Return-Path: X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.6) with PIPE id 14203191; Sat, 15 Jan 2005 03:00:31 -0800 X-ListServer: CommuniGate Pro LIST 4.2.6 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #260 Date: Sat, 15 Jan 2005 03:00:09 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Level: X-Spam-Status: No, score=-5.4 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #260 1. Re: Shock loading (was Rigging "hollywood" flats) by Bill Sapsis 2. Re: Fake Smokes by RHolen [at] vinu.edu 3. Re: Shock loading (was Rigging "hollywood" flats) by "Jonathan S. Deull" 4. Re: Fake Smokes by Pat Kight 5. Kaypro by "Dougherty, Jim" 6. Re: Kaypro by "Jonathan S. Deull" 7. Re: Kaypro by "Jon Ares" 8. Re: Kaypro by Mark O'Brien 9. Re: Fake Smokes by "Tony" 10. Re: Jobs in Toronto? by Scott Spidell 11. Re: Kaypro 2 by Jerry Durand 12. Re: Cable Rot? by Jerry Durand 13. Re: Jobs in Toronto? by anna labykina 14. Re: Kaypro by Jerry Durand 15. Re: Kaypro by "ladesigners [at] juno.com" 16. Re: Kaypro by "ladesigners [at] juno.com" 17. Re: Fake Smokes by Greg Bierly 18. Re: Fake Smokes by "Tony" 19. Re: Fake Smokes by "Jack Morones" 20. RIP Bill McManus by "Joe Golden" 21. Re: Fake Smokes by Pat Kight 22. Re: Shock loading (was Rigging "hollywood" flats) by "Delbert Hall" 23. Re: Theatre Rentals? by "Chris Summers" 24. Re: Theatre Rentals? by "Chris Summers" 25. Re: Theatre Rentals? by Jeff Holt 26. Re: Shock loading (was Rigging "hollywood" flats) by "Dr. Randall W.A. Davidson" 27. Re: RIP Bill McManus by "Dr. Randall W.A. Davidson" 28. Re: Kaypro 2 by FrankWood95 [at] aol.com 29. Re: Kaypro 2 by Jerry Durand 30. Re: RIP Bill McManus by Bill Sapsis 31. Re: Quick Links by June Abernathy 32. Re: Cable Rot by Steve Boone 33. Re: Cable Rot? by Mike Voytko 34. Re: Quick Links by Richard Wright 35. Stage Manager interviews by Richard Wright 36. Re: Cable Rot? by "Daniel J. Kelly" 37. Re: Quick Links by "Delbert Hall" 38. USITT: NY Area Section Networking Party by "Scott C. Parker" *** Please update the subject line of your reply to use the subject *** line of the message you are replying to! Please only reply to *** one message subject in each reply. ---------------------------------------------------------------------- Date: Fri, 14 Jan 2005 07:53:17 -0500 Subject: Re: Shock loading (was Rigging "hollywood" flats) From: Bill Sapsis Message-ID: In-Reply-To: on 1/13/05 11:47 PM, Jonathan S. Deull at jdeull [at] clarktransfer.com wrote: > I'm familiar with the standards set forth so well on your site. (Valuable > not only when flying people...) The issue I am raising relates specifically > to the practice of intentional repetitive shock loading, its toll on rigging > gear, and the standard guidance that we all were taught about retiring gear > after a shock load. Well, the simple answer is...don't do it. The more complex answer is to find as many ways as possible to eliminate it in your rig. The use of bungee, while not common in theatrical rigging, is very common in circus rigging. There are other shock absorbers on the market that help eliminate shock loads without sacrificing the performance. But the real key is inspection. Constant, constant, constant vigilance is required. Inspection before and after every performance. And a thorough inspection it must be. Miss one tiny detail and that detail will be the one that bites you in the butt. And you have to be trained in what to look for. I spoke with a group of aerialists recently, many of whom are fabric performers. They all inspect their fabrics very regularly. But no one in the group was trained in inspection of the fabric. They were looking but did they know what to look for? Probably, but maybe not. The use of rated hardware does not eliminate the need for inspections. Load rated hardware gives you a baseline to work from when designing/engineering a system that is going to be shock loaded on a regular basis. And finally, you have to build in planned obsolescence. You should retire the equipment before it shows signs of failure not after and show budgets need to reflect this planned retirement. Zat help? Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Subject: Re: Fake Smokes Message-ID: From: RHolen [at] vinu.edu Date: Fri, 14 Jan 2005 08:46:58 -0600 I am looking for a source fake smokes for a production of "The Hollow". Everyone smokes in the show. I haven't used smokes on stage for a long time. Any suggestions? Richard D. Holen Professor Dept. of Theatre Vincennes University 1002 N. 1st Street Vincennes, IN 47591 Office: 812 888 5339 Home: 812 886 9135 Cell: 812 760 8000 rholen [at] indian.vinu.edu ------------------------------ From: "Jonathan S. Deull" Subject: RE: Shock loading (was Rigging "hollywood" flats) Date: Fri, 14 Jan 2005 10:17:00 -0500 In-Reply-To: Message-ID: ...Zat help? Yes Bill it does. As you know, I am a bit compulsive on this topic and am always gathering ammunition for improving safety standards for aerial rigging, and what you've said reinforces what I practice and preach. The difficulty is, of course, that inspections of hardware which do not show physical attributes of wear is not intuitive, and for someone who has several hundred dollars or more tied up in equipment that looks and works perfectly fine, getting them to throw it away and start over on a regular basis is not an easy sell. This is especially true since most such rigs belong to the performers rather than to facilities with equipment budgets. Anyway, this is getting further off topic than I had intended. For the information of all who are interested, there is a new group which just started up specifically focusing on aerial performance rigging. To learn more about the aerialriggers group, please visit http://groups.yahoo.com/group/aerialriggers Jonathan Deull ------------------------------ Message-ID: <41E7E327.6030506 [at] peak.org> Date: Fri, 14 Jan 2005 07:20:07 -0800 From: Pat Kight Subject: Re: Fake Smokes References: In-Reply-To: RHolen [at] vinu.edu wrote: > I am looking for a source fake smokes for a production of "The Hollow". > Everyone smokes in the show. > I haven't used smokes on stage for a long time. Any suggestions? Fake as in non-tobacco, or as in non-burning trick cigarettes? For the former, we've used "Smokin' Joe's Herbal Gold" cigarettes (use Google to find sources), on recommendation from the props folks at the Oregon Shakespeare Festival. Frankly, I find them more obnoxious than the real thing - they smell like burning weeds, and even actors who smoke tobacco complain that they dry out their throats. Personally, when I'm directing I eliminate smoking whenever it isn't a crucial plot element (a clue in a murder, for instance) or specifically mentioned in the lines ("Get me a cigarette"), and even then it's often possible to indicate smoking artfully without anyone actually lighting up - have actors come on stage with a "lit" cigarette and immediately stub it out in an ashtray, reach for a smoke and search for their matches but get interrupted before they light the thing, etc. I'm a smoker, but here in Oregon it's just not worth the hassle (and the coughing, real or not) that we get from our audiences when actors smoke anything on stage. -- Pat Kight Albany Civic Theater kightp [at] peak.org ------------------------------ Date: Fri, 14 Jan 2005 10:34:12 -0500 Subject: Kaypro From: "Dougherty, Jim" Message-ID: I think mine is a Kaypro 4 (note the present tense, although it isn't hooked up). It came with the high-tech 300 baud internal modem installed, as well as the 9" screen and dual floppies and scads of software. With the daisy wheel printer (Juki's - I don't know if it's the same outfit that makes the industrial sewing machines) I wrote my thesis as well. Change font? Swap a wheel! I remember that if I watched the printer it wouldn't misfeed; if I didn't it would. No physical contact was necessary. Blistering print speed, too. WordStar was swell. - Jim Dougherty ATD, Middlebury College ------------------------------ From: "Jonathan S. Deull" Subject: RE: Kaypro Date: Fri, 14 Jan 2005 10:41:01 -0500 In-Reply-To: Message-ID: Just out of curiosity, does anyone else remember a pre-Kaypro CPM machine called the Otrona? (My thesis was done on a memory Selectric. Remember those? A real technological breakthrough at the time.) Jonathan -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Dougherty, Jim Sent: Friday, January 14, 2005 10:34 AM To: Stagecraft Subject: Kaypro For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I think mine is a Kaypro 4 (note the present tense, although it isn't hooked up). It came with the high-tech 300 baud internal modem installed, as well as the 9" screen and dual floppies and scads of software. With the daisy wheel printer (Juki's - I don't know if it's the same outfit that makes the industrial sewing machines) I wrote my thesis as well. Change font? Swap a wheel! I remember that if I watched the printer it wouldn't misfeed; if I didn't it would. No physical contact was necessary. Blistering print speed, too. WordStar was swell. - Jim Dougherty ATD, Middlebury College ------------------------------ Message-ID: <000901c4fa4f$7fb9cd20$0600000a [at] BRUTUS> From: "Jon Ares" References: Subject: Re: Kaypro Date: Fri, 14 Jan 2005 07:41:22 -0800 > > With the daisy > wheel printer (Juki's - I don't know if it's the same outfit that makes > the > industrial sewing machines) I wrote my thesis as well. Change font? Swap > a > wheel! I remember that if I watched the printer it wouldn't misfeed; if I > didn't it would. No physical contact was necessary. Blistering print > speed, too. WordStar was swell. We had a wide-format Epson 9-pin dot matrix (I still have it... somewhere) but then we added a Xerox daisy-wheel printer. WONDERFUL quality, compared to the dot matrix - and SO fast. But boy were those things noisy!! the daisy wheel was like firing rounds from a machine gun! But I did develop a little cash flow in high school, typing/formatting other student's theses. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ In-Reply-To: References: Message-Id: <9166B013-6643-11D9-B48E-000393897332 [at] email.arizona.edu> Cc: marko [at] email.arizona.edu (Mark O'Brien) From: Mark O'Brien Subject: Re: Kaypro Date: Fri, 14 Jan 2005 08:47:17 -0700 On Jan 14, 2005, at 8:34 AM, Dougherty, Jim wrote: > With the daisy > wheel printer (Juki's - I don't know if it's the same outfit that > makes the > industrial sewing machines) I wrote my thesis as well. Change font? > Swap a > wheel! I remember that if I watched the printer it wouldn't misfeed; > if I > didn't it would. No physical contact was necessary. Blistering print > speed, too. WordStar was swell. I had 2 printers, an Olympia 9 pin NLQ (NEAR letter Quality) that I think was about 700.00 USD and a Brother typewriter, with a conversion box. The typewriter was hardly up to the task of typing, much less a printer. I had 3 fonts! I think it is still printing the last document I sent it about 15 years ago. Mark O'Brien Opera Technical Director University of Arizona, School of Music Tucson, AZ 520/621-7025 520/591-1803 Mobile ------------------------------ Message-ID: <020801c4fa50$6a4067f0$0800000a [at] Tony> From: "Tony" References:

Subject: Re: Fake Smokes Date: Fri, 14 Jan 2005 15:47:52 -0000 > Personally, when I'm directing I eliminate smoking whenever it isn't a > crucial plot element (a clue in a murder, for instance) or specifically > mentioned in the lines ("Get me a cigarette"), and even then it's often > possible to indicate smoking artfully without anyone actually lighting up - > have actors come on stage with a "lit" cigarette and immediately stub it > out in an ashtray, reach for a smoke and search for their matches but get > interrupted before they light the thing, etc. > > I'm a smoker, but here in Oregon it's just not worth the hassle (and the > coughing, real or not) that we get from our audiences when actors smoke > anything on stage. > > -- > Pat Kight I'm a non-smoker, and always will be, but back in my younger day, I did a couple of plays in front of the lights. In one, the script said I was supposed to smoke my last ciggy, then as a result, go out to find a shop to buy some more (but not succeed as I 'get lost' in the mist outside). I tried just once to see if I could get away with lighting the wicked weed, and puff whilst not inhaling, but got as far as the first breath and decided it was just NOT going to work. Not much point, if the mere taste of the smoke caused my throat to constrict and induce coughing fits!!! So - the gag was changed so that I opened the packet for the last one, only to find it broken in half, so didn't smoke it 'in disgust'! Nice bit of re-writing and didn't affect the thread of the play an iota. Ynot ------------------------------ Message-Id: <5.1.0.14.0.20050114104446.01f96c68 [at] watarts.uwaterloo.ca> Date: Fri, 14 Jan 2005 11:01:57 -0500 From: Scott Spidell Subject: Re: Jobs in Toronto? In-Reply-To: At 06:00 AM 1/14/2005, Matt wrote: >Does anyone know where one should look for jobs in Toronto? ArtSEARCH >doesn't really list any. > >Matt Well, if you can make it tonight to Ryerson Studio Theatre on Gerrard St. in Toronto, CITT Ontario is hosting our annual Student Information Night where we bring together students from the surrounding (2 1/2 hour drive) tech programs with some of the larger theatres, IATSE, Equity, rental shops, summer stock, and anybody else who might be hiring. And on sad note, today is the funeral for Ron Epp. He joined the Shaw Festival in 1988 as a Special FX Flyman on Peter Pan. He was the Co-Chair of the Advisory Committee to the Ministry of Labour Live Performance Guidelines, and an enthusiastic member of The Shaw's Joint Health & Safety Committee. He has taught stage rigging at Sheridan College, Ryerson Polytechnic University, Memorial University and Fanshawe College. Ron also led seminars throughout the country and for a number of I.A.T.S.E. Locals. He worked extensively across Canada in theatre, film, numerous rock shows and toured Broadway. He will be missed by the many students, both past and present, whose lives he touched in a special way. Indeed, Canadian Theatre has lost a teacher, friend and mentor in Ron's passing. Scott ------------------------------ Message-Id: <6.2.0.14.0.20050114080248.029808d8 [at] localhost> Date: Fri, 14 Jan 2005 08:06:14 -0800 From: Jerry Durand Subject: Re: Kaypro 2 In-Reply-To: References: At 11:36 AM 1/13/2005, you wrote: >This is at the bottom of the PC/Mac division. PCs went down the 8080 road, >and Macs down the 6800 one. For some jobs, one is better than the other. For >most of us, unless you're going in at machine code level, it's irrelevant. Actually, the Apple ][ use the 6502, a clone of the 6800. I still have some of the books from when I taught a 6800 real-time (industrial control) graduate course...in the late 1970's. The Mac went down the 68000 course. The only 68000 experience I have is having to design a board with a 64 bit MIPS processor using a 68000 bus talking to a PC over the PCI bus. Real pain, figuring out which bit/byte goes where has been a constant battle. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-Id: <6.2.0.14.0.20050114080728.02980a20 [at] localhost> Date: Fri, 14 Jan 2005 08:10:45 -0800 From: Jerry Durand Subject: Re: Cable Rot? In-Reply-To: References:

At 12:39 PM 1/13/2005, you wrote: >One cable, though, was in terrible condition altogether. I cut back the >neoprene sleeve, and the insulation on the three internal wires was >practically crumbling -- as if it were rotting away. I sliced down about a >foot, then took a look at the connector at the opposite end, and came to >the conclusion that it was rotten through and through. > >What might have caused this to happen? Though the insulation on all three >wires had some cracking, it was mostly prevalent on the ground. The male >and female connectors were in good shape, and the neoprene sleeve was in >perfect condition, but it didn't have any markings as to its rating. Real rubber will dry out, and with synthetics manufacturers have gotten the chemical mix wrong causing decay. There was a big problem with plastic pipe years ago, it would just fall apart after some period of time (we had that problem with sewer pipe used in a remodel, had to replace all of it). I also have had wire that started dripping green liquid after about a year of use. My guess is it had moisture in it and the copper corroded. I tossed the wire and replaced it with new. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Message-ID: <20050114161934.94807.qmail [at] web50107.mail.yahoo.com> Date: Fri, 14 Jan 2005 08:19:33 -0800 (PST) From: anna labykina Subject: Re: Jobs in Toronto? In-Reply-To: > > >> if you are a US citizen it will not be easy. > They're pretty > > protective up > > >> there (Rightly so, IMHO) > > >> > > >> Bill S. > > > > > > Bill, why do you say that? > > > Fred Fisher > > > > > > > Before they hire a foreigner they try very hard to > > make sure that there isn't a Canadian who could do > > the job. They protect their people and I > > applaud that. > > > > I could start a political war here by asking y'all > > how many times our gov't really tried to protect > > jobs here in the US. Oooops. Guess I did start it, > > huh? > > <> > > > > Bill S. > > Hmmm, it seems to me that as long as they don't make > a big deal of it, American employers have been able > to hire and underpay non-documented immigrants pretty > much at will, since before we gained independence. > Fred F. > I had to come out of observation mode for this. How many theatrical/academic gigs can you list that will knowingly hire an illegal immigrant? As a Russian citizen trying to make a *legal* living in the US, I can testify to the fact that the US government is even more protective (than Canada) of its citizens when it comes to going about a job through proper channels. (The key here being *proper*) When an employer wants to hire a foreign national here, they as well must prove than no suitable US citizens were found for the job. I won't contest the assertion that an unthinkable number of jobs a year are lost to undocumented workers and through outsourcing, but there are currently only 65,000 *legal* foreigners per year who are allowed to hold jobs in the US, and the process of allowing those people to work here is more complicated than one would think. Going back to observation, Anna Labykina __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ------------------------------ Message-Id: <6.2.0.14.0.20050114081835.02980cb0 [at] localhost> Date: Fri, 14 Jan 2005 08:23:24 -0800 From: Jerry Durand Subject: Re: Kaypro In-Reply-To: References:

At 07:41 AM 1/14/2005, you wrote: >We had a wide-format Epson 9-pin dot matrix (I still have it... somewhere) >but then we added a Xerox daisy-wheel printer. WONDERFUL quality, >compared to the dot matrix - and SO fast. But boy were those things >noisy!! the daisy wheel was like firing rounds from a machine gun! But I >did develop a little cash flow in high school, typing/formatting other >student's theses. Or FX-80 is STILL connected to our server and works. But, since we switched to inkjet printers for invoices we don't need the Epson for multi-part forms anymore. However, we've gone through 3 inkjet printers in that time, too. The only part that seems to work right with inkjets is the part I designed for Epson. :) Our old Canon LBP-8III laser printer (the one with the animated crab on the LCD) still works, but isn't great at feeding paper. We use it for some old DOS software we still have. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 14 Jan 2005 16:29:08 GMT Subject: Re: Kaypro Message-Id: <20050114.082909.22506.148974 [at] webmail17.lax.untd.com> I had two Radio Shack TRS-80s, one feeding a teletype and the other feeding an IBM Selectric fed through a proprietary 'black box'. I still have 6 or 7 DOZEN typeballs with various fonts and picas, including a rare LABONOTATION typeball used by many choreographers. /s/ Richard I had 2 printers, an Olympia 9 pin NLQ (NEAR letter Quality) that I think was about 700.00 USD and a Brother typewriter, with a conversion box. The typewriter was hardly up to the task of typing, much less a printer. I had 3 fonts! I think it is still printing the last document I sent it about 15 years ago. Mark O'Brien ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 14 Jan 2005 16:39:55 GMT Subject: Re: Kaypro Message-Id: <20050114.084048.22506.149199 [at] webmail17.lax.untd.com> I had to replace the printer I use for for my TDD machine recently, and the only kind of printer supported by my late-model high-end TDD machine was a dot matrix, so I bought a 24-pin Epson LQ-570+. It is actually faster than the color laser printer that I use for documents. /s/ Richard We had a wide-format Epson 9-pin dot matrix (I still have it... somewhere) -- Jon Ares ------------------------------ In-Reply-To: References:

Message-Id: <7002F338-664C-11D9-89A2-000D936BFA94 [at] dejazzd.com> From: Greg Bierly Subject: Re: Fake Smokes Date: Fri, 14 Jan 2005 11:50:46 -0500 > Nice bit of re-writing and didn't affect the thread of the play an > iota. But in reference to other threads. Did you get the playwrites/copywrite holders permission for the change ;-) Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <026701c4fa5a$5cf8daf0$0800000a [at] Tony> From: "Tony" References:

Subject: Re: Fake Smokes Date: Fri, 14 Jan 2005 16:59:04 -0000 ----- Original Message ----- From: "Greg Bierly" To: "Stagecraft" Sent: Friday, January 14, 2005 4:50 PM Subject: Re: Fake Smokes > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > Nice bit of re-writing and didn't affect the thread of the play an > > iota. > > But in reference to other threads. Did you get the > playwrites/copywrite holders permission for the change ;-) > > > Greg Bierly Nope - and to be absolutely honest, I very much doubt that this would really be an issue. There has to be a certain level of artistic licence exercised in the interpretation of any show/play etc, otherwise you risk stifling the versatility of the talent. Had we modified the script to the extent that the play led off in a completely different direction then yes, I suspect we'd have sought permission, but merely altering something to suit the (amateur) talent available is in my book something that's required all the time. Ynot ------------------------------ From: "Jack Morones" Subject: RE: Fake Smokes Date: Fri, 14 Jan 2005 09:12:14 -0800 Organization: Saddleback College Message-ID: <000001c4fa5c$31843660$6500a8c0 [at] SCJACKLT> In-Reply-To: Tony, There is a brand called "fake Puff Cigarettes". You blow through the cigarette and smoke puffs out of the end. Not a perfect solution, but if there is reasonable distance between the actors and the audience, they can be pretty effective. Jack R. Morones Production Manager McKinney Theatre -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Tony Sent: Friday, January 14, 2005 7:48 AM To: Stagecraft Subject: Re: Fake Smokes For info, archives & UNSUBSCRIBE, see --------------------------------------------------- > Personally, when I'm directing I eliminate smoking whenever it isn't a > crucial plot element (a clue in a murder, for instance) or > specifically mentioned in the lines ("Get me a cigarette"), and even > then it's often possible to indicate smoking artfully without anyone > actually lighting up - > have actors come on stage with a "lit" cigarette and immediately stub > it out in an ashtray, reach for a smoke and search for their matches > but get interrupted before they light the thing, etc. > > I'm a smoker, but here in Oregon it's just not worth the hassle (and > the coughing, real or not) that we get from our audiences when actors > smoke anything on stage. > > -- > Pat Kight I'm a non-smoker, and always will be, but back in my younger day, I did a couple of plays in front of the lights. In one, the script said I was supposed to smoke my last ciggy, then as a result, go out to find a shop to buy some more (but not succeed as I 'get lost' in the mist outside). I tried just once to see if I could get away with lighting the wicked weed, and puff whilst not inhaling, but got as far as the first breath and decided it was just NOT going to work. Not much point, if the mere taste of the smoke caused my throat to constrict and induce coughing fits!!! So - the gag was changed so that I opened the packet for the last one, only to find it broken in half, so didn't smoke it 'in disgust'! Nice bit of re-writing and didn't affect the thread of the play an iota. Ynot ------------------------------ Subject: RIP Bill McManus Date: Fri, 14 Jan 2005 09:15:22 -0800 Message-ID: From: "Joe Golden" I found this on a Internet discussion group.. "Bill McManus passed away last night. Those of you who do not know who he is, Bill had the lighting Contract for HBO Boxing and for Showtime Championship Boxing for many years. Bill was the man who invented TV Lighting for Boxing. Bill was the man who lit the 'Thrilla for Manila" w/ Ali. I also understand that Bill was the first touring lighting company for the "Who". Bill also had the "Kiss" account back in the 70's when they were huge. Bill was the man who employees "Jack 'Jack the Rigger' Warlitner, the first man to invert a CM Chain hoist to fly a truss." Just thought I would pass this along. Here is the link http://forums.delphiforums.com/lightnetwork/messages?msg=3D15150.1 ------------------------------ Message-ID: <41E8000B.9010402 [at] peak.org> Date: Fri, 14 Jan 2005 09:23:23 -0800 From: Pat Kight Subject: Re: Fake Smokes References:

In-Reply-To: Greg Bierly wrote: Tony hard written: > >> Nice bit of re-writing and didn't affect the thread of the play an iota. > But in reference to other threads. Did you get the playwrites/copywrite > holders permission for the change ;-) What Tony describes is changing stage business, not rewriting the script. While that's a grey area with newer plays in which the published script, directions and all, is the author's work rather than a transcript of some old prompt book, the rule of thumb Dramatists' suggests on business/directions is "does it change the playwright's intent?" In this case, the cigarette provided motivation for the character to do what he was supposed to do next, whether or not it was smoked. Now, if the playwright's direction said something like "Takes long drag on cigarette, exhales a cloud of blue smoke and falls to the ground choking and gasping for breath," you might have a problem ... (-; -- Pat Kight kightp [at] peak.org ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Shock loading (was Rigging "hollywood" flats) Date: Fri, 14 Jan 2005 10:33:15 -0500 Bill's comments on this subject are absolutely "on the money" (very well said Bill). Every flying job I do gets brand new cable. If a job is in for a long run, it typically gets replaced every 90 to 120 days - but it is inspected daily (sometimes several times a day). Just as some metal absorb shock loads better than others, the same is true with ropes. Are you using the best rope for this purpose? Bungee cords are another way to absorb shocks. HOWEVER, like rope, there are many types of bungee cords and most theatre folk don't know which are best bungee cord for theatrical use. Most poeple don't know how to properly terminate bungee cord, or even how to inspect it. We cover a lot of this in our workshops. -Delbert Delbert L. Hall 423-773-HALL (4255) > >But the real key is inspection. Constant, constant, constant vigilance is >required. Inspection before and after every performance. And a thorough >inspection it must be. Miss one tiny detail and that detail will be the >one >that bites you in the butt. And you have to be trained in what to look >for. ... ------------------------------ Message-ID: In-Reply-To: From: "Chris Summers" Subject: Re: Theatre Rentals? Date: Fri, 14 Jan 2005 12:26:22 -0500 Depends on what it is. If its something that the crew can do in 5 minutes then, no. If its something I have to get on the phone for or call in a favor, then absolutely. Or it doesn't happen. >From: CB >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Re: Theatre Rentals? >Date: Sat, 08 Jan 2005 12:49:00 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > >Here what should be in the contract other than the obvious: > > >Does that mean that the 'OBTW fee' is obvious? I'd add a sixth, that 'Oh, >By The Way' will cost an additional amount, usually twice what it would >cost if it were to have been brought up at the production meeting. >Pre-planning that will save them cash is pre-planning that they will be >eager to do. > Chris "Chris" Babbie > Location Sound > OTR > >Delete key training and post trimming done by appointment. Rates >negotiable, will trade for typing lessons/ADD treatment... _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! hthttp://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ Message-ID: In-Reply-To: From: "Chris Summers" Subject: Re: Theatre Rentals? Date: Fri, 14 Jan 2005 12:29:06 -0500 Maybe your asking the wrong question during the production meeting. >From: FrankWood95 [at] aol.com >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Re: Theatre Rentals? >Date: Sat, 8 Jan 2005 17:41:33 EST > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >In a message dated 08/01/05 20:00:19 GMT Standard Time, psyd [at] cox.net >writes: > > > Does that mean that the 'OBTW fee' is obvious? I'd add a sixth, that >'Oh, > > By The Way' will cost an additional amount, usually twice what it would > > cost if it were to have been brought up at the production meeting. > > Pre-planning that will save them cash is pre-planning that they will be > > eager to do. > >But, Chris, most of these outfits can't spell 'planning'. They do it all >off >the tops of their heads. We, who have to plan ahead, as in lighting and >sound >rigs, never get a look-in. The result is chaos, and long hours. As an LD, I >want to go into a get-in with a firm plan for the rig. OK, in my theatre I >can >shuffle lanterns around with little trouble, since it's all off bridges. >That >doesn't mean that I want to do this. It takes time and effort: I have >neither >to spare. > > >Frank Wood _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ In-Reply-To: Subject: Re: Theatre Rentals? Message-ID: From: Jeff Holt Date: Fri, 14 Jan 2005 12:36:46 -0500 From the peanut gallery...Long time lurking, then disappearing for several months (another with new baby), and now posting randomly... Additional butt coverage can be had by adding a line in the contract that states that any add'l request of materials or support that results in raising the cost by more than 10% of the total estimated has to be signed off on by the signatory on the contract. Helps when it has to go to collections... Jeff Jeffrey D. Holt Facilities and Production Manager Harold and Sylvia Greenberg Theatre American University "Chris Summers" Sent by: "Stagecraft" 01/14/2005 12:26 PM Please respond to "Stagecraft" To "Stagecraft" cc Subject Re: Theatre Rentals? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Depends on what it is. If its something that the crew can do in 5 minutes then, no. If its something I have to get on the phone for or call in a favor, then absolutely. Or it doesn't happen. >From: CB >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Re: Theatre Rentals? >Date: Sat, 08 Jan 2005 12:49:00 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > > >Here what should be in the contract other than the obvious: > > >Does that mean that the 'OBTW fee' is obvious? I'd add a sixth, that 'Oh, >By The Way' will cost an additional amount, usually twice what it would >cost if it were to have been brought up at the production meeting. >Pre-planning that will save them cash is pre-planning that they will be >eager to do. > Chris "Chris" Babbie > Location Sound > OTR > >Delete key training and post trimming done by appointment. Rates >negotiable, will trade for typing lessons/ADD treatment... _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! hthttp://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: Shock loading (was Rigging "hollywood" flats) Date: Fri, 14 Jan 2005 10:14:32 -0800 Message-ID: <006201c4fa64$e5f92300$8d90fea9 [at] DrDoomsComputer> In-Reply-To: I agree. Being a certified product analyst, I examine and test many items, and what is being said about shock loads is crucial. Good show . Dr. doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Delbert Hall Sent: Friday, January 14, 2005 7:33 AM To: Stagecraft Subject: Re: Shock loading (was Rigging "hollywood" flats) For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Bill's comments on this subject are absolutely "on the money" (very well said Bill). Every flying job I do gets brand new cable. If a job is in for a long run, it typically gets replaced every 90 to 120 days - but it is inspected daily (sometimes several times a day). Just as some metal absorb shock loads better than others, the same is true with ropes. Are you using the best rope for this purpose? Bungee cords are another way to absorb shocks. HOWEVER, like rope, there are many types of bungee cords and most theatre folk don't know which are best bungee cord for theatrical use. Most poeple don't know how to properly terminate bungee cord, or even how to inspect it. We cover a lot of this in our workshops. -Delbert Delbert L. Hall 423-773-HALL (4255) > >But the real key is inspection. Constant, constant, constant vigilance is >required. Inspection before and after every performance. And a thorough >inspection it must be. Miss one tiny detail and that detail will be the >one >that bites you in the butt. And you have to be trained in what to look >for. ... ------------------------------ From: "Dr. Randall W.A. Davidson" Subject: RE: RIP Bill McManus Date: Fri, 14 Jan 2005 10:15:23 -0800 Message-ID: <006301c4fa65$049f82e0$8d90fea9 [at] DrDoomsComputer> In-Reply-To: God Bless Bill. A good friend and someone who gave a lot to this industry. He will be missed. Doom -- Dr. Randall W.A. Davidson, Risk International & Associates, Inc. - www.riskit.com Latest workshops for Educational and Entertainment Industry Performing Arts Personnel (Riggers, and Public Assembly and Educational Technicians) www.riskit.com/workshops International Secondary Education Theater Safety Association (ISETSA) - www.isetsa.org -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Joe Golden Sent: Friday, January 14, 2005 9:15 AM To: Stagecraft Subject: RIP Bill McManus For info, archives & UNSUBSCRIBE, see --------------------------------------------------- I found this on a Internet discussion group.. "Bill McManus passed away last night. Those of you who do not know who he is, Bill had the lighting Contract for HBO Boxing and for Showtime Championship Boxing for many years. Bill was the man who invented TV Lighting for Boxing. Bill was the man who lit the 'Thrilla for Manila" w/ Ali. I also understand that Bill was the first touring lighting company for the "Who". Bill also had the "Kiss" account back in the 70's when they were huge. Bill was the man who employees "Jack 'Jack the Rigger' Warlitner, the first man to invert a CM Chain hoist to fly a truss." Just thought I would pass this along. Here is the link http://forums.delphiforums.com/lightnetwork/messages?msg=15150.1 ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Fri, 14 Jan 2005 14:18:31 EST Subject: Re: Kaypro 2 In a message dated 14/01/05 16:07:10 GMT Standard Time, jdurand [at] interstellar.com writes: > >This is at the bottom of the PC/Mac division. PCs went down the 8080 road, > >and Macs down the 6800 one. For some jobs, one is better than the other. > For > >most of us, unless you're going in at machine code level, it's irrelevant. > > Actually, the Apple ][ use the 6502, a clone of the 6800. I still have > some of the books from when I taught a 6800 real-time (industrial control) > graduate course...in the late 1970's. The Mac went down the 68000 course. > > The only 68000 experience I have is having to design a board with a 64 bit > MIPS processor using a 68000 bus talking to a PC over the PCI bus. Real > pain, figuring out which bit/byte goes where has been a constant battle. I bet it was. The 8080 and its friends have quite a few internal registers, while the 6800 architecture has hardly any, using memory locations, and very versatile addressing capabilities. Translating between the two must be hair-raising. Frank Wood ------------------------------ Message-Id: <6.2.0.14.0.20050114113120.02983228 [at] localhost> Date: Fri, 14 Jan 2005 11:37:11 -0800 From: Jerry Durand Subject: Re: Kaypro 2 In-Reply-To: References: At 11:18 AM 1/14/2005, you wrote: >I bet it was. The 8080 and its friends have quite a few internal registers, >while the 6800 architecture has hardly any, using memory locations, and very >versatile addressing capabilities. Translating between the two must be >hair-raising. Just from the hardware end (the part I play with most), the PCI bus is 32 bits, the MIPS is 64. Also, the bits and bytes are numbered in different directions (bit 0 may be the high or low bit, and the bytes themselves swap order). Then, the bridge chip attempts to "help" by wanting to swap things around for you, but it doesn't know if the particular access is to an 8, 16, 32, or 64 bit object (or group of objects, since PCI works in bursts). The programmer tells me he has to translate over 100 different types of memory accesses to the board, and every firmware change on the board moves things around. He sees job security (and insanity) in just keeping track of all of this. ---------- Jerry Durand Durand Interstellar, Inc. 219 Oak Wood Way Los Gatos, California 95032-2523 USA tel: +1 408 356-3886 fax: +1 408 356-4659 web: www.interstellar.com ------------------------------ Date: Fri, 14 Jan 2005 15:37:18 -0500 Subject: Re: RIP Bill McManus From: Bill Sapsis Message-ID: In-Reply-To: on 1/14/05 1:15 PM, Dr. Randall W.A. Davidson at doomster [at] worldnet.att.net wrote: > I found this on a Internet discussion group.. > > > "Bill McManus passed away last night. > Those of you who do not know who he is, Bill had the lighting Contract > for HBO Boxing and for Showtime Championship Boxing for many years. > Bill was the man who invented TV Lighting for Boxing. > Bill was the man who lit the 'Thrilla for Manila" w/ Ali. > I also understand that Bill was the first touring lighting company for > the "Who". Bill also had the "Kiss" account back in the 70's when they > were huge. > Bill was the man who employees "Jack 'Jack the Rigger' Warlitner, the > first man to invert a CM Chain hoist to fly a truss." > > Just thought I would pass this along. Wow. Talk about the passing of an era. I worked for Bill back in the 70's. Built 55 gallon fog machines. They're probably still floating around in the shop somewhere. He did indeed help start it all back in the 60's & 70's. "And so it goes". Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile We stand behind, and under, our work. ------------------------------ Message-ID: <20050114214526.1582.qmail [at] web14122.mail.yahoo.com> Date: Fri, 14 Jan 2005 13:45:26 -0800 (PST) From: June Abernathy Subject: Re: Quick Links Felt the need to put my .02 in here. Particularly since Frank, once again, makes clear that some nicknames do not jump the pond. What the list has been referring to as a quick link, I first learned as a "french link", but then, I learned a lot of my terminology from Circus guys that Marty Petlock threw me into contact with in Sarasota back in the day ... I was later told that this is a very old term, referring to the fact that the european acts were the first ones to introduce this little wonder to the US. Which may be complete bull#$% [at] , for all I know. A quick link is an oval with an opening on one side, half that opening threaded, and a sliding nut opposing to close it. They have to be manually closed, and like anything with a screw close, there is always the possibility that a rope or cable running through or by the nut can cause it to unscrew. More importantly, however, cheap versions of these are in every hardware store in the US, and the cheap ones just aren't meant to hold a lot of weight. They can bend and compromise the screw closure. Or, fail in any number of other ways. There are rated versions, as various folks have posted. I've seen them used in theater rigging, and they can be very handy. I know the FOY rigs we have on The Lion King use rated quick links, for instance. You have to make sure you get them from somewhere reputable, and check that they are stamped. Caribeaners - real, rated caribeaners meant for climbers, are also very useful, particularly for pieces that need to be frequently moved or adjusted. They come in steel or aluminum, in a few different shapes, with appropriate load ratings. They spring closed by themselves. Bill will probably tell you that most climbing hardware is not legally suitable for fall arrest. Fall arrest hardware has specific rules about load limits and locking. Fall arrest, and some general hanging situations, need a locking caribeaner. Fall arrest has specific rules about how it needs to lock, which is a thread for another day. There are several types of locking 'beaners. Some I've seen are: A screw lock, which works much like the above quick link; A spring collar lock, which works kind of like a pnuematic connector - except that you twist as you pull back; or A Ball release - a little ball that has to be pinched for you to release - I've generally seen these in combination with a spring collar. Many folks like the spring collar because it is passive - it closes and locks without your help. Unfortunately, much like with unrated quick links, unrated caribeaners ABOUND. Every hardware store, auto parts store, convenience store, and gift shop in America has these floating around. These are toys. They are for keys. Unfortunately, some of them resemble the real thing a little too well, and I have seen them used by stagehands for lifting things, which is a huge no-no. One of my pet peeves. Hardware stores here also usually have a big selection of other spring closing snap links - everything from the dreaded dog clip to quite heavy pear links and ovals. We often use the pear shaped links for safeties on a lamp. I believe you can get load rated versions of some of these, but I wouldn't trust any that I found at the hardware store for anything more than a lamp safety. ===== June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Do you Yahoo!? Read only the mail you want - Yahoo! Mail SpamGuard. http://promotions.yahoo.com/new_mail ------------------------------ Message-Id: In-Reply-To: References: Date: Fri, 14 Jan 2005 17:20:47 -0500 From: Steve Boone Subject: Re: Cable Rot We have some Type S (rubber) here made in the 1960s and installed by Kliegl as the pigtails in their plugging strips. It's all going through this problem now. You can tell if you've got rot by grasping a one foot length and bending it 180 degrees. If you hear and feel a sort of crackling noise when you bend it, you've got it. We also had some Type S purchased in the early 1990s that cracked all along its outer sheath. I suppose Type S just don't last. Steve Boone TD/LD & whatever Bowling Green State Univ. ------------------------------ In-Reply-To: References: Message-Id: From: Mike Voytko Subject: Re: Cable Rot? Date: Fri, 14 Jan 2005 17:50:58 -0500 In my first year here, we scrapped over 3000 feet of 12/3 cable with badly crumbling insulation and outer jackets. Nearly all of the rotted cable we found was type S and at least 30 years old; my older SO stock seems to have held up much better. Cheers, Mike V. -- Mike Voytko Lighting & Sound Supervisor TSOA Theatrical Production New York University ------------------------------ In-Reply-To: References: Message-Id: From: Richard Wright Subject: Re: Quick Links Date: Fri, 14 Jan 2005 14:59:26 -0800 As a novice in stagecraft I am not entirely sure what is meant by load rated. I have a 1/4" National quick link here that has a tag saying, Zinc plated SWL 880 lb."Do not use for overhead lifting of a load, support of human weight, athletic or playground equipment. National is in IL but the link is stamped "Made in China 880 lbs." Is this "load rated"? (I bought it for tire chains.) Good point about dog snaps. And would add any animals snap. I do some wrangling with horses, mules and a camel (not on stage), though they have been. Last summer we bought some nice new cotton lead ropes with good-looking brass snaps at our favorite harness shop. We got into a bit of a wreck a little later and just when we needed it most the new snap broke at the swivel with one good tug of the mules head. On closer inspection the swivel was not nearly as broad or robust as what we normally bought. We should have (and now do) looked much closer. It was fine for a dog, maybe, but certainly not a 1000# mule or 1600# camel. However, I have never seen them load rated, unfortunately. Richard Wright Newman & Wright Theatre Company Williams Lake and Barkerville, B.C. On 14-Jan-05, at 1:45 PM, June Abernathy wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Felt the need to put my .02 in here. Particularly > since Frank, once again, makes clear that some > nicknames do not jump the pond. > > What the list has been referring to as a quick link, I > first learned as a "french link", but then, I learned > a lot of my terminology from Circus guys that Marty > Petlock threw me into contact with in Sarasota back in > the day ... I was later told that this is a very old > term, referring to the fact that the european acts > were the first ones to introduce this little wonder to > the US. Which may be complete bull#$% [at] , for all I > know. > > A quick link is an oval with an opening on one side, > half that opening threaded, and a sliding nut opposing > to close it. They have to be manually closed, and like > anything with a screw close, there is always the > possibility that a rope or cable running through or by > the nut can cause it to unscrew. More importantly, > however, cheap versions of these are in every hardware > store in the US, and the cheap ones just aren't meant > to hold a lot of weight. They can bend and compromise > the screw closure. Or, fail in any number of other > ways. > > There are rated versions, as various folks have > posted. I've seen them used in theater rigging, and > they can be very handy. I know the FOY rigs we have on > The Lion King use rated quick links, for instance. You > have to make sure you get them from somewhere > reputable, and check that they are stamped. > > Caribeaners - real, rated caribeaners meant for > climbers, are also very useful, particularly for > pieces that need to be frequently moved or adjusted. > They come in steel or aluminum, in a few different > shapes, with appropriate load ratings. They spring > closed by themselves. Bill will probably tell you that > most climbing hardware is not legally suitable for > fall arrest. Fall arrest hardware has specific rules > about load limits and locking. > > Fall arrest, and some general hanging situations, need > a locking caribeaner. Fall arrest has specific rules > about how it needs to lock, which is a thread for > another day. There are several types of locking > 'beaners. Some I've seen are: A screw lock, which > works much like the above quick link; A spring collar > lock, which works kind of like a pnuematic connector - > except that you twist as you pull back; or A Ball > release - a little ball that has to be pinched for you > to release - I've generally seen these in combination > with a spring collar. Many folks like the spring > collar because it is passive - it closes and locks > without your help. > > Unfortunately, much like with unrated quick links, > unrated caribeaners ABOUND. Every hardware store, auto > parts store, convenience store, and gift shop in > America has these floating around. These are toys. > They are for keys. Unfortunately, some of them > resemble the real thing a little too well, and I have > seen them used by stagehands for lifting things, which > is a huge no-no. One of my pet peeves. > > Hardware stores here also usually have a big selection > of other spring closing snap links - everything from > the dreaded dog clip to quite heavy pear links and > ovals. We often use the pear shaped links for safeties > on a lamp. I believe you can get load rated versions > of some of these, but I wouldn't trust any that I > found at the hardware store for anything more than a > lamp safety. > > > > > > ===== > June Abernathy > IATSE #321 (Tampa, FL) > FOH Electrician > The Lion King National Tour (Gazelle) > > > > __________________________________ > Do you Yahoo!? > Read only the mail you want - Yahoo! Mail SpamGuard. > http://promotions.yahoo.com/new_mail > ------------------------------ Message-Id: From: Richard Wright Subject: Stage Manager interviews Date: Fri, 14 Jan 2005 14:59:37 -0800 In a month I will be holding interviews for two summer non-Equity stage managers. Each of these SMs will manage two shows. Last summer I hired two and we had some problems, likely due to my novice SM-hiring skills and expectations. This job is in a remote location and lasts 4 months. (If you are able to work in Canada and interested pls respond off the list.) This list has helped a lot but does anyone want to give me 10 questions I should be asking in an interview? I have already thought of the rope/knot thread and the # of knots one might need. ;-)) Richard Wright Newman & Wright Theatre Company Williams Lake and Barkerville, B.C. ------------------------------ Message-Id: <200501142348.j0ENmKi18787 [at] viper.oldcity.dca.net> Date: Fri, 14 Jan 2005 18:48:20 -0500 Subject: Re: Cable Rot? From: "Daniel J. Kelly" In-Reply-To: Well.. my girlfriend is a redhead, and while I've never actually dismantled her, I'm fairly sure that her typical internal operating temperature is far less than 200 degrees C. It's closer to 36 degrees C (97F) or thereabouts. > I remember dismantling a Redhead, to find the ground wire green. Not the > sleeve, the actual copper wire corroded to a solid green. The temperature > inside a Redhead is about 200C, and the wire wasn't rated for that use. But > the crimped terminations were OK, and the functionality was perfect. Yes, I > replaced it with rated wire, but it would have passed its electrical test. > But the first thing you do is a visual inspection. That caught it. > > > Frank Wood -- Daniel J. Kelly ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Quick Links Date: Fri, 14 Jan 2005 23:05:19 -0500 Bill will probably say (and correctly so) that caribiners that are meant for climbers are NOT rated for industrial use of any fashion. There are steel caribiners that are rated for industrial use. Know which is which. Delbert L. Hall 423-773-HALL (4255) >Caribeaners - real, rated caribeaners meant for >climbers, are also very useful, particularly for >pieces that need to be frequently moved or adjusted. >They come in steel or aluminum, in a few different >shapes, with appropriate load ratings. They spring >closed by themselves. Bill will probably tell you that >most climbing hardware is not legally suitable for >fall arrest. Fall arrest hardware has specific rules >about load limits and locking. ------------------------------ Message-Id: <6.2.0.14.2.20050114233526.02baffd0 [at] mail.hstech.org> Date: Fri, 14 Jan 2005 23:36:21 -0500 From: "Scott C. Parker" Subject: USITT: NY Area Section Networking Party In-Reply-To: References:

Come one, come all. I am happy to announce that the New York Area Section of USITT will be having a networking party on February 7 at 5:30 p.m. The kind folks of the Entertainment Technology Dept. at the New York City College of Technology are graciously allowing us to use their theater for our next get-together. Directions to their space at 186 Jay Street in Brooklyn can be found in the PDF at: http://www.usittny.org/Directions186JayStreet.pdf We hope you'll bring your friends and colleagues to this party. Be they members or nonmembers, all are welcome. We will be, of course, encouraging nonmembers to join. Bring your portfolio, either on paper or CD Rom, business cards, favorite model, brochures and such. Tables will be available to setup your portfolios/models for all to see. A video projector and Windows computer will be setup to view CDRom presentations. The computer lab has Vectorworks for those of you that wish to show some drafting work. Students are especially encouraged to bring portfolio work in progress. I have already spoken with a few of my colleagues and we will be more than happy to give constructive comments about your presentation. So that we may figure out refreshments and what kind of equipment we need to set up for your portfolios please RSVP to: rsvp [at] usittny.org and tell me what you might be bringing. We hope to see you there, Scott Scott C. Parker Vice Chair NY Area Section of The United States Institute of Theatre Technology www.usittny.org scott [at] usittny.org 718-757-6661 Professor/Technical Director Dept. of Performing Arts Office: 41 Park Row, 1205F Dyson College of Arts and Sciences [at] Pace University 1 Pace Plaza New York, NY 10038 212-346-1423 Fax: 212-346-1681 Scott C. Parker ------------------------------ End of Stagecraft Digest #260 *****************************