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 21844827; Fri, 15 Apr 2005 03:01:08 -0700 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 #364 Date: Fri, 15 Apr 2005 03:00:49 -0700 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Disposition: inline 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-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 #364 1. Re: baaack & related question by "Michael S. Eddy" 2. Re: Rigging Certification vs. Being Qualified by "Scheu Consulting Services" 3. Re: theatre company reference by Stephen Litterst 4. Re: baaack & related question by "Paul Guncheon" 5. Re: Scrim repair by Steve Larson 6. Re: Who said that? part 2 by Steve Larson 7. St Louis Video by IAEG [at] aol.com 8. Re: theatre company reference by "Laura McMeley" 9. Re: Music Man Rental Scenery by "Charles J Korecki" 10. Re: Rigging Certification vs. Being Qualified by "ladesigners [at] juno.com" 11. Re: theatre company reference by Jerry Durand 12. Re: baaack & related question by "John Penisten" 13. Re: theatre company reference by "ladesigners [at] juno.com" 14. Re: theatre company reference by Bill Sapsis 15. Re: Rigging Certification vs. Being Qualified by Bill Sapsis 16. Re: baaack & related question by stage craft 17. Re: baaack & related question by "Paul Schreiner" 18. Re: baaack & related question by "Jeffrey E. Salzberg" 19. Re: baaack & related question by IAEG [at] aol.com 20. Re: baaack & related question by "Paul Schreiner" 21. Re: Rigging Certification vs. Being Qualified by Stephen Litterst 22. Re: theatre company reference by "ladesigners [at] juno.com" 23. The adding machine by 24. Re: Delrin by FrankWood95 [at] aol.com 25. Re: theatre company reference by "Laura McMeley" 26. Re: baaack & related question by FrankWood95 [at] aol.com 27. Re: baaack & related question by FrankWood95 [at] aol.com 28. Re: theatre company reference by FrankWood95 [at] aol.com 29. Fear Factor rigging by "LES LIND" 30. Re: Fear Factor rigging by "Joe Golden" 31. Baaack and related question by Shell Dalzell 32. Wireless Intercom by jonares [at] hevanet.com 33. Re: Wireless Intercom by FrankWood95 [at] aol.com 34. Re: Wireless Intercom by "Michael S. Eddy" 35. Re: Wireless Intercom by FrankWood95 [at] aol.com 36. Re: Wireless Intercom by "Rob Carovillano" 37. Re: Sound question and film by Sunil Rajan 38. Re: CPU lighting control by john hauer 39. Re: CPU lighting control by Mike Benonis 40. Re: A sad end to a long legacy... Bill McManus by Greg Bierly 41. FW: How are you doing? (fwd) by Charlie Richmond 42. Re: FW: How are you doing? (fwd) by Pat Kight 43. Funniest performance you have seen at the theatre or on live stage by "Pamela Abra" 44. Re: FW: How are you doing? (fwd) by "Michael S. Eddy" 45. Re: FW: How are you doing? (fwd) by "Clifton Stanford" 46. Dirty Laundry (was: How are you doing?) by Greg Persinger 47. Re: FW: How are you doing? (fwd) by Pat Kight *** 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. ---------------------------------------------------------------------- Message-ID: Reply-To: From: "Michael S. Eddy" Subject: RE: baaack & related question Date: Thu, 14 Apr 2005 06:58:53 -0400 In-Reply-To: Greg Williams: >>>> ----- Original Message ----- >>>> From: "Delbert Hall" >>>> >>>> My favorite request is to have the instruments in the house positions >>>> shine on the actors, but not on the scenery or the floor. >>> >> >> On Apr 13, 2005, at 8:46 PM, Mike Brubaker wrote: >> >>> How do you keep the light off the floor? >>> >>> Mike >> >> Mike, >> >> I usually try to use LumenAbsorb (tm), although if that's not available >> at the local Lowe's, I'll settle for LightAway (tm). >> >> An even application about 3 feet above floor level will allow a smooth >> absorption rate which looks almost natural as the candlepower fades >> into nothing. >> >> Hope this helps. >> >> -=Greg Williams=- >I have news for you, smartass. Jokes aside, we might have just entered the >age where it IS possible to shine a light from FOH position on an actor and >not have the audience see the spill. >Though I can't find the link right now, Rosebrand is introducing a new >chroma-key fabric that is, essentially, millions of tiny glass reflectors >(I assume of the micro-cube style) that reflects light back ONLY along the >axis it came from (think SOLAS tape and such, like I decorate my bike and >helmet with). With it, they sell a light ring of green or blue LEDs to go >around a camera's lens, so that to the camera, the subject being >photographed is against a chromakey backdrop, but to everybody else off to >the sides, the fabric is a dull grey. I also see an advantage in that >there would be no chroma-keyed bounce light falling onto the subject to >mess with the computer's head. >Put this fabric down as your floor or walls and -- presto -- light the >actor with "no spill"...or at least the spill gets reflected directly back >at the light source, creating, I presume, a halo of oppositely-situated >backlight. >I can't WAIT to play with this stuff. >Cris Dopher, LD What Chris is referring to is Chromatte from Reflecmedia. Rosebrand does carry it and the Lite Ring. It was used very successfully on the Sinatra extravaganza at Radio City in October 2003 to key a live performer and a tape of Frank Sinatra. It worked very well. Here is the Reflecmedia info: Our Chromatte fabric was developed in conjunction with the BBC, which utilizes 'retro-reflectivity' to produce perfectly even coloured backgrounds for chroma keying. The patented material behaves like millions of 'cats eyes' that reflect the blue or green light source from the accompanying LiteRing, straight back into the camera lens. To the naked eye the material appears grey, but to the camera it appears as a solid background that can easily be keyed - either live or in post-production. http://www.reflecmedia.com/ Here is a link to the ED story on Sinatra: http://entertainmentdesignmag.com/mag/show_business_frank_plays_radio/index. html One of the more technically challenging vignettes in the show involved taking a clip of Sinatra singing "One For My Baby (And One More For The Road)" in a bar and, through blend of staging and projection magic, adding John Pizzarelli, a sax player, and a bartender into the clip. The effect was achieved by setting up a bar onstage that mimicked the bar in the clip and coating the surfaces with a gray material called Chromatte, discovered by Scharff Weisberg, that enables the image the camera picks up to be manipulated. "The bar onstage didn't need to be painted chromakey blue or chromakey green, which would have been ugly, explains Scharff Weisberg president Josh Weisberg, who made the discovery. "This material has these reflective beads in it; you shine a bright blue light on it and it turns into chromakey blue, at least as far as the video is concerned. The light is a ring of LEDs that mount on the camera lens. We had a compact camera on an arm built into the bar." For this scene, as well as the others, Sinatra, who famously refused to do second takes, was anything but difficult. "Frank was very cooperative," Brill quips, "and he was always on time." Michael Eddy Eddy Marketing & Consulting ------------------------------ Reply-To: From: "Scheu Consulting Services" Subject: RE: Rigging Certification vs. Being Qualified Date: Thu, 14 Apr 2005 07:53:52 -0400 Organization: Scheu Consulting Services, Inc. Message-ID: <000001c540e8$a110cbb0$c9fea8c0 [at] ROXY> In-reply-to: >on 4/13/05 2:21 PM, Scheu Consulting Services at >peter [at] scheuconsulting.com >wrote: > >> Gee, don't thank me just yet! I only hope my take on this is >> defensible! >> ;-) Unca Bill may set me straight! > > >No need. You are doing just fine. and just to clarify >something for those who may not know....Peter is a Subject >matter expert and a member of the group of people who are >developing the ETCP rigging certification. > >Thanks Peter >Bill S. Oops. Didn't I mention my affilation with all this at sometime during all these discussions? Sorry 'bout that. Always committed in full disclosure! Bill's right (in an earlier post). Katie Geraghty really is the "go to" person at the ETCP for the official answers. She can (and will) trump anything we say here. Peter Scheu Scheu Consulting Services, Inc. www.scheuconsulting.com Tel: 315.422.9984 fax: 413.513.4966 ------------------------------ Date: Thu, 14 Apr 2005 08:20:46 -0400 (EDT) From: Stephen Litterst Subject: Re: theatre company reference In-reply-to: Message-id: <1592.172.157.215.157.1113481246.squirrel [at] 172.157.215.157> References:

> --------------------------------------------------- > If an individual or company were looking to hire a rigging inspector, > would > it benefit the inspector(s) to be ETCP certified? > > Would having ETCP certification meet a prerequisite of being certified as > an > inspector, or vice versa? As a customer, I would prefer an inspector with the Rigging-Theatrical certification. I understand what the certification means. But all else being equal, the certification says the person has a certain amount of experience operating rigging and an extensive knowledge of theatrical rigging systems. > And -- pardon my ignorance here -- but what certification exists for > inspectors? And how do the criteria match up with those for the ETCP > Rigging > program? None. None whatsoever. > I have to imagine that the ETCP program didn't come about because a > similar > program already existed and they wanted to split hairs; rather, I think it > came about to answer a need that wasn't currently being answered. Bill will jump in here, I'm sure, but that's essentially it. There was a need and the folks at ESTA created the ETCP groups to work their butts off to address that need. Steve Litterst ------------------------------ Date: Thu, 14 Apr 2005 02:51:42 -1000 From: "Paul Guncheon" Subject: Re: baaack & related question Message-id: <004101c540f0$b5b5b3c0$0202a8c0 [at] yourxhtr8hvc4p> References: <> This information adds yet more weigh to the theory that what many of us refer to as "light" bulbs are actually "dark suckers". laters, Paul "Now I can chop down that tree," said Tom with a heavy accent ------------------------------ Date: Thu, 14 Apr 2005 09:16:40 -0400 Subject: Re: Scrim repair From: Steve Larson Message-ID: In-Reply-To: It's not a secret anymore. Tch! Tch! sjl and we've chosen to keep using that scrim > rather than pull out the other (secret) identical new scrim that was ordered > at the same time! > > > ------------------------------ Date: Thu, 14 Apr 2005 09:19:27 -0400 Subject: Re: Who said that? part 2 From: Steve Larson Message-ID: In-Reply-To: Don't last name your Steve's unless you are sure of your information. You are on a roll. Steve Larson > From: "C. Dopher" > Reply-To: "Stagecraft" > Date: Thu, 14 Apr 2005 02:37:43 -0400 > To: "Stagecraft" > Subject: Re: Who said that? part 2 > > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Yup, you're right. Thanks for the correction. > > > Steve Litterst: >> I believe that you mean UMKC, the university of Missouri >> at Kansas City. Or, on the other hand the University of >> Kansas in Lawrence, Ks. I don't believe that KU has a >> campus in KC. But, times do change. >> >> steve >> >>> From: "C. Dopher" >> >>> I saw a performance at ACTF over a decade ago that University of Kansas, >>> Kansas City, created. > > > ------------------------------ From: IAEG [at] aol.com Message-ID: <19e.315b364a.2f8fc9ca [at] aol.com> Date: Thu, 14 Apr 2005 09:27:38 EDT Subject: St Louis Video Friends, I need a reference for a Cameraman with Canon XL 1 or similar Mini DV for a quick shoot in St Louis area coming up end of this month. Forgive me for taking band width, Please respond off list with reccomendations if you have them very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida www.iaeginc.com www.circusnexus.org ------------------------------ Message-ID: In-Reply-To: From: "Laura McMeley" Subject: Re: theatre company reference Date: Thu, 14 Apr 2005 08:46:21 -0500 Good for you. I love it when people take responsibilty in this country instead of hiding behind a bunch of legalistic B.S. It takes a lot of courage, but it gives me hope. Laura McMeley 972-333-5016 www.geocities.com/lmcmeley/ >From: Bill Sapsis >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Re: theatre company reference >Date: Thu, 14 Apr 2005 01:03:51 -0400 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >on 4/13/05 10:19 AM, Bll Conner at bill-conner [at] att.net wrote: > > > So of those of you who do offer inspection services, how many of you >take > > full responsibility for the system when you are done and your > > recommendations followed and don't disclaim any responsibility for the > > safety of the system? > > >I do. You will not find any disclaimer of any kind associated with a >report >from Sapsis Rigging. I have been told by others that that is a foolish >position to take and that I am opening myself up to litigation. > >I say...tough. > >You hire me to do a job...I do the job. I don't tell you that even though >I >was there and I did the job that I am not responsible for that job. > > >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: From: "Charles J Korecki" Subject: RE: Music Man Rental Scenery Date: Thu, 14 Apr 2005 09:59:36 -0400 I have frequently used Schell Scenic from Columbus, OH. Charles Stewart and Grosch Scenic are other companies I've used in the past. charles j korecki >Greetings, >Does anyone have a lead on Music Man rental scenery? I am looking for >drops. I have a qoute from Kenmark, >but looking for other options. ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 14 Apr 2005 14:03:50 GMT Subject: Re: Rigging Certification vs. Being Qualified Message-Id: <20050414.070352.12622.340776 [at] webmail24.lax.untd.com> This conversation is going on and on. All I want is to be able to hire a Certified Rigger with same ease that I hire Certified Welders. Having said that, my further preference is to hire persons and companies whose competence and integrity can easily be assessed. This puts Bill Sapsis on the 'A' list of approved vendors in my opinion, if for no other reason than the way he interacts on this list. I must assume that if there were complaints, they would have shown up here. /s/ Richard ------------------------------ Message-Id: <6.2.1.2.0.20050414073225.03dfd2d0 [at] localhost> Date: Thu, 14 Apr 2005 07:33:51 -0700 From: Jerry Durand Subject: Re: theatre company reference In-Reply-To: References:

At 06:46 AM 4/14/2005, you wrote: >I love it when people take responsibilty in this country instead of hiding >behind a bunch of legalistic B.S. Legalistic Bill Sapsis? :) ---------- 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: <425E7F82.9030406 [at] fullcompass.com> Date: Thu, 14 Apr 2005 09:34:42 -0500 From: "John Penisten" Subject: Re: baaack & related question References: In-Reply-To: Chris, I don't know about Rosebrand, but this is currently available through Bogen imaging. I have included a link: http://www.bogenimaging.us/product/index_ext.php3?external_link=www.reflecmedia.com Enjoy! > Though I can't find the link right now, Rosebrand is introducing a new > chroma-key fabric that is, essentially, millions of tiny glass reflectors (I > I can't WAIT to play with this stuff. -- John Penisten Full Compass Systems Rental, Production, Design http://www.fullcompass.com Phone: 800-356-5844 Ext. 1355 Fax: 608-831-6330 ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 14 Apr 2005 14:41:22 GMT Subject: Re: theatre company reference Message-Id: <20050414.074200.12622.341466 [at] webmail24.lax.untd.com> Works for me. /s/ Richard >I love it when people take responsibilty in this country instead of hiding behind a bunch of legalistic B.S. Legalistic Bill Sapsis? :) Jerry Durand ------------------------------ Date: Thu, 14 Apr 2005 11:02:31 -0400 Subject: Re: theatre company reference From: Bill Sapsis Message-ID: In-Reply-To: on 4/14/05 12:56 AM, Matthew Breton at theatricalmatt [at] hotmail.com wrote: > Just a couple of questions for both sides: > > If an individual or company were looking to hire a rigging inspector, would > it benefit the inspector(s) to be ETCP certified? No, I don't think so. Certification, as Peter so aptly put it, does not guarantee that a person practices his/her craft any better or worse than someone else. The certification will quantify a persons' skillset and level of experience. > > Would having ETCP certification meet a prerequisite of being certified as an > inspector, or vice versa? (It would make sense that an inspector would meet > the ETCP qualification points, although he or she may not have actually > rigged the gear themselves.) you cannot be certified as an inspector in the theatre business here in the states. No one has developed a certification for that. Because it does not exist, it's hard to talk about it and decide what makes sense and what does not. Certifying riggers is what the ETCP is about. Not inspectors. > > Would a company that hired a person to inspect their counterweight system be > as covered with an ETCP-certified individual or individuals as they would > with an inspection company? In a litigious society such as ours, it is impossible to determine who is 'more covered'. but, once again, the ETCP Certification is about riggers. If you are looking for a fisherman you don't hire a hunter, right? If you want to hire an inspector you should hire that person/company on the merits of their inspection work. > > And -- pardon my ignorance here -- but what certification exists for > inspectors? And how do the criteria match up with those for the ETCP Rigging > program? No certification exists. Wanna start one? > > I have to imagine that the ETCP program didn't come about because a similar > program already existed and they wanted to split hairs; rather, I think it > came about to answer a need that wasn't currently being answered. Well, yeah, you're right. The ETCP program was started because a very real need existed, still exists and will continue to exists as long as we hang stuff over peoples' head Folks, I think some of you may be trying to force fit this program into areas where you think it belongs. That's kinda like going to the hardware store for apples. The ETCP certification program was brought about to answer a (relatively) narrowly defined need. It is inaccurate and inappropriate to try and broaden the scope of the Certification Program to cover everything that you want it to cover. The Council and the Rigging Skills Working Group have defined the program, it's scope and it's goals. If the program does not cover areas that you want covered, I wholeheartedly invite you to develop one that does. If you feel that Inspectors should be "certified", please go for it.. Keep in mind, however, that there is a serious time and financial commitment involved with certification. In addition to the overall cost of the Rigging Certification, which will be more than $750,000, there are costs that the individuals incur. This is, after all, a volunteer program. By way of example, I figure that over the last 4+ years I have attended at least 16 or so meetings concerning certification. None of those meetings took place at my house or office, or even in Philadelphia. So, in addition to the time spent attending these meetings, I had the cost of the airfare and the hotels/meals to cover. (Figure about $1k per meeting) On top of that, SRI has donated money directly to the program, as have many other individuals, organizations and companies. Not crying the blues here or anything. All of this was my choice and I'm very glad I made that choice. It's been, and continues to be fun, interesting and a challenge. Just so you know. 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 ------------------------------ Date: Thu, 14 Apr 2005 11:05:19 -0400 Subject: Re: Rigging Certification vs. Being Qualified From: Bill Sapsis Message-ID: In-Reply-To: on 4/14/05 10:03 AM, ladesigners [at] juno.com at ladesigners [at] juno.com wrote: > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > > This conversation is going on and on. All I want is to be able to hire a > Certified Rigger with same ease that I hire Certified Welders. Having said > that, my further preference is to hire persons and companies whose competence > and integrity can easily be assessed. This puts Bill Sapsis on the 'A' list of > approved vendors in my opinion, if for no other reason than the way he > interacts on this list. I must assume that if there were complaints, they > would have shown up here. > /s/ Richard > Nah. I've secretly installed a filter on the Stagecraft list that removes all negative comments about me or SRI before they get sent out. Sorry Noah. Been meaning to tell ya. <> 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: <20050414151053.81202.qmail [at] web61304.mail.yahoo.com> Date: Thu, 14 Apr 2005 08:10:53 -0700 (PDT) From: stage craft Subject: Re: baaack & related question In-Reply-To: 6667 Thanks, but in the short time I've been here I've seen the state's support... One reason why I'm leaving as soon as possible! Heck, the state congress/senate adjourned for the year without even passing a budget...for the entire state!!! -alex- --- "Robert G. Anderson" wrote: > For info, archives & UNSUBSCRIBE, see > > --------------------------------------------------- > > Alex: Get in touch with Wayne Durst at Mississippi > State. You and he can > talk about Mississippi's support for the arts.... > > his email is dur [at] ra.msstate.edu > > ----- Original Message ----- > From: "stage craft" > To: "Stagecraft" > Sent: Saturday, April 09, 2005 9:41 PM > Subject: baaack & related question > > > > For info, archives & UNSUBSCRIBE, see > > > > --------------------------------------------------- > > > > First, welcome back to Steve & congrats on the > > success! > > > > Steve's leaving MTSU (and reasons he cites) > reminds me > > of similar situations in other academic settings. > I'd > > like to get the list's wisdom on matters relating > to > > treatment of TDs by other faculty members. This > > includes handling/solving situations such as: > > 1) where the "Artistic Director" who is a director > by > > training indiscriminately alters designs (mostly > > minor, but some involve safety devices like > railings > > on elevated platforms) without consulting either > the > > designer (a grad student), faculty designer, or > TD; > > 2) directors who have trouble understanding that > > design budgets are to be met - not just a > suggestion, > > and no you can't have money from anywhere else; > > 3) faculty in general with a lack of respect for > the > > technical needs of a production (which includes a > lack > > of recruiting of students interested in tech > theatre, > > leaving almost no one to build the shows); > > 4) and designers (student & faculty) who can't > seem to > > keep the shop or stage neat. > > > > Needless to say, I'm frustrated. I don't remember > > these types of problems from my undergraduate > (UNCG) > > or graduate education (Wisconsin). At UNCG there > was > > no true tech program (combined with design), as is > the > > case at my present university. But things here > just > > seem so far away from what I've experienced in the > > rest of the world (including some professional > theatre > > in the DC area)... > > > > Can anyone provide some insight?? Yes, I keep > trying > > to make the best of the situation - but the "screw > > this" mentally is constantly lurking at the back > of my > > mind! I can see the situation getting a lot better > > with a lot of work and over time, but I'm not sure > I > > can put up with the situation for another 2, 3, or > 5 > > years... I'm not really looking for positive > strokes - > > just examples of ways to improve the > > thinking/understanding/actions of everyone > (including > > me!!!). > > -alex- > > > > Alex Postpischil > > Technical Director > > U of MS > > > > -alex- > > > > Alex M. Postpischil, Technical Director > > Department of Theatre Arts > > University of Mississippi > > University, MS 38677 > > 662.915.6993 > > 662.915.5968 - fax > > > > > > > > __________________________________ > > Do you Yahoo!? > > Yahoo! Small Business - Try our new resources > site! > > http://smallbusiness.yahoo.com/resources/ > > > > > -alex- Alex M. Postpischil, Technical Director Department of Theatre Arts University of Mississippi University, MS 38677 662.915.6993 662.915.5968 - fax __________________________________ Yahoo! Mail Mobile Take Yahoo! Mail with you! Check email on your mobile phone. http://mobile.yahoo.com/learn/mail ------------------------------ Subject: RE: baaack & related question Date: Thu, 14 Apr 2005 11:18:11 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7C7 [at] exchange.rmwc.edu> From: "Paul Schreiner" > Thanks, but in the short time I've been here I've seen > the state's support... One reason why I'm leaving as > soon as possible! Heck, the state congress/senate > adjourned for the year without even passing a > budget...for the entire state!!! Join the club. Virginia was in the same boat a couple of years ago. S'one of the reasons I left my last job at a state school...I hadn't seen a raise in 2.5 years, partly cuz the previous governor had gone on this tax-cutting binge and wiped out the entire surplus (and then some) right before the heavily tech-based Northern Virginia economy tanked in the dot-com bust. When you find a place whose government is both fiscally and socially responsible and progressive in its thinking, let me know. We can help each other move in. ------------------------------ Reply-To: From: "Jeffrey E. Salzberg" Subject: RE: baaack & related question Date: Thu, 14 Apr 2005 11:21:42 -0400 Message-ID: <004c01c54105$acf7a580$6601a8c0 [at] Dell> In-Reply-To: > When you find a place whose government is both fiscally and > socially responsible and progressive in its thinking, let me > know. Vermont. ------------------------------ From: IAEG [at] aol.com Message-ID: <82.26016b7d.2f8fe4c8 [at] aol.com> Date: Thu, 14 Apr 2005 11:22:48 EDT Subject: Re: baaack & related question In a message dated 4/14/05 11:19:02 AM, pschreiner [at] rmwc.edu writes: << When you find a place whose government is both fiscally and socially responsible and progressive in its thinking, let me know. >> Sweden perhaps ? ? very best, Keith Arsenault IAEG - International Arts & Entertainment Group Tampa, Florida ------------------------------ Subject: RE: baaack & related question Date: Thu, 14 Apr 2005 11:37:49 -0400 Message-ID: <6E497ADB607656479C24E6D7BF6B505A0196C7C9 [at] exchange.rmwc.edu> From: "Paul Schreiner" > << When you find a place whose government is both fiscally=20 > and socially responsible and progressive in its thinking, let=20 > me know. >> >=20 > Sweden perhaps ? ? Oooh, wi not trei a holiday in Sweden this year? ------------------------------ Date: Thu, 14 Apr 2005 11:41:02 -0400 From: Stephen Litterst Subject: Re: Rigging Certification vs. Being Qualified Message-id: <425E8F0E.43710870 [at] ithaca.edu> Organization: IC-Dept. of Theatre Arts References: Bill Sapsis wrote: > > --------------------------------------------------- >Nah. I've secretly installed a filter on the Stagecraft list that removes > all negative comments about me or SRI before they get sent out. Now I understand why we haven't heard from Dave Vick in the longest time... Steve L. -- Stephen C. Litterst Technical Supervisor Ithaca College Dept. of Theatre Arts 607/274-3947 slitterst [at] ithaca.edu ------------------------------ From: "ladesigners [at] juno.com" Date: Thu, 14 Apr 2005 16:09:42 GMT Subject: Re: theatre company reference Message-Id: <20050414.091024.94.343047 [at] webmail17.lax.untd.com> All true. Not the least of which is the cost of purchasing or upgrading of high-limit E&O insurance policies for anyone who holds themselves out as a Rigging Inspector, or who claims to teach rigging inspection. Doom can also speak about the necessity of this insurance. /s/ Richard Keep in mind, however, that there is a serious time and financial commitment involved with certification. In addition to the overall cost of the Rigging Certification, which will be more than $750,000, there are costs that the individuals incur. Bill S. ------------------------------ Message-ID: <000501c5410e$8c302440$0200a8c0 [at] lpt> From: Subject: The adding machine Date: Thu, 14 Apr 2005 11:25:16 -0500 Organization: Minnesota Ballet The production of the Adding Machine using VR was done by the University of Kansas, at Lawrence, not UMKC. I saw the original production at Lawrence and was not that impressed. I'm sure graphics have improved over the years and the debate over computer generated scenery still goes on. Even have products coming to market in this field (Rosco Image Pro). But at the time, I remember walking out of the theatre a bit disappointed. Kenneth Pogin PSM / TM Minnesota Ballet ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12a.5b4c966f.2f900044 [at] aol.com> Date: Thu, 14 Apr 2005 13:20:04 EDT Subject: Re: Delrin In a message dated 14/04/05 06:19:55 GMT Daylight Time, bpmunroe [at] gmail.com writes: > > In the UK, it is usual for the batten to be grounded other than through the > > luminaires hung from it. Certainly one must never rely on the suspension > wires. > > Exactly how is that done, Frank? It varies. Perhaps the most normal method, if it is internally wired, is to pick up the incoming ground from the pigtail in itc connection box. Failing that, a separate earth wire run to a really solid earth. It's not something I often I have to do, myself, since all our luminares are rigged from bridges, securely attached to the steel structure of the building. Flown battens are very seldom used. It's the same as with scaffolding structures. When we last re-wired, we had planned to install earth terminal points in suitable places. This never happened, and we have to make do with a power plug, with a long, flexible, gerrn and yellow cable and a pipe clamp. Not really the best way, but a lot better than nothing. Relying on the luminaire to connect its earth to the batten is not something I really like. Cable to casing; casing to yoke; yoke to clamp; clamp to batten; there are too many places for bad connection to occur. Remember that we are talking about instantaneous fault currents of thousands of amps, until the protection device comes out. Our UK test procedures check the earth continuity at 25A, and we use 230V mains. In the US, I should expect a test at 50A. Frank Wood ------------------------------ Message-ID: In-Reply-To: From: "Laura McMeley" Subject: Re: theatre company reference Date: Thu, 14 Apr 2005 12:24:33 -0500 LOL Sorry, didn't realize what I was typing there. Laura McMeley 972-333-5016 www.geocities.com/lmcmeley/ >From: Jerry Durand >Reply-To: "Stagecraft" >To: "Stagecraft" >Subject: Re: theatre company reference >Date: Thu, 14 Apr 2005 07:33:51 -0700 > >For info, archives & UNSUBSCRIBE, see >--------------------------------------------------- > >At 06:46 AM 4/14/2005, you wrote: >>I love it when people take responsibilty in this country instead of hiding >>behind a bunch of legalistic B.S. > >Legalistic Bill Sapsis? :) > > >---------- >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: FrankWood95 [at] aol.com Message-ID: Date: Thu, 14 Apr 2005 13:33:58 EDT Subject: Re: baaack & related question In a message dated 14/04/05 07:46:50 GMT Daylight Time, brooklyn [at] dopher.com writes: > > My favorite request is to have the instruments in the house positions > > shine on the actors, but not on the scenery or the floor. > > THAT I can do! But it requires actors who can hit a spike.... So you'll > never see me demonstrate this in your lifetime. You can do off the scenery this way. But not off the floor. If you use back-projected scenery, it is vital. To keep it off the floor, you need 'shinbusters'. Very low angle cross light, and beloved of those who design for dance, for which they work very well. Since the only dance shows I have lit were for one of our local dance schools, I have never dared to do this. When half the 'company' is about 3' tall, and very young, I have never felt it safe. One year, we lost half a dozen or so into the cyc lighting pit. Did I hit the master blackout fast1. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 14 Apr 2005 13:48:54 EDT Subject: Re: baaack & related question In a message dated 14/04/05 11:59:51 GMT Daylight Time, mseddy2900 [at] hotmail.com writes: > Our Chromatte fabric was developed in conjunction with the BBC, which > utilizes 'retro-reflectivity' to produce perfectly even coloured backgrounds > for chroma keying. The patented material behaves like millions of 'cats > eyes' that reflect the blue or green light source from the accompanying > LiteRing, straight back into the camera lens. To the naked eye the material > appears grey, but to the camera it appears as a solid background that can > easily be keyed - either live or in post-production This, or a predecessor, was used for 'axial front projection' many years ago. Film's answer to 'chroma' key'. It involved a projector and the camera firing down exactly the same optical path, and such a screen. It was magic. A 3V pen-torch, held by your eye, would flash the screen full white, at 100'. Move it a foot away, and the screen was dull grey. Frank Wood ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <12b.5b0b4c1b.2f900b44 [at] aol.com> Date: Thu, 14 Apr 2005 14:07:00 EDT Subject: Re: theatre company reference In a message dated 14/04/05 15:42:52 GMT Daylight Time, ladesigners [at] juno.com writes: > >I love it when people take responsibilty in this country instead of hiding > behind a bunch of legalistic B.S. In any country. I once had a job which involved checking the performance, in some detail, of six or eight analogue recorders every day. As a trained and acknowledged engineer, I checked all the parameters. It was the custom to write all of them down, in considerable detail. This took a lot of time, so I tried writing in the log "Perfomance satisfactory", and signing it. No detailed figures, just my opinion as an engineer. My boss blew my head off. I had worked with other, trickier gear, when we used to log the positions of the controls. This made the assumption that you could do the line-up. It also showed you to see when the controls were walking off to their end stops, and you needed to do a major overhaul. Frank Wood ------------------------------ Message-Id: Date: Thu, 14 Apr 2005 14:19:19 -0400 From: "LES LIND" Subject: Fear Factor rigging Oh wise list, With all this talk of rigging, as I looked through my new copy of PLSN I saw an ad for a rigging company. Then I got to thinking, 'Who rigs all of Fear Factor's stunts?' Anybody out there know? Any interesting facts about that whole program that I could impress my wife with. It's the only reality tv program she watches. Les Les Lind, TD NHS Dramatics Northeastern High School Manchester, PA ------------------------------ Subject: RE: Fear Factor rigging Date: Thu, 14 Apr 2005 12:26:20 -0700 Message-ID: From: "Joe Golden" It used to be Brannam, but they lost it last year. Joe , 'Who rigs all of Fear Factor's stunts?'=20 ------------------------------ Date: Thu, 14 Apr 2005 11:39:19 -1000 Subject: Baaack and related question From: Shell Dalzell Message-ID: In-Reply-To: I have a friend who has developed a related product for use under conditions of veru bad sightlines. The spray version is called HeinouSuck. I always suggest it after the director says something like "will that always show?" Aloha, Shell >> How do you keep the light off the floor? >> >> Mike > > Mike, > > I usually try to use LumenAbsorb (tm), although if that's not available > at the local Lowe's, I'll settle for LightAway (tm). > > An even application about 3 feet above floor level will allow a smooth > absorption rate which looks almost natural as the candlepower fades > into nothing. ------------------------------ Message-Id: <200504142145.j3ELjoI02786 [at] pop.hevanet.com> From: jonares [at] hevanet.com Subject: Wireless Intercom Date: Thu, 14 Apr 2005 21:45:50 GMT Recently I saw an ad in one of the trade rags for a company (that I had not heard of) with a wireless comm system, that used, I believe, the 2.4ghz spectrum. I went to their website and browsed a bit, but I have since lost that site, and that ad. Does anyone know of a company that offers such a product? It is ClearCom compatible, and can easily be incorporated into existing systems. TIA... -- Jon Ares ------------------------------ From: FrankWood95 [at] aol.com Message-ID: <24.6efa8b9b.2f90422f [at] aol.com> Date: Thu, 14 Apr 2005 18:01:19 EDT Subject: Re: Wireless Intercom In a message dated 14/04/05 22:46:23 GMT Daylight Time, jonares [at] hevanet.com writes: > Recently I saw an ad in one of the trade rags for a company (that I > had not heard of) with a wireless comm system, that used, I believe, > the 2.4ghz spectrum. I went to their website and browsed a bit, but I > have since lost that site, and that ad. Does anyone know of a company > that offers such a product? It is ClearCom compatible, and can easily > be incorporated into existing systems. Incredulity. No, total disbelief. Let's just say imprecision. If this is the band for the carrier frequency, I think that, in the average steel framed building, there would be so many dead areas as to render it useles. If it is the system bandwidth, it's ludicrously over the top. Check the date of the post, or ad. I suspect April 1st. BMW put out one about a car with no steering wheel, on that day. Frank Wood ------------------------------ Message-ID: Reply-To: From: "Michael S. Eddy" Cc: jonares [at] hevanet.com Subject: RE: Wireless Intercom Date: Thu, 14 Apr 2005 18:14:42 -0400 In-Reply-To: Recently I saw an ad in one of the trade rags for a company (that I had not heard of) with a wireless comm system, that used, I believe, the 2.4ghz spectrum. I went to their website and browsed a bit, but I have since lost that site, and that ad. Does anyone know of a company that offers such a product? It is ClearCom compatible, and can easily be incorporated into existing systems. TIA... -- Jon Ares Jon, Well, Frank says that it can't be done, so I gave up and stopped looking. I think that you are referring to HME. They are a California based company that is a bit off the radar from the traditional entertainment intercom companies. (The PRO850 Wireless Intercom System won an EDDY award from Entertainment Design last year.) They have the DX200, a 2.4ghz unit that has a ClearCom and RTS interface. From their brochure: Wired intercom interface supports one hardwired intercom channel using 2-wire, 4-wire, or both. The DX200 is compatible with RTSR and ClearComR hardwired intercom systems. Here is a link to the HME brochure on its website: http://www.hme.com/collateral/DX200_BROCHURE.pdf and the homepage for the DX2000: http://www.hme.com/proDX200.cfm HTH, Michael Eddy Eddy Marketing & Consulting ------------------------------ From: FrankWood95 [at] aol.com Message-ID: Date: Thu, 14 Apr 2005 18:36:44 EDT Subject: Re: Wireless Intercom In a message dated 14/04/05 23:16:00 GMT Daylight Time, mseddy2900 [at] hotmail.com writes: > Well, Frank says that it can't be done, so I gave up and stopped looking. > > I think that you are referring to HME. They are a California based company > that is a bit off the radar from the traditional entertainment intercom > companies. I didnt say that it couldn't be done. There are enough engineers out there who are more up to date than I am. The question I posed was "what for?". But, I still think that this is an April Fool joke. And a good one, if it has takes so many of you in. Frank Wood ------------------------------ Date: Thu, 14 Apr 2005 19:25:59 -0400 From: "Rob Carovillano" Subject: Re: Wireless Intercom Message-id: <001001c54149$51482db0$a8a44481 [at] rcarovil> References: What systems do people recommend I am also looking at picling up a few to be compatible with our Clearcom system. The only experience I have had with them is a system the mouse had in Florida. It looked and functioned exactly like a clearcom beltpack only larger. Rob Carovillano Technical Director Bluett Theatre Saint Joseph's University 610-660-1044 rcarovil [at] sju.edu ----- Original Message ----- From: FrankWood95 [at] aol.com To: Stagecraft Sent: Thursday, April 14, 2005 6:36 PM Subject: Re: Wireless Intercom For info, archives & UNSUBSCRIBE, see --------------------------------------------------- In a message dated 14/04/05 23:16:00 GMT Daylight Time, mseddy2900 [at] hotmail.com writes: > Well, Frank says that it can't be done, so I gave up and stopped looking. > > I think that you are referring to HME. They are a California based > company > that is a bit off the radar from the traditional entertainment intercom > companies. I didnt say that it couldn't be done. There are enough engineers out there who are more up to date than I am. The question I posed was "what for?". But, I still think that this is an April Fool joke. And a good one, if it has takes so many of you in. Frank Wood ------------------------------ In-Reply-To: References: Message-Id: <546F3690-ABC7-11D9-B7DE-000A95BD64AC [at] earthlink.net> From: Sunil Rajan Subject: Re: Sound question and film Date: Tue, 12 Apr 2005 22:54:18 -0400 On Apr 11, 2005, at 6:00 AM, Stagecraft wrote: > From: FrankWood95 [at] aol.com > Message-ID: > Date: Sun, 10 Apr 2005 18:15:51 EDT > Subject: Re: Sound question and film > > In a message dated 10/04/05 20:57:34 GMT Daylight Time, psyd [at] cox.net > writes: > >>> I tend to put a vocal head-slate on the tape, giving the audio post >>> folks >> all the relevant info, something like "Head Slate for Tape # 'x', >> -name of >> project-, DP name, mixer/recordist name, sampling rate, timecode >> info (or >> not), etc. Following is 1kHz tone at -20dBu" followed by tone. >> >> Whcih is a really great idea. I like to include a phone number so >> that >> the editor can get me if he has any questions, and doesn't have to go >> hunting up my contact info. I also like to start the header with a >> 'good >> morning' or hello, and end it with a wish for a happy editing >> session. >> Just a little trick Jim Pilcher taught me... > > Fine. But don't forget the clapper-board. The actual "Slate" as it were?! I always try to get an audio clap, but most times nowadays it comes secondary to getting the proper timecode numbers. A lot of editors these days don't know HOW to sync to an audio clap! Ain't technology grand?! Cheers, Sunil Rajan Freelance Audio Mercenary ------------------------------ Message-ID: <20050415002443.57997.qmail [at] web50504.mail.yahoo.com> Date: Thu, 14 Apr 2005 17:24:43 -0700 (PDT) From: john hauer Subject: Re: CPU lighting control In-Reply-To: Hello, This is John again - I asked this question. Thanks for the new product ideas. I will also look into the show control list that Charlie mentioned (I might lurk on that list for awhile though). So, some of you want to know specifically what I need... This is for a High School Theatre - just for theatre. The operators are 14 to 18 years old. They love PC's and can learn most software without much of a curve. They have more trouble with things like specialized tools (lightboards). With the horizon, if I memorized the programming, I could send anyone to the PC and get results without saying much more than, "Boot the computer, dble click the yellow Icon; click on197, right click to full. QED As an example, today I trained a 14 year old girl who says, "I don't really like computers," to run the board by talking to her for about 3 minutes. Now, add to that that other people can program moving lights and FX ques + More = the PC world works very well. Also, I can program offline on my laptop. What I would like is a little more stability, and perhaps an easier moving light interface that doesn't cost a ton extra. As before -- I need to run 196 dimmers on DMX512; Moving lights and a few F/X switches. Maybe some cue lights. I like the mouse and keyboard interface approach. No, am not interested in the old "slider" argument. No one I work with needs them. Give me a big monitor where everything is visible at once and I am happiest. Also, you might want to consider that the kids today "keyboard" at a very fast rate - that includes arrows and numbers. (They play video games.) I used to (and sometimes still do) use "real" boards myself and never really saw a huge difference between computer based and otherwise. I happen to have a pretty good memory for numbers, so some of the other details (like detailed searches) don't matter to me. I guess that sums it up. Again - Thanks for the tips from those who sent them. I have some reading and demos to do. __________________________________ Do you Yahoo!? Yahoo! Small Business - Try our new resources site! http://smallbusiness.yahoo.com/resources/ ------------------------------ Date: Thu, 14 Apr 2005 21:34:32 -0500 Subject: Re: CPU lighting control From: Mike Benonis Message-ID: In-Reply-To: For what it's worth, I'm a senior at a high school, and we have an Express 48/96 in our theatre controlling 108 dimmers (plus house lights). I have yet to hear anyone complain that the board is difficult to learn because it is not keyboard-and-mouse based. In fact, this subject has come up in conversation a number of times, and the consensus of all the student lighting techs is that a physical board is much more simple to operate for a number of reasons. Firstly, the board is easy to teach because all of the options are laid out in front of you. Need to program a sub? The directions are simple: Put the lights up you want, hit [Record][Sub] and put the sub's button. On a computer, you might have to go through a menu and a dialog box to do the same thing - that seems counter-intuitive to me. Secondly, kids who have a computer phobia are more comfortable because the board doesn't feel like a traditional computer. And unlike a computer where everything is on screen, changes to the physical board cause physical changes on stage. Finally, there is less that can go wrong on a physical board than with a PC. PC's have a habit of crashing at the most inopportune time, sometimes for no apparent reason. Plus, there is less for someone to screw up on a computer. However, the trade-off is that a physical board is (much) more expensive than a software solution, and is certainly less portable. If cost is the driving factor in this purchase, then I definitely suggest the purchase of a software-based solution. But if you do have $6000-$8000 to spend, I highly recommend a physical board for the reasons laid out above. Best regards, -Mike Benonis Senior and Sound Designer/Technician Stone Bridge High School 43100 Hay Road Ashburn, VA 20147 (703) 779-8900 On 4/14/05 7:24 PM, "john hauer" wrote: > This is for a High School Theatre - just for theatre. > The operators are 14 to 18 years old. They love PC's > and can learn most software without much of a curve. > They have more trouble with things like specialized > tools (lightboards). With the horizon, if I memorized > the programming, I could send anyone to the PC and get > results without saying much more than, "Boot the > computer, dble click the yellow Icon; click on197, > right click to full. QED ------------------------------ In-Reply-To: References:

Message-Id: <6f53fd5cc4bf6ef8f625638f6dcba951 [at] dejazzd.com> From: Greg Bierly Subject: Re: A sad end to a long legacy... Bill McManus Date: Thu, 14 Apr 2005 23:55:57 -0400 > The auction will be held 4/13 and 4/14. Including *VEHICLES, > THEATRICAL LIGHT FIXTURES, SPECIAL EFFECTS, LIGHTING & EFFECTS, > **SOUND EQUIP., STAGING, FLOORING, CABLES, ADAPTERS, COLOR MEDIA* * > PATTERNS, TAPES, MAKE-UP, LAMPS,* So did anyone on list attend the actions either day? I was just wondering if there were bargains to be had? I was really hoping to make it and bid on some of the retail items like the imagepro's in the box. Greg Bierly Technical Director Hempfield HS ------------------------------ Date: Fri, 15 Apr 2005 05:28:56 +0100 (BST) From: Charlie Richmond Subject: FW: How are you doing? (fwd) Message-ID: ---------- Forwarded message ---------- Date: Thu, 14 Apr 2005 18:52:16 -0800 From: jay b To: ostroff [at] operaphilly.com, paul.guncheon [at] verizon.net, marko [at] email.arizona.edu, psyd [at] cox.net, ladesigners [at] juno.com, klyphs [at] earthlink.net, charlier [at] richmondsounddesign.com, jonares [at] hevanet.com Cc: jkanyuck [at] harford.edu Subject: FW: How are you doing? Good evening, everyone. My name is Jay Brause, and I am one of the co-directors at the alternative space in Anchorage, Alaska, that Jeff Kanyuck spoke to you about on a tech listserve last year. I am thankful Jeff thought to tell you how to contact us--unfortunately, none of you did. And this is precisely the problem with posting such matters on a public forum. Someone, maybe even the person in question may run across it some day. We did, through a Google search on our names as we occasionally do, to check what is out in the internet universe. Imagine our shock to run into this thread from a former employee, upset with us. If he had only talked with us first, he might of found out what was going on with us. But he didn't. If any of you find yourself in a similar situation in the future, I would only hope that you would remember what happened on your listserve when only one side was heard from. Posted below, is what I sent to Jeff yesterday, asking for him to post my reply to the same list. I don't know if that's happened as I haven't heard from him. But it is time to defend our reputation--something, like Jeff, that we care a great deal about. And please, will someone make sure this gets posted to your list? Many thanks, Jay Brause, co-director Out North, 3800 DeBarr Road Anchorage, Alaska 99508 907 279-8099 ------ Forwarded Message From: jay b Date: Wed, 13 Apr 2005 19:43:19 -0800 To: Subject: How are you doing? Jeff, You know, we were surprised when you left us last year with two weeks notice. It really left us in a lurch. Now, having accidentally bumped into a discussion you were having in August 2004 about us on a tech list, I can see why. And I am stunned. I haven't shown your comments to Gene yet, but if your anger was due to us offering more to the "next guy", please talk to us before trying to ruin our chances to hire someone nationally. Do you realize that we hired the coordinator of the Understanding Neighbors project in 2002 at $40,000 per year when Gene and I were paid $19,000 as the directors? No, because it wasn't our business to tell other employees what they each made. Do you know that we're just now advertising to hire a development manager for over $40,000? Jeff, your pay was ALWAYS higher than what Gene and I were paid per hour and we were exempt employees who didn't make overtime for 70 hour work weeks. It was only AFTER Gene got a medical bill of $12,000 (that he is still paying) that our board agreed to give health insurance for full-time employees. You weren't full-time and we didn't have the work to make you full time. You know that we asked you on a number of occasions if you could take on administrative work for us so we could up your hours. You didn't want to. And when we saw a way to increase your hours by working with kids, you declined or showed no interest whatsoever. How could you go and say such awful stuff about us when you know we were killing ourselves to make payroll? THAT WE PERSONALLY LOANED OUR OWN MONEY TO MAKE PAYROLL ON MORE THAN ONE OCCASION? You know we did that. And we didn't get interest on that money when we borrowed on our credit cards. It's a knife in the back. And then to go and not give us a chance to defend ourselves in a national forum. How could you do that, Jeff? God, I feel betrayed. And yet, we would still give you a strong recommendation for hire, even if you felt you couldn't give us as a reference. You did good work for us, Jeff. Will you forward this note to your friends, please? I know it's nearly a year later, but I want the chance to be heard. We valued every single thing you did for us for eight years. We are still making it by. We put money in the bank due to a grant we received recently but it's still tough. We don't have a TD, just temps. It's difficult work trying to keep an alternative art space going in Alaska. Did you mention that to your colleagues? That this wasn't a theatre space you worked for? That it has a 100 seat house and we only had audiences 5 months a year at the time you worked for us? (We're up to 6 months now.) I do want you to post this, and I hope you will let Stacy know how we feel. We liked you, Jeff. We always will. I guess it just was never enough. You former employer, Jay Brause, co-director Out North, Anchorage, Alaska ------ End of Forwarded Message ------------------------------ Message-ID: <425F5083.2020302 [at] peak.org> Date: Thu, 14 Apr 2005 22:26:27 -0700 From: Pat Kight Subject: Re: FW: How are you doing? (fwd) References: In-Reply-To: Charlie Richmond wrote: > ---------- Forwarded message ---------- > Date: Thu, 14 Apr 2005 18:52:16 -0800 > From: jay b (snip) > We did, through a Google search on our names as we occasionally do, to > check > what is out in the internet universe. Imagine our shock to run into this > thread from a former employee, upset with us. Not speaking to the substance of this dispute, having no dog in that fight, but I'm curious how anyone could discover a stagecraft list post via Google. It's my understanding the archives haven't been updated for some time. Or was the complaint posted to the stagecraft newsgroup as well as to the mailing list? Can someone - Noah, perhaps - shed some light? Not paranoid, precisely, but I like to know where my words are being archived... -- Pat Kight kightp [at] peak.org ------------------------------ Message-ID: <002e01c5417d$b16c0110$8f1dd8cf [at] pamscomputer> From: "Pamela Abra" References:

Subject: Funniest performance you have seen at the theatre or on live stage Date: Thu, 14 Apr 2005 22:40:54 -0700 I'd love to hear some of your stories about the funniest things that you have seen at the theatre. Live, or backstage or perhaps the storyline of the script. Thanks Pamela ------------------------------ Message-ID: Reply-To: From: "Michael S. Eddy" Subject: RE: FW: How are you doing? (fwd) Date: Fri, 15 Apr 2005 01:47:02 -0400 In-Reply-To: Charlie Richmond wrote: > ---------- Forwarded message ---------- > Date: Thu, 14 Apr 2005 18:52:16 -0800 > From: jay b (snip) > We did, through a Google search on our names as we occasionally do, to > check > what is out in the internet universe. Imagine our shock to run into this > thread from a former employee, upset with us. Not speaking to the substance of this dispute, having no dog in that fight, but I'm curious how anyone could discover a stagecraft list post via Google. It's my understanding the archives haven't been updated for some time. Or was the complaint posted to the stagecraft newsgroup as well as to the mailing list? Can someone - Noah, perhaps - shed some light? Not paranoid, precisely, but I like to know where my words are being archived... Pat, I cannot speak to the archiving issue, but I do often run across threads from the Stagecraft list via a Google search. Michael Eddy Eddy Marketing & Consulting ------------------------------ Message-ID: <001c01c5417e$f7350920$8806a8c0 [at] Klyphsmachine> Reply-To: "Clifton Stanford" From: "Clifton Stanford" References:

Subject: Re: FW: How are you doing? (fwd) Date: Fri, 15 Apr 2005 01:50:01 -0400 ... Re: Reviving the Stagecraft Mailing List by Pat Kight As a regular in a Usenet-based forum that also ... stagecraft.theprices.net/ digest/StagecraftDigest-0002.txt - 63k - Cached - Similar pages [ More results from stagecraft.theprices.net ] the above was found by googling your name. An interesting exercise sometimes. Klyph Stanford ----- Original Message ----- From: "Pat Kight" To: "Stagecraft" Sent: Friday, April 15, 2005 1:26 AM Subject: Re: FW: How are you doing? (fwd) > For info, archives & UNSUBSCRIBE, see > --------------------------------------------------- > > Charlie Richmond wrote: > >> ---------- Forwarded message ---------- >> Date: Thu, 14 Apr 2005 18:52:16 -0800 >> From: jay b > > (snip) > >> We did, through a Google search on our names as we occasionally do, to >> check >> what is out in the internet universe. Imagine our shock to run into this >> thread from a former employee, upset with us. > > Not speaking to the substance of this dispute, having no dog in that > fight, but I'm curious how anyone could discover a stagecraft list post > via Google. It's my understanding the archives haven't been updated for > some time. > > Or was the complaint posted to the stagecraft newsgroup as well as to the > mailing list? > > Can someone - Noah, perhaps - shed some light? > > Not paranoid, precisely, but I like to know where my words are being > archived... > > -- > Pat Kight > kightp [at] peak.org > > ------------------------------ Date: Fri, 15 Apr 2005 00:50:21 -0500 Subject: Dirty Laundry (was: How are you doing?) From: Greg Persinger Cc: jay [at] outnorth.org Message-ID: In-Reply-To: Jay, When Jeff originally posted you could tell he was disgruntled and that regardless of who was to blame he found himself in a bad position. Life happens! Things Change! Move on and deal with it. Although I can't speak for anyone but myself, I do feel the people on this list are intelligent enough to realize there are always two sides to every story. Jeff's bad situation is not the first to be stated publicly on this list and probably won't be the last. After it was all said and done and the discussion was over I know I forgot about it. In fact I didn't give Jeff much credit but instead figured he needed a place to blow off steam. I'm sure there was some truth to what he said but I highly doubt that Jeff's posts had any bearing on the fact that no one replied to your job opening. After reading the first half of your post I was fine with what you had stated and felt it was a excellent response. After reading the second half my attitude soured. What does you and Gene only making $19,000 while somebody else makes $40,000 have to do with stagecraft? I'm sorry Gene has $12,000 in medical bills because he didn't have insurance but that's Gene's stupid mistake as you can buy your own insurance. It's noble that you made payroll on your credit cards, but you know I don't want or need to know this. Why are you wasting our time? Why did you feel the need to come back and air your dirty laundry in public, especially after giving Jeff a hard time about doing so and warning the list about it? Congratulations as you have made yourself and your organization look stupid on a national list that can be Google searched. If I was reading this because I was researching the possibility of taking a job with your organization, I would pass on it. You portrayed your organization as being financial unsound, administratively unprofessional, and that it is a very tough place to work. (read with great sarcasm) I know that's the kind of place I want to work. Sometimes you are better off not telling your side of the story. Good luck. You are going to need it. Greg Persinger Vivid Illumination Greg [at] Vividillumination.com ------------------------------ Message-ID: <425F5D0B.2020605 [at] peak.org> Date: Thu, 14 Apr 2005 23:19:55 -0700 From: Pat Kight Subject: Re: FW: How are you doing? (fwd) References: In-Reply-To: Michael S. Eddy wrote: (quoting me) > Not speaking to the substance of this dispute, having no dog in that fight, > but I'm curious how anyone could discover a stagecraft list post via > Google. It's my understanding the archives haven't been updated for some > time. > > Or was the complaint posted to the stagecraft newsgroup as well as to the > mailing list? > > Can someone - Noah, perhaps - shed some light? > > Not paranoid, precisely, but I like to know where my words are being > archived... > > > Pat, > > I cannot speak to the archiving issue, but I do often run across threads > from the Stagecraft list via a Google search. Sorry, I wasn't clear - I was referring to *recent* posts (which I believe includes the complaint referenced in this message); I thought I recalled Noah saying the archives had been down for some time, and when I go to http://stagecraft.theprices.net/ I can't retrieve anything more recent than April 2004. -- Pat Kight kightp [at] peak.org ------------------------------ End of Stagecraft Digest #364 *****************************