Return-Path: X-Processed-By: Virex 7 on prxy.net X-Real-To: stagecraftlist [at] theatrical.net Received: by prxy.net (CommuniGate Pro PIPE 4.2.10) with PIPE id 21395620; Sat, 26 Mar 2005 03:01:37 -0800 X-ListServer: CommuniGate Pro LIST 4.2.10 List-Unsubscribe: List-ID: Message-ID: From: "Stagecraft" Sender: "Stagecraft" To: "Stagecraft" Precedence: list Subject: Stagecraft Digest #343 Date: Sat, 26 Mar 2005 03:01:13 -0800 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline X-Spam-Checker-Version: SpamAssassin 3.0.2 (2004-11-16) on prxy.net X-Spam-Status: No, score=-5.6 required=5.0 tests=ALL_TRUSTED,AWL,BAYES_00 autolearn=ham version=3.0.2 X-Spam-Level: X-TFF-CGPSA-Version: 1.4f2 X-prxy-Spam-Filter: Scanned For info, archives & UNSUBSCRIBE, see --------------------------------------------------- Stagecraft Digest, Issue #343 1. Live Sound Effect by "Paul Guncheon" 2. Re: Live Sound Effect by Boyd Ostroff 3. Re: Live Sound Effect by Bruce Purdy 4. Hello?????? by Bruce Purdy 5. Re: Somewhat delicate reference question by "Fitch, Tracy" 6. Straight Jackets needed by Tom Grabowski 7. Re: Hello?????? by Bruce Purdy 8. Re: Straight Jackets needed by Steve Larson 9. Re: Hello?????? by Boyd Ostroff 10. Re: Somewhat delicate reference question by "Delbert Hall" 11. Re: Hello?????? by "Jon Ares" 12. Re: Somewhat delicate reference question by "ladesigners [at] juno.com" 13. Re: Somewhat delicate reference question by "Jeremiah Minh Greenblatt" 14. Re: drafting standards? by Mitch Hefter 15. Re: Somewhat delicate reference question by Pat Kight 16. Re: Somewhat delicate reference question by "Jeffrey E. Salzberg" 17. Re: Somewhat delicate reference question by Mike Brubaker 18. Re: Somewhat delicate reference question by "Jeffrey E. Salzberg" 19. Re: Lifting pianos revisited by Marty_Petlock [at] sarasotagov.com 20. Re: Somewhat delicate reference question by Pat Kight 21. Re: Somewhat delicate reference question by "Jeremiah Minh Greenblatt" 22. Re: Somewhat delicate reference question by "ladesigners [at] juno.com" 23. Re: Live Sound Effect by FrankWood95 [at] aol.com 24. Re: Somewhat delicate reference question by FrankWood95 [at] aol.com 25. Re: Somewhat delicate reference question by FrankWood95 [at] aol.com 26. Re: Somewhat delicate reference question by FrankWood95 [at] aol.com 27. Re: Hello?????? by "Klyph Stanford" 28. Re: Somewhat delicate reference question by "Paul Schreiner" 29. Re: Somewhat delicate reference question by Charlie Richmond 30. Re: Straight Jackets needed by "Laurie Swigart" 31. Re: Hello?????? by "Andy Leviss" 32. Re: Hello?????? by "Flowers, Curt" 33. Re: Is there a list problem or is it a people problem? by CB 34. Re: Lifting pianos revisited by Greg Bierly 35. Re: ETCP Handbook by June Abernathy 36. Re: Somewhat delicate reference question by Brian Munroe 37. Re: Is there a list problem or is it a people problem? by "Paul Schreiner" 38. Speaking of Genies by "Waxler, Steve (waxlers)" 39. Re: Speaking of Genies by "Paul Schreiner" 40. Projector Issues by "Warmbold, Bo" 41. A/C Power Cable by "Warmbold, Bo" 42. Re: Speaking of Genies by FrankWood95 [at] aol.com 43. Re: Projector Issues by Boyd Ostroff 44. Re: Speaking of Genies by FrankWood95 [at] aol.com 45. Re: Speaking of Genies by Mike Brubaker 46. Re: Speaking of Genies by Dale Farmer 47. Re: A/C Power Cable by Dale Farmer 48. Re: A/C Power Cable by Eddie Kramer 49. Re: Speaking of Genies by "Paul Schreiner" 50. Re: Projector Issues by Stephen Litterst 51. Re: A/C Power Cable by "Paul Schreiner" 52. Re: A/C Power Cable by Stephen Litterst 53. Re: Speaking of Genies by Stephen Litterst 54. Re: A/C Power Cable by "Steve B." 55. Re: Speaking of Genies by Mike Brubaker 56. Re: Speaking of Genies by David Marks 57. Re: Somewhat delicate reference question by Noah Price 58. Re: ETCP Handbook by "Occy" 59. Re: A/C Power Cable by Eddie Kramer 60. panel discussion by "Don Taco" 61. Re: A/C Power Cable by Stuart Wheaton 62. Re: panel discussion by Bill Sapsis 63. Re: A/C Power Cable by Eddie Kramer 64. Re: panel discussion by Eddie Kramer 65. Re: Is there a list problem or is it a people problem? by Noah Price 66. Re: Laptop Battery (OT) by Jerry Durand *** 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, 25 Mar 2005 04:59:26 -1000 From: "Paul Guncheon" Subject: Live Sound Effect Message-id: <005601c5314b$3e6ebc80$0202a8c0 [at] yourxhtr8hvc4p> References: A friend of mine asked this on a local theatre mailing list: <> Any suggestions? Laters, Paul "Okay, I'll check over your test paper again" Tom remarked. ------------------------------ Date: Fri, 25 Mar 2005 10:12:40 -0500 (EST) From: Boyd Ostroff Subject: Re: Live Sound Effect In-Reply-To: Message-ID: References:

How about a laptop with some Midi software? GarageBand has a "twang kit" in the software instruments. Playing around with the settings might do what you want. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Date: Fri, 25 Mar 2005 10:16:29 -0500 Subject: Re: Live Sound Effect From: Bruce Purdy Message-ID: In-Reply-To: > < sound like the "twang" of a tightly-pulled bow. Does such an instrument > exist, and if so, how can I get my hands on it? >> How about a tightly pulled bow? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Fri, 25 Mar 2005 10:41:03 -0500 Subject: Hello?????? From: Bruce Purdy Message-ID: A couple of days ago Tom Craven said that he hadn't received the Ring2100 messages. I wrote him back off line to say that I got his message just fine, along with the rest of the digest. Since then - for the last couple of days - I have not received anything from the ring. I just checked the website, and there are new messages, but I never received them via Email. What's going on?? Bruce -- Bruce Purdy Cayuga NY USA bpurdy [at] rochester.rr.com ------------------------------ Subject: RE: Somewhat delicate reference question Date: Fri, 25 Mar 2005 11:16:08 -0500 Message-ID: From: "Fitch, Tracy" Many state universities have a policy similar to the one Dave Marks describes. I know we do. --Tracy Fitch TD, UNC Charlotte LD, Everywhere Else > Richard: I am so pleased that you are around to aid us. Thank you. Doom > From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of > ladesigners [at] juno.com > THIS NOT TRUE! Anyone can contact anyone for any reason, or for no reason, > unless there is a properly served restraining order in place, or unless > they > are listed on some official 'Do Not Call' list. > /s/ Richard >=20 > In the United States, employers are only allowed to contact references > that are listed by the job candidate. If the job candidate doesn't list a > former employer, they can't be contacted. Is this clear? > Dave Marks >=20 ------------------------------ From: Tom Grabowski Reply-To: tomgrab [at] utpa.edu Subject: Straight Jackets needed Date: Fri, 25 Mar 2005 10:17:29 -0600 Organization: UTPA Message-ID: <20050325101729921.00000003280 [at] TGRABOWSKI> The is being posted at the request of our costume designer at UTPA. We ha= ve a production of _One Flew Over the Cuckoo's Nest_ coming up and we are i= n need of 2 straight jackets for actors who are 6'4" and size 54. If you h= ave any leads or sources, please let me know. Also for the same production, I am looking for more ideas on how to handle= the explosion/SFX for the end of the show as the Indian rips out the elect= rical panel. It is in an upstage position but we are in a thrust theatre a= nd it is about 15' from the closest audience seating. Thanks. = *** Tom Grabowski University of Texas-Pan American Designer/Technical Director Communication Department Tomgrab [at] UTPA.edu Edinburg, Texas 78541 956/381-3588 FAX 956/318-2187 ------------------------------ Date: Fri, 25 Mar 2005 11:24:50 -0500 Subject: Re: Hello?????? From: Bruce Purdy Message-ID: In-Reply-To: OOPS!!! Sorry! I accidentally sent that message to the wrong list! Please disregard it. Ever had one of those days? Bruce -- Bruce Purdy Technical Director Smith Opera House ------------------------------ Date: Fri, 25 Mar 2005 11:29:39 -0500 Subject: Re: Straight Jackets needed From: Steve Larson Message-ID: In-Reply-To: We presented an updated version of Hamlet and used a straight jacket on Ophelia. The local mental hospital told us they didn't have any as they were illegal to use in NC in hospitals. We found one at a local costume rental house. They only had one. My suggestion, build it, it is not a hard piece of costume to construct. A canvas shirt with long arms and leather straps and buckles. For the SFX, I contacted a local special effects film expert in New Orleans when I did the show there. They provided me with squibs and training on how to use them. It was extremely spectacular and very safe. We actually didn't tell the director that we had rigged the effect prior to it's first use. The cast and crew were briefed. Needless to say, she was quite surprised when it happened. Lots of sparks, simulated arcing, plus an added sound effect to heighten the moment. Can't give you any details, it's been almost 15 years ago. Be safe, think it out, and work with the actor several times until he feels comfortable doing it. Steve > From: Tom Grabowski > Organization: UTPA > Reply-To: "Stagecraft" > Date: Fri, 25 Mar 2005 10:17:29 -0600 > To: "Stagecraft" > Subject: Straight Jackets needed > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > The is being posted at the request of our costume designer at UTPA. We have a > production of _One Flew Over the Cuckoo's Nest_ coming up and we are in need > of 2 straight jackets for actors who are 6'4" and size 54. If you have any > leads or sources, please let me know. > Also for the same production, I am looking for more ideas on how to handle the > explosion/SFX for the end of the show as the Indian rips out the electrical > panel. It is in an upstage position but we are in a thrust theatre and it is > about 15' from the closest audience seating. Thanks. ------------------------------ Date: Fri, 25 Mar 2005 11:31:33 -0500 (EST) From: Boyd Ostroff Subject: Re: Hello?????? In-Reply-To: Message-ID: References: On Fri, 25 Mar 2005, Bruce Purdy wrote: > A couple of days ago Tom Craven said that he hadn't received the Ring2100 > messages. Forgive my ignorance, but WTF is a "Ring2100 message"? | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ Message-ID: In-Reply-To: From: "Delbert Hall" Subject: Re: Somewhat delicate reference question Date: Fri, 25 Mar 2005 11:35:35 -0500 If I knew that a candidate has not listed a particular employor as a reference, I would ask the candidate for permission to contact this employor. If the candidate refuses to give me permission, I would assume that the candidate is hiding something and move him/her to bottom of my consideration list. If asked about this, I would state that I felt that this candidate did not meet our needs as well as other candidates. -Delbert Delbert L. Hall 423-773-HALL (4255) > > > > In the United States, employers are only allowed to contact references > > that are listed by the job candidate. If the job candidate doesn't >list a > > former employer, they can't be contacted. Is this clear? > > Dave Marks > > > ------------------------------ Message-ID: <000901c53159$723910c0$0600000a [at] BRUTUS> From: "Jon Ares" References:

Subject: Re: Hello?????? Date: Fri, 25 Mar 2005 08:41:08 -0800 >> A couple of days ago Tom Craven said that he hadn't received the Ring2100 >> messages. > > Forgive my ignorance, but WTF is a "Ring2100 message"? > I'm not sure, but I just heard that the ring is back at the bottom of the Rhine. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 25 Mar 2005 16:40:39 GMT Subject: Re: Somewhat delicate reference question Message-Id: <20050325.084131.25356.64845 [at] webmail06.lax.untd.com> You are talking of the policy of individual institutions, not LAW. /s/ Richard ------------------------------------------- Many state universities have a policy similar to the one Dave Marks describes. I know we do. ------------------------------ From: "Jeremiah Minh Greenblatt" Subject: RE: Somewhat delicate reference question Date: Fri, 25 Mar 2005 11:46:32 -0500 Message-ID: <000501c5315a$368216c0$0300a8c0 [at] Roadbox> In-Reply-To: "If I knew that a candidate has not listed a particular employor as a reference, I would ask the candidate for permission to contact this employor. If the candidate refuses to give me permission, I would assume that the candidate is hiding something and move him/her to bottom of my consideration list. If asked about this, I would state that I felt that this candidate did not meet our needs as well as other candidates." This is my thinking exactly, which is why I asked for advice on framing the subsequent conversation honestly but positively. I do not want to walk around town trashing my former employer to prospective employers (well, I would love to do that on an emotional level but believe it to be unprofessional and unproductive behavior). I greatly appreciate all the advice the list has generated so far, many of the strategies described are sure to prove useful. Thanks again. - J.Minh ------------------------------ Message-Id: <6.1.0.6.2.20050325105340.02cde5b0 [at] mail.DesignRelief.com> Date: Fri, 25 Mar 2005 10:53:43 -0600 From: Mitch Hefter Subject: Re: drafting standards? On 3/24/2005, Alex M. Postpischil wrote: >I'm really just curious about drafting standards (symbols, line weights, >etc) - whether there are any, whether we need any, what other people do, >etc. Brian Munroe wrote: >There is a usitt graphic standard for drafting, available as a pdf at >http://www.usitt.org/pubs.avail/Graphic.Standards.1992.pdf The 3rd Public Review of USITT RP-2, Recommended Practice for Theatrical Lighting Design Graphics closed closed November 30, 2004. A 4th Public Review is expected later this spring. Stay tuned. . . . ------------------------------------------------------------------ Mitch Hefter heftermk [at] DesignRelief.com USITT Standards Committee Office: Entertainment Technology / a Division of the Genlyte Group mhefter [at] genlyte.com ------------------------------ Message-ID: <424442C9.6000008 [at] peak.org> Date: Fri, 25 Mar 2005 08:56:41 -0800 From: Pat Kight Subject: Re: Somewhat delicate reference question References: In-Reply-To: Fitch, Tracy wrote: > Many state universities have a policy similar to the one Dave Marks > describes. I know we do. Individual employers can have any policy they like (as long as it doesn't break the law), but to say this is the case everywhere in the US is vastly, vastly overstating things. Anyone with a problematic work history who thinks they can conceal it by not listing the employer in question among their references is likely to get an unpleasant surprise. In fact, recent revelations about people claiming credentials they don't have, or getting jobs working with kids when they have a criminal background involving sexual predation, are leading many employers to be far more extensive with their background checks than they used to. -- Pat Kight kightp [at] peak.org ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Somewhat delicate reference question Date: Fri, 25 Mar 2005 12:01:42 -0500 Message-ID: <008a01c5315c$55b33f90$6501a8c0 [at] Dell> In-Reply-To: > Anyone with a problematic work > history who thinks they can conceal it by not listing the employer in > question among their references is likely to get an > unpleasant surprise. In Jeremiah's case, however, one bad reference does not necessarily indeicate a problematic history. Jeremiah, the suggestion of having a friend make a blind request for a reference is, I think, a valid one; it'll give you the information you need in order to decide how to proceed. ------------------------------ Message-Id: <6.2.0.14.0.20050325120328.01e49d00 [at] mail.insightbb.com> Date: Fri, 25 Mar 2005 12:11:36 -0500 From: Mike Brubaker Subject: Re: Somewhat delicate reference question In-Reply-To: References:

In light of those policies, where do employers turn for information on a potential employee's job performance? Especially smaller employers. Larger ones may be able to do some thorough (and expensive, presumably) background investigation, psychological testing, etc. After all, "John Doe was employed here from January 1998 to March 2005" does not do much except provide basic verification of the resume. In a related vein, I have a good friend that is job searching while still employed. Her concern is how to explain why she doesn't want a prospective employer to contact her current one and what impact that will have on the hiring decision (the reason is that if things don't work out with the new employer, she still has to keep working at her current one, hence the desire to keep her search private). Any thoughts? Do references, where the previous employer gives only "he/she was employed here" information, actually do any good? What's the point of offering them? Mike At 11:56 AM 3/25/2005, Pat Kight wrote: >Individual employers can have any policy they like (as long as it doesn't >break the law), but to say this is the case everywhere in ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: Somewhat delicate reference question Date: Fri, 25 Mar 2005 12:20:17 -0500 Message-ID: <009301c5315e$ed71c430$6501a8c0 [at] Dell> In-Reply-To: > Do references, where the previous employer gives only "he/she > was employed > here" information, actually do any good? What's the point of > offering them? Many employers, while not going into any detail, will answer the question, "Would you hire this person again?" ------------------------------ Subject: Re: Lifting pianos revisited Message-ID: From: Marty_Petlock [at] sarasotagov.com Date: Fri, 25 Mar 2005 12:26:19 -0500 OK I know this is a cop-out but............................... I have a wonderful show for tonight's Jazz Festival: Dick Hyman's Piano Explosion which requires four 9' grand pianos, two Downstage and two Upstage on 2'-0" high risers. Knowing this was coming I followed that thread last January very closely and was prepared to hire professional piano movers to flip them on their sides and help roll them up my 16' loading ramp. Now the cop-out is the way I bring the instruments up from lower level storage is to roll them onto an hydraulic lift that goes from lowest level (seat wagon & piano storage), through orchestra pit level & auditorium floor level up to stage level as a 12'-0" deep X 24'-0" wide apron. Also, I have 8 hefty 8" casters that slot into my riser legs. We use these to build rolling drum risers for concerts when we can't get two different bands to play nicely together and have an intermission change over. The risers are 4' X 8' decks that coffin latch together, legs are plug-ins at 8" increments. What ever inventive Local 412 figured out was to bring the pianos to stage level, build an 8' X 8' rolling riser 24" high (16" leg + 8" wheel) roll that onto the pit lift, lower the pit lift until flush with the stage then roll the pianos (one at a time) onto the lift, take the lift back up to stage level then roll that contraption up to the 2'-0" riser and bingo it's a beautiful thing. The pianos even stayed in tune - almost. Anyway, It's a great use of existing equipment if you're lucky enough to have a stage lift. Marty Petlock Technical Facilities Manager Van Wezel P.A.H. Sarasota, FL. ********** E-mail messages sent or received by City of Sarasota officials and employees in connection with official City business are public records subject to disclosure under the Florida Public Records Act. ********** ------------------------------ Message-ID: <42444B59.5020703 [at] peak.org> Date: Fri, 25 Mar 2005 09:33:13 -0800 From: Pat Kight Subject: Re: Somewhat delicate reference question References:

In-Reply-To: Mike Brubaker wrote: > In light of those policies, where do employers turn for information on a > potential employee's job performance? Especially smaller employers. > Larger ones may be able to do some thorough (and expensive, presumably) > background investigation, psychological testing, etc. After all, "John > Doe was employed here from January 1998 to March 2005" does not do much > except provide basic verification of the resume. Yep, it's a problem. I've served on several search committees here, and we've run up against it (even though we're not a small employer, we don't have the resources to hire people to do background checks for us). > In a related vein, I have a good friend that is job searching while > still employed. Her concern is how to explain why she doesn't want a > prospective employer to contact her current one and what impact that > will have on the hiring decision (the reason is that if things don't > work out with the new employer, she still has to keep working at her > current one, hence the desire to keep her search private). Any thoughts? I've been there and done that, and have always found prospective employers more than cooperative to an honest statement of fact: "I'm interested in your position, but I haven't told my current employer I'm looking yet." And then I try to give them a reference to someone who knows my work but is not in the chain of command above me. > Do references, where the previous employer gives only "he/she was > employed here" information, actually do any good? What's the point of > offering them? Personally, I try to maintain a solid list of 3-4 people who know my work and are willing to provide detailed references if asked. They don't have to be your employer; a respected colleague will do. And I wait to offer them until I'm asked. Many search committees don't want to see references until they've already whittled the pile down to some semi-finalists. -- Pat Kight kightp [at] peak.org ------------------------------ From: "Jeremiah Minh Greenblatt" Cc: stagecraft [at] jeffsalzberg.com Subject: RE: Somewhat delicate reference question Date: Fri, 25 Mar 2005 12:38:45 -0500 Message-ID: <000a01c53161$81ba34e0$0300a8c0 [at] Roadbox> In-Reply-To: "the suggestion of having a friend make a blind request for a reference is, I think, a valid one; it'll give you the information you need in order to decide how to proceed." Point well taken, this process is in the works. - J.Minh ------------------------------ From: "ladesigners [at] juno.com" Date: Fri, 25 Mar 2005 18:15:52 GMT Subject: Re: Somewhat delicate reference question Message-Id: <20050325.101641.12622.66566 [at] webmail24.lax.untd.com> Because it is the only thing that they CAN offer without substantial risk. Lawsuits for Wrongful Retention are increasing exponentially, and may at one point be almost as common as lawsuits for Wrongful Termination. Both are very often tied to Sexual Harassment and/or Reasonable Accommodation {ADA} claims. Many times, the prospective employer doesn't REALLY want to know, or incur liability by knowing, that the applicant was fired for copying trade secrets or other legally protected material that the new employer is acquiring by hiring a particular person. There could also be a 'gag order' that the parties agreed to while negotiating for an early termination of an employment contract. Some employers want to 'Pass the Trash' by not warning a competitor of a former employee's proclivities. Other times, the termination was the result of the settlement of a dismissed Sexual Harassment claim. The former employer could also be risk-adverse to the possibility of being sued for Interference With Contract- or Interference With Prospective Advantage- type lawsuits. /s/ Richard > Do references, where the previous employer gives only "he/she was > employed here" information, actually do any good? What's the point of offering them? ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Fri, 25 Mar 2005 13:28:25 EST Subject: Re: Live Sound Effect In a message dated 25/03/05 15:00:23 GMT Standard Time, paul.guncheon [at] verizon.net writes: > < sound like the "twang" of a tightly-pulled bow. Does such an instrument > exist, and if so, how can I get my hands on it? >> > > Any suggestions? I think it can be done with a musical saw. You take an ordinary 3' handsaw, grip the handle between your knees, and bend the blade into an S-shape with one hand. After that, you're on your own. I imagine that striking it with a soft-headed drumstick might work. Varying the curvature changes the pitch. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <8e.23f6a931.2f75b3ca [at] aol.com> Date: Fri, 25 Mar 2005 13:34:50 EST Subject: Re: Somewhat delicate reference question In a message dated 25/03/05 16:36:20 GMT Standard Time, flyingfx [at] hotmail.com writes: > If I knew that a candidate has not listed a particular employor as a > reference, I would ask the candidate for permission to contact this > employor. If the candidate refuses to give me permission, I would assume > that the candidate is hiding something and move him/her to bottom of my > consideration list. If asked about this, I would state that I felt that > this candidate did not meet our needs as well as other candidates. I agree with Delbert. Not wanting a particular employer contacted sounds suspicious. It suggests that the candidate knows that there will be a bad reference forthcoming. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <9d.5c639173.2f75b700 [at] aol.com> Date: Fri, 25 Mar 2005 13:48:32 EST Subject: Re: Somewhat delicate reference question In a message dated 25/03/05 17:12:43 GMT Standard Time, mdbrubaker [at] insightbb.com writes: > In a related vein, I have a good friend that is job searching while still > employed. Her concern is how to explain why she doesn't want a prospective > employer to contact her current one and what impact that will have on the > hiring decision (the reason is that if things don't work out with the new > employer, she still has to keep working at her current one, hence the > desire to keep her search private). Any thoughts? Accepting another job, while still holding one down, can make things difficult. There are questions of contractual notice to be considered, and this can lead to delay in taking up the new post. Also, you may have sensitive information which your present employer may not want to be available to a competitor. Putting out feelers, and talking to prospective employers does no harm. But, don't believe everything they say. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <9.40b1d225.2f75b937 [at] aol.com> Date: Fri, 25 Mar 2005 13:57:59 EST Subject: Re: Somewhat delicate reference question In a message dated 25/03/05 18:19:28 GMT Standard Time, ladesigners [at] juno.com writes: > Because it is the only thing that they CAN offer without substantial risk. > Lawsuits for Wrongful Retention are increasing exponentially, and may at one > point be almost as common as lawsuits for Wrongful Termination. Both are very > often tied to Sexual Harassment and/or Reasonable Accommodation {ADA} claims. > Many times, the prospective employer doesn't REALLY want to know, or incur > liability by knowing, that the applicant was fired for copying trade secrets > or other legally protected material that the new employer is acquiring by > hiring a particular person. There could also be a 'gag order' that the > parties agreed to while negotiating for an early termination of an employment > contract. Some employers want to 'Pass the Trash' by not warning a competitor > of a former employee's proclivities. Other times, the termination was the > result of the settlement of a dismissed Sexual Harassment claim. The former > employer could also be risk-adverse to the possibility of being sued for > Interference With Contract- or Interference With Prospective Advantage- type > lawsuits. There is also the 'suspiciously good reference' technique. With care, it is possible to write a glowing reference, but if you know the codes, it can mean "Don't hire this guy at any price". Frank Wood ------------------------------ From: "Klyph Stanford" Subject: RE: Hello?????? Date: Fri, 25 Mar 2005 14:02:25 -0500 In-Reply-To: Message-Id: <20050325185636.D1D5F99D7 [at] mailrelay.t-mobile.com> No, it went with Frodo to Mount Doom. Klyph Stanford 336.575.7235 "Let's go get drunk on the light once more." Georges Seurat -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Jon Ares Sent: Friday, March 25, 2005 11:41 AM To: Stagecraft Subject: Re: Hello?????? For info, archives & UNSUBSCRIBE, see --------------------------------------------------- >> A couple of days ago Tom Craven said that he hadn't received the Ring2100 >> messages. > > Forgive my ignorance, but WTF is a "Ring2100 message"? > I'm not sure, but I just heard that the ring is back at the bottom of the Rhine. -- Jon Ares Program Director, West Linn HS Theatre Arts www.hevanet.com/acreative www.wlhstheatre.org ------------------------------ Subject: RE: Somewhat delicate reference question Date: Fri, 25 Mar 2005 14:05:40 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C783 [at] exchange.rmwc.edu> From: "Paul Schreiner" Cc: stagecraft [at] jeffsalzberg.com In my experience, it would be I think unrealistic for any potential employer to expect glowing recommendations from every past employee. There's too much room for personality conflicts, things just not "working out", and so forth that, while they may preclude a past employer from giving someone a good reference, don't necessarily mean that the potential employee is a problem waiting to happen. My suggestion to Jeremiah is just to be forthcoming and honest about things, while remaining tactful. A well-phrased answer of "I spent x years with so-and-so, but--while I enjoyed the work--it just wasn't the right situation for me, and the parting was less than amicable. Because of that, I am not comfortable with asking for a reference from this person..." might work just fine for you. I'd rather have a prospective employee who was honest about things like this than I would someone who tried to hide the bruises... FWIW, there's also the fact that a lot of times people go job-hunting while still currently employed, and they don't want their current employers getting wind of the fact. Plenty of job applications I've filled out in the past have included a box to check if you don't want them contacting your current employer... ------------------------------ Date: Fri, 25 Mar 2005 19:26:06 +0000 (GMT) From: Charlie Richmond Subject: Re: Somewhat delicate reference question In-Reply-To: Message-ID: References: On Fri, 25 Mar 2005, Paul Schreiner wrote: > In my experience, it would be I think unrealistic for any potential > employer to expect glowing recommendations from every past employee. How true. One experience I had as an employer went like this: The applicant interviewed extremely well and provided only one job reference (his latest where he had been for about 3 years). I was really interested in him and called the reference who told me, in essence, that he was terrible and they would never hire him back again and they could never recommend him. I smelled a rat and called the applicant back, telling him what his one reference had said. He was absolutely stunned to hear this since they told him they would be pleased to provide a reference and he was under the impression he had been laid off due to lack of work only. He then provided several other references from other jobs in distant cities which he had before and I phoned them. These were with highly reputable companies and they essentially said he was one of the best and hard working employees they had ever had and they would hire him again in an instant. Needless to say, I hired him and he worked for us for 10 years or so. It quickly became evident that he worked will in certain situations where he was given extremely explicit instructions and procedures and was allowed to work on his own without interruption. Needless to say, this was exactly what his previous employer had not provided, expecting him to be a creative, self-starter type of person (which he never presented himself as being nor was I looking for that). When he moved on, he provided us as a reference because he knew we would be completely honest and accurate about what his attributes as an employee were. The first company who wanted someone who worked like he did and was willing to let him work independently (NOT as a 'Team Player' since I made it clear this was not his strong point) hired him successfully and they were then BOTH happy. But not every person is meant to work in every position that seems superficially to be a good match. This has been an interesting thread with lots of valid observations. Charlie ------------------------------ Reply-To: From: "Laurie Swigart" Cc: tomgrab [at] utpa.edu Subject: RE: Straight Jackets needed Date: Fri, 25 Mar 2005 13:44:48 -0600 Organization: Upstage Review Theatre Company Message-ID: <000b01c53173$1b0bb7c0$0987fea9 [at] SWIGART> In-Reply-To: For a production of MASH, we created a straight jacket out of a karate tunic, strapping, and clasps. Accomplished the effect we were looking for. -----Original Message----- From: Stagecraft [mailto:stagecraft [at] theatrical.net] On Behalf Of Tom Grabowski Sent: Friday, March 25, 2005 10:17 AM To: Stagecraft Subject: Straight Jackets needed For info, archives & UNSUBSCRIBE, see --------------------------------------------------- The is being posted at the request of our costume designer at UTPA. We have a production of _One Flew Over the Cuckoo's Nest_ coming up and we are in need of 2 straight jackets for actors who are 6'4" and size 54. If you have any leads or sources, please let me know. Also for the same production, I am looking for more ideas on how to handle the explosion/SFX for the end of the show as the Indian rips out the electrical panel. It is in an upstage position but we are in a thrust theatre and it is about 15' from the closest audience seating. Thanks. *** Tom Grabowski University of Texas-Pan American Designer/Technical Director Communication Department Tomgrab [at] UTPA.edu Edinburg, Texas 78541 956/381-3588 FAX 956/318-2187 ------------------------------ From: "Andy Leviss" Subject: RE: Hello?????? Date: Fri, 25 Mar 2005 13:10:44 -0500 Organization: Duck's Echo Sound Message-ID: <000e01c53165$f6ff6dc0$a19afea9 [at] AndyLeviss> In-Reply-To: Boyd inquired: > On Fri, 25 Mar 2005, Bruce Purdy wrote: > > > A couple of days ago Tom Craven said that he hadn't received the > > Ring2100 messages. > > Forgive my ignorance, but WTF is a "Ring2100 message"? Ring 2100 is a completely non-theatre related mailing list for members of a certain organization that I wouldn't be surprised if I'm the only one other than Bruce who knows what it is. --A -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.8.2 - Release Date: 3/25/2005 ------------------------------ Subject: RE: Hello?????? Date: Fri, 25 Mar 2005 14:13:57 -0600 Message-ID: <71D0296313DCB24C93FE62A0CA7B49CA423C0E [at] adminmail4.ui.uillinois.edu> From: "Flowers, Curt" -----Original Message----- From: Andy Leviss [mailto:Andy [at] DucksEchoSound.com]=20 . . .=20 Ring 2100 is a completely non-theatre related mailing list for members of a certain organization that I wouldn't be surprised if I'm the only one other than Bruce who knows what it is. ------------------------------------------------------------------------ ------------------------------ "... a certain organization..." INTERNATIONAL BROTHERHOOD OF MAGICIANS=20 ------------------------------ Message-Id: <3.0.6.32.20050325213658.016ed528 [at] pop.west.cox.net> Date: Fri, 25 Mar 2005 21:36:58 From: CB Subject: Re: Is there a list problem or is it a people problem? >> I don't mean threads that drift miles away from where they started, >> but "Wagner + lyrics" became "ETCP Handbook"... >> I suspect there is a hidden threading cue that isn't deleted when a >> reply is used as a template to head a new thread. >digest subscribers reply with a variation on the >subject, since a digest reply doesn't include the original message >reference. Mia Culpa. I never hit the 'reply' button when responding to the list, but alwasy compose a new e-mail and transfer the portions I wish to quote and the subject line. Is there some way to guage the timing on a subject change? If you are responding to a post tangentially, I'm guessing the "Blah, (was: blablablah) is the right way to go, showing a reference to the old thread, and starting a new one. Is this 'hidden cue' that was spoken of something other than the Subject line? If i copy and paste the subject line, is that adequate? Chris "Chris" Babbie Location Sound MON AZ Delete key training and post trimming done by appointment. Rates negotiable, will trade for typing lessons/ADD treatment... ------------------------------ In-Reply-To: References: Message-Id: <89649f903305363dcbf5569b8ee45ffc [at] dejazzd.com> From: Greg Bierly Subject: Re: Lifting pianos revisited Date: Fri, 25 Mar 2005 15:45:31 -0500 > It's a great use of I am accused of always looking for the easiest (laziest) way to accomplish a project. So far I think you win. Greg Bierly Technical Director Hempfield HS ------------------------------ Message-ID: <20050325212041.24608.qmail [at] web14127.mail.yahoo.com> Date: Fri, 25 Mar 2005 13:20:41 -0800 (PST) From: June Abernathy Subject: Re: ETCP Handbook Stuart writes: >> If I spend a day throwing pigs on a load-in, is that 8 hours >> of rigging experience? If I run lines for a show, is that >> rigging experience? If I work the load-in and Clamp, tie, >> clip or otherwise attach stuff to battens, is that rigging >> work? Can I count the time I spend carrying stuff from the >> shop to the stage? > >> Does hanging lighting on a system pipe count? > >> If I am TD in a dead-hung space, but still make things go up >> and down, can I still count it? Does time spent designing >> or building scenery that will fly count? Bill Replies: >Stuart. Rigging is rigging. Do you really need me >to sit down and define every little job we do for >you? I'd rather not, but, in broad terms, it's >when you work with equipment...any equipment...that >is involved in raising,lowering or suspended loads >over peoples heads. So I would classify all of >the above, >with the exception of hanging lights, as rigging. OK - sorry for the tons of quoting, but I think it's relative to the discussion. I will admit right off the bat that this is kind of a hot button for me. I can hear the BA of my local groaning from here. But why is hanging scenery rigging and hanging lights is not? Why do I climb to a box boom 90 feet above the orchestra floor wearing a fall arrest harness at straight rate while the "riggers" in the same theater walk on a subway grating and kick shivs at a higher "rigging" rate? Want my steward's answer? Because riggers are carpenters, that's why. Want the (related) answer I have learned to accept? Because our contracts with the various venues define riggers as carpenters, and we have not set a separate rate for electricians who work high or hang things over people's heads. (Nor, of course, is there any plan to do so, at least at home. But I digress . . .) Some locals do have a "harness rate" - you pay a higher hourly rate for anything which requires them to wear a harness. Some locals have a "grid rate" - a higher rate for any work done on the grid. My local, and many others, simply has a "rigging rate" - a higher rate for riggers, who by most local's definitions, are carpenters. Tough beans for electricians or sound guys working high and/or hanging gear overhead. Outside of a union pay scale situation, however, why can't I can't count hanging lights as rigging if Stuart can count "Clamp, tie, clip or otherwise attach stuff to battens" as rigging? I'm hanging gear over people's heads, right? If I'm running trusses or climbing box booms or lying on a balcony rail for focus, very likely wearing a fall arrest harness to do so, is that rigging? Would it count toward my "points" for your rigging certification? If not, why not? Do you really have to define rigging? Well, sometimes, "I know it when I see it" just doesn't fly when you are trying to, for instance, put together a definition of what a rigger is for a contract negotiation, or pull together paperwork to justify my rigging hours for your certification "points" system. June Abernathy IATSE #321 (Tampa, FL) FOH Electrician The Lion King National Tour (Gazelle) __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/ ------------------------------ Message-ID: Date: Fri, 25 Mar 2005 13:22:17 -0800 From: Brian Munroe Reply-To: Brian Munroe Subject: Re: Somewhat delicate reference question In-Reply-To: References: On Fri, 25 Mar 2005 13:57:59 EST, FrankWood95 [at] aol.com wrote: > There is also the 'suspiciously good reference' technique. With care, it is > possible to write a glowing reference, but if you know the codes, it can mean > "Don't hire this guy at any price". Found on the web: The letter of reference "To whom it may concern: "Bob Smith, my assistant programmer, can always be found hard at work in his cubicle. Bob works independently, without wasting company time talking to colleagues. Bob never thinks twice about assisting fellow employees, and he always finishes given assignments on time. Often he takes extended measures to complete his work, sometimes skipping coffee breaks. Bob is a dedicated individual who has no vanity, in spite of his high accomplishments and profound knowledge in his field. I firmly believe hat Bob can be classed as a high-caliber employee, the type which cannot be dispensed with. Consequently, I duly recommend that bob be promoted to executive management, and a proposal will be executed as soon as possible." Delivered a short time later: "That idiot was standing over my shoulder while I wrote the letter sent to you earlier today. Kindly re-read every other line." Brian Munroe bpmunroe [at] gmail.com ------------------------------ Subject: RE: Is there a list problem or is it a people problem? Date: Fri, 25 Mar 2005 16:22:56 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C786 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Mia Culpa. I never hit the 'reply' button when responding to=20 > the list, but alwasy compose a new e-mail and transfer the=20 > portions I wish to quote and the subject line. Is there some=20 > way to guage the timing on a subject change? =20 > Is this 'hidden cue' that was spoken of something other than=20 > the Subject line? If i copy and paste the subject line, is=20 > that adequate? Unfortunately, that's part of the problem with the way email is formatted and with offering a digest option. In the full email header (which is usually hidden from view, though it's easy enough to find) there are unique message ID numbers, as well as "in-reply-to" capability. Each individual message has a unique ID, and each digest has one as well. These (AFAIK) have nothing to do with one another. Mail threading is done automatically by tracking these ID numbers in the (hidden) headers. They have nothing to do with subject lines. Theoretically, it might be possible to (in the archive process) filter threads by message headers and subject lines, but when people compose new messages instead of hitting reply and then, in the process, misspell the subject line (or do something as minor as writing "vs." instead of "VS"), it'd throw a spanner into the works... ------------------------------ Message-ID: From: "Waxler, Steve (waxlers)" Subject: Speaking of Genies Date: Fri, 25 Mar 2005 16:38:10 -0500 I just received this from a colleague. While there is a link to the article, it seems as if the information in the article is a little wrong. They say they accident happened with a scissors lift but I was told it was a Genie. Below is the information that was sent to me. More as I receive it. There was a genie accident at Virginia Opera a few days ago during a lighting focus. The word is that during load-in/focus (the email said load-in but it seems odd that the electricians would be working on overstage pipes on a genie during load-in so it may have been focus) at any rate the lighting crew had just finished a pipe and in an all too common practice were going to move the genie while still extended, the ground crew had pulled one outrigger and were mid turn-around when the genie went over. The electrician in the bucket had to be extracted by EMTs - she has a broken wrist, hip socket, and severely broken leg. Her ear was also torn up in the fall. They are expecting her to be out of commission for at least two months. Here's a link to an article from the local paper regarding the accident: http://home.hamptonroads.com/stories/story.cfm?story=83898&ran=190466 The article notes a 'scissors lift' but they were working in a genie. I'll keep you posted if any more information comes out about it. I was told that OSHA is investigating the accident. Steve Waxler Technical Director College Conservatory of Music University of Cincinnati (513) 556-3709 ------------------------------ Subject: RE: Speaking of Genies Date: Fri, 25 Mar 2005 16:52:47 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C787 [at] exchange.rmwc.edu> From: "Paul Schreiner" > = http://home.hamptonroads.com/stories/story.cfm?story=3D83898&ran=3D190466= =20 Quoted from the article: "This is not something that happens here often," [the opera company's spokesman] said. "We haven't had an accident like this in at least five years." Please tell me that "an accident like this" only refers to the severity, not that they regularly tip over their lift...? Mark one place in the list of "companies to never apply for jobs with"... ------------------------------ Subject: Projector Issues Date: Fri, 25 Mar 2005 17:38:43 -0600 Message-ID: <4712A45C0680F445A48DEE8E91F9F7D602EF659E [at] LHEXCHANGE.hs.district128.org> From: "Warmbold, Bo" Tapping into the wisdom of the list - I have an Eiki LCXT-3 10,000 lumen projector that has begun to show Colored vertical lines on the screen when nothing is projected and then you can see them faintly when certain colored backgrounds are shown. Half of the lines apprear Red half appear green. Its an LCD so convergence wouldn't be an issue. If anyone has any knowledge of what this might be or if there is a projectors list that you know of either would be helpful. =20 Thanks. =20 Bo Warmbold Vernon Hills High School Illinois ------------------------------ Subject: A/C Power Cable Date: Fri, 25 Mar 2005 17:47:09 -0600 Message-ID: <4712A45C0680F445A48DEE8E91F9F7D602EF65A0 [at] LHEXCHANGE.hs.district128.org> From: "Warmbold, Bo" Wondering what type of Cable people are using to make extension cords for Edison and 2P&G stage pin applications. In the past we have used SJO but wondering what others might use. =20 =20 Thanks, =20 Bo Warmbold Vernon Hills High School ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <9e.2322fd33.2f760089 [at] aol.com> Date: Fri, 25 Mar 2005 19:02:17 EST Subject: Re: Speaking of Genies In a message dated 25/03/05 21:38:52 GMT Standard Time, WAXLERS [at] UCMAIL.UC.EDU writes: > There was a genie accident at Virginia Opera a few days ago during a > lighting focus. The word is that during load-in/focus (the email said > load-in but it seems odd that the electricians would be working on overstage > pipes on a genie during load-in so it may have been focus) at any rate the > lighting crew had just finished a pipe and in an all too common practice > were going to move the genie while still extended, the ground crew had > pulled one outrigger and were mid turn-around when the genie went over. The > electrician in the bucket had to be extracted by EMTs - she has a broken > wrist, hip socket, and severely broken leg. Her ear was also torn up in the > fall. They are expecting her to be out of commission for at least two > months. As we get older, some of us get wiser. I cannot count the times I have been trundled round the stage at the top of a tallescope, with no outriggers, or shoved around at the top of a tower. But I was a lot younger, then, and weighed in at 200lb or so. I judged the effort or climbing up and down to be worse than the risk of having it go over. I have also used ladders the tops of which rested on pipes about a foot from the ceiling. I should do none of these things nowadays. Apart from the greater consciousness of safety considerations, advancing age has brought with it vertigo, and uncertain balance. Going down a flight of stairs is a bit hard, although going up them less so. Frank Wood ------------------------------ Date: Fri, 25 Mar 2005 19:00:35 -0500 (EST) From: Boyd Ostroff Subject: Re: Projector Issues In-Reply-To: Message-ID: References: Of course there could be some specific problem with your projector, but from what I understand LCD projectors are only good for a limited number of hours and rental houses rotate them out of their stock within 18 to 24 months just to avoid this sort of thing. This is one argument in favor of the more expensive DLP technology which uses mirrors that don't degrade so quickly. | Boyd Ostroff | Director of Design and Technology | Opera Company of Philadelphia | http://tech.operaphilly.com | ostroff [at] operaphilly.com ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <97.5c0fb5b1.2f7601d2 [at] aol.com> Date: Fri, 25 Mar 2005 19:07:46 EST Subject: Re: Speaking of Genies In a message dated 25/03/05 21:53:35 GMT Standard Time, pschreiner [at] rmwc.edu writes: > Quoted from the article: "This is not something that happens here > often," [the opera company's spokesman] said. "We haven't had an > accident like this in at least five years." This seems too often to me. Never would be better, but I might settle for twenty years. BTW, just what is a 'Genie' lift. I have always envisaged it as something like a 'cherry-picker', but I may be completely wrong. 'Scissors lifts' I know about. Frank Wood ------------------------------ Message-Id: <6.2.0.14.0.20050325194256.01d4ea30 [at] mail.insightbb.com> Date: Fri, 25 Mar 2005 19:47:57 -0500 From: Mike Brubaker Subject: Re: Speaking of Genies In-Reply-To: References: Most people in our industry referring to a genie lift are talking about something like this: http://www.genielift.com/ss-series/ss-1-1.asp However, y'all should take a look at this. I found it while flipping through Genie's website. No outriggers--but take a look at what they are using it for...http://www.genielift.com/ss-series/ss-1-3.asp Mike At 07:07 PM 3/25/2005, FrankWood95 [at] aol.com wrote: >BTW, just what is a 'Genie' lift. I have always envisaged it as something >like a 'cherry-picker', but I may be completely wrong. 'Scissors lifts' I >know >about. ------------------------------ Message-ID: <4244B2D4.B51DC0AB [at] cybercom.net> Date: Fri, 25 Mar 2005 19:54:44 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: Speaking of Genies References: FrankWood95 [at] aol.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > In a message dated 25/03/05 21:53:35 GMT Standard Time, pschreiner [at] rmwc.edu > writes: > > > Quoted from the article: "This is not something that happens here > > often," [the opera company's spokesman] said. "We haven't had an > > accident like this in at least five years." > > This seems too often to me. Never would be better, but I might settle for > twenty years. > > BTW, just what is a 'Genie' lift. I have always envisaged it as something > like a 'cherry-picker', but I may be completely wrong. 'Scissors lifts' I know > about. Genie is a company that makes lifts. Most of the ones I've encountered have been of the single person basket on a telescoping tower variety. They also make ones that are intended for hoisting things, these have a bracket instead of the basket on the top of the telescoping portion that you can strap a truss or line array to. There are pictures on their website of their entire product line. http://www.genielift.com/ --Dale ------------------------------ Message-ID: <4244B3CB.6C559139 [at] cybercom.net> Date: Fri, 25 Mar 2005 19:58:51 -0500 From: Dale Farmer Organization: The fuzz in the back of the fridge. Subject: Re: A/C Power Cable References: "Warmbold, Bo" wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Wondering what type of Cable people are using to make extension cords > for Edison and 2P&G stage pin applications. In the past we have used > SJO but wondering what others might use. > > > Thanks, > > Bo Warmbold > Vernon Hills High School SO has been popular and SJO as well. NEC has been updated so that all the cable used has to be entertainment rated cable, aka, heavy service or extra heavy service. For edison extension cords, when they go on sale at Home Despot, they are less expensive than I can get just the parts for them. --Dale ------------------------------ Message-Id: In-Reply-To: References: Date: Fri, 25 Mar 2005 20:44:45 -0500 From: Eddie Kramer Subject: Re: A/C Power Cable On 3/25/05 Warmbold, Bo sent: >Wondering what type of Cable people are using to make extension cords >for Edison and 2P&G stage pin applications. In the past we have used >SJO but wondering what others might use. If its a theater in the US, SJO is not a good choice and not code compliant. SJO is hard usage cord also known as Junior hard service cord, but extra-hard usage cord is needed, see 520.68(A)(1) of the NEC (below). Hard service cord or extra-hard usage cord is rated for 600 Volts and marked "600 Volts" on the jacket, it is also commonly marked "S", or "SO ", or "SOO ", or "SW", or "SOW ", or "SOOW ", or "SE ", or "SEO ", or "SEOO ", or "SEW ", or "SEOW ", or "SEOOW". It never has a "J" (junior cord) or "V" (vacuum cleaner cord) on it. Types with a "J" or "V" are 300 Volt cords and not as durable as the heaver extra-hard usage cord. See table 400.4 of the NEC for more information on the differences between extra-hard usage and hard usage cord. *** NEC> 520 -THEATERS, MOTION PICTURE AND TELEVISION STUDIOS, AND NEC> SIMILAR LOCATIONS NEC> 520.68 Conductors for Portables. NEC> (A) Conductor Type. NEC> (1) General. Flexible conductors, including cable extensions, NEC> used to supply portable stage equipment shall be listed NEC> extra-hard usage cords or cables. *** Eddie PS Yes Frank, I know the cables are better in England :-) so please don't post about it. -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ Subject: RE: Speaking of Genies Date: Fri, 25 Mar 2005 21:05:40 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C788 [at] exchange.rmwc.edu> From: "Paul Schreiner" > However, y'all should take a look at this. I found it while=20 > flipping through Genie's website. No outriggers--but take a=20 > look at what they are using it=20 > for...http://www.genielift.com/ss-series/ss-1-3.asp And that, my friend, is the IWP20 I've spoken about here before, with the outreach extension shown in full operation.=20 ------------------------------ Date: Fri, 25 Mar 2005 21:05:51 -0500 From: Stephen Litterst Subject: Re: Projector Issues Message-id: <4244C37F.C0E133FA [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Warmbold, Bo" wrote: > --------------------------------------------------- > Tapping into the wisdom of the list - I have an Eiki LCXT-3 10,000 lumen > projector that has begun to show Colored vertical lines on the screen > when nothing is projected and then you can see them faintly when certain > colored backgrounds are shown. Half of the lines apprear Red half > appear green. Its an LCD so convergence wouldn't be an issue. Maybe I misunderstand your use of the word convergence, but why isn't that an issue? My LCD projector uses three LCD panels and combines (converges) the three colors at the lens. The specs on your Eiki list 3 - 1.8" LCD panels. I'm fairly confident that most LCD projectors do it this way. If they are no longer correctly aligned then that could be the cause of the problem. I'd call Eiki and see what they suggest. Or call Sanyo as they make the same projector but call it the PLC-XF45. Stephen Litterst -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Subject: RE: A/C Power Cable Date: Fri, 25 Mar 2005 21:08:49 -0500 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C789 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Wondering what type of Cable people are using to make=20 > extension cords for Edison and 2P&G stage pin applications. =20 > In the past we have used SJO but wondering what others might use. As has already been mentioned, SJO is technically verboten. FWIW, the newer stage pin connectors will accept 12/3 SO cable with just enough snugness to make the strain relief actually work! If trying to use older style "square" stage pin plugs, YMMV (especially if you're actually trying to use crimp-on spade terminals). ------------------------------ Date: Fri, 25 Mar 2005 21:10:33 -0500 From: Stephen Litterst Subject: Re: A/C Power Cable Message-id: <4244C499.79FC2E65 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: "Warmbold, Bo" wrote: > --------------------------------------------------- > Wondering what type of Cable people are using to make extension cords > for Edison and 2P&G stage pin applications. In the past we have used > SJO but wondering what others might use. Eddie beat me to it on the Code numbers, but I'll chime in for SOOW. Also, make sure your gauge is equal to or higher than the rating of your dimmers and breakers. Usually this will mean getting 12ga cable. I find our 12/3 SOOW fits just perfectly in Bates connectors. If you get the more expensive edison plugs (PB&G) they can usually accomodate SOOW. The cheaper connectors ($4 or less at Home Depot) just don't have a large enough strain relief for SOOW. Between this and the "Wild Leg" question at USITT, do we need to have Eddie chair a "Stump the Electrician" panel next year? Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Fri, 25 Mar 2005 21:13:03 -0500 From: Stephen Litterst Subject: Re: Speaking of Genies Message-id: <4244C52F.3CE9C0A5 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References:

Mike Brubaker wrote: > --------------------------------------------------- > However, y'all should take a look at this. I found it while flipping through > Genie's website. No outriggers--but take a look at what they > are using it for...http://www.genielift.com/ss-series/ss-1-3.asp Our music school has one with an extendable basket. And they have no need to extend the basket ever. I was over there changing some lamps for them and showed them how it worked. Nothing like a little training four years after the purchase. :) I'd "borrow" it to get around seating risers and scenery, except that it has a gross weight of 1500 lbs and that wouldn't be much fun to roll downhill. Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ Date: Fri, 25 Mar 2005 21:19:41 -0500 From: "Steve B." Subject: Re: A/C Power Cable Message-id: <001d01c531aa$46bc15e0$6401a8c0 [at] SBFF> References: ----- Original Message ----- From: "Warmbold, Bo" > Wondering what type of Cable people are using to make extension cords > for Edison and 2P&G stage pin applications. In the past we have used > SJO but wondering what others might use. 12/3 SO for longer AC extensions with double duplex, and for all 2P&G cable 12/3 SJO for short AC extensions. FWIW, I just made up 5 - 50 ft. AC extensions with 12/3 SO and Woodhead boxes - http://www.woodhead.com/ Cost about $100 ea. to make, the boxes are not cheap at $34 ea., but make up a trouble free and durable dual duplex receptacle box. Steve Bailey Brooklyn College ------------------------------ Message-Id: <6.2.0.14.0.20050325211853.01d582a0 [at] mail.insightbb.com> Date: Fri, 25 Mar 2005 21:19:35 -0500 From: Mike Brubaker Subject: Re: Speaking of Genies In-Reply-To: References:

...and you do have one of those, don't you! Although, I would think that the return trip might be worse. Mike At 09:13 PM 3/25/2005, Stephen Litterst wrote: >it has a gross weight of 1500 lbs and that wouldn't be much fun to >roll downhill. ------------------------------ Message-ID: <4244CD88.3090402 [at] att.net> Date: Fri, 25 Mar 2005 21:48:40 -0500 From: David Marks Subject: Re: Speaking of Genies References:

In-Reply-To: Stephen Litterst wrote: > >I'd "borrow" it to get around seating risers and scenery, except that >it has a gross weight of 1500 lbs and that wouldn't be much fun to >roll downhill. > > Gee, I remember the hills around the college as mild inclines! Dave Marks ------------------------------ In-Reply-To: References:

Message-Id: <1323887dcf55c77e7b4e297eaf64f1d5 [at] theprices.net> From: Noah Price Subject: Re: Somewhat delicate reference question Date: Fri, 25 Mar 2005 19:43:18 -0800 On Mar 25, 2005, at 9:11 AM, Mike Brubaker wrote: > In a related vein, I have a good friend that is job searching while > still employed. Her concern is how to explain why she doesn't want a > prospective employer to contact her current one and what impact that > will have on the hiring decision (the reason is that if things don't > work out with the new employer, she still has to keep working at her > current one, hence the desire to keep her search private). Any > thoughts? I've done this periodically over the years, and prospective employers have never expected to get in touch with my current employer. In my experience interviewing in the high tech industry, this interviewing confidentiality is expected. Noah -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | stagecraft-web [at] theprices.net | ------------------------------ Message-ID: From: "Occy" References: Subject: Re: ETCP Handbook Date: Fri, 25 Mar 2005 20:12:27 -0800 June I know where your coming from, being both an real ME and Lead Rigger (my local doesn't have a Master Rigger category). What happens on your tour when the electrics are ahead the the rigging carps are behind? Has the house ever sent electricians to the loading bridge to load arbors with iron or to pin rail for spot lines for cable picks? It has happened to me many of times as I don't playing carpenter at many venues unless I am the head carpenter, as being in working force I value my fingers against carpenters and dumbness. I have built more counter weight systems in new theaters and repair others more than care to remember. Even had many major discussions with Theater Consultants, Rigging Consultants and Architects and won most of time. WDI is a different story but I got to use "I told you so". As of late in the non hard contracts (i.e. short term) anyone that has to wear a harness per regulations being it federal, state or local, gets rigging rate. Been very good at this for most the time. But also working as ME at seasonal major amphitheater in SoCal on their 3rd "temp" roof in 24 years now. That or this roof is been there since the Michael Jackson tour of Thriller, which was designed to hold the whole show, as the weight had to disturbed properly on the roof. Then Jumbotrons came about that was a hard thing to keep the weight right, with the rest of the rig flown right. It was the propman and the electrician that flew everything in that venue, as the carpenter never came out of the trailer as he was too busy doing payroll at 8am. ----- Original Message ----- From: "June Abernathy" > OK - sorry for the tons of quoting, but I think it's > relative to the discussion. I will admit right off the > bat that this is kind of a hot button for me. I can > hear the BA of my local groaning from here. But why is > hanging scenery rigging and hanging lights is not? > > Why do I climb to a box boom 90 feet above the > orchestra floor wearing a fall arrest harness at > straight rate while the "riggers" in the same theater > walk on a subway grating and kick shivs at a higher > "rigging" rate? Want my steward's answer? Because > riggers are carpenters, that's why. Want the (related) > answer I have learned to accept? Because our contracts > with the various venues define riggers as carpenters, > and we have not set a separate rate for electricians > who work high or hang things over people's heads. > (Nor, of course, is there any plan to do so, at least > at home. But I digress . . .) > > Some locals do have a "harness rate" - you pay a > higher hourly rate for anything which requires them to > wear a harness. Some locals have a "grid rate" - a > higher rate for any work done on the grid. My local, > and many others, simply has a "rigging rate" - a > higher rate for riggers, who by most local's > definitions, are carpenters. Tough beans for > electricians or sound guys working high and/or hanging > gear overhead. > > Outside of a union pay scale situation, however, why > can't I can't count hanging lights as rigging if > Stuart can count "Clamp, tie, clip or otherwise attach > stuff to battens" as rigging? I'm hanging gear over > people's heads, right? If I'm running trusses or > climbing box booms or lying on a balcony rail for > focus, very likely wearing a fall arrest harness to do > so, is that rigging? Would it count toward my "points" > for your rigging certification? If not, why not? > > Do you really have to define rigging? Well, sometimes, > "I know it when I see it" just doesn't fly when you > are trying to, for instance, put together a definition > of what a rigger is for a contract negotiation, or > pull together paperwork to justify my rigging hours > for your certification "points" system. > > > > > > > > > June Abernathy > IATSE #321 (Tampa, FL) > FOH Electrician > The Lion King National Tour (Gazelle) > > > > __________________________________ > Do you Yahoo!? > Yahoo! Small Business - Try our new resources site! > http://smallbusiness.yahoo.com/resources/ > ------------------------------ Message-Id: In-Reply-To: References:

Date: Fri, 25 Mar 2005 23:21:11 -0500 From: Eddie Kramer Subject: Re: A/C Power Cable On 3/25/05 Stephen Litterst sent: >Between this and the "Wild Leg" question at USITT, do we need to have >Eddie chair a "Stump the Electrician" panel next year? What a great idea. How do we set it up? Bill care to join in? Eddie -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ Message-ID: <071e01c531bc$c6b5c0e0$e28aaa43 [at] DonTaco> From: "Don Taco" References:

Subject: panel discussion Date: Fri, 25 Mar 2005 20:32:09 -0800 >>Between this and the "Wild Leg" question at USITT, do we need to have >>Eddie chair a "Stump the Electrician" panel next year? > > What a great idea. How do we set it up? Bill care to join in? > Eddie Now, shouldn't it be: 'Stump the Electrical Panel' ? ------------------------------ Message-ID: <4244EE6D.6070502 [at] fuse.net> Date: Sat, 26 Mar 2005 00:09:01 -0500 From: Stuart Wheaton Subject: Re: A/C Power Cable References:

In-Reply-To: Eddie Kramer wrote: >>Wondering what type of Cable people are using to make extension cords >>for Edison and 2P&G stage pin applications. In the past we have used >>SJO but wondering what others might use. > > > If its a theater in the US, SJO is not a good choice and not code compliant. SJO is hard usage cord also known as Junior hard service cord, but extra-hard usage cord is needed, see 520.68(A)(1) of the NEC (below). > > Hard service cord or extra-hard usage cord is rated for 600 Volts and marked "600 Volts" on the jacket, it is also commonly marked "S", or "SO ", or "SOO ", or "SW", or "SOW ", or "SOOW ", or "SE ", or "SEO ", or "SEOO ", or "SEW ", or "SEOW ", or "SEOOW". It never has a "J" (junior cord) or "V" (vacuum cleaner cord) on it. Types with a "J" or "V" are 300 Volt cords and not as durable as the heaver extra-hard usage cord. > > See table 400.4 of the NEC for more information on the differences between extra-hard usage and hard usage cord. I was under the impression that SJ was still acceptable for breakouts and pigtails and such... Am I in error? Stuart ------------------------------ Date: Sat, 26 Mar 2005 00:07:56 -0500 Subject: Re: panel discussion From: Bill Sapsis Message-ID: In-Reply-To: on 3/25/05 11:32 PM, Don Taco at taco [at] peak.org wrote: > What a great idea. How do we set it up? Bill care to join in? >> Eddie Me? On an electrical panel? I don't think so. Remember? I told you guys a long time ago. I'm the one who ties an extension cord in a knot so the electricity doesn't run out when I'm not using it. I'm sure Eddie can empower (get it?) his own illustrious panel and doesn't need me mucking things up. Bill S. www.sapsis-rigging.com 800.727.7471 800.292.3851 fax 267.278.4561 mobile Please support the Long Reach Long Riders on their 2nd annual benefit ride http://sapsis-rigging.com/LRLR.html ------------------------------ Message-Id: In-Reply-To: References:

Date: Sat, 26 Mar 2005 00:42:35 -0500 From: Eddie Kramer Subject: Re: A/C Power Cable On 3/26/05 Stuart Wheaton sent: >I was under the impression that SJ was still acceptable for breakouts and pigtails and such... SJ is OK for breakouts, on 20 A (or less) circuits shorter then 20 feet kept off the floor. It can be used for Adapters and two-fers shorter then 3 feet. Eddie -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ Message-Id: In-Reply-To: References: Date: Sat, 26 Mar 2005 00:48:27 -0500 From: Eddie Kramer Subject: Re: panel discussion On 3/26/05 Bill Sapsis sent: >Me? On an electrical panel? I don't think so. Remember? I told you guys... Bill - You can be on it, or in it... (This is the Brooklyn way to get help) and its "youse guys..." Eddie -- -------------------- Eddie Kramer IATSE #1 Member NEC Panel 15 ------------------------------ In-Reply-To: References: Message-Id: <54a35181533214d160970108e27e8e90 [at] theprices.net> From: Noah Price Subject: Re: Is there a list problem or is it a people problem? Date: Fri, 25 Mar 2005 22:00:37 -0800 On Mar 25, 2005, at 9:36 PM, CB wrote: >> digest subscribers reply with a variation on the >> subject, since a digest reply doesn't include the original message >> reference. > > Mia Culpa. I never hit the 'reply' button when responding to the > list, but > alwasy compose a new e-mail and transfer the portions I wish to quote > and > the subject line. Is there some way to guage the timing on a subject > change? In general, just keep it the same :-) > If you are responding to a post tangentially, I'm guessing the > "Blah, (was: blablablah) is the right way to go, showing a reference > to the > old thread, and starting a new one. If you're starting a truly different topic, my own preferred method is similar to what you suggest: "Blah (was Re: blahblahblah)" > Is this 'hidden cue' that was spoken of something other than the > Subject > line? If i copy and paste the subject line, is that adequate? Yes, the threading methods I use in the archive should use the subject line if there's no "hidden" reference. The only way I know of to include the references in the headers is to use a relatively modern email program and reply directly to the message. Noah -- | Noah Price | http://stagecraft.theprices.net/ | | Stagecraft Mailing List | stagecraft-web [at] theprices.net | ------------------------------ Message-Id: <6.2.1.2.0.20050326003626.029812b0 [at] localhost> Date: Sat, 26 Mar 2005 00:41:31 -0800 From: Jerry Durand Subject: Re: Laptop Battery (OT) In-Reply-To: References: At 11:21 AM 3/24/2005, you wrote: >I still think that getting a dangerous product off the market (or, better >yet, never letting the product enter the market) can be accomplished more >effectively by U.S. Customs and Consumer Product Safety Commission, Now if you could just get the CPSC to quit trying to put us legal fireworks people out of business (and doing a pretty good job of it) and actually ban some of the dangerous batteries and other products... If they were effective, there wouldn't be exploding batteries all over. I fully agree with not forcing people to use an OEM product simply to make more money for the manufacturer, I even have a chip resetter for my old Epson printer cartridges (I really should get that on eBay with the spare ink). However, when I design high-energy batteries into a product, I advise the client to use a battery pack that the user won't replace with the wrong batteries. Lawsuits can kill an industry. ---------- 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 ------------------------------ End of Stagecraft Digest #343 *****************************