E08  15 street cars that ever prowled the pavement on either side of 
E08  16 Woodward Avenue or the prime meridian for that matter.<p/>
E08  17 <p_>These cars are bad-to-the-bone, low 9-second and high 8-second 
E08  18 street-style cars. As long as these cars can cruise on the street 
E08  19 without overheating or draining the battery, have lights and turn 
E08  20 signals, and some semblance of an interior, they qualify as street 
E08  21 cars in this loose sense of the term. That puts this group of cars 
E08  22 on the ragged edge of being called a street car and the 
E08  23 owners/drivers on the ragged edge of sanity with a loose grip on 
E08  24 reality. These cars are pure adrenaline, fun, and the essence of 
E08  25 hot rodding.<p/>
E08  26 <p_>You may notice that most of the cars in this section are 
E08  27 big-block Camaros. We didn't plan it that way, it's just that 
E08  28 Camaros are relatively lightweight cars in which a big-inch motor 
E08  29 fits nicely. And you simply can't beat the combination of big 
E08  30 inches and low weight for a fast street car. In addition, we didn't 
E08  31 run across any Mopars and only found a few Fords. We know you 
E08  32 elephant motor heads and shotgun rodders are out there, but you're 
E08  33 just too well hidden. So if you have a faster Ford or a meaner 
E08  34 Mopar, come out of the closet and let us know, <tf|>pronto.<p/>
E08  35 <p_>One more thing: There are only winners in this group. All of 
E08  36 the cars here are exceptionally quick, but they have not competed 
E08  37 on the same track, on the same day, under the same conditions, so 
E08  38 any performance comparisons would be pure speculation. However, 
E08  39 this may change in September, because we will decide by means of a 
E08  40 competition <tf|>which is the fastest street car in America. Until 
E08  41 then, here are the 10 fastest street cars that we know of.<p/>
E08  42 <h_><p_>ROD SABOURY, '57 Corvette, 8.62/156 MPH<p/><h/>
E08  43 <p_>As of this June, this is the quickest time Rod Saboury has 
E08  44 posted with his 2500-pound '57 Vette on a set of Goodyear slicks. 
E08  45 And he did it through the mufflers with a single four-barrel 
E08  46 carburetor without nitrous! And don't be fooled, he does cruise 
E08  47 this bad boy on the street. In fact, he drives it to the track, 
E08  48 swaps tires, and runs - now that is bad!<p/>
E08  49 <p_>The combination that hurls this 'Vette to such 
E08  50 performance-heights is 532 inches of a Garrett Racing 
E08  51 Engine-prepared, cast-iron Bow-Tie block with a Competition Cams 
E08  52 .730-inch lift roller cam that is topped with Brodix aluminum heads 
E08  53 and a Dart intake. A Barry Grant 1150-cfm Dominator mixes the fuel 
E08  54 before a Jesel belt drive distributor and MSD-7AL team up to 
E08  55 <}_><-|>the<+|><}/>light the fire. Saboury says the Moroso dry-sump 
E08  56 system is worth 15 horse<?_>-<?/>power, and the Turbo Start 16-volt 
E08  57 battery makes a hotter spark for a noticeable performance gain. A 
E08  58 custom set of 2 1/4-inch headers route into 4-inch inlet/outlet 
E08  59 Flowmaster mufflers. The engine is backed by an ATI 
E08  60 full-competition Powerglide with a 5500-rpm stall converter and 
E08  61 4.56 gears in a Mark Williams Pro Stock-style Ford 9-inch rearend. 
E08  62 Saboury tunes the hook with a Koni coil-over 
E08  63 double-adjustable-shocked four-link rear suspension and a Lamb 
E08  64 strut front suspension.<p/>
E08  65 <h_><p_>DANNY SCOTT, '68 CAMARO, 8.61/158 MPH<p/><h/>
E08  66 <p_>Danny Scott's Camaro has to be the most beautiful of these bad 
E08  67 boy machines. This impeccably prepared Camaro is all steel and has 
E08  68 a full interior with functional side <}_><-|>widows<+|>windows<}/> 
E08  69 and all the glass is just that - glass. No Plexiglas for Mr. 
E08  70 Scott.<p/>
E08  71 <p_>Here's the combination: a 540ci Sam Gianino-massaged Bow-Tie 
E08  72 block stuffed with Venolia pistons and Childs&Albert rods on an 
E08  73 offset ground crank capped with Gianino-tweaked Chevy C-port 
E08  74 aluminum heads. A Crane Solid Roller cam (.780-inch lift) calls the 
E08  75 tune to the Danny Scott-modified Holley 1150 carb on a Team G 
E08  76 manifold, and 3-step headers (2 1/4-, 2 3/8-, 2 1/2-inch diameter) 
E08  77 dump into modified Flowmaster mufflers. (The mufflers only lose 
E08  78 Scott a few tenths!) To develop the levels of torque needed to 
E08  79 rocket 3300 pounds of Camaro into the mid-8s, Danny relies on a 
E08  80 CompuCar 'Blaster' 600hp nitrous system. The engine is backed by a 
E08  81 four-speed Lenco transmission that puts the spin on a 4.88-geared 
E08  82 Dana with Mark Williams 44-spline axles and spool. Scott fabricated 
E08  83 the ladder bar suspension himself to the obvious satisfaction of 
E08  84 the Goodyear slicks.<p/>
E08  85 <h_><p_>KEN ANDERSON, '78 MALIBU, 8.81/155 MPH<p/><h/>
E08  86 <p_>Ken Anderson's brutal machine turned its best time so far on 
E08  87 30x18-15 M&H street tires with a 3.70 gear in the Ford 9-inch 
E08  88 rearend. Anderson and his dad are thinking of steppin' up to a 4.11 
E08  89 gear and the new 33x18-15 M&H tires. The change in the combo looks 
E08  90 quicker on paper, and we'll let you know if it works out.<p/>
E08  91 <p_>Meanwhile, Anderson's Malibu weighs in at 3050 pounds fueled 
E08  92 without the driver and is powered by a 588ci, tall-deck Bow-Tie 
E08  93 block with Brodix heads, a Dart manifold, and a Barry 
E08  94 Grant-modified 1050 Holley Dominator carb. The fuel system is a 
E08  95 combination of a CNC pump and regulators which feed both the 
E08  96 carburetor and the Top Gun two-nozzle port-injection nitrous 
E08  97 system. The engine is exhausted through a custom set of 2 3/8-inch 
E08  98 headers through cavernous 4-inch in/out Flowmaster mufflers. The 
E08  99 engine is backed by a Carl Rossler-built, ATI 5000-rpm 
E08 100 stall-converted Powerglide. The rear suspension is a four-link 
E08 101 system that hooks hard as indicated by its sub 9-second e.t.'s.<p/>
E08 102 <h_><p_>SCOTT SHAFIROFF, '67 'VETTE, 8.62/160 MPH<p/><h/>
E08 103 <p_>Scott Shafiroff is known for building awesome Pro Mod mountain 
E08 104 motors. Shafiroff's reputation, combined with the German owner's 
E08 105 desire to have the fastest street car in Germany, resulted in a 
E08 106 Shafiroff Racing (516/293-2220) extravaganza. It seems there is a 
E08 107 lively cruise scene in Germany, considering there are no speed 
E08 108 limits on some sections of the autobahn. We don't have to spell it 
E08 109 out for you, do we? Even though it will be exported to Germany, the 
E08 110 'Vette was built in America so it qualifies for this section.<p/>
E08 111 <p_>Not only did Shafiroff build the engine, but he managed the 
E08 112 construction of the entire car. It has a full interior, roll-up 
E08 113 windows, a dash, a radio, a stock X-frame, and all the comforts of 
E08 114 home. Out front is a 10:1, 604ci aluminum Donovan big-block stuffed 
E08 115 with Total Seal rings, steel rods, a Shafiroff-spec'd street roller 
E08 116 cam, and topped with Dart Big Chief heads. He also race-prepped the 
E08 117 cast-aluminium intake and topped it off with a pair of tweaked 
E08 118 Dominator carbs. Healthy doses of NOS-regulated and Shafiroff-tuned 
E08 119 nitrous increase the naturally aspirated 930 hp to an astounding 
E08 120 1280 hp! Backing the engine is an FB Transmission-built TH400. The 
E08 121 force from the engine is managed by a four-link coil-over 
E08 122 suspension and 4.56 gear rearend.<p/>
E08 123 <p_>Shafiroff says the most difficult part of this exercise is 
E08 124 making the engine streetable. This engine idles at 750 rpm and is 
E08 125 designed to perform under the varying conditions of a street 
E08 126 driver. According to Shafiroff, building a race engine is easy by 
E08 127 comparison.<p/>
E08 128 <h_><p_>MAX CARTER, '66 NOVA, 8.454/157 MPH<p/><h/>
E08 129 <p_>Max Carter presently appears to be the man to beat on the 
E08 130 street car scene. He made some changes and has run a 5.24/133 mph 
E08 131 1/8-mile e.t. which, in theory, is in the low eights. Though some 
E08 132 say his 2900-pound (fueled with driver) '66 Nova isn't a street 
E08 133 car, Carter believes otherwise, and he's willing to meet you at the 
E08 134 burger stand and go for a cruise to prove it. It has all the 
E08 135 accessories of a street car, and it isn't a 2200-pound 
E08 136 round-tube-chassis car. The most serious chassis work consists of 
E08 137 extended mild-steel square tubing up to the front clip. Plus he 
E08 138 runs a basic ladder bar rear suspension with separate spring and 
E08 139 shock mounts instead of the trick coil-over shock system you see on 
E08 140 sophisticated Pro Street machines cruising the fairgrounds.<p/>
E08 141 <p_>Carter's Nova does it with torque: 557 inches of Crane 
E08 142 roller-cammed Bow-Tie block capped by aluminum Bow-Tie heads with a 
E08 143 Sonny Leonard-modified Holley Pro Dominator intake, twin Barry 
E08 144 Grant 1150 carburetors, and custom headers which make up the basic 
E08 145 combination for a killer nitrous engine. Carter has recently 
E08 146 changed to a Compucar two-stage nitrous system. He leaves the 
E08 147 fogger system on and then hits the 430hp-rated spray bar when the 
E08 148 nose begins to settle. The Strange axles and spool in the 
E08 149 4.88-geared 12-bolt rearend deliver the torque to the 32x14.5-15 
E08 150 Goodyear slicks.<p/>
E08 151 <h_><p_>JOE YATOOMA/KURT URBAN, '69 CAMARO, 8.85/157 MPH<p/><h/>
E08 152 <p_>When Kurt Urban isn't busy running his Mr. Muffler shop in 
E08 153 Detroit, Michigan, he's working on Joe Yatooma's Camaro. It's 
E08 154 basically a hobby which, with a little help from the Ramchargers 
E08 155 speed shop and a new coat of paint from Jeff Hall at Bloomfield 
E08 156 Collision, is funded by Yatooma and Urban's pocketbooks. The same 
E08 157 goes for most of the racers in this story.<p/>
E08 158 <p_>And like the rest, they have built a max-boogie street car. The 
E08 159 basic combination goes like this: a Bow-Tie block, BRC crank, 
E08 160 Carillo rods, and Venolia pistons. This combo produces 13:1 
E08 161 compression mixed in with a Crane roller cam and D-port Chevy 
E08 162 aluminum heads. Then fuel is added through a single Dominator carb 
E08 163 atop a 'Bird man'-massaged Dart intake, and the exhaust passes 
E08 164 through 2 1/4-inch Hooker headers and 5-inch in/out Flowmaster 
E08 165 mufflers. Then they rearranged the components of an NOS Fogger 
E08 166 system to a direct port design. The power is pumped through a Coan 
E08 167 TH400 and 10-inch 4500-rpm stall converter, and it runs to a 4.56 
E08 168 rear gear and 32x14-15 Goodyear slicks. Now put it on a race track, 
E08 169 point it, and pull the trigger.<p/>
E08 170 <h_><p_>HONORABLE MENTION<p/>
E08 171 <p_>DON WALSH/D&D PERFORMANCE, '90 MUSTANG GT, 9.48/142 MPH<p/><h/>
E08 172 <p_>Don Walsh's Mustang is quicker than a 306ci small-block has a 
E08 173 right to run! The block is an M-6010-A4 SVO block with a machined 
E08 174 M-6301-B4 SVO crankshaft, Bill Miller aluminum rods, and JE 
E08 175 pistons. The heads are SVO M-6049-C3 Yates-type aluminum goodies 
E08 176 that were ported but not welded at Roush Racing. A Crane mechanical 
E08 177 roller signals the SVO M-9424-B303 single-plane intake and Holley 
E08 178 830-cfm carb. Prototype SVO M9430-Y302 headers by Watson 
E08 179 Engineering exhaust the gases that are fired by an SVO M-12199-C301 
E08 180 wiring harness with an M-12390-C bronze gear distributor and an 
E08 181 M-12199C301 module, M-12029-A302 coil, and M12071-A301 harness. A 
E08 182 single-stage NOS Cheater nitrous system is used to enhance 
E08 183 torque.<p/>
E08 184 <p_>A D&D Performance-massaged C6 automatic delivers the torque to 
E08 185 a D&D Performance 9-inch rearend with 4.30 gear. The car is 
E08 186 suspended by a combination of Global West McCastor kit bushings and 
E08 187 rear tubular lower control arms, Koni shocks, Lakewood traction 
E08 188 bars, and Watson Engineering subframe connectors. Cragar Drag Stars 
E08 189 and Goodyear Front Runners and 26x10-15 M&H Racemasters hook the 
E08 190 car into the nines!<p/>
E08 191 <h_><p_>RICK DYER, '69 CAMARO, 9.02/153 MPH<p/><h/>
E08 192 <p_>If Rick Dyer's Camaro looks similar in execution to Danny 
E08 193 Scott's '67 Camaro, there's a reason. These two cars are part of 
E08 194 the C.A.R.S. race team. Dyer's Camaro is essentially the same 
E08 195 combination as Scott's since Scott built both cars. The only 
E08 196 difference that we can discern (aside from year and color) is that 
E08 197 Dyer's car weighs a massive 3666 pounds compared to Scott's 
E08 198 slightly more <}_><-|>svelt<+|>svelte<}/> 3300 pounds. Dyer's e.t. 
E08 199 is slightly slower than Scott's, primarily, according to Dyer, 
E08 200 <quote_>"because I like to put the wheels in the air. If I kept the 
E08 201 wheels lower to the ground, I'd be running in the high eights, 
E08 202 too!"<quote/>
E08 203 
E08 204 
E08 205 
E09   1 <#FROWN:E09\><h_><p_>SHOW JUMPING SURE AIN'T WHAT SHE USED TO BE<p/>
E09   2 <p_>U.S. show jumping appears to be flourishing economically, but 
E09   3 four years of fighting over USET policies has left the participants 
E09   4 worried and divided about the future.<p/>
E09   5 <p_>John Strassburger<p/><h/>
E09   6 <p_>Bill Steinkraus, writing in the 1991 international review book 
E09   7 <tf_>L'Anne Hippique<tf/>, has developed an apt metaphor to 
E09   8 describe the evolution of show jumping. He compares show jumping to 
E09   9 the heroine of a romantic novel:<p/>
E09  10 <p_><quote_>"She is born and brought up in the country, where her 
E09  11 early life is dedicated to hunting. While still young, she marries 
E09  12 a dashing cavalry officer and passes many happy years with him. 
E09  13 Then, suddenly, he is ordered off to war. He barely survives and 
E09  14 returns briefly, only to die of his wounds.<p/>
E09  15 <p_>"Our heroine tries to return to her old lifestyle but cannot, 
E09  16 for she has no funds with which to support it. At this point, some 
E09  17 old acquaintances come to her aid, though they are from the world 
E09  18 of business and she has always been quite cool to them in the past. 
E09  19 Some offer temporary assistance, but others prove staunchly loyal; 
E09  20 her life goes on and even prospers.<p/>
E09  21 <p_>"Still, she worries, for she knows that her business friends 
E09  22 must receive something in return to justify their expenditures. She 
E09  23 is given funds to help entertain their guests and clients, but she 
E09  24 realizes that an adverse business climate would make such 
E09  25 activities very marginal for them. Thus her happiness is tempered 
E09  26 by anxiety, and this is where she stands today."<quote/><p/>
E09  27 <p_>Steinkraus' metaphor is even more poignant for the United 
E09  28 States than for the rest of the world.<p/>
E09  29 <p_>Eight years ago the U.S. show jumping team was on top of the 
E09  30 world. At the 1984 Olympics in Los Angeles, Joe Fargis, Conrad 
E09  31 Homfeld, Leslie Burr and Melanie Smith did something no U.S. team 
E09  32 ever had before -they won.<p/>
E09  33 <p_>That golden moment was the apex of a tremendous skein of 
E09  34 victories -eight wins at the FEI Volvo World Cup final in nine 
E09  35 years and the gold medal at the 1986 World Championships with an 
E09  36 almost completely different team.<p/>
E09  37 <p_>These victories were the legacy of Bertalan de Nemethy, who 
E09  38 from 1955 to 1980 coached the U.S. Equestrian Team and produced 
E09  39 many of our finest horsemen and horses -Bill Steinkraus, Frank 
E09  40 Chapot, George Morris, Kathy Kusner, Fargis, Homfeld, Smith, Robert 
E09  41 Ridland, Michael Matz and Bernie Traurig, as well as Snowbound, San 
E09  42 Lucas, Untouchable, Nautical, Sloopy, Ksar d'Esprit, Sandsablaze 
E09  43 and Southside.<p/>
E09  44 <p_>De Nemethy, now retired in Florida, was the most influential 
E09  45 person in the shift from the military era to the current major 
E09  46 civilian industry. De Nemethy was recruited to fill in the void 
E09  47 created when the U.S. Army disbanded its cavalry and its cavalry 
E09  48 schools following World War II.<p/>
E09  49 <p_><quote_>"We got a very precious foundation from Bert,"<quote/> 
E09  50 said Steinkraus. <quote_>"Bert had, in effect, a mini-cavalry 
E09  51 school."<quote/><p/>
E09  52 <p_>For over 25 years de Nemethy personally selected riders and 
E09  53 horses and brought them first to Tryon, N.C., and then Gladstone, 
E09  54 N.J., for months or years of training. He planned their careers and 
E09  55 took them for seasoning to shows in the United States and Europe. 
E09  56 With their fluid and classical style, his riders quickly earned 
E09  57 worldwide respect and have passed on their horsemanship to 
E09  58 countless students, many of whom have also become trainers. His 
E09  59 proteges have become course designers and administrators in both 
E09  60 the USET and American Horse Shows Association.<p/>
E09  61 <p_>De Nemethy's teams competed in 144 Nations Cups, winning 71. 
E09  62 They also took part in seven Olympic Games, winning the team silver 
E09  63 in 1960 and '72. Steinkraus became the first U.S. rider to win the 
E09  64 individual gold in 1968. Four years later Neal Shapiro earned the 
E09  65 individual bronze.<p/>
E09  66 <p_>But since 1987, success has come far less frequently. The 1988 
E09  67 Olympic team claimed the silver with a determined second round and 
E09  68 Greg Best and Gem Twist claimed the individual silver. But two 
E09  69 years later nearly the same team could only finish a lackluster 
E09  70 fourth in the World Championships.<p/>
E09  71 <p_>U.S. riders haven't won the World Cup Final since Katharine 
E09  72 Burdsall on The Natural in 1987. The only top placings since then 
E09  73 have been third through seventh at Tampa in 1989. In 1990 and '91 
E09  74 no one made the top six.<p/>
E09  75 <p_>Even worse, the team went 22 months without a Nations Cup 
E09  76 victory -from Washington (D.C.) on Nov. 1, 1989, to Lanaken 
E09  77 (Belgium) on Sept. 22, 1991. In between, there were such 
E09  78 embarassing moments as finishing last at Spruce Meadows (Canada) in 
E09  79 1990 and '91.<p/>
E09  80 <p_>Certainly the challenges to the selection procedure by Peter 
E09  81 Leone before the 1988 Olympics and Debbie Dolan before the 1990 
E09  82 World Championships distracted the team's efforts in those years by 
E09  83 pitting riders against each other.<p/>
E09  84 <p_>Leone's grievance, filed with the U.S. Olympic Committee and 
E09  85 turned down by an arbitrator, was a legal right granted to him 
E09  86 under the Amateur Sports Act of 1978. And he wasn't the only 
E09  87 athlete to file a grievance that year. Event rider Kerry Millikin 
E09  88 lost her grievance a month earlier. Athletes from many other sports 
E09  89 filed similar grievances, ensuring a legal pre-Olympics.<p/>
E09  90 <p_>But Dolan bypassed the USOC grievance procedure and sued the 
E09  91 USET, president Finn Caspersen, Steinkraus, and the individual 
E09  92 members of the Selection Committee after she was named to the team 
E09  93 and then removed because the Executive Committee felt there had 
E09  94 been a conflict of interest in the decision. She even attempted to 
E09  95 get an injunction to prevent the team from competing. The case was 
E09  96 dismissed by one judge last February but is currently under 
E09  97 appeal.<p/>
E09  98 <p_>Responds Dolan, <quote_>"I keep hearing that we're not doing 
E09  99 well because of me. We're not doing well because we all have to try 
E09 100 harder,"<quote/> she said. <quote_>"To blame all our problems on 
E09 101 one thing is a real cop-out. Just like our economy, it runs in 
E09 102 cycles."<quote/><p/>
E09 103 <p_>Nevertheless, Frank Chapot, one of show jumping's most forceful 
E09 104 individuals, has been seriously affected by the deterioration of 
E09 105 the system that nurtured him and that he promoted. As a veteran of 
E09 106 six Olympics and chef d'equipe for the last three, Chapot has been 
E09 107 the driving spirit behind U.S. show jumping for more than three 
E09 108 decades. Although he was previously outspoken and sometimes even 
E09 109 contentious, Chapot declined to be interviewed because of the 
E09 110 lawsuits.<p/>
E09 111 <p_><quote_>"I feel badly because I think our biggest asset has 
E09 112 been Frank Chapot as our coach,"<quote/> said rider Chris Kappler. 
E09 113 <quote_>"He has always been absolutely 100 percent on our side, 
E09 114 backing us always, even when things went wrong. I think he's lost 
E09 115 his spirit with all this controversy, and there's no one better for 
E09 116 the job."<quote/><p/>
E09 117 <h_><p_>The Root of All Evil<p/><h/>
E09 118 <p_>Today's show jumping game is far different from 20 or even 10 
E09 119 years ago. The reason is money -prize money now totaling over $3.8 
E09 120 million annually, major corporate sponsorship of events and 
E09 121 individuals, and wealthy riders and owners who frequently spend six 
E09 122 figures (sometimes even seven figures) to buy the best horses and 
E09 123 then expect to make international teams because of it.<p/>
E09 124 <p_>But the United States doesn't operate in a vacuum. European 
E09 125 show jumping has just as much money. Corporate sponsors like 
E09 126 Optiebeurs and Herderson put up hundreds of thousands of dollars to 
E09 127 support teams of several riders, and auto manufacturers like Volvo 
E09 128 and Mercedes sponsor events and give away cars to the winner.<p/>
E09 129 <p_>Although show jumping's prize money doesn't yet approach golf 
E09 130 or tennis, it's more than enough to induce Americans and Europeans 
E09 131 to fly their horses around the world in pursuit of big paydays.<p/>
E09 132 <p_>Not surprisingly, the riders almost universally embrace prize 
E09 133 money. <quote_>"In the positive way there is more participation. 
E09 134 It's more interesting to the sponsors and owners and riders. 
E09 135 There's more of a reward monetarily,"<quote/> said Joe Fargis.<p/>
E09 136 <p_>Still, <quote_>"I think when money was less involved 20 years 
E09 137 ago it was probably more pure."<quote/> he mused. <quote_>"Now the 
E09 138 sport has become a big business, and when things become big 
E09 139 business, they change."<quote/><p/>
E09 140 <p_><quote_>"I think <}_><-|>its<+|>it<}/> helps the 
E09 141 sport,"<quote/> said David Raposa. <quote/>"It's so expensive to 
E09 142 show, and if an owner has invested a lot of money in a horse, he'd 
E09 143 like to see some return. It's made the sport more appealing to 
E09 144 owners."<quote/><p/>
E09 145 <p_><quote_>"It's fabulous. I just wish more of it would come to 
E09 146 the West Coast,"<quote/> said Susie Hutchinson.<p/>
E09 147 <p_>They all point out that although income is high, expenses are 
E09 148 even higher. In addition to entry and stabling fees, the cost of 
E09 149 keeping horses is higher on the road.<p/>
E09 150 <p_><quote_>"Prize money is still way behind the cost of buying and 
E09 151 maintaining grand prix horses, and there hasn't been enough 
E09 152 increase in prize money,"<quote/> said Bernie Traurig, expressing 
E09 153 the complaint of most West Coast riders.<p/>
E09 154 <p_>Traurig has a valid point. From 1987 to 1991, total grand prix 
E09 155 purses have risen from $2,755,000 to $3,805,000, a 38.1 percent 
E09 156 jump. The number of events has increased from 87 to 100, and the 
E09 157 average purse per event has risen from $31,666 to $38,050, a 20.1 
E09 158 percent increase.<p/>
E09 159 <p_>In that same period, though, the American Grandprix 
E09 160 Association, the sport's most demanding, lucrative, and best 
E09 161 marketed league, has remained nearly static. Total prize money 
E09 162 peaked at $1,535,000 in 1988, and its average prize money per event 
E09 163 was the same in 1991 as in 1989. In 1990 a record 16 events offered 
E09 164 prize money of $50,000 or more; in 1991 that fell to 14. Only one 
E09 165 of those events was in Arizona in 1991; none were in California.<p/>
E09 166 <p_>The increase in total prize money has been fueled mostly by the 
E09 167 independent events, plus the development in 1991 of the National 
E09 168 Grand Prix League.<p/>
E09 169 <p_>Since 1987, the AGA's share of total U.S. prize money has 
E09 170 dropped steadily from 49.7 percent to 38.8 percent. Still, its 
E09 171 year-end standings and championships remain the most sought-after 
E09 172 titles.<p/>
E09 173 <p_>The increasing diversity of prizes has forced riders to become 
E09 174 better managers. Today they have to carefully plan their horses' 
E09 175 schedules, putting them in events they can win just like race horse 
E09 176 trainers.<p/>
E09 177 <p_>Twenty-five years ago, the first big show of the year was at 
E09 178 Devon (Pa.) and shows would lead more or less sequentially up to 
E09 179 the fall indoor shows. Or you could go to Europe. Now the Florida, 
E09 180 California and Arizona circuits start in January and the last major 
E09 181 show is Toronto in mid-November.<p/>
E09 182 <p_><quote_>"That's what puts the pressure on -the shows are all 
E09 183 year long,"<quote/> said Melanie Smith-Taylor, now retired from 
E09 184 show jumping and raising horses in Germantown, Tenn.<p/>
E09 185 <p_><quote_>"The responsibility lies on the shoulders of the 
E09 186 rider/trainer. It depends on your priorities -do you want to go to 
E09 187 the Olympics or win the horse of the year? They really have to 
E09 188 manage their horses or have someone help them, that's the key 
E09 189 now,"<quote/> she continued.<p/>
E09 190 <p_><quote_>"Your goals determine the strategy,"<quote/> said 
E09 191 Hutchison. <quote_>"If the horse is an investment, if the owners 
E09 192 want to sell for a profit within a period of time, you need to give 
E09 193 the horse exposure. If your goal is the Olympics, you manage toward 
E09 194 that goal differently."<quote/><p/>
E09 195 <p_>Even with good management, the never-ending circuit means 
E09 196 riders spend less time training their top horses and developing 
E09 197 their young horses. It's hard to keep a consistent training program 
E09 198 when you're constantly cruising down the highway to a new show.<p/>
E09 199 <p_>In a 1987 interview, Bert de Nemethy stated emphatically that 
E09 200 riders weren't doing their homework and that it would catch up with 
E09 201 them. <quote_>"Many riders are far from the level they should be. 
E09 202 They are doing nothing else but competing and jumping. They need 
E09 203 training, they need ironing out, and they have to be criticized. 
E09 204 Flat work is not being done,"<quote/> he said.<p/>
E09 205 <p_>Steinkraus agrees. <quote_>"You can look at horses today with 
E09 206 outstanding careers who have a lot of holes in them, and many 
E09 207 riders never finish their technical foundations,"<quote/> he 
E09 208 said.<p/>
E09 209 <h_><p_>Why Doesn't The Team Win More?<p/><h/>
E09 210 <p_>U.S. show jumping does have many strengths. About a dozen 
E09 211 knowledgeable and innovative course designers create challenges 
E09 212 equal to or better than any in the world. The United States has at 
E09 213 least a dozen of the world's most experienced and proficient 
E09 214 riders, and at least half a dozen horses as good as any in the 
E09 215 world (with the possible exception of Milton and Big Ben).<p/>
E09 216 
E09 217 
E10   1 <#FROWN:E10\><h_><p_>The Mercury Makes ELK Move<p/>
E10   2 <p_>IF YOU'RE A SKIER, PRAY FOR SNOW. BUT IF YOU'RE AFTER WAPITI, 
E10   3 MAKE YOUR REQUEST FOR COLD.<p/>
E10   4 <p_>BY SAM CURTIS<p/><h/>
E10   5 <p_>ELK HUNTING SEASON ALONG THE Continental Divide is a time of 
E10   6 changes. Opening day may arrive as balmy as a summer breeze, and as 
E10   7 you walk draws and ridges looking for fresh elk sign, you may find 
E10   8 songbirds still not hinting of heading south.<p/>
E10   9 <p_>But the season evolves, and one day you awake to a hard wind 
E10  10 that blows all the way to dusk. Snow starts to fall during the 
E10  11 night and continues throughout the next day, and somewhere in the 
E10  12 condensed darkness of the following night the stars snap on and 
E10  13 cold settles in like stones.<p/>
E10  14 <p_>Stepping into a day on which the temperature has tumbled to the 
E10  15 basement fine-tunes my elk hunting skills faster than anything else 
E10  16 I know. Three of the five elk I've shot over the last five years 
E10  17 were taken when the temperature was in the teens or below. I'd go 
E10  18 so far as to say that I got those elk <tf|>because of the cold.<p/>
E10  19 <p_>Elk do things when the temperature drops below 20 degrees that 
E10  20 they don't do when it's warmer. Perhaps even more than snow, cold 
E10  21 weather prompts elk to move to lower elevations. Frigid 
E10  22 temperatures also affect what side of a ridge elk bed down on, what 
E10  23 type of cover they seek, and how and when they feed and move.<p/>
E10  24 <p_>The hunter who is aware of the influence of cold weather on elk 
E10  25 behavior stands a better-than-average chance to finding elk when 
E10  26 the temperature drops into the teens or even below zero.<p/>
E10  27 <p_>Traditional hunting lore has it that snow is the prime catalyst 
E10  28 in getting elk to move from their high summer range down to where 
E10  29 they are easier to hunt. Snow certainly has its effects, but 
E10  30 research on elk movement indicates that they can easily walk 
E10  31 through snow that's 1 1/2 feet deep before the going gets rough, 
E10  32 and a big bull may be unhampered by up to 2 or even 3 feet of snow, 
E10  33 depending on its consistency.<p/>
E10  34 <p_>But let it get cold in the high country and things begin to 
E10  35 happen. The open alpine meadows and the sparse timberline forests 
E10  36 provide no protection from the effects of radiant cooling at night, 
E10  37 and body heat just dissipates out into the clear, unobstructed 
E10  38 skies. In these conditions, elk start to head lower in search of 
E10  39 thicker forest cover and elevations less exposed to the influence 
E10  40 of wind and its additional chilling effects. Even in the absence of 
E10  41 snow, severe cold may spur elk onto fall migration routes. Cold 
E10  42 <tf|>and snow provide a double whammy that brings elk into even 
E10  43 closer reach.<p/>
E10  44 <p_>So, the first real cold snap - when temperatures hit the low 
E10  45 teens - is a time to look for elk along traditional migration 
E10  46 corridors. Those fall storms that come in for a day or two and are 
E10  47 immediately followed by a sudden and deep drop in temperature under 
E10  48 clear skies provide ideal elk hunting conditions. but get out there 
E10  49 on the migrational travel lanes even if the cold is not preceded by 
E10  50 snow.<p/>
E10  51 <p_>As the elk descend from the high country in the face of really 
E10  52 cold weather, they'll be looking for several things to satisfy 
E10  53 their needs. They'll want to find a source of nutritious food to 
E10  54 fire their heat-producing body furnaces, since calories equal BTUs 
E10  55 as much for elk as they do for humans. And once elk have found a 
E10  56 good source of food, they'll want to conserve the body heat it 
E10  57 produces by finding a place to hide and bed that will minimize heat 
E10  58 loss.<p/>
E10  59 <p_>But cold-weather feeding sites and cold-weather bedding sites 
E10  60 are not always close together. And since low temperatures prompt 
E10  61 elk to feed more in order to stay warm, the animals will be going 
E10  62 back and forth between feeding and bedding sites more frequently 
E10  63 than usual. This increased movement makes them more visible to 
E10  64 hunters.<p/>
E10  65 <p_>The best bedding sites under cold-weather conditions are found 
E10  66 in conifer forests that have thick canopies. These can usually be 
E10  67 found on north slopes, where optimum shade and moisture produce 
E10  68 tense timber stands.<p/>
E10  69 <p_>In these forests, the umbrella formed by the trees' branches 
E10  70 holds in a certain amount of heat, preventing it from radiating 
E10  71 quickly into the atmosphere. Clouds can have the same effect, but 
E10  72 when it gets really cold the skies are usually very clear.<p/>
E10  73 <p_>Setting out on the last day of elk season some years ago, I 
E10  74 moved under stars that glittered so sharply I could almost feel 
E10  75 their edges. I left behind a house with frozen water pipes and a 
E10  76 wife who agreed that they could remain that way, as I had only one 
E10  77 more chance to put elk steaks on the table for the winter.<p/>
E10  78 <p_>My toes and fingers ached even though I walked quickly up a 
E10  79 Forest Service fire break that had been cut through thick timber 
E10  80 years before. The break seemed my best bet for covering ground 
E10  81 through otherwise tough terrain. As I walked, I peered under the 
E10  82 tight cover of fir branches looking for bedded elk.<p/>
E10  83 <p_>As I approached the crest of the north slope and the end of the 
E10  84 fire break, I slowed my pace to a real still-hunting crawl. At the 
E10  85 end of the tunnel the fire break made through the trees, I could 
E10  86 see that the sun had just begun to hit the south slope on the 
E10  87 opposite side of the ridge. I was standing, letting my eyes 
E10  88 readjust to the darkness beneath the trees, when I heard the sound 
E10  89 and noticed the legs.<p/>
E10  90 <p_>The elk had given a grunt of exertion when it got up from its 
E10  91 bed, and suddenly it was standing there like a present.<p/>
E10  92 <p_>More than likely, it was the clear, cold skies that gave the 
E10  93 bull to me. I later concluded from his tracks that the elk had 
E10  94 spent much of the previous frigid day feeding and basking in the 
E10  95 sun on the open south slope less than 100 yards from his bed. Then, 
E10  96 he'd entered the timber on the fire break and stepped into a dense 
E10  97 knot of conifers to stay as warm as possible for the night. I 
E10  98 suspect he, too, had seen the morning sun hit the south slope and 
E10  99 was getting up to seek its warmth.<p/>
E10 100 <p_>Except for the happenstance of my presence, that elk had found 
E10 101 an ideal situation, given the cold weather. The thick timber needed 
E10 102 for a warm bedding site and the open slopes needed for grass - an 
E10 103 elk's favorite food - were very close together at this spot.<p/>
E10 104 <p_>In fact, any east-west ridgeline will provide both a north and 
E10 105 south aspect whithin very close proximity to one another. These are 
E10 106 ideal places to hunt when it is cold. In the face of light hunting 
E10 107 pressure, elk feed and sun in the open during the day and head for 
E10 108 the relative warmth of thick timber only after the sun goes down. 
E10 109 This is just the reverse of what they usually do, and knowing this 
E10 110 gives an elk hunter a distinct advantage.<p/>
E10 111 <p_>It's sometimes difficult, however, for elk to find a place that 
E10 112 offers ideal bedding and feeding conditions as well as light 
E10 113 hunting pressure. So, elk need additional bedding and feeding 
E10 114 sites.<p/>
E10 115 <p_>When cold weather is combined with snow cover, elk will use the 
E10 116 insulative qualities of snow to keep themselves warm. It seems 
E10 117 ironic, but where snow cover is patchy, remaining, for instance, 
E10 118 only in shaded draws or in drifts on windward bits of terrain, elk 
E10 119 will actually seek it out for a bedding spot during cold-weather 
E10 120 conditions. For this reason, snow pockets are well worth checking, 
E10 121 particularly at daybreak.<p/>
E10 122 <p_>Deep snow, on the other hand, produces 'tree wells' around the 
E10 123 bases of lone, large conifers. Low, hanging branches keep snow from 
E10 124 piling up under the tree while snow depths around the periphery may 
E10 125 accumulate to the height of the lowest limbs. The 'well' produced 
E10 126 beneath the tree offers almost complete protection from wind, and 
E10 127 the mass of the tree trunk itself retains enough heat to attract 
E10 128 elk in cold weather.<p/>
E10 129 <p_>In some areas of the Northern Rockies, elk have actually been 
E10 130 observed competing for such prime bedding sites in extremely cold 
E10 131 weather. So it's worth scouting for big, live conifers that can 
E10 132 produce such tree wells.<p/>
E10 133 <p_>As for feeding grounds, elk may want to stay very close to 
E10 134 cover when hunting pressure is great. This is when secluded natural 
E10 135 openings surrounded by timber become cold-weather gathering points 
E10 136 for hungry elk. They can feed on the grasses in such spots but 
E10 137 never be more than a few dozen yards from cover.<p/>
E10 138 <p_>Where you aren't immediately aware of the lay of the land, a 
E10 139 7.5-minute series topographic map will show you where such natural 
E10 140 openings exist. And don't overlook small clearcuts as possible 
E10 141 cold<?_>-<?/>weather feeding grounds.<p/>
E10 142 <p_>ON THE OTHER EXTREME, ELK may feed in the wide-open spaces on 
E10 143 cold days. During cold snaps, elk may move a mile or more out of 
E10 144 the timber onto completely open terrain where the openness itself 
E10 145 provides some security. A herd of elk feeding in open country is 
E10 146 difficult to sneak up on because your presence can usually be 
E10 147 detected by at least one elk, who will then warn the others of 
E10 148 dangers. If you find a concentration of elk in the open during the 
E10 149 day, it's best to locate where they have been coming out of the 
E10 150 timber and wait for them there.<p/>
E10 151 <p_>The typical cold-weather elk behavior I've been describing can 
E10 152 be curtailed by two accompanying weather conditions that 
E10 153 occasionally occur when the temperature drops.<p/>
E10 154 <p_>Wind has a real effect on elk when it is cold. They will do 
E10 155 almost anything to avoid it, and they'll usually forsake food in 
E10 156 favor of finding a calm pocket in the surrounding terrain. Look for 
E10 157 these pockets when it's cold and windy, and you'll probably fill 
E10 158 your elk tag.<p/>
E10 159 <p_>Temperature inversions are less frequent but also worthy of 
E10 160 note. Occasionally, weather conditions will force a wedge of warm 
E10 161 air up over a wedge of cold air, trapping the cold air close to the 
E10 162 ground. The temperature difference between these layers of air can 
E10 163 be dramatic, as much as 20 degrees, so this phenomenon really can 
E10 164 influence elk whereabouts. Coming down out of the timber toward 
E10 165 lower, open feeding grounds, elk may run into the trapped cold air, 
E10 166 turn around, and go back uphill where it is warmer.<p/>
E10 167 <p_>Perhaps the most important thing to remember about hunting elk 
E10 168 in the cold is that elk behaviour at this time consists of a 
E10 169 delicate balancing act. Elk have to move and eat to keep warm, on 
E10 170 one hand, but they have to stay still to conserve energy on the 
E10 171 other. Your awareness of how they perform this balancing act is the 
E10 172 key to successful elk hunting in the cold.<p/>
E10 173 
E10 174 
E10 175 <h_><p_>HUNTING<p/>
E10 176 <p_>Where Others Cannot Go<p/>
E10 177 <p_>WHEN THE WHOLE WORLD USES FEET AND WHEELS TO GET WHERE THE DEER 
E10 178 ARE, THE WISE MAN PICKS UP A PADDLE.<p/>
E10 179 <p_>BY JEROME B. ROBINSON<p/><h/>
E10 180 <p_>ALONG THE BANK OF EVERY BROOK, river, lake, and swamp in the 
E10 181 wild lands of North America there is a game trail. That should tell 
E10 182 you something about where big-game animals are often found. The 
E10 183 edges of waterways are natural territorial boundaries as well as 
E10 184 common travel routes. In deer country in late autumn these trails 
E10 185 are always heavily marked by bucks; trees where bucks have rubbed 
E10 186 their antlers and ground scrapes where they have left sign are 
E10 187 exceptionally abundant along the edges of waterways.<p/>
E10 188 <p_>For many years I have concentrated my deer hunting efforts 
E10 189 close to water. Sometimes we travel a long distance by water to 
E10 190 reach a remote area; on other trips we use a boat only to get to 
E10 191 the other side of a stream or lake in order to get away from roads. 
E10 192 Crossing water is the best way I know to get beyond other hunters 
E10 193 and find a territory where the deer are moving according to their 
E10 194 natural inclinations instead of being pushed around by people.<p/>
E10 195 
E10 196 
E11   1 <#FROWN:E11\><h_><p_>Sp<*_>e-acute<*/>cialit<*_>e-acute<*/>s de la 
E11   2 Maison<p/>
E11   3 <p_>NEW YORK<p/>
E11   4 <p_>LORA, ROSA MEXICANO, GIRASOLE<p/>
E11   5 <p_>BY ANDY BIRSH<p/><h/>
E11   6 <p_>Lora Zarubin looked for about five years for the right place in 
E11   7 New York City to open a restaurant. The various 
E11   8 store<?_>-<?/>fronts and other spaces she considered were either 
E11   9 too large, too unattractive, in need of too much renovation for her 
E11  10 budget, or simply rented for too much money. In the meantime she 
E11  11 continued to run her rather bravely named catering firm, Good Food, 
E11  12 which provided good food for social gatherings and had a busy 
E11  13 sideline in laying on the edibles for leading photographers at 
E11  14 their studios.<p/>
E11  15 <p_>Even for someone undeterred by putting out a great effort, 
E11  16 catering is arduous work, and Ms. Zarubin left the business in 
E11  17 1989, after ten years. While still holding out the dream of a 
E11  18 restaurant in Manhattan, she decamped for Paris, where she busied 
E11  19 herself designing a friend's apartment and cooking informally. 
E11  20 Later she took a trip to India. Soon the pace of events quickened. 
E11  21 Through contacts in New York, she learned that Sally and John Darr, 
E11  22 the proprietors of La Tulipe in Greenwich Village, sought to 
E11  23 retire, and she realized that the opportunity this presented was 
E11  24 almost too good to be true.<p/>
E11  25 <p_>La Tulipe was started by the Darrs in 1979 after Mrs. Darr's 
E11  26 departure from the food department of this magazine and Mr. Darr's 
E11  27 departure from school administration. As her own restaurant would 
E11  28 later be for Ms. Zarubin, La Tulipe was a long cherished dream of 
E11  29 the Darrs, and it soon became one of the best-loved small places to 
E11  30 eat in the city. Set on the ground floor of a restored town house 
E11  31 (the Darrs resided above), La Tulipe faced the world from the back 
E11  32 of a postage stamp-size garden. The little front room was furnished 
E11  33 with a zinc-clad Parisian-style bar, rattan caf<*_>e-acute<*/> 
E11  34 chairs, and tables with marble tops. The food served in the more 
E11  35 formal dining room beyond was home-style French. Garlicky roasted 
E11  36 chicken, snapper steamed in parchment, and <tf_>tarte Tatin<tf/> 
E11  37 fueled their initial success.<p/>
E11  38 <p_>To customers familiar with La Tulipe, LORA, Ms. Zarubin's 
E11  39 restaurant (which she owns in partnership with a businessman named 
E11  40 Donald Evans), might seem more like a well-tended inheritance than 
E11  41 an enterprise started from scratch. The garden and the etched-glass 
E11  42 front door are still there from La Tulipe, and so is the bar with 
E11  43 its furniture. Ms. Zarubin's alterations have included the 
E11  44 installation of the framed,beveled mirrors that line the dining 
E11  45 room as well as a change in the color of the walls (from plum to 
E11  46 off-white). She is a photograph collector, and the bar now holds a 
E11  47 mini-retrospective of the work of William Claxton, whose crisp 
E11  48 black-and-white portraits of jazz greats in performance (Billie 
E11  49 Holiday, John Coltrane, Sarah Vaughan, Chet Baker, and Ray Charles 
E11  50 are among those pictured) not only create an undeniably hip 
E11  51 atmosphere but also recall Greenwich Village's proud musical 
E11  52 heritage. A colorful counterpoint is provided by a signed print of 
E11  53 Annie Leibovitz's famous portrait of Ella Fitzgerald in a tailored 
E11  54 red suit. Mr. Claxton and Ms. Leibovitz are members of the chef's 
E11  55 very extensive network of friends.<p/>
E11  56 <p_>Ms. Zarubin also converted the parlor level above, where the 
E11  57 Darrs lived, to a handsome private dining room and an office, but 
E11  58 perhaps her most significant addition was made in the kitchen: a 
E11  59 state-of-the-art wood-burning grill from California. Although most 
E11  60 of her main courses are cooked over the glowing hardwood charcoal, 
E11  61 her style is deft and subtle, and she does not serve dish after 
E11  62 dish covered in black stripes. Indeed Ms. Zarubin can run a grill 
E11  63 as skilfully as many of her French counterparts can handle their 
E11  64 saut<*_>e-acute<*/> pans.<p/>
E11  65 <p_>The components of her grilled dishes change a bit all the time, 
E11  66 but the constants are her sources of fine meats. Her friendship 
E11  67 with the author Orville Schell and his ranching partner Bill Niman 
E11  68 has enabled her to be the exclusive outlet in New York City for the 
E11  69 extraordinary beef raised on their Niman-Schell Ranch north of San 
E11  70 Francisco. These steers feed only on un<?_>-<?/>adulterated grains, 
E11  71 and Niman-Schell also supplies Lora with legs of lamb from nearby 
E11  72 McCormack Ranch and pork from Wildwood Ranch, which are like-minded 
E11  73 in their feed practices. I have found all three meats to be 
E11  74 unusually fine-flavored and tender, especially Niman-Schell's aged 
E11  75 rib<?_>-<?/>eye steak, which Ms. Zarubin has lately served with 
E11  76 French fried potatoes, glazed turnips, and some lightly dressed 
E11  77 water<?_>-<?/>cress (the chef generally likes some cold greenery on 
E11  78 the plate).<p/>
E11  79 <p_>For those not inclined toward meats, chances are good that a 
E11  80 generously cut fillet of salmon, quite possibly from the Pacific, 
E11  81 will arrive at the table perfectly moist and flavorful, accompanied 
E11  82 perhaps by <tf|>basmati rice, <tf_>salsa verde<tf/>, and curly 
E11  83 chicory salad. This being New York, a chicken-fancying town, Lora 
E11  84 has offered a grilled version with mashed potatoes and mixed greens 
E11  85 as well as a chicken fricassee with Yukon Gold potatoes and 
E11  86 turnips. There are usually a few other non-grilled items, such as 
E11  87 changing versions of risotto or pasta, and it is hard to imagine 
E11  88 that demand will drop - in season - for her crab cakes served with 
E11  89 <foreign|>mesclun and a <tf|>r<*_>e-acute<*/>mulade blended with 
E11  90 roasted yellow bell peppers.<p/>
E11  91 <p_>All of these main courses come generously portioned, so it is 
E11  92 well that starters at Lora are modest affairs. Parma ham with 
E11  93 rosemary oil and grilled bread will not make too great a dent in 
E11  94 the appetite, nor will any of an array of salads. The most 
E11  95 interesting way to begin is perhaps with an antipasto that 
E11  96 includes, among other things, grilled sweet red onions, 
E11  97 house<?_>-<?/>cured black olives, more of the Parma ham, and 
E11  98 <foreign|>bruschetta topped with tomato salad. The plate can easily 
E11  99 be shared.<p/>
E11 100 <p_>Ms. Zarubin stocks wines for the restaurant's cellar herself, 
E11 101 and she tastes potential entries with an eye for how well they will 
E11 102 complement her cooking. Sumptuous indeed is Peter Michael 
E11 103 Chardonnay 'Mon Plaisir' '89 from Sonoma. This sells for $42, but 
E11 104 satisfaction is also to be found, for $24, with Olivier Leflaive's 
E11 105 white Bourgogne 'Les S<*_>e-acute<*/>tilles' '88. Among reds, the 
E11 106 chef favors Domaine Tempier's Bandol 'La Migoua' '87 from the South 
E11 107 of France, for $43, but she also expresses a fondness for 
E11 108 Saint-Amour Trenel '88, for $22, and hopes some of her customers 
E11 109 will venture so far as to try the Sancerre Ros<*_>e-acute<*/> '89 
E11 110 from Ch<*_>a-circ<*/>teau du Maimbray Roblin ($28) with some of her 
E11 111 grilled dishes. The wine is made from Pinot Noir and is among the 
E11 112 few <tf_>vins ros<*_>e-acute<*/>s<tf/> thought to improve with some 
E11 113 aging.<p/>
E11 114 <p_>Along with the grill, Ms. Zarubin purchased a high-quality 
E11 115 European ice-cream maker. She tries new flavors often, but I hope 
E11 116 that her maple walnut comes back some time; it has to be the last 
E11 117 word on that subject. Just as simple and satisfying, in my 
E11 118 experience, are vanilla ice cream with chocolate-dipped almonds and 
E11 119 a <tf_>cr<*_>e-grave<*/>me br<*_>u-circ<*/>l<*_>e-acute<*/>e<tf/> 
E11 120 with a nip of ginger. Chocolate <foreign|>pav<*_>e-acute<*/> (a 
E11 121 'paving stone') will gratify serious chocolate fans, but the less 
E11 122 committed should look elsewhere. The restaurant appends to its 
E11 123 dessert list a roster of exceedingly rare dessert wines and 
E11 124 <tf|>digestifs by the glass, such as aged Calvados from L. Dupont, 
E11 125 Muscat grappa from Oregon, and cask-aged plantation rum from 
E11 126 Martinique. How do all these disparate elements of a meal at Lora 
E11 127 manage to fit together? They are all enthusiasms of the chef-owner, 
E11 128 and her enthusiasm is infectious.<p/>
E11 129 <p_>First courses at Lora range from $7 to $10.50. Main courses are 
E11 130 $17 to $26, and desserts are from $5 to $8. Dinner is served 
E11 131 nightly, except on Sundays and major holidays, from 6:30 until 11 
E11 132 (with an extension to 11:30 on Fridays and Saturdays). A short 
E11 133 fixed-price menu is available at $25 for those who wish to be 
E11 134 seated between 6 and 6:30, early enough for an off-Broadway show at 
E11 135 8. New York's foremost jazz club, the Village Vanguard, at 178 
E11 136 Seventh Avenue South, is minutes away by foot, but the music 
E11 137 doesn't start there until after 9:30.<p/>
E11 138 <h_><p_>ROSA MEXICANO<p/><h/>
E11 139 <p_>On the whole, Mexican restaurants in New York City have a 
E11 140 rather dubious reputation. Probably because the resident Mexican 
E11 141 population of this city is low, there are few customers of Mexican 
E11 142 origin demanding fine-quality cooking, and, as a result, the 
E11 143 plentiful Tex-Mex joints in town cater primarily to customers 
E11 144 looking for a cheap, spicy foil for beer and Margaritas. Josefina 
E11 145 Howard, the co-owner, chef, and guiding spirit of Rosa Mexicano, 
E11 146 has been aware of these local circumstances ever since she opened 
E11 147 for business about eight years ago. As fair warning to anyone who 
E11 148 might sit down at a table in Rosa Mexicano entertaining thoughts 
E11 149 of, say, a Taco Combination Platter and a pitcher of watery lager, 
E11 150 Mrs. Howard's menu bluntly states, <quote_>"Because Rosa Mexicano 
E11 151 presents classic Mexican cuisine, some of the popular Americanized 
E11 152 dishes often associated with Mexican food are not included on our 
E11 153 menu."<quote/><p/>
E11 154 <p_>It shouldn't come as a surprise that her approach rubs some 
E11 155 stubborn people the wrong way, whereas other customers count their 
E11 156 dinners at Rosa Mexicano among their favorites in New York. Indeed 
E11 157 a lack of familiarity with the classic cuisine should not be 
E11 158 considered a barrier to full-throttled enjoyment. Mrs. Howard 
E11 159 herself is not Mexican: she is Spanish by upbringing - although 
E11 160 born in Cuba - and was married to an American. Her passion for 
E11 161 Mexican food developed during her twenty-eight years' residence in 
E11 162 that country, and she learned to cook from her friends and the 
E11 163 people who staffed their kitchens. It amuses her to observe that 
E11 164 her East Side restaurant has scrupulously preserved <quote_>"the 
E11 165 Mexican upper middle-class home cooking of the fifties."<quote/><p/>
E11 166 <p_>Her efforts at maintaining this style pay off night after 
E11 167 night. She herself is on hand most of the time, and her staff is 
E11 168 unusually kind, loyal to the boss, and patiently ready to explain 
E11 169 the dishes on the menu and the day's specialities. The surroundings 
E11 170 have a simple charm (Mrs. Howard began as an interior designer) and 
E11 171 feature walls and ceilings in shades of pink along with plenty of 
E11 172 glazed and unglazed tiles. The bar, the grill, and the 
E11 173 tortilla-making department adjoin along one side of the front room, 
E11 174 and a splendid display of plants and flowers occupies the center of 
E11 175 the side dining room, which is also the area in which smoking is 
E11 176 forbidden.<p/>
E11 177 <p_>What Mrs. Howard is most eager to teach her patrons is that the 
E11 178 Mexican cuisine she loves embraces a bountiful range of the best 
E11 179 fresh ingredients. A happily familiar way to begin the meal is with 
E11 180 <tf|>guacamole, but a <tf|>guacamole with a difference, for Mrs. 
E11 181 Howard's version is made to order on a trolley that parks alongside 
E11 182 the table. A waiter starts with whole, perfectly ripened California 
E11 183 avocados, halves them, scores their flesh, scoops the flesh into a 
E11 184 traditional Mexican basalt mortar, or <foreign|>molcajete, and 
E11 185 gently stirs in chopped seeded tomatoes, diced onions, and a finely 
E11 186 minced mixture of coriander and <foreign|>jalape<*_>n-tilde<*/>os. 
E11 187 The fieriness of the mixture is up to the customer. However hot one 
E11 188 likes it, the naturally sweet freshness of the avocados shines 
E11 189 through.<p/>
E11 190 <p_>A fine match for Margaritas - made with superior Tequila - are 
E11 191 the elements that constitute Mrs. Howard's array of cold seafood 
E11 192 (the elements may be ordered separately or all together). 
E11 193 <foreign|>Seviches, made from small scallops and from filleted 
E11 194 fish, arrive authentically citric and permeated by green chilies. 
E11 195 Lightly marinated oysters are served chilled on oyster shells with 
E11 196 strips of pickled green chili; and superb lump crab meat 
E11 197 <foreign|>salpic<*_>o-acute<*/>n is quickly saut<*_>e-acute<*/>ed 
E11 198 with coriander, celery, and just a hint of chilies before it, too, 
E11 199 is chilled and served. The truly brave can show off their sturdy 
E11 200 palates with <foreign_>'xalape<*_>n-tilde<*/>os 
E11 201 rellenos'<foreign/>: pickled roasted chilies with a sardine 
E11 202 filling. These push the edge of my tolerance for peppery heat, but 
E11 203 I hanker for them nonetheless.<p/>
E11 204 <p_>Also to be approached with some caution are the house's special 
E11 205 Margaritas, in which freshly extracted pomegranate juice is added 
E11 206 to the customary mixture. For reasons I wish I could explain, they 
E11 207 appear to drive their drinkers a little loco. Seemingly gentler in 
E11 208 their effects are the Mexican beers that Mrs. Howard stocks, 
E11 209 including a very dark entry, Negra Modello, which pleasingly 
E11 210 underscores the superbly sauced main courses.<p/>
E11 211 
E11 212 
E11 213 
E12   1 <#FROWN:E12\><h_><p_>Two top pros take different views through the 
E12   2 AF SLR<p/>
E12   3 <p_>By Dan Richards<p/><h/>
E12   4 <p_>AUTOFOCUS? YOU BET!<p/>
E12   5 <p_><tf_>(If you have a fear of heights, some of Peter B. Kaplan's 
E12   6 photos may give you vertigo. Known for spectacular views of the New 
E12   7 York City skyline and Statue of Liberty, this 30-year veteran's 
E12   8 work includes corporate, wildlife, advertising, and fashion work, 
E12   9 and images in many major publications.)<tf/><p/>
E12  10 <p_>Don't talk to Peter B. Kaplan about trap focus or tracking 
E12  11 focus speed or wide<?_>-<?/>area autofocusing fields. He's sold on 
E12  12 autofocus and views it as just another speedy convenience on modern 
E12  13 cameras, like autoexposure and motor drives. With it, proper focus 
E12  14 becomes one less thing to worry about.<p/>
E12  15 <p_>The camera can now focus better and faster than human eyes can, 
E12  16 Kaplan says, so why not go with the flow?<p/>
E12  17 <p_><quote_>"Let's face it: I started wearing glasses seven years 
E12  18 ago - which I hated - but with autofocus, wham, I know it's in 
E12  19 focus,"<quote/> he says. <quote_>"But even if I were in my 20s and 
E12  20 had perfect vision, I'd use autofocus - what a wonderful, quick way 
E12  21 of focusing!"<quote/><p/>
E12  22 <p_>Kaplan made the move to autofocus in 1989, with Nikon's 
E12  23 introduction of the F4S, now his photographic tool of choice. It 
E12  24 was not, however, love at first focus, by any means.<p/>
E12  25 <p_><quote_>"As with any new tool, you first look at it and say, 
E12  26 who needs this?"<quote/> he explains. <quote_>"In the beginning it 
E12  27 used to drive me nuts. But I think that it takes a good year to 
E12  28 learn a piece of new equipment. It's a great tool once you learn it 
E12  29 - but I still don't go anywhere without the instruction 
E12  30 book."<quote/><p/>
E12  31 <p_>'Learn' and 'know' are two very common words in Kaplan's 
E12  32 vocabulary. To him, you're not going to like autofocus if you don't 
E12  33 know how to use it, and you're not going to know how to use it if 
E12  34 you don't take the time and trouble to learn it. <quote_>"I would 
E12  35 like to say that behind every lightmeter there's a photographer. If 
E12  36 you don't know how to use your meter, you won't get the right 
E12  37 exposure. If you focus on something in the background because your 
E12  38 little autofocusing mark was there, you'll get an out-of-focus 
E12  39 picture."<quote/><p/>
E12  40 <p_>Kaplan makes liberal use of the F4S's independent 
E12  41 autofocus-lock button, picking out what he feels is the area of 
E12  42 critical focus and then turning his attention to composition and 
E12  43 exposure. He autofocuses via the shutter release as well, with 
E12  44 action subjects.<p/>
E12  45 <p_>Whether the subject is moving or static, Kaplan says that 
E12  46 autofocusing increases the certainty of getting a sharp photo. For 
E12  47 the photo of the baby polar bear, he notes, the animal was moving 
E12  48 around quickly and, in this particular instance, surfaced suddenly 
E12  49 and couldn't be prefocused. <quote_>"Look, I'm sure it's possible 
E12  50 that I could have focused as fast - maybe. Then again, I don't 
E12  51 know,"<quote/> he says. <quote_>"You just have more certainty with 
E12  52 autofocus."<quote/><p/>
E12  53 <p_>Kaplan agrees the advantages of autofocus may not seem so clear 
E12  54 in static situations - for example, shooting the skyline from the 
E12  55 top of the Brooklyn Bridge with the camera on a tripod. 
E12  56 <quote_>"But then there was a truck going across the Manhattan 
E12  57 Bridge, and the sun was just coming up. I just locked the 
E12  58 auto<?_>-<?/>focus onto the truck, hit the shutter - and I knew it 
E12  59 was in focus. Before, you would take a photo and it would be 
E12  60 slightly out of focus. It would be off by just a smidgen, but on a 
E12  61 20 x 30 or 40 x 60 blowup, you're going to see it."<quote/><p/>
E12  62 <h_><p_>Complaints? He has a few.<p/> <h/>
E12  63 <p_>Kaplan has a gripe or two about autofocus, to be sure, the 
E12  64 major one being hunting (which he calls 'whining,' from the noise 
E12  65 the AF motors make). <quote_>"Yes, it can drive you nuts, as when 
E12  66 you're shooting in a foggy situation and it goes <tf_>wheee 
E12  67 wheee<tf/> and searches. But you switch it over to manual and focus 
E12  68 manually. There are advantages and disadvantages to 
E12  69 everything."<quote/><p/>
E12  70 <p_>Also annoying, he notes, is the situation in which the camera 
E12  71 balks because you're slightly too close. <quote_>"It looks like 
E12  72 it's in focus, but it isn't, and it won't fire. But that doesn't 
E12  73 happen that often."<quote/><p/>
E12  74 <p_>Kaplan says he understands resistance to autofocus or, for that 
E12  75 matter, any new camera technology. <quote_>"We all get used to old 
E12  76 systems. When I first came out of college, I had a handheld meter 
E12  77 and a manual camera - that was the system. I got a Nikon Photomic 
E12  78 head, but I still used the hand meter because I was a 
E12  79 'professional' and professionals didn't use built-in 
E12  80 meters."<quote/><p/>
E12  81 <p_>But learn to use them he did.<p/>
E12  82 <p_>Kaplan's advice? Don't worry about scratching your expensive 
E12  83 camera. <quote_>"That's the main difference between the real pro 
E12  84 and what I call the amateur pro - people who buy a tool and don't 
E12  85 work the hell out of it. Treat it like tool, not like a jewel, and 
E12  86 it will work for you."<quote/><p/>
E12  87 <h_><p_>AUTOFOCUS? NAH!<p/><h/>
E12  88 <p_><tf_>(Somewhere along the line you have probably seen a Joel 
E12  89 Gordon image. A professional for over 20 years, his work spans 
E12  90 advertising, corporate, studio, reportage, and publications, in 
E12  91 both color and black-and-white. With his wife, Elaine Abrams, he 
E12  92 now runs his own stock agency.)<tf/><p/>
E12  93 <p_>Joel Gordon has one autofocus lens, but he doesn't own an 
E12  94 autofocus camera, unless you count the Olympus Infinity Stylus he 
E12  95 uses as a snapshot camera. He has used loaner Nikon F4S's on a 
E12  96 number of occasions, but for his 35mm workhorses, he's stayed with 
E12  97 F2's and F3's and a battery of manual-focus lenses from 16mm to 
E12  98 500mm.<p/>
E12  99 <p_><quote_>"The verdict is not in as far as I'm 
E12 100 concerned,"<quote/> he says. <quote_>"I'm not against autofocus; I 
E12 101 just don't think autofocus is the boon it's been promoted to 
E12 102 be."<quote/><p/>
E12 103 <p_>And what in the world is Gordon doing with a 180mm f/2.8 
E12 104 AF-Nikkor? Manually focusing it, of course. <quote_>"It's lighter 
E12 105 than the old 180,"<quote/> he says.<p/>
E12 106 <p_>One of Gordon's major complaints is a common one, and one heard 
E12 107 from autofocus fans as well, such as Gordon's friend, Peter B. 
E12 108 Kaplan: hunting. <quote_>"The autofocus would sometimes go in and 
E12 109 out - hunt - and that was very annoying,"<quote/> he says.<p/>
E12 110 <p_>Gordon understands all the arguments for autofocus and, in some 
E12 111 instances, agrees with them - a bit. <quote_>"Of course, I think it 
E12 112 has its usefulness, for example when covering a news-oriented event 
E12 113 where things are happening fast,"<quote/> he says.<p/>
E12 114 <p_>Continues Gordon, <quote_>"The other argument for autofocus is 
E12 115 that as you get older (which I am), and as your eyes begin to fail 
E12 116 (which photographers discover happening sooner or later), autofocus 
E12 117 is a great help. I do wear glasses, and I can understand 
E12 118 that."<quote/><p/>
E12 119 <p_>But Gordon says conditions under which manual focusing is 
E12 120 difficult can be difficult for autofocus as well. He adds, 
E12 121 <quote_>"From my experience, I wasn't sure autofocus was always as 
E12 122 sharp as manual. You still make mistakes. With the F4s, you had to 
E12 123 focus right in the center of the frame. I don't always focus right 
E12 124 in the center of the frame or where the autofocusing marks are. The 
E12 125 focusing was sometimes off - a lot of times it was on, very good - 
E12 126 but it was off more times than I really wanted."<quote/> And while 
E12 127 he has high praise for many of the F4S's features, he says the 
E12 128 weight of the camera is a major drawback.<p/>
E12 129 <p_>Gordon readily admits that much of his work doesn't necessarily 
E12 130 call for an autofocus camera. <quote_>"I have a little more time. 
E12 131 The speed element isn't crucial to me. It allows me to make a 
E12 132 determination of my point of focus and my point of view. I like to 
E12 133 make that determination and not have a camera make it for 
E12 134 me."<quote/><p/>
E12 135 <p_>Perhaps typical of Gordon's approach is his shot of the road 
E12 136 painting in Arizona. He tried vertical and horizontal compositions, 
E12 137 than had his wife sit near the top to add a human element. He 
E12 138 composed with the drawing going into the bottom of the frame and, 
E12 139 from experience, focused on a certain line of the drawing to get 
E12 140 hyperfocal depth. He then used depth-of-field preview to check what 
E12 141 aperture he could get away with and still handhold with 50-speed 
E12 142 film.<p/>
E12 143 <h_><p_>Equipment isn't all <p/><h/>
E12 144 <p_>This brings us to the crux of Gordon's argument: that it's the 
E12 145 cook, not the cookware, that's primary.<p/>
E12 146 <p_><quote_>"I've seen demonstrations of auto<?_>-<?/>focus cameras 
E12 147 by three major manufacturers. But what made them was the person 
E12 148 behind the camera. Someone still has to pick up the camera, view, 
E12 149 and compose - that's the key."<quote/><p/>
E12 150 <p_>But can't you do that with an auto<?_>-<?/>focus camera just as 
E12 151 well?<p/>
E12 152 <p_><quote_>"I think that autofocus is a useful tool. I'm just 
E12 153 saying for what I'm doing most of the time it's not a primary need. 
E12 154 I'm not a purist. But I'm a working professional, and the equipment 
E12 155 has to produce for me. I can't afford to have equipment sit in my 
E12 156 safe gathering dust - this is my livelihood."<quote/><p/>
E12 157 <p_>Gordon further argues that sophisticated automation, 
E12 158 paradoxically, may be fine for the expert but not for the beginner. 
E12 159 <quote_>"A photographer should first learn on a manual camera to 
E12 160 learn the principles of photography, and learn to print. <tf|>Then 
E12 161 go to autofocus and automatic cameras. Otherwise, you're just not 
E12 162 learning."<quote/><p/>
E12 163 <p_>Will Gordon eventually switch? <quote_>"I'm not saying I'm 
E12 164 never going to use an autofocus camera because I probably will at 
E12 165 some point, and I'll continue to do testing,"<quote/> he 
E12 166 answers.<p/>
E12 167 <p_><quote_>"But I'll probably still keep my F2's as long as there 
E12 168 are parts for them."<quote/><p/>
E12 169 
E12 170 <h_><p_>flash on camera!<p/>
E12 171 <p_>How to live with the light source you love to hate<p/>
E12 172 <p_>By Robert Salgado<p/><h/>
E12 173 <p_>On-camera flash, by far the most widely used artificial-light 
E12 174 source on the planet, is also the most despised. On the plus side 
E12 175 of the ledger is convenience. Sliding a flash unit into your SLR's 
E12 176 hot shoe or popping up its built-in flash eliminates the need for 
E12 177 dangling connector cords, brackets, or other paraphernalia. You 
E12 178 needn't even acquire the small degree of digital dexterity required 
E12 179 to aim an off-camera flash with one hand while holding the camera 
E12 180 and pressing the shutter release with the other.<p/>
E12 181 <p_>With most recent built-in flashes and state-of-the-art 
E12 182 shoe-mount autoflashes, you also get such benefits as automatic, 
E12 183 through-the-lens (TTL) exposure control and auto fill-in flash. And 
E12 184 today's light, compact, powerful shoe-mounters often provide such 
E12 185 amenities as fractional power settings, multiple autoflash ranges, 
E12 186 zoom heads that tilt and swivel, and second-curtain synch.<p/>
E12 187 <p_>Despite all this admittedly wonderful stuff, on-camera flash 
E12 188 still has a bad reputation among many serious photographers, 
E12 189 because so many flash-on-camera pictures are afflicted with the 
E12 190 notorious 'flash look' - an unappealing combination of pasty white 
E12 191 faces, two-dimensional figures, murky backgrounds, and harsh 
E12 192 shadows.<p/>
E12 193 <p_>The good news is that you needn't resign yourself to any of 
E12 194 this. By implementing the simple, straightforward techniques 
E12 195 described herein, you'll be able to retain all the conveniences of 
E12 196 on-camera flash while achieving pleasant, natural-looking lighting 
E12 197 that enhances your subjects without overpowering them.<p/>
E12 198 <p_>One of the main problems with on-camera flash is that it's so 
E12 199 often used as the sole source of illumination when it doesn't have 
E12 200 to be. Indeed, many auto<?_>-<?/>flash systems encourage this by 
E12 201 automatically setting the camera to the top flash-synch speed 
E12 202 (typically 1/125 sec), then suggesting or selecting a moderate 
E12 203 aperture. This means that any ambient light falling on the subject 
E12 204 may have little effect on the exposure, leading to dark backgrounds 
E12 205 and flatly lit faces. These negative effects are compounded by 
E12 206 shooting straight on, which can add unflattering shadows. As our 
E12 207 before-and-after examples illustrate, using a slower shutter speed 
E12 208 and/or selecting the fill-flash mode can soften these effects 
E12 209 considerably.<p/>
E12 210 <p_>The goal is to achieve a pleasant balance between the existing 
E12 211 light and the flash illumination. You can also soften the effects 
E12 212 by bouncing the light from your shoe-mount flash off a ceiling or 
E12 213 wall, and as you can see in the example on pages 34 and 36, even 
E12 214 with direct flash it's usually possible to alter your shooting 
E12 215 angle to get the shadow to fall behind the subject rather than to 
E12 216 one side.<p/>
E12 217 <p_>Automatic, balanced fill flash is unquestionably the greatest 
E12 218 thing that's happened to on-camera flash since the era of flashbulb.
E12 219 
E12 220 
E13   1 <#FROWN:E13\><h_><p_>Banana Split: Can Beautiful St. Lucia replace 
E13   2 its threatened export with mass tourism and stay beautiful?<p/>
E13   3 <p_>By Nick Taylor and Barbara Nevins<p/><h/>
E13   4 <p_>IT SEEMS LIKE A PLACE WHERE NOTHING could ever go wrong, but 
E13   5 while we were there something did. The winds and seas had shifted, 
E13   6 and bays that under usual conditions are protected were being 
E13   7 pounded by heavy swells. Thatch beach huts had been swept from 
E13   8 their concrete foundations and lay scattered across the sand and 
E13   9 water. Nearby bays had been spared, and the normal round of water 
E13  10 sports - sailboarding, water skiing - continued unabated. But the 
E13  11 warning was not lost. Never take a tropical paradise for 
E13  12 granted.<p/>
E13  13 <p_>We were vacationing with Richie, our 12-year-old, on St. Lucia, 
E13  14 the Windward Island that lies between Martinique and St. Vincent. 
E13  15 It is tempting to call it 'undiscovered,' but that would be 
E13  16 misleading: European travelers know it well enough. Only to 
E13  17 Americans is it less familiar. Still, for now the atmosphere is 
E13  18 unspoiled. Perhaps not for long, St. Lucia is the sort of Caribbean 
E13  19 retreat one dreams about.<p/>
E13  20 <p_>Already, the sirens of duty-free are luring the cruise ships. 
E13  21 The local government is stoking the engines of that juggernaut it 
E13  22 calls Development. It is considering the matter of casinos, too, 
E13  23 and that is not good news.<p/>
E13  24 <p_>It used to be that St. Lucia meant bananas. In a way, it still 
E13  25 does. Driving the scenic 27 miles from Hewanorra International 
E13  26 Airport to Castries, you hug the rough Atlantic coast, curve up 
E13  27 around the fishing village of Dennery, and then turn inland into a 
E13  28 lush tropical forest. And bananas are everywhere: bananas still 
E13  29 ripening, bananas bagged in blue plastic to repel insects. The 
E13  30 plants line the roadsides, flourishing across the wide hills and 
E13  31 valleys.<p/>
E13  32 <p_>Thanks to bananas, St. Lucia has stayed off the beaten tourist 
E13  33 path for a long time. But later this year, when the European 
E13  34 Economic Community merges into a single market, this independent 
E13  35 member of the British Commonwealth may lose its favored trading 
E13  36 status with Great Britain, and the price of its all-important 
E13  37 banana exports could drop by as much as 30 percent. No wonder the 
E13  38 government is promoting tourism. John G.M. Compton, the prime 
E13  39 minister, spoke wisely at the ground-breaking ceremony for a new, 
E13  40 multimillion-dollar port: <quote_>"We are late in this tourism 
E13  41 race. We must therefore offer better value if we are to catch up. 
E13  42 Trying to make a 'quick killing' will be self-defeating and is the 
E13  43 surest recipe for failure. 'Quality, price, and service' must be 
E13  44 our watchword."<quote/><p/>
E13  45 <p_>It remains to be seen whether St. Lucia will learn from the 
E13  46 mistakes made by other island nations. In the meantime, it survives 
E13  47 as a relic of the old Caribbean - charming, somnolent, slightly 
E13  48 inconvenient. Exploring the island is not easy; the roads are in 
E13  49 poor shape and the services by no means abundant. But the locals 
E13  50 are friendly, and the scenery is spectacular. The twin volcanic 
E13  51 peaks known as Les Pitons (Gros, 2,619 feet, and Petit, 2,461 feet) 
E13  52 rival the most dramatic sites of Hawaii. If you sit on the left 
E13  53 side of the plane, you will see them as you fly in to Hewanorra, a 
E13  54 onetime military airfield, which lies on the arid flatlands to the 
E13  55 south. The resorts are where the scenery is, to the north.<p/>
E13  56 <p_>Our discovery of St. Lucia began on that 45-minute drive. In a 
E13  57 typical St. Lucian arrangement, the taxi driver, Henry, had brought 
E13  58 along his son, Jerome. Jerome and Richie hit it off right away, and 
E13  59 Jerome, with a little prompting, began initiating Richie into dub, 
E13  60 the islanders' breathless expositional talking music - part rap, 
E13  61 part reggae, turned up to double speed. While this was going on, 
E13  62 Henry pulled over at the edge of a towering cliff.<p/>
E13  63 <p_><quote|>"Please," he said, with old island courtesy, 
E13  64 <quote_>"look at the view."<quote/> The fishing village below, 
E13  65 lashed by the foaming sea, might have been a spot on Portugal's 
E13  66 breathtaking Algarve coast. Then came those banana groves, where 
E13  67 people on foot and on bicycles were heading home from work and 
E13  68 children stared and giggled at the sight of visitors. We were still 
E13  69 a novelty.<p/>
E13  70 <p_>Dropping us at our hotel, Henry suggested we attend that 
E13  71 evening's street festival in the village of Gros Islet, near the 
E13  72 northern tip of the island. They have one of these every Friday 
E13  73 night, he told us, <quote_>"a real Caribbean party."<quote/> The 
E13  74 locals' name for it is 'jump up,' and though visitors are welcome 
E13  75 it's not staged for the tourists.<p/>
E13  76 <p_>The streets of Gros Islet were crowded with St. Lucians and the 
E13  77 rest of us, many brought by hotel buses. In the balmy night air, 
E13  78 vendors hawked barbecued chicken and beer from their own front 
E13  79 porches. Funky bars (one proudly displaying its license to purvey 
E13  80 'intoxicated liquors') had tables set up right in the street. A 
E13  81 booming sound system transformed the main intersection into a dance 
E13  82 floor. The locals and the tourists moved easily together, like 
E13  83 neighbors at a block party. About 11:30 there was a brownout all 
E13  84 over town. As the lights flickered and went dim, the stars and the 
E13  85 waxing moon came out in full glory against the wispy clouds. The 
E13  86 music continued, more softly now and even more magical.<p/>
E13  87 <p_>St. Lucia, with a population of about 150,000, welcomed just 
E13  88 over 250,600 visitors in 1990, bringing in revenues of $154.8 
E13  89 million. The government is looking for slow, steady growth - in the 
E13  90 range of 4 to 6 percent annually - over the next several years. 
E13  91 Conservative as these projections are, many islanders are concerned 
E13  92 about the changes they see ahead. Most St. Lucians are Catholic, 
E13  93 which reflects the strong French presence in the island's 
E13  94 convoluted history, and the majority are thought to oppose the idea 
E13  95 of casinos. But even if no casino is ever built, the islanders are 
E13  96 having to adjust to sharing their corner of paradise.<p/>
E13  97 <p_>One morning we went walking out along the water by the 
E13  98 luxurious resort Cunard Hotel La Toc. At the end of the beach we 
E13  99 encountered a man in dreadlocks named Peterson Joseph, carving 
E13 100 birds from coconut husks. He told us that St. Lucian men often 
E13 101 transpose their first and last names; he didn't know why. We 
E13 102 enjoyed the chat, and he sold us a bird. A generation ago, such 
E13 103 free-lance craftsmen had few customers for their wares.<p/>
E13 104 <p_>Lisa Sampson, who spends her days promoting the beautiful 
E13 105 rental condos of Windjammer Landing, talks wistfully of her 
E13 106 childhood years of growing up on Labrelotte Bay. The buildings that 
E13 107 now line the beach had not yet been built, and Sampson well recalls 
E13 108 playing in the crystal-clear surf when there was not another soul 
E13 109 for miles around. The water still sparkles, and all the island 
E13 110 beaches are still open to anyone, but solitude may be a thing of 
E13 111 the past.<p/>
E13 112 <p_>Behind such memories, though, lies a turbulent, often violent, 
E13 113 history. The first human beings to discover St. Lucia were the 
E13 114 Arawaks, members of a South American tribe who settled the island 
E13 115 before A.D. 300. Then came the Caribs - cannibals, some sources 
E13 116 claim - who killed the Arawaks off. Columbus may or may not have 
E13 117 weighed anchor on St. Lucy's Day (December 13) in 1502; local 
E13 118 tradition says he did. A hundred years later, some Englishmen 
E13 119 washed ashore and came to grief at the hands of the Caribs; in 1660 
E13 120 the French persuaded the Caribs to enter into a treaty, gaining 
E13 121 control of the island. But not for long. For the next century and a 
E13 122 half, the French and the English made intermittent war over the 
E13 123 island. In 1814 hostilities ceased, with the British in charge.<p/>
E13 124 <p_>The stakes were high: the fine natural harbor and a succession 
E13 125 of lucrative crops - sugarcane, coconuts, cotton, and, finally, the 
E13 126 famous bananas - harvested in the early days by slaves imported 
E13 127 from western Africa, the ancestors of most of the population today. 
E13 128 Before the opening of the Panama Canal, Castries was an important 
E13 129 coaling stop for steamships; keeping pace with the technology of 
E13 130 the times, the city now attracts ships with its large, modern 
E13 131 facilities for storing oil. With the weekly influx of cruise ships 
E13 132 and freighters and frequent sightings of the <tf|>Geestbay, the 
E13 133 slender banana boat that carries St. Lucia's crop to England, the 
E13 134 port harbor bustles much as it did in the 19th century. 
E13 135 Architecturally, though, only a fanciful fa<*_>c-cedille<*/>ade 
E13 136 here and there recalls the grand colonial style. The town has 
E13 137 suffered many fires, and the prevailing building style is drably 
E13 138 modern.<p/>
E13 139 <p_>What lingers and indeed flourishes on St. Lucia is the speech 
E13 140 of the long<?_>-<?/>departed French. Though English is the official 
E13 141 language, what you hear in the marketplace and on the streets is 
E13 142 mainly French patois. And French place-names dot the map 
E13 143 everywhere, from towns like Micoud, Vieux Fort, and 
E13 144 Soufri<*_>e-grave<*/>re to landmarks like Les Pitons and Pointe 
E13 145 Seraphine and coves like Anse la Raye.<p/>
E13 146 <p_>One day we rented an open jeep and set off along the fast, 
E13 147 smooth coast road toward Soufri<*_>e-grave<*/>re, near the 
E13 148 medicinal sulfur springs. As we turned into Marigot Bay, we were 
E13 149 suddenly joined by a young fellow named Robert, who asked for a 
E13 150 ride even as he was leaping onto our bumper. As our self-appointed 
E13 151 guide, he stuck with us all the way to Anse la Raye, at which point 
E13 152 we let him know we preferred to continue on our own.<p/>
E13 153 <p_>Beyond Anse la Raye the road deteriorates and the signs of 
E13 154 poverty multiply. We saw ramshackle houses, rusting vehicles, 
E13 155 people washing laundry in the mountain streams. They waved us off 
E13 156 when Richie aimed his camera, and we wished we hadn't imposed. Two 
E13 157 more young men accosted us, trying to commandeer rides or sell us 
E13 158 trinkets. Some travelers we met reported running into holdups on 
E13 159 the back roads, but although some of the attentions we received 
E13 160 were not wanted, we never felt that we were in actual danger. 
E13 161 Still, if we had it to do over again, we would rent a closed car. 
E13 162 <p/>
E13 163 <p_>Switchback curves and potholes turned the 28-mile drive into a 
E13 164 two-hour ordeal. Poor Richie had the worst of it, levitating above 
E13 165 the backseat as we bounced along. One of his homework assignments 
E13 166 from school was to ask St. Lucians what one thing they would change 
E13 167 on their island. Most of them instantly replied that they would fix 
E13 168 the roads. We felt much the same.<p/>
E13 169 <p_>A far better way to get to the area near 
E13 170 Soufri<*_>e-grave<*/>re is by speedboat, as we discovered later in 
E13 171 the week. In just 40 painless minutes, a fast, 
E13 172 outboard<?_>-<?/>powered launch from Castries Harbor whisked us to 
E13 173 Anse Chastanet, an exquisite small resort, where we went snorkeling 
E13 174 amid the coral, feeding bread to swarming fish in all the colors of 
E13 175 the rainbow.<p/>
E13 176 <p_>And just a few coves away, beyond Soufri<*_>e-grave<*/>re, are 
E13 177 the breathtaking Pitons.<p/>
E13 178 <p_>The two peaks are the remains of a volcanic fault that 
E13 179 geologists in their wisdom classify as inactive but not dormant. 
E13 180 Its subterranean simmerings are responsible for what is billed as 
E13 181 the world's 'only drive-in volcano': a moonscape of bubbling, 
E13 182 belching sulfur springs that feed a steaming river of dark water. 
E13 183 Actually, the road to the springs is closed now; you park at a 
E13 184 nearby gate, buy you a ticket for $1, and see the sights in the 
E13 185 company of a guide.<p/>
E13 186 <p_>Five miles away, similar springs feed Diamond Falls, which 
E13 187 changes color eerily from yellow to black to gray to green several 
E13 188 times a day and spills over the cliffs. Louis XVI had baths 
E13 189 constructed here for the benefit of his French soldiers, and for $2 
E13 190 you can test the curative effects of the waters. (They are said to 
E13 191 work wonders on a hangover.) The surrounding mountains rise to a 
E13 192 dramatic 3,000-plus feet, trapping the clouds that nourish a 
E13 193 luxuriant rain forest, the habitat of the brilliantly plumed St. 
E13 194 Lucia green parrot and many other rare species.<p/>
E13 195 <p_>Reconnoitering by car and boat, we found other signs of efforts 
E13 196 to protect the island's endangered species and sites. Pigeon Island 
E13 197 National Park, on a 44-acre island near the northern tip of St. 
E13 198 Lucia, once a pirates' hideout, is now connected to the main island 
E13 199 by a causeway.
E13 200 
E13 201 
E14   1 <#FROWN:E14\><p_>Fifty years ago, if my mother had put a plate of 
E14   2 vegetables with no meat in front of my father for dinner, he would 
E14   3 have thought she was demented or that we had suffered some 
E14   4 financial disaster he didn't know about. Actually, my husband would 
E14   5 have thought the same thing a few dozen years back. Those were the 
E14   6 meat and potato years: bacon for breakfast, cold meat for lunch, 
E14   7 and a roast for dinner.<p/>
E14   8 <p_>When I was growing up in a small foothill town in Southern 
E14   9 California, it seemed as if there were only about five or six fresh 
E14  10 vegetables in our grocery store: carrots, string beans, cabbage, 
E14  11 lettuce, and corn, and maybe one or two others. Vegetables 
E14  12 certainly played second fiddle in my mother's cooking. I know we 
E14  13 had string beans because I can remember stringing them. And I know 
E14  14 we had carrots, but always raw, because my mother had read in some 
E14  15 government pamphlet that they were better for us that way. My Irish 
E14  16 father considered corn-on-the-cob to be cattle fodder, so our table 
E14  17 never saw an ear of corn. He said almost every other vegetable was 
E14  18 rabbit food.<p/>
E14  19 <p_>Times have changed. The produce departments in supermarkets are 
E14  20 huge, and we have a vast variety of vegetables. Cooks from around 
E14  21 the world have introduced us to tomatillos, gingerroot, chile 
E14  22 peppers, bok choy, and cilantro, to name a few plant foods new to 
E14  23 most of us, and our cooking is far more interesting because of 
E14  24 them.<p/>
E14  25 <p_>All the recipes in this chapter are main supper dishes, and all 
E14  26 of them are vegetable dishes except for a few pasta and rice 
E14  27 recipes. Many of them have been collected over the years from 
E14  28 friends and strangers eager to share a favorite vegetable dish. 
E14  29 Green Chile Pie (see page 135) came from a county fair winner long 
E14  30 ago. Linda Sue's Tomato Stew (see page 138) came from a 
E14  31 photographer who doesn't cook except once in a while when she's 
E14  32 homesick for this dish from her childhood. And Frieda and Elinor's 
E14  33 Onion Pie (see page 133) came from the Swiss Alps by way of an 
E14  34 Idaho housewife.<p/>
E14  35 <h_><p_>Southern Green Beans<p/>
E14  36 <p_>(four servings)<p/><h/>
E14  37 <p_>For the last few years most of us have been following the 
E14  38 recommended way of cooking green beans until <tf|>just tender, 
E14  39 because we believed that long cooking destroyed flavor and 
E14  40 vitamins. But Southern Green Beans with potatoes and a hint of 
E14  41 bacon have a fullness of flavor and depth of character that crunchy 
E14  42 beans don't have. Serve with warm cornbread.<p/>
E14  43 <p_>3 or 4 slices smoky-style bacon, diced<p/>
E14  44 <p_>1 pound green snap beans, washed, ends trimmed, and cut into 
E14  45 1-inch lengths<p/>
E14  46 <p_>Salt and pepper to taste<p/>
E14  47 <p_>1 cup water<p/>
E14  48 <p_>2 scallions, sliced<p/>
E14  49 <p_>2 medium potatoes, peeled and diced<p/>
E14  50 <p_>Heat a Dutch oven or heavy-bottomed pot with a lid. Add the 
E14  51 bacon, and cook over medium-low heat until lightly brown, about 5 
E14  52 minutes. Add the green beans, salt and pepper, and water. Cover and 
E14  53 cook for about 10 minutes over medium-low heat. Add the scallions 
E14  54 and potatoes, stir to mix, cover, and cook for 30 minutes more. 
E14  55 Check once or twice to make sure the liquid hasn't all evaporated. 
E14  56 Serve hot.<p/>
E14  57 <h_><p_>FARMERS' MARKET<p/><h/>
E14  58 <p_>A visit to the farmers' market can be as inspiring and as 
E14  59 uplifting as a trip to Yosemite. If you've never eaten fruit that 
E14  60 has been tree ripened, or cooked vegetables at their peak of 
E14  61 maturity, you can't imagine what you've been missing. Going to the 
E14  62 farmers' market, walking from stand to stand, and talking to 
E14  63 friendly people is a very pleasant experience.<p/>
E14  64 <p_>Supermarkets, with their vast array of foods, are fascinating 
E14  65 and indispensable, but a farmers' market, with fewer foods to buy, 
E14  66 all of them fresh and sold by their growers, is so much more 
E14  67 personal. There's an appreciation at my supper table when the 
E14  68 dishes have been made from the produce of farmers I know.<p/>
E14  69 <p_>Often you'll find people exchanging recipes at the market and 
E14  70 that can be rewarding. I usually return home each week with some 
E14  71 cooking tip or a fresh herb to cook a new way with a favorite 
E14  72 vegetable. Some of the recipes I collected at the farmers' market 
E14  73 are Wirtabel's Melon Chutney (see page 178), Green Peppers and 
E14  74 Cheese (see page 113), and New Red Potatoes with Rosemary (see page 
E14  75 116).<p/>
E14  76 <h_><p_>Red Beans and White Rice<p/>
E14  77 <p_>(six servings)<p/><h/>
E14  78 <p_>Beans and rice are oddly delicious together. You may approach 
E14  79 this Creole dish with low expectations, but once you've tried it, 
E14  80 you'll see why it's a beloved staple in the South. The 
E14  81 nutritionists keep telling us to put more legumes and grains in our 
E14  82 diets, and I can't think of a better way to do that than serving 
E14  83 red beans alongside white rice.<p/>
E14  84 <p_>2 cups (about 1 pound) dried red beans, soaked overnight (see 
E14  85 page 18)<p/>
E14  86 <p_>1 carrot, peeled and diced<p/>
E14  87 <p_>1 large onion, chopped<p/>
E14  88 <p_>1/4 cup chopped celery with leaves<p/>
E14  89 <p_>1 bay leaf<p/>
E14  90 <p_>2 teaspoons Tabasco sauce<p/>
E14  91 <p_>1 pound salt pork, diced<p/>
E14  92 <p_>Salt and pepper to taste<p/>
E14  93 <p_>2 cups steamed long-grain white rice (see page 55)<p/>
E14  94 <p_>Drain and rinse the beans, return them to the pot, and add the 
E14  95 carrot, onion, celery, bay leaf, Tabasco sauce, and salt pork. Add 
E14  96 enough water to cover, bring to a boil, reduce the heat, and simmer 
E14  97 for about 2 hours, or until the beans are tender. Some of the beans 
E14  98 should be mushy. Add more water if necessary, or mash some beans to 
E14  99 thicken. Salt and pepper to taste, being careful not to 
E14 100 over<?_>-<?/>salt. Serve the beans in the same bowl with the rice, 
E14 101 side by side.<p/>
E14 102 <h_><p_>Boston Baked Beans<p/>
E14 103 <p_>(four servings)<p/><h/>
E14 104 <p_>I don't think Bostonians bake their beans overnight in the 
E14 105 ashes of their fireplaces anymore, but Boston baked beans still 
E14 106 need to be long cooked to have that rich, mellow flavor that only 
E14 107 long, slow cooking creates. Once you have quickly assembled the 
E14 108 dish and put the beans in the oven, they don't need you, except to 
E14 109 check up hourly to see if more liquid is needed. This dish can be 
E14 110 made on a Sunday and reheated. Serve with Piccalilli (see page 177) 
E14 111 and Coleslaw (see page 187).<p/>
E14 112 <p_>2 cups Great Northern beans, or small dried white beans, soaked 
E14 113 overnight (see page 18)<p/>
E14 114 <p_>2 teaspoons dry mustard<p/>
E14 115 <p_>3 tablespoons dark brown sugar<p/>
E14 116 <p_>3 tablespoons molasses<p/>
E14 117 <p_>1/4 pound salt pork, cut into 1/2-inch cubes, leaving the 
E14 118 bottom attached to the rind<p/>
E14 119 <p_>Preheat the oven to 325<*_>degree<*/>F.<p/>
E14 120 <p_>Drain the beans, cover with fresh water, and cook until tender, 
E14 121 about 1 hour. Drain, reserving the liquid. Stir together the 
E14 122 mustard, brown sugar, molasses, and 2 cups of the reserved liquid. 
E14 123 Put the salt pork in a 2-quart bean pot or casserole, add the 
E14 124 beans, and then add the molasses mixture. Stir to blend. Cover and 
E14 125 bake for 5 to 6 hours. They are done when soft. Check every hour or 
E14 126 so to make sure the beans don't dry out. Add more of the reserved 
E14 127 liquid, or water, as needed to keep the beans moist. Taste and 
E14 128 correct seasonings. Serve hot.<p/>
E14 129 <h_><p_>Bean Stew with Raw Onions<p/>
E14 130 <p_>(four servings)<p/><h/>
E14 131 <p_>Adding fresh raw onions to this dish just before you serve it 
E14 132 boosts the taste and texture. Make this bean stew and taste it 
E14 133 before and after you add the chopped raw onion: you will be 
E14 134 surprised by the difference.<p/>
E14 135 <p_>1 1/4 cups dried red or pinto beans, soaked overnight (see page 
E14 136 18)<p/>
E14 137 <p_>6 slices bacon<p/>
E14 138 <p_>8 cups water<p/>
E14 139 <p_>1 large onion, chopped (1 cup)<p/>
E14 140 <p_>3 stalks celery, chopped<p/>
E14 141 <p_>1 cup chopped parsley<p/>
E14 142 <p_>1/3 cup yellow cornmeal<p/>
E14 143 <p_>1/8 to 1/4 medium head cabbage, chopped (2 cups)<p/>
E14 144 <p_>1 1/2 teaspoons ground sage<p/>
E14 145 <p_>1 1/2 teaspoons salt<p/>
E14 146 <p_>2 medium onions, chopped (1 1/2 cups)<p/>
E14 147 <p_>Drain the beans. Put aside 1 slice of bacon and dice the rest. 
E14 148 In a large (5-quart) soup pot, put the beans, diced bacon, and 
E14 149 water. Bring to a boil and cook over low heat for 30 minutes.<p/>
E14 150 <p_>In a frying pan, cook the remaining bacon slice until crisp. 
E14 151 Remove from the pan, crumble, and set aside. Add the 1 cup chopped 
E14 152 onion, celery, and parsley to the bacon drippings. 
E14 153 Saut<*_>e-acute<*/> the vegetables over medium heat until soft, 
E14 154 about 5 minutes.<p/>
E14 155 <p_>Add the cornmeal to the beans and bacon in the soup pot, and 
E14 156 stir to mix. Add the saut<*_>e-acute<*/>ed vegetables, cabbage, 
E14 157 sage, and salt, and stir. Cover and cook for 30 more minutes. Just 
E14 158 before serving, stir in the 1 1/2 cups chopped onions or sprinkle 
E14 159 the onions on top of individual servings with the crumbled bacon. 
E14 160 Serve hot.<p/>
E14 161 <h_><p_>Green Peppers and Cheese<p/>
E14 162 <p_>(four servings)<p/><h/>
E14 163 <p_>One Saturday at the farmers' market I was buying some Anaheim 
E14 164 chiles and the woman next to me asked me if I had ever made Peppers 
E14 165 and Cheese. <quote_>"It's so simple,"<quote/> she said. <quote_>"Do 
E14 166 try it!"<quote/> I did, and she was right.<p/>
E14 167 <p_>2 tablespoons olive oil<p/>
E14 168 <p_>8 Anaheim or California chile peppers, split, seeded, and 
E14 169 deveined<p/>
E14 170 <p_>6 ounces Monterey Jack, fontina, or Gouda cheese, sliced<p/>
E14 171 <p_>1 large onion, finely chopped<p/>
E14 172 <p_>2 tablespoons corn oil<p/>
E14 173 <p_>8 tortillas (corn, flour, or whole wheat)<p/>
E14 174 <p_>Fresh cilantro<p/>
E14 175 <p_>Heat the olive oil in a frying pan. Put in the peppers, open 
E14 176 and skin sides down, and flatten them with a spatula as they cook. 
E14 177 Cook over medium heat for about 5 minutes, or until the skins are 
E14 178 blistered and browned. Put 1 slice of cheese and 2 tablespoons of 
E14 179 onion in each pepper. Fold the pepper over the cheese and cook over 
E14 180 low heat 1 minute, then remove from the heat. Warm the tortillas by 
E14 181 putting two at a time in a steamer over boiling water. Leave only 
E14 182 for a few seconds. Remove and keep warm in a covered dish. Put a 
E14 183 filled pepper and a few sprigs or cilantro into each warm tortilla 
E14 184 and fold the tortilla in half. Serve hot.<p/>
E14 185 <h_><p_>Filled Green Peppers<p/>
E14 186 <p_>(four servings)<p/><h/>
E14 187 <p_>In the summertime, all the ingredients for this dish will be at 
E14 188 the farmers' market. The quality of the tomatoes is important, and 
E14 189 for a short time in the summer they will be perfect: sweet, acidic, 
E14 190 firm, juicy, and bright red. This is a very practical dish: the 
E14 191 filled bell pepper halves are easy to pick up and eat cold on a 
E14 192 picnic, yet they are just as good served hot on a plate. Serve a 
E14 193 sharp, creamy cheese, green onions, and whole wheat bagels on the 
E14 194 side.<p/>
E14 195 <p_>4 green bell peppers, halved lengthwise, seeded, and 
E14 196 deveined<p/>
E14 197 <p_>2 tablespoons olive oil<p/>
E14 198 <p_>3 cloves garlic, finely chopped<p/>
E14 199 <p_>1 large onion, chopped<p/>
E14 200 <p_>2 medium tomatoes, peeled and chopped<p/>
E14 201 <p_>1 small eggplant, chopped<p/>
E14 202 <p_>1 tablespoon chopped fresh oregano; or 1 1/2 teaspoons dried 
E14 203 crumbled oregano<p/>
E14 204 <p_>Salt to taste<p/>
E14 205 <p_>Generous amount of pepper<p/>
E14 206 <p_>Fresh basil leaves, for garnish<p/>
E14 207 <p_>Preheat the oven to 350<*_>degree<*/>F. Film a 9 x 13-inch 
E14 208 Pyrex baking dish with olive oil.<p/>
E14 209 <p_>Put the peppers into a pot of salted, boiling water; place a 
E14 210 plate in the pot on top of the peppers to keep them under the 
E14 211 water; and parboil for 4 minutes. Remove and set aside.<p/>
E14 212 <p_>Film a saut<*_>e-acute<*/> pan with the olive oil and heat. Add 
E14 213 the garlic and onion and cook over medium heat for a minute or two, 
E14 214 just to soften. Add the tomatoes, eggplant, oregano, salt, and 
E14 215 pepper. Stir to mix and blend thoroughly. Taste for salt and 
E14 216 correct if necessary. Cover the pan and cook over medium-low heat 
E14 217 for 10 minutes, stirring once or twice. Uncover and cook another 3 
E14 218 minutes, stirring often. Remove from heat.<p/>
E14 219 <p_>Put the pepper halves in the prepared baking dish. Using a 
E14 220 slotted spoon, fill the halves with the tomato/eggplant mixture. 
E14 221 Bake for 20 minutes. Remove and serve hot or cold, with whole, 
E14 222 fresh basil leaves on top.<p/>
E14 223 <h_><p_>Baked Green Peppers with Anchovies, Rice, and Dill<p/>
E14 224 <p_>(four servings)<p/><h/>
E14 225 <p_>Unless you know you love anchovies, this dish may not be for 
E14 226 you. The pepper halves are filled with the brazen flavors of 
E14 227 olives, garlic, lemon, dill, and salty fish.<p/>
E14 228 <p_>4 green bell peppers, cut in half lengthwise, stemmed, seeded, 
E14 229 and deveined<p/>
E14 230 <p_>2-ounce can anchovy fillets, packed in oil<p/>
E14 231 
E14 232 
E15   1 <#FROWN:E15\><h_><p_>Bazaar Bonanza<p/><h/>
E15   2 <p_>Twice a year the 24 members of The Ladies Aid Society of the 
E15   3 First Reformed Church of Pella, Iowa, hold bazaars to help the 
E15   4 church with expensive improvements. Recently they raised $10,000 to 
E15   5 help with the cost of installing an elevator in the church. They 
E15   6 sold crocheted afghans, pieced quilts, knitted slippers, woven rag 
E15   7 rugs ... and hundreds of homemade pies and pressed chicken 
E15   8 sandwiches.<p/>
E15   9 <p_>Agnes Mathes is on the Ways and Means Committee; Rose Duven is 
E15  10 this year's chairman. According to Agnes, the woven rag rugs are 
E15  11 their best sellers. Two members do the weaving, but all get 
E15  12 involved during 'Sewing Days' in tearing the fabric strips for the 
E15  13 weavers (denim strips with blue warp is the favorite). The ladies 
E15  14 also like to piece quilts for dolls, although Agnes tells us that 
E15  15 some customers buy them for their dogs which is okay with her. Her 
E15  16 most popular bazaar contributions are knitted slippers and bed 
E15  17 socks.<p/>
E15  18 <p_>We know that there are thousands of these bazaars in 
E15  19 communities across the country, and we salute all the stitchers who 
E15  20 donate their time and talents!<p/>
E15  21 <p_>And we know that there are a lot of craft fairs where 
E15  22 enterprising crafters secure space and retail their creations for 
E15  23 profit. We think it is a great way to bring attention to the 
E15  24 special quality of handmade items!<p/>
E15  25 <p_>In this issue of <tf_>McCall's Needlework and Crafts<tf/>, 
E15  26 tucked among our collection of patterns, you'll find over 40 
E15  27 projects specially selected to be bazaar best sellers!<p/>
E15  28 <h_><p_>A SMILE & A TOUCH OF HUMOR<p/><h/>
E15  29 <p_>We'd like to introduce you to a new member of our family. She's 
E15  30 a wife and mother, has a sense of humor and a cat, and best of all 
E15  31 she loves to knit, sew, crochet, paint. She's always busy creating 
E15  32 something like someone you know. Her name is Maggie McCall and 
E15  33 she's today's 'crafty' woman!<p/>
E15  34 <p_>You'll find Maggie turning up on our pages every now and then - 
E15  35 just for a smile.<p/>
E15  36 <h_><p_>Fall Colors, Textures and Styles<p/><h/>
E15  37 <p_>There is something for everyone in this season's fashion 
E15  38 forecast:<p/>
E15  39 <p_><*_>black-square<*/>Plaids and patchwork are very popular. 
E15  40 Blues, purples, violets, denim, and tweeds are highlighted with 
E15  41 embroidery details and textures.<p/>
E15  42 <p_><*_>black-square<*/>Big, bold outerwear in buffalo plaids, 
E15  43 blanket patterning and Americana motifs will be musts for your 
E15  44 wardrobe. Look for toggles, frog closures and hoods in desert 
E15  45 tones, and fall colors.<p/>
E15  46 <p_><*_>black-square<*/>Ribs are everywhere. You'll find them in 
E15  47 knitwear, both in body hugging and loose fitting styles. Mohair, 
E15  48 boucl<*_>e-acute<*/>s, soft merino wools, and tweeds in subtle 
E15  49 colors dominate the fashion scene.<p/>
E15  50 <p_><*_>black-square<*/>Browns and grays are important this fall. 
E15  51 Bright colors retain their popularity in activewear. Look for 
E15  52 <foreign|>faux jewels, fake furs, and metallics. We've been paying 
E15  53 close attention to these trends and have selected sweaters and 
E15  54 accessories for our coming issues to fit these styles!<p/>
E15  55 <h_><p_>MR. AND MRS. SANTA BELLS<p/>
E15  56 <p_>shown on page 45<p/>
E15  57 <p_>SIZE: Each, 2 3/4".<p/><h/>
E15  58 <h|>MATERIALS
E15  59 <p_>Plum Fun Wood Products 2 3/4" wood bells with rings, two. 
E15  60 DecoArt Americana acrylic paints: flesh tone, gooseberry (medium 
E15  61 rose), brandy wine (burgundy), slate gray, white wash, black, and 
E15  62 leaf green. Deco-Art Snow-Tex white textured paint and extender. 
E15  63 Paintbrushes: No. 2 round and old, small brush. Krylon spray 
E15  64 varnish. Fine-tip permanent black marker. Fine sandpaper. 
E15  65 Toothpicks.<p/>
E15  66 <h|>BELLS
E15  67 <p_><tf|>PREPARATION: Sand bells lightly. Basecoat the Santa bell 
E15  68 with two coats of brandy wine and the Mrs. Santa bell with two 
E15  69 coats of gooseberry; let dry.<p/>
E15  70 <p_>Refer to Fig. 1 and use a pencil to lightly draw grid lines and 
E15  71 pattern outlines on each bell. Continue hat, hair and clothing 
E15  72 pattern lines around the back of the bell.<p/>
E15  73 <p_><tf|>PAINTING: Basecoat faces with flesh tone. Mix a small 
E15  74 amount of extender with gooseberry, dip finger in mixture, and pat 
E15  75 on each face for cheeks; let dry.<p/>
E15  76 <p_><tf|>Santa: Basecoat the hat with two coats of gooseberry. 
E15  77 Refer to the photo and paint the berries on the hat with brandy 
E15  78 wine and the leaves with leaf green.<p/>
E15  79 <p_>Using an old brush, dab Snow-Tex on bell ring to make the hat 
E15  80 tassel; clear ring hole with a toothpick. Applying small amounts of 
E15  81 Snow-Tex at a time, carefully fill in beard, then moustache using 
E15  82 the paintbrush and the nose using a toothpick. Let dry overnight. 
E15  83 Paint over all Snow-Tex areas except nose with slate gray and let 
E15  84 dry. Paint over gray with white wash, letting areas of gray show 
E15  85 through for shading.<p/>
E15  86 <p_>Paint the nose with flesh and blush the tip with thinned 
E15  87 gooseberry. Paint eyes using the wood end of the paintbrush. Using 
E15  88 white wash, paint the eyebrows, hair on forehead, and add highlight 
E15  89 dots to the nose, cheeks, eyes, and berries.<p/>
E15  90 <p_><tf_>Mrs. Santa:<tf/> Applying two coats of each color, 
E15  91 basecoat the collar with brandy wine and the apron with white 
E15  92 wash.<p/>
E15  93 <p_>Using an old brush, dab Snow-Tex over bell ring and hair; clear 
E15  94 ring hole with toothpick. Apply Snow-Tex to nose with a toothpick. 
E15  95 Let dry overnight. Paint over hair with slate gray and let dry. 
E15  96 Paint over gray with white wash, letting areas of gray show through 
E15  97 for shading.<p/>
E15  98 <p_>Paint the berries on the hair with brandy wine and the leaves 
E15  99 with leaf green.<p/>
E15 100 <p_>Paint the mouth with gooseberry and the nose with flesh, 
E15 101 blushing the tip with thinned gooseberry. Paint eyes using the wood 
E15 102 end of the paintbrush. Using white wash, paint the eyebrows and 
E15 103 collar buttons, and add highlight dots to the mouth, cheeks, nose, 
E15 104 eyes, and berries.<p/>
E15 105 <p_><tf|>Finishing: Use the fine-tip permanent marking pen to ink 
E15 106 outlines and pattern details; let dry.<p/>
E15 107 <p_>Spray lightly with varnish.<*_>black-square<*/><p/>
E15 108 
E15 109 <h_><p_>PERFORATED PAPER HOLIDAY EARRINGS<p/>
E15 110 <p_>shown on pages 44-45<p/>
E15 111 <p_>SIZE: Approximately 1"-1 1/2" high x 1" wide.<p/><h/>
E15 112 <h|>MATERIALS
E15 113 <p_><tf_>For all:<tf/> Perforated paper, twelve 2" squares each 
E15 114 white for stitching and gold for backing. DMC six-strand embroidery 
E15 115 floss, one 8-meter skein each color listed in Color Key. Kreinik 
E15 116 Fine #8 Braid, one 10-m. (11-yd.) spool gold #002HL. Six pairs of 
E15 117 earwires or French ear clips, silver.<p/>
E15 118 <h|>EARRINGS
E15 119 <p_>Draw intersecting lines across each chart to mark the center. 
E15 120 Measure across paper and mark its center. Matching centers of paper 
E15 121 and chart, cross-stitch each design twice on white perforated paper 
E15 122 squares. Use the stab-stitching method and three strands floss or 
E15 123 one strand braid.<p/>
E15 124 <p_><tf|>Assembly: Using craft knife, cut out each motif one square 
E15 125 beyond last row of stitching, leaving extra squares in tight 
E15 126 corners. Layer gold squares and white shapes wrong sides facing. 
E15 127 Use three strands floss or one strand braid to backstitch front and 
E15 128 back together following backstitching lines. Backstitch 
E15 129 jack-o-lanterns and snowmen with black, ornaments with gold braid, 
E15 130 hearts with dark mauve, shamrocks with dark emerald green, and 
E15 131 Easter eggs with dark violet. Weave thread ends between the two 
E15 132 layers. Attach jewelry findings to top or back as 
E15 133 desired.<*_>black-square<*/><p/>
E15 134 
E15 135 <h_><p_>Through The Editor's Eyes<p/><h/>
E15 136 <p_>What do you want to be when you grow up? Some of us as 
E15 137 youngsters changed our minds daily, while others seemed to be 
E15 138 predestined to follow a path from the beginning. Little did I know 
E15 139 that my lifelong love affair with crafts would lead me to become 
E15 140 the new editor of McCall's Needlework and Crafts. Raised by a 
E15 141 seamstress and a jack-of-all-trades, and instructed in the 
E15 142 needlearts by nuns in primary school, I developed a love for all 
E15 143 forms of creative crafts from early childhood. Some of you may 
E15 144 recognize my name from my years of freelance work with many 
E15 145 publications and from my knitting books. <quote_>"What is your 
E15 146 favorite craft?"<quote/>, you ask. Although I have been 
E15 147 concentrating primarily on knitting, crochet and cross-stitch for 
E15 148 sanity's sake, I also love to quilt, sew, stencil, do woodworking 
E15 149 and stained glass, needlepoint and crewel - well, basically all 
E15 150 sorts of crafts. And therefore, like many of you, I am interested 
E15 151 in a magazine which provides me with projects of quality, style and 
E15 152 variety.<p/>
E15 153 <p_>As the editor at McCall's Needlework and Crafts, I select 
E15 154 patterns from other established, as well as new, designers with the 
E15 155 right style and appeal for you, the readers. Having been on the 
E15 156 'other side of the fence' as a designer, I know how patterns should 
E15 157 be written, which materials are best suited, and what types of 
E15 158 projects are of interest. In order for a design to be selected, 
E15 159 several criteria must be met, and the following questions must be 
E15 160 answered:<p/>
E15 161 <p_><*_>black-square<*/>How does a design concept meet our 
E15 162 standards?: Quality, where all details have been attended to, where 
E15 163 colors, materials, and styles have been carefully selected for your 
E15 164 inspiration.<p/>
E15 165 <p_><*_>black-square<*/>How do we keep you coming back for more, 
E15 166 issue after issue?: Originality, always searching for new 
E15 167 techniques, new stitch combinations, new products, while keeping 
E15 168 abreast of the trends and your interests.<p/>
E15 169 <p_><*_>black-square<*/>How do we meet the need of several crafters 
E15 170 with different interests?: Variety, a medley of projects, carefully 
E15 171 balancing knitting, crocheting, cross-stitch, and quilting, along 
E15 172 with a dash of some other interesting crafts (see page 78 for 
E15 173 fabric painting!).<p/>
E15 174 <p_>I know you invest more than your time and talents in your 
E15 175 projects. The patterns featured will always reflect a detailed 
E15 176 attention to our standards, and only those good enough to be of 
E15 177 interest to you will find their way into the pages of McCall's 
E15 178 Needlework and Crafts. After all, the most important person here at 
E15 179 McCall's is you, the reader.<p/>
E15 180 
E15 181 <h_><p_>A Chat With The Cover Girl<p/>
E15 182 <p_>By Annemarie Lawson<p/><h/>
E15 183 <p_>Take note of the model gracing this issue's cover. Nicole 
E15 184 Bobek, at the age of fourteen, is one of the top ten female skaters 
E15 185 in the United States! In 1991, Nicole placed first in both the 
E15 186 Vienna Cup and Olympic Festival, and placed eighth in the National 
E15 187 Senior Competition. She is currently a member of the United States 
E15 188 Figure Skating Association and is competing to be named to the USA 
E15 189 Olympic Team. I met Nicole after her appearance along with other 
E15 190 National Competitors <}_><-|>as<+|>at<}/> the 
E15 191 <}_><-|>Rockefellar<+|>Rockefeller<}/> Center ice rink in New York 
E15 192 City.<p/>
E15 193 <p_>Nicole has been an athlete from infancy. Her mother took Nicole 
E15 194 to swimming lessons and gymnastic classes before she was one year 
E15 195 old. She started skating at three and showed so much promise that 
E15 196 her parents relocated to Colorado Springs from Chicago so that 
E15 197 Nicole could attend the Olympic Training Center.<p/>
E15 198 <p_>Nicole has a daily routine in which every minute counts. Her 
E15 199 schedule includes five periods of high school classes, four hours 
E15 200 of rigorous form training, an academic session with her private 
E15 201 tutor, then back to the ice for skating practice.<p/>
E15 202 <p_>Like many teens, Nicole relaxes by calling friends, shopping, 
E15 203 and reading. She also manages to find time to be creative. 
E15 204 <quote_>"Recently I've beaded a lot of necklaces and 
E15 205 earrings,"<quote/> she told us. <quote_>"Before that I was 
E15 206 decorating jeans and tee-shirts with rhinestones and fabric 
E15 207 paint."<quote/> Nicole is also proud of her stained glass. She 
E15 208 learned the technique from her Grandpa George. What's her favorite 
E15 209 motif? <quote_>"Ice skates, of course!"<quote/><p/>
E15 210 <p_>On the fashion front, Nicole can usually be seen in sweaters. 
E15 211 <quote_>"I prefer a close fit and shorter length for 
E15 212 practicing,"<quote/> she explained. <quote_>"You need to see the 
E15 213 movement of the body in competition. Ribbed knits and turtlenecks 
E15 214 are great because it's so cold on the ice!"<quote/> Stripes and 
E15 215 checks are her favored designs, along with plaids. Nicole is also 
E15 216 an avid hat collector.<p/>
E15 217 <p_>The next National Competition is in early January 1992. The 
E15 218 winner will compete in the winter '92 Olympics in France. We'll be 
E15 219 watching for you, Nicole!<p/>
E15 220 
E15 221 <p_>April showers bring May flowers ... as we share with you some 
E15 222 of our own colorful projects. A flower basket quilt to brighten 
E15 223 your bedroom, mother/daughter sweater sets to prance in on these 
E15 224 sunny spring days, a delicately stitched baby birth announcement 
E15 225 for that special newborn, plus some rabbits and Easter eggs for the 
E15 226 holiday season ... lots more wonderful springtime ideas to inspire 
E15 227 the creative person in you!<p/>
E15 228 
E15 229 <h_><p_>PAINTED BABY QUILT<p/>
E15 230 <p_>shown on page 78<p/>
E15 231 <p_>SIZE: 32" x 44".<p/><h/>
E15 232 <h|>MATERIALS
E15 233 <p_>Broadcloth 44" wide: yellow, 1 1/2 yards (includes backing); 
E15 234 white, 3/4 yard; royal blue, 1/2 yard. Duncan Scribbles Matchables 
E15 235 matte fabric paint, one 1-oz. (30-ml) bottle each: lemon yellow, 
E15 236 bright blue, bright yellow, apricot, bright orange, light pink, 
E15 237 lipstick pink, light turquoise, deep turquoise, and bright red.
E15 238 
E16   1 <#FROWN:E16\><h_><p_>AVIATION<p/>
E16   2 <p_>30 SECONDS OVER TOKYO<p/>
E16   3 <p_>50th anniversary of the most famous air raid in history<p/>
E16   4 <p_>BY WILLIAM GARVEY<p/><h/>
E16   5 <p_><*_>bullet<*/>It's hard to imagine now, but not all that long 
E16   6 ago the United States was left bleeding and humiliated by an 
E16   7 attacker who, confident he'd paralyzed his victim, went on to grab 
E16   8 everything within reach. It was January 1942, and what had been the 
E16   9 engines of the country's pride and power in the Pacific, its 
E16  10 Asiatic fleet, was a collection of sunken hulls and twisted 
E16  11 superstructures leaking fuel oil and sailors' blood into Pearl 
E16  12 Harbor's once-azure water.<p/>
E16  13 <p_>In the month that had passed since the Day of Infamy put the U. 
E16  14 S. Navy out of action, the Japanese forces rampaged across the 
E16  15 Pacific. Every day the news got worse. We needed a victory bad.<p/>
E16  16 <p_>Almost from the moment he learned of the unprovoked surprise 
E16  17 attack on the Hawaiian Islands, President Franklin D. Roosevelt 
E16  18 demanded that his military leaders strike back. Specifically, he 
E16  19 wanted American airplanes to bomb the Japanese home islands - to 
E16  20 put it right in their face. And he wanted those bombs to fall 
E16  21 soon.<p/>
E16  22 <p_>The problem was that there was no apparent way to comply. There 
E16  23 were no bombers based anywhere near striking distance of Japan, and 
E16  24 moving one of the Navy's precious carriers close enough to conduct 
E16  25 such a mission with naval aircraft would make it vulnerable to 
E16  26 overwhelming retaliation.<p/>
E16  27 <p_>But then an unlikely 4-striper came up with an audacious idea. 
E16  28 Capt. Francis Low, a submariner, suggested a strike with long-range 
E16  29 Army bombers launched from a Navy flat<?_>-<?/>top operating well 
E16  30 away from the Japanese coast. The idea caught fire in Washington - 
E16  31 theoretically it would work. And the best man to put the theory 
E16  32 into flight was the balding, middle-aged lieutenant colonel right 
E16  33 down the hall.<p/>
E16  34 <p_>Years before the outbreak of war, James H. Doolittle had 
E16  35 already secured his place in the Hall of Aviation Immortals. A 
E16  36 'daredevil' pilot who actually calculated all risks very carefully 
E16  37 - he held a Ph. D. in aeronautical science from MIT - Doolittle had 
E16  38 set transcontinental speed records, won a brace of races, performed 
E16  39 the first outside loop and conducted the first 'blind' flight on 
E16  40 instruments. As the war clouds gathered, he returned to active duty 
E16  41 and was stationed in Washington, D.C., when the carrier-borne 
E16  42 bomber idea was broached. Doolittle was told to help find the right 
E16  43 bomber.<p/>
E16  44 <p_>The rough criteria for the aircraft: It had to be able to 
E16  45 operate from an exceedingly confined space and take off in less 
E16  46 than 500 ft. while hauling a ton of bombs and enough fuel to fly 
E16  47 2000 miles. Only one airplane in the inventory fit the bill: the 
E16  48 new North American B-25 Mitchell medium bomber. And it would 
E16  49 require modifications. Doolittle requested and got the nod to 
E16  50 honcho what was officially the 'Special Project,' and things 
E16  51 started happening very quickly.<p/>
E16  52 <p_>Two dozen B-25s were fitted with specially designed rubber 
E16  53 tanks inserted in the bomb bay and above. Also, some aircraft were 
E16  54 fitted with automatic cameras. Meanwhile, crews assigned to the 
E16  55 17th Bombardment Group - among the most experienced B-25 airmen in 
E16  56 the service - were told that volunteers were needed for an 
E16  57 important, dangerous mission. They all wanted in. Those chosen were 
E16  58 sent to Eglin Field in Florida for special training. Richard Cole, 
E16  59 one of the copilots selected, remembers the speculation that went 
E16  60 on every night about the upcoming mission. They all knew it would 
E16  61 involve flying off a carrier. After all, a Navy instructor had been 
E16  62 assigned to them for that task. But why and where?<p/>
E16  63 <p_>It was during this phase of training for short-field takeoffs 
E16  64 that Cole's pilot became ill and had to drop out. To prevent theirs 
E16  65 from becoming one of the project's reserve aircraft, the crew 
E16  66 appealed to the operations officer. He replied, <quote_>"The old 
E16  67 man's coming in this afternoon. He'll fly with you and if 
E16  68 everything goes right, you've got yourself a pilot."<quote/><p/>
E16  69 <p_>Cole says he and his three other crewmen were ecstatic for the 
E16  70 chance to stay in the mission, <quote_>"but we had no idea who the 
E16  71 old man was."<quote/> On March 3, they and the rest of the men 
E16  72 gathered at Eglin found out.<p/>
E16  73 <p_><quote_>"My name's Doolittle,"<quote/> the one-time collegiate 
E16  74 fighter told the assembly. <quote_>"I've been put in charge of the 
E16  75 project that you men have volunteered for. It's a tough one, and it 
E16  76 will be the most dangerous thing any of you have ever 
E16  77 done."<quote/> He told them of the importance and urgency of 
E16  78 training that lay ahead, but withheld the name of their 
E16  79 destination. Secrecy, he explained, was of critical importance.<p/>
E16  80 <p_>As the pilots refined their short-field takeoff technique, 
E16  81 modifications proceeded on the aircraft. Doolittle ordered the 
E16  82 bottom gun turret removed (the mission would be so low-level the 
E16  83 only enemy planes below them would be sitting on the ground) and 
E16  84 replaced with a 60-gallon fuel tank. De-icing boots were installed, 
E16  85 as well as anti-ice for the props. Liaison radios were removed and 
E16  86 phony twin .50s (they were broomsticks painted black, actually) 
E16  87 were installed in the tail to make enemy fighters think twice about 
E16  88 attacking from the rear.<p/>
E16  89 <p_>The B-25s were normally equipped with the super<?_>-<?/>secret, 
E16  90 high-altitude Norden bombsight, which lost its effectiveness below 
E16  91 4000ft. Since bomb release on this mission was planned for 1500 
E16  92 ft., the Norden sight was replaced with a rudimentary sighting 
E16  93 device composed of two pieces of aluminum that Eglin technicians 
E16  94 fashioned specifically for the mission. Whereas the Norden cost 
E16  95 more than $10,000, the value of the Eglin sight was estimated at 20 
E16  96 cents. Each.<p/>
E16  97 <p_>Although Doolittle was in charge, he had not yet been assigned 
E16  98 to lead the actual strike, something he was burning to do. So with 
E16  99 crew training well underway, he flew to Washington and put the 
E16 100 request directly to Gen. Henry 'Hap' Arnold, chief of staff for the 
E16 101 Army Air Forces.<p/>
E16 102 <p_>Then 45, Doolittle was thought to be too old for combat and, 
E16 103 besides, he was too valuable an aide. Arnold had no intention of 
E16 104 granting the request. But Doolittle persisted until the general 
E16 105 reluctantly agreed - with the stipulation that Doolittle must also 
E16 106 get the okay from Gen. Millard Harmon, Arnold's chief of staff.<p/>
E16 107 <p_>Doolittle smelled a rat. Exiting Arnold's office he raced down 
E16 108 the hall to Harmon's desk and told the surprised general that 
E16 109 Arnold said he could lead the raid if Harmon agreed. <quote_>"Sure, 
E16 110 Jim,"<quote/> he responded. <quote_>"Whatever is all right with Hap 
E16 111 is all right with me."<quote/> Doolittle left. Just outside the 
E16 112 office he heard Harmon's intercom come to life and then heard 
E16 113 Harmon say, <quote_>"But Hap, I just gave him my 
E16 114 permission."<quote/> The quick-footed colonel then high-tailed it 
E16 115 back to Florida and waited for Arnold to yank his chain. But he 
E16 116 never did.<p/>
E16 117 <p_>On April 2, the carrier <tf|>Hornet steamed out of San 
E16 118 Francisco Bay with 16 Mitchell bombers tied down on its deck. 
E16 119 Still, only a handful of men knew their true purpose and 
E16 120 destination. That afternoon as the <tf|>Hornet sped west into the 
E16 121 open Pacific, the ship's loudspeaker suddenly blared the stupendous 
E16 122 news: <quote_>"This force is bound for Tokyo."<quote/><p/>
E16 123 <p_>Richard Cole remembers the moment, <quote_>"Cheers went up 
E16 124 everywhere. Everyone was happy."<quote/> America was punching 
E16 125 back.<p/>
E16 126 <p_>The plan of action called for the <tf|>Hornet and the seven 
E16 127 cruisers and destroyers accompanying it to rendezvous with Adm. 
E16 128 William F. Halsey's 8-ship group in mid-Pacific, forming Task Force 
E16 129 16. The armada would then steam to within 400 miles of Tokyo, 
E16 130 launch Doolittle's raiders and run full-speed back home. After 
E16 131 dropping 32,000 pounds of ordnance on Tokyo, Yokohama, Nagoya, 
E16 132 Osaka and Kobe, the bombers were to continue west to airfields 
E16 133 located in sections of mainland China still un<?_>-<?/>occupied by 
E16 134 the Japanese. They were to land, refuel and fly farther inland to 
E16 135 Chungking and await further orders. The bombing was to occur at 
E16 136 night, and landings were to take place at dawn. Total flight 
E16 137 distance was approximately 2000 miles.<p/>
E16 138 <p_>It didn't quite work out that way. On the morning of April 18, 
E16 139 Navy lookouts spotted a Japanese fishing boat which they soon 
E16 140 realized was really a radio-equipped sentry. Even though they were 
E16 141 still more than 200 miles short of their intended launch point, 
E16 142 Halsey knew the whole task force was in jeopardy of attack. He 
E16 143 flashed a signal to the <tf|>Hornet: <quote_>"Launch planes. To 
E16 144 Col. Doolittle and gallant command, good luck and God bless 
E16 145 you."<quote/><p/>
E16 146 <p_>Suddenly the <tf_>Hornet<tf/>'s Klaxons sounded and 
E16 147 loudspeakers shouted, <quote_>"Army pilots, man your 
E16 148 planes!"<quote/> Eighty pilots, bombardiers, navigators and gunners 
E16 149 scrambled topside. Richard Cole and his crew were on deck in a 
E16 150 flash. <quote_>"I wanted to make sure I was there before him 
E16 151 [Doolittle],"<quote/> he says. Tiedowns were ripped down and chocks 
E16 152 pulled as the <tf|>Hornet turned directly into a howling wind. The 
E16 153 weather was foul with rain squalls, low clouds and 30-ft. seas.<p/>
E16 154 <p_>After confirming that his bombs were armed, Doolittle climbed 
E16 155 aboard. His was the lead plane, of course. He brought his two 
E16 156 Wright R-2600s to life, checked the instruments and eyed the 
E16 157 flagman on the deck ahead. At 31,000 pounds, his plane was 2000 
E16 158 pounds over its maximum. He had only 460 ft. of runway, and he had 
E16 159 never flown off a carrier before. None of his men had either.<p/>
E16 160 <p_>Checklist complete, Doolittle gave a thumbs-up to the flagman, 
E16 161 who signaled back to advance throttles. Then, just as the 
E16 162 fore<?_>-<?/>deck began moving up from a swell, the signal officer 
E16 163 knelt and pointed his checkered flag at the bow. Go! Doolittle 
E16 164 released the brakes. Its big props screaming, the B-25 began to 
E16 165 lumber forward. Every eye on the ship moved with it. As the 
E16 166 aircraft passed the <tf_>Hornet<tf/>'s island, Doolittle hauled 
E16 167 back on the yoke and the nose wheel came up. Moments later the 
E16 168 mains broke free. He was airborne with 100 ft. to spare. The rest 
E16 169 of the Mitchells followed, with the last one airborne at 9:20 am, 
E16 170 exactly 1 hour after Doolittle.<p/>
E16 171 <p_>Inbound to Japan, the bombers stayed low, about 200 to 300 ft. 
E16 172 above sea level, and slow, under 200 mph, to conserve fuel. Several 
E16 173 spotted enemy planes, but apparently they were undetected because 
E16 174 none were attacked. Doolittle and Cole were the first to make 
E16 175 land<?_>-<?/>fall, which they estimated was 80 miles north of 
E16 176 Tokyo. Doolittle banked toward the capital city. Cole remembers it 
E16 177 being a sunny, hazy day with low clouds.<p/>
E16 178 <p_>Reaching the outskirts of Tokyo, Doolittle climbed to 1200 ft., 
E16 179 lined up on his target (an industrial area) and opened the bomb-bay 
E16 180 doors. There were no heroic shouts, no stirring words - Doolittle 
E16 181 was a by-the-numbers guy - when at 12:30 pm, four 500-pound 
E16 182 incendiary bombs fell from his airplane and rained fire and 
E16 183 destruction right in the middle of Tokyo, the emperor's home town. 
E16 184 Other raiders soon joined in, dropping their incendiaries and iron 
E16 185 bombs on oil refineries, steelworks, docks, factories, an 
E16 186 electrical powerplant and tank farms. The Japanese were caught 
E16 187 completely off guard and had no chance to mount a true defense 
E16 188 against these raiders who suddenly seemed to be everywhere, having 
E16 189 come without warning from nowhere.<p/>
E16 190 <p_>Once an aircraft had dropped its four bombs, it immediately 
E16 191 descended back to treetop level to avoid ground fire and detection 
E16 192 from above. While there happened to be enemy aircraft over Tokyo at 
E16 193 the time and anti-aircraft fire was sometimes dense, every one of 
E16 194 the B-25s escaped serious damage and made it safely to the China 
E16 195 Sea. And as a bonus, they picked up a 25-mph tail wind.<p/>
E16 196 <p_>At this point, however, the raiders' luck began to run out. As 
E16 197 they approached the Chinese coast, the weather turned stormy. By 
E16 198 nightfall, their tanks were running dry, they were on solid 
E16 199 instruments and searching desperately for the homing beacons of 
E16 200 their destination airfields. They had no way of knowing there were 
E16 201 no beacons. Thanks to a combination of American caution, blunder 
E16 202 and plain bad luck, the Chinese didn't know about the raid.<p/>
E16 203 <p_>And so, after 13 hours aloft, out of fuel and with no safe way 
E16 204 down, 11 of the pilots told their crews to abandon ship and hope 
E16 205 for the best. Joe Manske, the engineer-gunner on the No. 5 
E16 206 aircraft, remembers that jump as <quote_>"terrifying, the worst 
E16 207 experience I've ever had in my life."<quote/>
E16 208 
E17   1 <#FROWN:E17\><h_><p_>Do-it-Yourself Playhouse<p/>
E17   2 <p_>Thrill your kids with this two-weekend project.<p/>
E17   3 <p_>By Ken Collier<p/><h/>
E17   4 <p_>As the handyman in my family, I must confess that there are a 
E17   5 lot of jobs I'm not crazy about: the drain that needs unclogging, 
E17   6 the squeaky floor that I've struggled with for months, the 
E17   7 perennial battle of the bulging gutters. You've probably got your 
E17   8 own list. Satisfying though these jobs can be when you finish them, 
E17   9 no one - not even the most hard-core among us - would call them 
E17  10 fun.<p/>
E17  11 <p_>But here's one that's different, a project that's pure delight 
E17  12 - the icing on the handyman cake. The work is easy, and absolutely 
E17  13 nothing beats the feeling you'll get from watching kids having a 
E17  14 blast in the playhouse you've made.<p/>
E17  15 <p_>I designed this playhouse with the busy parent (like me!) in 
E17  16 mind, so it can be built as quickly as possible. Two beginners 
E17  17 could put it together in a couple of weekends, including the 
E17  18 painting, and an experienced do-it-yourselfer could build it alone 
E17  19 in about the same time. It's a no-worry type of project, too, with 
E17  20 few chances to screw up, and without much need for precision - a 
E17  21 perfect project for beginning or seasoned do-it-yourselfers 
E17  22 alike.<p/>
E17  23 <h_><p_>SKILLS (AND $$) YOU NEED TO BUILD IT<p/><h/>
E17  24 <p_><quote_>"No experience required"<quote/> could be the motto for 
E17  25 this playhouse. You need to be able to use a circular saw and a 
E17  26 jigsaw to build it, but the cuts are simple enough (and the project 
E17  27 forgiving enough) that even if you've never picked up one of those 
E17  28 tools before, you could learn while you work. If you are just 
E17  29 starting out, you could read 'Need Help Cutting Plywood?' (Feb. 
E17  30 '90, p. 31) and 'Using Your Circular Saw Like a Pro' ('Using 
E17  31 Tools,' June '89, p. 20).<p/>
E17  32 <p_>Besides a jigsaw and a circular saw, you'll need an electric 
E17  33 drill with a Phillips head bit for driving screws, a chalk line, 
E17  34 level, carpenter's square (the big one that's about 2 ft. long) and 
E17  35 a stepladder. A power sander is helpful but not essential.<p/>
E17  36 <p_>This is a great opportunity to get kids involved in the 
E17  37 building, too, especially during the assembly of the walls - the 
E17  38 nails are small, accuracy isn't particularly important, and you're 
E17  39 working flat on the ground. And what kid wouldn't want to help 
E17  40 paint? Otherwise, if you have another adult to lend an occasional 
E17  41 hand, you'll do fine working alone.<p/>
E17  42 <p_>The materials for our playhouse cost $350. You may be able to 
E17  43 knock about $50 off by using plywood with the grooves farther 
E17  44 apart, but it won't look quite as realistic.<p/>
E17  45 <h_><p_>SAVE WORK BY CUTTING MANY PARTS AT THE SAME TIME<p/><h/>
E17  46 <p_>Get out your saw, don your safety glasses, and dive right in by 
E17  47 cutting the parts of the playhouse to size (Photo 1). When you're 
E17  48 cutting the treated lumber, wear a mask so you don't breathe in the 
E17  49 dust. You can cut all the parts A through L now, but wait until 
E17  50 later to cut M and the remaining pieces.<p/>
E17  51 <p_>To save time and prevent mistakes, cut the lumber to length on 
E17  52 top of sawhorses, where you can cut several pieces at once ('gang 
E17  53 cutting,' carpenters call it). This is especially useful in cutting 
E17  54 the floor boards (E). Mark the angled ends of part C with a 
E17  55 protractor (even your child's school model is fine), or use an 
E17  56 angle-cutting guide for your circular saw.<p/>
E17  57 <p_>The plywood is easier to cut on the ground (Photo 1), using a 
E17  58 piece or two of lumber to raise it up. Use a chalk line to mark the 
E17  59 cutting lines. Cut straight, but don't worry if the edge isn't 
E17  60 perfect; every cut edge will be hidden in the finished playhouse. 
E17  61 You'll notice that the edges of the plywood aren't square; they 
E17  62 have a little lip on them so one sheet fits into the adjacent one. 
E17  63 For this project, don't worry about that joint; just cut the 
E17  64 plywood as shown in Fig. A and everything will fit.<p/>
E17  65 <h_><p_>THERE'S NO FOUNDATION, BUT YOU DO NEED A LEVEL SITE<p/><h/>
E17  66 <p_>A playhouse doesn't have to last forever, so forget about 
E17  67 concrete blocks, mortar and a complicated foundation - build your 
E17  68 playhouse right on the ground.<p/>
E17  69 <p_>You need a fairly level spot, about 6ft. on a side. Use one of 
E17  70 your boards (like part D) and a level to check the slope, and dig 
E17  71 and pack the soil to level it out. Your spot doesn't have to be 
E17  72 perfect; it's easy to slip a few scraps of treated wood under the 
E17  73 corners of the finished house to get it level (Photo 5).<p/>
E17  74 <h_><p_>ASSEMBLE THE FRONT AND BACK TO MAKE PREFAB PANELS<p/><h/>
E17  75 <p_>Now the fun begins - nailing parts together. The first step is 
E17  76 to assemble the front and back walls, one at a time. Lay out on the 
E17  77 ground the three 2x4s (A and B) that support the end wall. Place 
E17  78 the plywood parts G and H on top of the 2x4s, and make sure that 
E17  79 the edges of the plywood fit together. Then nail the plywood to the 
E17  80 2x4s, measuring in from the edge to find the location of part B, 
E17  81 which is not centered (Photo 2). If you have trouble hitting part B 
E17  82 with the nails, here's a tip: Snap a chalk line across the face of 
E17  83 the plywood to mark where the middle of the 2x4 is, then nail on 
E17  84 the line. When you're done nailing, screw part C on from the inside 
E17  85 of the wall (Photo 3).<p/>
E17  86 <p_>After you've completed one wall, lay out the other one 
E17  87 carefully to avoid a very easy, and absolutely maddening mistake - 
E17  88 making both walls the same. They need to be mirror images, a front 
E17  89 and a back, rather than identical. So measure for part B from the 
E17  90 left on one wall and the right on the other; otherwise the house 
E17  91 won't go together right. I can't even count the number of times 
E17  92 I've made this little blunder.<p/>
E17  93 <h_><p_>ATTACH THE SIDES TO MAKE A LITTLE THREE-SIDED BOX<p/><h/>
E17  94 <p_>Whistle for your helper or your Cub Scout assistants, because 
E17  95 now's the time to raise up the front and back walls and connect 
E17  96 them (Photo 4). Prop one wall up on your level spot and screw the 
E17  97 floor joists on (D), making sure they're square to the wall. Then 
E17  98 screw the other wall to the joists, then nail on the plywood for 
E17  99 one side (parts J and K). Nail on part K on the other side, but 
E17 100 leave off the larger piece of plywood (J) on that side, so you can 
E17 101 get inside the house to work. (Remember, there's no door yet!)<p/>
E17 102 <p_>This is a good time to put blocks or shims under the corners of 
E17 103 the house to get it plumb and level (Photo 5), because it's only 
E17 104 going to get heavier from now on.<p/>
E17 105 <h_><p_>A SOLID FLOOR TO TAKE THE TRAFFIC<p/><h/>
E17 106 <p_>The floor on this house is built sturdily, like a miniature 
E17 107 deck. The first step is to attach the two small support blocks (N). 
E17 108 If you have trouble with them splitting, use a smaller nail or 
E17 109 drill pilot holes and screw them on.<p/>
E17 110 <p_>Lay the full-length floor boards on top of the joists, then 
E17 111 measure and cut the shorter ones that fit around the upright 2x4s 
E17 112 of the walls. When all the floor boards fit well, nail them on 
E17 113 (Photo 6).<p/>
E17 114 <h_><p_>A ROOF THAT'S MORE LIKE A BOAT<p/><h/>
E17 115 <p_>Now for the roof, and a weird roof it is - no shingles, no tar 
E17 116 paper, and no rafters. It's actually built more like an upside-down 
E17 117 boat, with ribs (part M) and a hull of thin plywood strips (L). But 
E17 118 it works, it's fast, and it's perfect for a playhouse.<p/>
E17 119 <p_>Begin by nailing on the 'ribs' (M). Hold the board in position, 
E17 120 mark the board for length, cut it, and nail it in place (Photo 7). 
E17 121 This is easiest to do with a helper, but if your helper's off 
E17 122 playing, hold the other end of the board with the 'bent-nail' trick 
E17 123 (see 'Working Alone,' Jan. '92, p. 62).<p/>
E17 124 <p_>Now attach the lowest strip of plywood, lining it up so it 
E17 125 overhangs part C by an inch, and nailing only at the ends. When you 
E17 126 lay the next sheet on top of it, line up the upper edge of that 
E17 127 sheet with a rib (M), and then nail through both pieces of plywood 
E17 128 where they overlap. Be sure the nails go into a rib. Snapping a 
E17 129 chalk line across the plywood will help you know where to nail.<p/>
E17 130 <p_>The ends of the plywood pieces may not line up perfectly, but 
E17 131 that's something you can fix. Just snap a chalk line and trim the 
E17 132 pieces with your jigsaw. While you've got the ladder out, run some 
E17 133 acrylic caulk into the joint where the plywood pieces meet at the 
E17 134 very top (the 'ridge') of the roof, just to help keep the rain 
E17 135 out.<p/>
E17 136 <h_><p_>THE DOOR AND WINDOWS ARE SIMPLY HOLES CUT IN THE 
E17 137 WALLS<p/><h/>
E17 138 <p_>Take a step back now, get a cup of coffee, and admire your work 
E17 139 for a few minutes. You don't want to rush into this next step - 
E17 140 cutting the openings for doors and windows.<p/>
E17 141 <p_>Start with the door. From the inside of the playhouse, drive a 
E17 142 nail through the plywood at the corners of the door opening, flush 
E17 143 with the floor and the 2x4 uprights. From the outside, wrap your 
E17 144 chalk line around the protruding nails to mark where the door 
E17 145 opening is to be cut. Pull the nails, drill a 1/4-in. hole at each 
E17 146 nail hole, and saw out the door opening with your jigsaw and a 
E17 147 fine-tooth blade (Photo 9). Clean up the edges with a rasp or 
E17 148 sander.<p/>
E17 149 <p_>Once the door is cut, nail on the last piece of plywood (J). 
E17 150 Cutting the windows is easy; simply mark the openings in pencil on 
E17 151 the outside, and cut them out. We made three windows: one in front 
E17 152 and one on each side.<p/>
E17 153 <h_><p_>ADD SOME PIZAZZ: GINGERBREAD TRIM<p/><h/>
E17 154 <p_>Carpentry is like life - sometimes you need to follow a strict 
E17 155 plan and sometimes you need to go with the flow. Adding trim to 
E17 156 your playhouse is a time for the latter. Rather than slavishly 
E17 157 following a cutting list, you'll get better results if you hold 
E17 158 each piece of trim in place, mark it, and cut it to fit. If you 
E17 159 miss the mark and cut a piece too short, either use it somewhere 
E17 160 else (I always cut the longest pieces first whenever possible), or 
E17 161 fill the gap later with caulk.<p/>
E17 162 <p_>Start with the vertical 1x4 corner boards (P) on the sides of 
E17 163 the house. Then do the front corner boards, then the horizontal 
E17 164 boards and the vertical piece around the door (Photo 10). Build the 
E17 165 little caps for the tops of the window opening, nailing part U onto 
E17 166 part T, then cut the other window trim. With a jigsaw and drill, 
E17 167 cut the decorative roof trim (V), give it a test fit, then sand it 
E17 168 smooth.<p/>
E17 169 <p_>Tack all the trim pieces in place with just a couple of nails 
E17 170 and don't drive the nails all the way in, because you'll want to 
E17 171 remove all the trim for painting. It sounds crazy, I know, but it's 
E17 172 a heck of a lot easier than painting the trim once it's on the 
E17 173 playhouse.<p/>
E17 174 <p_>Don't worry if there isn't a 2x4 to nail into in some places; 
E17 175 screw the trim on from the inside wherever necessary.<p/>
E17 176 <h_><p_>FINISHING TOUCHES: PAINTING<p/><h/>
E17 177 <p_>I know you're probably dying to start painting now, but try to 
E17 178 hold your horses for a minute. You should round off, using a rasp 
E17 179 and sandpaper, any sharp edges and corners that kids might hurt 
E17 180 themselves on. Pay particular attention to the roof corners and the 
E17 181 edges around the windows and doors. Furthermore, treated wood is 
E17 182 often somewhat damp, so give it a few days of good drying weather 
E17 183 before you paint.<p/>
E17 184 <p_>Now you can paint (hooray!). Remove all the trim and paint it 
E17 185 separately. Paint the roof before the sides, so you won't drip (or 
E17 186 bump into) the wet paint. A roller with an extension handle will 
E17 187 make those flat surfaces go quickly.
E17 188 
E17 189 
E18   1 <#FROWN:E18\><h_><p_>THE PRESS AND THE PENTAGON: OLD BATTLES, NEW 
E18   2 SKIRMISHES<p/>
E18   3 <p_>By Loren B. Thompson<p/><h/>
E18   4 <p_>IN THE AFTERMATH of the recent Middle East war, many 
E18   5 journalists complained that government-imposed restrictions on 
E18   6 their activities had prevented adequate coverage of the conflict. 
E18   7 While this view appears to have little support within the 
E18   8 government or among the public, it nonetheless renews a controversy 
E18   9 that has persisted throughout most of U.S. history about the proper 
E18  10 role of journalists in wartime. Historical antecedents help us 
E18  11 understand the current debate and the absence of a perfect solution 
E18  12 to the dilemma of war coverage. The Desert Storm experience 
E18  13 demonstrates that friction between the military and the media in 
E18  14 wartime is probably inevitable.<p/>
E18  15 <h_><p_>Early Antecedents<p/><h/>
E18  16 <p_>The Framers of our constitution probably gave little thought to 
E18  17 how an unfettered press might operate in wartime. The experience of 
E18  18 the American Revolution provided little basis for believing that if 
E18  19 the press acted as an <quote_>"expeditious messenger of 
E18  20 intelligence"<quote/> (to quote <tf_>The Federalist No. 84<tf/>), 
E18  21 this could compromise important national objectives. News of the 
E18  22 battles at Lexington and Concord in 1775 was not reported in the 
E18  23 New York and Philadelphia papers until a week afterward, and some 
E18  24 southern papers printed accounts more than a month later. The 
E18  25 prevailing means of gathering and disseminating news largely 
E18  26 precluded the transmission of information that could be of tactical 
E18  27 use to British commanders.<p/>
E18  28 <p_>By providing the press with expansive freedom in the 
E18  29 Constitution, the Framers created a potential for the dilemma that 
E18  30 would confront the republic in all its future conflicts. Because 
E18  31 success in battle depends on deceiving and confusing an adversary, 
E18  32 on throwing him off guard and achieving surprise, the military 
E18  33 imperative to maintain secrecy and the journalistic imperative to 
E18  34 convey truth will always be in tension.<p/>
E18  35 <p_>The need to reconcile these contending goals did not become 
E18  36 apparent until the Civil War. During the early nineteenth century, 
E18  37 the advent of railroad and telegraph networks greatly accelerated 
E18  38 the pace at which news could be transmitted. Meanwhile, the 
E18  39 emergence of rival daily newspapers in most large cities fostered a 
E18  40 competitive spirit that placed a premium on publishing the news as 
E18  41 quickly as possible. As long as the nation was at peace, these 
E18  42 developments posed no challenge to the preservation of democracy. 
E18  43 Once the Civil War began in 1861, though, all that changed.<p/>
E18  44 <p_>The North alone sent 500 journalists to cover the war, and they 
E18  45 generated a constant flow of information about military 
E18  46 engagements, troop movements, and the like. Some of this 
E18  47 information was useful to the enemy. Robert E. Lee regularly read 
E18  48 northern papers to gain insight into Union war plans. Generals 
E18  49 Grant and Sherman were so upset by the propensity of reporters to 
E18  50 disclose their plans that both considered resigning.<p/>
E18  51 <p_>At the front, many journalists engaged in questionable 
E18  52 practices. Sources were bribed. Accounts of battles were 
E18  53 fabricated. News was slanted to curry favor with commanding 
E18  54 generals or support papers' editorial preferences. A few generals, 
E18  55 such as Halleck and Sherman, were so offended by the behavior of 
E18  56 correspondents that they treated them as little better than spies. 
E18  57 Other Union commanders, such as Grant, Rosecrans, and Sheridan, 
E18  58 picked favorites whom they accorded preferential treatment. General 
E18  59 McClellan openly cultivated reporters in the hope of advancing his 
E18  60 presidential ambitions.<p/>
E18  61 <p_>The Lincoln administration failed to establish consistent 
E18  62 policies for war coverage. Some members of the administration 
E18  63 favored draconian restrictions: Secretary of War Edwin M. Stanton, 
E18  64 for example, banned reporters from the front, arrested editors, and 
E18  65 closed papers for violating censorship rules. On one occasion, he 
E18  66 even ordered that a reporter from the <tf_>New York Tribune<tf/> be 
E18  67 shot for refusing to hand over a dispatch. (He wasn't.) But other 
E18  68 members of the administration favored a more lenient approach, 
E18  69 arguing that the support of the press was essential to the war 
E18  70 effort. In the absence of a clear policy defining what could and 
E18  71 could not be reported, journalists were never sure whether their 
E18  72 dispatches would be transmitted over the federally controlled 
E18  73 telegraph lines. Some military censors were quite lax in their 
E18  74 interpretation of what constituted sensitive information, while 
E18  75 others suppressed dispatches that contained even a hint of 
E18  76 criticism of the course of battle.<p/>
E18  77 <p_>Despite capricious censorship, suspicious commanders who tried 
E18  78 to exclude journalists from the front, and the costs of reporting a 
E18  79 multifront war, journalists showed great enterprise and courage in 
E18  80 reporting the war. As a result, the volume of timely war coverage 
E18  81 available to the average citizen was without precedent. The Civil 
E18  82 War thus established a new standard for wartime journalism that 
E18  83 would influence the reporting of all future conflicts.<p/>
E18  84 <h_><p_>The Twentieth Century<p/><h/>
E18  85 <p_>The issues concerning war coverage that came to the fore during 
E18  86 the Civil War have reappeared in twentieth-century conflicts. What 
E18  87 is the proper role of a journalist in wartime? What obligation does 
E18  88 the government have to support that role? What limits should there 
E18  89 be on the government's right to censor dispatches from the front? 
E18  90 How should censorship be administered? What sanctions should be 
E18  91 imposed on journalists who violate the rules? A quick review shows 
E18  92 how these questions were answered differently at different 
E18  93 times.<p/>
E18  94 <p_>In the aftermath of the brief Spanish-American War (in which 
E18  95 press/military relations were generally friendly), the United 
E18  96 States faced a nationalist insurgency in the newly annexed 
E18  97 Philippine Islands. The U.S. military imposed strict censorship on 
E18  98 all dispatches and proceeded to wage a brutal counterinsurgency 
E18  99 campaign. When reporters complained that censorship was being used 
E18 100 to conceal the true nature of the campaign, the U.S. Army commander 
E18 101 in the Philippines accused them of <quote_>"conspiracy against the 
E18 102 government"<quote/> and threatened court-martial proceedings, 
E18 103 arguing that critical reporting in the U.S. press was undercutting 
E18 104 their efforts and hurting morale.<p/>
E18 105 <p_>These exchanges led to a deterioration in relations between the 
E18 106 military and the press that had an impact on how reporters were 
E18 107 treated in 1917 when the United States entered World War I. Many 
E18 108 soldiers who had been junior officers during the Filipino 
E18 109 insurrection held senior commands, and they were determined that 
E18 110 the press would not again be allowed to undermine a war effort. 
E18 111 Heavy censorship was imposed on all correspondents accredited to 
E18 112 the American Expeditionary Force in Europe, and the Army initially 
E18 113 tried to limit the number of journalists to a mere 31 reporters. 
E18 114 This restriction was gradually eroded by visits of hundreds of 
E18 115 nonaccredited correspondents to the front, but no loosening of 
E18 116 censorship occurred: military censors were so severe that they even 
E18 117 deleted items from expense accounts. Unlike British and French 
E18 118 journalists, though, U.S. correspondents at the front did not have 
E18 119 to be accompanied by military escorts. As long as they submitted 
E18 120 their dispatches for censorship, they were free to come and go as 
E18 121 they wished and could even follow troops into combat.<p/>
E18 122 <p_>Similar practices prevailed in World War II, but a significant 
E18 123 change occurred in the attitude of both journalists and soldiers 
E18 124 concerning war coverage. Confronted with a global struggle, the 
E18 125 Roosevelt administration sought to enlist journalists in the war 
E18 126 effort. The vast majority of journalists accepted this role, and as 
E18 127 a result it was possible to carry out censorship on a voluntary 
E18 128 basis. The need to win was so widely accepted that few of the 2,600 
E18 129 correspondents accredited by the Navy and War Departments to cover 
E18 130 the conflict had any desire to circumvent review of their copy.<p/>
E18 131 <p_>The vast scale of World War II was matched by the journalistic 
E18 132 effort to cover it. Newspaper and wire reporters were joined at the 
E18 133 front by representatives of radio, newsreels, and mass-circulation 
E18 134 newsweeklies. The need to manage hordes of journalists in battle 
E18 135 zones led to an important innovation: the media pool. By selecting 
E18 136 a small number of reporters to represent all correspondents in a 
E18 137 theater of operation, it was possible to cover major events such as 
E18 138 the Normandy landings without impeding the campaign. Media pools 
E18 139 facilitated war coverage, although they reduced the opportunities 
E18 140 for individual scoops since pool reports were given to all 
E18 141 accredited correspondents.<p/>
E18 142 <p_>The sense of shared purpose that permeated military/media 
E18 143 relations during World War II dissipated rapidly in the Korean War. 
E18 144 U.S. involvement in this conflict was controversial, and there was 
E18 145 much debate about how the war should be prosecuted. The U.S. 
E18 146 commander in Korea, General Douglas MacArthur, initially employed a 
E18 147 voluntary system of censorship such as that used in World War II, 
E18 148 but after numerous disagreements between officers and journalists, 
E18 149 both sides agreed that a more formal approach was needed. The 
E18 150 system put in place resulted in two or three copy reviews at 
E18 151 various command levels. Dispatches were often delayed or 
E18 152 excessively censored. The resentments this engendered were 
E18 153 exacerbated by a belief among military officers that negative 
E18 154 reporting was hurting the war effort. Thus, even after censorship 
E18 155 procedures were simplified, enmity between soldiers and journalists 
E18 156 persisted.<p/>
E18 157 <p_>The Korean conflict was a preview of what was to occur in 
E18 158 Vietnam a generation later. Like Korea, Vietnam was a limited war 
E18 159 that provoked much opposition at home. Unlike Korea, the enemy in 
E18 160 Vietnam seldom revealed itself, battle lines were ill-defined, and 
E18 161 most engagements occurred between small units in the jungle. This 
E18 162 made the war difficult to prosecute and difficult to report. In the 
E18 163 early years, the Kennedy administration sought to conceal the 
E18 164 extent of U.S. involvement from the press and the public. President 
E18 165 Johnson reversed this policy in the course of escalating the U.S. 
E18 166 presence, attempting as Roosevelt had in World War II to enlist the 
E18 167 media in the drive for victory. Despite skepticism about the war by 
E18 168 some reporters in Vietnam, most media organizations supported the 
E18 169 war, at least initially.<p/>
E18 170 <p_>However, as the war dragged on, coverage became increasingly 
E18 171 critical, culminating in a firestorm of negative reporting during 
E18 172 the 1968 Tet Offensive. Although it was a major defeat for the Viet 
E18 173 Cong, the Johnson administration's optimistic assessments before 
E18 174 the offensive had led many observers to believe that the communists 
E18 175 were incapable of mounting such an ambitious effort. The resulting 
E18 176 'credibility gap' drove Johnson from office and led to a virtual 
E18 177 collapse in military/media relations.<p/>
E18 178 <p_>In addition to the character of the war itself, coverage of 
E18 179 Vietnam was different from that of previous conflicts in two 
E18 180 important respects. One was the presence of television, which 
E18 181 imparted an immediacy and realism to war reporting that had never 
E18 182 been seen before. Analysts are divided as to what impact this had 
E18 183 on the public, but many military officers believe to this day that 
E18 184 graphic war footage on nightly newscasts severely undermined 
E18 185 support for the war. A second distinctive feature was the unusual 
E18 186 latitude journalists had in reporting the war. Under a system of 
E18 187 voluntary restraint worked out by Barry Zorthian, the senior press 
E18 188 officer at the U.S. mission in Saigon, reporters were free to roam 
E18 189 the country unescorted and report whatever they saw as long as they 
E18 190 did not disclose militarily sensitive information. As a method of 
E18 191 preserving secrecy, the system worked very well, but it allowed 
E18 192 correspondents to present extremely negative assessments of U.S. 
E18 193 military performance, and many did.<p/>
E18 194 <p_>The recriminations surrounding the U.S. defeat in Vietnam set 
E18 195 the mood for subsequent military/media relations. This became 
E18 196 evident during the 1983 invasion of Grenada, a relatively minor 
E18 197 military operation that nonetheless provoked widespread complaints 
E18 198 about interference with war coverage. Journalists attempting to 
E18 199 reach the island were excluded until two days after the invasion 
E18 200 had begun, and then only small groups under military escort were 
E18 201 allowed in for three more days. Reporters already on the island 
E18 202 were prevented from filing stories. The restrictions on coverage 
E18 203 were not lifted fully until after fighting had ceased. Pentagon 
E18 204 officials claimed these steps were necessary to ensure the success 
E18 205 of the operation and to protect the lives of both soldiers and 
E18 206 reporters, but some journalists alleged the restrictions were also 
E18 207 used to conceal deficiencies in military performance.<p/>
E18 208 <p_>In the wake of Grenada, the Defense Department convened a panel 
E18 209 headed by Major General Winant Sidle to consider how military/media 
E18 210 relations could be better conducted in future conflicts. The panel 
E18 211 recommended that public affairs preparations should be included in 
E18 212 the planning for future military operations and should stress the 
E18 213 principle of voluntary compliance with security guidelines.
E18 214 
E18 215 
E18 216 
E18 217 
E18 218 
E19   1 <FROWN:E19\><h_><p_>Pretty and Practical<p/>
E19   2 <p_>Porches<p/>
E19   3 <p_>BY SANDRA S. SORIA<p/>
E19   4 <p_>Sure, a couple of rusty lawn chairs and a cement slab will do- 
E19   5 but why not turn your warm-weather sitting spot into an especially 
E19   6 beckoning retreat. To do it, simply take comfort cues from the 
E19   7 inside of your home. This potpourri of porches will show you 
E19   8 how.<p/><h/>
E19   9 <p_>By swapping a bank of storm windows for a checkerboard of 
E19  10 glass, the Fleischmans turned their underused porch near Boston 
E19  11 into a three-season temptation. As a bonus return on the 
E19  12 investment, the porch looks as good from the street as it does from 
E19  13 the wicker. For porch appeal:<p/>
E19  14 <p_><tf_>Do a background check.<tf/> Don't need a wall of glass? 
E19  15 Consider small decorating strokes that make a big impact. Here, 
E19  16 glossy white paint showcases aged pieces. The Fleischmans used 
E19  17 durable deck paint on the floor, then personalized it with 
E19  18 stenciled blooms.<p/>
E19  19 <p_><tf_>Furnish with flair.<tf/> Not just for has-been furniture, 
E19  20 this porch is stocked with a fine bureau, hooked rug, napping sofa, 
E19  21 and paint-revived wicker - all the comforts of inside the home.<p/>
E19  22 <p_>Once their back stoop started to crumble, this Boston-area 
E19  23 family decided the time was right to expand the off-the-kitchen 
E19  24 steps into a nostalgic time-out spot. A 12x15-foot lineup of planks 
E19  25 lays the platform for easy living, while the classic balustrade 
E19  26 adds architechtural punch. To power up your patio:<p/>
E19  27 <p_><tf_>Do the white thing.<tf/> Again, white paint sets a 
E19  28 sparkling stage that show-cases the open-air players, from great 
E19  29 greenery to star seating.<p/>
E19  30 <p_><tf_>Pump up some iron.<tf/> As sophisticated as a tuxedo, a 
E19  31 new coat of black paint and pinstriped cushioning prepares 
E19  32 30-year-old garden furniture for another round of gaiety. Don't 
E19  33 have old pieces to recycle? Consider investing in never-say-die 
E19  34 classic iron.<p/>
E19  35 <p_>Shelly and Janet Rosenberg wanted to relax in a porchlike 
E19  36 setting year-round, so they enclosed a bit of their New Jersey 
E19  37 backyard with an inviting greenhouse addition. Light-filtering 
E19  38 solar shades create a crisp canopy that can roll up to reveal the 
E19  39 sky. To give any light<?_>-<?/>filled space relaxing porch 
E19  40 appeal:<p/>
E19  41 <p_><tf_>Stay neutral.<tf/> Calming hues don't upstage the 
E19  42 outdoors; they let the eye glide by. Invite in the view with shades 
E19  43 or blinds that are there when you need them, vanish when you 
E19  44 don't.<p/>
E19  45 <p_><tf_>Rely on natural beauty.<tf/> Wicker instantly evokes a 
E19  46 casual, outdoor mood. Fill in with sun-baked accents: a worn rug, 
E19  47 an airy birdhouse, and, of course, fresh fruit and flowers.<p/>
E19  48 <p_>When a shingled addition turned the back of their St. Louis 
E19  49 home into an L, the Engelbreits found an ideal niche for an 
E19  50 old-fashioned galley porch. The 20x12-foot getaway is only steps 
E19  51 away from the kitchen, making it an ever-beckoning spot for 
E19  52 alfresco dining or after-work relaxing. To give a new porch vintage 
E19  53 flair:<p/>
E19  54 <p_><tf_>Cozy with color.<tf/> Deep, rich colors, such as this dark 
E19  55 green wood floor and black wicker, foster intimacy. Brights and 
E19  56 whites leaven the deep hues.<p/>
E19  57 <p_><tf_>Toss it on; mix it up.<tf/> Set off against the 
E19  58 black-painted wicker, a bright fabric medley gives the sense that 
E19  59 this porch has evolved over time. Common colors link the varied 
E19  60 fabrics.<p/>
E19  61 <p_><tf_>Look back.<tf/> Simple pleasures - a swinging hammock and 
E19  62 vintage birdhouse - instantly evoke times gone by.<p/>
E19  63 
E19  64 <h_><p_>OUTDOOR LIVING Family Style<p/>
E19  65 <p_><quote_>"Our backyard is an extension of our house. We eat, 
E19  66 play, and work here. It's a family garden."<quote/><p/><h/>
E19  67 <p_>Grown-up pleasures and childhood delights blend harmoniously in 
E19  68 Nancy and Doug Abbey's spacious San Francisco backyard. Granting 
E19  69 warm-weather wishes of every member of the family, their yard sets 
E19  70 a dramatic summertime stage for hours of wholesome gardening, fun, 
E19  71 and relaxation.<p/>
E19  72 <p_>The stylish living that Nancy and Doug enjoy indoors doesn't 
E19  73 stop at their back door, even though they share their yard with a 
E19  74 couple of young adventurers, 2-year-old Katherine and her 
E19  75 4-year-old brother, Robert. Luxurious landscaping for them, 
E19  76 however, requires a design that's <quote_>"both pretty <tf|>and 
E19  77 practical,"<quote/> says Nancy.<p/>
E19  78 <p_>To keep the dogs from running through the rose beds and the 
E19  79 kids from tossing balls into the hors d'oeuvres, the Abbeys' 
E19  80 backyard is divided into special sections: a lawn for croquet and 
E19  81 tumbling, a brick patio for entertaining, a formal vegetable 
E19  82 garden, and a play area. Separated by perennial borders to 
E19  83 discourage shortcutting, these areas are defined by grade changes 
E19  84 in the sloping property.<p/>
E19  85 <p_>The slope initially posed the most vexing challenge. 
E19  86 <quote_>"All we had was a scrubby lawn and a sloping bank,"<quote/> 
E19  87 says Nancy. <quote_>"The elm tree obstructed the view from the 
E19  88 house and shaded everything."<quote/><p/>
E19  89 <p_>Wanting to preserve some, but not all, of their shade, the 
E19  90 Abbeys saved the elm, but pruned it so that the tree now acts as a 
E19  91 lacy canopy above the patio and lets sunshine into the yard in the 
E19  92 winter. <quote_>"I envision a tree house in it one of these 
E19  93 days,"<quote/> says Nancy.<p/>
E19  94 <p_>Opening up the back of their yard to sunlight allows the family 
E19  95 to grow vegetables. The garden is a fun learning ground for 
E19  96 Katherine and Robert, but the play area is their favorite place to 
E19  97 spend afternoons. Complete with a playhouse and sandbox, the play 
E19  98 area is close enough to the patio for supervision, yet far enough 
E19  99 away so that the children feel as if they're in their own little 
E19 100 world.<p/>
E19 101 <p_>Whether they're chasing butterflies or plucking blooms, sitting 
E19 102 in the shade or gliding down the slide, all in the Abbey family now 
E19 103 have their own private outdoor world to retreat to.<p/>
E19 104 
E19 105 <h_><p_>SQUEEZING A SPA INTO A TINY YARD<p/><h/>
E19 106 <p_>A side-yard terrace, featuring a deck, spa, privacy screen, and 
E19 107 storage area gives this Portland, Oregon, home a much-needed focal 
E19 108 point for outdoor living. Because their backyard abuts a busy 
E19 109 street, the owners located their family retreat in a narrow, but 
E19 110 quieter, space between the drive<?_>-<?/>way and the side entry of 
E19 111 their house.<p/>
E19 112 <p_>Before the remodeling, the side yard was exposed to neighbors. 
E19 113 <quote_>"This tiny yard had a lot of problems,"<quote/> says 
E19 114 landscape architect John Herbst. <quote_>"We needed to design a 
E19 115 private space that was shielded from street noise where the owners 
E19 116 could entertain friends and have room left over to store all their 
E19 117 outdoor equipment."<quote/><p/>
E19 118 <p_>A new storage shed, built to conceal the driveway from the 
E19 119 house, forms one wall of the new courtyard. Privacy screening, with 
E19 120 glass inserts at one corner, closes the gap between the shed and 
E19 121 the house, offering views of the yard.<p/>
E19 122 <p_>A jog in the screen creates a small alcove for the spa, which 
E19 123 is sunken into a raised deck and connected to the house with a 
E19 124 narrow boardwalk. <quote_>"When we designed this backyard, we had 
E19 125 to employ as many space-saving ideas as possible,"<quote/> says 
E19 126 John. <quote_>"For example, we built a deep ledge on the back side 
E19 127 of the spa so the spa cover could be stored out of the way when the 
E19 128 spa was in use."<quote/><p/>
E19 129 <p_>Framed with brick pavers for colorful accents, exposed 
E19 130 aggregate squares form a durable and attractive patio surface. 
E19 131 <quote_>"We didn't want a boring, all-aggregate patio, so we added 
E19 132 a geometric pattern of brick pavers for color and 
E19 133 interest,"<quote/> says John.<p/>
E19 134 
E19 135 <h_><p_>Old-fashioned Comforts<p/>
E19 136 <p_>By Jane Austin McKeon<p/><h/>
E19 137 <p_>In the good old summertime, Marilyn Cornell enjoys the simple 
E19 138 luxuries of her San Diego backyard. Marylin's old<?_>-<?/>fashioned 
E19 139 oasis suits her vintage house and offers open-air pleasures that 
E19 140 are both affordable and fun.<p/><h/>
E19 141 <p_>Timeworn was the best word to describe the home Marylin 
E19 142 purchased several years ago. She renovated the 100-year-old house, 
E19 143 then began sprucing up the long-neglected 50x50-foot 
E19 144 back<?_>-<?/>yard. <quote_>"The weeds were waist-high,"<quote/> she 
E19 145 recalls. A chain-link fence and a small concrete stoop off the back 
E19 146 door were the only outdoor 'improvements' the previous owners had 
E19 147 made.<p/>
E19 148 <p_>To preserve the architectural integrity of the house, Marilyn 
E19 149 hired a professional landscape designer to suggest some appropriate 
E19 150 changes for her yard. Her one stipulation: New structures must 
E19 151 blend with the old. <quote_>"Rather than add a conventional 
E19 152 deck"<quote/> says Marilyn, <quote_>"I decided an 
E19 153 old<?_>-<?/>fashioned veranda would blend better with the style of 
E19 154 the house."<quote/><p/>
E19 155 <p_>A curving brick patio carries the porch's traditional appeal 
E19 156 into the yard. <quote_>"To offset the squared-off angles of the 
E19 157 veranda, I wanted the rest of the yard to flow,"<quote/> says 
E19 158 Marilyn. The slightly sunken terrace takes advantage of a natural 
E19 159 dip in the property, dramatized by low brick walls that double as 
E19 160 seating for large backyard gatherings.<p/>
E19 161 <p_>Sweeping flower borders, left open for Marilyn to plant as she 
E19 162 pleases, outline the walkway to the patio. <quote_>"None of the 
E19 163 beds contains permanent plantings,"<quote/> she says, 
E19 164 <quote_>"because I have to adapt to changing local restrictions on 
E19 165 watering."<quote/><p/>
E19 166 <p_>Summer is filled with the enduring and endearing heirloom 
E19 167 blooms of cosmos, petunia, salvia, lavender, lobelia, 
E19 168 chrysanthemum, marigold, rose, and shasta daisy. <quote_>"I prefer 
E19 169 the dependable, old-time varieties so I can have cut flowers 
E19 170 year-round,"<quote/> says Marilyn.<p/>
E19 171 <p_>A natural offshoot of her love for gardening is the trellised 
E19 172 potting area, built at one end of the renovated carriage house. The 
E19 173 original structure, enhanced by fresh paint and bougainvillea 
E19 174 vines, now stands as a focal point of the backyard.<p/>
E19 175 <p_>The pastel pinks and purples that predominate in Marilyn's 
E19 176 garden reappear as color themes throughout her outdoor decorating. 
E19 177 Painted furniture and cheerful cushions add simple, yet elegant, 
E19 178 finishing touches. <quote_>"I live in my backyard on 
E19 179 weekends,"<quote/> says Marilyn. <quote_>"I know of no better place 
E19 180 than my own veranda to sit and watch a sunset."<quote/><p/>
E19 181 
E19 182 <h_><p_>A Splash Of The Southwest<p/>
E19 183 <p_>A sunbathed southwestern-style courtyard offers Leslie Ayers 
E19 184 the laid-back lifestyle she enjoys. Not even the subdued traffic 
E19 185 sounds from the other side of the wall can disturb the peace she's 
E19 186 created in back of her St. Louis rowhouse.<p/><h/>
E19 187 <p_>An 8-foot-high privacy wall running along the length of 
E19 188 Leslie's narrow 75x30-foot property inspired the design of her 
E19 189 courtyard. <quote_>"I wanted a soft, contemporary look with a 
E19 190 southwestern feeling,"<quote/> she says. <quote_>"But I also wanted 
E19 191 to maintain the character of the old house."<quote/><p/>
E19 192 <p_>Leslie saved the wall, preserving some of the traditional 
E19 193 styling of her turn-of-the-century neighborhood, but she added a 
E19 194 few flourishes of her own. <quote_>"I kept the original brick 
E19 195 facade on the street side and the brick trim on top,"<quote/> she 
E19 196 says. For the inside, however, she chose stucco and repeated it in 
E19 197 the new wall, built on the opposite side of the yard.<p/>
E19 198 <p_>The garage at the back of the lot also sports a stucco 
E19 199 facelift. Embellishments, such as shutters and a trellis, give the 
E19 200 structure the look of a guest<?_>-<?/>house. <quote_>"I enjoy 
E19 201 making things look like something different from what they 
E19 202 are,"<quote/> says Leslie.<p/>
E19 203 <p_>A long, narrow swimming pool eats up a good portion (about 
E19 204 12x25 feet) of the pocket-size property, yet fits beautifully as a 
E19 205 part of the yard's new design. <quote_>"I think most swimming pools 
E19 206 are boring,"<quote/> says Leslie. <quote_>"To make this pool go 
E19 207 with the court-yard feeling, I painted the bottom black so it 
E19 208 blends in like a natural pond."<quote/><p/>
E19 209 <p_>Interlocking concrete pavers surround the pool. <quote_>"Having 
E19 210 lived and worked in Florida and California, I grew to love the 
E19 211 Mexican tile used in so many of the homes there,"<quote/> says 
E19 212 Leslie. The clay tone of the pavers is <quote_>"wonderful because 
E19 213 it looks cool in the summertime and warm in the winter."<quote/><p/>
E19 214 <p_>Designed to look casual, not perfectly manicured, plantings are 
E19 215 chosen for their year-round interest and ease of care. As a result, 
E19 216 the landscaping is very manageable. <quote_>"I just weed the beds 
E19 217 now and then,"<quote/> Leslie says.<p/>
E19 218 <p_>Leslie's laid-back philosophy about her back<?_>-<?/>yard 
E19 219 allows her to spend what limited leisure time she has entertaining 
E19 220 in it. Gathering friends together for summer cookouts is one of her 
E19 221 favorite pleasures, especially now that her courtyard contributes a 
E19 222 southwestern flavor.<p/>
E19 223 
E19 224 <h_><p_>The Romance of a Log Home<p/>
E19 225 <p_>BY TOM JACKSON<p/><h/>
E19 226 <p_>Forest fresh and built to last, this hand-hewn American 
E19 227 tradition can put you back in touch with nature and satisfy your 
E19 228 deepest yearning for peace and quiet. Join us for a walk in the 
E19 229 woods and discover why this American classic never did - and never 
E19 230 will - go out of style.<p/>
E19 231 <p_>Here is a home worth listening to. Inside it's breathtakingly 
E19 232 quiet. The massive log walls not only shrug off rain, hail, sleet, 
E19 233 and snow, but they muffle almost any sound. Tranquility surrounds 
E19 234 you the moment you walk through the door.<p/>
E19 235 
E19 236 
E20   1 <#FROWN:E20\><h_><p_>CHAPTER ONE<p/>
E20   2 <p_>The technique<p/><h/>
E20   3 <p_>The woodworking technique used to make all of the projects 
E20   4 explained in this book has many advantages. Not only are the time 
E20   5 and equipment requirements minimal in comparison to traditional 
E20   6 methods of furniture building, but large table saws and band saws 
E20   7 are not used, so very little floor space is necessary.<p/>
E20   8 <h_><p_>What You Don't Have to Do<p/><h/>
E20   9 <p_>You don't have to have years of woodworking experience to 
E20  10 complete a quality piece of furniture using this method. One 
E20  11 easy-to-master technique is used for all the projects in the book, 
E20  12 large and small. Advanced woodworking techniques, such as making 
E20  13 French dovetail joints or compound cuts, are not required 
E20  14 either.<p/>
E20  15 <p_>You also don't have to interpret measured drawings filled with 
E20  16 confusing dimension lines and hidden lines. The plans provided are 
E20  17 straightforward, and chapter 2 gives you detailed instructions on 
E20  18 how to enlarge them from the book's page.<p/>
E20  19 <p_>After enlarging the pattern to full size, you merely trace 
E20  20 around the shapes to transfer the design to the wood. With the 
E20  21 smaller projects, you will start 'shaping' the wood almost 
E20  22 immediately, as these projects do not involve stepped laminations. 
E20  23 Even with the other furniture projects, though, very little 
E20  24 measuring is necessary. You will need to make a mortise-and-tenon 
E20  25 joint for the rockers, but all that involves is cutting four 
E20  26 <tf|>mortises (slots) and four <tf|>tenons (tongues). Most of the 
E20  27 joint is 'hidden,' so a large tolerance is incorporated into the 
E20  28 design.<p/>
E20  29 <p_>You don't have to be an artist to sculpt the contours for the 
E20  30 projects. There is, however, a degree of 'eye work' required when 
E20  31 removing wood to create a natural flow of grain line and tapers. 
E20  32 With traditional forms of woodworking, the machinery or cutter 
E20  33 controls the amount of wood removed from the stock material. During 
E20  34 the shaping stages for the projects in this book, the amount of 
E20  35 wood removed is controlled by you, the woodworker. Consequently, no 
E20  36 two pieces are exactly alike.<p/>
E20  37 <p_>This technique is a combination of woodworking and sculpture, 
E20  38 but don't let that intimidate you if you can't draw - I can't, 
E20  39 either. Rounding and tapering the various sections is actually easy 
E20  40 and fun. You start with an original block of material that can be 
E20  41 very boring to look at - much like working with clay. When you see 
E20  42 the globs of glue and stepped laminations of wood before shaping, 
E20  43 you will find it hard to believe they could ever be transformed 
E20  44 into a beautiful rocker, lamp, or table. Once the project is 
E20  45 completed, however, you'll find it even harder to believe how easy 
E20  46 it was to create a unique piece.<p/>
E20  47 <p_>Designing new projects is easy because you can make any piece 
E20  48 of furniture using this technique. Matching sets of three pieces or 
E20  49 a whole roomful are possible. I've often thought it would be fun to 
E20  50 customize the interior of a van with this style of woodworking. It 
E20  51 also would be easy to transfer the techniques learned for 
E20  52 constructing wall panels, shelving, closets, and cabinets.<p/>
E20  53 <h_><p_>Where to Work<p/><h/>
E20  54 <p_>I made my first rocker while living in a small apartment. I did 
E20  55 the gluing and finishing work on a tiny kitchen floor, and the 
E20  56 dusty work with portable electric tools outside of the apartment. 
E20  57 An extension cord, which ran through my bedroom window, was my 
E20  58 source of power.<p/>
E20  59 <p_>Any location with a 120-volt outlet and a small area to keep 
E20  60 materials dry and warm is sufficient for the construction of even 
E20  61 the largest project (the adult rocking chair). You can use a small, 
E20  62 portable generator if permanent electrical service is not 
E20  63 available, but be sure to use some type of Ground Fault Circuit 
E20  64 Interrupter (GFCI) with your power tools, especially if they will 
E20  65 be used near water or outside. Some types of GFCIs are installed 
E20  66 merely by plugging them into the existing outlet, and they are not 
E20  67 very expensive. However, always consult a certified electrician 
E20  68 before installing any electrical safety devices and for a general 
E20  69 safety check of the existing service.<p/>
E20  70 <h|>Tools
E20  71 <p_>All the projects are made with portable electric tools and hand 
E20  72 tools. You only need a few for each project, and these are listed 
E20  73 in the tools and materials lists for each chapter.<p/>
E20  74 <p_>A variety of power tools are used to cut, shape, and sand, and 
E20  75 many of these are pictured in the following photo.<p/>
E20  76 <p_>Generally, the more you spend on any one tool, the faster you 
E20  77 will be able to complete your project and the longer that tool will 
E20  78 last, but don't worry if you don't have an extensive selection of 
E20  79 power tools. Quality projects are possible using very inexpensive 
E20  80 tools.<p/>
E20  81 <p_>As a struggling student working on my first rocker, I purchased 
E20  82 the least expensive tools to get the job done. For cutting, I used 
E20  83 a light-duty saber saw. I could not afford clamps, so for gluing 
E20  84 during the lamination and assembly operations, I used piled cinder 
E20  85 blocks for the needed pressure. I also used common-purpose rope, 
E20  86 twisted very tight with a stick, to apply pressure. I was able to 
E20  87 shape around the tight curves with a 14-inch half-round wood rasp, 
E20  88 a woodworking file, and some old-fashioned 'elbow grease.'<p/>
E20  89 <p_>Renting all the tools you will need is something to consider if 
E20  90 you plan to make a limited amount of projects. One weekend I rented 
E20  91 a heavy-duty right-angle grinder to shape the larger surfaces. I 
E20  92 used a 7-inch rubber backing pad with a #16 hard-backed sanding 
E20  93 disk with a grinder. It was well worth the $20 for the time I 
E20  94 saved.<p/>
E20  95 <p_>For sanding, I purchased an inexpensive orbital sander and an 
E20  96 electrical hand drill to use with sanding drums of various sizes. I 
E20  97 also used a soft disc pad with adhesive-backed sanding discs.<p/>
E20  98 <p_>As I began to make furniture to sell, I upgraded my equipment 
E20  99 and woodworking techniques. For cutting I switched to a 
E20 100 better-quality saber saw and to using a router in conjunction with 
E20 101 a Masonite template. The router is equipped with a 1/4-inch carbide 
E20 102 straight cutter and a template guide. Shaping is much faster now 
E20 103 with the use of a lightweight high-speed right-angle minigrinder, 
E20 104 equipped with a 4 1/2-inch rubber backing pad and an 
E20 105 aluminum-oxide-fiber sanding disc. For shaping the tight areas, I 
E20 106 use a die grinder equipped with a 1/2-inch rotary rasp. For sanding 
E20 107 curved areas, I use a pneumatic sander connected to a hand 
E20 108 drill.<p/>
E20 109 <p_>For cutting the wood there are a few alternatives. Tools I have 
E20 110 used are routers, saber saws, and lightweight, benchtop band saws. 
E20 111 The portable band saws are very handy for cutting the small 
E20 112 projects and small sections of the furniture. The router or saber 
E20 113 saw is used in the early stages of operation. Both tools are 
E20 114 comparable in terms of cutting speed, but a top-of-the-line saber 
E20 115 saw will cut faster than an inexpensive router, and vice versa.<p/>
E20 116 <p_>Use Table 1-1 as a quick reference for the power tool options. 
E20 117 Making sturdy and functional furniture without a huge initial 
E20 118 investment in tools is one of the advantages of this type of 
E20 119 woodworking.<p/>
E20 120 <h|>Materials
E20 121 <p_>A wide variety of materials are suitable and fun to work with. 
E20 122 For the smaller projects, such as the lamps or model boats, you can 
E20 123 use any of your favorite woods. I usually use butternut, cherry, 
E20 124 walnut and pine for these projects. I like the natural color of 
E20 125 these woods, and they are easily shaped with an electric 
E20 126 grinder.<p/>
E20 127 <p_>For the furniture, plywood is the best type of wood to use. 
E20 128 Indian birch plywood or even construction-grade plywood will work, 
E20 129 but I recommend solid-core plywood, 5/8-inch thick, with 12 layers 
E20 130 of hardwood. The many layers add strength, and they look like a 
E20 131 natural grain pattern in the finished piece. This type of plywood 
E20 132 is commonly used for concrete forms in the construction industry, 
E20 133 Formica desktops, and sports equipment.<p/>
E20 134 <p_>In addition to the strength in this plywood, any voids in it 
E20 135 are filled with wooden boat patches during manufacturing. This 
E20 136 permits you to sculpt without exposing large holes or loose 
E20 137 knots.<p/>
E20 138 <p_>All of the matching furniture pictured in this book is made 
E20 139 with birch plywood, which is imported from the Baltic region and 
E20 140 sold under different trade names. I have used plywood made of 
E20 141 alternating layers of birch and fir, which was easy to sculpt. 
E20 142 However, plywood made with all birch is easier to finish and more 
E20 143 durable, and a natural, more consistent color is easier to achieve. 
E20 144 This type of plywood is readily available and less expensive in the 
E20 145 large port areas, but you should be able to purchase it through 
E20 146 your local lumberyard.<p/>
E20 147 <p_>I've purchased plywood from large wholesalers in Massachusetts, 
E20 148 Pennsylvania, and New York. The sheet sizes I've always used are 4 
E20 149 by 5 or 5 by 5 feet. (It doesn't matter which direction the grain 
E20 150 is running.) I have had no problem buying small quantities of 
E20 151 plywood from the large wholesale distributors, and some even offer 
E20 152 a credit plan. The yellow pages of your phone book will help you 
E20 153 locate lumberyards in your area that carry or can order the lumber 
E20 154 you need for your project.<p/>
E20 155 <h_><p_>Enlarging the Plans<p/><h/>
E20 156 <p_>The plans, which are found with each project, can be enlarged 
E20 157 in several ways. For the smaller projects, you can use a 
E20 158 photocopier that has enlarging capabilities. Another method, which 
E20 159 works well with the larger plans, is to use a transparency of the 
E20 160 plans on an overhead projector to project an enlarged view directly 
E20 161 onto the template material. The third alternative is to enlarge the 
E20 162 plans with grid paper.<p/>
E20 163 <p_>This method requires patience, but you can achieve an accurate 
E20 164 set of patterns using it. I used this method to reduce my 
E20 165 adult-size rocking chair plans down to the dimensions for the 
E20 166 child's rocker. Most art supply stores sell large sheets of grid 
E20 167 paper with 1-inch squares, but it is also easy to draw your own.<p/>
E20 168 <p_>The following sequence shows how to make a grid pattern to 
E20 169 enlarge the plans for the child's rocker. Use the same procedure 
E20 170 for all the plans (one square =1 inch in all the patterns).<p/>
E20 171 <h_><p_>Step 1.<p/><h/>
E20 172 <p_>Use a ruler and a pencil to measure and mark dots 1 inch apart 
E20 173 along the four edges of a 24-x-24-inch piece of paper. The dots 
E20 174 must be congruent so the vertical and horizontal lines you draw in 
E20 175 the next step are perpendicular.<p/>
E20 176 <h_><p_>Step 2.<p/><h/>
E20 177 <p_>Use a straightedge to connect the dots to create a grid pattern 
E20 178 with 1-inch squares. The corners of each square must be 90 
E20 179 degrees.<p/>
E20 180 <h_><p_>Step 3.<p/><h/>
E20 181 <p_>Draw in only one square at a time. Copy the shapes from the 
E20 182 book. Use the sides and corners of each square as a guide.<p/>
E20 183 <h_><p_>Step 4.<p/><h/>
E20 184 <p_>Continue one square at a time until entire drawing is 
E20 185 complete.<p/>
E20 186 <h_><p_>Step 5.<p/><h/>
E20 187 <p_>Use scissors to cut out the pattern so you can make the project 
E20 188 or a template. Trace around the pattern on the recommended types of 
E20 189 material. Use a saber saw to cut out the project or the Masonite 
E20 190 template.<p/>
E20 191 <h_><p_>Making a Styrofoam Model<p/><h/>
E20 192 <p_>You can use 3/4-inch styrofoam to make a model of the projects 
E20 193 offered in this book or to create original shapes for projects. 
E20 194 Here I am making a styrofoam model of the floor lamp project.<p/>
E20 195 <h_><p_>Step 1.<p/><h/>
E20 196 <p_>Trace around the template or pattern with a felt marker on the 
E20 197 styrofoam.<p/>
E20 198 <h_><p_>Step 2.<p/><h/>
E20 199 <p_>Cut out the styrofoam sections with a saber saw.<p/>
E20 200 <h_><p_>Step 3.<p/><h/>
E20 201 <p_>Hold the various sections of styrofoam together with toothpicks 
E20 202 or small amounts of epoxy, then shape with a right-angle 
E20 203 grinder.<p/>
E20 204 <h_><p_>Step 4.<p/><h/>
E20 205 <p_>Take the model apart and use the various styrofoam sections as 
E20 206 a guide to determine the actual size and shape of each plywood 
E20 207 lamination of the project.<p/>
E20 208 <h_><p_>Cutting Using a Template<p/><h/>
E20 209 <p_>When cutting with the router, you will use a 1/4-inch-thick 
E20 210 Masonite template of the exact shape of the project. With the aid 
E20 211 of an inexpensive template guide, the router follows the edge of 
E20 212 the Masonite template to cut out the various sections. Masonite 
E20 213 tempered on one side, which most lumberyards stock in 4-x-8-foot 
E20 214 sheets, is the material I recommend for templates. Your router base 
E20 215 will slide easily, and this material is easily repaired with epoxy 
E20 216 if you accidentally damage the surfaces with the router cutter.<p/>
E20 217 
E20 218 
E21   1 <#FROWN:E21\><p_>Even though fish are uppermost in their minds, 
E21   2 residents gladly share island secrets with those who have the savvy 
E21   3 to visit between Labor Day and Columbus Day, when the weather's 
E21   4 mild and the water's warm (you can usually swim until the end of 
E21   5 September). Shops and restaurants remain open despite the decreased 
E21   6 crowds. The only disadvantage to an autumn visit is that many 
E21   7 historic houses are shuttered.<p/>
E21   8 <p_>Most trips to the Vineyard start at the island's eastern end, 
E21   9 where the three main towns are located. In the southeastern corner 
E21  10 is blue-blooded Edgartown, with a yacht-filled harbor; sea 
E21  11 captains' houses, handsome behind rose-tangled fences; and shops, 
E21  12 restaurants and inns. On a warm October night, nothing is more 
E21  13 peaceful than sitting on the Charlotte Inn's veranda watching a 
E21  14 full moon snagged in the branches of an elm and listening to the 
E21  15 sounds of the off-season: a trickling fountain, a chorus of 
E21  16 crickets and the infrequent hum of tires on darkened streets.<p/>
E21  17 <p_>Nearby, across a channel (navigated by a four-car ferry), lies 
E21  18 Chappaquiddick, an island or a peninsula, depending on the vagaries 
E21  19 of barrier beaches. Much of its shoreline is protected in wildlife 
E21  20 refuges, the lonely haunts of seabirds.<p/>
E21  21 <p_>Oak Bluffs, northwest of Edgartown, is home to the Camp Meeting 
E21  22 Grounds, one of the country's most distinctive neighborhoods. 
E21  23 Methodists founded the town in the 1830s as a religious getaway. 
E21  24 Members who wanted to stay after the meetings built small cottages, 
E21  25 attempting to outdo one another in design, until every cottage was 
E21  26 turreted, gabled and draped with scrollwork.  The effect is a 
E21  27 Hansel and Gretel village, without cars or other modern 
E21  28 intrusions.<p/>
E21  29 <p_>Vineyard Haven (officially called Tisbury), across an inlet 
E21  30 from Oak Bluffs, is an active port circled by boatyards and other 
E21  31 maritime enterprises. Away from the harbor area, the town gathers 
E21  32 interest with well-preserved 19th-century clapboard houses 
E21  33 (especially along William Street), restaurants and stores on Main 
E21  34 Street and noble trees throughout.<p/>
E21  35 <p_>My favorite part of the Vineyard, though, is up-island, as the 
E21  36 western two thirds of Martha's realm is known. Here, the sea gives 
E21  37 way to a landscape of rolling hills, oak and pine woods, farms, and 
E21  38 fields where horses graze beyond stone walls.<p/>
E21  39 <p_>It's peaceful to cycle or drive along lightly traveled 
E21  40 up-island byways. On North Road in Chilmark, oaks canopy the 
E21  41 highway as you pass large estates. Even getting lost on these back 
E21  42 roads has its compensations. Searching for the Long Point Wildlife 
E21  43 Refuge in West Tisbury, I took the wrong dirt road and dead-ended 
E21  44 beside Long Cove just in time to see a great blue heron flap past. 
E21  45 When I finally found the refuge, I had it to myself. On foot, I 
E21  46 followed a boardwalk through the dunes to a beach of pure white 
E21  47 sand and lay there under a cloudless October sky, contemplating the 
E21  48 rolling surf and the glittering sea.<p/>
E21  49 <p_>An up-island visit usually culminates in the Gay Head Cliffs, a 
E21  50 mile-long multicolored clay rampart. Summer's carnival atmosphere 
E21  51 is replaced in autumn by a windswept solitude. You can wander by 
E21  52 the lighthouse atop grassy headlands, or along the beach at the 
E21  53 base of the cliffs. In the distance, behind the rounded humps of 
E21  54 the Elizabeth Islands, lies the rest of America. Maybe it's just 
E21  55 the autumn light, but the mainland looks far, far away.<p/>
E21  56 <h_><p_>COAST TO COAST<p/><h/>
E21  57 <p_>Martha's Vineyard is 260 miles northeast of New York and 75 
E21  58 miles south of Boston. To get there, you can fly from New York or 
E21  59 Boston, or take a ferry from one of several points on the 
E21  60 Massachusetts coast. The <tf_>Steamship Authority<tf/> (telephone 
E21  61 508-540-2022) has year-round service from Woods Hole on Cape Cod 
E21  62 ($9 round-trip for adults and $72 for their cars). The passenger 
E21  63 ferry <tf_>Island Queen<tf/> (508-548-4800; $9) runs out of 
E21  64 Falmouth through mid-October. Ferries also leave from Hyannis 
E21  65 (508-778-2600; $21) and New Bedford (508-997-1688; $17). If you 
E21  66 want to rent a car on the island, you'll find agencies at the 
E21  67 airport and near the ferry landings in Oak Bluffs and Vineyard 
E21  68 Haven.<p/>
E21  69 <p_>For more information, contact the <tf_>Martha's Vineyard 
E21  70 Chamber of Commerce<tf/> (Beach Rd., Vineyard Haven, MA 02568; 
E21  71 508-693-0085).<p/>
E21  72 <h_><p_>MARTHA AU NATUREL<p/><h/>
E21  73 <p_>In the off-season, chances are excellent that you'll be 
E21  74 communing with nature all on your own at the more than 50 
E21  75 conservation areas open to the public. Hurricane Bob, the big blow 
E21  76 of August 1991, trashed some properties, most notably the Mytoi 
E21  77 Japanese gardens on Chappaquiddick and the Cedar Tree Neck Wildlife 
E21  78 Sanctuary in West Tisbury. In other protected areas, toppled trees 
E21  79 and trunks broken off like celery stalks bear witness to the power 
E21  80 of wind. The Martha's Vineyard Land Bank Commission map locating 
E21  81 conservation properties is available at the Dukes County Historical 
E21  82 Society (see below).<p/>
E21  83 <p_>The most popular refuge is the <tf_>Felix Neck Wildlife 
E21  84 Sanctuary<tf/> (Edgartown-Vineyard Haven Rd.; 627-4850), 350 acres 
E21  85 of woodland and wetland on a spit of land jutting into 
E21  86 Sengekontacket Pond. There are extensive interpretive facilities, 
E21  87 including wildlife exhibits and aquariums at the headquarters, with 
E21  88 naturalists on hand to answer questions. Four trails wind through 
E21  89 the sanctuary, which is frequented by owls, ospreys and other 
E21  90 waterfowl.<p/>
E21  91 <p_>Most of the Vineyard's renowned beaches are open only to town 
E21  92 residents. Hotel guests, however, get local beach privileges. In 
E21  93 addition, there are plenty of superb public sands.<p/>
E21  94 <p_>The warm, calm waters facing Nantucket Sound make 
E21  95 three-mile-long <tf_>Joseph Sylvia State Beach<tf/>, between 
E21  96 Edgartown and Oak Bluffs, popular for families with young children. 
E21  97 Two to three-foot swells breaking close to shore attract body 
E21  98 surfers to <tf_>Katama Beach<tf/>, south of Edgartown, but the 
E21  99 undertow can be dangerous. <tf_>Land Bank Long Beach<tf/> and 
E21 100 <tf_>Moshup Beach<tf/> are set spectacularly at the base of the Gay 
E21 101 Head Cliffs.<p/>
E21 102 <p_>Cycling is a popular way of getting around the island, 
E21 103 especially the relatively flat eastern section. Bicycle paths 
E21 104 parallel roads between Vineyard Haven, Oak Bluffs and Edgartown (my 
E21 105 favorite stretch is along Sengekontacket Pond, lined with wild 
E21 106 roses). Mopeds are also available, but avoid those noisy bikes if 
E21 107 you don't want to offend half the residents.<p/>
E21 108 <p_>It's surprising how much farmland the island's conservation 
E21 109 groups have preserved, given the constant threat of 
E21 110 overdevelopment. At historic <tf_>Katama Farm<tf/> (Katama Road; 
E21 111 627-9272), now owned by Edgartown's conservation trust, you can 
E21 112 watch cows being milked at 5 A.M. and 5 P.M. and take free wagon 
E21 113 rides on Sunday. <tf_>Martha's Vineyard Riding Center<tf/> (off 
E21 114 Edgartown-West Tisbury Rd., West Tisbury; 693-3770) offers 
E21 115 horseback rides through woodlands around Watcha Pond and along 
E21 116 Katama Beach. You can also book trail rides at <tf_>Misty Meadows 
E21 117 Farm<tf/> (Old Country Rd., West Tisbury; 693-1870) and <tf_>Iron 
E21 118 Hill Stables<tf/> (Edgartown-Vineyard Haven Rd., Edgartown; 
E21 119 693-0786).<p/>
E21 120 <p_>The Vineyard has some of the finest saltwater fishing in the 
E21 121 country. Surf casters haul in bluefish, bonitos and false albacore, 
E21 122 while trolling fishermen land swordfish, tuna and white marlins. 
E21 123 Charters leave from Oak Bluffs and Edgartown. For a $30 entry fee, 
E21 124 you can chase prizes totaling $100,000 in the <tf_>Striped Bass & 
E21 125 Bluefish Derby<tf/> (September 9 - October 10; 627-8342).<p/>
E21 126 <p_>A dozen outfits schedule cruises from Vineyard Haven - home 
E21 127 port to more wooden sailboats than anywhere else in the Northeast - 
E21 128 and other Vineyard towns. For a memorable outing, board the 
E21 129 <tf|>Shenandoah (693-1699), a 108-foot square-rigged topsail 
E21 130 schooner.<p/>
E21 131 <h_><p_>PAINTED PONIES<p/><h/>
E21 132 <p_>'Life's a Beach,' the T-shirts say. But the Vineyard, with its 
E21 133 intriguing history and active cultural life, has a number of 
E21 134 diversions that don't require sun block.<p/>
E21 135 <p_>My favorite exhibit at the <tf_>Dukes County Historical 
E21 136 Society<tf/> (Cooke St., Edgartown; 627-4441) is a row of stoppered 
E21 137 bottles containing 'deodorized viscous sperm oil' and other grades 
E21 138 of the maritime petroleum that made New England the 19th-century 
E21 139 equivalent of Saudi Arabia. Scrimshawed sperm whale teeth the size 
E21 140 of daggers are also impressive.<p/>
E21 141 <p_>The <tf_>Vineyard Playhouse<tf/> (10 Church St., Vineyard 
E21 142 Haven; 693-6450) runs its season through September 5. This fall the 
E21 143 Vineyard's only professional troupe of actors will present 
E21 144 off-season shows on the main stage of its theater (a converted 1833 
E21 145 Methodist church) and downstairs at the smaller Cabaret Theater.<p/>
E21 146 <p_>The painted ponies go round and round to wheezing calliope 
E21 147 music, as they've done for more than a century, at the <tf_>Flying 
E21 148 Horses Carousel<tf/> (Circuit Ave., Oak Bluffs; 693-9481). This 
E21 149 indoor merry-go-round, an 1876 Coney Island model moved here in 
E21 150 1884, may be America's oldest (one in Watch Hill, Rhode Island, 
E21 151 also claims the title).<p/>
E21 152 <p_>The Vineyard was so named because English explorer John 
E21 153 Brereton extolled the island's <quote_>"incredible stores of 
E21 154 vines"<quote/> in 1602. (His partner, Bartholomew Gosnold, added 
E21 155 <tf|>Martha to the name in honor of his daughter.) <tf_>Chicama 
E21 156 Vineyards<tf/> (Stoney Hill Rd., off State Rd., West Tisbury; 
E21 157 693-0309) sustains this legacy by producing Chardonnay, white 
E21 158 Zinfandel, Cape Cod white and other wines from vinifera grapes. The 
E21 159 harvest usually lasts from mid-September to mid-October, so if you 
E21 160 visit Chicama then, chances are you'll see the winery in full 
E21 161 operation. Tours and tastings are conducted 11-5 Monday to 
E21 162 Saturday, 1-5 Sunday.<p/>
E21 163 <h_><p_>ISLAND FINDS<p/><h/>
E21 164 <p_>When it comes to shopping, Martha's Vineyard isn't exactly Hong 
E21 165 Kong. But if you know where to look you'll find some unusual items 
E21 166 - sometimes at off-season prices - tucked in amid the T-shirts that 
E21 167 say 'I Survived Hurricane Bob.'<quote/><p/>
E21 168 <p_>Whalers spent most of their shipboard leisure time engraving 
E21 169 whalebone and whale teeth with intricate designs. Tom DeMont, a 
E21 170 scrimshander, sells contemporary examples of this American folk art 
E21 171 at <tf_>Edgartown Scrimshaw<tf/> (Upper Main St.; 627-9439). All 
E21 172 items are made from legally obtained ivory. Sperm whale teeth 
E21 173 decorated with nautical scenes cost $2,000; bookmarks made from old 
E21 174 piano keys, $20.<p/>
E21 175 <p_>Even if you don't feel an overwhelming urge to decorate your 
E21 176 mantel with a brass binnacle ($685) or spy on your neighbors with a 
E21 177 sea captain's telescope ($425), it's still fun to browse through 
E21 178 the nautical-minded <tf_>Edgartown Art Gallery<tf/> (S. Summer St.; 
E21 179 627-5991) in the Charlotte Inn.<p/>
E21 180 <p_>Two Edgartown shops share a shingled house built in 1703. 
E21 181 <tf_>A Gift of Love<tf/> (N. Water St.; 627-5922) specializes in 
E21 182 housewares and furnishings. The adjacent <tf_>Island Made<tf/> 
E21 183 cooperative displays local arts and crafts, including the 
E21 184 twill-weave market baskets ($91) of Susan Shea and the wildly 
E21 185 colorful ceramics ($400 for a nine<?_>-<?/>inch vase) of Washington 
E21 186 Ledesma.<p/>
E21 187 <p_>The <tf_>Bunch of Grapes Bookstore<tf/> (68 Main St., Vineyard 
E21 188 Haven; 693-2291), which has a wonderful wooden sign hanging above 
E21 189 its door, stocks the island's most extensive collection of local 
E21 190 and regional titles. <tf_>Crispin's Landing<tf/> (corner of Main 
E21 191 and Union, Vineyard Haven) is a building shared by a number of 
E21 192 craft shops; look for islander Joan LeLacheur's wampum bracelets 
E21 193 ($150-$300) at Sioux Eagle Designs (693-6537).<p/>
E21 194 <p_>Janet Messineo of <tf_>Island Taxidermy & Wildlife Art 
E21 195 Studio<tf/> (the name makes a great acronym for a taxidermist) is 
E21 196 one of the few people in the East who does skin mounts of saltwater 
E21 197 fish. You can bring in your own catch if it's less than 100 pounds 
E21 198 ($12 an inch) or buy a ready-mounted fish ($100 and up). Messineo 
E21 199 also makes minnow accessories with rhinestone eyes ($18-$25). The 
E21 200 studio is in Vineyard Haven; call 693-3360 for an appointment.<p/>
E21 201 <h_><p_>A TASTE OF THE VINEYARD<p/><h/>
E21 202 <p_>It may be the Vineyard, but don't expect to buy vino, or any 
E21 203 other alcohol, on most of the island. Oak Bluffs and Edgartown are 
E21 204 wet; the other towns are dry, although restaurants there allow you 
E21 205 to BYOB:<p/>
E21 206 <p_>The top breakfast spot is the <tf_>Black Dog Tavern<tf/> (Beach 
E21 207 St. Extension; 693-9223; $10 for two), a shingled wharfside tavern 
E21 208 in Vineyard Haven. Get a table overlooking the harbor and be sure 
E21 209 to try some pastries form the Black Dog's own bakery.<p/>
E21 210 <p_>Edgartown's best lunch spot, the unpretentious <tf_>Savoir 
E21 211 Fare<tf/> (14 Church St.; 627-9864; $25 without drinks), looks 
E21 212 summery even in fall, thanks to white furniture, light-blue 
E21 213 tablecloths and big picture windows. The delicious special I tried 
E21 214 consisted of cold seared tuna, green beans, potato slices, onion, 
E21 215 olives and tomato, sprinkled with vinaigrette and chives.<p/>
E21 216 <p_>For fish-and-chips, fried clams and chowder, visit the 
E21 217 <tf_>Wharf Pub<tf/> (Lower Main St., Edgartown; 627-9967; $25), a 
E21 218 lively hangout with a pressed-tin ceiling and dark wood paneling. 
E21 219 To start, have an appetizer of Sword Bites (chunks of 
E21 220 deep<?_>-<?/>fried swordfish).<p/>
E21 221 <p_>Edgartown has several elegant restaurants. <tf_>L'Etoile<tf/> 
E21 222 (S. Summer St.; 627-5187; $52 prix fixe per person), the Charlotte 
E21 223 Inn's dining room, has a soothing conservatory setting; its 
E21 224 mullioned windows reflect and multiply the light of antique lamps.
E21 225 
E22   1 <FROWN:E22\><h_><p_>Robert Shaw<p/>
E22   2 <p_>Musician of the Year 1992<p/>
E22   3 <p_>By Scott Cantrell<p/><h/>
E22   4 <p_>To anyone who's seen Robert Shaw in front of a chorus, it will 
E22   5 come as no surprise that the man alternately browbeating and 
E22   6 cajoling his charges started out as a preacher. That was nearly 60 
E22   7 years ago, and Shaw has long since given up any such career goal. 
E22   8 But his single-minded dedication to making the world a better place 
E22   9 hasn't changed one whit.<p/>
E22  10 <p_>Nor has his preacher's gift for spell<?_>-<?/>binding an 
E22  11 audience. Violinist William Preucil, who during several seasons as 
E22  12 concertmaster of the Atlanta Symphony Orchestra worked closely with 
E22  13 Shaw, describes him as <quote_>"a teacher and inspirational 
E22  14 speaker. To hear him speak about music - about anything - is 
E22  15 hypnotizing and mystifying and moving. I could sit and listen to 
E22  16 him talk all day."<quote/><p/>
E22  17 <p_>You might say that Shaw stayed in the sanctuary, but his medium 
E22  18 of choice became neither sermon nor sacrament but choral singing. 
E22  19 And if there's any one man responsible for professionalizing the 
E22  20 life of the choral director, it's Robert Shaw. The Collegiate 
E22  21 Chorale, which he founded in 1941 and conducted for 13 years, was 
E22  22 widely recognized as setting a new standard in American choral 
E22  23 performances, and it brought Shaw to the admiring attentions of 
E22  24 Arturo Toscanini, George Szell, Serge Koussevitzky, and William 
E22  25 Schuman. Still more standards were set by the Robert Shaw Chorale, 
E22  26 a professional chamber choir that toured and recorded extensively 
E22  27 from 1948 until 1967.<p/>
E22  28 <p_>But Shaw proved to be much more than 'just' a choral conductor. 
E22  29 After guest gigs with Toscanini's NBC Symphony Orchestra and 
E22  30 Koussevitzky's Boston Symphony Orchestra, he went on to become one 
E22  31 of Szell's assistant conductors with the Cleveland Orchestra.<p/>
E22  32 <p_>Then, in 1967, he astonished plenty of podium-watchers by 
E22  33 becoming music director of the Atlanta Symphony, then a part-time 
E22  34 outfit of barely 60 players. By the end of his 21-year tenure it 
E22  35 was no secret that Shaw's orchestra was well into the major 
E22  36 leagues, and by common consent his Atlanta Symphony Orchestra 
E22  37 Chorus was second to none.<p/>
E22  38 <p_>That Shaw, now 75 and going strong, should be named 
E22  39 <tf_>Musical America's<tf/> Musician of the Year should raise nary 
E22  40 an eyebrow. Neither was it a surprise that Washington's John F. 
E22  41 Kennedy Center for the Performing Arts named Shaw one of seven 1991 
E22  42 recipients of its Kennedy Center Honors. As early as 1943, he was 
E22  43 cited by the National Association of Composers and Conductors as 
E22  44 <quote_>"America's greatest choral conductor."<quote/> Shaw proves 
E22  45 that a prophet needn't be without honor in his own land.<p/>
E22  46 <p_>Nor is he a prophet to rest on his own laurels. Although he 
E22  47 gave up the Atlanta Symphony's music directorship in 1988, he 
E22  48 remains the orchestra's director of choral activities; as much 
E22  49 director emeritus, he still conducts four weeks of concerts each 
E22  50 season, and he will continue to record with the orchestra and 
E22  51 chorus. He's also immersed in a new summer course for choral 
E22  52 conductors in France, and he maintains a busy schedule of 
E22  53 guest-conducting dates, not to mention courses and Master Classes 
E22  54 for singers and choral conductors. So much for Shaw's 
E22  55 'retirement.'<p/>
E22  56 <p_>Shaw's messianic zeal - and his gift for making better folk of 
E22  57 his charges - came naturally. Born April 30, 1916, in Red Bluff, 
E22  58 California, he was the son and grandson of preachers. Entering 
E22  59 Pomona College in 1934, he studied English literature, philosophy, 
E22  60 and religion; he figured he'd end up teaching philosophy or 
E22  61 religion in a university. But he also got involved in the college's 
E22  62 glee club, and when the director took a year-long leave of absence, 
E22  63 Shaw was tapped to fill in.<p/>
E22  64 <p_>It was during that year, in the spring of 1937, that the Pomona 
E22  65 College campus was used for the filming of the motion picture 
E22  66 <tf_>Varsity Show<tf/>. Appearing in the film were Fred Waring and 
E22  67 The Pennsylvanians, a chorus well known for its radio broadcasts. 
E22  68 While on campus Waring heard the glee club, and he was sufficiently 
E22  69 impressed to offer its young director a job.<p/>
E22  70 <p_>By now, Shaw was thinking of becoming a minister, and declined. 
E22  71 A year later - being short of money and having second thoughts 
E22  72 about the ministry - he wrote to Waring and asked to observe his 
E22  73 work. Waring replied by inviting Shaw to come to New York and form 
E22  74 a new glee club for a series of radio broadcasts. Suddenly, at age 
E22  75 22, virtually untrained in music, Shaw was working in New York as a 
E22  76 professional choral conductor.<p/>
E22  77 <p_>Shaw picked up a wide range of professional experience during 
E22  78 his years with Waring, in radio, films, and theater. But he yearned 
E22  79 to work with more serious literature, so in the fall of 1941, in 
E22  80 collaboration with Gordon Berger, he founded his own choral group; 
E22  81 some 185 singers were selected from 500 volunteers. The group, 
E22  82 which was to rehearse at Dr. Norman Vincent Peale's Marble 
E22  83 Collegiate Church, was dubbed the Collegiate Chorale. When the 
E22  84 church's consistory requested that the chorus be trimmed to 100 
E22  85 members, and that its Roman Catholics, Jews, and blacks be removed, 
E22  86 Shaw and company moved elsewhere, but the name stayed.<p/>
E22  87 <p_>One of the singers present at the Collegiate Chorale's first 
E22  88 rehearsal was contralto Florence Kopleff. <quote_>"He was a bundle 
E22  89 of energy,"<quote/> she recalls of her first impression, 
E22  90 <quote_>"and very charismatic - likeable, knowledgeable and very 
E22  91 infectious with his enthusiasm."<quote/><p/>
E22  92 <p_>Reviewing one of the Collegiate Chorale's first performances, 
E22  93 critic Henry Simon observed that <quote_>"Robert Shaw conducted in 
E22  94 a violent and unconventional manner,"<quote/> but he <quote_>"made 
E22  95 it at once apparent that here is a new, major chorus."<quote/> At 
E22  96 about the same time, composer William Schuman was sufficiently 
E22  97 impressed to ask Shaw and his chorus to participate in a concert of 
E22  98 his music. But Schuman recognized that the young conductor needed 
E22  99 some coaching, so he was sent off for lessons with George Szell, 
E22 100 who was then teaching at the Mannes School. Shaw subsequently 
E22 101 applied for, and got, a Guggenheim Fellowship, which he used for a 
E22 102 year of concentrated study with Julius Herford, a German emigrant 
E22 103 who later would direct the doctoral program in conducting at 
E22 104 Indiana University.<p/>
E22 105 <p_>The Collegiate Chorale's reputation grew quickly, and in 
E22 106 September 1945, Shaw's charges were hired to sing Beethoven's Ninth 
E22 107 Symphony with Toscanini. When the fearsome conductor showed up for 
E22 108 his first rehearsal with the Chorale, far from throwing one of his 
E22 109 infamous tantrums, he pronounced himself delighted. To NBC's Samuel 
E22 110 Chotzinoff he declared, <quote_>"I have at last found the maestro I 
E22 111 have been looking for."<quote/><p/>
E22 112 <p_>This was to be the first of many collaborations, and within a 
E22 113 year, Toscanini invited Shaw to conduct the NBC Symphony in a 
E22 114 challenging all-orchestral program: Beethoven's Second Symphony, 
E22 115 William Schuman's Fifth, and Peter Mennin's <tf_>Festival 
E22 116 Overture<tf/>. That same year, Shaw spent the first of three 
E22 117 summers at Tanglewood, teaching classes in choral conducting and 
E22 118 preparing choruses for Koussevitzky's Boston Symphony Orchestra 
E22 119 concerts. In the fall, William Schuman hired him as the Juilliard 
E22 120 School's new director of choral music.<p/>
E22 121 <p_>In 1948, Shaw formed the select professional chorus that would 
E22 122 carry his name for 20 years, touring 47 states and 29 countries and 
E22 123 recording extensively. Both the Robert Shaw Chorale and the 
E22 124 Collegiate Chorale performed regularly with chamber orchestras, and 
E22 125 on the side Shaw continued to hone his conducting skills in 
E22 126 sessions with Julius Herford; in 1950, he worked with Pierre 
E22 127 Monteux and Arthur Rodzinsky.<p/>
E22 128 <p_>Then, in 1953, he was offered the position of music director of 
E22 129 the San Diego Symphony. His five-year tenure there included a major 
E22 130 expansion of the orchestra's season - and it gave Shaw a 
E22 131 concentrated workshop in which to learn orchestral repertory and 
E22 132 rehearsal techniques. With the press of these responsibilities, he 
E22 133 gave up direction of the Collegiate Chorale in 1954; a year later, 
E22 134 he was given the Columbia University's Ditson Conductor's Award, 
E22 135 honoring his contribution of <quote_>"a new vitality to choral 
E22 136 music in the United States."<quote/><p/>
E22 137 <p_>In 1956 came a big surprise: George Szell invited Shaw to 
E22 138 become an associate conductor of the Cleveland Orchestra, to 
E22 139 develop a symphony chorus and conduct some of the orchestral 
E22 140 concerts. With more than 80 concerts to lead during his first 
E22 141 season, Shaw got another baptism by fire. But, for 11 years, he had 
E22 142 what he dubbed <quote_>"the hottest orchestral property in the U.S. 
E22 143 to learn on,"<quote/> and for a mentor, he had one of history's 
E22 144 most formidable orchestral technicians.<p/>
E22 145 <p_>What Shaw learned from Szell was the importance of meticulous 
E22 146 editing of orchestra musicians' parts - that and the cultivation of 
E22 147 a kind of chamber-music mentality within a symphony orchestra. 
E22 148 <quote_>"Szell developed the first symphony<?_>-<?/>sized chamber 
E22 149 orchestra in the world,"<quote/> Shaw says. <quote_>"He prepared 
E22 150 their parts, and he made them listen."<quote/> From watching 
E22 151 Toscanini he had also learned <quote_>"the severest sort of 
E22 152 concentration on the music during performance, and economy of 
E22 153 choreographic movement."<quote/><p/>
E22 154 <p_>For all his growing orchestral experience, though, Shaw 
E22 155 continued to be thought of mainly as a choral conductor. So it was 
E22 156 quite the talk of the orchestral world when, in February 1966, he 
E22 157 was named music director of the Atlanta Symphony Orchestra.<p/>
E22 158 <p_>The ASO had been formed as recently as 1945, originally as 
E22 159 youth orchestra. Under the guidance of Henry Sopkin it had gone 
E22 160 professional - and adult - but it remained a part-time outfit. By 
E22 161 the middle 1960s, with a Ford Foundation grant forthcoming and a 
E22 162 new arts center about to be built, the orchestra's board figured it 
E22 163 was time to take a major step forward.<p/>
E22 164 <p_>Like a whirlwind, Shaw arrived in Atlanta in August 1967. In 
E22 165 his first season, the orchestra was enlarged to 87 musicians, the 
E22 166 season was expanded to 30 weeks, and salaries were raised. The 
E22 167 following season, for the first time, the orchestra became a 
E22 168 full-time occupation for its musicians, with rehearsals during the 
E22 169 day. Shaw lost no time in creating the 60-voice Atlanta Symphony 
E22 170 Orchestra Chamber Chorus, and three years later he formed the 
E22 171 200-voice Atlanta Symphony Orchestra Chorus. In October 1968, the 
E22 172 orchestra moved into the new 1,762-seat Symphony Hall, in what was 
E22 173 subsequently named the Robert W. Woodruff Arts Center.<p/>
E22 174 <p_>With appearances in Washington, D.C., and New York in May 1976, 
E22 175 the Atlanta Symphony Orchestra began to attract national attention. 
E22 176 The orchestra and chorus participated in President Carter's 
E22 177 Inaugural Concert at the Kennedy Center in January 1977, and a year 
E22 178 later, with Telarc, it made the first<?_>-<?/>ever 
E22 179 digitally-mastered commercial recording, of Stravinsky's 
E22 180 <tf_>Firebird Suite<tf/> and selections from Borodin's <tf_>Prince 
E22 181 Igor<tf/>. Since then, the orchestra has made more than 30 
E22 182 recordings with Shaw, many with the ASO Chorus; still more discs 
E22 183 are planned. The most recent release, on Telarc, is of the Mahler 
E22 184 Eighth Symphony.<p/>
E22 185 <p_>During the years with his New York-based choruses, Shaw made a 
E22 186 point of championing contemporary music; for the Collegiate 
E22 187 Chorale, he had commissioned Paul Hindemith's <tf_>When Lilacs Last 
E22 188 in the Dooryard Bloomed<tf/>. And he continued to give his 
E22 189 attention to new music in Atlanta, to the chagrin of some patrons. 
E22 190 In the middle of his fifth season, the orchestra's board decided it 
E22 191 was too much and asked for Shaw's resignation. It was duly 
E22 192 tendered, without recrimination, but the community rose up in 
E22 193 protest. The board rethought its position, and soon Shaw was 
E22 194 negotiating a new contract. The orchestra went on to commission new 
E22 195 works by composers such as Karel Husa, Henry Brant, Donald Erb, Ned 
E22 196 Rorem, John Harbison, Alvin Singleton, William Schuman, Stephen 
E22 197 Paulus, and Leonard Bernstein, and to win repeated ASCAP awards for 
E22 198 adventuresome programming.<p/>
E22 199 <p_><quote_>"What is important is that music for 'thinking' be 
E22 200 encouraged and supported and promoted as industriously as music for 
E22 201 'forgetting,'"<quote/> says Shaw of the contemporary-music issue. 
E22 202 <quote_>"If there is ever to be a flowering of American 'serious' 
E22 203 music, it must be sought and promoted by audiences as well as 
E22 204 musicians. But the musicians must lead the way."<quote/><p/>
E22 205 <p_>Having taken the Atlanta Symphony Orchestra and Chorus on its 
E22 206 first European tour in May and June of 1988, Shaw retired as the 
E22 207 orchestra's music director. He was weary of the administrative 
E22 208 duties, and he reasoned that <quote_>"the orchestra and its 
E22 209 audience deserve some variety."<quote/> And, at age 72, he wanted 
E22 210 to spend more time with his wife, Caroline, and son, Thomas. Yoel 
E22 211 Levi was named his successor.<p/>
E22 212 
E22 213 
E23   1 <FROWN:E23\><h_><p_>CAPTURING LIGHT IN PASTELS<p/>
E23   2 <p_>BY BRAD FAEGRE<p/><h/>
E23   3 <p_>Pastel is an expressive, spontaneous medium that combines the 
E23   4 best qualities of drawing and painting. The color and direction of 
E23   5 each stroke contribute both to the mood of the painting and to its 
E23   6 visual excitement.<p/>
E23   7 <p_>I enjoy working in pastel because it is an expressive, 
E23   8 spontaneous medium that combines the two activities I like to do 
E23   9 most: drawing and painting. As a drawing tool, a pastel stick can 
E23  10 be used to define the shapes of objects with lines; as a painting 
E23  11 tool, pastel can be blended to create tonal areas. As my ideas take 
E23  12 shape, I can work both ways on the same surface.<p/>
E23  13 <p_>Light is my most valuable instrument for expressing feelings; 
E23  14 it can be used dramatically, to capture those moments when stormy 
E23  15 skies open up momentarily and brilliant sunlight bathes a meadow, 
E23  16 or quietly, to express, through rich contrasts of muted colors, the 
E23  17 melancholy of late evening, when the land gets dark and 
E23  18 mysterious.<p/>
E23  19 <p_>When painting, I keep in mind a valuable piece of advice I 
E23  20 received from my college English professor. <quote_>"When you 
E23  21 write,"<quote/> he said, <quote_>"speak to an audience of one. 
E23  22 Imagine that you're talking to your best friend. If you do this, 
E23  23 you'll be more likely to speak honestly and without 
E23  24 affectation."<quote/> Although he was referring to writing, his 
E23  25 advice definitely applies to painting as well. In the beginning 
E23  26 stages of a picture, I imagine myself communicating with my closest 
E23  27 friend and determine what feeling I'm hoping to express; then I try 
E23  28 to picture the completed artwork. I call this stage 'the daydream.' 
E23  29 Success depends on knowing when the daydream and the painting 
E23  30 become one.<p/>
E23  31 <p_>Ideas simmer in my imagination for a long time before they 
E23  32 clearly present themselves. Once I have a specific idea in mind, I 
E23  33 begin composing the painting, searching the subject for darks and 
E23  34 lights and then placing them on the paper surface. I sketch lightly 
E23  35 at first, making my preliminary marks with colors of medium value. 
E23  36 With a landscape, for example, I often start by sketching the 
E23  37 negative shape of the sky, which helps me define objects above the 
E23  38 horizon such as mountains, trees, and buildings; with a still life, 
E23  39 I begin by drawing the lighter values of the objects. At this 
E23  40 stage, mistakes in the position or proportion of shapes can easily 
E23  41 be altered.<p/>
E23  42 <p_>Since I'm able to draw with pastel, I think about the structure 
E23  43 of the picture while I'm working, making decisions as the 
E23  44 composition evolves. I spend time on the drawing because I enjoy 
E23  45 it, but I also believe that it is of great importance - if a 
E23  46 painting doesn't start with a good drawing, it's not going to be 
E23  47 good when it's finished. I find when teaching workshops that people 
E23  48 tend to jump into painting before working out the bugs through 
E23  49 drawing, and their problems become apparent as they continue 
E23  50 working. Although it can take months for me to see the paintings 
E23  51 clearly in my mind, an average-size painting usually takes about 
E23  52 four or five days to complete. I have tried a variety of acid-free 
E23  53 boards and papers and have experimented with a wide range of rough 
E23  54 and smooth surfaces. In most situations, I prefer a smooth surface 
E23  55 because it allows me to make strong, expressive strokes that might 
E23  56 seem defused and weak on rougher surfaces. Canson-Talens, Arches, 
E23  57 and Strathmore make drawing papers in a variety of colors, and my 
E23  58 favorites are dark colors, bright colors, and black. The color of 
E23  59 the paper surface acts like an under-painting; I allow the color to 
E23  60 peek through from between the strokes of pastel to create interest 
E23  61 and enhance the mood of the picture.<p/>
E23  62 <p_>Working on black paper has become something of a trademark for 
E23  63 me. I developed my technique for working on a black support in a 
E23  64 manner directly opposite what I do in watercolor, where I leave the 
E23  65 white paper alone in areas that I want to remain light. Conversely, 
E23  66 when working on a dark surface in pastel, I let the paper show 
E23  67 through for my darkest values. Black paper creates a dramatic 
E23  68 contrast with the colors of the pastel, and I find it also 
E23  69 accentuates the quality and direction of my strokes. My decision to 
E23  70 experiment with black paper was purely pragmatic: I was annoyed by 
E23  71 the fact that colored pastels become contaminated when placed over 
E23  72 black pastel, even when a fixative has been applied to the first 
E23  73 layer. Using black paper eliminated this problem (and consequently 
E23  74 some of my need for fixatives).<p/>
E23  75 <p_>Through teaching workshops, I've become familiar with many of 
E23  76 the pastels being manufactured today. There are several kinds that 
E23  77 I like, but I most prefer soft pastels in large sticks, 
E23  78 particularly those made by Sennelier and Rembrandt. The soft, even 
E23  79 consistency of these sticks makes them very responsive to the 
E23  80 subtle pressures of my hand. For example, if I lightly drag a soft 
E23  81 pastel stick across a painting surface, I can make marks of subtle 
E23  82 delicacy. If I press hard, I can lay the pigment down in opaque, 
E23  83 buttery cascades.<p/>
E23  84 <p_>Five years ago, when I purchased my first set of pastels, I was 
E23  85 concerned that the thicker soft pastel sticks would be clumsy and 
E23  86 make it difficult for me to render detail. As a result, I chose 
E23  87 hard pastels because they came in narrower sticks. Fortunately, I 
E23  88 discovered the expressive advantages of soft pastels when I won a 
E23  89 complete Rembrandt set in a competition. In addition to being very 
E23  90 responsive to the pressure of my hand, large sticks of soft pastel 
E23  91 increase the variety and expressiveness of the marks I can make. By 
E23  92 breaking a stick, taking a segment of it, and dragging it on its 
E23  93 side, I can achieve very broad marks; marks of medium width can be 
E23  94 made with the end of the stick as it wears down; and fine lines and 
E23  95 details can be made with a sharp edge, if one exists (if not, I 
E23  96 just break the stick to create one).<p/>
E23  97 <p_>In the past, what frustrated me the most about pastels were the 
E23  98 large deficiencies that exist in the range of very dark colors. As 
E23  99 a result, I was often forced to use black in areas of deep shadow, 
E23 100 where it can be both uninteresting and overpowering. Fortunately, I 
E23 101 learned that Sennelier manufactures a generous five hundred 
E23 102 fifty-two shades of pastel, and included within their darkest 
E23 103 shades are warm and cool blues, reds, browns, greens, and purples 
E23 104 that provide desirable alternatives to black. I always keep dozens 
E23 105 of Sennelier colors on hand to satisfy my need for dark colors.<p/>
E23 106 <p_>The quality of the pastel strokes is of primary importance to 
E23 107 me. I've learned a lot about strokes from examining the works of 
E23 108 some of the artists and illustrators I admire the most, among them 
E23 109 Claes Oldenburg and Charles Dana Gibson. I appreciate the graphic 
E23 110 nature of their drawing and, by looking closely at their work, I've 
E23 111 learned valuable lessons regarding the descriptive and expressive 
E23 112 potential of line and color.<p/>
E23 113 <p_>Once I put a mark down, I make an effort not to draw on top of 
E23 114 it - to let the stroke of pastel stand clearly and concisely rather 
E23 115 than changing or blurring it. I have no set formula for selecting 
E23 116 color or determining the direction of my strokes. I feel my way 
E23 117 through the painting, with one decision leading to the next. 
E23 118 Regardless of whatever decisions I make, though, I always <tf|>draw 
E23 119 with the pastel stick. Since individual strokes are so important to 
E23 120 me, I'm unwilling to smudge pastel, whether it is with my fingers, 
E23 121 stomps, tissues, or any other implement. My purpose is to leave an 
E23 122 exciting network of lines, both delicate and bold, placed either 
E23 123 side by side or one on top of the other in multiple directions. 
E23 124 These lines describe form, create visual interest, and express my 
E23 125 feelings about a subject.<p/>
E23 126 <p_>As a result, I'm often asked how I blend colors or soften the 
E23 127 edges of objects. The answer is simple: I blend colors by layering 
E23 128 them while reducing my hand pressure and changing the direction of 
E23 129 the lines. However, I avoid crosshatching lines at ninety degrees, 
E23 130 which looks too mechanical; I feel that lines that cross obliquely 
E23 131 are far more interesting. Also, I find there are so many colors 
E23 132 available that I don't really need to do any blending - the pastel 
E23 133 colors on the market are more lively and interesting to me than 
E23 134 blended tones - which is one of the reasons why my palette is made 
E23 135 of more than two hundred colors.<p/>
E23 136 <p_>Color is very significant to me because I don't always portray 
E23 137 the colors of my subjects as they really are. Although I want the 
E23 138 pictures to seem realistic, I also want them to communicate my 
E23 139 feelings. If I want the painting to be melancholy, for example, I 
E23 140 use cool tones; if I want to express joy, I use warm hues.<p/>
E23 141 <p_>No matter how lightly I spray fixative on pastel, I find that 
E23 142 it darkens values and deadens color intensity, so I use it 
E23 143 sparingly. However, I sometimes use it in limited ways to 
E23 144 intentionally darken areas that appear too light or too intense. I 
E23 145 also rely on fixative when a painting surface becomes so saturated 
E23 146 with pastel that marks become increasingly difficult to make; a 
E23 147 little bit of fixative sprayed on the area will create a more 
E23 148 cooperative bed on which to lay new color.<p/>
E23 149 <h_><p_>Daniel Ludwig<p/>
E23 150 <p_>BY SAM KIRBY<p/><h/>
E23 151 <p_>By pursuing his own artistic vision, this Rhode Island artist 
E23 152 creates lush, expressive works that have fostered successful sales, 
E23 153 gallery exhibitions, and his reputation as a serious painter.<p/>
E23 154 <p_>IN A WORLD SATURATED WITH COUNTLESS images and many styles of 
E23 155 painting, how does an artist make even the simplest decisions about 
E23 156 what to paint? For Daniel Ludwig, the answer is easy. 
E23 157 <quote|>"Honesty,"<quote/> he says, <quote_>"is the key to good 
E23 158 painting."<quote/> Artistic honesty allows a painter to disregard 
E23 159 the distractions and criticisms of the outside world and find his 
E23 160 or her own direction.<p/>
E23 161 <p_>In Ludwig's case, that direction is clear. Whether in his 
E23 162 figurative paintings, for which his wife, the painter Anne Leone, 
E23 163 often serves as inspiration, or in his painterly landscapes 
E23 164 exploring classical themes, Ludwig's work reveals his fascination 
E23 165 with color, mood, and the painted surface.<p/>
E23 166 <p_>Propped against a wall in Ludwig's studio, a recent addition to 
E23 167 his home in Newport, Rhode Island, are a number of his large 
E23 168 canvases, glittering with the bright colors of fresh oil paint. One 
E23 169 canvas depicts three women bathing in an arcadian pond. Several 
E23 170 others comprise a series in which men wrestle in wild, natural 
E23 171 environments, their struggle carried out against crashing waves or 
E23 172 the thick growth of a jungle. In another work, a woman stands alone 
E23 173 in a grove of trees - the atmosphere is reflective, melancholy. The 
E23 174 woman could be a mythical goddess or a marvelous statue, but her 
E23 175 identity is unimportant. Ludwig's figures often look hauntingly 
E23 176 familiar, and, indeed, they are akin to the allegorical figures 
E23 177 painted by the Old Masters. The vibrant colors and loose brushwork, 
E23 178 however, are the products of Ludwig's hands.<p/>
E23 179 <p_>Ludwig considers his paintings to be classical in origin, many 
E23 180 of them dealing with traditional themes that incorporate myths, 
E23 181 literary narratives, and images from famous works of art. 
E23 182 Nevertheless, his ideas for paintings are not generated exclusively 
E23 183 from these sources or even from real-life scenes but from his 
E23 184 dreams and imagination. Although trained as a classical realist 
E23 185 painter, Ludwig firmly believes that he would be lost without his 
E23 186 imagination. <quote_>"Even when I was young and pouring over 
E23 187 pictures in art books, I didn't think of paintings as simply 
E23 188 depictions of real life,"<quote/> he explains. <quote_>"I believed 
E23 189 that art didn't come from life but from the imagination of the 
E23 190 artist. When a painting begins to reveal its meaning or identity to 
E23 191 the artist, there are no obstacles, no external pressures. There is 
E23 192 nothing holding the artist back."<quote/><p/>
E23 193 <p_>Sitting in the bright sunlight streaming through the large 
E23 194 windows of his studio, the thirty-two-year-old artist talks about 
E23 195 the great masters' consistent approach to making art.
E23 196 
E24   1 <FROWN:E24\><h_><p_>THE PLEASURE OF THEIR COMPANY:<p/>
E24   2 <p_>JEWELS IN THE DANISH CROWN<p/>
E24   3 <p_>LONG CELEBRATED FOR ITS MALE DANCERS, THE ROYAL DANISH BALLET 
E24   4 BOASTS WOMEN WHO ARE RAVISHING IN THEIR OWN RIGHT. AUDIENCES IN 
E24   5 WASHINGTON, D.C., AND COSTA MESA, CALIFORNIA, WILL HAVE AN 
E24   6 OPPORTUNITY TO SEE THEM DANCE BOURNONVILLE IN JUNE.<p/>
E24   7 <p_>BY MARILYN HUNT<p/><h/>
E24   8 <p_>Let's hear it for Danish women. Historically, although Lucile 
E24   9 Grahn, Toni Lander, and a few other women have made brilliant 
E24  10 international reputations, the men of the Royal Danish Ballet have 
E24  11 garnered the lion's share of the limelight. After all, the ballets 
E24  12 of the great nineteenth-century choreographer August Bournonville 
E24  13 present male dancers exuberantly free from eclipse behind their 
E24  14 partners' skirts. But close observers of the Royal Danish Ballet 
E24  15 have known all along that its women are special, too, that in the 
E24  16 Royal Theatre a remarkable succession of dancer-actresses has 
E24  17 flourished, with a pedigree springing from Bournonville's light, 
E24  18 breezily easy-looking - and secretly daunting - distaff 
E24  19 choreography. An essence of these women is suggested in a pose 
E24  20 unique to Bournonville heroines' mime - a tendu <*_>a-grave<*/> la 
E24  21 seconde with the working foot resting on the floor in a relaxed 
E24  22 demi-pointe: The openness of the body to the audience and its 
E24  23 down-to-earthness-within-convention tell us these are real 
E24  24 people.<p/>
E24  25 <p_>Currently a group of young women is surging forward in the 
E24  26 company, bursting into major roles. Spectators have increasingly 
E24  27 seen them competing and guesting on foreign stages; but audiences 
E24  28 for the American tour in June, like those that attended the big 
E24  29 Bournonville festival in Copenhagen last March, will have the good 
E24  30 fortune to see them in context-jewels in specially designed 
E24  31 settings.<p/>
E24  32 <p_>The Royal Danish Ballet's artistic director, Frank Andersen, is 
E24  33 as proud of his fresh, talented women as he is of his men. Rose 
E24  34 Gad, Silja Schandorff, Henriette Muus, Petrusjka Broholm, and 
E24  35 Christina Olsson take their places in the company along with such 
E24  36 established principals as Heidi Ryom, Lis Jeppesen, and Mette-Ida 
E24  37 Kirk, and other rising dancers such as American Caroline Cavallo 
E24  38 (newly named soloist) and English dancer Claire Still.<p/>
E24  39 <p_>The company's women are particular beneficiaries of two recent, 
E24  40 long-awaited developments that have finally been settled with the 
E24  41 Danish government. One was the creation of a soloist rank, where 
E24  42 traditionally there had been only two categories - principal and 
E24  43 corps. Most of those promoted to the new intermediate rank so far 
E24  44 are women, who in the past have suffered the schizophrenia of 
E24  45 dancing, say, Giselle one night and a corps wili the next, as well 
E24  46 as all the skepticism of foreign audiences toward corps members' 
E24  47 dancing leads.<p/>
E24  48 <p_>The other development was the lowering of the retirement age 
E24  49 from forty-eight to forty. While many invaluable older character 
E24  50 dancers will, of course, be retained, some senior dancers will give 
E24  51 way to expanded ranks of young women, making productions of 
E24  52 <tf_>Swan Lake<tf/> and <tf_>The Sleeping Beauty<tf/> feasible.<p/>
E24  53 <p_>The company's dancers traditionally haven't taken separate 
E24  54 bows. They've grown up together from as early as six or eight years 
E24  55 of age, receiving their ballet and academic training in the same 
E24  56 Royal Theatre where they now dance - in some of the very ballets 
E24  57 that they appeared in as children. Gad, Schandorff, Muus, Broholm, 
E24  58 and Olsson, who were in more or less the same class in school and 
E24  59 are now twenty-three to twenty-six years old, were apprentices 
E24  60 around the time that Andersen took over as director in 1985, and 
E24  61 they were just becoming visible during the company's last visit to 
E24  62 the United States, in 1988. The wonder - but one typical of the 
E24  63 company - is that they have different and distinctive personalities 
E24  64 and qualities.<p/>
E24  65 <p_>Their independent, forthright air, with a hint of sexuality, 
E24  66 keeps Bournonville's heroines evolving with the times - in the 
E24  67 company's new production of <tf_>A Folk Tale<tf/>, for example. But 
E24  68 these dancers are versatile and don't want to be <quote_>"put in a 
E24  69 box"<quote/>; participating in the breadth of the company's 
E24  70 repertoire is important to them. Self-aware and self-critical, they 
E24  71 are conscious of their individual evolutions.<p/>
E24  72 <p_>Made a principal after her creation of the passionate and 
E24  73 vulnerable title role in Flemming Flindt's <tf_>Caroline 
E24  74 Mathilde<tf/> last year, Rose Gad has a sort of golden glow and a 
E24  75 natural romantic lyricism, from the smooth roll through the foot to 
E24  76 the breadth and curl of long, liquid arms. She learned the Sylphide 
E24  77 from the late Hans Brenaa and first danced the role at eighteen. 
E24  78 Giselle and the heroines of Bournonville's <tf_>Lay of Thrym<tf/> 
E24  79 and <tf_>A Folk Tale<tf/> followed. Gad feels that her strong 
E24  80 points are style and a belief in the ballet's stories, whereas, she 
E24  81 says, <quote_>"I don't have a body built for pure classical 
E24  82 technique. But I'm really trying to work on it."<quote/> 
E24  83 Nevertheless, she makes a real ballerina in her performances of 
E24  84 George Balanchine's <tf_>Theme and Variations<tf/> and 
E24  85 <tf_>Tschaikovsky Pas de Deux<tf/>. She has recently danced the 
E24  86 latter at Paris Op<*_>e-acute<*/>ra Ballet galas, partnered by 
E24  87 POB's Manuel Legris.<p/>
E24  88 <p_>The year after Gad received the women's Erik Bruhn Prize in 
E24  89 Toronto, Silja Schandorff made it two Danish women in a row by 
E24  90 winning in 1989. (She has since returned to dance with the National 
E24  91 Ballet of Canada as part of an exchange arrangement between the two 
E24  92 companies.) This January she was named a principal. Possessed of a 
E24  93 magisterial, long, lithe body, high extension, perfectly arched 
E24  94 feet, and large, luminous eyes, she gobbles up the works of 
E24  95 Balanchine and Jerome Robbins, loving their energy and musicality. 
E24  96 She has also benefitted a great deal, she says, from working with 
E24  97 Ib Andersen and Anna Laerkesen in new ballets. Recently Schandorff 
E24  98 has taken on narrative parts: Myrtha in <tf|>Giselle, roles in 
E24  99 <tf_>The Lay of Thrym<tf/>, and the lead in <tf_>A Folk Tale<tf/>. 
E24 100 Sailing, airy and joyous, she proves that, contrary to tradition, a 
E24 101 tall dancer can give a lot to Bournonville.<p/>
E24 102 <p_>Henriette Muus shared an award for best couple with Alexander 
E24 103 K<*_>o-slash<*/>lpin at the 1986 Jackson competition, where their 
E24 104 pas de deux from <tf_>The Flower Festival in Genzano<tf/> was a 
E24 105 favorite. Muus continues to shine in that Bournonville showpiece. 
E24 106 Her compact build and her effervescence and mischievous wit onstage 
E24 107 make her a natural for Bournonville - the heroines of <tf|>Abdallah 
E24 108 and <tf_>The Kermesse in Bruges<tf/>, for example - and for 
E24 109 <tf|>Copp<*_>e-acute<*/>lia, to which she brings a particular joie 
E24 110 de vivre. She is funny and touching as John Neumeier's slapstick, 
E24 111 spectacled Helena in <tf_>A Midsummer Night's Dream<tf/>. Ballet is 
E24 112 not easy for her physically, she says. But she is a quick learner, 
E24 113 and in a character she looks very secure, playing with balance, 
E24 114 phrasing, and attack and shading her moods. Her dancing rises to a 
E24 115 passionate commitment, too (as Olga in John Cranko's<tf|>Onegin, 
E24 116 for example). She is interested in different kinds of roles, such 
E24 117 as the Sylphide, and she scored a success as Juliet recently with 
E24 118 Australian Ballet.<p/>
E24 119 <p_>Temperament and liveliness characterize Petrusjka Broholm's 
E24 120 dancing. Bournonville style comes readily to her; her imagination 
E24 121 lights up the role of Teresina in <tf|>Napoli. Noticed favorably at 
E24 122 the New York International Ballet Competition when she was 
E24 123 nineteen, she has an eagerness for dancing and extending herself 
E24 124 that took her to the Berlin Ballet for half of last season. Working 
E24 125 on Flemming Flindt's <tf_>The Lesson<tf/>, she says, taught her the 
E24 126 courage to push effects rather than playing safe. She dances 
E24 127 <tf|>Copp<*_>e-acute<*/>lia, Olga in <tf|>Onegin, and Robbins's 
E24 128 <tf_>Afternoon of a Faun<tf/>. Broholm says she wants to 
E24 129 <quote_>"get to the point that every movement has expression and 
E24 130 connection, so it is really music, and I can make a whole 
E24 131 melody."<quote/><p/>
E24 132 <p_>Christina Olsson has always had a strong, expansive technique 
E24 133 and a big jump suggesting strength. The powerhouse 'Vortex' solo in 
E24 134 Alvin Ailey's<tf_>The River<tf/> was an early role. (Schandorff did 
E24 135 the sinuous 'Meander.') Olsson loves Balanchine and has done the 
E24 136 Russian girl in <tf|>Serenade, the <tf|>Agon solo, and Polyhymnia 
E24 137 in <tf|>Apollo. A change of pace has been Lar Lubovitch's jazzy 
E24 138 <tf_>Rhapsody in Blue<tf/>. She used to focus too exclusively on 
E24 139 virtuosity, she says, and is now working on movement quality and a 
E24 140 more fluid port de bras. <quote_>"I still have a tendency that when 
E24 141 I get nervous my legs take over because they're so strong,"<quote/> 
E24 142 she says, but she is interested in <quote_>"expressing something 
E24 143 with my dance, because that's what makes it all beautiful."<quote/> 
E24 144 Olsson's new softness and lyricism are visible as Hermia in <tf_>A 
E24 145 Midsummer Night's Dream<tf/>, and Irma in Bournonville's 
E24 146 <tf|>Abdallah.<p/>
E24 147 <p_>How do these five women feel about being in this company, with 
E24 148 its Bournonville tradition? Do they feel at any disadvantage, 
E24 149 compared to the men, in terms of training or repertoire?<p/>
E24 150 <p_>They say they do not feel overshadowed. They point out that 
E24 151 women are as necessary to Bournonville's ballets as men are. Gad 
E24 152 volunteers that <quote_>"it's great that Danish male dancers are so 
E24 153 famous,"<quote/> and she likes <quote_>"the way you dance <tf|>with 
E24 154 each other or <tf|>to each other, instead of having the males 
E24 155 behind all the time."<quote/> Muus says she loves Bournonville even 
E24 156 though it <quote_>"is very hard, and the women's steps are 
E24 157 sometimes men's, [such as] beating steps."<quote/> <quote_>"It's 
E24 158 harder than it looks,"<quote/> Schandorff points out, <quote_>"so 
E24 159 it gives you a lot of strength."<quote/><p/>
E24 160 <p_>Olsson says she became aware, though, when she studied at New 
E24 161 York City Ballet's affiliated School of American Ballet, that, 
E24 162 while Danish training gives women more jumps (<quote_>"males' 
E24 163 jumps, heavy jumps"<quote/>), Balanchine training gives more pointe 
E24 164 work. She also notes that, compared with Balanchine, Bournonville 
E24 165 doesn't provide the women in the corps with much to do - a common 
E24 166 complaint in the company. On that account, she feels it's 
E24 167 especially important for the company to have a big mixed 
E24 168 repertoire.<p/>
E24 169 <p_>The women like the musicality and expressiveness of 
E24 170 Bournonville choreography. Muus finds the steps harmonious, 
E24 171 <quote_>"and you can play with them"<quote/>; the emphasis on the 
E24 172 use of the whole body and the de-emphasis of athletic feats are a 
E24 173 relief. Bournonville class for her is <quote_>"like a breath in the 
E24 174 midst of all this tension about being placed."<quote/><p/>
E24 175 <p_>Olsson gives working on Bournonville (in particular, soloist 
E24 176 roles in <tf|>Abdallah) the credit for changing her focus from 
E24 177 virtuosity to movement quality. <quote_>"Bournonville is really 
E24 178 good for me, my quality and heart,"<quote/> she says. <quote_>"It's 
E24 179 hard on the calves, and there might be quick little steps, but it's 
E24 180 always supposed to look easy - soft and gentle."<quote/> She also 
E24 181 likes the jumps and the breadth of the steps, using the whole 
E24 182 stage.<p/>
E24 183 <p_>For Schandorff, Bournonville has been very much a matter of 
E24 184 rapprochement: <quote_>"I feel that the things that I was good at, 
E24 185 I couldn't show in Bournonville. They would always advise me not to 
E24 186 raise my leg so high. When you are a kid, sometimes you can be a 
E24 187 little bit 'smart' and say, 'No, I don't like that.' I think a lot 
E24 188 of kids felt that. But later I realized that less can be more. So 
E24 189 it is nothing to do with how high the leg is, but the <tf|>way it 
E24 190 is. It's really a lovely way of dancing and a wonderful 
E24 191 tradition."<quote/><p/>
E24 192 <p_>The dramatic legacy of Bournonville has given the dancers an 
E24 193 unusual degree of imaginative involvement. They often speak of 
E24 194 forgetting themselves onstage and becoming the person they are 
E24 195 playing. Although, as Muus points out, the women characters are 
E24 196 often <quote_>"young and inexperienced,"<quote/> still they are 
E24 197 <quote_>"very different from story to story,"<quote/> and a 
E24 198 supernatural character such as the Sylphide is a special challenge. 
E24 199 Gad finds that Bournonville helps one learn how to create a role - 
E24 200 and to do it in a way that looks natural rather than 'acted'.<p/>
E24 201 <p_>In <tf|>Napoli - one of the ballets scheduled for the U.S. tour 
E24 202 - Broholm believes that the role of Teresina has the responsibility 
E24 203 of holding the three acts together. She has thought through her 
E24 204 approach with her own details: <quote_>"The dancing is not very 
E24 205 difficult, but it really has to be <tf|>quality. In the first act, 
E24 206 Teresina is happy, she's free. She's <tf|>me! In the second act [in 
E24 207 which Teresina comes under the spell of the sea god Golfo], it's 
E24 208 exciting because you have to express that you're almost dancing in 
E24 209 water, like a water plant. When Teresina does port de bras, it's 
E24 210 like reaching toward the surface. 
E24 211 
E24 212 
E24 213 
E25   1 <FROWN:E25\><h_><p_>Installing and Troubleshooting Car-Audio 
E25   2 Systems<p/>
E25   3 <p_>These valuable hints and techniques can help you install a 
E25   4 car-stereo system like a pro.<p/>
E25   5 <p_>BY WAYNE R. GIPSON, CET<p/><h/>
E25   6 <p_>Like most worthwhile endeavors, installing your own car-stereo 
E25   7 system is much easier if a few professional methods are utilized. 
E25   8 Furthermore, armed with the right knowledge, installing a car 
E25   9 stereo can also be a rewarding experience. To help you 'roll your 
E25  10 own' set up, this article will provide insights into practical 
E25  11 installation and troubleshooting techniques. This article will also 
E25  12 help you determine if a particular system or vehicle might demand 
E25  13 professional installation, and will provide 'red flags' that might 
E25  14 help the installer avoid damage to the vehicle or stereo.<p/>
E25  15 <p_>It should be mentioned that the procedures set forth here are 
E25  16 not to be interpreted as applying to every installation scenario. 
E25  17 The reader is expected to use his or her own judgment in applying 
E25  18 these ideas to their own situation. Always read and follow the 
E25  19 instructions supplied with your stereo system. If questions arise, 
E25  20 consult the dealer from whom the equipment was purchased.<p/>
E25  21 <p_><tf_>Sizing-Up the Job.<tf/> Many problems arise when trying to 
E25  22 fit a car stereo into a vehicle that cannot accommodate the 
E25  23 system's size or dimensions. Some stereo systems are simply too 
E25  24 large to be mounted into the dash of a smaller vehicle, and 
E25  25 speakers that are too large for the cavity of the interior of the 
E25  26 car can be damaged in use. To avoid these problems, take advantage 
E25  27 of the literature that your dealer can provide that will list 
E25  28 dimensions of the different head units and speakers that you are 
E25  29 considering. Be sure to take advantage of all the good advice that 
E25  30 a knowledgeable dealer might offer. If you buy your equipment from 
E25  31 such a dealer, he will be glad to evaluate your vehicle. After all, 
E25  32 it is much easier, and more profitable, for him <}_><-|>to<+|><}/> 
E25  33 to satisfy your needs at the onset, rather than have to take back 
E25  34 merchandise that cannot be made to fit. By the same reasoning, be 
E25  35 wary of a salesman who pushes a particular stereo before he even 
E25  36 knows what type of car or truck you own.<p/>
E25  37 <p_>The first step in deciding on the right stereo is to draw a 
E25  38 diagram of your vehicle on a piece of graph paper, similar to that 
E25  39 shown in Fig. 1. Take time to visualize what you want your system 
E25  40 to look and sound like before you buy it. Once features have been 
E25  41 settled on, price must be considered. At this point, before 
E25  42 shopping seriously, consider the list shown in Table 1 to determine 
E25  43 if there are any accessories that must be included in your 
E25  44 price.<p/>
E25  45 <p_><O_>figure<O/><p/>
E25  46 <p_>Having a firm grasp on wanted features and price, examine the 
E25  47 dash area of the vehicle. Most older domestic cars have a 
E25  48 'two-shaft' radio (one shaft for the volume control and one for 
E25  49 tuning.) If, when the radio is pulled, and there is a small 
E25  50 rectangular center cavity with shaft holes on either side, you are 
E25  51 limited to a shaft type radio. If there remains just a large 
E25  52 rectangular cavity, then you can install either a shaft-type radio 
E25  53 or a DIN type radio, depending on the mounting bracket you buy.<p/>
E25  54 <p_>Speaking of mounting brackets, several car-stereo accessory 
E25  55 manufacturers market a wide range of plastic faceplates and 
E25  56 mounting brackets custom designed for your vehicle type. These 
E25  57 accessories can make your installation look very sharp and 
E25  58 professional. Some can accommodate with a DIN-mount stereo and an 
E25  59 equalizer in the cavity used by the original radio. Generic 
E25  60 mounting units are also available, and they are usually much 
E25  61 cheaper than the ones marketed by the car-stereo manufacturers. 
E25  62 However, to take advantage of special mounting arrangements like 
E25  63 the radio/equalizer mounting mentioned above, the manufacturer's 
E25  64 mounting units must generally be used.<p/>
E25  65 <p_>When examining installation literature put out by the 
E25  66 manufacturers, be wary if the guide states 'professional 
E25  67 installation recommended' or warns you that the system is 
E25  68 incompatible with your vehicle. Take their advice, and do not 
E25  69 attempt to install such a model in your car. Always remember the 
E25  70 manufacturer is eager to sell equipment. If they gave-up trying to 
E25  71 fit the unit into your model of vehicle, you stand a very slim 
E25  72 chance of proving them wrong.<p/>
E25  73 <p_>If your vehicle has a 24-volt electrical system or a 'positive 
E25  74 ground' (meaning the positive post of the battery is connected to 
E25  75 the chassis, or frame, of the vehicle), do not attempt installation 
E25  76 yourself. Take your vehicle to a professional installer. Damage to 
E25  77 the stereo and vehicle will surely result from improper 
E25  78 installation in such a situation.<p/>
E25  79 <p_>If you own a newer vehicle, seek advice before replacing a 
E25  80 factory- installed/original-equipment stereo unit. Some new 
E25  81 vehicles have sophisticated wiring and control schemes that are 
E25  82 designed specifically for that car maker's factory-installed 
E25  83 stereos, and careless or incorrect removal of the radio might cause 
E25  84 damage to the vehicle's electrical system.<p/>
E25  85 <p_><tf_>Getting to It.<tf/> One tip that will save you a great 
E25  86 deal of time is to test the system outside of the vehicle before 
E25  87 installation. That gives you a chance to rehearse the installation 
E25  88 before the fact. It is very discouraging to put the vehicle back 
E25  89 together, button everything up, and turn on the unit only to learn 
E25  90 that it is an 'out of box' failure. Those instances, happily, are 
E25  91 few and far between, but it is good practice to do a bench test; if 
E25  92 the unit is bad, it is much easier to return a like-new unit versus 
E25  93 one whose chassis has been scarred and fingerprinted during the 
E25  94 installation process. If you'd like, the retailer that sold the 
E25  95 unit may bench test it for you.<p/>
E25  96 <p_>Before starting to remove the old stereo or installing the new 
E25  97 unit, disconnect the negative battery cable from 
E25  98 <}_><-|>it's<+|>its<}/> terminal. That prevents the battery from 
E25  99 running down while the doors, trunks, and hood are open, and also 
E25 100 prevents injury to you should you accidentally short the wiring.<p/>
E25 101 <p_>Carefully examine the original radio to learn how it comes out 
E25 102 of the vehicle. If it is a shaft-mount unit, generally there are 
E25 103 nuts affixing the control shafts to the dash, and then there will 
E25 104 be a back brace that holds the rear of the radio tight to the car's 
E25 105 frame. Basic mechanic's tools are sufficient to accomplish the 
E25 106 removal; use deep sockets to loosen the front nuts. On some 
E25 107 vehicles, the radio is mounted from the front, and generally the 
E25 108 bolts that fasten the radio to the console can be easily taken out, 
E25 109 although a few utilize reverse-headed bolts that require a special 
E25 110 tool available from an auto-parts store or from the dealer to be 
E25 111 removed.<p/>
E25 112 <p_>Once the radio is unfastened, carefully detach the wiring from 
E25 113 the radio. Some of the connectors can be incredibly hard to remove, 
E25 114 but generally they will detach without much trouble if time is 
E25 115 taken to examine the fasteners and find any 'hidden' snaps or 
E25 116 brackets used to keep the cables in place. Never cut any of these 
E25 117 connectors off. As we'll discuss shortly, these connectors might be 
E25 118 able to attach to an aftermarket harness interface, or if the 
E25 119 original radio was to be replaced, perhaps when the vehicle is to 
E25 120 be traded, they would be handy if left in place. When those 
E25 121 connectors are disconnected from the radio, pay attention to where 
E25 122 the power cables are. These must be taped up so they do not touch 
E25 123 anything or short together.<p/>
E25 124 <p_>Follow the car-stereo manufacturer's instructions to physically 
E25 125 install your new unit. One installation step many inexperienced 
E25 126 installers overlook is to secure the back strapping (shown in Fig. 
E25 127 2). In order to ensure a trouble-free installation, the stereo must 
E25 128 be secured with that strap. The pressure on the front shafts and 
E25 129 nose piece of the stereo is relieved by the back strap, keeping 
E25 130 problems like broken printed-circuit boards and bound mechanisms to 
E25 131 a minimum. The metal back strap also provides a common ground for 
E25 132 the system. To help avoid noise and engine interference problems 
E25 133 (which we'll explain later), a good ground point is essential.<p/>
E25 134 <p_>Generally, it is best to avoid hooking up a stereo to <tf|>any 
E25 135 of the wiring harnesses that are provided by the vehicle 
E25 136 manufacturer unless an aftermarket 'breakout' harness is used to 
E25 137 plug into the original harness. Such breakout units will clearly 
E25 138 label wiring that can be used in installing the new stereo. If no 
E25 139 such harness is available, run your own cabling <tf|>directly to 
E25 140 the speakers, power source, etc. It is dangerous to take for 
E25 141 granted that a wire emerging from the vehicle's wiring harness 
E25 142 reading +12 volts will be correct for hooking up to your stereo. 
E25 143 The voltage might be coming from an electronic control point to the 
E25 144 clock or tuner memory, and drawing current sufficient to power your 
E25 145 stereo will damage the source. You might consider using the cable 
E25 146 that powered the original radio, but the size of the wire could be 
E25 147 insufficient to feed the new system, particularly if amplifiers or 
E25 148 other peripherals are installed. The wire might overheat, and burn 
E25 149 up the vehicle's wiring harness, or it might be connected to a fuse 
E25 150 that will blow when the system is cranked up, disabling other 
E25 151 equipment in the vehicle.<p/>
E25 152 <p_>One tip to help you get the connectors you may need for your 
E25 153 radio would be to bring the literature supplied with your new 
E25 154 equipment to the dealer. That way he can 'see' what you want, 
E25 155 rather than trying to figure out what to sell you from a verbal 
E25 156 description.<p/>
E25 157 <p_><O_>figure<O/><p/>
E25 158 <p_><tf_>Antennas and Accessories.<tf/> Most units today have one 
E25 159 power wire to power the amplifier section and control functions, 
E25 160 and another to provide a continuous voltage to retain selected 
E25 161 stations in memory and to power the clock function. The main power 
E25 162 wire allows the radio to be turned on and off with the ignition 
E25 163 switch. Sometimes the second wire, if deprived of 12 volts, will 
E25 164 prevent the radio from working. This wire must be connected to a 
E25 165 source that provides 12 volts on a continuous basis.<p/>
E25 166 <p_>If you have an electric antenna in your existing system, 
E25 167 provisions must be made to provide power to the antenna. Generally, 
E25 168 when 12 volts is applied to the antenna's power-lead, the antenna 
E25 169 extends, and when the 12 volts is removed, the antenna retracts. 
E25 170 There are a few variations, so consult the dealer if in doubt. The 
E25 171 antenna power lead can often be determined by examining the 
E25 172 original radio. Sometimes, a wire legend is stamped on the radio 
E25 173 with the abbreviation 'ANT' denoting the antenna wire, or one of 
E25 174 the wires might have a tape affixed to it labeled as an antenna 
E25 175 lead. Most car stereos have a 12-volt outlet wire that is used to 
E25 176 supply voltage to the antenna when the radio is powered up.<p/>
E25 177 <p_>Keep all connecting cables as short as possible between the 
E25 178 radio (or head unit) and any add-on components, such as an 
E25 179 amplifier or equalizer. If a long run is necessary (perhaps because 
E25 180 the amplifier is mounted in the trunk), then use quality 
E25 181 interconnect cable to minimize interference. Be sure to follow the 
E25 182 manufacturer's instructions regarding size of power cables for the 
E25 183 amplifier. Most of the time, you can connect amplifiers and head 
E25 184 units of different manufacturers together, but be sure to find out 
E25 185 if special interconnections are required. Once again, your 
E25 186 equipment's documentation will help the dealer determine how and 
E25 187 what accessories are required to complete the installation. When 
E25 188 mounting amplifiers and other items, such as crossovers, really 
E25 189 beautiful bases can be made for these accessories by using finished 
E25 190 plywood. A plywood base is great for mounting a system's amplifiers 
E25 191 and crossovers behind the seat in a pickup, or in the trunk of a 
E25 192 car.<p/>
E25 193 <p_><tf_>Speaker Tips.<tf/> Data on selecting correct speaker sizes 
E25 194 can be had in the same manuals that the manufacturers publish for 
E25 195 their head unit recommendations. The speakers must seal the opening 
E25 196 they project sound through. You must not let air escape around the 
E25 197 speaker mounting from the front of the cone back to the rear. Such 
E25 198 leakage will diminish sound quality and power.<p/>
E25 199 
E25 200 
E26   1 <#FROWN:E26\><h_><p_>TRAINING AND DEVELOPMENT<p/>
E26   2 <p_>PSE&G's center shapes distribution apprentices; reaches out to 
E26   3 customers<p/>
E26   4 <p_>By Nancy G. Sooy<p/><h/>
E26   5 <p_>Since its inauguration in 1989, Public Service Electric & Gas 
E26   6 Co's (PSE&G) unique Edison Training & Development Center has 
E26   7 successfully 'graduated' distribution-systems apprentices in 
E26   8 programs covering everything from overhead construction to 
E26   9 substation operations.<p/>
E26  10 <p_><tf_>Hands on.<tf/> Fashioned from a renovated warehouse on 15 
E26  11 acres of land in Edison, NJ, the center's main building is a 90,000 
E26  12 ft<sp_>2<sp/> facility designed to provide quality technical-skills 
E26  13 training for the utility's distribution systems department.<p/>
E26  14 <p_>It succeeds at this by: (1) establishing specific performance 
E26  15 objectives for each 'job family' and developing employee skills to 
E26  16 meet those objectives; (2) reinforcing the basic skills training 
E26  17 provided at the training and development center with hands-on field 
E26  18 experience; and (3) constant feedback on employee performance 
E26  19 through instructor mentoring.<p/>
E26  20 <p_><tf|>Employee-designed. Inside, the training and development 
E26  21 center is a multi<?_>-<?/>functional structure with dual-purpose 
E26  22 rooms equipped for both training and emergency uses. PSE&G called 
E26  23 on employees to help design the center. A team consisting of 
E26  24 employees from the distribution systems engineering and 
E26  25 construction departments, along with training instructors and 
E26  26 outside architects, designed the shops and laboratories based upon 
E26  27 the job-related functions of each room.<p/>
E26  28 <p_><tf|>Outdoors. Outside, training facilities include a four-acre 
E26  29 site for overhead and underground distribution construction, 
E26  30 maintenance, operations, mobile equipment, a commercial driving 
E26  31 track, and other special training programs.<p/>
E26  32 <p_>Back inside the center, there are executive conference rooms, 
E26  33 an auditorium that can accommodate up to 125 people, and a full 
E26  34 complement of core facilities, including a library, audio-visual 
E26  35 equipment, host telephones and computers, food service areas, and 
E26  36 an administrative area providing telephone, reproduction, and fax 
E26  37 equipment. However, the most frequently used components of the 
E26  38 building are the 37 skills training laboratories and meeting 
E26  39 rooms.<p/>
E26  40 <p_><tf_>Old days.<tf/> Skills training at PSE&G was a lot simpler 
E26  41 30 years ago, when distribution-systems employees relied primarily 
E26  42 upon on-the-job training. However, with the introduction of highly 
E26  43 sophisticated overhead and underground distribution systems, 
E26  44 complicated and expensive construction tools and text instruments, 
E26  45 along with complex service restoration procedures, the company 
E26  46 recognized a need for structured training programs.<p/>
E26  47 <p_><tf|>Trailers. The first formalized T&D apprentice training 
E26  48 program at PSE&G began in 1967. It left employee skills training to 
E26  49 be done at each of the six division headquarters. Fifteen years 
E26  50 later, in 1982, training became centralized at a facility 
E26  51 consisting of temporary trailers on grounds adjacent to the current 
E26  52 site of the new training and development center.<p/>
E26  53 <p_><tf|>Focused. Since its opening in 1989, the new center has 
E26  54 trained thousands of employees in courses that focus on personal 
E26  55 safety and development of technical expertise in equipment and 
E26  56 systems used in the field. Apprentice programs are offered to 
E26  57 service dispatchers, linemen, underground technicians, equipment 
E26  58 operators, substation mechanics, substation operators, relay 
E26  59 technicians, meter technicians, automotive mechanics, engineering 
E26  60 technicians, and clerks.<p/>
E26  61 <p_><tf|>Mentoring. These training programs also extend beyond 
E26  62 distribution systems to include other company business units, 
E26  63 Pennsylvania-Jersey-Maryland Interconnection (PJM) pool 
E26  64 dispatchers, and employees of primary customers and governmental 
E26  65 agencies.<p/>
E26  66 <p_>An important element recently added to the center's apprentice 
E26  67 lineman program is 'mentoring.' The mentoring program was developed 
E26  68 to increase communications and rapport among instructors, trainees, 
E26  69 and field supervisors. Because of the limited amount of time for 
E26  70 trainee development, this triad insures that the time devoted to 
E26  71 field experience is meaningful, diversified, and productive.<p/>
E26  72 <p_>When apprentices attend formal training for the first time, 
E26  73 they are assigned an instructor who becomes their mentor and visits 
E26  74 them when they go out into the field for hands-on experience. 
E26  75 Mentors consult with local supervisors, crew chiefs, and trainees, 
E26  76 who keep record books on their work assignments. Mentors detemine 
E26  77 the trainees' progress and evaluate their training assignments. 
E26  78 They use the field visits to detemine what the trainee needs to 
E26  79 enhance performance skills.<p/>
E26  80 <p_><quote_>"I think mentoring has gone a long way to improve the 
E26  81 learning curve with PSE&G trainees,"<quote/> says Jesse Brown, 
E26  82 manager of the Edison center. <quote_>"Mentoring helps to insure 
E26  83 that the employee's on-the-job work is truly supplementing 
E26  84 training."<quote/><p/>
E26  85 <p_><tf|>Upgrades. Training at the center is not just for 
E26  86 apprentices. Throughout employee careers, there are many other 
E26  87 occasions when they can use the training center for follow up, 
E26  88 technical updates, and developmental and other enhancement courses. 
E26  89 The same holds true for the center's 24 instructors, who are also 
E26  90 given technical and instructional enhancement on a continual basis. 
E26  91 Most of them have prior field experience and teach multiple 
E26  92 disciplines. A few days a year, the center is shut down to update 
E26  93 technical and instructional skills.<p/>
E26  94 <p_><tf|>Upfront. Constant feedback is encouraged as a part of the 
E26  95 center's continuous improvement cycle. <quote_>"Our teaching method 
E26  96 stresses the difference between education and training,"<quote/> 
E26  97 explains Thomas Devine, senior training supervisor at the facility. 
E26  98 <quote_>"Education is the gaining of knowledge for its own sake, 
E26  99 but training is gaining knowledge with a specific, well-defined 
E26 100 performance goal in mind,"<quote/> he explains. <quote_>"When 
E26 101 students walk into our classrooms, the course objectives are given 
E26 102 to them right up front. We make a direct connection between what 
E26 103 they're learning and the job they'll be doing when they return to 
E26 104 the field."<quote/><p/>
E26 105 <p_><tf_>Double duty.<tf/> Devine notes that the training workshops 
E26 106 were designed to include equipment that could simulate actual field 
E26 107 situations. <quote_>"One of our capabilities here is that if an 
E26 108 emergency situation arises in the distribution systems department, 
E26 109 our training props become available to act as operating 
E26 110 equipment,"<quote/> he says. <quote_>"For example, if a breaker or 
E26 111 feeder row fails, we can take out the equipment that's here and 
E26 112 send it to wherever it's needed to get the customer back in 
E26 113 service. We have actually done this. Eventually, the failed piece 
E26 114 of equipment comes back to the center and we can learn from 
E26 115 it."<quote/><p/>
E26 116 <p_><tf|>Emergencies. In fact, the carefully designed, dual-purpose 
E26 117 training center's rooms are pre-wired with emergency telephone 
E26 118 lines and computer connections in the event an emergency arises. 
E26 119 There are also fixed cellular phone and radio systems in place to 
E26 120 communicate beyond the normal telephone grid. The following 
E26 121 emergency functions are supported:<p/>
E26 122 <p_><*_>black-square<*/>System operations alternative emergency 
E26 123 command center - This is a room that can be activated in less than 
E26 124 half an hour for load dispatching for the entire state should the 
E26 125 emergency systems operations center in PSE&G's Newark (NJ) 
E26 126 headquarters be unable to function;<p/>
E26 127 <p_><*_>black-square<*/>Distribution systems department's 
E26 128 alternative storm/emergency command center - This room can be used 
E26 129 by distribution systems in the event a major outage prevents all 
E26 130 six divisions of PSE&G from manning the Newark emergency storm 
E26 131 center;<p/>
E26 132 <p_><*_>black-square<*/>Computer mainframe emergency command center 
E26 133 - This room houses the computer backup for the entire company;<p/>
E26 134 <p_><*_>black-square<*/>Board of regulatory commissioners (BRC) 
E26 135 emergency information center - This area consists of two rooms 
E26 136 where information can be easily relayed to the state's office of 
E26 137 emergency management in the event of a storm or calamity affecting 
E26 138 statewide utility services. It can also be used to provide 
E26 139 assistance to the state Dept of Environmental Protection and Energy 
E26 140 during times of energy-supply emergencies involving the curtailment 
E26 141 or disruption of electricity services.<p/>
E26 142 <p_><tf_>Clerk program.<tf/> Although the center is designed to put 
E26 143 great emphasis on training field employees for actual work 
E26 144 conditions, inside personnel, such as clerks and engineering 
E26 145 technicians, are not overlooked. The apprentice-clerk program 
E26 146 consists of three phases that focus on administration, 
E26 147 payroll/records, and classification storeroom.<p/>
E26 148 <p_><tf|>Technicians. Meanwhile, for engineering technicians, an 
E26 149 apprentice engineering technician program covers drafting, inquiry, 
E26 150 new business, overhead, underground, and planning, with additional 
E26 151 courses - such as fundamentals of electricity, dc and ac, and the 
E26 152 fundamentals of electric distribution. Management personnel are 
E26 153 also included in the skills training and development process. 
E26 154 Courses such as front-line leadership, positive discipline, and 
E26 155 supervisory technical orientation are offered. Other courses at the 
E26 156 center are designed for the general employee population. Some of 
E26 157 these are customer relations training, root-cause analysis, PCB and 
E26 158 oil<?_>-<?/>spill procedures, hazardous-waste cleanup, and 
E26 159 communications.<p/>
E26 160 <p_><tf_>Leadership and licenses.<tf/> A recent program addition is 
E26 161 a leadership-development course given to union employees who are 
E26 162 operating-department group leaders, to provide practical experience 
E26 163 in identifying and applying leadership techniques. The course is 
E26 164 designed to improve group safety, communications, operating 
E26 165 effectiveness, and customer relations.<p/>
E26 166 <p_>Another service provided is commercial driver's-license 
E26 167 certification, not only for distribution-systems personnel but for 
E26 168 production and transmission-systems employees as well. To date, the 
E26 169 center has certified approximately 3000 employees.<p/>
E26 170 <p_><tf|>Outdoors. Though it belongs to PSE&G, the utility is not 
E26 171 the center's only customer. Government agencies, state employees, 
E26 172 and other utilities often request its use to supply skills 
E26 173 training, such as cable splicing and electrical safety. In 
E26 174 addition, the center has also provided 'beyond-the-meter' training 
E26 175 to PJM system operators, the US Coast Guard, and other companies, 
E26 176 including PSE&G's primary customers. And in 1991, approximately 
E26 177 4000 people attended electrical safety demonstrations given to 
E26 178 emergency squads, fire departments, schools, and community 
E26 179 organizations.<p/>
E26 180 <p_><tf|>Balloons. One popular safety show is a 'high-voltage 
E26 181 demonstrator,' a large simulator that uses actual equipment and 
E26 182 live electric current to demonstrate the dangers of contact with 
E26 183 downed wires. The demonstration shows how objects such as fire 
E26 184 hoses, trees, kites, and even mylar balloons can create havoc with 
E26 185 high-voltage equipment.<p/>
E26 186 <p_>Another way the training center reaches out to customers is 
E26 187 through its electrotechnology demonstration facility where product 
E26 188 testing and demonstrations inform industrial customers of new 
E26 189 process technologies - such as ultraviolet curing and infrared 
E26 190 drying. These new processes help customers remain competitive by 
E26 191 improving product quality and increasing productivity and energy 
E26 192 efficiency.<p/>
E26 193 <h_><p_>What's in the training rooms?<p/><h/>
E26 194 <p_>An important feature of the training and development center is 
E26 195 the ability of the skills-training laboratories to simulate actual 
E26 196 field situations. Some of these rooms and their features 
E26 197 include:<p/>
E26 198 <p_><tf_>Meter training room.<tf/> This room is equipped with 
E26 199 electro mechanical system work stations to provide polyphase 
E26 200 hands-on training experience for the fundamental electrical courses 
E26 201 presented. This room contains examples of meter and service 
E26 202 equipment found in the field. Each installation is connected with 
E26 203 proper secondary service voltage to enable employees to train under 
E26 204 field conditions.<p/>
E26 205 <p_><tf_>Electronics training room.<tf/> This room is equipped with 
E26 206 preparatory electricity and electronics training aids and a 
E26 207 selection of the instruments used in the field. The laboratory has 
E26 208 been designed and furnished to accommodate basic electricity, 
E26 209 electronic microprocessor, and fiber optic training required for 
E26 210 various job classifications.<p/>
E26 211 <p_><tf_>System protection training room.<tf/> Standard switching 
E26 212 and substation equipment has been installed, including relay racks, 
E26 213 cable trays and carrier and transfer trip equipment. Personnel 
E26 214 learn through operation of actual equipment under simulated field 
E26 215 conditions.<p/>
E26 216 <p_><tf_>Primary line training room.<tf/> Poles have been installed 
E26 217 in this shop to permit all<?_>-<?/>weather, indoor training in 
E26 218 primary line construction and maintenance. Line personnel are 
E26 219 taught safe work practices and procedures over hard surface 
E26 220 areas.<p/>
E26 221 <p_><tf_>Cable splicing and network training room.<tf/> Work 
E26 222 stations have been constructed to provide hands-on instruction in 
E26 223 cable splicing. Network protection equipment has been installed and 
E26 224 is energized to simulate field conditions for training.<p/>
E26 225 <p_><tf_>Substation mechanics training room.<tf/> 4-kV, 13-kV, and 
E26 226 26-kV circuit breakers and switching equipment have been installed 
E26 227 with control circuit wiring. Here, personnel are instructed in 
E26 228 maintenance, troubleshooting, and repair of these devices.<p/>
E26 229 <p_><tf_>Miscellaneous mechanics training room.<tf/> This 
E26 230 dual-purpose room has been designed for the instruction of 
E26 231 miscellaneous mechanics and for the construction of simulators and 
E26 232 mock-ups for the training center. It is equipped with stationary 
E26 233 and portable power tools.<p/>
E26 234 <p_><tf_>Computer training rooms.<tf/> The computer rooms are 
E26 235 functional installations for training apprentice clerks, service 
E26 236 dispatchers, and other employees. The IBM PS-2 computers are 
E26 237 connected via local area network to the company mainframe system. 
E26 238 This allows personnel to learn the customer inquiry system, 
E26 239 materials management system, and other computer programs and 
E26 240 courses under job conditions.<p/>
E26 241 <p_><tf_>Secondary line training room.<tf/> An energized, overhead, 
E26 242 secondary distribution system has been installed in this shop and 
E26 243 feeds a variety of service installations found in the field. 
E26 244 Secondary service construction, maintenance, troubleshooting and 
E26 245 repair are taught through practical hands-on exercises. Simulators 
E26 246 to teach transformer connections are also located in this shop.<p/>
E26 247 <p_><tf_>Automotive training room.<tf/> This room has been 
E26 248 constructed with work bays and equipment necessary to provide 
E26 249 training in mechanical as well as the latest electronic areas of 
E26 250 automotive maintenance, troubleshooting, and repair.<p/>
E26 251 <p_><tf_>The CAMS <}_><-|>Towne<+|>Town<}/> room.<tf/> CAMS means, 
E26 252 'customer and marketing services.' This room contains a 
E26 253 meter-reading town consisting of eight streets housing 110 electric 
E26 254 meters. The various meters and meter installations are dispersed in 
E26 255 55 building modules.
E26 256 
E26 257 
E26 258 
E26 259 
E26 260 
E26 261 
E27   1 <#FROWN:E27\><h_><p_>SEEDS OF OPPORTUNITY<p/>
E27   2 <p_>Central Brazil is ready for new fields of soybeans. In 
E27   3 Londrina, U.S. farmers nurture a precious crop.<p/>
E27   4 <p_>BY JENNIFER ERICKSON<p/>
E27   5 <p_>BUSINESS EDITOR<p/><h/>
E27   6 <p_>Certain things about Brazilian agriculture - small and 
E27   7 out<?_>-<?/>dated equipment, an abundance of poor farm workers - 
E27   8 won't impress you. But the result - healthy fields of sugar cane, 
E27   9 coffee, wheat, corn and soybeans - will.<p/>
E27  10 <p_>Another thing that will impress you is the potential for 
E27  11 growth.<p/>
E27  12 <p_><quote_>"Brazilian agriculture is like a huge engine idling, 
E27  13 waiting for a good world market,"<quote/> says Harvey Kluvers of 
E27  14 Litchville, North Dakota.<p/>
E27  15 <p_><quote_>"I always knew they were a big competitor, but until 
E27  16 you drive by mile after mile of those waving soybeans, you really 
E27  17 don't know how big,"<quote/> says Doug Emerson, a farmer from 
E27  18 Kenyon, Minnesota.<p/>
E27  19 <p_>Doug and Harvey, and 15 other Midwesterners, looked first-hand 
E27  20 at Brazilian farming in February as part of a farmers' work crusade 
E27  21 with the Fellowship of Christian Farmers (FCFI) and Men For 
E27  22 Missions International (MFMI).<p/>
E27  23 <p_>The group, led by MFMI's Brazil director Jay Edwards, helped 
E27  24 with the construction of Shalom Community Church in Londrina, 
E27  25 Paran<*_>a-acute<*/> . They also toured farms, a co-op and the 
E27  26 country's National Soybean Research Center.<p/>
E27  27 <h_><p_>Land of opportunity<p/><h/>
E27  28 <p_>Edwards, who grew up in Brazil, went to college in the U.S. and 
E27  29 farmed his grandfather's Indiana farm for eight years before 
E27  30 returning to the mission field. He has travelled throughout Brazil 
E27  31 exploring agricultural opportunities. His view: <quote_>"I'm 
E27  32 convinced that as far as agriculture goes, there's no place in the 
E27  33 world with more opportunity than central Brazil [see 
E27  34 map]."<quote/><p/>
E27  35 <p_>Soybeans are at the center of that opportunity, with lands as 
E27  36 flat as Kansas and as fertile as Indiana lying in wait on Brazil's 
E27  37 central plains. Much like pioneer expansion into the U.S. Corn 
E27  38 Belt, Brazilian entrepreneurs are clearing land (it's 1,000 miles 
E27  39 south of the rainforest) to plant soybeans and graze cattle.<p/>
E27  40 <p_><quote_>"If all the land was developed, there would be at least 
E27  41 203 million hectares (about 515 million acres) of cropland in 
E27  42 Brazil,"<quote/> says Luiz C<*_>e-acute<*/>sar Guedes, an economist 
E27  43 with EMBRAPA's (Brazilian Organization for Agriculture and Animal 
E27  44 Science Research) National Soybean Research Center near 
E27  45 Londrina.<p/>
E27  46 <p_>One major stumbling block to expansion in this region is 
E27  47 transportation. For example, Guedes says it costs $51/ton to truck 
E27  48 soybeans to the port from the west<?_>-<?/>central state of Mato 
E27  49 Grosso, compared to $16/ton from field to port in the south.<p/>
E27  50 <p_>Mato Grosso is home of the world's largest soybean farmer, 
E27  51 Olacyr de Morais, who is working to build a railroad into the 
E27  52 region to cut transportation costs. In April, Brazil's National 
E27  53 Bank for Economic and Social Development approved $250 million in 
E27  54 financing for the 1,000-mile railroad.<p/>
E27  55 <p_>Financing anything in Brazil - a rail<?_>-<?/>road, a farm or a 
E27  56 new church - is a challenge. Inflation, which has recently slowed 
E27  57 to about 20% /month, has been anything but manageable.<p/>
E27  58 <p_><quote_>"It's not easy to plan and get going with this crazy 
E27  59 economy here,"<quote/> says Ricardo Gomes de Araujo, who has farmed 
E27  60 4,350 acres near Londrina for 15 years.<p/>
E27  61 <p_>Visiting Ricardo and other Brazilian farmers gave the FCFI 
E27  62 group an impression that farmers everywhere face similar problems - 
E27  63 insects, drought and prices.<p/>
E27  64 <p_>Along with visiting Brazilian farms, the group of U.S. farm men 
E27  65 and women worked with members of Londrina's Shalom Community Church 
E27  66 to pour cement for the foundations of a new church building. In the 
E27  67 midst of the work, they poured new breath into the foundations of 
E27  68 their personal lives.<p/>
E27  69 <p_><quote_>"It's so good the way God puts it together. The people 
E27  70 who end up here are the people who needed to be here, not only with 
E27  71 their hands, but spiritually,"<quote/> says Dale Larrance, a farmer 
E27  72 and veteran MFMI work team member.<p/>
E27  73 <p_>Dale has ventured to Brazil 16 times (as well as Colombia and 
E27  74 Belize) with MFMI from his Ridge Farm, Illinois, farm where he 
E27  75 sells Cargill seed. <quote_>"I went down there to tear up the 
E27  76 world,"<quote/> he says. <quote_>"All I did was help 
E27  77 myself."<quote/><p/>
E27  78 <p_><quote_>"We enjoyed working with fellow Christians, both the 
E27  79 Brazilians and the Americans,"<quote/> says Harold Vahl, a farmer 
E27  80 from Edgerton, Minnesota. <quote_>"The reception we got was 
E27  81 excellent because of the fellowship we have in Christ and you don't 
E27  82 have that on a normal farm tour."<quote/><p/>
E27  83 <p_><quote_>"Brazil is tremendously impressive both agriculturally 
E27  84 and spiritually,"<quote/> Edwards says. <quote_>"Senior 
E27  85 missionaries who have been there for 35 years say they have never 
E27  86 seen a time when Brazilians are more hungry for the Gospel than 
E27  87 now."<quote/><p/>
E27  88 <p_>The 1993 FCFI/MFMI Brazil farmers' crusade will return to the 
E27  89 Shalom Church or another church building site. The group will also 
E27  90 tour local farms, a co-op and the research center. Dates are 
E27  91 January 7-21, 1993. Price is $1,725/person from Miami. Group is 
E27  92 limited to 20. Men and women are welcome.<p/>
E27  93 <h_><p_>Brazilian farm show draws 20,000<p/><h/>
E27  94 <p_>When an idea brews with Ricardo Gomes de Araujo, it's 
E27  95 reality.<p/>
E27  96 <p_>This innovative Brazilian farmer planned and dreamed for four 
E27  97 years to host a successful farm show on his family's 4,350 acre 
E27  98 farm last April. The show, which drew more than 20,000 visitors to 
E27  99 his farm, was modeled after the Farm Progress show which is held 
E27 100 each fall in the United States.<p/>
E27 101 <p_>His 'Expo Dynamica' included machinery, tillage and harvesting 
E27 102 demonstrations, along with displays from farm suppliers. Ricardo 
E27 103 hopes his farm show will continue to grow.<p/>
E27 104 <p_>Araujo also coordinates a group of farmers who share production 
E27 105 and cost information, striving for efficiency. <quote_>"We try to 
E27 106 exchange knowledge and technology,"<quote/> he says. <quote_>"We 
E27 107 try to have farmers with the same conditions and crops work 
E27 108 together, but what's more important is that they have the same 
E27 109 mindset."<quote/><p/>
E27 110 <p_><quote_>"What is important for us is not each crop, but the 
E27 111 whole system. Considering the cost of production and other things, 
E27 112 we try to make the whole system work."<quote/><p/>
E27 113 <h_><p_>STRIP A FIELD CLEAN<p/>
E27 114 <p_>The English-made header that strips just the grain heads from 
E27 115 cereals stalks is earning the respect of U.S. growers<p/>
E27 116 <p_>BY HARRIS BARNES<p/><h/>
E27 117 <p_>Following the 1991 harvest, wheat growers are claiming that a 
E27 118 combine header that strips grain heads from plants is the biggest 
E27 119 breakthrough since the self-propelled combine.<p/>
E27 120 <p_>And farmers who no-till soybeans behind small grain are 
E27 121 crediting this stripper header for giving them faster and better 
E27 122 stands and weed control, resulting in higher soybean yields per 
E27 123 acre.<p/>
E27 124 <p_><quote_>"By any standard the stripper header made a combine and 
E27 125 a half out of my John Deere 9950. In a single day we harvested a 
E27 126 105-acre field of 65-bushel wheat,"<quote/> says Raymond Armistead, 
E27 127 who farms with sons Kevin, Joel and Eric near Adairville, 
E27 128 Kentucky.<p/>
E27 129 <h_><p_>Plucks heads from stalks<p/><h/>
E27 130 <p_>The revolutionary 18-foot-wide header, built by Shelbourne 
E27 131 Reynolds Engineering in Great Britain, literally plucks small grain 
E27 132 and grass heads from their stalks, leaving the straw behind.<p/>
E27 133 <p_>Because only a fraction of the crop's straw is ingested by the 
E27 134 harvester, the header allows combines to run at nearly twice the 
E27 135 speed across fields.<p/>
E27 136 <p_>The innovation was originally created by England's Agricultural 
E27 137 and Food Research Council (AFRC). The English engineers report the 
E27 138 header works well in cereal grain, grass seed, navy beans, dry 
E27 139 peas, flax and rice. However, it is doubtful whether the stripper 
E27 140 header will work in soybeans because of high shatter losses and the 
E27 141 header's inability to reach low enough to pluck low-growing 
E27 142 pods.<p/>
E27 143 <p_>As it is now designed, the stripper header also can't harvest 
E27 144 corn, grain sorghum or sunflowers. Non-grass-type crops present a 
E27 145 problem for the header as these crops don't provide enough of a 
E27 146 'wall of straw' for it to work against.<p/>
E27 147 <p_>The header's teeth work against such a wall to prevent seeds 
E27 148 from being thrown forward. Researchers have also found that the 
E27 149 heads of some wheat varieties explode on contact with the plastic 
E27 150 teeth.<p/>
E27 151 <p_>The header, which comes in 16-, 18- and 20-foot widths, fits 
E27 152 most any combine feeder house. The average price for an 18-foot 
E27 153 header is $28,000.<p/>
E27 154 <p_>For more information call 800/482-1959 if you are located in 
E27 155 the Midwest, 703/254-1441 in the East, 501/697-2226 in the South, 
E27 156 509/529-9837 in the West and 916/458-4923 in California.<p/>
E27 157 <p_>The Shelbourne Reynolds header got its first taste of U.S. 
E27 158 wheat harvest in 1990, but has operated in English fields for 
E27 159 several years. Sales of the stripper header have skyrocketed in the 
E27 160 Mid-South wheat belt and southern rice-growing areas since it was 
E27 161 introduced.<p/>
E27 162 <p_>For example, Big Rivers Agri Supply of Owensboro, Kentucky, 
E27 163 sold 56 stripper headers last year. <quote_>"I predict the number 
E27 164 of these headers running in our area to double in 1992,"<quote/> 
E27 165 says Ronnie Rutherford of that firm.<p/>
E27 166 <p_>Last years was the first year the Armisteads used the stripper 
E27 167 header. <quote_>"With one of these headers the grower must think 
E27 168 ahead and think big, for there is a lot of fast hauling from the 
E27 169 field to the elevator,"<quote/> adds Raymond Armistead.<p/>
E27 170 <p_>He says from what they experienced last year with the stripper 
E27 171 header, he is convinced that they can harvest as good a quality of 
E27 172 small grain as ever before. <quote_>"And we did it 1 1/2 times 
E27 173 faster than a conventional combine. By setting the combine properly 
E27 174 we got 'rave reviews' from our elevator manager."<quote/><p/>
E27 175 <p_>Charles Wagenaar of Adams, Oregon, managed a total of four 
E27 176 stripper header combines last year, running them in wheat, barley, 
E27 177 tall fescue and blue grass. <quote_>"We were impressed with the 
E27 178 doubling of speed of the Case IH 1680 on flat ground, compared to 
E27 179 combines using conventional cutter bars,"<quote/> says Wagenaar, 
E27 180 who is field foreman for B.L. Davis Ranches Inc. <quote_>"With the 
E27 181 two Case IH 1670s used on hillsides, we were able to cover the 
E27 182 ground at about 1 1/2 times faster than conventional 
E27 183 harvesters."<quote/><p/>
E27 184 <h_><p_>Works well on hillsides<p/><h/>
E27 185 <p_>Wagenaar admits to being concerned about running the stripper 
E27 186 header in the steep hillsides of eastern Oregon. Safety to the 
E27 187 operator and combine are more of a concern than speed in this case. 
E27 188 <quote_>"But no real problem using the stripper header surfaced. We 
E27 189 did brace the drive shaft to keep it in place. We also placed a 
E27 190 counter<?_>-<?/>weight on the downhill side of the rotor to keep it 
E27 191 level as we changed positions."<quote/><p/>
E27 192 <p_>The wheat they harvested, mostly the bearded Stevens variety, 
E27 193 is very abrasive to the header's plastic fingers and metal wear 
E27 194 plates. <quote_>"As such, we had to change the plastic fingers 
E27 195 after the four combines had cut over half of our 7,000 acres of 
E27 196 wheat. This wheat was averaging 75 bu. per acre. Worn fingers don't 
E27 197 strip as well in thin (60 bu.) wheat as they do in our best 
E27 198 80-85-bu. crops,"<quote/> Wagenaar adds.<p/>
E27 199 <p_><quote_>"Our one stripper header, mounted on a Deere 7720, did 
E27 200 the work of two combines,"<quote/> says Marion Dilday of circle 
E27 201 Grove Farms near Belhaven, North Carolina. <quote_>"This meant 
E27 202 savings on labor, fuel and machine wear and tear."<quote/><p/>
E27 203 <p_>Dilday used the header on 1,000 acres of 60-80-bu. wheat and 
E27 204 barley without noticing damage to the seed. <quote_>"If anything, 
E27 205 our seed was better than before as we didn't run so much volume 
E27 206 through the combine,"<quote/> he adds. <quote_>"Where the header 
E27 207 really shines is in high-yielding small grains. A wheat grower with 
E27 208 an average of 35 bu. per acre would best stay with a conventional 
E27 209 header in the wider 24-30-foot header size."<quote/><p/>
E27 210 <p_>Rice growers are also pleased with the header's abilities. 
E27 211 <quote_>"From what we saw, the header would help both in rice and 
E27 212 small grains,"<quote/> says Robert Seidenstricker of DeValls Bluff, 
E27 213 Arkansa.<p/>
E27 214 <p_>Seidenstricker harvested his rice with two John Deere 7720 
E27 215 combines, one with a conventional header, the other with a stripper 
E27 216 header. His father operated the conventional reel-type header in 
E27 217 low spots and along the edges of fields. <quote_>"It wasn't long 
E27 218 before we found that the stripper header could run even in lodged 
E27 219 rice, so we sent Dad home,"<quote/> he says.<p/>
E27 220 <p_>Shelbourne Reynolds has already made improvements to their 
E27 221 header since it was first introduced to the U.S. market.<p/>
E27 222 <p_><quote_>"We are using gear boxes to replace chains and belts in 
E27 223 the header,"<quote/> explains Keith Shelbourne of Shelbourne 
E27 224 Reynolds. <quote_>"With at least a year of experience, our dealer 
E27 225 servicemen should be able to handle any problems,"<quote/> he 
E27 226 adds.<p/>
E27 227 <h_><p_>Stripper shines in double-cropping<p/>
E27 228 <p_>The stripper header is fast finding favor among farmers who no-till  
E27 229 soybeans behind small grains in a double-crop program.<p/>
E27 230 
E27 231 
E28   1 <#FROWN:E28\><h_><p_>SANITATION<p/>
E28   2 <p_>HOW TO COMMIT BIOCIDE<p/>
E28   3 <p_>In the strictest sense, sanitation means getting bacteria where 
E28   4 they live. But that requires a greater awareness of plant 
E28   5 conditions, training practices and QA plans.<p/>
E28   6 <p_>LETICIA MANCINI<p/>
E28   7 <p_>TECHNICAL EDITOR<p/><h/>
E28   8 <p_><quote_>"Sanitation tools aren't new,"<quote/> said Bob 
E28   9 Richardson, manager of inspection services for General Mills to an 
E28  10 audience of sanitarians at last October's DFISA show, <quote_>"You 
E28  11 know what to do with foam cleaners and the like. However, we as an 
E28  12 industry haven't figured out how to put it all 
E28  13 together."<quote/><p/>
E28  14 <p_>Richardson was describing problems with executing sanitation at 
E28  15 food plants. Every plant has some type of program; every plant 
E28  16 thinks they're doing it right. But still there are quality and 
E28  17 contamination problems. The thousands of recalls of diverse food 
E28  18 products for <tf_>Listeria, Salmonella<tf/> and <tf|>Staph 
E28  19 contamination every year are proof of that.<p/>
E28  20 <p_>The technology to combat bacterial contamination is there (and 
E28  21 is always improving), but without a greater understanding of 
E28  22 microorganisms, it is ineffective. However, food companies are not 
E28  23 without hope. Problems can be solved fairly simply by taking a good 
E28  24 hard look around the plant.<p/>
E28  25 <h_><p_>Listeria hysteria<p/><h/>
E28  26 <p_>Now for the bad news: many types of bacteria can attach firmly 
E28  27 to all types of food processing surfaces, including rubber, 
E28  28 stainless steel and Teflon. Without proper attention, gooey 
E28  29 biofilms can form, spelling disaster in the form of contaminated 
E28  30 product.<p/>
E28  31 <p_>According to Diversey Wyandotte Corporation's International 
E28  32 Biocide Laboratory (Wyandotte, MI), 5 to 10 percent of foodborne 
E28  33 poisoning out<?_>-<?/>breaks are caused by improperly cleaned food 
E28  34 processing equipment. One organism that strikes fear in the heart 
E28  35 of many is <tf_>Listeria monocytogenes<tf/>, because it is so 
E28  36 pervasive. Listeria poisoning, or listeriosis, is almost always 
E28  37 severe, and sometimes fatal.<p/>
E28  38 <p_>This organism has the ability to withstand heat, acidic 
E28  39 conditions and high salt concentrations. But its most frightening 
E28  40 aspect is that it can thrive at temperatures as low as 
E28  41 0<*_>degree<*/>C and can survive temperatures as high as 
E28  42 82<*_>degree<*/>C, which indicates it can withstand some cooking 
E28  43 processes.<p/>
E28  44 <p_>Still, proper cleaning cannot be emphasized enough in the 
E28  45 control of Listeria. If biofilms are destroyed completely with 
E28  46 cleaners, there will be no contamination. However, if surfaces are 
E28  47 <tf|>not completely cleaned, sanitizing them won't help. 
E28  48 Researchers at Campbell Soup have documented that Listeria is 
E28  49 resistant to a number of sanitizing chemicals on a variety of 
E28  50 surfaces. In the case of Listeria, the old saying <quote_>"You 
E28  51 can't sanitize a dirty surface"<quote/> has never been more 
E28  52 true.<p/>
E28  53 <p_><quote_>"Listeria has taught us that some previously sound 
E28  54 principles are not so,"<quote/> commented Dr. Don Zink, Quality 
E28  55 Assurance and Product Safety manager at Nestle USA, to the same 
E28  56 DFISA audience. Zink explained that Listeria is present in all 
E28  57 plants, thriving in drains, warehouses and standing water. More 
E28  58 attention must be placed on environmental control, he said, 
E28  59 especially on preventing cross contamination.<p/>
E28  60 <h_><p_>Spotting trouble<p/><h/>
E28  61 <p_><quote_>"Be innovative and persistent when looking for sources 
E28  62 of contamination,"<quote/> said Zink. For instance, segregating raw 
E28  63 ingredients and processing areas, and limiting human and forklift 
E28  64 traffic between them, can improve matters. Free movement of 
E28  65 employees can be monitored by using different colored uniforms. And 
E28  66 keep forklifts clean and separate. <quote_>"What good are 
E28  67 sanitizing dips for workboots when they will be placed on dirty 
E28  68 forklifts?"<quote/> he said.<p/>
E28  69 <p_>The FDA also calls for the segregation of brushes for food 
E28  70 contact and non-contact surfaces. Here, Sparta Brush's (Sparta, WI) 
E28  71 new <tf|>Tri-Zone color coded brushes can help. In the Tri-Zone 
E28  72 program, red brushes are used for raw food areas, white for 
E28  73 processing areas, and yellow for general custodial use. A fourth 
E28  74 brush, black, is used for floor drains, a favorite hiding place for 
E28  75 Listeria.<p/>
E28  76 <p_>Even routine maintenance cannot be ignored. All rubber gaskets 
E28  77 should be replaced once a month, before cracks appear that harbor 
E28  78 bacteria.<p/>
E28  79 <p_>But a little detective work can be a sanitarian's most 
E28  80 important weapon in the battle against Listeria, says L.B. Guzzo, 
E28  81 technical manager at Oakite Products (Berkeley Heights, NJ). He 
E28  82 relates this anecdote: <quote_>"I worked with a dairy that had a 
E28  83 continuing Listeria problem. They were constantly pouring chlorine 
E28  84 down the drain. Their swab tests continued to come up negative, but 
E28  85 product would still be contaminated. Finally, we discovered that 
E28  86 the problem was due to a mechanic using a filthy grease gun to fix 
E28  87 all the clean machines, and touching everything."<quote/> That 
E28  88 practice came to an immediate stop.<p/>
E28  89 <p_>According to Guzzo, chlorinated foamers are most effective 
E28  90 against Listeria. Oakite markets <tf_>FiChlor Foam HD<tf/>, a 
E28  91 high-foaming heavy duty chlorinated foam for cleaning stainless 
E28  92 steel surfaces, and <tf_>FiSan ACF<tf/> for aluminum surfaces.<p/>
E28  93 <p_>Mal Sorgenfri, vp of R&D at Alex Fergusson (Frazer, PA) 
E28  94 suggests using quat-based sanitizers to follow. The company markets 
E28  95 a unique product, the <tf_>Power Block<tf/>, to be placed in drains 
E28  96 after cleaning. It is quat-based, but it is a solid, so that when 
E28  97 water flows over it, a small portion dissolves to keep Listeria 
E28  98 under control.<p/>
E28  99 <p_>And there is a new type of sanitizer from Klenzade (St. Paul, 
E28 100 MN) made from peroxyacetic acid. <tf_>Oxonia Active<tf/> was 
E28 101 developed for CIP sanitizing and provides killing activity in water 
E28 102 temperatures as low as 40<*_>degree<*/>F. The product is also 
E28 103 biodegradable under normal waste treatment.<p/>
E28 104 <h_><p_>Improving training<p/><h/>
E28 105 <p_>But using the right product doesn't do much good if it is used 
E28 106 incorrectly. Half of all sanitation costs are labor, but sanitation 
E28 107 workers are probably a food plant's most neglected resource. They 
E28 108 are extremely important when it comes to controlling 
E28 109 contamination.<p/>
E28 110 <p_><quote_>"Somebody has to supervise how cleaning procedures are 
E28 111 taught,"<quote/> commented Dick Bakka, director of technical 
E28 112 services at Klenzade. <quote_>"All too often you have Joe Blow 
E28 113 teaching some other guy how to clean equipment. The new guy picks 
E28 114 up all of Joe's bad habits."<quote/> Bakka advocates getting 
E28 115 cleaning procedures written down, including what chemicals to use 
E28 116 and in what concentrations, and keeping them in a bound notebook in 
E28 117 a central location. Supervisors should retrain workers, if needed, 
E28 118 and supervise the training of new workers.<p/>
E28 119 <p_>Klenzade has recognized the importance of properly trained 
E28 120 workers in the development of their <tf|>QUASAR program. The 
E28 121 program, an acronym for Quality, Assurance, Answers and Results, 
E28 122 details what chemicals a plant might need, and how to use them. 
E28 123 Special care is taken so the worker is not overexposed to 
E28 124 chemicals. An important part of the QUASAR program is <tf|>Quorum, 
E28 125 a full line of chemicals that utilizes colors rather than names on 
E28 126 its labels. The product labels are also bilingual, which makes 
E28 127 training easier and less variable.<p/>
E28 128 <p_>Sometimes the sanitation supervisor is in need of training. 
E28 129 Here, Dennis Bogart of Diversey Wyandotte takes a hard line: 
E28 130 <quote_>"Most sanitarians are not educated well enough in food and 
E28 131 spoilage microbiology. There is a tremendous amount of myth about 
E28 132 how to get rid of bacteria."<quote/> Diversey publishes a manual, 
E28 133 <tf_>TACT WINS<tf/>, that can be used to train supervisors about 
E28 134 the fundamentals of cleaning. The manual outlines the principles of 
E28 135 time, action, chemical concentration, temperature, water, 
E28 136 individual employees, nature of soil and surface to be cleaned 
E28 137 (tact wins) and their cumulative effects on bacteria.<p/>
E28 138 <p_>Getting crews to understand the principles of microbiology is a 
E28 139 different matter. Experts advise sending sanitation workers into 
E28 140 the plant, armed with petri dishes, to conduct swabbing tests. 
E28 141 <quote_>"When they do the testing and incubating themselves, 
E28 142 sanitation workers gain a greater appreciation of organisms and 
E28 143 what they can do,"<quote/> noted Nestle's Don Zink. One food safety 
E28 144 manager likes to take a blacklight into the plant to show crews the 
E28 145 fluorescing bacteria they missed during cleaning. All surveyed said 
E28 146 that training was the weakest part of sanitation programs, but when 
E28 147 employees are approached with respect, they show a greater 
E28 148 commitment to learning.<p/>
E28 149 <h_><p_>Good QA sampling<p/><h/>
E28 150 <p_>The third important part of sanitation is developing an 
E28 151 adequate microbiological sampling and testing plan. Are you doing 
E28 152 the right tests? Are they still critical? If QA reports negative 
E28 153 results or low counts, but quality problems continue, the current 
E28 154 testing programs must be overhauled.<p/>
E28 155 <p_>Rather than step up testing of product, increase environmental 
E28 156 testing in the plant. This way, the absence or presence of 
E28 157 pathogens can be determined as well as the location of microbial 
E28 158 growth pockets. For instance, floor drains, which are always wet, 
E28 159 should be sampled and tested. If pathogens are found, tests of the 
E28 160 entire 'watershed' are warranted. Also, metal-to-metal surfaces, 
E28 161 cracks and crevices, undersides of mats and insulation on pipes 
E28 162 should be monitored to confirm that they are not growth pockets. Do 
E28 163 not overlook standing water, peeling paint, compressed air lines, 
E28 164 wooden-handled tools or equipment repaired with tape.<p/>
E28 165 <p_>When sampling, it is important to use good aseptic 
E28 166 technique. There are several different methods of sponge sampling, 
E28 167 depending on whether the surface to be sampled is wet or dry. If 
E28 168 you are unsure of how to sample correctly, independent testing labs 
E28 169 can explain the correct technique.<p/>
E28 170 <p_>Prior to testing, equipment should be dismantled to expose 
E28 171 nooks which may harbor bacteria. As an indication of how effective 
E28 172 a cleaning and sanitizing program is, samples from equipment can be 
E28 173 collected after cleaning, and compared to samples taken before 
E28 174 cleaning.<p/>
E28 175 <p_>Silliker Labs in Chicago Heights, IL recommends testing 
E28 176 environmental samples first for aerobic plate count or coliforms. 
E28 177 Not only are the tests useful for ferreting out microbial growth, 
E28 178 they reveal sites that could support pathogenic organisms. These 
E28 179 tests can be done at relatively little cost, compared to pathogen 
E28 180 testing.<p/>
E28 181 <p_>If it sounds like environmental testing can be as complex as a 
E28 182 military battleplan, it is. But when sources of contamination are 
E28 183 found, then systematically eliminated, proper cleaning by properly 
E28 184 trained workers is all that is needed to keep bacteria under 
E28 185 control.<p/>
E28 186 
E28 187 <h_><p_>AMEXICANADA<p/>
E28 188 <p_>ITS IMPACT ON FOOD<p/>
E28 189 <p_>The prospect of 360 million consumers in a borderless market 
E28 190 spurs 'rationalization,' investment and exports.<p/>
E28 191 <p_>CHARLES E. MORRIS<p/>
E28 192 <p_>MIDWEST EDITOR<p/><h/>
E28 193 <p_>American business isn't waiting for ratification of the 
E28 194 proposed North American Free Trade Agreement (NAFTA) linking the 
E28 195 U.S., Canada, and Mexico into a common market of 360 million 
E28 196 consumers.<p/>
E28 197 <p_>According to a new study entitled <tf_>A North American Common 
E28 198 Market?<tf/>, published in April by Cleveland Consulting Associates 
E28 199 (Cleveland, OH), no less than 87 percent of the 190 U.S. executives 
E28 200 (representing 170 companies) responding say their companies are 
E28 201 already doing business in Mexico. Eighty-four percent expect 
E28 202 ratification of a Free Trade Agreement (FTA) with Mexico; and 76 
E28 203 percent believe the U.S. should pursue free-trade negotiations with 
E28 204 other Central and South American nations.<p/>
E28 205 <p_>The CCA study also demolishes the perception that U.S. 
E28 206 manufacturers see Mexico mainly as a source of cheap labor, and 
E28 207 free trade as an opportunity to cut the cost of goods sold in the 
E28 208 U.S. Eighty-five percent of the respondents cite access to a new 
E28 209 market of 81 million consumers as the greatest benefit of free 
E28 210 trade with Mexico, while only 13 percent list operating 
E28 211 efficiencies as their top priority.<p/>
E28 212 <p_>Most respondents recognize, however, that major benefits depend 
E28 213 on 'rationalizing' their North American operations -that is, 
E28 214 consolidating or expanding manufacturing and distribution where 
E28 215 necessary to eliminate duplication and optimize efficiency.<p/>
E28 216 <h_><p_>Food outlook<p/><h/>
E28 217 <p_>Of the 170 companies covered in the CCA survey, 58 are 
E28 218 food-processing firms; 38 of these are <tf_>Fortune 500<tf/> 
E28 219 members. Fifty-one operate in Canada; 49 currently do business in 
E28 220 Mexico.<p/>
E28 221 <p_>Since implementation of the U.S./ Canada FTA, eight have 
E28 222 increased ownership of Canadian subsidiaries, seven have entered 
E28 223 new licensing agreements, five have executed mergers or 
E28 224 acquisitions, and seven have entered new joint ventures. To further 
E28 225 boost efficiency in serving combined U.S./Canadian markets, 28 see 
E28 226 opportunities to rationalize manufacturing plants, 41 to expand or 
E28 227 rationalize distribution systems, and 15 for sourcing raw materials 
E28 228 or components.<p/>
E28 229 <p_>If an FTA with Mexico is approved by Congress, 31 would 
E28 230 consider establishing new distribution systems in Mexico, 37 would 
E28 231 set-up new sales functions, 22 would startup manufacturing plants, 
E28 232 and 18 would source new materials and components. Nine say they 
E28 233 would eliminate or reduce similar activities in the U.S. or Canada, 
E28 234 38 say they would not.<p/>
E28 235 <p_>If the proposed NAFTA is implemented to create a North American 
E28 236 Common Market, 31 see opportunities to rationalize manufacturing, 
E28 237 44 would expand or rationalize distribution, 26 see new sources for 
E28 238 raw materials or components.<p/>
E28 239 <p_>Major stimulus for the burgeoning interest of American 
E28 240 manufacturers in a NAFTA embracing Mexico: The unprecedented 
E28 241 economic reforms instituted since the 1986 admission of Mexico to 
E28 242 GATT (the General Agreement on Tariffs & Trade) and the 1988 
E28 243 election of President Carlos Salinas de Gortari.
E28 244 
E28 245 
E29   1 <#FROWN:E29\><h_><p_>Pacific Bell<p/>
E29   2 <p_>The offices of the firm's ISG Group in a warehouse made 
E29   3 habitable and pleasant by Brown Baldwin Associates<p/>
E29   4 <p_>MONICA GERAN<p/>
E29   5 <p_>PHOTOGRAPHY: JANE LIDZ<p/><h/>
E29   6 <p_>At Pacific Bell's Information Service Group (ISG), what could 
E29   7 have been a riches-to-rags tale did, in the hands of Brown Baldwin 
E29   8 Associates, lead to a happy ending. For the ISG staff had been 
E29   9 ensconced in so-called 'Class A' premises: the SOM-designed PacBell 
E29  10 headquarters building in San Ramon, set in a park and providing all 
E29  11 sorts of coveted amenities close at hand. Then growing pains forced 
E29  12 relocation to larger<&|>sic! space. And while the selected site, a 
E29  13 nearby warehouse latterly converted for office use, had ostensibly 
E29  14 been modernized to serve present-day needs, it actually required 
E29  15 much remedial work to prevent the transferred group's experiencing 
E29  16 a demoralizing letdown. This is where the designers took over, 
E29  17 succeeding decisively in transforming a second-best setup into 
E29  18 eminently desirable accommodations.<p/>
E29  19 <p_>Not that the metamorphosis was easy. As Pamela Baldwin, 
E29  20 president/principal designer in charge, tells it, structural 
E29  21 problems as found were formidable indeed. For example: old walls 
E29  22 had been pierced at 6-ft. intervals and fronted with a new window 
E29  23 skin, leaving 4-ft. aisles between remaining sections and the 
E29  24 built-out perimeter; column placements were erratic, a memento of 
E29  25 past conjoinment of two buildings; and the facility lacked means 
E29  26 for accommodating needed mechanical/electrical systems - this for a 
E29  27 work dependent entirely on hook-ups to computerized equipment. (One 
E29  28 of PacBell's entrepreneurial groups, ISG specializes in development 
E29  29 of electronic communications.) Although Brown Baldwin had gone 
E29  30 through a fast-track design charette and had prepared a 
E29  31 costing/allowance plan, subsequent leasing negotiations, 
E29  32 theoretically resolved by arbitration in the client firm's favor, 
E29  33 derailed all best laid schemes. The five months' move-in schedule 
E29  34 had to be aborted. Deficiencies remained.<p/>
E29  35 <p_>The problems demanding curative attention afflicted both levels 
E29  36 of the 70,000-sq.-ft. warehouse (another 50,000 sq.ft. are reserved 
E29  37 for expansion). On the lower floor, on-grade concrete slab - no 
E29  38 basement, of course - had to be saw-cut to accept electrical and 
E29  39 telephone conduits. One flight up, more conduits were run through 
E29  40 existing waffle pans, creating an unconventional duct system. As 
E29  41 for ceilings, the ground floor's overhead reach would have been 
E29  42 reduced to 8-ft.-3-in. if wiring/plumbing et al had been concealed 
E29  43 under dropped planes; and this, in turn, would have resulted in a 
E29  44 claustrophobic cave-like look ruled out as unacceptable by Ms. 
E29  45 Baldwin. Accordingly she installed pendant lights while whiting out 
E29  46 the exposed ductwork, making the volume seem high and bright. The 
E29  47 upper level's sloping roof was slightly less depressive (in both 
E29  48 senses of the word), but even so, high-up conduits also were left 
E29  49 without cover-up camouflage. Then to assure efficiency and 
E29  50 flexibility, extensive testing was conducted to gauge fit and 
E29  51 feasibility of furnishing options. Systems furniture producers, Ms. 
E29  52 Baldwin asides, tend to ignore the 'creep' syndrome; it just won't 
E29  53 do, she explains, to quote width or length which, in actuality, 
E29  54 might measure one inch less or more.<p/>
E29  55 <p_>When finally able to implement the interiors program space 
E29  56 allocations were devised so that no-one has a private enclosed 
E29  57 office. That applies to all ranks, not excluding the top man in 
E29  58 charge. But there are lots of open and glass-screened conference 
E29  59 rooms, the latter designed with inward-angled entryways, grouped in 
E29  60 blocks to engender a sense of territorial identity and to fit the 
E29  61 prevailing concept of 'neighborhood' setting. A winding 'main 
E29  62 street,' wider than typical corridors and distinguished by 
E29  63 different lighting and flooring, is the main thoroughfare on each 
E29  64 level; side aisles are strictly secondary to the broad rush-hour 
E29  65 traffic routes. Paving of the main artery is of vinyl/marble-chip 
E29  66 tiles, the composite substance said to give much better wear than 
E29  67 all-plastic surfacing. Elsewhere floors are covered with carpet 
E29  68 squares, cut on the bias to define make-believe thresholds running 
E29  69 parallel to slanted conference entries. The basic color scheme is 
E29  70 white, with strong staccato accents supplied by vertical signage 
E29  71 panels painted bright red, yellow or green. Red overhead bars, 
E29  72 actually inverted aluminum channels staggered to repeat contours of 
E29  73 'streets' below, and patterned carpet inserts at 'thresholds' 
E29  74 similarly are in line with Ms. Baldwin's observation that chromatic 
E29  75 impact is confined to signpost devices, which, for orientation 
E29  76 purposes, are meant to stand out and be seen. Her wrap-up comment 
E29  77 about the ISG group's verdict: <quote_>"They love the new 
E29  78 spaces."<quote/><p/>
E29  79 <p_>The budget is described as tight. Completing the design team 
E29  80 were Julie Young, project manager, with Katie Parr and Lenore 
E29  81 Levinson.<p/>
E29  82 
E29  83 <h_><p_>King & Spalding<p/>
E29  84 <p_>The law firm's Atlanta offices designed by Gensler and 
E29  85 Associates Architects/Houston and New York<p/>
E29  86 <p_>MONICA GERAN<p/>
E29  87 <p_>PHOTOGRAPHY: JAIME ARDILES-ARCE<p/><h/>
E29  88 <p_>King & Spalding, reportedly one of the country's oldest and 
E29  89 largest national law firms, had for many years been headquartered 
E29  90 in a late-19th-century building in downtown Atlanta. As the company 
E29  91 grew, ancillary space was taken in a '50s structure. But this 
E29  92 horizontal kind of expansion, fragmenting as it did the staff's 
E29  93 work, soon proved to be counterproductive. Needed instead was a 
E29  94 long-term growth-plan, allowing for internal flexibility and 
E29  95 inherent stability while also taking into account financial 
E29  96 givens.<p/>
E29  97 <p_>As often happens at large firms embarked on relocation, K&S 
E29  98 turned to a major real estate advisor, in this case Cushman Realty 
E29  99 Corporation. Joint talks led to the selection of several leading 
E29 100 design firms, a list subsequently narrowed down to a few serious 
E29 101 candidates. Gensler and Associates Architects, represented by the 
E29 102 firm's Houston and New York offices and collectively selected as 
E29 103 one of the finalists, did very well indeed in its initial 
E29 104 presentation; but the final decision was left pending. Then for the 
E29 105 next go-around, president Arthur Gensler brought in his big gun: 
E29 106 Margo Grant, a managing principal of the New York office and a 
E29 107 veteran with enviable reputation in law office design. Her 
E29 108 experience, proposals and, most likely, her very presence, won the 
E29 109 day - and the commission. Under the leadership of Ms. Grant and 
E29 110 Jackson Greene, principals in charge/New York and Houston 
E29 111 respectively, the combined teams undertook the 
E29 112 273,000-sp.-ft.-gross (250,000 rentable) King & Spalding 
E29 113 project.<p/>
E29 114 <p_>This still left the question of suitable site. To gauge 
E29 115 opinions on preferred location as well as other wants, Margo Grant 
E29 116 interviewed each of the client firm's lawyers and many support 
E29 117 people, quizzing, it is estimated, about 100 staffers in all. Some 
E29 118 wanted to remain in the downtown business sector, others preferred 
E29 119 to venture farther uptown. Yet neither zone offered the kind of 
E29 120 large building appropriate for long-term commitment. K&S, 
E29 121 accordingly, turned to a developer who, it was felt, could meet the 
E29 122 criteria set by Gensler and Cushman. Gerald D. Hines Interests and 
E29 123 building managers Cousins Properties were tapped, and the de facto 
E29 124 multi-partnership chose and screened a handful of architects. The 
E29 125 building assignment went to John Burgee Architects with Philip 
E29 126 Johnson as design consultant, and the venue became downtown 
E29 127 Peachtree Street next to the Ritz-Carlton Hotel, now interconnected 
E29 128 to provide two-way access.<p/>
E29 129 <p_>K&S occupies the eleven topmost floors of the new 50-story 
E29 130 structure; nine are devoted to law practice per se, and the twin 
E29 131 peak flights, linked by added stairs, to a mixed-use conference 
E29 132 center, reception and dining rooms. The main library is on the 41st 
E29 133 level. Below the K&S block, about 150,000 sq.ft. on six floors are 
E29 134 reserved for future expansion. Space planning is basically the same 
E29 135 for all tiers, though internally, as Ms. Grant notes, some 
E29 136 differences apply. Among constants are: elevator lobbies with 
E29 137 marble floors that repeat the stone used in elevator cabs, the 
E29 138 latter application said to be something of a trademark in Gerald 
E29 139 Hines buildings; raised mahogany panel doors at enclosed offices 
E29 140 (though endangered woods are, it is said, to be avoided 
E29 141 henceforth); unusually wide corridors, allowing two people to walk 
E29 142 side by side (with arms swinging or gesticulating freely, one may 
E29 143 suppose); and sizing standards in office occupancy. Partners are 
E29 144 assigned 240 to 300 sq.ft. (often convertible into two associates' 
E29 145 spaces, or otherwise flexible to allow for variations within and 
E29 146 from floor to floor); 150 sq.ft. go to associates, 100 sq.ft. to 
E29 147 paralegals, and 94 sq.ft. to secretaries. The last-named, in an 
E29 148 interesting side note, could have been accommodated at work 
E29 149 stations in open layouts, but firmly spoke up for cubicles, having 
E29 150 become used to a measure of privacy in previous quarters. Two more 
E29 151 factors pertaining to corporate practices, or what Ms. Grant calls 
E29 152 <quote|>"cultural" traits, affect the staff structure. One, the 
E29 153 40:20 ratio of partners vs. associates may seem lopsided in 
E29 154 relation to other big law-firms; but here, in marked contrast, the 
E29 155 second-in-command has a much better chance of promotion to the next 
E29 156 step up. And two, instead of scattering support staff like so many 
E29 157 left-overs, they share central facilities on one (40th) floor.<p/>
E29 158 <p_>Describing the interiors approach generally, the design 
E29 159 principal relates that K&S asked for some degree of tradition 
E29 160 without, however, the obvious design clich<*_>e-acute<*/>s 
E29 161 supposedly denoting kinship to olde English men's clubs. Since 
E29 162 quite a few of the client firm's existing possessions, particularly 
E29 163 fine antique furniture and Oriental rugs, were to be brought along, 
E29 164 some important ingredients for traditional flavoring already were 
E29 165 extant. As to the finer points of interior design planning and 
E29 166 implementation, Margo Grant defers to senior designer Cricket 
E29 167 Purdy. (<quote_>"She can do what I would never dare ... Her eye 
E29 168 discerns [and she applies] subtleties in colors and materials, 
E29 169 often very complicated and time<?_>-<?/>consuming"<quote/> are 
E29 170 among her encomia.)<p/>
E29 171 <p_>Ms. Purdy, accordingly, takes it from there. Her job began in 
E29 172 earnest when stacking, i.e., floor-by-floor space allocations, had 
E29 173 been determined. Following client discussions about the 
E29 174 advisability of installing a reception area on each level - the 
E29 175 verdict was affirmative - she developed the program of transposing 
E29 176 the green, black or salmon marble treatment of Hines's elevator 
E29 177 cabs forward into the lobbies. There, stone flooring is pale beige 
E29 178 accentuated with 'feature strip' inserts in one of the three cap 
E29 179 colors; elevator surrounds also are of marble. Progressing into 
E29 180 walkways, one sees stronger colors used for carpets and painted 
E29 181 walls, frequently coordinated with furniture as well. In all there 
E29 182 are five different palettes applied to public areas on the nine 
E29 183 practice floors. Within work spaces, secretarial-to-assistant ranks 
E29 184 are given Knoll systems furniture and snowflake-pattern carpeting. 
E29 185 Partners, on the other hand, have free rein to choose whatever they 
E29 186 wish. This, one gathers from one of Margo Grant's earlier comments, 
E29 187 at first caused a bit of consternation among the designers, who 
E29 188 feared that - as indeed happened - results would be unpredictable 
E29 189 (not her word). But allowing the legal brass to treat their spaces 
E29 190 as expressions of personal individuality is, she says, another 
E29 191 example of the firm's <quote_>"unique culture"<quote/> that makes 
E29 192 K&S special, to her and, one may assume, her client's clients.<p/>
E29 193 <p_>The two top floors having been left in their raw state when the 
E29 194 Gensler team took over, the designers were able to specify 
E29 195 architectural detailing as well as built elements such as the 
E29 196 conjunctive stairs. Designed in the proverbial grand and stately 
E29 197 manner, with treads and rails of fumed oak, the connector unit 
E29 198 rises under a dome ceiling toward an inside Palladian window, this 
E29 199 too created by the design group. Although there is no natural light 
E29 200 influx through the dome, its paint colors, seemingly changing from 
E29 201 pale periwinkle to deep lavender as warm cathode lighting is turned 
E29 202 off or on, the area assumes the airiness of an outdoor setting. The 
E29 203 topflight terrace was to have been ringed with a parapet, but 
E29 204 Gensler's preference for a graceful 
E29 205 <}_><-|>ballustrade<+|>balustrade<}/>, open to city views, 
E29 206 prevailed. On lower floors, lighting is said to be fairly simple, 
E29 207 with lots of down-beam fixtures plus pendants to highlight artworks 
E29 208 contained in niches.<p/>
E29 209 <p_>Jackson Greene, principal in charge from the Houston office, 
E29 210 confirms the obvious: that close and consistent collaboration with 
E29 211 the New York contingent gave invaluable continuity to the project. 
E29 212 Singling out project architect P. Tara Wasmuth for special 
E29 213 plaudits, he notes that she was a key figure in the joint design 
E29 214 development, spending a great deal of time on site as coordinator 
E29 215 and administrator of construction documents. <quote_>"The main 
E29 216 success of the job,"<quote/> he concludes, <quote_>"comes from 
E29 217 knowing that the client is extremely pleased and proud of the 
E29 218 results. Their exceptionally good maintenance reflects this, 
E29 219 too."<quote/> Adding, <quote_>"And I hope to work with them when 
E29 220 they go into expansion."<quote/>
E29 221 
E30   1 <#FROWN:E30\><h_><p_>Showbiz for Beginners<p/>
E30   2 <p_>What it takes to break into America's most exclusive 
E30   3 industry<p/>
E30   4 <p_>By Jon Murnick and Estelle Vaughns<p/><h/>
E30   5 <p_>Every boy and girl dreams of becoming a movie star. By the time 
E30   6 most reach college, however, that dream has faded to a distant 
E30   7 memory, and they are content to remain observers of the 
E30   8 entertainment world. But a select few stand fast in their 
E30   9 conviction that there is a place for them on the screen, behind the 
E30  10 camera, or in the executive suite. Many of these students will 
E30  11 indeed go on to find fulfilling jobs in the entertainment industry, 
E30  12 but not without hurdling a daunting series of initial obstacles.<p/>
E30  13 <p_>As most everyone in entertainment testifies, the most difficult 
E30  14 challenge of a Hollywood career presents itself at the outset: 
E30  15 getting a foot in the door. This could probably be said of most 
E30  16 industries, but it is particularly true of the entertainment 
E30  17 business, where there are so many talented people struggling for 
E30  18 any given position that a relationship of friendship and trust can 
E30  19 be the distinguishing factor in selecting between applicants for 
E30  20 upper-level positions. Richard Lindheim began his career in the 
E30  21 business by landing an entry level position in a network research 
E30  22 department. He now serves as Vice President of Programming Strategy 
E30  23 for the MCA Television Group. Reflecting on his years in the 
E30  24 industry, he observes that <quote_>"the hardest task was simply to 
E30  25 get <tf|>a job in the industry; it's much easier to move around 
E30  26 once you're in the industry than it is to go from the outside to 
E30  27 the inside, [even if you start out as] a clerk, or a gopher to some 
E30  28 producer."<quote/><p/>
E30  29 <p_>Jane Read Martin started as Jane Curtain's secretary on 
E30  30 <tf_>Saturday Night Live<tf/>, but worked her way up to assisting 
E30  31 Woody Allen, and is now an associate producer for <tf_>The Joan 
E30  32 Rivers Show<tf/>. She agrees that the key is to start at the bottom 
E30  33 and work your way to the top, but advises against one particular 
E30  34 inroad. <quote_>"Never offer to intern. If you're good, you should 
E30  35 get paid,"<quote/> she says. While interning <tf|>can be a good way 
E30  36 to gain experience while in college, it is a bad way to start your 
E30  37 career.<p/>
E30  38 <p_>Once inside, the hottest opportunities are jobs in marketing or 
E30  39 at an agency. Many of today's network and studio heads began their 
E30  40 careers in one of these two specialties. Research and legal affairs 
E30  41 departments have also produced a fair number of the industry's 
E30  42 leaders.<p/>
E30  43 <p_>One's outlook for success can also depend on the type of work 
E30  44 he wishes to do. Lindheim suggests that getting a job in a creative 
E30  45 area is <quote_>"really easy."<quote/> He adds, <quote_>"The 
E30  46 entrance into being creative is to write. If you can write, then 
E30  47 you will progress very rapidly. There is a great demand for 
E30  48 writers, and a good writer quickly moves into developing and 
E30  49 creating his or her own show."<quote/><p/>
E30  50 <p_>Conversely, positions for executives and directors are in much 
E30  51 shorter supply now, due the recession.<p/>
E30  52 <p_>Actress Melissa Clayton, who appeared in the television shows 
E30  53 <tf_>The Wonder Years<tf/> and <tf_>The Hogan Family<tf/>, offers 
E30  54 insight into the performing side of the entertainment industry. 
E30  55 <quote_>"The biggest obstacle is becoming a member of the Screen 
E30  56 Actors' Guild (SAG). Without an SAG card, directors are usually not 
E30  57 interested in you."<quote/> Yet, paradoxically, the prerequisite 
E30  58 for Guild membership is performing in at least one professional 
E30  59 shoot. Clayton suggests acting in a commercial to get a card.<p/>
E30  60 <p_>An added obstacle for the budding actor or actress is finding 
E30  61 an agent. While there are many agencies to choose from, the better 
E30  62 ones will represent only established talents.<p/>
E30  63 <p_>Whatever career one is seeking in the entertainment business, 
E30  64 emotional stamina is a necessity. Despite over thirty years of 
E30  65 Hollywood experience and previous production successes such as 
E30  66 <tf|>Jaws, <tf_>The Sting<tf/>, and <tf|>Cocoon, when Richard 
E30  67 Zanuck tried to obtain studio backing for <tf_>Driving Miss 
E30  68 Daisy<tf/>, he had to contend with consistent skepticism and 
E30  69 rejection. Only his persistence and willingness to shoulder some of 
E30  70 the financial risk of the project himself allowed it to get off the 
E30  71 ground and go on to become an Academy Award winner with over to 
E30  72 thousand percent domestic return on capital. Zanuck advises, 
E30  73 <quote_>"You've got to look yourself in the mirror and say, 'Am I 
E30  74 the kind of person that is prepared for tremendous rejection?' 
E30  75 because that's what happens. Your ideas are shot down right and 
E30  76 left, and doors are closed in your face. I don't care who you are. 
E30  77 That shouldn't deter you if you honestly feel you have a talent for 
E30  78 the business, but you should realize what's in store."<quote/><p/>
E30  79 <p_>Both Clayton and Lindheim also stress persistance. Says 
E30  80 Lindheim, <quote_>"While it has never been easy to get into the 
E30  81 entertainment business, the opportunities are going to be there for 
E30  82 those who persevere long enough."<quote/><p/>
E30  83 <h_><p_>Buy These Jeans.<p/>
E30  84 <p_>Bugle Boy's new Color Denim commercials mix flash and 
E30  85 honesty.<p/>
E30  86 <p_>By Andrew Stern<p/><h/>
E30  87 <p_>Striking scenes fill the television screen. Scantily-clad 
E30  88 women. Provocative poses. The commercial you are watching could be 
E30  89 for almost anything, now that selling with images rather than 
E30  90 information has become an accepted form of advertising. And it is 
E30  91 no secret what kind of images sell: sex, sex, sex.<p/>
E30  92 <p_>In this new campaign for Bugle Boy jeans, however, an 
E30  93 innovative ad company called DDB Needham Worldwide has taken the 
E30  94 trend one step further, and in effect turned the concept on its 
E30  95 head. They have made a sensation in the advertising world by 
E30  96 showing the commercials for what they really are, and honestly and 
E30  97 clearly explaining their intentions behind them.<p/>
E30  98 <p_>The Bugle Boy Color Denim commercials, which were released in 
E30  99 November, feature outlandishly sexy flashes of beautiful women 
E30 100 choreographed to rock music with video-like cinematography. A 
E30 101 string of subtitles runs along the bottom of the screen, frankly 
E30 102 explaining the 'motives' of the campaign. <tf_>[see box at 
E30 103 right<O_>box<O/>]<tf/>.<p/>
E30 104 <p_>The premise of the commercials is a conspiracy between the 
E30 105 advertising company and the (male) viewers. If this is the kind of 
E30 106 thing you want to see, they explain, support the ads by buying 
E30 107 Bugle Boy Color Denim jeans. Then Bugle Boy will let them keep 
E30 108 running the ads. There is absolutely no mention of the merits of 
E30 109 the jeans, or any implication that you should buy them on such a 
E30 110 basis. You are apparently asked to do so simply because you like 
E30 111 the ads themselves.<p/>
E30 112 <p_>The irony is that these ads too are just another form of image, 
E30 113 and their real influence lies in linking that image with their 
E30 114 product. In this respect, they are very similar to the image-based 
E30 115 advertisements that preceded them. It is their frankness in 
E30 116 admitting that image sells, however, that breaks the conventions of 
E30 117 the industry.<p/>
E30 118 <p_>It is also unheard of to run an advertisement in which the 
E30 119 advertising agency plays a visible role. Most commercials lead 
E30 120 people to believe that they were made by the company featured as a 
E30 121 direct communication to viewers. DDB Needham, however, admits its 
E30 122 role as an intermediary, and would even have viewers believe that 
E30 123 Bugle Boy is somewhat uninformed as to what they are doing in the 
E30 124 company's name. This sort of tongue-in-cheek mockery of convention 
E30 125 is as refreshing as it is creative. In a world of packaged honesty, 
E30 126 it is nice to see some honest packaging.<p/>
E30 127 <h_><p_>Balancing Act<p/>
E30 128 <p_>College athletes, coaches, and league officials comment on the 
E30 129 challenges of competing in both the classroom and the international 
E30 130 arena.<p/>
E30 131 <p_>By Andrew O'Brien<p/><h/>
E30 132 <p_>Is there still a place for the student athlete in today's 
E30 133 intensely competitive arena of international amateur athletics? As 
E30 134 college rivalries continue to command a growing share of the 
E30 135 national spotlight, university coaches and administrators are 
E30 136 placing increased importance on managing successful athletic 
E30 137 programs. The result has been that varsity sports at many Division 
E30 138 I schools now demand such great commitment from athletes that they 
E30 139 can no longer realistically be considered 'extracurricular' 
E30 140 activities.<p/>
E30 141 <p_>Regrettably, the intensified pressures of interscholastic 
E30 142 competition also have led to a number of academic violations and 
E30 143 recruiting scandals, tarnishing the reputation of college 
E30 144 athletics. Moreover, many schools have gradually evolved into split 
E30 145 communities, with the general student body on one side and the 
E30 146 student athletes on the other, each group with its own dorms, 
E30 147 dining halls, and even classes.<p/>
E30 148 <p_>In order to integrate student athletes back into the campus 
E30 149 mainstream and remove the stain of scandal from the fabric of 
E30 150 collegiate sports, the National Collegiate Athletics Association 
E30 151 (NCAA) has reformed its standards governing the conduct of all 
E30 152 university athletic programs. Beginning with the 1991-92 school 
E30 153 year, the new regulations limit the maximum mandatory practice time 
E30 154 which a coach is allowed to schedule to twenty hours per week. Over 
E30 155 the next few years, athletic dorms will be eliminated and training 
E30 156 table meals will be cut to just one per day. The NCAA has also 
E30 157 recently toughened the academic eligibility requirements for 
E30 158 freshmen participating in athletics by increasing the minimum 
E30 159 permissible grade point average for thirteen core high school 
E30 160 courses to 2.5 and demanding that each student have achieved a 
E30 161 combined SAT score of 700 or above on at least one occasion. 
E30 162 Exceptions are allowed, however, since students with lower GPA's 
E30 163 can compete if their SAT scores are correspondingly higher.<p/>
E30 164 <p_>What effect will these measures have on college athletes and 
E30 165 sports programs? Reactions from coaches have been uncertain. 
E30 166 <quote_>"We did need some guidelines,"<quote/> acknowledges Francis 
E30 167 Allen, the men's gymnastics coach at the University of Nebraska. 
E30 168 <quote_>"Some schools would practice for six or seven hours a day. 
E30 169 But what [the NCAA] gave us is not very good."<quote/> All of the 
E30 170 senior swimmers who competed under coach Peter Daland at the 
E30 171 University of Southern California during the 1990-91 season 
E30 172 graduated, and sixty percent are now attending graduate school. 
E30 173 Daland therefore feels that <quote_>"for some sports, like 
E30 174 swimming, the regulations were not necessary. We can achieve the 
E30 175 same results without a lot of this legislation."<quote/> 
E30 176 Prospective Olympic swimmer Chris Smith, currently a sophomore at 
E30 177 Montgomery College in Maryland, expressed a similar perspective: 
E30 178 <quote_>"It's not hard to balance classes and swimming if you're 
E30 179 responsible and plan ahead."<quote/><p/>
E30 180 <p_>Critics have also levelled a number of more specific charges 
E30 181 against the new rules. Some feel that a greater proportion of 
E30 182 minorities will lose eligibility than their non-minority 
E30 183 counterparts, because the former tend to perform less effectively 
E30 184 on the SAT. Richard Schultz, head of the NCAA President's 
E30 185 Commission, disagrees. <quote_>"Research indicates that these new 
E30 186 standards...would only reduce the number of minorities 
E30 187 participating in intercollegiate athletics...by about one 
E30 188 percent."<quote/> Schultz also took issue with the charge that the 
E30 189 new standards would prevent young athletes from disadvantaged high 
E30 190 schools from attending good colleges. <quote_>"The four year 
E30 191 institutions [which make up] the NCAA are not the only avenue of 
E30 192 access for young people. There are prep schools, there are junior 
E30 193 colleges, and the regulations have been changed so there's 
E30 194 access."<quote/><p/>
E30 195 <p_>Most students and coaches agree that the standards set are 
E30 196 minimal, especially since the GPA/SAT requirements have been placed 
E30 197 on a sliding scale and are no longer absolute. <quote_>"From what 
E30 198 we have heard,"<quote/> added NCAA Director of Communications Jim 
E30 199 Marciani, <quote_>"the 2.0 [minimum GPA previously in effect] was 
E30 200 not very much a factor in determining whether someone was going to 
E30 201 be eligible or not, so I don't expect the 2.5 [minimum GPA] to have 
E30 202 much more of an impact."<quote/> Allen asserted his position more 
E30 203 bluntly: <quote_>"People who can't meet these requirements just 
E30 204 don't belong in Division I, whether they're black, green, or 
E30 205 purple."<quote/><p/>
E30 206 <p_>Restrictions on mandatory practices have raised another 
E30 207 question as well: will college athletes training for the upcoming 
E30 208 Barcelona Olympics be able to prepare effectively? Daland believes 
E30 209 that they will. In fact, he feels that the NCAA rulings will not 
E30 210 affect American Olympic performance at all, because if dedicated 
E30 211 athletes encounter training conflicts, they will <quote_>"just drop 
E30 212 out of college."<quote/> The decisions of former Stanford swimmer 
E30 213 Janet Evans and other Olympic prospects to leave school in order to 
E30 214 pursue more rigorous training programs seem to substantiate 
E30 215 Daland's arguments.<p/>
E30 216 <p_>Others disagree with his assessment, however. <quote_>"I 
E30 217 believe [that students who leave have] other motives for quitting 
E30 218 college,"<quote/> commented Marciani.
E30 219 
E30 220 
E31   1 <#FROWN:E31\><h_><p_>SUPER JOE<p/>
E31   2 <p_>BLUE JAYS SLUGGER JOE CARTER IS A BIG-TIME RUN PRODUCER WITH A 
E31   3 BIG HEART<p/>
E31   4 <p_>BY RICK WEINBERG<p/><h/>
E31   5 <p_>He probably gave the money away, probably to one of his 
E31   6 sisters. They were always asking him for dough anyway - and he'd 
E31   7 always give it to them. Sure, no problem, he'd say; it's yours.<p/>
E31   8 <p_>The money was for his father's birthday present. Joe Carter was 
E31   9 11. He earned his money washing windshields while standing on a 
E31  10 bucket, 'managing' the soda machine and working the cash register 
E31  11 at his dad's service station on 6th and Robinson in downtown 
E31  12 Oklahoma City. He wasn't sure what to buy his dad. Maybe a necktie. 
E31  13 Dad needed one for his Sunday suit. Maybe fishing hooks. 
E31  14 <quote_>"Dad loves to fish,"<quote/> Joe Carter says.<p/>
E31  15 <p_>But he gave the money away. Handed it right over. He couldn't 
E31  16 say no.<p/>
E31  17 <p_><quote_>"I remember him saying he couldn't buy me anything 
E31  18 because he didn't have money,"<quote/> Joe Carter Sr. was saying. 
E31  19 <quote_>"Then he says, 'But, Dad, I'm pitching tonight, and I'm 
E31  20 dedicating the game to you.'"<quote/><p/>
E31  21 <p_>That night, pitching for his midget team, the Falcons, Joe 
E31  22 Carter pitched a no-hitter and struck out 21.<p/>
E31  23 <p_>Happy birthday, Dad.<p/>
E31  24 <p_>Joe Carter, the all-star left fielder for the Toronto Blue Jays 
E31  25 and the major leagues' No. 1 RBI man over the last six seasons, is 
E31  26 still giving money away. Just not as often.<p/>
E31  27 <p_><quote_>"I pulled him aside one day and told him, 'Joe, this 
E31  28 ain't good,'"<quote/> says Joe Carter's mother, Athelene. 
E31  29 <quote_>"You've got to stop giving so much money away 'cause people 
E31  30 aren't gonna learn to be responsible for themselves. They ain't 
E31  31 gonna learn to stand by themselves."<quote/><p/>
E31  32 <p_>So Joe had to learn how to say no - and, at times, it tore him 
E31  33 apart inside. With six sisters and four brothers always calling, 
E31  34 always asking for help to pay the rent or electric bill, it was 
E31  35 hard for Joe to say no. It went against his nature, his character - 
E31  36 and he had the dough anyway. Oh, he'd go on a binge here or there. 
E31  37 Couldn't help himself. Like right before the holidays, when he took 
E31  38 his 40 nephews and nieces down to Toys 'R Us and bought them bikes, 
E31  39 games, athletic equipment, video games. Total bill: only around 
E31  40 $5,000.<p/>
E31  41 <p_>That's Joe.<p/>
E31  42 <p_><quote_>"Joe and me were at one of those ATM machines a few 
E31  43 years back,"<quote/> says Joe's brother Fred, a former 
E31  44 minor-leaguer with the Yankees, Indians and Angels. <quote_>"There 
E31  45 was this older woman standing behind Joe. Ragged woman. Had just 
E31  46 one shoe. Well, Joe gets $100 out of the machine and, suddenly, the 
E31  47 machine stops - it ran out of money. Joe turns around, looks at the 
E31  48 woman, looks at her car full of kids and gives her the 
E31  49 money."<quote/><p/>
E31  50 <p_>That's Joe.<p/>
E31  51 <p_><quote_>"Joe Carter is one of the nicest, most genuine and 
E31  52 sincere people you could ever meet,"<quote/> says Padres superstar 
E31  53 Tony Gwynn, who's a lot like Carter himself. <quote_>"He'd do 
E31  54 anything for anybody. <tf|>Anything. Has a heart of gold.<p/>
E31  55 <p_><quote_>"Couple of years ago, at spring training, all the guys 
E31  56 who weren't gonna make the club, the minor-leaguers, well, Joe took 
E31  57 'em all to dinner, gave them all kinds of advice, batting gloves, 
E31  58 shoes, and I'm sitting there thinking, 'Man, here's this veteran, 
E31  59 this superstar, taking time to take these guys out, treat them like 
E31  60 major-leaguers.' And I'm saying, 'Man, I wish there was someone 
E31  61 like him around when I was a rookie.'"<quote/><p/>
E31  62 <p_>Joe Carter used to hand over his pocketful of coins to his 
E31  63 sister, Caroline, for lunch money down at Millwood High. Every 
E31  64 school day. He was 13. She was 15. <quote_>"We'd wait for my sister 
E31  65 to come by the room before starting classes,"<quote/> Joe says. 
E31  66 <quote_>"It became a ritual. There'd be a knock at the door. 
E31  67 'There's Joe's sister,' and we'd start class. A ritual."<quote/><p/>
E31  68 <p_>Joe Carter was always telling his folks how tired he was of 
E31  69 seeing them lugging themselves to work every morning. So, a few 
E31  70 years back, after signing one of his first million-dollar 
E31  71 contracts, he told his folks they were retiring, to pick a date, 
E31  72 and that would be it. No more work. Permanent vacation. He had 
E31  73 purchased an annuity that would pay them $3,000 a month for the 
E31  74 next 20 years. He didn't just do it for his folks; he did it for 
E31  75 his wife's too.<p/>
E31  76 <p_><quote_>"I asked him one day, 'Joe, are we worthy of 
E31  77 this?'"<quote/> Joe Carter Sr. says. <quote_>"So Joe turns to me 
E31  78 and says, 'Dad, you drove a rig six days a week, and on the 
E31  79 seventh, you'd wash, grease and change the oil on it for $140 - and 
E31  80 send the check to me when I was at Wichita [State]. Yeah, Dad, 
E31  81 you're worth it.'"<quote/><p/>
E31  82 <p_>That's Joe. Kind. Generous. Warm.<p/>
E31  83 <p_>One day, Carter's mom receives this phone call from a gal whose 
E31  84 friend had an ill son. Cystic Fibrosis. The boy didn't have long to 
E31  85 live, they said. He was a big baseball fan, and his favorite player 
E31  86 was Joe Carter. So Athelene calls her son at his home in Leawood, 
E31  87 Kansas, some 400 miles away, and tells him about the phone call. 
E31  88 Next morning, Joe's in town, loaded with gifts, eating lunch with 
E31  89 the boy.<p/>
E31  90 <p_>The boy, Dylan Williams, is alive today.<p/>
E31  91 <p_><quote_>"Hey, don't go portraying me as being perfect,"<quote/> 
E31  92 Joe Carter says. <quote_>"There's nothing perfect about Joe Carter. 
E31  93 Nothing at all."<quote/><p/>
E31  94 <p_>He says he's got faults, shortcomings. <quote_>"I'm 
E31  95 selfish,"<quote/> he says, leaning forward on the couch in the 
E31  96 entertainment room of his 6,100-square-foot home, just a short lob 
E31  97 from the homes of George Brett and Bret Saberhagen. <quote_>"I've 
E31  98 taken things for granted. When you play pro sports, when you reach 
E31  99 a certain level, everything centers around you. When that happens, 
E31 100 it's not Diana Carter anymore; it's Joe Carter's wife. It's not Kia 
E31 101 or Ebony Carter anymore; it's Joe Carter's daughters. I got so 
E31 102 caught up in the game, I forgot about how I affected the people 
E31 103 around me. My wife, my kids, they lost part of their identity 
E31 104 because of me."<quote/><p/>
E31 105 <p_>The voice is a dark velour. Smooth. Joe Williams smooth. He 
E31 106 chooses his words carefully, after reflection, and between clauses 
E31 107 mixes in a smile that's Indian summer warm. Joe Carter's cool. The 
E31 108 voice croons. Welcome; what can I do for you?<p/>
E31 109 <p_>But some misconstrue Carter's calm as a sign of weakness, of 
E31 110 softness - and how can you play tough, hard-nosed ball and be such 
E31 111 a softy? Being so goodhearted, so kind, perhaps it adversely 
E31 112 affects Carter's game. Maybe he's not intense enough. Maybe he 
E31 113 actually can tolerate losing - and, heaven knows, he knows about 
E31 114 that, having played on six sub-.500 teams in eight seasons.<p/>
E31 115 <p_><quote_>"When Joe first came to Cleveland, I platooned him with 
E31 116 Mel Hall,"<quote/> says former Indians manager Pat Corrales, now a 
E31 117 Braves coach. <quote_>"I remember how disappointed he was when he 
E31 118 wasn't in the lineup. He'd be edgy during games, especially by the 
E31 119 fifth or sixth inning. He was always ready, always holding a bat. 
E31 120 When he anticipated me calling on him to hit, I could see his 
E31 121 knuckles get tight around the bat; he'd be squeezing it that hard. 
E31 122 If that's the sign of a guy who's soft or a guy who accepts 
E31 123 losing... sorry, I don't buy it."<quote/><p/>
E31 124 <p_>Says former Padres manager and GM Jack McKeon, who engineered 
E31 125 the blockbuster trade that delivered Carter to San Diego for the 
E31 126 1990 season, but whose firing led to Carter being dealt to Toronto 
E31 127 by his successor, Joe McIlvaine: <quote_>"All you need to do is 
E31 128 look into Joe's eyes to see his intensity. That tells the story. 
E31 129 The guy's tough. The guy's intense. Believe me."<quote/><p/>
E31 130 <p_>Some things take convincing. When you see Carter standing at 
E31 131 the plate, bottom of the ninth, tie game, runner at third base, and 
E31 132 he's smiling, what are you supposed to think?<p/>
E31 133 <p_><quote_>"I'll tell ya, I took a lot of heat in Cleveland for 
E31 134 that,"<quote/> says Carter, who played for the Indians from 1984 to 
E31 135 1989. <quote_>"They could not relate to my smile, my easygoing 
E31 136 approach. I've never taken this game so seriously where I don't 
E31 137 have fun.<p/>
E31 138 <p_>"Tell you this much: When that pitch is coming, I'm as serious 
E31 139 as anyone. You'll never see me smiling when that pitch is coming. 
E31 140 <tf|>Never. I'm able to go from one concentration level to the next 
E31 141 in a split second. I have the ability to focus in a 
E31 142 snap."<quote/><p/>
E31 143 <p_>Joe Carter's one of those guys who's able to separate his 
E31 144 personal life from the game, the type who <tf|>has to. The game is 
E31 145 overwhelming; it can drive you batty in seven out of 10 times at 
E31 146 bat. Baseball consumes Carter, but not to where it controls his 
E31 147 moods. Sure, losing bothers him; it just doesn't prompt him to rip 
E31 148 up the clubhouse or go home and kick the kids.<p/>
E31 149 <p_><quote_>"I've heard the stories about how the old guys played 
E31 150 the game,"<quote/> he says. <quote_>"When they got beat, they'd get 
E31 151 mad, go to a bar, get drunk, throw up, come back the next day, play 
E31 152 and be mad as hell. That's not me. That's not how Joe Carter does 
E31 153 things. If someone's looking for that, they're looking at the wrong 
E31 154 person.<p/>
E31 155 <p_><quote_>"You have to deal with defeat sometime in your life, 
E31 156 somehow. Fact is you're gonna lose sometimes. You have to learn how 
E31 157 to cope with it. If you don't, you'll go crazy."<quote/><p/>
E31 158 <p_>There have been times when he's wanted to scream in 
E31 159 frustration, kick a garbage can in the runway, throw his glove 
E31 160 against the dugout wall. But he refrains from throwing tantrums. 
E31 161 What kind of an example would that be?<p/>
E31 162 <p_><quote_>"Joe didn't bust up any chairs,"<quote/> says Corrales, 
E31 163 <quote_>"but I know he wanted to a few times."<quote/><p/>
E31 164 <p_>Joe Carter's will to win is so powerful, so passionate, that he 
E31 165 became adept at picking up little signs which alter games, turning 
E31 166 possible defeat into victory. <quote_>"One game,"<quote/> says 
E31 167 Gwynn, <quote_>"he comes up to me after scoring in the first inning 
E31 168 and says, 'This guy's tipping his pitches. Watch his index finger 
E31 169 [on the glove hand]. When he bends it, fastball. When it's 
E31 170 straight, breaking ball.' Sure enough, that's what he was doing. By 
E31 171 the second inning, we knocked him out of the game.<p/>
E31 172 <p_><quote_>"Another time, we come in from the field, and Joe says, 
E31 173 'They're stealing Benny's [catcher Benito Santiago] signs. The 
E31 174 [runner] at second is telling the hitter what's coming with body 
E31 175 signs. His right arm is out when Benny calls a fastball; his right 
E31 176 leg is out on a curve.' Sure enough, next inning, they get a runner 
E31 177 on second, and I see him doing all these crazy things. We had Benny 
E31 178 change his signs."<quote/><p/>
E31 179 <p_>Joe Carter's desire to win won't allow him to take a day off, 
E31 180 something he hasn't done since 1988. He's played in every game, all 
E31 181 162 of 'em, the last three seasons. Among active players, he's 
E31 182 baseball's No. 2 iron man, trailing only Cal Ripken Jr. in 
E31 183 consecutive games played. When Carter injured an ankle in Game 3 of 
E31 184 last year's AL Championship Series, he refused to leave. He could 
E31 185 barely swing with any power, but there he was, playing on heart, on 
E31 186 courage.<p/>
E31 187 <p_><quote_>"In this day and age, when guys fake injuries and don't 
E31 188 put forth the effort necessary to help their club win, well, I 
E31 189 can't accept that,"<quote/> he says. <quote_>"Fans pay $20 to see 
E31 190 you play. I can't disappoint them. I won't disappoint them. If I 
E31 191 don't play, the fan who pays that money isn't getting his money's 
E31 192 worth, and I just won't allow that to happen."<quote/><p/>
E31 193 <p_>That's Joe.<p/>
E31 194 <p_>Joe Carter's trademark, his 'obsession,' is spelled out on the 
E31 195 Kansas license plate of his red Jeep Cherokee: <tf_>JC 
E31 196 RBIS<tf/>.<p/>
E31 197 <p_>As in Joe Carter, Runs Batted In.<p/>
E31 198 <p_>Perfect.<p/>
E31 199 <p_><quote|>"Appropriate," he says with a wink.<p/>
E31 200 <p_>He's knocked in 100 or more RBI in five of the last six years - 
E31 201 and the only time he didn't, he knocked in 98. His RBI total of 653 
E31 202 since 1986 is No. 1 in the majors. More than Jose Canseco. More 
E31 203 than Ripken.
E31 204 
E31 205 
E32   1 <#FROWN:E32\><h_><p_>PLCs GET THE OPEN LOOK<p/>
E32   2 <p_>JOHN R. GYORKI<p/>
E32   3 <p_>Staff Editor<p/><h/>
E32   4 <p_>Open systems used to be a buzz word that was seldom heard 
E32   5 outside the computer industry. But not anymore. An open 
E32   6 architecture, where machines from numerous vendors can talk to each 
E32   7 other, is becoming as important on the factory floor as in offices. 
E32   8 Makers of programmable logic controllers (PLCs) say their customers 
E32   9 increasingly ask for open architecture, both in new systems and in 
E32  10 upgrades.<p/>
E32  11 <p_>An increased reliance on electronic networks is what's driving 
E32  12 the trend. Manufacturers now need PLCs that send information not 
E32  13 only back to centralized mainframes, but also to other controllers 
E32  14 on the production line. The result is that more data is being 
E32  15 shuttled back and forth between PLCs, as well as up and down the 
E32  16 manufacturing hierarchy.<p/>
E32  17 <p_>Customers are also demanding large-scale improvements in 
E32  18 control software. As systems grow and machine throughput increases, 
E32  19 ladder logic becomes increasingly cumbersome - it struggles 
E32  20 handling critical control loops and multiple tasks. Moreover, PLC 
E32  21 users are becoming more sophisticated about the control techniques 
E32  22 they use in manufacturing. This means that PLCs need faster 
E32  23 response and more computational abilities. To squeeze high 
E32  24 performance out of PLCs, manufacturers are providing software 
E32  25 enhancements that include higher level or alternative languages 
E32  26 such as C, Basic, and assembler.<p/>
E32  27 <h_><p_>Open systems<p/><h/>
E32  28 <p_><quote_>"Everyone is moving in the direction of CIM and 
E32  29 integration,"<quote/> says Ron Ellis, PLC product marketing 
E32  30 manager, Omron Inc., Schamburg, Ill. The push toward automation 
E32  31 puts a high priority on capturing considerable information for 
E32  32 management analysis and on sophisticated operator interfaces. The 
E32  33 need is for fast and reliable networks.<p/>
E32  34 <p_>Coprocessing functions, such as numeric and graphic operations, 
E32  35 must be handled by the PLC hardware, not the ladder logic. Then 
E32  36 hardware and software bridges must be built between PLCs and system 
E32  37 host computers. Some PLC vendors offer a VME standard platform as a 
E32  38 solution because it can support a high-speed local-area network 
E32  39 (LAN) running at up to 2M baud on the factory floor. But there is a 
E32  40 problem. Many users are unwilling to adapt the VMEbus because some 
E32  41 VME manufacturers deviate from what is not a rigid standard to 
E32  42 begin with. Then, when interface problems arise, it's difficult to 
E32  43 fix and impossible to blame any one VME product. Users often 
E32  44 make-do with impromptu fixes that let modules work together. PLC 
E32  45 vendors view such solutions as too shaky and are reluctant to 
E32  46 sanction their use on proprietary PLC backplanes.<p/>
E32  47 <p_>Perhaps most important for automation is software. In recent 
E32  48 years, much effort has gone into software for sophisticated 
E32  49 operator interfaces. Many vendors have generated some elegant 
E32  50 operator panels using new PLC programming tools and graphical user 
E32  51 interface cards.<p/>
E32  52 <p_>Process controls and machine tools increasingly use simulation 
E32  53 and emulation software for display purposes. Displays that give 
E32  54 operators a view of valves operating, vats filling, and tool bits 
E32  55 cutting depend on such software to update screens accurately and 
E32  56 fast. And as applications become more complex, some PLC vendors 
E32  57 believe computer-aided software engineering (CASE) tools will help 
E32  58 automate a large portion of the software development and 
E32  59 maintenance programs.<p/>
E32  60 <h|>Communications
E32  61 <p_>There is no one standard for LANs. However, some types of 
E32  62 networks are more widely used than others. For example, the top and 
E32  63 lower three levels of the Manufacturing Automation Protocol (MAP) 
E32  64 are frequently found in factories, but they have yet to be 
E32  65 recognized as standards.<p/>
E32  66 <p_>The original goal of MAP was to provide major PLC suppliers 
E32  67 with a standard that would replace or work in addition to their 
E32  68 proprietary communication protocols. Users could then mix and match 
E32  69 control devices based on their cost, features, and performance. 
E32  70 Unfortunately, MAP turned out to be an elusive goal. Suppliers 
E32  71 could not get together on essential elements to make it work, such 
E32  72 as physical connections, link/physical layers, protocol stack, and 
E32  73 application protocol. Consequently, only parts of MAP have been 
E32  74 adapted and it is not a universally recognized standard.<p/>
E32  75 <p_>PLCs aren't the only pieces of automation gear sporting 
E32  76 communication facilities. Machine and process controllers of all 
E32  77 sorts now come equipped with a communications link. One common 
E32  78 application is in motion controllers. Here, the minor loops that 
E32  79 control machine motion also feed information and data to 
E32  80 supervisory computers for diagnostics. The information provides 
E32  81 management with a preview of possible impending failures, tool 
E32  82 wear, and data for statistical process control (SPC).<p/>
E32  83 <p_>Communication links are showing up not only between PLCs, but 
E32  84 even between the PLC and its input/output terminals. The reason is 
E32  85 that there are economic benefits to putting I/O terminals closer to 
E32  86 sensors and actuators. For one, the wires connecting sensors and 
E32  87 actuators to the I/O block are shorter. Less-expensive twisted pair 
E32  88 or coaxial cable then connects the remote I/O block to the CPU. The 
E32  89 resulting system costs less to build, assemble, and install.<p/>
E32  90 <p_>Another benefit to PLC vendors and OEMs alike is that only one 
E32  91 I/O product need be manufactured for the entire PLC line. In the 
E32  92 past, vendors had to design different I/O modules for every rack or 
E32  93 other form factor in the product line. But now, boxes the size of a 
E32  94 pack of cigarettes reside remotely, serve as I/O terminal blocks, 
E32  95 and communicate with any level PLC.<p/>
E32  96 <h|>Software
E32  97 <p_>PLCs initially were designed to replace relay racks. Thus, 
E32  98 early on, they were packaged to look like relay boxes to make them 
E32  99 nonthreatening for electricians. For the same reason, they were 
E32 100 programmed using relay ladder logic and designed to operate 
E32 101 sequentially to emulate relays.<p/>
E32 102 <p_>Today, computers are becoming ever less intimidating, and the 
E32 103 original justification for using ladder logic is rapidly 
E32 104 evaporating. There is a trend for more sophisticated users to take 
E32 105 advantage of the PLC's computer power by migrating to higher level 
E32 106 languages such as C and Basic.<p/><*_>black-square<*/>
E32 107 <h_><p_>ELIMINATING SPAGHETTI I/O<p/><h/>
E32 108 <p_>All PLC vendors are rethinking their I/O concepts. One reason 
E32 109 is that even small differences in I/O can have an impact on PLC 
E32 110 sales. So vendors are paying attention to their I/O offerings. This 
E32 111 has brought, among other things, more I/O for low-to-middle range 
E32 112 PLCs. Because first cost is a major issue in these recessionary 
E32 113 times, users are turning to smaller PLCs but need the I/O of 
E32 114 large-scale PLCs.<p/>
E32 115 <p_>One approach, designed to meet such needs comes from GE Fanuc, 
E32 116 which developed a low-cost interface module and an architecture for 
E32 117 a low end PLC that handles distributed I/O. An input module doubles 
E32 118 the density of the Series 90-30 PLC to 320 I/O points in a 10-slot 
E32 119 rack. The modules handle a wide variety of sensors and actuators by 
E32 120 providing <*_>plus-minus<*/>24-Vdc logic, 5-V TTL logic, and 
E32 121 <*_>plus-minus<*/>12-V logic in various I/O configurations.<p/>
E32 122 <p_>Siemens also sees a need for distributed I/O. Says Uwe Frank, 
E32 123 marketing manager, Siemens Industrial Automation, <quote_>"I/O 
E32 124 selection from a customer perspective should be unlimited. Expect 
E32 125 to see I/O and sensors coming from different vendors that will work 
E32 126 from the same communications bus and is available in numerous form 
E32 127 factors."<quote/><p/>
E32 128 <p_>Compact NEMA-4 I/O will complement recently announced NEMA-12 
E32 129 remote I/O on Fieldbus. Siemens' entry is its model ET200K, a fully 
E32 130 sealed and mountable module directly connected to Fieldbus. The 
E32 131 Siemens distributed I/O network, Sinec L2DP/ET200, has a throughput 
E32 132 speed of 1 to 10 msec. Sinec is a subset of the Siemens Fieldbus 
E32 133 network. Over 150 international companies make products compatible 
E32 134 with the standard.<p/>
E32 135 <p_>Allen-Bradley, the biggest player in the U.S. market, states 
E32 136 that its most important improvement recently has been in 
E32 137 distributed I/O. For example, Allen-Bradley recently introduced a 
E32 138 model 1791 I/O block. The new I/O blocks contain a variety of 
E32 139 functions to handle special applications, such as motion control, 
E32 140 plus analog and ac signals as well as traditional dc.<p/>
E32 141 <p_>Although distributed I/O was used in the past, a remote point 
E32 142 consisted of several modules, a power supply, and a rack. Now, it 
E32 143 is enclosed in a block no bigger than a brick allowing it to be 
E32 144 located closer to sensors and actuators. Also, Allen-Bradley 
E32 145 expanded its 16-point module to 128. But industry's focus still 
E32 146 appears to be on blocks under 20 points for more distributed 
E32 147 capability.<p/>
E32 148 <h_><p_>WHAT OPEN SYSTEMS REALLY MEAN<p/><h/>
E32 149 Some PLC users buy only from one source because doing so gives them 
E32 150 a sense of security. But others, who have the skills and the 
E32 151 technology, mix and match gear from various vendors to get a more 
E32 152 customized system. <quote_>"One way of customizing 
E32 153 systems,"<quote/> says Martyn Jones, marketing manager, Modicon 
E32 154 Inc., North Andover, Mass., <quote_>"is to interconnect different 
E32 155 PLCs and automation devices through a software program and a 
E32 156 network. But automation equipment vendors must sit down together 
E32 157 and hash out protocols and specifications to ensure that their 
E32 158 netwoks mesh right down to communication chip levels."<quote/> 
E32 159 Modicon had such discussions with more than 40 companies. The 
E32 160 result was a partnership program and a series of products called 
E32 161 Modconnect that provides them with a widely compatible, reliable 
E32 162 network.<p/>
E32 163 <p_>Another approach to open systems between computers and PLCs is 
E32 164 through circuit boards that plug into standard computer backplanes 
E32 165 and match with a variety of LANs. Examples include boards for the 
E32 166 IBM-AT, PS-2 microchannel, and VME computers.<p/>
E32 167 <p_>Allen-Bradley Co., Milwaukee, Wis., is also a leading proponent 
E32 168 of open systems. Mark Moriarty, commercial marketing supervisor, 
E32 169 says that Allen-Bradley must make certain the people who come into 
E32 170 the protocol understand networking requirements in detail. Opening 
E32 171 up the system to other vendors also opens up some liability because 
E32 172 it lets customers introduce errors when modifying processor bits 
E32 173 and bytes. <quote_>"But despite some danger, opening systems gives 
E32 174 users the capability to make changes and develop new solutions 
E32 175 faster than purchasing and installing new gear,"<quote/> adds 
E32 176 Moriarty.<p/>
E32 177 <p_>Says Robert Sor<*_>e-acute<*/>, Mitsubishi Electronics America 
E32 178 Inc., Mt. Prospect, Ill., <quote_>"We choose to keep the bus 
E32 179 proprietary, but tie into networks such as MAP and Ethernet because 
E32 180 we don't offer a VMEbus-type product. But in a sense, we open our 
E32 181 system by exchanging communication specifications with other PLC 
E32 182 vendors so the network that evolves is error free."<quote/> The 
E32 183 advantage of retaining a proprietary system is having control over 
E32 184 interrupts and internal information that can be accessed by outside 
E32 185 PLCs and computers. A proprietary system is more robust, fast, 
E32 186 focused, and dedicated to the problem at hand than an open one. 
E32 187 Furthermore, a disadvantage of a VME-type open chassis is that 
E32 188 there are many component suppliers in the market with product 
E32 189 variations to the standard that makes it difficult to pinpoint a 
E32 190 problem when one comes up.<p/>
E32 191 <h_><p_>LINKING PLCS TO COMPUTERS<p/><h/>
E32 192 <p_>Computers are being used increasingly in programmable 
E32 193 controller applications to provide graphic interfaces, networking, 
E32 194 mass storage, or to run off-the-shelf application software. But 
E32 195 combining computers and PLCs through an RS-232 communications path 
E32 196 is limiting. The link is relatively slow and susceptible to noise 
E32 197 interference. <quote_>"To get around the problem, some companies 
E32 198 have integrated PLCs and computers within a single box with 
E32 199 parallel communication paths,"<quote/> says Paul Virgo, director of 
E32 200 marketing, Pro-Log Corp., Monterey, Calif. The computer performs 
E32 201 the computations and data manipulation, while freeing the PLC to 
E32 202 handle I/O scanning and improve response time.<p/>
E32 203 <p_>Two different approaches have been used to integrate computers 
E32 204 and PLCs. For one, some PLC makers provide an optional computer 
E32 205 module that plugs into its own PLC that uses a proprietary bus. 
E32 206 But, says Virgo, at this level, no vendor has a PLC rack that is so 
E32 207 standard that it can accept plug-in modules from other vendors.<p/>
E32 208 <p_>The second approach is an open architecture. Siemens and 
E32 209 Modicon, for example, make a PLC on a card that plugs into a 
E32 210 computer passive backplane, such as an IBM-AT bus, and provides 
E32 211 connectivity to a variety of networks. These open systems conform 
E32 212 to a set of standards with many companies providing hardware and 
E32 213 software compatible products. But industrial computer companies 
E32 214 have been slow to make such PLC modules for the computer industry, 
E32 215 perhaps because they lack familiarity with the PLC controls 
E32 216 world.<p/>
E32 217 <p_>Pro-Log Inc., however, is one of the few firms that does 
E32 218 provide a combined computer and a series of programmable 
E32 219 controllers that interface with a wide variety of networks. It 
E32 220 employs a 486-based processor for DOS and Windows applications 
E32 221 along with a ladder logic processor with scan times less than 1 
E32 222 msec.
E32 223 
E33   1 <#FROWN:E33\><h_><p_>Where's the bubble? - A turning point for 
E33   2 gas?<p/>
E33   3 <p_>Mark E. Teel, Engineering Editor<p/><h/>
E33   4 <p_>The 1992 edition of <tf_>Natural Gas Trends<tf/>, a joint study 
E33   5 by Arthur Andersen and Cambridge Energy Research Associates, says 
E33   6 the first signs of a upturn in the natural gas sector are showing 
E33   7 up. This has been expected and predicted for sometime by many of us 
E33   8 in the industry. A turning point has in fact probably been reached, 
E33   9 but conflicting pressures will still contribute to market 
E33  10 uncertainty.<p/>
E33  11 <p_><quote_>"Demand growth has been the most important factor in 
E33  12 tightening the market balance, with consumption having risen nearly 
E33  13 20% over the past five years,"<quote/> said Everett Gibbs, Arthur 
E33  14 Andersen's managing director for natural gas industry services and 
E33  15 Thomas Robinson, CERA's director for North American natural gas, 
E33  16 study authors. They added that <quote_>"At the same time, questions 
E33  17 have emerged about future supply availability as a result of 
E33  18 retrenchment in the upstream U.S. gas industry, where the top 40 
E33  19 reserve holders replaced less than 72% of production last 
E33  20 year."<quote/><p/>
E33  21 <p_>Tightening supply and demand, and regulatory changes are 
E33  22 producing significant effects, according to the study, 
E33  23 including:<p/>
E33  24 <p_><*_>bullet<*/>Gas price will be more volatile and less 
E33  25 predictable on seasonal patterns<p/>
E33  26 <p_><*_>bullet<*/>Competitive restructuring and realignment among 
E33  27 producers, pipelines, marketers and distribution companies driven 
E33  28 by FERC Order 636 and a tightening market will benefit merchants 
E33  29 who can provide flexible, reliable supply.<p/>
E33  30 <p_>According to Gibbs and Robinson, <quote_>"The industry as a 
E33  31 whole has clearly entered a new cycle that includes increased 
E33  32 consumption, growing supply constraints, new competitive pressure 
E33  33 and for some producers, a return to profitability."<quote/><p/>
E33  34 <p_><tf|>Supply. Upstream financial constrains and more cautious 
E33  35 'just-in-time' strategies by producers have led to a sharp decline 
E33  36 in gas development activity. This may lead to near-term declines in 
E33  37 natural gas reserves and productive capacity. Longer term, the 
E33  38 North American resource base remains abundant as evident by ongoing 
E33  39 discoveries in important gas regions, including the Gulf of Mexico 
E33  40 Flexture trend, Mobile Bay and British Columbia.<p/>
E33  41 <p_><tf|>Demand. Low prices and markets like non-electric power 
E33  42 generation have resulted in gas demand rising to over 19 Tcf. The 
E33  43 bright side of recent depressed wellhead prices is that usage has 
E33  44 remained high in spite of the recession and markets in power 
E33  45 generation, commercial cooling, vehicles and Mexico remain to be 
E33  46 served.<p/>
E33  47 <p_><tf_>New transmission capacity.<tf/> Alleviation of 
E33  48 bottlenecks, new capacity, improved access to major basins and 
E33  49 increased Canadian exports has further integrated the North 
E33  50 American market and shifted the focus of transmission companies to 
E33  51 managing under-utilized pipeline capacity.<p/>
E33  52 <p_><tf_>Storage and futures.<tf/> Traditional seasonal price 
E33  53 patterns are being redefined by increased working-gas storage 
E33  54 volumes and growing prominence of the futures market. As markets 
E33  55 continue to tighten, the role of storage in buffering price shocks 
E33  56 will become increasingly important.<p/>
E33  57 <p_><tf_>FERC Order 636.<tf/> The most sweeping regulatory changes 
E33  58 since 1985, this order creates two commodities, natural gas and 
E33  59 transmission capacity. It reduces customers' need to use 
E33  60 interruptible transportation, places greater cost pressures and 
E33  61 risk on distribution companies and end-users, and creates new 
E33  62 opportunities for gas merchants. This offers strategic 
E33  63 opportunities for gas marketers, brokers, producers and other 
E33  64 middlemen to provide new, re-bundled services.<p/>
E33  65 <p_><tf_>Rig activity.<tf/> Gas exploration and development rig 
E33  66 activity dropped to 250 rigs during March 1992, but is now 
E33  67 increasing as the year-end deadline for tax-incentive drilling 
E33  68 approaches. Gas demand is projected to increase, no one we've heard 
E33  69 of foresees a decrease in usage, neither onshore or offshore rig 
E33  70 activity is expected to increase significantly in the near future, 
E33  71 and recent gas development activity simply is not enough to replace 
E33  72 production or reserves.<p/>
E33  73 <p_><tf|>Reserves. U.S. proved reserves in the lower 48 increased 
E33  74 slightly to 160 Tcf from 1989 to 1990. Total natural gas production 
E33  75 has increased to almost 17 Tcf, which helped keep the 
E33  76 reserves-to-production ratio (R/P) flat at 9.5 years.<p/>
E33  77 <p_>Reserve replacement by the top 40 reserve<?_>-<?/>holding 
E33  78 companies declined in 1991. For 1990, they replaced 105% of 
E33  79 production by reserve additions exclusive of net acquisitions. By 
E33  80 the end of 1991, this fell to 72% of production. The decline is 
E33  81 indicative of persistent low prices. Many producers have chosen to 
E33  82 delay or cancel E&P gas projects and shift emphasis to oil or 
E33  83 international developments until prices recover.<p/>
E33  84 <p_>For 1990, average replacement rate by the top 20 
E33  85 reserve-holding companies rose to 108% of production and the second 
E33  86 20 had a replacement rate of 95%, excluding net acquisitions. 
E33  87 During 1991 average replacement rates fell to 69 and 85%, 
E33  88 respectively.<p/>
E33  89 
E33  90 <h_><p_>Bottomhole assemblies: Getting back to basics<p/>
E33  91 <p_>Thomas R. Wright, Jr., Editor<p/><h/>
E33  92 <p_>Operators all over the world are engineering their own crooked 
E33  93 holes and drillstring failures, according to drilling consultant, 
E33  94 Roy L. Dudman of Houston, by ignoring what's been known for years 
E33  95 about drillstrings and bottomhole assemblies (BHAs). The 
E33  96 <tf|>basics are that steel does not accumulate fatigue unless 
E33  97 overworked, and that the correct packed hole assembly will drill a 
E33  98 straight, useable hole, free of doglegs, keyseats, offsets and 
E33  99 spiraling.<p/>
E33 100 <p_>Dudman feels that drilling a crooked hole is inexcusable and 
E33 101 recommends using a packed hole assembly consisting of three zones 
E33 102 of stabilization provided by large-diameter, short drill collars 
E33 103 and a 30-ft, large-OD collar. Multiple stabilizers/reamers are used 
E33 104 in Zone 1 (see accompanying drawing), depending upon a formation's 
E33 105 crooked hole tendency and abrasiveness. When any other type of BHA 
E33 106 is used, Dudman says a directional drilling expert should be 
E33 107 employed.<p/>
E33 108 <p_>Stabilizers above a packed hole or packed pendulum assembly 
E33 109 only prevent differential sticking and drill collar wear. Large-OD 
E33 110 collars with a bending strength ratio greater than 2.5:1 are the 
E33 111 best tool for controlling hole deviation, minimizing connection 
E33 112 failure and providing useable weight on bit (WOB). Large, stiff 
E33 113 collars centralized directly above the bit tend to overpower the 
E33 114 crooked hole tendencies of the formation. Weight, stiffness and 
E33 115 stabilizer clearance determine the ability of a packed hole 
E33 116 assembly to control deviation.<p/>
E33 117 <p_>Small, limber collars increase a packed hole assembly's 
E33 118 tendency to deviate and reduce the restoring force of a pendulum 
E33 119 assembly. Small collars also contribute to drill collar whirl 
E33 120 between the bit and the first stabilizer, and between stabilizers. 
E33 121 The smaller the collars and the longer the length between points of 
E33 122 centralization, the greater the effect of buckling and high rpm. 
E33 123 Collar whirl and vibration resulting from high-stress-level 
E33 124 drillstrings and a poorly designed BHA increases the accumulation 
E33 125 of fatigue and the rapid destruction of drillstring components.<p/>
E33 126 <p_>Low-stress-level drillstrings designed for 12 1/4-in. and 
E33 127 larger holes have experienced no reported failures during the past 
E33 128 five years. Low-stress-level pin-up drillstrings for smaller hole 
E33 129 sizes have been used in over 300 near-vertical, extended-reach and 
E33 130 horizontal hole sections to depths exceeding 24,000 ft without 
E33 131 connection or tube failure. The larger-than-normal sizes provided 
E33 132 by these drillstrings increase weight and stiffness to control 
E33 133 deviation, increase torsional/tensile strength to minimize failures 
E33 134 and increase bore size to reduce pressure loss.<p/>
E33 135 <h_><p_>Campaign Against Adulterators To Go On<p/><h/>
E33 136 <p_>We must admit to some surprise when we ran across the above 
E33 137 headline in <tf|>Progress, a monthly publication of Pakistan 
E33 138 Petroleum Ltd. But we won't admit to the vision that came to mind 
E33 139 until we read further. Alas, it seems the story was about certain 
E33 140 petroleum products dealers who were either <quote_>"watering 
E33 141 down"<quote/> or otherwise altering fuels to reap extra profits.<p/>
E33 142 <p_><tf_>Speaking of headlines,<tf/> here's one we wish we had 
E33 143 thought of: <quote_>"Half of the City Council (insert U.S. 
E33 144 Congress, if you like) Are Crooks."<quote/> It seems that the local 
E33 145 paper, under threat of a libel suit, decided to capitulate and ran 
E33 146 the following headline in the next issue: <quote_>"Half of the City 
E33 147 Council Aren't Crooks."<quote/> (We thank our friends at <tf_>The 
E33 148 Montana Oil Journal<tf/> for this item.)<p/>
E33 149 <p_>The <tf|>MOJ also ran this jewel in a recent issue: Said an 
E33 150 irate roughneck to the Casper waitress, <quote_>"This chicken is 
E33 151 only half cooked. Take it back to the cook and tell him where he 
E33 152 can shove it."<quote/><p/>
E33 153 <p_>Replied the bored waitress, <quote_>"Sorry sir, but there are 
E33 154 three T-bones and a Bell Pepper in front of you."<quote/><p/>
E33 155 
E33 156 <h_><p_>E&P success hinges on good data management<p/>
E33 157 <p_>J.V. (Jack) Cowan, Contributing Editor<p/><h/>
E33 158 <p_>Success of E&P operations is directly dependent on availability 
E33 159 of quality data needed for analysis processes. Organizations that 
E33 160 systematize data management procedures benefit most by being able 
E33 161 to readily integrate E&P data into powerful computer 
E33 162 applications.<p/>
E33 163 <p_>We often hear the 80/20 rule applied to computer analyses, 
E33 164 <quote_>"80% of a professional's time is needed for gathering and 
E33 165 pre<?_>-<?/>processing data leaving only 20% for the analysis 
E33 166 phase."<quote/> Conoco reported at the recent SPE Petroleum 
E33 167 Computer Conference that proper data management can halve data 
E33 168 collection and preparation time therein doubling the time available 
E33 169 for analysis. This requires identifying, organizing and cataloging 
E33 170 available data items into a computer database.<p/>
E33 171 <p_>A Conoco data management task force found that over 10 million 
E33 172 technical data items (seismic and well data, internal studies, 
E33 173 reports and published works) were in current use throughout the 
E33 174 company. They discovered that 90% of data, accumulated over 30 plus 
E33 175 years, were in hard copy form, stacked in boxes, bins and cabinets 
E33 176 in record rooms and warehouses, and significant efforts were needed 
E33 177 to organize and reshelve materials as the catalog database was 
E33 178 built.<p/>
E33 179 <p_>Conoco estimates the total value of technical data, based on 
E33 180 replacement costs, to be $2.8 billion. They have spent about $5.5 
E33 181 million in cataloguing 2 million data items with $20 to $25 million 
E33 182 expenditure required to catalog all 10 million items. Per item 
E33 183 cataloging costs, which includes organizing and reshelving, ranged 
E33 184 from $1 for seismic, well logs, maps and externally published works 
E33 185 to $4 for internally generated reports and studies.<p/>
E33 186 <p_>Texaco Latin America/West Africa (Coral Gables, Fla.) began a 
E33 187 data management project in 1989 to satisfy needs for an exploration 
E33 188 database of graphic design files (maps, cross sections, digitized 
E33 189 electric logs, montages, etc.) and a hard copy filing system. No 
E33 190 method existed at that time for sharing computer files or data 
E33 191 inventories among offices in the U.S., West Africa and Latin 
E33 192 America.<p/>
E33 193 <p_>Other problems with their data management included misfiling, 
E33 194 tracking checked out data, inventory of off-site storage in Houston 
E33 195 and New Orleans warehouses, knowing what data is available, readily 
E33 196 integrating data into computer applications, etc. To resolve these 
E33 197 problems, they worked with Data General Corp. (Atlanta, Ga.) and 
E33 198 developed TEXDIS (Total Exploration and Data Inventory System).<p/>
E33 199 <p_>With a fully populated database, TEXDIS enables explorationists 
E33 200 to rapidly review, graphically and textually, all hard-copy data 
E33 201 available for any area of interest. Clicking upon screen objects 
E33 202 (wells, seismic lines, etc.) retrieves a list of all related 
E33 203 documents (logs, reports, seismic sections, etc.) or digital data 
E33 204 in the system. These data can be processed via ported applications 
E33 205 programs (gridding, contouring, multi-dimensional analyses of 
E33 206 seismic horizon data, fault analyses, drilling analyses, production 
E33 207 test analyses, etc.). TEXDIS also links to external proprietary and 
E33 208 commercial databases.<p/>
E33 209 <p_>TEXDIS has been used by Texaco LA/WA in many international 
E33 210 exploration projects. Networked workstation versions of this open 
E33 211 system can be distributed to international field offices and tied 
E33 212 to remote database servers.<p/>
E33 213 <p_>The system provides for updating associated databases to keep 
E33 214 them current. The Librarian segment uses bar-code scanners to 
E33 215 support filing, check-in, check-out, and document tracking 
E33 216 features. Optical disk libraries store images (documents, logs, 
E33 217 maps, etc.). Based on experience, Texaco LA/WA estimates it cost 
E33 218 one-quarter to one-half percent of the acquisition expense of a 
E33 219 data item to process and load it into TEXDIS.<p/>
E33 220 <p_>The TEXDIS software package consists of the TEXDIS shell, 
E33 221 available from Data General and is priced from $25,000 for a 5 user 
E33 222 system to $55,000 for a 30 user system. VORTEXT GIS and spatial 
E33 223 data management software from Aangstrom Precision Corp., Mt. 
E33 224 Pleasant, Michigan is priced from $100,000 for 5 users to $405,000 
E33 225 for 30 users and ORACLE database software used for textual data 
E33 226 management lists from $50,000 to $90,000. The rest of the TEXDIS 
E33 227 hardware/software platform uses a UNIX workstation/server such as 
E33 228 DG's AViiON, OSF/MOTIF and X-WINDOWS GUI's plus TCP/IP for 
E33 229 networking.<p/>
E33 230 <p_>Other items needed to make the system fully functional include 
E33 231 textual and raster scanners (color or black and white), bar-coding 
E33 232 devices and digitizing/plotting equipment. TEXDIS provides 
E33 233 transparent system interfaces for these devices.<p/>
E33 234 <p_>Impressive benefits come to those using solid data management 
E33 235 techniques that provide rapid integration of data into computer 
E33 236 analysis applications and insure all data relevant to a project are 
E33 237 fully exploited.<p/>
E33 238 
E33 239 
E34   1 <#FROWN:E34\><h_><p_>Fountains: Sweet Music<p/>
E34   2 <p_>by Lee Steedle<p/><h/>
E34   3 <p_>Potters who are looking for compelling items to pull customers 
E34   4 toward their displays might well consider fountains designed for 
E34   5 indoor or garden use. By attracting attention with sound and 
E34   6 motion, fountains go a long way toward selling themselves in 
E34   7 showrooms or display booths. Plus, they command prices considerably 
E34   8 higher than any but the most artistic pots.<p/>
E34   9 <p_>Unlike commissioned fountains, which may require protracted 
E34  10 negotiations with architects and owners, or need special plumbing 
E34  11 and wiring, small fountains are assembled with off-the-shelf-pumps 
E34  12 and tubing, and their profitability makes them attractive to 
E34  13 galleries, retail craft stores and up-scale garden supply stores. 
E34  14 Fountains considered 'small' are those customers can carry out of a 
E34  15 salesroom, then easily reassemble themselves.<p/>
E34  16 <p_>There is real satisfaction in creating a fountain that 
E34  17 functions as you'd hoped - lively water, bright sounds, no spills. 
E34  18 Chinese and Japanese garden designers discovered long ago that the 
E34  19 aesthetics of running water are greatly enhanced when it flows into 
E34  20 a rock hollow, magnifying the sound. This same resonance can be 
E34  21 created with a ceramic or stone base that closely confines the 
E34  22 water at the place where it has fallen.<p/>
E34  23 <p_>For indoor fountains, there are just a few 'musts': they must 
E34  24 be vitreous to ensure water impermeability; they must not spray or 
E34  25 splash beyond their rims; and they must be of reasonably compact 
E34  26 design.<p/>
E34  27 <p_>To be sold successfully, indoor fountains also have a few 
E34  28 'shoulds': water flow should be pleasingly visible and emit 
E34  29 musical, tumbling sounds; water capacity should be fairly limited; 
E34  30 pump operation should be inaudible; and design should harmonize 
E34  31 well with intended surroundings.<p/>
E34  32 <p_>Design constraints for outdoor fountains are fewer in number, 
E34  33 once the location of an electrical source has been resolved. A 
E34  34 wall-mounted fountain is often the simplest design, requiring only 
E34  35 a ceramic fountainhead and a lower base connected by unobtrusive 
E34  36 plastic or copper tubing. Yet a wall setting also presents 
E34  37 considerable opportunity for creativity. The fountain back, often 
E34  38 of handmade tiles, can include multiple water outlets, splash 
E34  39 pockets, lights and sculptured relief. As long as too much 
E34  40 splashing and water loss are avoided, a certain amount of misting 
E34  41 is actually desirable in garden fountains, because water-loving 
E34  42 plants such as mosses and ferns thrive in a moist setting, and 
E34  43 their greenery suggests coolness and refreshment. Care must be 
E34  44 taken, however, to protect the pump's inlet from clogging with the 
E34  45 leaves, grass clippings and wind-blown dirt that inevitably settle 
E34  46 into the basin of any garden fountain. And, when installed in cold 
E34  47 climates, outdoor fountain pumps should be readily accessible for 
E34  48 easy end-of-season disassembly, to avoid ice damaging their 
E34  49 seals.<p/>
E34  50 <p_>Although endless variety in ceramic fountain designs is 
E34  51 possible, their mechanical parts are usually quite similar. These 
E34  52 include a recirculating pump, plastic or copper tubing, clamps to 
E34  53 tighten them securely together, and an adjustable clamp with which 
E34  54 to regulate the water flow.<p/>
E34  55 <p_>Small-capacitiy, submersible pumps are permanently sealed 
E34  56 against water leakage; they are available in capacities ranging 
E34  57 from about 80 to 680 gallons per hour (gph). A pump's gph capacity 
E34  58 rating can be misleading, however, because this varies in actuality 
E34  59 with the height to which water must be lifted. A 120-gph capacity 
E34  60 at a height of 1 foot, quickly drops to 70 gph at 3 feet, for 
E34  61 example. The smallest sizes generally provide adequate flow for 
E34  62 most fountains.<p/>
E34  63 <p_>Major pump manufacturers include Beckett Company, Dallas; 
E34  64 Little Giant Pump Company, Oklahoma City; and Dayton Electric 
E34  65 Manufacturing Company, Chicago. Their units are available 
E34  66 nationally through distributors and hardware stores, farm and 
E34  67 garden supply retailers.<p/>
E34  68 <p_>Fortunately for fountain designers, these pumps are small 
E34  69 enough in size to be easily concealed somewhere within a fountain's 
E34  70 lower water chamber. One of the most popular models measures only 3 
E34  71 1/2x2 1/2x2 3/4 inches and, if purchased singly, costs less than 
E34  72 $40, with quantity discounts available.<p/>
E34  73 <p_>Craftspeople make fountains for a wide variety of reasons. In 
E34  74 the beginning, some designs will probably be failures, whose fate 
E34  75 will be to end in shards, or to sit in dark, ignominious disgrace 
E34  76 beneath workbenches as reproachful reminders of ideas badly 
E34  77 conceived. However well-intended their design, their common 
E34  78 failings are unexpected mistings, splashing and tuneless sounds 
E34  79 resembling open faucets or running toilets. Design 
E34  80 mis<?_>-<?/>adventures like these seem an inevitable part of the 
E34  81 process of developing trouble-free fountains.<p/>
E34  82 <p_>Among the most successful fountain makers on a production scale 
E34  83 is Robert Compton, a Bristol, Vermont, potter, who now concentrates 
E34  84 chiefly on fountains. He works out of an old dairy barn on the 
E34  85 farmstead he shares with his wife Christine, a weaver, who is also 
E34  86 his business partner. They make and market a half-dozen basic 
E34  87 fountain designs in a wide range of sizes, for both garden and 
E34  88 indoor use. The median retail price is about $1600.<p/>
E34  89 <p_>Although most Compton fountains are hand thrown and altered, a 
E34  90 winch and 40-foot overhead I-beam, which runs nearly the length of 
E34  91 the work area, help to reduce the labor involved in handling 
E34  92 massive molds for slip-cast designs. The majority of these are 
E34  93 vertical, multitier units, made of a dense, grogged clay fired to 
E34  94 Cone 10, usually glazed.<p/>
E34  95 <p_>Optional features for their indoor models are circular and 
E34  96 half-moon 'Moisture Guards,' which are pie slice-shaped tiles with 
E34  97 upward curving outer lips that assemble snugly around the fountain 
E34  98 bases. These guards eliminate the problem of misting, and enable 
E34  99 owners to place their fountains on carpets and wooden floors.<p/>
E34 100 <p_>A knowledgeable marketer as well as a craftsman, Compton 
E34 101 maintains computerized customer records and prospect lists, and 
E34 102 promotes with a 12-page, full-color catalog. He sells through 
E34 103 galleries nationally, as well as from the shop, but tries to limit 
E34 104 sales to galleries he knows will replenish evaporated water 
E34 105 regularly and will maintain cleanliness when fountains are run 
E34 106 continuously. <p/>
E34 107 <p_>Compton says: <quote_>"To be well displayed, fountains need 
E34 108 visual room. The galleries that do best understand that fountains 
E34 109 add liveliness, energy, movement and sound to their showrooms, and 
E34 110 space them accordingly."<quote/><p/>
E34 111 <p_>Katherine Pearson of Cherry Brook Potters, Canton Center, 
E34 112 Connecticut, has concentrated on fountains resembling naturally 
E34 113 rounded stones. In 1978, she <quote_>"started to fool around with 
E34 114 an idea of stones and waterfall. It took about three years to 
E34 115 design and figure out the engineering, then in 1983 I put a 
E34 116 copyright on them and started to market them."<quote/><p/>
E34 117 <p_>Her basic self-contained fountain has water tumbling gently and 
E34 118 musically over about ten stones within an upper basin, after which 
E34 119 the water quietly disappears into a lower basin and recirculates. 
E34 120 To further the motif, she provides each unit with additional 
E34 121 ceramic stones to be placed outside the fountain to give the 
E34 122 assemblage a sense of the outdoors.<p/>
E34 123 <p_>Pearson's white porcelain fountains are cast in large molds, 
E34 124 dried slowly, then sanded to create a stonelike surface. They are 
E34 125 then fired to Cone 6 in an electric kiln, after which their 
E34 126 interiors are given a Cone 6 to 10 clear glaze, and fired to Cone 
E34 127 7.<p/>
E34 128 <p_>Her stoneware fountains start as slabs of well-grogged clay 
E34 129 that are 'persuaded' into two halves of heavy plaster molds. The 
E34 130 halves are joined, and allowed to stand overnight. After removal, 
E34 131 much hand work is required to smooth the exterior and finalize the 
E34 132 form.<p/>
E34 133 <p_>Following a Cone 06 bisque firing, the interior is coated with 
E34 134 an Albany slip glaze, and the exterior is sprayed with iron oxide 
E34 135 and manganese stain. These fountains are then reduction fired to 
E34 136 Cone 9 in a gas kiln, which renders natural coloration ranging from 
E34 137 black/brown to a rich black, and allows the clay to display its 
E34 138 inherent stonelike quality.<p/>
E34 139 <p_>Pearson's self-contained waterfall fountains, which rely as 
E34 140 much on their pleasant sounds as on their visual appeal, are quite 
E34 141 small. Most are between 12 and 19 inches long, and some are just 7 
E34 142 1/2 inches high. They retail from $430 $630 at craft galleries and 
E34 143 shops nationwide.<p/>
E34 144 <p_>While fountains can be great fun to design, quite profitable to 
E34 145 sell and attention-getters for ceramics displays, it is vitally 
E34 146 important to have trouble<?_>-<?/>free designs. Customer complaints 
E34 147 about misting, pump noise or water clogging can prove an unwanted 
E34 148 problem for gallery owners, and an expense for the fountain 
E34 149 maker.<p/>
E34 150 <p_>Rober Compton summarizes the aesthetic requirements very well 
E34 151 when he says: <quote_>"A fountain is not like an open faucet. Just 
E34 152 making a piece that water runs through is not making a fountain. 
E34 153 While the pleasing sight is important, you must also have the 
E34 154 musical sounds of tumbling water. For this reason, we have 
E34 155 discarded many more fountain designs than we have 
E34 156 marketed."<quote/><p/>
E34 157 <p_>Individual fountain makers develop their own solutions to 
E34 158 design limitations. But I'll conclude with a few solutions that 
E34 159 have worked well for me: Vibration suppression can generally be 
E34 160 achieved by placing a 1/4-inch Styrofoam pad beneath the pump, and 
E34 161 by gluing felt cushions under the lower bowl. Larger wall fountains 
E34 162 may be made from sequentially-mounted elements that catch the 
E34 163 falling water then pass it down. And resonance enhancement can 
E34 164 result from building a ceramic baffle into a fountain's lower bowl 
E34 165 to tightly confine the area into which the water 
E34 166 tumbles.<*_>black-triangle<*/><p/>
E34 167 
E34 168 <h_><p_>Politically Correct Pots<p/>
E34 169 <p_>by Brad Sondahl<p/><h/>
E34 170 <p_>Is pottery political? Musician Frank Zappa once said that 
E34 171 everything you wear is your uniform. Stretching the analogy, if 
E34 172 your pottery is apolitical, perhaps this merely reflects your 
E34 173 personal politics. Has pottery been political? I think about the 
E34 174 ruckus caused by Judy Chicago's 'Dinner Party,' and know that it 
E34 175 has. Is pottery subject to the current trend of political 
E34 176 correctness? Ponder lightly and read on.<p/>
E34 177 <p_>Since everything else in life is subject to standards of 
E34 178 political correctness, from grocery bags to dorm room doors, let's 
E34 179 consider whether pottery meets today's high standards of behavior. 
E34 180 When I began 'doing' pottery in the early '70s, there was no 
E34 181 question that it was the right thing to do. After all, at about 
E34 182 that time <tf_>Ceramics Monthly<tf/> began printing in full color. 
E34 183 If that's not evidence of a mass movement, I don't know what is. 
E34 184 Pottery was then clearly a direct counterpoint to the prevalent 
E34 185 military-industrial complex that afflicted the psyche of our 
E34 186 country. To avoid contracting that disease, I would retire to a 
E34 187 kick wheel and think peaceful thoughts.<p/>
E34 188 <p_>I knew back in college that pottery was more politically 
E34 189 correct than the other arts, because it didn't require any models 
E34 190 sitting around naked. This, and the 'elite'-ist tendencies of art, 
E34 191 convinced me that art was politically incorrect, and prompted my 
E34 192 final art production, a happening called 'Art as a Bourgeois Sham.' 
E34 193 In the current language of - ists and - isms for every occasion, 
E34 194 this clearly labels me an 'art'-ist (despite and because of my 
E34 195 attempts to disavow it) and a non-'nude'-ist (as I am obviously a 
E34 196 prudist).<p/>
E34 197 <p_>Getting back to my historical critique, I moved into a chicken 
E34 198 coop and tepee with another potter, and learned how to live 
E34 199 righteously, scraping along with scrap clay, used kilns and a big 
E34 200 garden. Living close to the earth was synonymous with making 
E34 201 pottery then, especially since the pottery studio had a dirt floor. 
E34 202 This was the good life, although Minnesota winters are justly 
E34 203 famous for wearing down good-lifers. We lasted several years before 
E34 204 moving on to other possibilities.<p/>
E34 205 <p_>By the eighties, the age of greed took its toll among the ranks 
E34 206 of potters who wanted to have some semblance of financial security 
E34 207 in addition to their good life and political correctness. Teaching 
E34 208 became an attractive second career option, and the ones who 
E34 209 remained in the ranks split between those emphasizing production 
E34 210 and those capitalizing on artistic quality and uniqueness. At the 
E34 211 same time, living close to the earth was beginning to suggest 
E34 212 silicosis from long-term occupational exposure. Meanwhile, glaze 
E34 213 leachates implied potential government regulation and skittish 
E34 214 consumers, while leftover glaze chemicals and pottery wastes became 
E34 215 not so environmentally correct (and even glossy pottery magazines 
E34 216 posed a problem for recyclers).<p/>
E34 217 <p_>In the light of all these environmental considerations (which 
E34 218 potters have tended to know about, but chosen to continue anyway), 
E34 219 suddenly the politically correct choice lies in the route of less 
E34 220 consumption, since materials processing and usage both denote (to 
E34 221 some degree) environmental degradation. Even the earthy wood or 
E34 222 salt kilns, and reduction firing in general, represent greater 
E34 223 environmental degradation than sane-but-bland electric kilns.
E34 224 
E35   1 <#FROWN:E35\><h_><p_>Double the size, quadruple the fun<p/>
E35   2 <p_>After the Hillsborough, California, family grew from two to 
E35   3 six, they commissioned a remodeling to make their Tudor house not 
E35   4 only twice as big but newly, thrillingly modern<p/>
E35   5 <p_>BY JODY THOMPSON-KENNEDY<p/><h/>
E35   6 <p_>FROM THE STREET, ONLY A hint of color - the rosy wall - tells 
E35   7 passersby that something unusual may lie within. Otherwise, the 
E35   8 Tudor Revival house fits politely into the prosperous, tree-lined 
E35   9 northern California enclave. But step through the gate in that wall 
E35  10 and you are in for a most agreeable culture shock. Inside is the 
E35  11 kind of contemporary space, light, architectural color and 
E35  12 interplay of forms that are rarely, if ever, found behind such a 
E35  13 polite facade.<p/>
E35  14 <p_>Until two years ago, the house had looked the same for fifty 
E35  15 years - conventionally gabled and dormered, with dark, confining 
E35  16 rooms and not enough of them. During a decade of ownership, the 
E35  17 couple (he is a San Francisco physician) had four children and 
E35  18 needed space for them to live and work and play, and they also felt 
E35  19 a need for the kind of private retreat all parents come to long 
E35  20 for.<p/>
E35  21 <p_>Enter House+House, the San Francisco-based firm that would make 
E35  22 the transformation. Avid fans of modern architecture and collectors 
E35  23 of architect-designed furniture, the owners had seen a house 
E35  24 designed by Steven and Cathi House, a husband-and-wife 
E35  25 architectural team, and immediately called on the pair to view 
E35  26 their very unmodern Tudor. <quote_>"The house had very little going 
E35  27 for it other than its original U-shaped plan encompassing a 
E35  28 lawn,"<quote/> recalls Steven. But the clients had mentioned that 
E35  29 they liked courtyards.<p/>
E35  30 <p_>Over a period of eighteen months, House+House more than doubled 
E35  31 the size of the house by adding a living-dining wing to completely 
E35  32 surround the lawn. A new interior corridor - <quote_>"the kids use 
E35  33 it like an indoor track,"<quote/> says their mother - links the 
E35  34 downstairs rooms to each other and the courtyard. An upstairs 
E35  35 master suite includes a huge bathroom that is as big as the bedroom 
E35  36 and comes complete with a cylindrical, neon-lit shower nook that 
E35  37 can hold the whole clan.<p/>
E35  38 <p_>One of the homeowners' major directives to the architects was 
E35  39 to make the kitchen the 'command center' of the house. This is 
E35  40 where the action is morning and night and where guests like to 
E35  41 congregate. <quote_>"It had to be more than just large - it had to 
E35  42 be efficient and functional. The owner wanted more than one person 
E35  43 to be able to cook at one time,"<quote/> Cathi House says. Designed 
E35  44 like a city, with a hub, cabinets that look like a skyline, and an 
E35  45 easy, circular traffic pattern, the kitchen features polished black 
E35  46 granite work counters that can also seat up to eight. There are two 
E35  47 dishwashers, a professional stove and a second pint<?_>-<?/>sized 
E35  48 refrigerator just for the kids.<p/>
E35  49 <p_>The kitchen links the breakfast 'nook' (actually a tall, 
E35  50 dramatic half<?_>-<?/>round space lined with windows) with a new 
E35  51 family area (not shown) underneath the master suite, but its 
E35  52 function as a people magnet continues to amaze the owners. Although 
E35  53 there are now over 5,000 square feet in the house plus 1,300 in the 
E35  54 courtyard, at a recent party about fifty people preferred to be in 
E35  55 the kitchen-family space.<p/>
E35  56 <p_>Although the newness of the massive remodeling is beginning to 
E35  57 wear off after a year, the couple report that the excitement has 
E35  58 not.<p/>
E35  59 
E35  60 <h_><p_>Designed with TLC<p/>
E35  61 <p_>ln Washington, D.C., a handful of decorators use color, wit and 
E35  62 imagination to create a haven for youngsters with AlDS<p/>
E35  63 <p_>BY LISA DePAULO<p/><h/>
E35  64 <p_>IT ALL STARTED WITH A WOMAN who rang the bell and identified 
E35  65 herself only as Albina. <quote_>"We didn't know who she 
E35  66 was,"<quote/> says Joan McCarley, cofounder of Washington's 
E35  67 'Grandma's House,' the first home in the country for children with 
E35  68 AIDS. <quote_>"But you should always entertain strangers as though 
E35  69 they were angels."<quote/><p/>
E35  70 <p_>This one was. She reappeared one day with $325,000. Cash. And 
E35  71 asked Joan McCarley to please buy another house for the children. 
E35  72 <quote_>"We never dreamed she was a countess,"<quote/> says 
E35  73 McCarley.<p/>
E35  74 <p_>Albina, the countess du Boisrouvray, had an only son who died 
E35  75 at the age of 24 in a helicopter crash. Since then she has sold off 
E35  76 $50 million worth of jewels to finance 'living memorials' to him 
E35  77 all over the world. Her gift to Washington, the 
E35  78 Fran<*_>c-cedille<*/>ois-Xavier Bagnoud House (named after him), 
E35  79 came complete with a blank check to cover the operating costs, 
E35  80 including staff salaries, <quote|>"forever," says McCarley.<p/>
E35  81 <p_><quote_>"It was pretty inspiring,"<quote/> says Joseph Paul 
E35  82 Davis, a Washington decorator who was volunteering at one of the 
E35  83 four existing Grandma's Houses when the mystery countess delivered 
E35  84 her gift. It moved him to do something grand.<p/>
E35  85 <p_>He corralled fourteen of his colleagues, and each of them 
E35  86 selected a room in the new FXE House (a DIFFA project), planned for 
E35  87 children from deprived backgrounds who are five to ten years old 
E35  88 and infected with the HIV virus. The decorators were to design the 
E35  89 kind of environment <quote_>"that to a sick child who lay in 
E35  90 bed,"<quote/> says Joan McCarley <quote_>"would be 
E35  91 inspiring."<quote/><p/>
E35  92 <p_>Trish Cavallaro and Jonathan Mclntyre took the entrance foyer, 
E35  93 dipped their hands in paint and left handprints over every inch of 
E35  94 wall. The pattern leads all the way up to the second-floor 
E35  95 bedrooms. In the living room, Mary Drysdale stenciled birds, stars 
E35  96 and swirls on lemon-colored walls. Larger-than-life crayons lean 
E35  97 against the tiled fireplace, and a kitschy pair of dinosaurs stand 
E35  98 at each end of the mantel. But most amusing is Drysdale's play 
E35  99 table with chairs - painted to resemble a sky and four clouds.<p/>
E35 100 <p_>Amy Cornell was asked to do a dining room that would 
E35 101 accommodate big family meals. She started with a Niermann Weeks 
E35 102 table and sideboard. But the whimsy of the room is their chandelier 
E35 103 - an iron fixture dripping with strands of crystal 'hard 
E35 104 candies.'<p/>
E35 105 <p_>Nothing was left untouched - from the back porch with its 
E35 106 'designer recycling bins' to the kitchen floor, tiled like an 
E35 107 argyle sock.<p/>
E35 108 <p_>But in the bedrooms the decorators really let loose. One room 
E35 109 is an ocean with waves up near the ceiling. Another room is a 
E35 110 circus, its ceiling like the inside of a tent, in carnival blues 
E35 111 and yellows. And farther down the hall it's a jungle in the room by 
E35 112 designer Gary Lovejoy and painter Kay Jones. You can't miss the 
E35 113 elephant with teal-striped tusks on the wall behind the twin beds. 
E35 114 A steel 'vine' crawls around a window, and a stuffed monkey crawls 
E35 115 on it, waiting to be hugged.<p/>
E35 116 
E35 117 <h_><p_>Golden-oldie reproductions<p/>
E35 118 <p_>Copies of rare antiques are now antiques too<p/>
E35 119 <p_>BY MITCHELL OWENS<p/><h/>
E35 120 <p_>AS TIME PASSES, WE SEE THE reproductions of one period becoming 
E35 121 the antiques of the next. Ancient Roman sculptures are usually 
E35 122 copies of Greek originals, after all. Today, as choice antiques 
E35 123 become scarcer and more expensive, canny designers and connoisseurs 
E35 124 are seeking out furniture made in the late 19th and early 20th 
E35 125 centuries that replicates an earlier style. Collecting and using 
E35 126 these old copies is popular today for three good reasons: fine 
E35 127 craftsmanship, availability and sensible prices.<p/>
E35 128 <p_>The head of Sotheby's 19th-century furniture department, Elaine 
E35 129 Whitmire, sells many older reproductions, though she prefers to 
E35 130 call them <quote_>"copies after the original."<quote/> Semantic 
E35 131 niceties aside, a turn-of-the-century copy can be as beautifully 
E35 132 crafted as a 300-year-old original - and just as convincing. There 
E35 133 is an additional attraction: the United States Customs Service 
E35 134 defines an antique as any object certified to be more than 100 
E35 135 years old, so many of these older copies have now been around long 
E35 136 enough to qualify for that duty-free status. If they were ever 
E35 137 dismissed as fakes or as secondhand, they are now prized 
E35 138 objects.<p/>
E35 139 <p_>Rod Kreitzer, president of Baker Furniture in Grand Rapids, 
E35 140 Michigan, not only presides over a company that has manufactured 
E35 141 fine reproductions for American homes for generations, but he also 
E35 142 collects the older variety for the company's museum, a few of whose 
E35 143 pieces were made by Baker in the first half of this century. These 
E35 144 older reproductions also serve as research material for the 
E35 145 company's craftsmen. But Kreitzer notes a critical difference 
E35 146 between earlier reproductions and those made today. Although the 
E35 147 construction and carving of today's copies continue to involve a 
E35 148 great deal of specialized handwork, their usual high-luster finish, 
E35 149 which some decorators and potential purchasers object to, is the 
E35 150 result of labor saving and a public demand for indestructibility. 
E35 151 <p/>
E35 152 <p_><quote_>"For a good part of this century, new furniture was 
E35 153 still given a traditional hand-padded shellac finish,"<quote/> 
E35 154 Kreitzer explains. <quote_>"This darkens and becomes even more 
E35 155 luminous as it ages."<quote/> But hand-padding, which builds a 
E35 156 finish slowly, layer by layer, is costly and is also easily marred 
E35 157 in casual daily use. Soon after the Second World War the 
E35 158 hand-padded shellac finish was abandoned by the industry for a 
E35 159 quick-drying, spray-on nitrocellulose lacquer. The result was a 
E35 160 glassy, uniform finish that remains the industry standard.<p/>
E35 161 <p_><quote_>"Today's average customer wants a high luster,"<quote/> 
E35 162 says Baker's Kreitzer, and he cites consumer polls and strong sales 
E35 163 figures to prove it. Yet he feels a lingering nostalgia for the 
E35 164 days of the shellac finish. <quote_>"If you want real 
E35 165 character,"<quote/> he says, <quote_>"the human hand is 
E35 166 vital."<quote/><p/>
E35 167 <p_>Custom applications that approximate the low-luster glow of 
E35 168 hand-rubbed shellac have been available in several degrees of sheen 
E35 169 for some years, and some people cut the shine of modern 
E35 170 reproduction by rubbing it down or refinishing the piece entirely. 
E35 171 Other seekers of reproductions who object to a sprayed-on finish 
E35 172 look for the older kind.<p/>
E35 173 <p_>The instigator of the first important reproduction-furniture 
E35 174 boom was a woman of beauty, taste and style. She was Eugenie 
E35 175 Montijo de Guzman, empress of France. In the 1850s, stung by gossip 
E35 176 about her non-royal birth and saddled with a number of half-empty 
E35 177 palaces in dire need of redecoration, the Scottish-Spanish bride of 
E35 178 Napoleon III chose to emulate the sophistication of the 
E35 179 <foreign_>ancien r<*_>e-acute<*/>gime<foreign/>. She took Marie 
E35 180 Antoinette rather than Josephine as her role model. Overnight the 
E35 181 new <foreign_>Louis Seize-lmp<*_>e-acute<*/>ratrice<foreign/> style 
E35 182 took hold in Parisian salons as the Bonaparte courtiers followed 
E35 183 the redheaded empress's example and began filling their homes with 
E35 184 precise copies of regal Louis XVI French antiques. At a time when 
E35 185 first Empire opulence was the norm, Eugenie's neoclassical elegance 
E35 186 was a breath of fresh air that would make its way to England and 
E35 187 America by the 1890s.<p/>
E35 188 <p_>The finest cabinetmakers of this period (among them Ferdinand 
E35 189 Barbedienne, Guillaume Groh<*_>e-acute<*/> and Louis-Auguste-Alfred 
E35 190 Beurdeley in France, Edwards & Roberts in England, and Julius von 
E35 191 Zwiener in Germany) were sticklers for authenticity. In fact, their 
E35 192 creations were so cunningly accurate that they continue to fool the 
E35 193 experts. At the Victoria & Albert Museum, for example, a Louis XVI 
E35 194 satinwood occasional table was discovered not so long ago to be a 
E35 195 circa 1860 copy by the London cabinetmaker Donald Ross. The 
E35 196 curators decided that the table was just too beautiful to put into 
E35 197 storage; instead, they moved it into a place of honor as an example 
E35 198 of a fine Victorian reproduction.<p/>
E35 199 <p_>High-caliber reproductions don't come cheaply, but they are 
E35 200 infinitely more affordable than the real thing. <quote_>"Beurdeley 
E35 201 is my personal favorite,"<quote/> says Sotheby's Elaine Whitmire. 
E35 202 <quote_>"He copied eighteenth-century pieces to perfection. Now an 
E35 203 exquisite museum-quality console by Weisweiller, one of the 
E35 204 greatest eighteenth-century 
E35 205 <foreign|><*_>e-acute<*/>b<*_>e-acute<*/>nistes, will cost 
E35 206 $500,000, but you can find an equally fine Beurdeley modeled after 
E35 207 it for around $200,000."<quote/><p/>
E35 208 <p_>Matthew Sturtevant, head of furniture at Christie's East, 
E35 209 prefers the more aggressively rococo work of 
E35 210 Fran<*_>c-cedille<*/>ois Linke, a Czech<?_>-<?/>born Frenchman who 
E35 211 was active from 1882 to 1935. Arguably the finest cabinetmaker of 
E35 212 his generation, Linke was so adept a copier that in the book 
E35 213 <tf_>19th Century European Furniture<tf/>, historian Christopher 
E35 214 Payne writes: <quote_>"The mind boggles at what Linke would have 
E35 215 been able to achieve had he been working for the Court of 
E35 216 Versailles over 150 years earlier."<quote/> Linke's astonishing 
E35 217 creations, however, still bring less than they should on the open 
E35 218 market (good news for the shopper). For example, a swaggering Linke 
E35 219 <foreign_>bureau plat<foreign/> sold last September at New York's 
E35 220 William Doyle Galleries for $29,000 - a bargain when compared with 
E35 221 the catalogue estimate of $40,000 to $60,000.<p/>
E35 222 <p_>Impressive bargains can also be found in furniture made in the 
E35 223 next important reproduction era, which lasted from about 1890 to 
E35 224 the beginning of the First World War.
E35 225 
E35 226 
E36   1 <#FROWN:E36\><h_><p_>CRAZY FOR YOU<p/>
E36   2 <p_>This new musical, based loosely on the 1930 <tf_>Girl 
E36   3 Crazy<tf/>, features the timeless songs of George and Ira 
E36   4 Gershwin<p/>
E36   5 <p_>by Sheryl Flatow<p/><h/>
E36   6 <p_>IN 1934 George Gershwin went on a 28-city concert tour of 
E36   7 America, which included a stop in Cincinnati. Following a 
E36   8 performance in that city he wound up at a party in the home of a 
E36   9 local musician where, characteristically, he entertained at the 
E36  10 piano. Among those who heard him play his Second Piano Prelude and 
E36  11 various songs was Roger Horchow, six-year-old son of the host and 
E36  12 hostess. For young Horchow the melody lingered on.<p/>
E36  13 <p_>He became a serious collector of the composer's work, and as he 
E36  14 got older, he made a promise to himself that he would one day 
E36  15 produce a musical on Broadway featuring a Gershwin score. So it's 
E36  16 fair to say that a chance encounter more than a half-century ago 
E36  17 was the impetus for <tf_>Crazy for You<tf/>, a new musical comedy 
E36  18 featuring the timeless songs of George and Ira Gershwin.<p/>
E36  19 <p_><tf_>Crazy for You<tf/>, a show in which you go <tf|>in humming 
E36  20 the tunes, stars Harry Groener (<tf|>Oklahoma!, <tf|>Cats) and Jodi 
E36  21 Benson (voice of the title character in the movie <tf_>The Little 
E36  22 Mermaid<tf/>). It is written by Ken Ludwig (<tf_>Lend Me a 
E36  23 Tenor<tf/>), directed by Mike Ockrent (<tf_>Me and My Girl<tf/>) 
E36  24 and choreographed by Susan Stroman (<tf_>And the World Goes 'Round 
E36  25 - The Songs of Kander & Ebb<tf/>) and was inspired, very loosely, 
E36  26 by the 1930 Gershwin musical <tf_>Girl Crazy<tf/>. That show is 
E36  27 fondly remembered today for its captivating score, an ingenue named 
E36  28 Ginger Rogers (who introduced 'But Not for Me' and 'Embraceable 
E36  29 You') and the debut of a dynamo named Ethel Merman, whose stardom 
E36  30 was assured when she held a note for 16 bars during 'I Got Rhythm' 
E36  31 to the delight of a delirious audience.<p/>
E36  32 <p_><quote_>"Originally we thought we were going to do a revised 
E36  33 version of <tf_>Girl Crazy<tf/>,"<quote/> says Ken Ludwig. 
E36  34 <quote_>"But we read the book, and it was terrible. It was made up 
E36  35 of skits and had all these stereotypes. So we threw the book out 
E36  36 completely."<quote/><p/>
E36  37 <p_>All that is left from <tf_>Girl Crazy<tf/> are four great songs 
E36  38 (the fourth is 'Bidin' My Time'), a relatively unknown song ('Could 
E36  39 You Use Me?') and the germ of an idea: An Easterner goes to a 
E36  40 little Western town.<p/>
E36  41 <p_>Playwright Ken Ludwig and director Mike Ockrent worked closely 
E36  42 in constructing the new story line, which they then adapted as they 
E36  43 went through the Gershwin catalogue in search of the right song for 
E36  44 the right moment. Then Ludwig wrote the book, which rises and falls 
E36  45 largely on the ability of its leading man to deliver a tour de 
E36  46 force performance. The role requires impeccable comic timing, 
E36  47 effortless dancing and an abundance of charm.<p/>
E36  48 <p_><quote_>"Harry Groener was exactly what we were looking 
E36  49 for,"<quote/> says Ockrent. <quote_>"I realized it when I saw him 
E36  50 in the Pasadena Playhouse, where he was doing Cole Porter's 
E36  51 <tf_>You Never Know<tf/>. Then he came and auditioned for us. The 
E36  52 process of auditioning is waiting for the moment when that person 
E36  53 walks into the room, and you know that's it. That's what happened 
E36  54 with Harry and also with Jodi Benson."<quote/><p/>
E36  55 <p_>Ludwig describes the feel of the show as <quote_>"<tf_>Me and 
E36  56 My Girl<tf/> meets <tf_>Lend Me a Tenor<tf/>."<quote/> <tf_>Crazy 
E36  57 for You<tf/> is filled with snappy one-liners, old jokes, sight 
E36  58 gags, pratfalls and the inspired fun and giddiness of both those 
E36  59 shows. The notion of mistaken identity, so crucial to <tf_>Lend Me 
E36  60 a Tenor<tf/>, is also intrinsic to the plot of <tf_>Crazy for 
E36  61 You<tf/>. <quote_>"I love the idea of mistaken identity and 
E36  62 confusion, the kind of muscular comedy that springs off the 
E36  63 stage,"<quote/> says Ludwig. <quote_>"It is so rooted in the 
E36  64 English, American and French history of high comedy, and it's the 
E36  65 tradition that I want to work in. It makes me want to be in the 
E36  66 theatre. I'm sure I will return to that idea in a lot of my plays, 
E36  67 although not in the same way. The other thing I've come back to is 
E36  68 the nebbishy guy flowering, and that's a theme I expect I'll always 
E36  69 write about. Renewal is something I care about, and this show is 
E36  70 about renewal."<quote/><p/>
E36  71 <p_>This is not to suggest that Ludwig and Ockrent have simply 
E36  72 reworked their hit shows and wrapped them into one neat, recycled 
E36  73 package. <tf_>Crazy for You<tf/> is anchored in the black-and-white 
E36  74 1930's musicals made by Warner Brothers, MGM and RKO, reinventing 
E36  75 them from a 1990's perspective. It calls to mind Ruby Keeler 
E36  76 dancing on a taxi in <tf_>42nd Street<tf/>, Mickey and Judy putting 
E36  77 on a show, and Busby Berkeley routines. The musical also features a 
E36  78 Ziegfeld-like impresario (Bruce Adler) and the inevitable chorus 
E36  79 girls. Adding to the fun is some subtle-but-pointed humor aimed at 
E36  80 a few well-known contemporary musicals.<p/>
E36  81 <p_>Mostly, though, <tf_>Crazy for You<tf/> harkens back to the 
E36  82 incandescent movies of Fred Astaire and Ginger Rogers: Boys meets 
E36  83 girl and falls instantly in love with her, girl falls in love with 
E36  84 boy after dancing with him, boy unwittingly makes a mess of things 
E36  85 and loses girl, boy and girl dance off happily together.<p/>
E36  86 <p_><quote_>"I was very much trying to capture a Fred-and-Ginger 
E36  87 style in the show,"<quote/> says Ludwig. <quote_>"Their movies 
E36  88 influenced me as much as anything else. When the script is 
E36  89 published, the first time that our leads dance together my stage 
E36  90 directions will probably say: 'They take off like Fred and 
E36  91 Ginger.'"<quote/><p/>
E36  92 <p_>If the plot and the tone of the show seem to particularly 
E36  93 suggest <tf_>Shall We Dance<tf/>, the only Astaire-Rogers movie 
E36  94 written by the Gershwins, Ockrent says it is not a coincidence.<p/>
E36  95 <p_><quote_>"For me the key number in our show is 'Shall We Dance?' 
E36  96 It's the big romantic dance number in act one, the one in which our 
E36  97 leads fall in love."<quote/><p/>
E36  98 <p_>The songs, which are the <tf_>raison d'etre<tf/> for the show, 
E36  99 bind the musical together. The Gershwin estate gave the production 
E36 100 access to its entire library, and a score was compiled that 
E36 101 consists of mostly standards, with a few lesser-known songs (and 
E36 102 one totally unknown) added to the mixture. Included are several 
E36 103 numbers that were introduced by Astaire, such as 'They Can't Take 
E36 104 That Away from Me' and 'Slap That Bass' (from <tf_>Shall We 
E36 105 Dance<tf/>) and 'Nice Work If You Can Get It,' 'I Can't Be Bothered 
E36 106 Now' and 'Things Are Looking Up' (from <tf_>A Damsel in 
E36 107 Distress<tf/>).<p/>
E36 108 <p_>One of the most crucial decisions in the evolution of the show 
E36 109 was to determine the sound that best suited the material: Was a 
E36 110 thirties sound appropriate, or should something different be 
E36 111 attempted? (<tf_>Girl Crazy<tf/>, orchestrated by Robert Russel 
E36 112 Bennett, was known for its swing sound, and its pit musicians 
E36 113 included Glenn Miller, Benny Goodman, Jimmy Dorsey and Gene 
E36 114 Krupa.)<p/>
E36 115 <p_><quote_>"We decided we didn't want to do it as a 1930's museum 
E36 116 piece,"<quote/> says music director Paul Gemignani. <quote_>"That's 
E36 117 boring. Instead we kept the period in mind, used what we know about 
E36 118 orchestra writing today, added a love of Gershwin and put it 
E36 119 together. It's a 1990's impression of a thirties sound."<quote/><p/>
E36 120 <p_>William Brohn, the show's orchestrator, says, <quote_>"We had 
E36 121 to take into account the fact that audiences really expect more 
E36 122 opulence from an orchestra today. But we didn't want to create a 
E36 123 glitzy sound. The music is too great to distort like that. The 
E36 124 orchestrations are really a reflection of the whole musical: the 
E36 125 way the thirties look to our eyes and ears."<quote/><p/>
E36 126 <p_>Brohn also incorporates bits of Gershwin melodies not used in 
E36 127 the show: Listen closely, for instance, to 'Someone to Watch Over 
E36 128 Me,' and you'll hear a few bars from the Concerto in F at the 
E36 129 beginning and end of the song. <quote_>"Bill's done a very creative 
E36 130 job with the orchestrations,"<quote/> Gemignani notes, 
E36 131 <quote_>"because it's very difficult to take music we all know and 
E36 132 make it into something that is inventive and fresh."<quote/><p/>
E36 133 <p_>If the music is the heart of <tf_>Crazy for You<tf/>, then the 
E36 134 piano is its soul. It has often been said of Gershwin that he was 
E36 135 happiest when entertaining at the keyboard. He was a remarkable 
E36 136 pianist, whose dazzling improvisations were a source of wonder. 
E36 137 <quote_>"Robert Russell Bennett once told me that Gershwin was 
E36 138 possessed when he was at the piano,"<quote/> says Brohn. 
E36 139 <quote_>"Russell believed in spirits and said he really thought 
E36 140 that Gershwin became another being at the piano. So for me the 
E36 141 piano represents the spirit of Gershwin. I used it with that in 
E36 142 mind, as if his ghost just peeked out of the orchestra pit, nodded 
E36 143 and smiled."<quote/><p/>
E36 144 <p_>That's somehow fitting for a show set in motion all those years 
E36 145 ago in Cincinnati, when George Gershwin worked his magic at a piano 
E36 146 and cast a spell over a listener who remains bewitched by his 
E36 147 music. Everyone involved in <tf_>Crazy for You<tf/> is eager to 
E36 148 spread that enchantment.<p/>
E36 149 
E36 150 <h_><p_>JUMPIN' JORDAN<p/>
E36 151 <p_>by Sheridan Morley<p/><h/>
E36 152 <p_>The story of <tf_>Five Guys Named Moe<tf/> is essentially the 
E36 153 story of one guy named Louis Jordan and another named Clarke 
E36 154 Peters. Let's start with Mr. Peters. A New York actor long a 
E36 155 resident in Britain, he grew up in an apartment 14 floors above the 
E36 156 intersection of 155th Street and Amsterdam in the very heart of 
E36 157 Harlem:<p/>
E36 158 <p_><quote_>"Cats like Louis Jordan were already coming to the end 
E36 159 of their careers by then, the early 1950's. Even though they were 
E36 160 the main influence for a lot of what came after them, they were 
E36 161 being pushed to the back of the shelf by the rock and pop 
E36 162 people.<p/>
E36 163 <p_><quote_>"But radio was all we had for entertainment at that 
E36 164 time, and those songs of his stayed in the dust of my memories - 
E36 165 songs like 'Ain't Nobody Here But Us Chickens' and 'Saturday Night 
E36 166 Fish Fry' and 'What's the Use of Getting Sober When You're Going to 
E36 167 Get Drunk Again?' Every time I heard those songs I felt better, and 
E36 168 I thought maybe they could have that effect on other 
E36 169 people."<quote/><p/>
E36 170 <p_>Peters left New York to study mime in Europe and came to London 
E36 171 via Paris, where he tried to establish his own band. But his 
E36 172 enthusiasm for Jordan met with blank stares from most of the 
E36 173 British: <quote_>"They thought he was the guy who starred in 
E36 174 <tf|>Gigi, maybe. His jazz just never seemed to have crossed the 
E36 175 Atlantic."<quote/><p/>
E36 176 <p_>So Peters carved out a distinguished non-jazz career in 
E36 177 Britain. He was the first black actor to play Nathan Detroit when 
E36 178 <tf_>Guys and Dolls<tf/> moved to the West End. He also played in 
E36 179 <tf_>Ma Rainey's Black Bottom<tf/> and was a notable Othello at 
E36 180 Greenwich. But all this time he kept thinking about the music of 
E36 181 Louis Jordan, wondering if there was some way to bring it back to 
E36 182 audiences:<p/>
E36 183 <p_><quote_>"I always wanted this to be a stage piece, but not 
E36 184 being a producer I had no real idea of how to go about it. I spent 
E36 185 what little money I had buying up the rights from Jordan's estate 
E36 186 in America, but I couldn't get any London producer to come in with 
E36 187 me, so we finished up doing the show as a midnight cabaret at the 
E36 188 National Theatre just for one night."<quote/><p/>
E36 189 <p_>After that Peters, now in his early forties, spent three or 
E36 190 four years trying to get <tf_>Five Guys<tf/> together. He had 
E36 191 almost given up hope when the manager of a little theatre out in 
E36 192 London's East End came up with the offer of a low-budget staging at 
E36 193 the end of 1990:<p/>
E36 194 <p_><quote_>"That's where the miracle happened: After we'd been 
E36 195 playing about a week, Cameron Mackintosh came in one night to see 
E36 196 us, and by intermission he'd bought the transfer rights to the West 
E36 197 End, where the show has been playing for a year now to 
E36 198 standing-room-only every single night."<quote/><p/>
E36 199 <p_>At this point Mackintosh himself takes up the story:<p/>
E36 200 <p_><quote_>"I'd known about this show for years because Clarke had 
E36 201 mentioned it to me when he was first starting to work on the 
E36 202 tryouts, but at that time I wasn't particularly interested in doing 
E36 203 any show where I couldn't meet and work with the actual writer, so 
E36 204 I turned it down.
E36 205 
E36 206 

