E01 1 <#FROWN:E01\>Friendly Competition

E01 2 These five runners prove that competition and camaraderie can E01 3 go hand in hand.

E01 4 By Elizabeth Kaufmann

E01 5 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.

E01 14 Tufts 10K for Women

E01 15 Lyn Licciardello

E01 16 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 "tiny little things." 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.

E01 21 "Of all the running I've done, that race was a E01 22 highlight," says Licciardello, a part-time nurse form North E01 23 Andover, Massachusetts. "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."

E01 27 They didn't run together for long, however. "She beat E01 28 me by a lot," laughs Licciardello. "She placed E01 29 fourth in her age group. It topped off the day."

E01 30 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.

E01 35 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.

E01 42 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. "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," Licciardello says. E01 47 "It's so electric because you're rooting for the winners at E01 48 the same time you get to participate."

E01 49 There's a feeling of camaraderie, too, that women don't get E01 50 from a lot of things. "When I was in high school, we were E01 51 told we weren't capable of running any distance," she says. E01 52 "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."

E01 60 Nike Women's Race 8K

E01 61 Henley Gibble

E01 62 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.

E01 66 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 "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," she recalls. "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." Other clubs took note, E01 77 and women's memberships blossomed, which was exactly what Gibble E01 78 had hoped for.

E01 79 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.

E01 88 "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," 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.

E01 96 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. "It's very much a part of my life, just like E01 99 brushing my teeth," she says. She gets as much pleasure, E01 100 however, from watching everybody else, and the 1991 Nike 8K was E01 101 particularly moving. "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," E01 104 she says. "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."

E01 108 Columbine Classic 5K

E01 109 Juanita Keeler

E01 110 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.

E01 115 She began to pick up the pieces of her life and moved to E01 116 Denver. "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," 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. "There was E01 121 one other wheelchair entrant and he had a racing chair. I think it E01 122 took me three times longer," she laughs. "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."

E01 127 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. "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," says Keeler. E01 135 "And what I really liked was the idea of women helping E01 136 women."

E01 137 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.

E01 146 Wheeling has become a soul-saving outlet for her. "I E01 147 think when you're first injured you're a victim, and you have to E01 148 get past that victim mentality," she says. "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?"

E01 153 Alaska Women's Run 10K

E01 154 Marcie Trent

E01 155 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.

E01 164 The next year, training just two miles a day, Trent ran the E01 165 marathon. "That really got me excited," she E01 166 says.

E01 167 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.

E01 176 In '91 the Alaska race attracted competitors from 25 states, E01 177 plus one from Canada and one from Thailand. "It's just E01 178 about the best-organized race in Alaska," she says. E01 179 "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."

E01 183 No prize money is offered, but it's nonetheless competitive. E01 184 "Alaska women don't come in first any more," says E01 185 Trent, "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."

E01 188 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. "I've had to slow E01 191 down," she says. Fortunately, her doctors haven't E01 192 discouraged her from running. "Oh, no way," she E01 193 says. "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."

E01 197 She likes to train on trails with "people half my E01 198 age," 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. "He's logged 25,000 miles in nine E01 201 years," she says proudly.

E01 202 Still, he's got 37,000 to go before catching up to her.

E01 203 Susan G. Komen

E01 204 Race for the Cure 5K

E01 205 Becky McClenny-Stull

E01 206 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\>GROWING ROSES ORGANICALLY

E02 2 IT'S EASIER THAN YOU THINK!

E02 3 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!

E02 6 By CATHERINE YRONWODE

E02 7 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. "I love roses," one often hears, E02 11 "but I just can't raise them organically!"

E02 12 It's true that roses do fall victim to disease, especially E02 13 to fungus attacks which damage their leaves, but it's also true E02 14 that you 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 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.

E02 20 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.

E02 25 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.

E02 32 BLACKSPOT E02 33 A look at one of the worst diseases of roses demonstrates how E02 34 breeding for flower type has hurt plant health.

E02 35 Blackspot (Diplocarpon rosae) 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.

E02 41 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.

E02 48 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:

E02 54 The wild Iranian rose, Rosa foetida, 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, Rosa E02 60 foetida never had to develop resistance or tolerance to this E02 61 common disease.

E02 62 "So what ?" you ask. "I wasn't E02 63 interested in growing it anyway."

E02 64 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.

E02 67 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.

E02 72 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 Rosa foetida named E02 77 PERSIANA into the hands of gifted French breeder Joseph E02 78 Pernet-Ducher. In 1893, he finally accomplished the difficult cross E02 79 between PERSIANA and a hybrid perpetual rose. This mating E02 80 eventually produced a fabulous golden-orange seedling called E02 81 SOLEIL D'OR, 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.

E02 85 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 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.

E02 93 Well, that's the way to sidestep the battle of blackspot on E02 94 roses: grow varieties that are not descended from Rosa E02 95 foetida! In practice, this means growing heritage roses, E02 96 varieties that were popular before the introduction of Rosa E02 97 foetida genes made blackspot a household word among rosarians. E02 98 These 'old roses' (and many new ones unrelated to Rosa E02 99 foetida) 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.

E02 106 POWDERY MILDEW

E02 107 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 (Sphaerotheca pannosa E02 110 rosae) 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.

E02 114 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.

E02 127 RUST E02 128 If you live on the West Coast, where rose rust fungus E02 129 (Phragmidium disciflorum) 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').

E02 137 ANTHRACNOSE E02 138 Anthracnose (Sphaceloma rosarum) 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.

E02 146 DOWNY MILDEW

E02 147 Entirely different from powdery mildew, Peronospora E02 148 sparsa 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.

E02 155 COMBATING FUNGAL DISEASE

E02 156 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.

E02 162 Start with regular cultural cleanliness: Pick up and burn - E02 163 do not compost! - 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.

E02 172 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.

E02 182 (Don't use sulfur when the temperature is above E02 183 85<*_>degree<*/> F; the foliage may burn.)

E02 184 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.

E02 188 THE FUNGUS-FREE LIST

E02 189 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.

E02 196 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:

E02 201 HYBRID MUSKS: This class of highly fungus-resistant E02 202 shrub and semi-climbing roses derives from complex crosses between E02 203 Rosa moschata ('musk rose'), R. multiflora 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. BELINDA and E02 209 BALLERINA are similar in name and form; BELINDA bears E02 210 large, erect trusses of single, light-pink flowers on a 7-foot E02 211 shrub, while BALLERINA has clusters of bright-pink flowers E02 212 with white eyes on a 5-foot shrub. PAX and PROSPERITY E02 213 both bear clusters of white semi-double flowers on 7-foot E02 214 shrubs.

E02 215 BUFF BEAUTY 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.

E02 219 HYBRID RUGOSAS:This class of shrub roses derives from E02 220 the wild Asian seaside species R. rugosa ('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 F.J. GROOTEN-DORST (clusters of dark-pink double E02 227 flowers that are serrated like carnations), PINK E02 228 GROOTENDORST (exactly like F.J., but medium pink), E02 229 FIMBRIATA (like a white GROOTENDORST), and HANSA (a E02 230 striking purple semi-double). E02 231 E02 232 E03 1 <#FROWN:E03\>ESCAPE FROM WAKE ISLAND

E03 2 BY JOHN ELOTT WITH WILLIAM W. MOSS

E03 3 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.

E03 18 The Vought-Sikorsky Vindicator banked sharply over the bow of E03 19 the USS Lexington 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.

E03 35 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.

E03 44 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.

E03 50 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 China Clipper 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.

E03 61 Two more Martin 130 flying boats, the Hawaii Clipper E03 62 and the Philippine Clipper, 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 Hawaii E03 75 Clipper between Guam and Manila in July 1938.

E03 76 Following his arrival at Treasure Island, Moss was immediately E03 77 assigned to one of the big Boeings as, in his words, "Fifth E03 78 Officer in Charge of Mail Sacks." But new responsibilities E03 79 came quickly and by the end of 1941, Moss was functioning E03 80 alternately as navigator and relief pilot.

E03 81 Because crews and equipment were cross-utilized, Bill Moss was E03 82 not surprised to find himself assigned to the Philippine E03 83 Clipper 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.

E03 93 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 Old Farmers Almanac. 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.

E03 105 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.

E03 119 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.

E03 129 OFF TO HAWAII

E03 130 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 Philippine Clipper 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.

E03 138 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.

E03 148 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.

E03 163 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.

E03 170 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.

E03 177 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.

E03 183 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.

E03 191 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'.

E03 199 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\>CD PORTABLES:

E04 2 THE BEETHOVEN TEST

E04 3 Ken Pohlmann takes five of the newest, smallest CD players E04 4 through their paces in the city of Beethoven.

E04 5 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?

E04 11 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.

E04 22 Denon DCP-150 on Probusgasse 6

E04 23 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 Heiligenstadt E04 32 Testament. 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.

E04 37 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.

E04 51 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.

E04 59 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.

E04 66 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.

E04 75 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.

E04 81 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.)

E04 91 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.

E04 95 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.

E04 102 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.

E04 109 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.

E04 115 JVC XL-P90 On Hauptstrasse 92

E04 116 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.

E04 125 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.

E04 137 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.

E04 149 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.

E04 153 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.

E04 163 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.

E04 174 Sony D-515 Discman On M<*_>o-umlaut<*/>lkerbastei 8

E04 175 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, 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.

E04 185 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.

E04 194 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\>Presidential pups

E05 2 In Part II, the author looks at the White House dogs from the E05 3 Harding administration on

E05 4 By Terry Sue Shank

E05 5 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."

E05 9 When Ohio newspaper editor Warren Gamaliel Harding wrote those E05 10 words in The Marion Daily Star 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.

E05 17 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.

E05 24 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.

E05 29 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.

E05 37 Laddie Boy became so well-known, both nationally and E05 38 internationally, that on July 17, 1921, the editorial section of E05 39 the Washington Star 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.

E05 49 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 "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."

E05 59 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.

E05 67 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 "Cast From Newsboys' Pennies, E05 71 In Memory Of Their Friend, Warren Gamaliel Harding."

E05 72 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 "an abundance of dogs."

E05 77 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).

E05 87 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.)

E05 96 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.

E05 102 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. "If it's contrast you E05 109 want," he told her solemnly, "why not wear white E05 110 and paint the dog red?" 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.

E05 113 Of Rob Roy's death in September 1928, Calvin Coolidge later E05 114 wrote:"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."

E05 122 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.

E05 128 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.

E05 133 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.

E05 143 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.

E05 152 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.

E05 158 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.

E05 163 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.

E05 171 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 "A Merry Christmas and a Happy New Year from Herbert Hoover E05 178 and from Lou Henry Hoover and Weegie and Pat."

E05 179 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.

E05 189 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.

E05 195 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 The New York Times' 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\>RACING TACTICS

E06 2 Strategies for handicap racing

E06 3 John Yeigh suggests some moves that will help keep you at the E06 4 top of the fleet

E06 5 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.

E06 9 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.

E06 18 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.

E06 29 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.

E06 35 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.

E06 39 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.

E06 45 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.

E06 50 <*_>black-square<*/>Starting E06 51 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.

E06 62 <*_>black-square<*/>Beating E06 63 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: "The E06 70 crew has been inactive," "Maybe we'll do better on E06 71 the other tack," and my favorite, "I don't know, E06 72 but what do you say we tack?"

E06 73 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.

E06 80 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.

E06 87 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.

E06 94 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.

E06 102 <*_>black-square<*/>Reaching E06 103 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.

E06 110 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.

E06 117 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.

E06 120 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.

E06 127 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.

E06 134 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.

E06 141 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.

E06 144 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.

E06 150 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.

E06 155 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.

E06 160 E06 161 RIGGING

E06 162 Low-stretch halyards

E06 163 Chris Kulczycki uncoils the tale on which material to use for E06 164 your halyards. Who needs that nasty wire?

E06 165 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.

E06 176 <*_>black-square<*/>Wire halyards E06 177 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.

E06 187 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.

E06 192 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.

E06 196 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\>Tips'n tales from the cab

E07 2 A mainline engineer's experience filling in on a branch line

E07 3 BY VERNON HART

E07 4 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.

E07 8 FILLING IN FOR THE 'OLD MAN'

E07 9 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.

E07 18 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!

E07 24 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!

E07 30 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!

E07 34 WORKING THE 'TURN'

E07 35 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.

E07 41 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).

E07 46 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.

E07 53 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.

E07 56 "This here is Joe Bob and Lou," he announced. E07 57 He nodded toward an adjoining room, "The Ranger is in E07 58 there."

E07 59 The agent continued, "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."

E07 65 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.

E07 71 MEETING THE RANGER

E07 72 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.

E07 77 "Glad to meet you, Mr. Hart. We've heard good things E07 78 about you."

E07 79 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.

E07 85 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.

E07 90 The Ranger continued, "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."

E07 95 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.

E07 100 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.

E07 105 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.

E07 108 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.

E07 110 E07 111 COMPUTERS in MODEL RAILROADING

E07 112 CONDUCTED BY BOB FINK; P.E.

E07 113 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.

E07 117 THE LAYOUT DESIGN CYCLE

E07 118 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.

E07 124 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.

E07 129 GETTING STARTED

E07 130 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!

E07 138 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.figure

E07 143 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.

E07 152 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.

E07 155 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.

E07 160 FROM CONCEPTS TO DESIGN

E07 161 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.

E07 167 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.

E07 173 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.

E07 176 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.

E07 181 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.

E07 186 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.

E07 189 PUTTING IT ALL TOGETHER

E07 190 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.

E07 194 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 Walkaround Model Railroad Track Plans, 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.sidebar

E07 202 AND THE WINNER IS ...

E07 203 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.

E07 210 Trains ... ... of thought

E07 211 Commentary by Tony Koester

E07 212 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\>THE 10 FASTEST 'STREET' CARS IN AMERICA

E08 2 By Joe Pettitt

E08 3 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.

E08 12 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.

E08 17 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.

E08 26 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, pronto.

E08 35 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 which is the fastest street car in America. Until E08 41 then, here are the 10 fastest street cars that we know of.

E08 42 ROD SABOURY, '57 Corvette, 8.62/156 MPH

E08 43 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!

E08 49 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.

E08 65 DANNY SCOTT, '68 CAMARO, 8.61/158 MPH

E08 66 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.

E08 71 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.

E08 85 KEN ANDERSON, '78 MALIBU, 8.81/155 MPH

E08 86 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.

E08 91 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.

E08 102 SCOTT SHAFIROFF, '67 'VETTE, 8.62/160 MPH

E08 103 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.

E08 111 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.

E08 123 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.

E08 128 MAX CARTER, '66 NOVA, 8.454/157 MPH

E08 129 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.

E08 141 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.

E08 151 JOE YATOOMA/KURT URBAN, '69 CAMARO, 8.85/157 MPH

E08 152 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.

E08 158 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.

E08 170 HONORABLE MENTION

E08 171 DON WALSH/D&D PERFORMANCE, '90 MUSTANG GT, 9.48/142 MPH

E08 172 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.

E08 184 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!

E08 191 RICK DYER, '69 CAMARO, 9.02/153 MPH

E08 192 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 "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!" E08 203 E08 204 E08 205 E09 1 <#FROWN:E09\>SHOW JUMPING SURE AIN'T WHAT SHE USED TO BE

E09 2 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.

E09 5 John Strassburger

E09 6 Bill Steinkraus, writing in the 1991 international review book E09 7 L'Anne Hippique, 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:

E09 10 "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.

E09 15 "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.

E09 21 "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."

E09 27 Steinkraus' metaphor is even more poignant for the United E09 28 States than for the rest of the world.

E09 29 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.

E09 33 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.

E09 37 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.

E09 44 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.

E09 49 "We got a very precious foundation from Bert," E09 50 said Steinkraus. "Bert had, in effect, a mini-cavalry E09 51 school."

E09 52 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.

E09 61 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.

E09 66 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.

E09 71 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.

E09 75 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.

E09 80 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.

E09 84 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.

E09 90 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.

E09 98 Responds Dolan, "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," she said. "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."

E09 103 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.

E09 111 "I feel badly because I think our biggest asset has E09 112 been Frank Chapot as our coach," said rider Chris Kappler. E09 113 "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."

E09 117 The Root of All Evil

E09 118 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.

E09 124 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.

E09 129 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.

E09 132 Not surprisingly, the riders almost universally embrace prize E09 133 money. "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," said Joe Fargis.

E09 136 Still, "I think when money was less involved 20 years E09 137 ago it was probably more pure." he mused. "Now the E09 138 sport has become a big business, and when things become big E09 139 business, they change."

E09 140 "I think <}_><-|>its<+|>it<}/> helps the E09 141 sport," said David Raposa. "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."

E09 145 "It's fabulous. I just wish more of it would come to E09 146 the West Coast," said Susie Hutchinson.

E09 147 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.

E09 150 "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," said Bernie Traurig, expressing E09 153 the complaint of most West Coast riders.

E09 154 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.

E09 159 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.

E09 166 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.

E09 169 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.

E09 173 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.

E09 177 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.

E09 182 "That's what puts the pressure on -the shows are all E09 183 year long," said Melanie Smith-Taylor, now retired from E09 184 show jumping and raising horses in Germantown, Tenn.

E09 185 "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," she continued.

E09 190 "Your goals determine the strategy," said E09 191 Hutchison. "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."

E09 195 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.

E09 199 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. "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," he said.

E09 205 Steinkraus agrees. "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," he E09 208 said.

E09 209 Why Doesn't The Team Win More?

E09 210 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).

E09 216 E09 217 E10 1 <#FROWN:E10\>The Mercury Makes ELK Move

E10 2 IF YOU'RE A SKIER, PRAY FOR SNOW. BUT IF YOU'RE AFTER WAPITI, E10 3 MAKE YOUR REQUEST FOR COLD.

E10 4 BY SAM CURTIS

E10 5 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.

E10 9 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.

E10 14 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 because of the cold.

E10 19 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.

E10 24 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.

E10 27 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.

E10 34 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 and snow provide a double whammy that brings elk into even E10 43 closer reach.

E10 44 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.

E10 51 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.

E10 59 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.

E10 65 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.

E10 69 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.

E10 73 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.

E10 78 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.

E10 83 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.

E10 90 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.

E10 92 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.

E10 100 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.

E10 104 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.

E10 111 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.

E10 115 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.

E10 122 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.

E10 129 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.

E10 133 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.

E10 138 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.

E10 142 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.

E10 151 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.

E10 154 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.

E10 159 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.

E10 167 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.

E10 173 E10 174 E10 175 HUNTING

E10 176 Where Others Cannot Go

E10 177 WHEN THE WHOLE WORLD USES FEET AND WHEELS TO GET WHERE THE DEER E10 178 ARE, THE WISE MAN PICKS UP A PADDLE.

E10 179 BY JEROME B. ROBINSON

E10 180 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.

E10 188 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.

E10 195 E10 196 E11 1 <#FROWN:E11\>Sp<*_>e-acute<*/>cialit<*_>e-acute<*/>s de la E11 2 Maison

E11 3 NEW YORK

E11 4 LORA, ROSA MEXICANO, GIRASOLE

E11 5 BY ANDY BIRSH

E11 6 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.

E11 15 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.

E11 25 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 tarte Tatin E11 37 fueled their initial success.

E11 38 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.

E11 56 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.

E11 65 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).

E11 79 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 basmati rice, salsa verde, 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 mesclun and a r<*_>e-acute<*/>mulade blended with E11 90 roasted yellow bell peppers.

E11 91 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 bruschetta topped with tomato salad. The plate can easily E11 99 be shared.

E11 100 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 vins ros<*_>e-acute<*/>s thought to improve with some E11 113 aging.

E11 114 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 cr<*_>e-grave<*/>me br<*_>u-circ<*/>l<*_>e-acute<*/>e E11 120 with a nip of ginger. Chocolate 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 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.

E11 129 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.

E11 138 ROSA MEXICANO

E11 139 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, "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."

E11 154 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 "the E11 165 Mexican upper middle-class home cooking of the fifties."

E11 166 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.

E11 177 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 guacamole, but a 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 molcajete, and E11 185 gently stirs in chopped seeded tomatoes, diced onions, and a finely E11 186 minced mixture of coriander and 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.

E11 190 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 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 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 'xalape<*_>n-tilde<*/>os E11 201 rellenos': 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.

E11 204 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.

E11 211 E11 212 E11 213 E12 1 <#FROWN:E12\>Two top pros take different views through the E12 2 AF SLR

E12 3 By Dan Richards

E12 4 AUTOFOCUS? YOU BET!

E12 5 (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.)

E12 10 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.

E12 15 The camera can now focus better and faster than human eyes can, E12 16 Kaplan says, so why not go with the flow?

E12 17 "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," he says. "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!"

E12 22 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.

E12 25 "As with any new tool, you first look at it and say, E12 26 who needs this?" he explains. "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."

E12 31 '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. "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."

E12 40 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.

E12 45 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. "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," he says. "You just have more certainty with E12 52 autofocus."

E12 53 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 "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."

E12 62 Complaints? He has a few.

E12 63 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). "Yes, it can drive you nuts, as when E12 66 you're shooting in a foggy situation and it goes wheee E12 67 wheee and searches. But you switch it over to manual and focus E12 68 manually. There are advantages and disadvantages to E12 69 everything."

E12 70 Also annoying, he notes, is the situation in which the camera E12 71 balks because you're slightly too close. "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."

E12 74 Kaplan says he understands resistance to autofocus or, for that E12 75 matter, any new camera technology. "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."

E12 81 But learn to use them he did.

E12 82 Kaplan's advice? Don't worry about scratching your expensive E12 83 camera. "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."

E12 87 AUTOFOCUS? NAH!

E12 88 (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.)

E12 93 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.

E12 99 "The verdict is not in as far as I'm E12 100 concerned," he says. "I'm not against autofocus; I E12 101 just don't think autofocus is the boon it's been promoted to E12 102 be."

E12 103 And what in the world is Gordon doing with a 180mm f/2.8 E12 104 AF-Nikkor? Manually focusing it, of course. "It's lighter E12 105 than the old 180," he says.

E12 106 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. "The autofocus would sometimes go in and E12 109 out - hunt - and that was very annoying," he says.

E12 110 Gordon understands all the arguments for autofocus and, in some E12 111 instances, agrees with them - a bit. "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," he says.

E12 114 Continues Gordon, "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."

E12 119 But Gordon says conditions under which manual focusing is E12 120 difficult can be difficult for autofocus as well. He adds, E12 121 "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." 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.

E12 129 Gordon readily admits that much of his work doesn't necessarily E12 130 call for an autofocus camera. "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."

E12 135 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.

E12 143 Equipment isn't all

E12 144 This brings us to the crux of Gordon's argument: that it's the E12 145 cook, not the cookware, that's primary.

E12 146 "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."

E12 150 But can't you do that with an auto-focus camera just as E12 151 well?

E12 152 "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."

E12 157 Gordon further argues that sophisticated automation, E12 158 paradoxically, may be fine for the expert but not for the beginner. E12 159 "A photographer should first learn on a manual camera to E12 160 learn the principles of photography, and learn to print. Then E12 161 go to autofocus and automatic cameras. Otherwise, you're just not E12 162 learning."

E12 163 Will Gordon eventually switch? "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," he E12 166 answers.

E12 167 "But I'll probably still keep my F2's as long as there E12 168 are parts for them."

E12 169 E12 170 flash on camera!

E12 171 How to live with the light source you love to hate

E12 172 By Robert Salgado

E12 173 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.

E12 181 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.

E12 187 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.

E12 193 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.

E12 198 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.

E12 210 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.

E12 217 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\>Banana Split: Can Beautiful St. Lucia replace E13 2 its threatened export with mass tourism and stay beautiful?

E13 3 By Nick Taylor and Barbara Nevins

E13 4 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.

E13 13 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.

E13 20 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.

E13 24 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.

E13 32 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: "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."

E13 45 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.

E13 56 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.

E13 63 "Please," he said, with old island courtesy, E13 64 "look at the view." 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.

E13 70 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, "a real Caribbean party." The E13 74 locals' name for it is 'jump up,' and though visitors are welcome E13 75 it's not staged for the tourists.

E13 76 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.

E13 87 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.

E13 97 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.

E13 104 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.

E13 112 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.

E13 124 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 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.

E13 139 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.

E13 146 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.

E13 153 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

E13 163 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.

E13 169 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.

E13 176 And just a few coves away, beyond Soufri<*_>e-grave<*/>re, are E13 177 the breathtaking Pitons.

E13 178 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.

E13 186 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.

E13 195 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\>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.

E14 8 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.

E14 19 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.

E14 25 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.

E14 35 Southern Green Beans

E14 36 (four servings)

E14 37 For the last few years most of us have been following the E14 38 recommended way of cooking green beans until 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.

E14 43 3 or 4 slices smoky-style bacon, diced

E14 44 1 pound green snap beans, washed, ends trimmed, and cut into E14 45 1-inch lengths

E14 46 Salt and pepper to taste

E14 47 1 cup water

E14 48 2 scallions, sliced

E14 49 2 medium potatoes, peeled and diced

E14 50 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.

E14 57 FARMERS' MARKET

E14 58 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.

E14 64 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.

E14 69 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).

E14 76 Red Beans and White Rice

E14 77 (six servings)

E14 78 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.

E14 84 2 cups (about 1 pound) dried red beans, soaked overnight (see E14 85 page 18)

E14 86 1 carrot, peeled and diced

E14 87 1 large onion, chopped

E14 88 1/4 cup chopped celery with leaves

E14 89 1 bay leaf

E14 90 2 teaspoons Tabasco sauce

E14 91 1 pound salt pork, diced

E14 92 Salt and pepper to taste

E14 93 2 cups steamed long-grain white rice (see page 55)

E14 94 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.

E14 102 Boston Baked Beans

E14 103 (four servings)

E14 104 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).

E14 112 2 cups Great Northern beans, or small dried white beans, soaked E14 113 overnight (see page 18)

E14 114 2 teaspoons dry mustard

E14 115 3 tablespoons dark brown sugar

E14 116 3 tablespoons molasses

E14 117 1/4 pound salt pork, cut into 1/2-inch cubes, leaving the E14 118 bottom attached to the rind

E14 119 Preheat the oven to 325<*_>degree<*/>F.

E14 120 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.

E14 129 Bean Stew with Raw Onions

E14 130 (four servings)

E14 131 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.

E14 135 1 1/4 cups dried red or pinto beans, soaked overnight (see page E14 136 18)

E14 137 6 slices bacon

E14 138 8 cups water

E14 139 1 large onion, chopped (1 cup)

E14 140 3 stalks celery, chopped

E14 141 1 cup chopped parsley

E14 142 1/3 cup yellow cornmeal

E14 143 1/8 to 1/4 medium head cabbage, chopped (2 cups)

E14 144 1 1/2 teaspoons ground sage

E14 145 1 1/2 teaspoons salt

E14 146 2 medium onions, chopped (1 1/2 cups)

E14 147 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.

E14 150 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.

E14 155 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.

E14 161 Green Peppers and Cheese

E14 162 (four servings)

E14 163 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. "It's so simple," she said. "Do E14 166 try it!" I did, and she was right.

E14 167 2 tablespoons olive oil

E14 168 8 Anaheim or California chile peppers, split, seeded, and E14 169 deveined

E14 170 6 ounces Monterey Jack, fontina, or Gouda cheese, sliced

E14 171 1 large onion, finely chopped

E14 172 2 tablespoons corn oil

E14 173 8 tortillas (corn, flour, or whole wheat)

E14 174 Fresh cilantro

E14 175 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.

E14 185 Filled Green Peppers

E14 186 (four servings)

E14 187 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.

E14 195 4 green bell peppers, halved lengthwise, seeded, and E14 196 deveined

E14 197 2 tablespoons olive oil

E14 198 3 cloves garlic, finely chopped

E14 199 1 large onion, chopped

E14 200 2 medium tomatoes, peeled and chopped

E14 201 1 small eggplant, chopped

E14 202 1 tablespoon chopped fresh oregano; or 1 1/2 teaspoons dried E14 203 crumbled oregano

E14 204 Salt to taste

E14 205 Generous amount of pepper

E14 206 Fresh basil leaves, for garnish

E14 207 Preheat the oven to 350<*_>degree<*/>F. Film a 9 x 13-inch E14 208 Pyrex baking dish with olive oil.

E14 209 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.

E14 212 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.

E14 219 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.

E14 223 Baked Green Peppers with Anchovies, Rice, and Dill

E14 224 (four servings)

E14 225 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.

E14 228 4 green bell peppers, cut in half lengthwise, stemmed, seeded, E14 229 and deveined

E14 230 2-ounce can anchovy fillets, packed in oil

E14 231 E14 232 E15 1 <#FROWN:E15\>Bazaar Bonanza

E15 2 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.

E15 9 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.

E15 18 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!

E15 21 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!

E15 25 In this issue of McCall's Needlework and Crafts, E15 26 tucked among our collection of patterns, you'll find over 40 E15 27 projects specially selected to be bazaar best sellers!

E15 28 A SMILE & A TOUCH OF HUMOR

E15 29 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!

E15 34 You'll find Maggie turning up on our pages every now and then - E15 35 just for a smile.

E15 36 Fall Colors, Textures and Styles

E15 37 There is something for everyone in this season's fashion E15 38 forecast:

E15 39 <*_>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.

E15 42 <*_>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.

E15 46 <*_>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.

E15 50 <*_>black-square<*/>Browns and grays are important this fall. E15 51 Bright colors retain their popularity in activewear. Look for E15 52 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!

E15 55 MR. AND MRS. SANTA BELLS

E15 56 shown on page 45

E15 57 SIZE: Each, 2 3/4".

E15 58 MATERIALS E15 59 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.

E15 66 BELLS E15 67 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.

E15 70 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.

E15 73 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.

E15 76 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.

E15 79 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.

E15 86 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.

E15 90 Mrs. Santa: Applying two coats of each color, E15 91 basecoat the collar with brandy wine and the apron with white E15 92 wash.

E15 93 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.

E15 98 Paint the berries on the hair with brandy wine and the leaves E15 99 with leaf green.

E15 100 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.

E15 105 Finishing: Use the fine-tip permanent marking pen to ink E15 106 outlines and pattern details; let dry.

E15 107 Spray lightly with varnish.<*_>black-square<*/>

E15 108 E15 109 PERFORATED PAPER HOLIDAY EARRINGS

E15 110 shown on pages 44-45

E15 111 SIZE: Approximately 1"-1 1/2" high x 1" wide.

E15 112 MATERIALS E15 113 For all: 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.

E15 118 EARRINGS E15 119 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.

E15 124 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<*/>

E15 134 E15 135 Through The Editor's Eyes

E15 136 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. "What is your E15 146 favorite craft?", 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.

E15 153 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:

E15 161 <*_>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.

E15 165 <*_>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.

E15 169 <*_>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!).

E15 174 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.

E15 180 E15 181 A Chat With The Cover Girl

E15 182 By Annemarie Lawson

E15 183 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.

E15 193 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.

E15 198 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.

E15 202 Like many teens, Nicole relaxes by calling friends, shopping, E15 203 and reading. She also manages to find time to be creative. E15 204 "Recently I've beaded a lot of necklaces and E15 205 earrings," she told us. "Before that I was E15 206 decorating jeans and tee-shirts with rhinestones and fabric E15 207 paint." 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? "Ice skates, of course!"

E15 210 On the fashion front, Nicole can usually be seen in sweaters. E15 211 "I prefer a close fit and shorter length for E15 212 practicing," she explained. "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!" Stripes and E15 215 checks are her favored designs, along with plaids. Nicole is also E15 216 an avid hat collector.

E15 217 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!

E15 220 E15 221 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!

E15 228 E15 229 PAINTED BABY QUILT

E15 230 shown on page 78

E15 231 SIZE: 32" x 44".

E15 232 MATERIALS E15 233 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\>AVIATION

E16 2 30 SECONDS OVER TOKYO

E16 3 50th anniversary of the most famous air raid in history

E16 4 BY WILLIAM GARVEY

E16 5 <*_>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.

E16 13 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.

E16 16 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.

E16 22 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.

E16 27 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.

E16 34 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.

E16 44 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.

E16 52 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?

E16 63 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, "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."

E16 69 Cole says he and his three other crewmen were ecstatic for the E16 70 chance to stay in the mission, "but we had no idea who the E16 71 old man was." On March 3, they and the rest of the men E16 72 gathered at Eglin found out.

E16 73 "My name's Doolittle," the one-time collegiate E16 74 fighter told the assembly. "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." 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.

E16 80 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.

E16 89 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.

E16 97 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.

E16 102 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.

E16 107 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. "Sure, E16 110 Jim," he responded. "Whatever is all right with Hap E16 111 is all right with me." Doolittle left. Just outside the E16 112 office he heard Harmon's intercom come to life and then heard E16 113 Harmon say, "But Hap, I just gave him my E16 114 permission." 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.

E16 117 On April 2, the carrier 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 Hornet sped west into the E16 121 open Pacific, the ship's loudspeaker suddenly blared the stupendous E16 122 news: "This force is bound for Tokyo."

E16 123 Richard Cole remembers the moment, "Cheers went up E16 124 everywhere. Everyone was happy." America was punching E16 125 back.

E16 126 The plan of action called for the 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.

E16 138 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 Hornet: "Launch planes. To E16 144 Col. Doolittle and gallant command, good luck and God bless E16 145 you."

E16 146 Suddenly the Hornet's Klaxons sounded and E16 147 loudspeakers shouted, "Army pilots, man your E16 148 planes!" Eighty pilots, bombardiers, navigators and gunners E16 149 scrambled topside. Richard Cole and his crew were on deck in a E16 150 flash. "I wanted to make sure I was there before him E16 151 [Doolittle]," he says. Tiedowns were ripped down and chocks E16 152 pulled as the Hornet turned directly into a howling wind. The E16 153 weather was foul with rain squalls, low clouds and 30-ft. seas.

E16 154 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.

E16 160 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 Hornet'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.

E16 171 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.

E16 178 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.

E16 190 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.

E16 196 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.

E16 203 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 "terrifying, the worst E16 207 experience I've ever had in my life." E16 208 E17 1 <#FROWN:E17\>Do-it-Yourself Playhouse

E17 2 Thrill your kids with this two-weekend project.

E17 3 By Ken Collier

E17 4 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.

E17 11 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.

E17 15 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.

E17 23 SKILLS (AND $$) YOU NEED TO BUILD IT

E17 24 "No experience required" 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).

E17 32 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.

E17 36 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.

E17 42 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.

E17 45 SAVE WORK BY CUTTING MANY PARTS AT THE SAME TIME

E17 46 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.

E17 51 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.

E17 57 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.

E17 65 THERE'S NO FOUNDATION, BUT YOU DO NEED A LEVEL SITE

E17 66 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.

E17 69 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).

E17 74 ASSEMBLE THE FRONT AND BACK TO MAKE PREFAB PANELS

E17 75 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).

E17 86 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.

E17 93 ATTACH THE SIDES TO MAKE A LITTLE THREE-SIDED BOX

E17 94 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!)

E17 102 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.

E17 105 A SOLID FLOOR TO TAKE THE TRAFFIC

E17 106 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.

E17 110 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).

E17 114 A ROOF THAT'S MORE LIKE A BOAT

E17 115 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.

E17 119 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).

E17 124 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.

E17 130 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.

E17 136 THE DOOR AND WINDOWS ARE SIMPLY HOLES CUT IN THE E17 137 WALLS

E17 138 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.

E17 141 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.

E17 149 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.

E17 153 ADD SOME PIZAZZ: GINGERBREAD TRIM

E17 154 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.

E17 162 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.

E17 169 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.

E17 174 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.

E17 176 FINISHING TOUCHES: PAINTING

E17 177 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.

E17 184 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\>THE PRESS AND THE PENTAGON: OLD BATTLES, NEW E18 2 SKIRMISHES

E18 3 By Loren B. Thompson

E18 4 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.

E18 15 Early Antecedents

E18 16 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 "expeditious messenger of E18 20 intelligence" (to quote The Federalist No. 84), 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.

E18 28 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.

E18 35 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.

E18 44 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.

E18 51 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.

E18 61 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 New York Tribune 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.

E18 77 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.

E18 84 The Twentieth Century

E18 85 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.

E18 94 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 "conspiracy against the E18 102 government" 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.

E18 105 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.

E18 122 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.

E18 131 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.

E18 142 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.

E18 157 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.

E18 170 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.

E18 178 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.

E18 194 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.

E18 208 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 Pretty and Practical

E19 2 Porches

E19 3 BY SANDRA S. SORIA

E19 4 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.

E19 9 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:

E19 14 Do a background check. 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.

E19 19 Furnish with flair. 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.

E19 22 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:

E19 27 Do the white thing. Again, white paint sets a E19 28 sparkling stage that show-cases the open-air players, from great E19 29 greenery to star seating.

E19 30 Pump up some iron. 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.

E19 35 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:

E19 41 Stay neutral. 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.

E19 45 Rely on natural beauty. 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.

E19 48 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:

E19 54 Cozy with color. 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.

E19 57 Toss it on; mix it up. 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.

E19 61 Look back. Simple pleasures - a swinging hammock and E19 62 vintage birdhouse - instantly evoke times gone by.

E19 63 E19 64 OUTDOOR LIVING Family Style

E19 65 "Our backyard is an extension of our house. We eat, E19 66 play, and work here. It's a family garden."

E19 67 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.

E19 72 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 "both pretty and E19 77 practical," says Nancy.

E19 78 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.

E19 85 The slope initially posed the most vexing challenge. E19 86 "All we had was a scrubby lawn and a sloping bank," E19 87 says Nancy. "The elm tree obstructed the view from the E19 88 house and shaded everything."

E19 89 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. "I envision a tree house in it one of these E19 93 days," says Nancy.

E19 94 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.

E19 101 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.

E19 104 E19 105 SQUEEZING A SPA INTO A TINY YARD

E19 106 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.

E19 112 Before the remodeling, the side yard was exposed to neighbors. E19 113 "This tiny yard had a lot of problems," says E19 114 landscape architect John Herbst. "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."

E19 118 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.

E19 122 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. "When we designed this backyard, we had E19 125 to employ as many space-saving ideas as possible," says E19 126 John. "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."

E19 129 Framed with brick pavers for colorful accents, exposed E19 130 aggregate squares form a durable and attractive patio surface. E19 131 "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," says John.

E19 134 E19 135 Old-fashioned Comforts

E19 136 By Jane Austin McKeon

E19 137 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.

E19 141 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. "The weeds were waist-high," 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.

E19 148 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. "Rather than add a conventional E19 152 deck" says Marilyn, "I decided an E19 153 old-fashioned veranda would blend better with the style of E19 154 the house."

E19 155 A curving brick patio carries the porch's traditional appeal E19 156 into the yard. "To offset the squared-off angles of the E19 157 veranda, I wanted the rest of the yard to flow," 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.

E19 161 Sweeping flower borders, left open for Marilyn to plant as she E19 162 pleases, outline the walkway to the patio. "None of the E19 163 beds contains permanent plantings," she says, E19 164 "because I have to adapt to changing local restrictions on E19 165 watering."

E19 166 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. "I prefer E19 169 the dependable, old-time varieties so I can have cut flowers E19 170 year-round," says Marilyn.

E19 171 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.

E19 175 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. "I live in my backyard on E19 179 weekends," says Marilyn. "I know of no better place E19 180 than my own veranda to sit and watch a sunset."

E19 181 E19 182 A Splash Of The Southwest

E19 183 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.

E19 187 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. "I wanted a soft, contemporary look with a E19 190 southwestern feeling," she says. "But I also wanted E19 191 to maintain the character of the old house."

E19 192 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. "I kept the original brick E19 195 facade on the street side and the brick trim on top," 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.

E19 198 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. "I enjoy E19 201 making things look like something different from what they E19 202 are," says Leslie.

E19 203 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. "I think most swimming pools E19 206 are boring," says Leslie. "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."

E19 209 Interlocking concrete pavers surround the pool. "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," says E19 212 Leslie. The clay tone of the pavers is "wonderful because E19 213 it looks cool in the summertime and warm in the winter."

E19 214 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. "I just weed the beds E19 217 now and then," Leslie says.

E19 218 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.

E19 223 E19 224 The Romance of a Log Home

E19 225 BY TOM JACKSON

E19 226 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.

E19 231 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.

E19 235 E19 236 E20 1 <#FROWN:E20\>CHAPTER ONE

E20 2 The technique

E20 3 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.

E20 8 What You Don't Have to Do

E20 9 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.

E20 15 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.

E20 19 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 mortises (slots) and four tenons (tongues). Most of the E20 27 joint is 'hidden,' so a large tolerance is incorporated into the E20 28 design.

E20 29 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.

E20 37 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.

E20 47 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.

E20 53 Where to Work

E20 54 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.

E20 59 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.

E20 70 Tools E20 71 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.

E20 74 A variety of power tools are used to cut, shape, and sand, and E20 75 many of these are pictured in the following photo.

E20 76 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.

E20 81 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.'

E20 89 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.

E20 95 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.

E20 98 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.

E20 109 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.

E20 116 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.

E20 120 Materials E20 121 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.

E20 127 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.

E20 134 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.

E20 138 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.

E20 147 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.

E20 155 Enlarging the Plans

E20 156 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.

E20 163 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.

E20 168 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).

E20 171 Step 1.

E20 172 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.

E20 176 Step 2.

E20 177 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.

E20 180 Step 3.

E20 181 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.

E20 183 Step 4.

E20 184 Continue one square at a time until entire drawing is E20 185 complete.

E20 186 Step 5.

E20 187 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.

E20 191 Making a Styrofoam Model

E20 192 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.

E20 195 Step 1.

E20 196 Trace around the template or pattern with a felt marker on the E20 197 styrofoam.

E20 198 Step 2.

E20 199 Cut out the styrofoam sections with a saber saw.

E20 200 Step 3.

E20 201 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.

E20 204 Step 4.

E20 205 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.

E20 208 Cutting Using a Template

E20 209 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.

E20 217 E20 218 E21 1 <#FROWN:E21\>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.

E21 8 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.

E21 17 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.

E21 21 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.

E21 29 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.

E21 35 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.

E21 39 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.

E21 49 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.

E21 56 COAST TO COAST

E21 57 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 Steamship Authority (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 Island Queen (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.

E21 69 For more information, contact the Martha's Vineyard E21 70 Chamber of Commerce (Beach Rd., Vineyard Haven, MA 02568; E21 71 508-693-0085).

E21 72 MARTHA AU NATUREL

E21 73 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).

E21 83 The most popular refuge is the Felix Neck Wildlife E21 84 Sanctuary (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.

E21 91 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.

E21 94 The warm, calm waters facing Nantucket Sound make E21 95 three-mile-long Joseph Sylvia State Beach, 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 Katama Beach, south of Edgartown, but the E21 99 undertow can be dangerous. Land Bank Long Beach and E21 100 Moshup Beach are set spectacularly at the base of the Gay E21 101 Head Cliffs.

E21 102 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.

E21 108 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 Katama Farm (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. Martha's Vineyard Riding Center (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 Misty Meadows E21 117 Farm (Old Country Rd., West Tisbury; 693-1870) and Iron E21 118 Hill Stables (Edgartown-Vineyard Haven Rd., Edgartown; E21 119 693-0786).

E21 120 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 Striped Bass & E21 125 Bluefish Derby (September 9 - October 10; 627-8342).

E21 126 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 Shenandoah (693-1699), a 108-foot square-rigged topsail E21 130 schooner.

E21 131 PAINTED PONIES

E21 132 '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.

E21 135 My favorite exhibit at the Dukes County Historical E21 136 Society (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.

E21 141 The Vineyard Playhouse (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.

E21 146 The painted ponies go round and round to wheezing calliope E21 147 music, as they've done for more than a century, at the Flying E21 148 Horses Carousel (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).

E21 152 The Vineyard was so named because English explorer John E21 153 Brereton extolled the island's "incredible stores of E21 154 vines" in 1602. (His partner, Bartholomew Gosnold, added E21 155 Martha to the name in honor of his daughter.) Chicama E21 156 Vineyards (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.

E21 163 ISLAND FINDS

E21 164 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.'

E21 168 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 Edgartown Scrimshaw (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.

E21 175 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 Edgartown Art Gallery (S. Summer St.; E21 179 627-5991) in the Charlotte Inn.

E21 180 Two Edgartown shops share a shingled house built in 1703. E21 181 A Gift of Love (N. Water St.; 627-5922) specializes in E21 182 housewares and furnishings. The adjacent Island Made 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.

E21 187 The Bunch of Grapes Bookstore (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. Crispin's Landing (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).

E21 194 Janet Messineo of Island Taxidermy & Wildlife Art E21 195 Studio (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.

E21 201 A TASTE OF THE VINEYARD

E21 202 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:

E21 206 The top breakfast spot is the Black Dog Tavern (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.

E21 210 Edgartown's best lunch spot, the unpretentious Savoir E21 211 Fare (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.

E21 216 For fish-and-chips, fried clams and chowder, visit the E21 217 Wharf Pub (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).

E21 221 Edgartown has several elegant restaurants. L'Etoile 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 Robert Shaw

E22 2 Musician of the Year 1992

E22 3 By Scott Cantrell

E22 4 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.

E22 10 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 "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."

E22 17 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.

E22 28 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.

E22 32 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.

E22 38 That Shaw, now 75 and going strong, should be named E22 39 Musical America's 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 "America's greatest choral conductor." Shaw proves E22 45 that a prophet needn't be without honor in his own land.

E22 46 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.'

E22 56 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.

E22 64 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 Varsity Show. 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.

E22 70 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.

E22 77 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.

E22 87 One of the singers present at the Collegiate Chorale's first E22 88 rehearsal was contralto Florence Kopleff. "He was a bundle E22 89 of energy," she recalls of her first impression, E22 90 "and very charismatic - likeable, knowledgeable and very E22 91 infectious with his enthusiasm."

E22 92 Reviewing one of the Collegiate Chorale's first performances, E22 93 critic Henry Simon observed that "Robert Shaw conducted in E22 94 a violent and unconventional manner," but he "made E22 95 it at once apparent that here is a new, major chorus." 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.

E22 105 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, "I have at last found the maestro I E22 111 have been looking for."

E22 112 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 Festival E22 116 Overture. 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.

E22 121 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.

E22 128 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 "a new vitality to choral E22 136 music in the United States."

E22 137 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 "the hottest orchestral property in the U.S. E22 143 to learn on," and for a mentor, he had one of history's E22 144 most formidable orchestral technicians.

E22 145 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 "Szell developed the first symphony-sized chamber E22 149 orchestra in the world," Shaw says. "He prepared E22 150 their parts, and he made them listen." From watching E22 151 Toscanini he had also learned "the severest sort of E22 152 concentration on the music during performance, and economy of E22 153 choreographic movement."

E22 154 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.

E22 158 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.

E22 164 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.

E22 174 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 Firebird Suite and selections from Borodin's Prince E22 181 Igor. 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.

E22 185 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 When Lilacs Last E22 188 in the Dooryard Bloomed. 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.

E22 199 "What is important is that music for 'thinking' be E22 200 encouraged and supported and promoted as industriously as music for E22 201 'forgetting,'" says Shaw of the contemporary-music issue. E22 202 "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."

E22 205 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 "the orchestra and its E22 209 audience deserve some variety." 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.

E22 212 E22 213 E23 1 CAPTURING LIGHT IN PASTELS

E23 2 BY BRAD FAEGRE

E23 3 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.

E23 7 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.

E23 13 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.

E23 19 When painting, I keep in mind a valuable piece of advice I E23 20 received from my college English professor. "When you E23 21 write," he said, "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." 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.

E23 31 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.

E23 42 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.

E23 62 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).

E23 75 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.

E23 84 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).

E23 97 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.

E23 106 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.

E23 113 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 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.

E23 126 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.

E23 136 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.

E23 141 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.

E23 149 Daniel Ludwig

E23 150 BY SAM KIRBY

E23 151 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.

E23 154 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 "Honesty," he says, "is the key to good E23 158 painting." 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.

E23 161 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.

E23 166 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.

E23 179 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. "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," he explains. "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."

E23 193 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 THE PLEASURE OF THEIR COMPANY:

E24 2 JEWELS IN THE DANISH CROWN

E24 3 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.

E24 7 BY MARILYN HUNT

E24 8 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.

E24 25 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.

E24 32 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.

E24 39 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.

E24 48 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 Swan Lake and The Sleeping Beauty feasible.

E24 53 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.

E24 65 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 A Folk Tale, for example. But E24 68 these dancers are versatile and don't want to be "put in a E24 69 box"; 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.

E24 72 Made a principal after her creation of the passionate and E24 73 vulnerable title role in Flemming Flindt's Caroline E24 74 Mathilde 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 Lay of Thrym E24 79 and A Folk Tale followed. Gad feels that her strong E24 80 points are style and a belief in the ballet's stories, whereas, she E24 81 says, "I don't have a body built for pure classical E24 82 technique. But I'm really trying to work on it." E24 83 Nevertheless, she makes a real ballerina in her performances of E24 84 George Balanchine's Theme and Variations and E24 85 Tschaikovsky Pas de Deux. She has recently danced the E24 86 latter at Paris Op<*_>e-acute<*/>ra Ballet galas, partnered by E24 87 POB's Manuel Legris.

E24 88 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 Giselle, roles in E24 99 The Lay of Thrym, and the lead in A Folk Tale. E24 100 Sailing, airy and joyous, she proves that, contrary to tradition, a E24 101 tall dancer can give a lot to Bournonville.

E24 102 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 The Flower Festival in Genzano 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 Abdallah E24 108 and The Kermesse in Bruges, for example - and for E24 109 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 A Midsummer Night's Dream. 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'sOnegin, 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.

E24 119 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 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 The Lesson, she says, taught her the E24 126 courage to push effects rather than playing safe. She dances E24 127 Copp<*_>e-acute<*/>lia, Olga in Onegin, and Robbins's E24 128 Afternoon of a Faun. Broholm says she wants to E24 129 "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."

E24 132 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'sThe River was an early role. (Schandorff did E24 135 the sinuous 'Meander.') Olsson loves Balanchine and has done the E24 136 Russian girl in Serenade, the Agon solo, and Polyhymnia E24 137 in Apollo. A change of pace has been Lar Lubovitch's jazzy E24 138 Rhapsody in Blue. 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. "I still have a tendency that when E24 141 I get nervous my legs take over because they're so strong," E24 142 she says, but she is interested in "expressing something E24 143 with my dance, because that's what makes it all beautiful." E24 144 Olsson's new softness and lyricism are visible as Hermia in A E24 145 Midsummer Night's Dream, and Irma in Bournonville's E24 146 Abdallah.

E24 147 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?

E24 150 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 "it's great that Danish male dancers are so E24 153 famous," and she likes "the way you dance with E24 154 each other or to each other, instead of having the males E24 155 behind all the time." Muus says she loves Bournonville even E24 156 though it "is very hard, and the women's steps are E24 157 sometimes men's, [such as] beating steps." "It's E24 158 harder than it looks," Schandorff points out, "so E24 159 it gives you a lot of strength."

E24 160 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 ("males' E24 163 jumps, heavy jumps"), 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.

E24 169 The women like the musicality and expressiveness of E24 170 Bournonville choreography. Muus finds the steps harmonious, E24 171 "and you can play with them"; 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 "like a breath in the E24 174 midst of all this tension about being placed."

E24 175 Olsson gives working on Bournonville (in particular, soloist E24 176 roles in Abdallah) the credit for changing her focus from E24 177 virtuosity to movement quality. "Bournonville is really E24 178 good for me, my quality and heart," she says. "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." She also E24 181 likes the jumps and the breadth of the steps, using the whole E24 182 stage.

E24 183 For Schandorff, Bournonville has been very much a matter of E24 184 rapprochement: "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 way it E24 190 is. It's really a lovely way of dancing and a wonderful E24 191 tradition."

E24 192 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 "young and inexperienced," still they are E24 197 "very different from story to story," 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'.

E24 201 In 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: "The dancing is not very E24 205 difficult, but it really has to be quality. In the first act, E24 206 Teresina is happy, she's free. She's 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 Installing and Troubleshooting Car-Audio E25 2 Systems

E25 3 These valuable hints and techniques can help you install a E25 4 car-stereo system like a pro.

E25 5 BY WAYNE R. GIPSON, CET

E25 6 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.

E25 15 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.

E25 21 Sizing-Up the Job. 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.

E25 37 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.

E25 45 figure

E25 46 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.

E25 54 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.

E25 65 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.

E25 73 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.

E25 79 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.

E25 85 Getting to It. 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.

E25 96 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.

E25 101 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.

E25 112 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.

E25 124 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.

E25 134 Generally, it is best to avoid hooking up a stereo to 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 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.

E25 152 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.

E25 157 figure

E25 158 Antennas and Accessories. 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.

E25 166 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.

E25 177 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.

E25 193 Speaker Tips. 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.

E25 199 E25 200 E26 1 <#FROWN:E26\>TRAINING AND DEVELOPMENT

E26 2 PSE&G's center shapes distribution apprentices; reaches out to E26 3 customers

E26 4 By Nancy G. Sooy

E26 5 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.

E26 10 Hands on. 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 ft2 facility designed to provide quality technical-skills E26 13 training for the utility's distribution systems department.

E26 14 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.

E26 20 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.

E26 28 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.

E26 32 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.

E26 40 Old days. 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.

E26 47 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.

E26 53 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.

E26 61 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.

E26 66 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.

E26 72 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.

E26 80 "I think mentoring has gone a long way to improve the E26 81 learning curve with PSE&G trainees," says Jesse Brown, E26 82 manager of the Edison center. "Mentoring helps to insure E26 83 that the employee's on-the-job work is truly supplementing E26 84 training."

E26 85 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.

E26 94 Upfront. Constant feedback is encouraged as a part of the E26 95 center's continuous improvement cycle. "Our teaching method E26 96 stresses the difference between education and training," E26 97 explains Thomas Devine, senior training supervisor at the facility. E26 98 "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," he explains. "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."

E26 105 Double duty. Devine notes that the training workshops E26 106 were designed to include equipment that could simulate actual field E26 107 situations. "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," he says. "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."

E26 116 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:

E26 122 <*_>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;

E26 127 <*_>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;

E26 132 <*_>black-square<*/>Computer mainframe emergency command center E26 133 - This room houses the computer backup for the entire company;

E26 134 <*_>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.

E26 142 Clerk program. 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.

E26 148 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.

E26 160 Leadership and licenses. 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.

E26 166 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.

E26 170 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.

E26 180 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.

E26 186 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.

E26 193 What's in the training rooms?

E26 194 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:

E26 198 Meter training room. 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.

E26 205 Electronics training room. 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.

E26 211 System protection training room. 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.

E26 216 Primary line training room. 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.

E26 221 Cable splicing and network training room. 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.

E26 225 Substation mechanics training room. 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.

E26 229 Miscellaneous mechanics training room. 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.

E26 234 Computer training rooms. 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.

E26 241 Secondary line training room. 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.

E26 247 Automotive training room. 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.

E26 251 The CAMS <}_><-|>Towne<+|>Town<}/> room. 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\>SEEDS OF OPPORTUNITY

E27 2 Central Brazil is ready for new fields of soybeans. In E27 3 Londrina, U.S. farmers nurture a precious crop.

E27 4 BY JENNIFER ERICKSON

E27 5 BUSINESS EDITOR

E27 6 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.

E27 10 Another thing that will impress you is the potential for E27 11 growth.

E27 12 "Brazilian agriculture is like a huge engine idling, E27 13 waiting for a good world market," says Harvey Kluvers of E27 14 Litchville, North Dakota.

E27 15 "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," says Doug Emerson, a farmer from E27 18 Kenyon, Minnesota.

E27 19 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).

E27 23 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.

E27 27 Land of opportunity

E27 28 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: "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]."

E27 35 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.

E27 40 "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," 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.

E27 46 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.

E27 50 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.

E27 55 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.

E27 58 "It's not easy to plan and get going with this crazy E27 59 economy here," says Ricardo Gomes de Araujo, who has farmed E27 60 4,350 acres near Londrina for 15 years.

E27 61 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.

E27 64 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.

E27 69 "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," says Dale Larrance, a farmer E27 72 and veteran MFMI work team member.

E27 73 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. "I went down there to tear up the E27 76 world," he says. "All I did was help E27 77 myself."

E27 78 "We enjoyed working with fellow Christians, both the E27 79 Brazilians and the Americans," says Harold Vahl, a farmer E27 80 from Edgerton, Minnesota. "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."

E27 83 "Brazil is tremendously impressive both agriculturally E27 84 and spiritually," Edwards says. "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."

E27 88 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.

E27 93 Brazilian farm show draws 20,000

E27 94 When an idea brews with Ricardo Gomes de Araujo, it's E27 95 reality.

E27 96 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.

E27 101 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.

E27 104 Araujo also coordinates a group of farmers who share production E27 105 and cost information, striving for efficiency. "We try to E27 106 exchange knowledge and technology," he says. "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."

E27 110 "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."

E27 113 STRIP A FIELD CLEAN

E27 114 The English-made header that strips just the grain heads from E27 115 cereals stalks is earning the respect of U.S. growers

E27 116 BY HARRIS BARNES

E27 117 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.

E27 120 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.

E27 124 "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," says Raymond Armistead, E27 127 who farms with sons Kevin, Joel and Eric near Adairville, E27 128 Kentucky.

E27 129 Plucks heads from stalks

E27 130 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.

E27 133 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.

E27 136 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.

E27 143 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.

E27 147 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.

E27 151 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.

E27 154 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.

E27 157 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.

E27 162 For example, Big Rivers Agri Supply of Owensboro, Kentucky, E27 163 sold 56 stripper headers last year. "I predict the number E27 164 of these headers running in our area to double in 1992," E27 165 says Ronnie Rutherford of that firm.

E27 166 Last years was the first year the Armisteads used the stripper E27 167 header. "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," adds Raymond Armistead.

E27 170 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. "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."

E27 175 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. "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," says Wagenaar, E27 180 who is field foreman for B.L. Davis Ranches Inc. "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."

E27 184 Works well on hillsides

E27 185 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 "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."

E27 192 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. "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," Wagenaar adds.

E27 199 "Our one stripper header, mounted on a Deere 7720, did E27 200 the work of two combines," says Marion Dilday of circle E27 201 Grove Farms near Belhaven, North Carolina. "This meant E27 202 savings on labor, fuel and machine wear and tear."

E27 203 Dilday used the header on 1,000 acres of 60-80-bu. wheat and E27 204 barley without noticing damage to the seed. "If anything, E27 205 our seed was better than before as we didn't run so much volume E27 206 through the combine," he adds. "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."

E27 210 Rice growers are also pleased with the header's abilities. E27 211 "From what we saw, the header would help both in rice and E27 212 small grains," says Robert Seidenstricker of DeValls Bluff, E27 213 Arkansa.

E27 214 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. "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," he says.

E27 220 Shelbourne Reynolds has already made improvements to their E27 221 header since it was first introduced to the U.S. market.

E27 222 "We are using gear boxes to replace chains and belts in E27 223 the header," explains Keith Shelbourne of Shelbourne E27 224 Reynolds. "With at least a year of experience, our dealer E27 225 servicemen should be able to handle any problems," he E27 226 adds.

E27 227 Stripper shines in double-cropping

E27 228 The stripper header is fast finding favor among farmers who no-till E27 229 soybeans behind small grains in a double-crop program.

E27 230 E27 231 E28 1 <#FROWN:E28\>SANITATION

E28 2 HOW TO COMMIT BIOCIDE

E28 3 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.

E28 6 LETICIA MANCINI

E28 7 TECHNICAL EDITOR

E28 8 "Sanitation tools aren't new," 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, "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."

E28 14 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 Listeria, Salmonella and Staph E28 19 contamination every year are proof of that.

E28 20 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.

E28 25 Listeria hysteria

E28 26 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.

E28 31 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 Listeria monocytogenes, because it is so E28 36 pervasive. Listeria poisoning, or listeriosis, is almost always E28 37 severe, and sometimes fatal.

E28 38 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.

E28 44 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 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 "You E28 51 can't sanitize a dirty surface" has never been more E28 52 true.

E28 53 "Listeria has taught us that some previously sound E28 54 principles are not so," 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.

E28 60 Spotting trouble

E28 61 "Be innovative and persistent when looking for sources E28 62 of contamination," 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. "What good are E28 67 sanitizing dips for workboots when they will be placed on dirty E28 68 forklifts?" he said.

E28 69 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 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.

E28 76 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.

E28 79 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: "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." That E28 88 practice came to an immediate stop.

E28 89 According to Guzzo, chlorinated foamers are most effective E28 90 against Listeria. Oakite markets FiChlor Foam HD, a E28 91 high-foaming heavy duty chlorinated foam for cleaning stainless E28 92 steel surfaces, and FiSan ACF for aluminum surfaces.

E28 93 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 Power Block, 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.

E28 99 And there is a new type of sanitizer from Klenzade (St. Paul, E28 100 MN) made from peroxyacetic acid. Oxonia Active 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.

E28 104 Improving training

E28 105 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.

E28 110 "Somebody has to supervise how cleaning procedures are E28 111 taught," commented Dick Bakka, director of technical E28 112 services at Klenzade. "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." 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.

E28 119 Klenzade has recognized the importance of properly trained E28 120 workers in the development of their 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 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.

E28 128 Sometimes the sanitation supervisor is in need of training. E28 129 Here, Dennis Bogart of Diversey Wyandotte takes a hard line: E28 130 "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." Diversey publishes a manual, E28 133 TACT WINS, 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.

E28 138 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 "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," 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.

E28 149 Good QA sampling

E28 150 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.

E28 155 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.

E28 165 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.

E28 170 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.

E28 175 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.

E28 181 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.

E28 186 E28 187 AMEXICANADA

E28 188 ITS IMPACT ON FOOD

E28 189 The prospect of 360 million consumers in a borderless market E28 190 spurs 'rationalization,' investment and exports.

E28 191 CHARLES E. MORRIS

E28 192 MIDWEST EDITOR

E28 193 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.

E28 197 According to a new study entitled A North American Common E28 198 Market?, 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.

E28 205 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.

E28 212 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.

E28 216 Food outlook

E28 217 Of the 170 companies covered in the CCA survey, 58 are E28 218 food-processing firms; 38 of these are Fortune 500 E28 219 members. Fifty-one operate in Canada; 49 currently do business in E28 220 Mexico.

E28 221 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.

E28 229 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.

E28 235 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.

E28 239 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\>Pacific Bell

E29 2 The offices of the firm's ISG Group in a warehouse made E29 3 habitable and pleasant by Brown Baldwin Associates

E29 4 MONICA GERAN

E29 5 PHOTOGRAPHY: JANE LIDZ

E29 6 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.

E29 19 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.

E29 35 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.

E29 55 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: "They love the new E29 78 spaces."

E29 79 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.

E29 82 E29 83 King & Spalding

E29 84 The law firm's Atlanta offices designed by Gensler and E29 85 Associates Architects/Houston and New York

E29 86 MONICA GERAN

E29 87 PHOTOGRAPHY: JAIME ARDILES-ARCE

E29 88 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.

E29 97 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.

E29 114 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.

E29 129 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 "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.

E29 158 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. ("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" are E29 170 among her encomia.)

E29 171 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 "unique culture" that makes E29 192 K&S special, to her and, one may assume, her client's clients.

E29 193 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.

E29 209 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. "The main E29 216 success of the job," he concludes, "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." Adding, "And I hope to work with them when E29 220 they go into expansion." E29 221 E30 1 <#FROWN:E30\>Showbiz for Beginners

E30 2 What it takes to break into America's most exclusive E30 3 industry

E30 4 By Jon Murnick and Estelle Vaughns

E30 5 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.

E30 13 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 "the hardest task was simply to E30 25 get 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."

E30 29 Jane Read Martin started as Jane Curtain's secretary on E30 30 Saturday Night Live, but worked her way up to assisting E30 31 Woody Allen, and is now an associate producer for The Joan E30 32 Rivers Show. 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. "Never offer to intern. If you're good, you should E30 35 get paid," she says. While interning can be a good way E30 36 to gain experience while in college, it is a bad way to start your E30 37 career.

E30 38 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.

E30 43 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 "really easy." He adds, "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."

E30 50 Conversely, positions for executives and directors are in much E30 51 shorter supply now, due the recession.

E30 52 Actress Melissa Clayton, who appeared in the television shows E30 53 The Wonder Years and The Hogan Family, offers E30 54 insight into the performing side of the entertainment industry. E30 55 "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." 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.

E30 60 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.

E30 63 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 Jaws, The Sting, and Cocoon, when Richard E30 67 Zanuck tried to obtain studio backing for Driving Miss E30 68 Daisy, 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 "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."

E30 79 Both Clayton and Lindheim also stress persistance. Says E30 80 Lindheim, "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."

E30 83 Buy These Jeans.

E30 84 Bugle Boy's new Color Denim commercials mix flash and E30 85 honesty.

E30 86 By Andrew Stern

E30 87 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.

E30 92 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.

E30 98 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. [see box at E30 103 rightbox].

E30 104 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.

E30 112 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.

E30 118 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.

E30 127 Balancing Act

E30 128 College athletes, coaches, and league officials comment on the E30 129 challenges of competing in both the classroom and the international E30 130 arena.

E30 131 By Andrew O'Brien

E30 132 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.

E30 141 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.

E30 148 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.

E30 164 What effect will these measures have on college athletes and E30 165 sports programs? Reactions from coaches have been uncertain. E30 166 "We did need some guidelines," acknowledges Francis E30 167 Allen, the men's gymnastics coach at the University of Nebraska. E30 168 "Some schools would practice for six or seven hours a day. E30 169 But what [the NCAA] gave us is not very good." 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 "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." E30 176 Prospective Olympic swimmer Chris Smith, currently a sophomore at E30 177 Montgomery College in Maryland, expressed a similar perspective: E30 178 "It's not hard to balance classes and swimming if you're E30 179 responsible and plan ahead."

E30 180 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. "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." 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. "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."

E30 195 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. "From what E30 198 we have heard," added NCAA Director of Communications Jim E30 199 Marciani, "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." Allen asserted his position more E30 203 bluntly: "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."

E30 206 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 "just drop E30 212 out of college." 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.

E30 216 Others disagree with his assessment, however. "I E30 217 believe [that students who leave have] other motives for quitting E30 218 college," commented Marciani. E30 219 E30 220 E31 1 <#FROWN:E31\>SUPER JOE

E31 2 BLUE JAYS SLUGGER JOE CARTER IS A BIG-TIME RUN PRODUCER WITH A E31 3 BIG HEART

E31 4 BY RICK WEINBERG

E31 5 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.

E31 8 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 "Dad loves to fish," Joe Carter says.

E31 15 But he gave the money away. Handed it right over. He couldn't E31 16 say no.

E31 17 "I remember him saying he couldn't buy me anything E31 18 because he didn't have money," Joe Carter Sr. was saying. E31 19 "Then he says, 'But, Dad, I'm pitching tonight, and I'm E31 20 dedicating the game to you.'"

E31 21 That night, pitching for his midget team, the Falcons, Joe E31 22 Carter pitched a no-hitter and struck out 21.

E31 23 Happy birthday, Dad.

E31 24 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.

E31 27 "I pulled him aside one day and told him, 'Joe, this E31 28 ain't good,'" says Joe Carter's mother, Athelene. E31 29 "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."

E31 32 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.

E31 41 That's Joe.

E31 42 "Joe and me were at one of those ATM machines a few E31 43 years back," says Joe's brother Fred, a former E31 44 minor-leaguer with the Yankees, Indians and Angels. "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."

E31 50 That's Joe.

E31 51 "Joe Carter is one of the nicest, most genuine and E31 52 sincere people you could ever meet," says Padres superstar E31 53 Tony Gwynn, who's a lot like Carter himself. "He'd do E31 54 anything for anybody. Anything. Has a heart of gold.

E31 55 "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.'"

E31 62 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. "We'd wait for my sister E31 65 to come by the room before starting classes," Joe says. E31 66 "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."

E31 68 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.

E31 76 "I asked him one day, 'Joe, are we worthy of E31 77 this?'" Joe Carter Sr. says. "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.'"

E31 82 That's Joe. Kind. Generous. Warm.

E31 83 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.

E31 90 The boy, Dylan Williams, is alive today.

E31 91 "Hey, don't go portraying me as being perfect," E31 92 Joe Carter says. "There's nothing perfect about Joe Carter. E31 93 Nothing at all."

E31 94 He says he's got faults, shortcomings. "I'm E31 95 selfish," 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. "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."

E31 105 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?

E31 109 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.

E31 115 "When Joe first came to Cleveland, I platooned him with E31 116 Mel Hall," says former Indians manager Pat Corrales, now a E31 117 Braves coach. "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."

E31 124 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: "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."

E31 130 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?

E31 133 "I'll tell ya, I took a lot of heat in Cleveland for E31 134 that," says Carter, who played for the Indians from 1984 to E31 135 1989. "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.

E31 138 "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 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."

E31 143 Joe Carter's one of those guys who's able to separate his E31 144 personal life from the game, the type who 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.

E31 149 "I've heard the stories about how the old guys played E31 150 the game," he says. "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.

E31 155 "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."

E31 158 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?

E31 162 "Joe didn't bust up any chairs," says Corrales, E31 163 "but I know he wanted to a few times."

E31 164 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. "One game," says E31 167 Gwynn, "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.

E31 172 "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."

E31 179 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.

E31 187 "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," he says. "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."

E31 193 That's Joe.

E31 194 Joe Carter's trademark, his 'obsession,' is spelled out on the E31 195 Kansas license plate of his red Jeep Cherokee: JC E31 196 RBIS.

E31 197 As in Joe Carter, Runs Batted In.

E31 198 Perfect.

E31 199 "Appropriate," he says with a wink.

E31 200 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\>PLCs GET THE OPEN LOOK

E32 2 JOHN R. GYORKI

E32 3 Staff Editor

E32 4 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.

E32 11 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.

E32 17 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.

E32 27 Open systems

E32 28 "Everyone is moving in the direction of CIM and E32 29 integration," 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.

E32 34 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.

E32 47 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.

E32 52 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.

E32 60 Communications E32 61 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.

E32 66 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.

E32 75 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).

E32 83 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.

E32 90 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.

E32 96 Software E32 97 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.

E32 102 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.

<*_>black-square<*/> E32 107 ELIMINATING SPAGHETTI I/O

E32 108 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.

E32 115 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.

E32 122 Siemens also sees a need for distributed I/O. Says Uwe Frank, E32 123 marketing manager, Siemens Industrial Automation, "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."

E32 128 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.

E32 135 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.

E32 141 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.

E32 148 WHAT OPEN SYSTEMS REALLY MEAN

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. "One way of customizing E32 153 systems," says Martyn Jones, marketing manager, Modicon E32 154 Inc., North Andover, Mass., "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." 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.

E32 163 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.

E32 167 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. "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," adds E32 176 Moriarty.

E32 177 Says Robert Sor<*_>e-acute<*/>, Mitsubishi Electronics America E32 178 Inc., Mt. Prospect, Ill., "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." 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.

E32 191 LINKING PLCS TO COMPUTERS

E32 192 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. "To get around the problem, some companies E32 198 have integrated PLCs and computers within a single box with E32 199 parallel communication paths," 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.

E32 203 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.

E32 208 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.

E32 217 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\>Where's the bubble? - A turning point for E33 2 gas?

E33 3 Mark E. Teel, Engineering Editor

E33 4 The 1992 edition of Natural Gas Trends, 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.

E33 11 "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," 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 "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."

E33 21 Tightening supply and demand, and regulatory changes are E33 22 producing significant effects, according to the study, E33 23 including:

E33 24 <*_>bullet<*/>Gas price will be more volatile and less E33 25 predictable on seasonal patterns

E33 26 <*_>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.

E33 30 According to Gibbs and Robinson, "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."

E33 34 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.

E33 41 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.

E33 47 New transmission capacity. 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.

E33 52 Storage and futures. 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.

E33 57 FERC Order 636. 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.

E33 65 Rig activity. 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.

E33 73 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.

E33 77 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.

E33 84 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.

E33 89 E33 90 Bottomhole assemblies: Getting back to basics

E33 91 Thomas R. Wright, Jr., Editor

E33 92 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 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.

E33 100 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.

E33 108 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.

E33 117 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.

E33 126 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.

E33 135 Campaign Against Adulterators To Go On

E33 136 We must admit to some surprise when we ran across the above E33 137 headline in 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 "watering E33 141 down" or otherwise altering fuels to reap extra profits.

E33 142 Speaking of headlines, here's one we wish we had E33 143 thought of: "Half of the City Council (insert U.S. E33 144 Congress, if you like) Are Crooks." 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: "Half of the City E33 147 Council Aren't Crooks." (We thank our friends at The E33 148 Montana Oil Journal for this item.)

E33 149 The MOJ also ran this jewel in a recent issue: Said an E33 150 irate roughneck to the Casper waitress, "This chicken is E33 151 only half cooked. Take it back to the cook and tell him where he E33 152 can shove it."

E33 153 Replied the bored waitress, "Sorry sir, but there are E33 154 three T-bones and a Bell Pepper in front of you."

E33 155 E33 156 E&P success hinges on good data management

E33 157 J.V. (Jack) Cowan, Contributing Editor

E33 158 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.

E33 163 We often hear the 80/20 rule applied to computer analyses, E33 164 "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." 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.

E33 171 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.

E33 179 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.

E33 186 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.

E33 193 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).

E33 199 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.

E33 209 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.

E33 213 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.

E33 220 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.

E33 230 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.

E33 234 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.

E33 238 E33 239 E34 1 <#FROWN:E34\>Fountains: Sweet Music

E34 2 by Lee Steedle

E34 3 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.

E34 9 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.

E34 16 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.

E34 23 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.

E34 27 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.

E34 32 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.

E34 50 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.

E34 55 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.

E34 63 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.

E34 68 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.

E34 73 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.

E34 82 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.

E34 89 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.

E34 95 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.

E34 100 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.

E34 107 Compton says: "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."

E34 111 Katherine Pearson of Cherry Brook Potters, Canton Center, E34 112 Connecticut, has concentrated on fountains resembling naturally E34 113 rounded stones. In 1978, she "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."

E34 117 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.

E34 123 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.

E34 128 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.

E34 133 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.

E34 139 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.

E34 144 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.

E34 150 Rober Compton summarizes the aesthetic requirements very well E34 151 when he says: "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."

E34 157 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<*/>

E34 167 E34 168 Politically Correct Pots

E34 169 by Brad Sondahl

E34 170 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.

E34 177 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 Ceramics Monthly 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.

E34 188 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).

E34 197 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.

E34 205 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).

E34 217 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\>Double the size, quadruple the fun

E35 2 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

E35 5 BY JODY THOMPSON-KENNEDY

E35 6 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.

E35 14 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.

E35 21 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. "The house had very little going E35 27 for it other than its original U-shaped plan encompassing a E35 28 lawn," recalls Steven. But the clients had mentioned that E35 29 they liked courtyards.

E35 30 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 - "the kids use E35 33 it like an indoor track," 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.

E35 38 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. "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," 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.

E35 49 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.

E35 56 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.

E35 59 E35 60 Designed with TLC

E35 61 ln Washington, D.C., a handful of decorators use color, wit and E35 62 imagination to create a haven for youngsters with AlDS

E35 63 BY LISA DePAULO

E35 64 IT ALL STARTED WITH A WOMAN who rang the bell and identified E35 65 herself only as Albina. "We didn't know who she E35 66 was," says Joan McCarley, cofounder of Washington's E35 67 'Grandma's House,' the first home in the country for children with E35 68 AIDS. "But you should always entertain strangers as though E35 69 they were angels."

E35 70 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 "We never dreamed she was a countess," says E35 73 McCarley.

E35 74 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, "forever," says McCarley.

E35 81 "It was pretty inspiring," 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.

E35 85 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 "that to a sick child who lay in E35 90 bed," says Joan McCarley "would be E35 91 inspiring."

E35 92 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.

E35 100 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.'

E35 105 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.

E35 108 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.

E35 116 E35 117 Golden-oldie reproductions

E35 118 Copies of rare antiques are now antiques too

E35 119 BY MITCHELL OWENS

E35 120 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.

E35 128 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 "copies after the original." 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.

E35 139 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

E35 152 "For a good part of this century, new furniture was E35 153 still given a traditional hand-padded shellac finish," E35 154 Kreitzer explains. "This darkens and becomes even more E35 155 luminous as it ages." 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.

E35 161 "Today's average customer wants a high luster," 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. "If you want real E35 165 character," he says, "the human hand is E35 166 vital."

E35 167 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.

E35 173 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 ancien r<*_>e-acute<*/>gime. She took Marie E35 180 Antoinette rather than Josephine as her role model. Overnight the E35 181 new Louis Seize-lmp<*_>e-acute<*/>ratrice 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.

E35 188 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.

E35 199 High-caliber reproductions don't come cheaply, but they are E35 200 infinitely more affordable than the real thing. "Beurdeley E35 201 is my personal favorite," says Sotheby's Elaine Whitmire. E35 202 "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 <*_>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."

E35 208 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 19th Century European Furniture, historian Christopher E35 214 Payne writes: "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." 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 bureau plat 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.

E35 222 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\>CRAZY FOR YOU

E36 2 This new musical, based loosely on the 1930 Girl E36 3 Crazy, features the timeless songs of George and Ira E36 4 Gershwin

E36 5 by Sheryl Flatow

E36 6 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.

E36 13 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 Crazy for You, a new musical comedy E36 18 featuring the timeless songs of George and Ira Gershwin.

E36 19 Crazy for You, a show in which you go in humming E36 20 the tunes, stars Harry Groener (Oklahoma!, Cats) and Jodi E36 21 Benson (voice of the title character in the movie The Little E36 22 Mermaid). It is written by Ken Ludwig (Lend Me a E36 23 Tenor), directed by Mike Ockrent (Me and My Girl) E36 24 and choreographed by Susan Stroman (And the World Goes 'Round E36 25 - The Songs of Kander & Ebb) and was inspired, very loosely, E36 26 by the 1930 Gershwin musical Girl Crazy. 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.

E36 32 "Originally we thought we were going to do a revised E36 33 version of Girl Crazy," says Ken Ludwig. E36 34 "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."

E36 37 All that is left from Girl Crazy 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.

E36 41 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.

E36 48 "Harry Groener was exactly what we were looking E36 49 for," says Ockrent. "I realized it when I saw him E36 50 in the Pasadena Playhouse, where he was doing Cole Porter's E36 51 You Never Know. 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."

E36 55 Ludwig describes the feel of the show as "Me and E36 56 My Girl meets Lend Me a Tenor." Crazy E36 57 for You 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 Lend Me E36 60 a Tenor, is also intrinsic to the plot of Crazy for E36 61 You. "I love the idea of mistaken identity and E36 62 confusion, the kind of muscular comedy that springs off the E36 63 stage," says Ludwig. "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."

E36 71 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. Crazy for You 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 42nd Street, 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.

E36 81 Mostly, though, Crazy for You 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.

E36 86 "I was very much trying to capture a Fred-and-Ginger E36 87 style in the show," says Ludwig. "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.'"

E36 92 If the plot and the tone of the show seem to particularly E36 93 suggest Shall We Dance, the only Astaire-Rogers movie E36 94 written by the Gershwins, Ockrent says it is not a coincidence.

E36 95 "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."

E36 98 The songs, which are the raison d'etre 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 Shall We E36 105 Dance) and 'Nice Work If You Can Get It,' 'I Can't Be Bothered E36 106 Now' and 'Things Are Looking Up' (from A Damsel in E36 107 Distress).

E36 108 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? (Girl Crazy, 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.)

E36 115 "We decided we didn't want to do it as a 1930's museum E36 116 piece," says music director Paul Gemignani. "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."

E36 120 William Brohn, the show's orchestrator, says, "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."

E36 126 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. "Bill's done a very creative E36 130 job with the orchestrations," Gemignani notes, E36 131 "because it's very difficult to take music we all know and E36 132 make it into something that is inventive and fresh."

E36 133 If the music is the heart of Crazy for You, 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 "Robert Russell Bennett once told me that Gershwin was E36 138 possessed when he was at the piano," says Brohn. E36 139 "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."

E36 144 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 Crazy for You is eager to E36 148 spread that enchantment.

E36 149 E36 150 JUMPIN' JORDAN

E36 151 by Sheridan Morley

E36 152 The story of Five Guys Named Moe 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:

E36 158 "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.

E36 163 "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."

E36 170 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: "They thought he was the guy who starred in E36 174 Gigi, maybe. His jazz just never seemed to have crossed the E36 175 Atlantic."

E36 176 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 Guys and Dolls moved to the West End. He also played in E36 179 Ma Rainey's Black Bottom 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:

E36 183 "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."

E36 189 After that Peters, now in his early forties, spent three or E36 190 four years trying to get Five Guys 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:

E36 194 "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."

E36 199 At this point Mackintosh himself takes up the story:

E36 200 "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