 address has been written to. The second circuitry group 202 further carries out the function of disabling the outputting of a delayed cue signal if the read address has not been written to. The second circuitry group 202 can include a comparator 42, a flip flop 56, and a gate circuit 60. In the embodiment shown in the figure, the memory output signal 54 is initially gated or blocked by gate 60. Once the read address 34 exceeds the delay value 38, the comparator output 44 and the latched comparator value 58 go high, thereby enabling the gate 60 to produce the gated cue signal 62. A logic circuit 64 can then be employed to condition the gated cue delay 62 to produce a delayed cue signal 66. In an alternate embodiment, the second circuitry group can disable the reading from the memory element 51 if the read address has not been written to, rather than gating the output of the memory element 51 to disable the outputting of a delayed cue signal.
The cue delay circuit further includes a sequence circuit. The sequence circuit controls the timing associated with reading and writing from the memory element 51 and with the timing associated with the first and second circuitry groups 200 and 202. The sequence circuit can include a state machine 20, a binary counter, a shift register, a microcontroller, a monostable delay circuit, or combinations thereof.

FIG. 2 depicts a schematic for a method of using the embodied integrated circuit in an ink jet printing system. The method begins by sending a start pulse to initialize a state machine (Step 100). The initializing step entails clearing the counter, a flip flop, and a logic circuit. The counter is cleared and a read address is set to zero. The flip flop is cleared to set a latch comparator output to zero. The logic circuit is cleared to set the delayed cue signal to zero. Concurrently, a cue delay value and the read address from the counter are input to an adder to generate a write address (Step 102). The write address is supplied to a multiplexer along with the read address from the counter.

The methods continue by inputting a first buffered control signal from the state machine to a counter in order to increment a read address by one (Step 104). The read address is then input into the comparator and a multiplexer (Step 106). While inputting the cue delay value to the adder, the cue delay value is input to a comparator to set the comparator output to a logic high value if the read address is greater than the cue delay value (Step 108).

A second buffered control signal from the state machine causes the multiplexer to provide the write address to a memory element. The second buffered control signal provides a multiplexer output that is equal the value of the write address (Step 110). The comparator output is latched using a gate circuit (Step 112). A tachometer input is entered into the state machine (Step 114).

The next steps in the methods entail inputting a cue signal to a memory element and inputting a third buffered control signal from the state machine to the memory element (Step 116). The third buffered control signal causes the current state of the cue signal to be written to the address of the memory element and causes the current state of the cue signal to correspond to the write address received from the multiplexer. The second buffered control signal from the state machine works in conjunction with the third buffered control signal to cause the output of the multiplexer to equal the value of the read address (Step 118).

The memory output is sent to the gate circuit (Step 120) and the gated cue signal is passed to a logic circuit if the latched comparator output is set to logic high (Step 122). A fourth buffered control signal from the state machine enables the logic circuit to latch the gated cue signal to form the delayed cue signal (Step 124). The delayed cue signal is then transmitted to the ink jet printing system (Step 126).

The steps following the initializing step are repeated until a new start pulse is received by the state machine (Step 128).

In an alternative embodiment, the methods include a step of pulsing one or more buffered control signals.

In still another embodiment, the methods can optionally include the step of employing a cue pulse conditioner to latch the cue signal until the cue signal can be written to the memory element. If a cue pulse conditioner is used, a start pulse can be used to initialize a cue pulse conditioning circuit.

The embodiments have been described in detail with particular reference to certain preferred embodiments thereof, but it will be understood that variations and modifications can be effected within the scope of the embodiments, especially to those skilled in the art.
6. The method of claim 1, wherein the read address, the write address or combination thereof is incremented by a value of one for each additional tachometer input.

7. The method of claim 6, wherein the write address is greater than or equal to the read address.

8. The method of claim 1, wherein the read address, the write address or combination thereof is decremented by a value of one for each additional tachometer input.

9. The method of claim 8, wherein the write address is less than or equal to the read address.

10. The method of claim 1, further comprising the step of retrieving a cue delay value prior to writing the cue signal to the write address.

11. The method of claim 1, wherein the memory element is selected from the group consisting of a random access memory (RAM), a first in-first out memory (FIFO), a first in-last out memory (LIPO), a circular buffer, a register in an FPGA, and combinations thereof.

12. The method of claim 1, wherein prior to the step of receiving the tachometer input, the read address, the write address, or combination thereof, the read address, the write address, or combination thereof is set to a default value.

13. The method of claim 12, wherein the default value is zero.

14. A cue delay circuit for a digital printing system, wherein the cue delay circuit comprises:
   a. a memory element;
   b. a first circuitry group adapted to create a write address and a read address for the memory element, respectively;
   c. a sequence circuit adapted to control a timing associated with reading and writing of the read address and the write address of the memory element; and
   d. a second circuitry group adapted to verify that the read address of the memory element has been written to.

15. The cue delay circuit of claim 14, wherein the first circuitry group comprises:
   a. an adder adapted to create a difference between the write address and the read address;
   b. a multiplexer adapted to switch between the read address and the write address; and
   c. a counter.

16. The cue delay circuit of claim 14, wherein the sequence circuit is a member of the group consisting of a state machine, a binary counter, a shift register, a microcontroller, a monostable delay circuit, and combinations thereof.

17. The cue delay circuit of claim 14, wherein the second circuitry group comprises a comparator, a flip flop, and a gate circuit.

* * * * *<|endoftext|>Signal Boosters

1 Purpose
Implement an engagement procedure with specific guidelines for CFW Fort Worth Regional Radio System (FWRRS) customers to request approval to procure, install and operate signal boosters.

2 Scope
This policy applies to internal and external agencies that utilize the CFW Fort Worth Regional Radio System network for primary communications and require enhanced radio communications in specific use cases that may be achieved by the installation of signal boosters. Signal boosters are also commonly referred to as bidirectional amplifiers or signal amplifiers.

External agencies that are not FCC license holders must obtain documented consent by the City of Fort Worth if their signal booster operates on the FWRRS network. This stipulation is a requirement of the FCC Report and Order referenced in section 3.

3 References
FCC 13-21A1 Report and Order

4 Conditions for Exemption
Exceptions to the policy must be approved by the Senior Manager over Wireless Communications.

5 Justification
Public safety entities that operate private land mobile radio (PLMR) and public safety radio services provide mission critical and emergency response radio communications services to their customers. Because Part 90 channels are interleaved, PLMR licenses are sometimes not adjacent and create unique design and interference considerations. As such, the FCC has defined a specific class of industrial signal boosters with regulatory considerations as defined in the Report and Order referenced in section 3.
It is critical that signal boosters installed for improved or additional radio coverage in specific facilities meet FCC and industry standard specifications for optimal performance and functionality. Signal boosters must not introduce interference or introduce adverse coverage effects to the FWRRS. Therefore, a policy is necessary to enforce their implementation and ongoing performance.

6 Signal Boosters Implementation Procedures

The FCC Report and Order 13-21A1 establishes rules applicable to new and existing signal boosters, which are effective March 1, 2014.

The goal of the regulatory framework is to ensure signal boosters do not degrade the performance of Public Safety wireless networks and are designed to mitigate interference. Key points are summarized below, but are not all inclusive. Agencies operating and/or requesting signal boosters must comply with the FCC Report and Order referenced in section 3 and applicable FCC Part 90 rules in their entirety.

- Signal boosters installed for Public Safety entities are considered industrial as defined by FCC part 90


>Action Command
Description

GoPro start recording
Starts capturing video

GoPro HiLight
Adds a HiLight Tag to video during recording

That was sick
Adds a HiLight Tag to video during recording

GoPro stop recording
Stops capturing video

GoPro take a photo
Captures a single photo

GoPro shoot burst
Captures burst photos

GoPro start time lapse
Starts capturing time lapse

GoPro stop time lapse
Stops capturing time lapse

GoPro turn off
Powers off the camera

CONTROLLING YOUR GOPRO WITH YOUR VOICE

For the most updated list of commands, visit gopro.com/yourhero5.

**PRO TIP:** If you are recording video or time lapse, you must stop recording before issuing a new command.

CHANGING YOUR VOICE CONTROL LANGUAGE
1. From the main screen, swipe down.
2. Tap Preferences > Language (in the Voice Control section).
3. Tap a language.
You can play back your content on the camera’s touch display, your computer, TV, or smartphone/tablet.

You can also play back content by inserting the microSD card directly into a device, such as a computer or compatible TV. With this method, playback resolution depends on the resolution of the device and its ability to play back that resolution.

VIEWING VIDEOS AND PHOTOS ON YOUR HERO5 BLACK
1. Swipe right to open the gallery. If your microSD card contains a lot of content, it might take a minute for it to load.
2. Scroll through the thumbnails.
   *Note: For photo series (Burst, Time Lapse, Night Lapse and Continuous photos), the thumbnail displays the first photo in the series.*
3. Tap a video or photo to open it in full-screen view.
4. To add a HiLight Tag, tap \[. HiLight Tags make it easy to find the best video and photos to share.
5. To return to the thumbnails screen, tap \[.
6. To exit the gallery, swipe down.

PLAYING BACK YOUR CONTENT

CREATING SHORT CLIPS FROM A VIDEO
Video trimming lets you create short clips of your favorite shots from your video files. Clips are saved as new files that can be shared and used during editing in the Capture app or Quik for desktop.
1. Swipe right to open the gallery, then tap the video that contains the clip that you want to save.
2. Tap \[ to begin playing the video.
3. When you reach the point where you want to start clipping, tap \[.
4. Tap \[. By default, the duration of the clip is 5 seconds.
5. To save a longer clip, tap 5 SEC, then tap the length of the clip that you want (15 or 30 seconds).
6. Tap the screen, then tap PREVIEW to review the clip before saving it.
7. To adjust the starting point of the clip, tap -1. To adjust the ending point, tap +1.
   *Note: If you adjust the starting or ending points, the duration of the clip remains the same.*
8. Tap \[. The clip is saved as a separate video file and your original video file is unchanged.

PRO TIP: After you create clips from a video, you can delete the original file to save space on your microSD card.
PLAYING BACK YOUR CONTENT

SAVING A VIDEO FRAME AS A STILL PHOTO
1. Swipe right to open the gallery, then tap the video that contains the clip that you want to save.
2. Tap [▶] to begin playing the video.
3. When you reach the frame that you want to save, tap [▌].
4. Tap [▌].
5. If needed, slide the bar at the bottom of the screen to select the frame.
6. Tap [✔]. The frame is saved as a photo and your original video file is unchanged.

VIEWING VIDEOS AND PHOTOS ON A COMPUTER
To play back your video and photos on a computer, you must first transfer these files to a computer. For details, see Offloading Your Content (page 36).

VIEWING CONTENT ON A MOBILE DEVICE
1. Connect your camera to Capture. For details, see Connecting to the Capture App (page 35).
2. Use the controls on the app to play back your footage on your smartphone/tablet.

PRO TIP: While playing back your video with the Capture app, you can mark the best moments by tapping [▌] to add a HiLight Tag.

USING YOUR CAMERA WITH AN HDTV

VIEWING VIDEOS AND PHOTOS ON AN HDTV
Playing back videos and photos on your HDTV lets you view your content directly from your camera on a large screen. This playback requires a micro HDMI cable (sold separately).

Note: HDMI playback depends on the resolution of the device, and is certified up to 1080p.

1. Power on the camera.
2. Tap Preferences > HDMI Output > Media.
3. Use a micro HDMI cable to connect the HDMI port on the camera to an HDTV.
4. Select the HDMI input on your TV.
5. Press the Mode button [▌] to move through the controls, then press the Shutter button [▌] to select the control. For example, to move through each thumbnail, press the Mode button to move to [▌], then press the Shutter button repeatedly to move through the files.
6. To open a file in full-screen view, tap [▌].

PRO TIP: When viewing your videos and photos on an HDTV, you can also navigate using gestures on the touch display.
USING YOUR CAMERA WITH AN HDTV

CAPTURING VIDEO AND PHOTOS WHILE CONNECTED TO AN HDTV
This option lets you see the live preview from your camera when it is connected to an HDTV or monitor.

1. Power on the camera.
2. Tap Preferences > HDMI Output, then select one of these options:
   • To display your camera’s live preview with the icons from the touch display, tap Monitor.
   • To display your camera’s live preview on the HDTV without the icons or overlays that you see during recording on the camera’s touch display, tap Live.
3. Use a micro HDMI cable to connect the HDMI port on the camera to an HDTV.
4. Select the HDMI input on your TV.
5. Use the Shutter button [ ] on the camera to start and stop recording.

CONNECTING TO THE APP FOR THE FIRST TIME
The Capture app lets you control your camera remotely using a smartphone or tablet. Features include full camera control, live preview, playback and sharing of content, and camera software updates.

1. Download Capture to your mobile device from the Apple © App Store © or Google Play ™.
2. Follow the app’s on-screen instructions to connect your camera.

CONNECTING TO THE APP IN THE FUTURE
After connecting to the Capture app for the first time, you can connect in the future through the Connect menu on the camera.

1. If your camera’s wireless is not already turned on, swipe down, then tap Connect > Wireless Connections.
2. In the Capture app, follow the on-screen instructions to connect your camera.
OFFLOADING YOUR CONTENT

OFFLOADING YOUR CONTENT TO A COMPUTER
To play back your video and photos on a computer, you must first transfer these files to a computer. Transferring also frees up space on your microSD card for new content.

1. Download and install Quik for desktop from gopro.com/apps.
2. Connect the camera to your computer using the included USB-C cable.
3. Power on the camera and follow the on-screen instructions in Quik.

PRO TIP: To offload files to a computer using a card reader (sold separately) and your computer’s file explorer, connect the card reader to the computer, then insert the microSD card. You can then transfer files to your computer or delete selected files on your card. Note that you must use a card reader to offload RAW photos or RAW audio files.

UPLOADING YOUR CONTENT TO THE CLOUD
With a subscription to GoPro Plus, you can upload your content to the cloud and then view, edit, and share it from any of your devices. From your mobile device, use the Quik™ app to edit content from the cloud and share it with your friends.

Note: When you upload your content to the cloud, your original files remain on your camera.

1. Subscribe to GoPro Plus:
   a. Download the Capture app to your mobile device from the Apple® App Store® or Google Play™.
   b. Follow the app’s on-screen instructions to connect your camera.
   c. If this is the first time you are connecting to the app, follow the on-screen instructions to subscribe to GoPro Plus. Otherwise, tap [ ] next to the image of your camera and follow the instructions.

2. Connect your camera to a power outlet. When the battery is charged, automatic upload to the cloud begins.

   Note: Once you set up Auto Upload, you do not need to connect your camera to the Capture app to use this feature.

   The files in the cloud are optimized for the web, so might not be full resolution. To offload files in their full resolution


>E4991A

Calibration

Types
Open
Open

Short
Short

Load
Load

Low loss capacitor
Low loss capacitor

Measurement points of calibration data
Frequency and OSC level are fixed. Frequency and OSC level are set by users.
Frequency and OSC level are fixed. Frequency is fixed and OSC level is set by users. Frequency and OSC level are set by users.

Calibration kit
7 mm User
7 mm User

Definition of user calibration kit
Definition parameters
Definition parameters

Open
G-C

Short
R-L

Load
R-L

R-X
R-L

Save function
Yes
No (User calibration kit setup is saved by saving Instrument setup.)

No

Compensation

Types
Open
Open

Short
Short

Load

Measurement points of compensation data
Frequency and OSC level are fixed. Frequency and OSC level are set by users.
No selection (Combined with setup of calibration data measurement points. Cannot be set independently.)

Definition of user compensation kit
Definition parameters
Definition parameters

Open
G-C

Short
R-L

Load
R-L

R-L
R-L

Save function
Yes
No (User calibration kit setup is saved by saving Instrument setup.)

No

Port extension compensation
Yes
Yes

Fixture selection (Electrical length compensation)
Selectable fixtures
Selectable fixtures

Category
4291B
E4991A

--------------------------------
--------------------------------------------
--------------------------------------------

Sweep

Sweep time
Automatic/Manual
Automatic/Manual

Delay
Point delay
Point delay

Sweep delay
Sweep delay

Segment delay
Segment delay

Measurement points
2 to 801
2 to 801

Combination between channels
Combined/Independent
No channel concept

Sweep parameter
Frequency
Frequency

OSC level
OSC level

DC bias voltage (Option)
DC bias voltage (Option)

DC bias current (Option)
DC bias current (Option)

Sweep type
For frequency sweep

Linear
Linear

Log
Log

List
List

For OSC level sweep
Linear

Linear
(Sweep range can be set in dBm, so that

same function as Log sweep is available.)

For DC voltage/current sweep
Linear

Sweep direction
For frequency sweep
Up

Up/Down
Up/Down

For other sweeps
Up/Down

List sweep
Number of segments
15

16

Display methods
Frequency base (Linear format)
Frequency base (Linear format)

Order base
Frequency base (Log format)

Order base
Order base

Unit setup
Frequency
Hz

Sweep range
Hz

Fixed value
Hz

OSC level
Sweep range
V/A/dbm

Fixed value
V/A/dbm

DC bias
Sweep range
V/A

Fixed value
V/A

Trigger
Sweep mode
Continuous

Continuous
Continuous

Hold
Hold

Single
Single (Sweep averaging factor in case that

Number of groups
it is on)

Trigger source
Internal
Internal

Manual
Manual

External
External

GPIB
GPIB

Trigger event mode
On point
On point

On sweep
On sweep

On segment
On segment

Polarity of External trigger
Positive
Positive

Negative
Negative

</


 the USB/GPIB interface. The USB/GPIB Interface Detected dialog box (Figure 9-1) appears.

**NOTE**

Do not connect two or more USB/GPIB interfaces.

**Figure 9-1** USB/GPIB Interface Detected dialog box

![USB/GPIB Interface Detected dialog box](image)

**Step 2.** Confirm that VISA Interface Name is set to GPIB0 (1 in Figure 9-1) and SICL Interface Name is set to hpib7 (2 in Figure 9-1) and then click the **Accept** button (3 in Figure 9-1). If the setting is correct, the procedure is complete. If the setting is different, click the **Edit** button (4 in Figure 9-1).
Step 3. The USB to GPIB Configuration dialog box (Figure 9-2) appears. Make the setting enclosed in the thick lines in Figure 9-2 (1 in Figure 9-2) according to the figure and then click the OK button (2 in Figure 9-2).

Figure 9-2  USB to GPIB Configuration dialog box

If you need to check/change the setting of the USB/GPIB interface after connecting the USB/GPIB interface, follow these steps:

Step 1. Open the shortcut menu by right-clicking and select System (Or press [System]).

Step 2. Click the GPIB Setup Menu button.

Step 3. Press System Controller Configuration.

Step 4. The IO Config dialog box (Figure 9-3) appears. Select (highlight) GPIB0 hpib7 (1 in Figure 9-3) and then click the Edit button (2 in Figure 9-3).

NOTE  In the IO Config dialog box, do not click buttons other than specified here or do not change other settings because doing so may cause serious damage to the functions of the E4991A.
Figure 9-3  IO Config dialog box

Step 5. The USB to GPIB Configuration dialog box (Figure 9-2) appears. Check/change the setting of the USB/GPIB interface and then click the OK button (2 in Figure 9-2).

Step 6. In the USB to GPIB Configuration dialog box, click the OK button (3 in Figure 9-3).
Setting the Internal Clock

The E4991A has a built-in clock for the date and time. This internal clock is used for recording the date and time of when internal data or a VBA program is saved as a file.

Procedure for setting the internal clock

**NOTE**
Use the mouse or keyboard for the following operation.

**Step 1. Exiting the E4991A system program.**

a. Click **System - Exit** in the menu bar.

   The **Enter Password to exit** dialog box (Figure 9-4) opens.

![Figure 9-4 Enter Password to exit dialog box](image)

b. Click the **Keyboard...** button and use the displayed character entry dialog box or use an external keyboard to enter the password **e4991a** in the **Password** box.

c. Click the **OK** button to exit the E4991A system.

**Step 2. Setting the date and time.**

a. Click the **Start** button in the lower-left corner of the screen and select **Settings - Control Panel** (Figure 9-5). This operation will open the **Control Panel** window (Figure 9-6).

![Figure 9-5 Select Control Panel from the start menu.](image)
Setup and Use of Control/Management Functions

Setting the Internal Clock

Figure 9-6  Control Panel window

b. After double-clicking the **Date/Time** icon, the Date/Time Properties dialog box (Figure 9-7) will open.

Figure 9-7  Date/Time Properties dialog box

c. Set the date and time in the **Date** and **Time** areas, respectively.

d. Click the **Time Zone** tab.

Figure 9-8  Date/Time Properties dialog box (Time Zone tab)
e. Click the t button to select the time zone.

f. If you want to set daylight savings time automatically, enter a check mark (√) in the **Automatically adjust clock for daylight saving changes** check box.

g. Click the **OK** button.

**NOTE**

When you want to execute a setting change for the mouse at the same time, proceed to Step 3 on page 200 for “Setting the Mouse” (doing both procedures at this time will require you to restart the E4991A only once).

h. Click the x button in the **Control Panel** window to close the window.

**Step 3. Shutting down and restarting the E4991A.**

a. Click **Start - Shut Down...** (Figure 9-9).

**Figure 9-9**
Click **Start - Shut Down.**

b. Click the **Shut down** option button and then click the **OK** button (Figure 9-10). The E4991A will shut down.

**Figure 9-10**
Shut down dialog box

c. When the power of the E4991A is off, press the Standby switch once to activate the switch and then press it again to turn on the power.
Setting the Mouse

The user can change the setup for the mouse connected to the E4991A and the movement of the pointer.

Setup Step

NOTE

Be sure to use a mouse and a keyboard for mouse setup operations.

Step 1. Exiting the E4991A system program.

a. Click System - Exit in the menu bar. The Enter Password to exit dialog box (Figure 9-2) opens.

b. Click the Keyboard... button and use the displayed character entry dialog box or use an external keyboard to enter the password e4991a in the Password box.

c. Click the OK button to exit the E4991A system.

Step 2. Click the Start button in the lower-left corner of the screen and select Settings - Control Panel (Figure 9-5). This will open the Control Panel window (Figure 9-11).

Figure 9-11 Control Panel Window

Step 3. Double-click the Mouse icon (1 in Figure 9-11) in the Control Panel window.

NOTE

Do not click icons other than specified here or do not change other settings because doing so may cause serious damage to the functions of the E4991A.
Step 4. The Mouse Properties dialog box (Figure 9-12) is displayed.

Define the setup for a right-handed/left-handed person in the **Buttons configuration** area. Define also the setup for double-click speed in the **Double-click speed** area.

![Mouse Properties Dialog Box (Buttons tab)](image)

**Figure 9-12** Mouse Properties Dialog Box (Buttons tab)

Step 5. Click the **Pointers** tab (Figure 9-13).

![Mouse Properties Dialog Box (Pointers tab)](image)

**Figure 9-13** Mouse Properties Dialog Box (Pointers tab)
Step 6. Enter a registration name into the **Scheme** box and specify the shapes of pointers for the registration name in the box below.

To create a registration name, click the **Save As...** button. Enter the registration name into the **Save Scheme** dialog box that appears, and click the **OK** button.

Step 7. Click the **Motion** tab (Figure 9-14).

**Figure 9-14 Mouse Properties Dialog Box (Motion tab)**

Step 8. Specify the pointer speed in the **Pointer speed** area and the pointer trail in the **Pointer trail** area.

Step 9. Click the **OK** button.

Step 10. Click the **×** button (1 in Figure 9-11) at the corner in the Control Panel window.

---

**NOTE**

When you want to execute a setting change for the internal clock at the same time, proceed to Step 2-b for “Setting the Internal Clock” on page 197. (doing both procedures at this time will require you to restart the E4991A only once).

Step 11. Shutting down and restarting the E4991A.

a. Click **Start - Shut Down...** (Figure 9-7).

b. Click the Shut down option button and then click the **OK** button (Figure 9-8). The E4991A will shut down.

c. When the power of the E4991A is off, press the Standby switch once to activate the switch and then press it again to turn on the power.
Confirmation of Options and Firmware Version

The options and the version of firmware installed in the E4991A can be confirmed by following the procedure below.

Operation Procedure

**Step 1.** Open the shortcut menu by right-clicking and select **System** (Or press **System**).

**Step 2.** Click the **About E4991A** button. This opens the **About E4991A** dialog box (Figure 9-15), where you can confirm the installed options and firmware version.

**Step 3.** Close the **About E4991A** dialog box by clicking the **OK** button.
System Recovery

By executing system recovery, you can return the system of the E4991A (the Windows operating system and the firmware) to the


2 when they are not being driven. Open-drain signals always require pullups.

Unused inputs should not be left floating. If they are input-only, they may be tied directly to Vcc or ground, or a pullup or pulldown resistor may be used. Unused outputs may be left unconnected. Unused I/O pins may be configured as outputs after reset and left unconnected.

If the MC68302 is to be held in reset for extended periods of time in an application (other than what occurs in normal power-on reset or board test sequences) due to a special application requirement (such as VDD dropping below required specifications, etc.), then three-stated signals and inputs should be pulled up or down. This decreases stress on the device transistors and saves power.

See the RESET pin description for the condition of all pins during reset.
SECTION 6
ELECTRICAL CHARACTERISTICS

The AC specifications presented consist of output delays, input setup and hold times, and signal skew times. All signals are specified relative to an appropriate edge of the clock (CLKO pin) and possibly to one or more other signals.

6.1 MAXIMUM RATINGS

Rating
Symbol
Value
Unit

Supply Voltage
( V_{DD} )
-0.3 to +7.0
V

Input Voltage
( V_{in} )
-0.3 to +7.0
V

Operating Temperature Range
( T_A )
0 to 70
°C

MC68302

-40 to 85
°C

MC68302C

Storage Temperature Range
( T_{stg} )
-55 to +150
°C

This device contains circuitry to protect the inputs against damage due to high static voltages or electric fields; however, it is advised that normal precautions be taken to avoid application of any voltage higher than maximum-rated voltages to this high-impedance circuit. Reliability of operation is enhanced if unused inputs are tied to an appropriate logic voltage level (e.g., either GND or \( V_{DD} \)).

6.2 THERMAL CHARACTERISTICS

Characteristic
Symbol
Value
Unit

Thermal Resistance for PGA
( \theta_{JA} )
25
°C/W

( \theta_{JC} )
2
°C/W

Thermal Resistance for CQFP
( \theta_{JA} )
40
°C/W

( \theta_{JC} )
15
°C/W

Thermal Resistance for PQFP
( \theta_{JA} )
42
°C/W

( \theta_{JC} )
20
°C/W

\[ T_J = T_A + (P_D \cdot \theta_{JA}) \]

\[ P_D = (V_{DD} \cdot I_{DD}) + P_{I/O} \]

where:

\( P_{I/O} \) is the power dissipation on pins.

For \( T_A = 70°C \) and \( P_{I/O} = 0 \ W, 16.67 \ MHz, 5.5 \ V, \)

and CQFP package, the worst case value of \( T_J \) is:

\[ T_J = 70°C + (5.5 \ V \cdot 130 \ mA \cdot 40°C/W) = 98.6°C \]
6.3 POWER CONSIDERATIONS

The average chip-junction temperature, $T_J$, in °C can be obtained from:

$$T_J = T_A + (P_D \cdot \theta_{JA})$$  \hspace{1cm} (1)

where:

- $T_A$ = Ambient Temperature, °C
- $\theta_{JA}$ = Package Thermal Resistance, Junction-to-Ambient, °C/W
- $P_D = P_{INT} + P_{I/O}$
- $P_{INT} = I_{DD} \times V_{DD}$, Watts — Chip Internal Power
- $P_{I/O}$ = Power Dissipation on Input and Output Pins — User Determined

For most applications $P_{I/O} < 0.3 \cdot P_{INT}$ and can be neglected.

If $P_{I/O}$ is neglected, an approximate relationship between $P_D$ and $T_J$ is:

$$P_D = K + (T_J + 273°C)$$  \hspace{1cm} (2)

Solving equations (1) and (2) for $K$ gives:

$$K = P_D \cdot (T_A + 273°C) + \theta_{JA} \cdot P_D^2$$  \hspace{1cm} (3)

where $K$ is a constant pertaining to the particular part. $K$ can be determined from equation (3) by measuring $P_D$ (at equilibrium) for a known $T_A$. Using this value of $K$, the values of $P_D$ and $T_J$ can be obtained by solving equations (1) and (2) iteratively for any value of $T_A$.

### 6.4 POWER DISSIPATION

Characteristic
Symbol
Typ
Max
Unit

Power Dissipation at 20 MHz (see Notes 1 and 2)
PD
93
155
mA

Power Dissipation at 16.67 MHz (see Notes 1, 2, and 3)
PD
77
130
mA

Power Dissipation at 8 MHz (see Notes 1 and 2)
PD
37
65
mA

Power Dissipation at 4 MHz (see Notes 1, 2 and 7)
PD
TBA
TBA
mA

Low Power Mode Dissipation at 16.67 MHz (see Notes 1 and 4)
LPD
66

mA

Lowest Power Mode Dissipation at 16.67 MHz (see Notes 1 and 5)
LPD
51

mA

Low Power Mode Dissipation at 8 MHz (see Notes 1 and 4)
LPD
34

mA

Lowest Power Mode Dissipation at 8 MHz (see Notes 1 and 5)
LPD
27

mA

Low Power Mode Dissipation at 4 MHz (see Notes 1 and 4)
LPD
TBA

mA

Lowest Power Mode Dissipation at 4 MHz (see Notes 1 and 5)
LPD
TBA

mA

Lowest Power Mode Dissipation at 50 kHz (see Notes 1 and 6)
LPD
2

mA
</tr


light on halogen port glow constantly red
> Fan is defective
> Fan is blocked
No light
> Lamp is broken
> Electronics defective
> Fuse for halogen transformer is defective
LED at the activation button glows orange instead of green
> 90% of the manufacturer stated halogen lamp duration is reached.
Green control light at mains switch does not glow, device does not work
> AC power line not connected
> Device fuse is defective
Green control light at mains switch glows, but device does not work
> AC power line defective
> AC power line fuse defective
**Foot switch**
No switch of light port when using the foot switch
> foot switch not or not correctly connected
> foot switch defective
> Just one light port available
**Microscope**
No activation / deactivation of microscope light port via microscope column
> Cable of switching contact is not or not correctly connected
> Switching contact in microscope column is defective / misaligned
## Accessories

### Accessories for halogen coldlight source
- Adapter sleeve for Storz connection  507.0940.5
- Adapter sleeve for Olympus connection  507.0940.6
- Adapter sleeve for Pentax connection  507.0940.7
- Adapter sleeve for Wolf connection  507.0940.8

### Accessories for LED light module
- **LED light source ATMOS LS 21 LED** 507.4600.0
  LED light source for direct connection to endoscopes and laryngoscopes with high performance white light LED, 2 Watt / 50 Lumen, LED service life approx. 50.000 h, Connection with quick coupling to any desired scope.

### Accessories for LED light sources
- **Lithium-ionic rechargeable battery for the mobile use** 507.4510.0
  For ATMOS LED light source resp. LED headlight with power and eco mode, charging indication and holding clip, with power and eco display.

- **Universal battery quick charging power supply unit (100-240 V)** 011.1199.0
  including multinational adapter plug

### Accessories for endoscope management
- **Shock protection adapter** 508.0777.5
  for endoscopes Ø2.8-4 mm, teflon element for metal quiver
- **Fixation adapter for plastics quiver** 508.0782.0

### Accessories for LED stroboscope
- **Body sound stroboscope adapter** 507.4775.0
### Technical specifications at complete equipment

Please note the technical specifications of the single devices in the separate operating instructions!

Specification
Details

Voltage
230 V~ ± 10 %; 50/60 Hz Special voltage: 100 V~ ± 10 %; 50/60 Hz 115 V~ ± 10 %; 60 Hz 127 V~ ± 10 %; 60 Hz

Power input
max. 1.3 A (230 V~) max. 3.0 A (100 V~)

Power consumption
max. 300 VA

Kind of connection
Fixed connection

Fuses
T 6.3 A/H

Sonstige/Sicherungseinrichtung
Internal fuses on control circuit board and in transformer

Halogen cold light
15 V, 150 W, 50 h life duration of lamps, removable adaptor system, Standard = Storz

Halogen cold light high performance
24 V, 150 W, 300 h life duration of lamps, removable adaptor system, Standard = Storz

LED light module
LED electric power supply 700 mA regulated

Removable adaptor
Olympus, Wolf, Pentax

Endoscope management
For rigid and flexible optics (max. length 500 mm), one quiver per clean and contaminated optics.

Inspection of disinfection time
Timer adjustable

Kind of operation
Continuous operation

Protective earth conductor resistance
max. 0.2 Ω at fixed connection

Earth leakage current
max. 5.0 mA at fixed connection

Ambient conditions

Transport/storage Operation
-10...+50°C

+30...95 % air humidity without condensation at air pressure 500...1060 hPa

+10...+35°C

30...95 % air humidity without condensation at air pressure 700...1060 hPa

Dimensions
88.5 x 41.2 x 54.0 cm

Weight
15 - 30 kg

Regular safety relevant inspections
after 12 months. ATMOS recommends a yearly maintenance acc. to service instructions.

Protection class (EN 60601-1)
I

Degree of protection
Type BF

Protection category
IP X0

Classification acc. to Annex IX EEC directions 93/42/ EEC
I

CE marking
CE

Applied standards
EN 60 601-1 EN 60 601-1-2 EN 60 601-2-18

UMDNS-Code
10-585 ENT treatment unit

GMDN-Code
11585

Ident-Nr.
531.0000.0 (230 V); 531.0001.0 (100 V); 531.0002.0 (115 V); 531.0003.0 (127 V)

**Accessories for halogen cold light source**
- Adapter sleeve for Storz connection 507.0940.5
- Adapter sleeve for Olympus connection 507.0940.6
- Adapter sleeve for Pentax connection 507.0940.7
- Adapter sleeve for Wolf connection 507.0940.8

**Accessories for LED light module**
- LED light source ATMOS LS 21 LED
- LED light source for direct connection to endoscopes and laryngoscopes with high performance white light LED, 2 Watt / 50 Lumen, LED service life approx. 50.000 h, Connection with quick coupling to any desired scope.
- 507.4600.0

**Accessories for LED light sources**
- Lithium-ionic rechargeable battery for the mobile use
- For ATMOS LED light source resp. LED headlight with power and eco mode, charging indication and holding clip, with power and eco display.
- 507.4510.0
- Universal battery quick charging power supply unit (100-240 V) including multinational adapter plug 011.1199.0
11.0 Disposal

- The materials of the housing can be recycled completely.
- The ATMOS S 61 Servant vision does not contain any hazardous goods.
- The component parts of the ATMOS S 61 Servant vision must be disposed of correctly and the materials are to be separated carefully.
12.1 Guidelines and Manufacturer’s Declaration - Emissions

The ATMOS


| Region                      | Contact Information                                      |
    |-----------------------------|----------------------------------------------------------|
    | APC Headquarters (U.S. and Canada) | (1) (800) 800-4272 (toll free)                          |
    | Latin America               | (1) (401) 789-5735 (United States) apctchla@apc.com      |
    | Europe, Middle East, Africa | (353) (91) 702020 (Ireland) apceurtech@apc.com          |
    | Japan                       | (03) 5434-2021 jsupport@apc.com                          |

  - Local, country-specific centers: go to [http://www.apc.com/support/contact](http://www.apc.com/support/contact) for contact information.

- Contact the APC representative or other distributor from whom you purchased your APC product for information on how to obtain local customer support.<|endoftext|>## Lenovo Global Technology

ThinkSystem SR530
(3.60 GHz, Intel Xeon Platinum 8156)

### Software Availability
Aug-2017

### Hardware

CPU Name
Intel Xeon Platinum 8156

CPU Characteristics
Intel Turbo Boost Technology up to 3.70 GHz

CPU MHz
3600

FPU
Integrated

CPU(s) enabled
8 cores, 2 chips, 4 cores/chip

CPU(s) orderable
1.2 chips

Primary Cache
32 KB I + 32 KB D on chip per core

Secondary Cache
1 MB I+D on chip per core

### Operating System
SUSE Linux Enterprise Server 12 SP2 (x86_64)
Kernel 4.4.21-69-default

### Compiler
C/C++: Version 17.0.0.098 of Intel C/C++ Compiler for Linux;
Fortran: Version 17.0.0.098 of Intel Fortran Compiler for Linux

### Auto Parallel
Yes

### File System
btrfs

### System State
Run level 3 (multi-user)

---

### SPECfp®2006 = 125

### SPECfp_base2006 = 122

---

### CPU2006 license:
9017

### Test sponsor:
Lenovo Global Technology

### Tested by:
Lenovo Global Technology

### Test date:
Jul-2017

### Hardware Availability:
Aug-2017

### Software Availability:
Nov-2016

---

Benchmark
Score

410.bwaves
51.8

416.gamess
49.3

433.milc
72.9

434.zeusmp
214

436.cactusADM
68.9

437.leslie3d
312

444.namd
36.5

447.dealII
70.8

450.soplex
47.2

453.povray
79.1

454.calculix
76.3

459.GemsFDTD
77.0

465.tonto
68.7

470.lbm
59.9

481.wrf
99.4

482.sphinx3
89.6

---

**Continued on next page**
## Lenovo Global Technology

### SPECsp2006 Result

Lenovo Global Technology
SPECfp2006 =
125

ThinkSystem SR530 (3.60 GHz, Intel Xeon Platinum 8156)
SPECfp_base2006 =
122

**CPU2006 license:** 9017

**Test sponsor:** Lenovo Global Technology

**Tested by:** Lenovo Global Technology

- **L3 Cache:** 16.5 MB I+D on chip per chip
- **Other Cache:** None
- **Memory:** 384 GB (12 x 32 GB 2Rx4 PC4-2666V-R)
- **Disk Subsystem:** 1 x 800 GB SATA SSD
- **Other Hardware:** None

Base Pointers:
64-bit

Peak Pointers:
32/64-bit

Other Software:
None

**Test date:** Jul-2017

**Hardware Availability:** Aug-2017

**Software Availability:** Nov-2016

### Results Table

Benchmark
Seconds Base
Ratio
Seconds Base
Ratio
Seconds Base
Ratio
Seconds Peak
Ratio
Seconds Peak
Ratio
Seconds Peak
Ratio

410.bwaves
23.4
581
23.3
583
23.5
579
23.4
581
23.3
583
23.5
579

416.gamess
397
49.3
397
49.3
398
49.2
378
51.8
377
51.9
378
51.8

433.milc
126
72.9
125
73.3
127
72.1
126
72.9
125
73.3
127
72.1

434.zesmp
42.5
214
42.7
213
42.4
214
42.5
214
4


work — a coming-of-age tale in an idyllic rural setting that marked the screen debut of Norwegian actress Liv Ullmann —young love is mixed in youthful hedonism and the awakening moral constraints of adult life. (1959, 35 mm, Norwegian with subtitles, 95 minutes)

Acidflut (The Wayward Girl) by Ingrid Dokka, Saturday September 11 at 2:00

The short Just Kidding stars Edith Carlmar in an old woman’s encounter with three boys. (Bent Hamer, 1994, Norwegian with subtitles, 3 minutes)

Sikadeskutt (Damage Shot) by Ingrid Dokka, Saturday September 25 at 2:00

Carlmar’s films were especially appealing in the 1950s because they exposed contemporary problems that today are seen as social and cultural history. In Carlmar’s best known work — a coming-of-age tale in an idyllic rural setting that marked the screen debut of Norwegian actress Liv Ullmann —young love is mixed in youthful hedonism and the awakening moral constraints of adult life. (1959, 35 mm, Norwegian with subtitles, 95 minutes)

In Carlmar’s best known work — a coming-of-age tale in an idyllic rural setting that marked the screen debut of Norwegian actress Liv Ullmann —young love is mixed in youthful hedonism and the awakening moral constraints of adult life. (1959, 35 mm, Norwegian with subtitles, 95 minutes)

GenMex: A New Generation of Cine Mexicano by Ingrid Dokka, Saturday September 4 at 4:00

In a memorable year for Mexico —2010 marks both the bicentennial of independence from Spain and the one-hundredth anniversary of the start of the Mexican Revolution—it’s also becoming abundantly clear that fresh directorial talents are invigorating the burgeoning pool of distinctive cinematic known as Nuevo Cine Mexicano, one of the world’s most dynamic national cinema movements. This series includes the work of eight filmmakers. The Gallery wishes to thank Carlos Gutierrez per petuum mobile by Ingrid Dokka, Saturday September 4 at 4:00

Winner of the Best Mexican Film Award at the prestigious Guadalajara Fes- tival, Perpetuum Mobile is the story of young Gabino, a van driven in Mexico City living with his nagging mother. In an impressively disciplined narrative, the film creates a portrait of family relationships within a panorama of urban street life. Director Pereida (b. 1952), with only three features, is well on his way to becoming a leading stylist of Mexican cinema. (Nicolás Pereida, 2009, 35 mm, Spanish with subtitles, 90 minutes)

Lake Tahoe by Natalia Almada shapes an arresting portrait of her great-grandfather, Plutarco Elias Calles, Mexico’s notorious president during the 1920s. From the most ephemeral of sources — private audio recordings of her grandmother, the president’s daughter — Almada completes the portrait with archival footage, photographs, and texts, reconstructing myriad details in this remarkably illuminating essay. (Natalia Almada, 2008, HD Cam, 83 minutes)

Nordeteado by Natalia Almada shapes an arresting portrait of her great-grandfather, Plutarco Elias Calles, Mexico’s notorious president during the 1920s. From the most ephemeral of sources — private audio recordings of her grandmother, the president’s daughter — Almada completes the portrait with archival footage, photographs, and texts, reconstructing myriad details in this remarkably illuminating essay. (Natalia Almada, 2008, HD Cam, 83 minutes)

**Døden er et kjærtegn (Death Is a Caress)**
 Saturday September 4 at 2:00

An old magnetism draws wealthy woman-about-town Sonja to her husband’s medical practice. As new facts about Eva’s life materialize, Arne discovers she had been fed a kind of male-hysteria, as Erik comes to regard Sonja increasingly as an enigma whom he can not control or understand” — Norwegian Film Institute, (1953, 35 mm, Norwegian with subtitles, 95 minutes)

**Ung flukt (the Wayward Girl)**
 Introduction by Ingrid Dokka, Saturday September 11 at 2:00

A kind of male-hysteria, as Erik comes to regard Sonja increasingly as an enigma whom he can not control or understand” — Norwegian Film Institute, (1953, 35 mm, Norwegian with subtitles, 95 minutes)

**Skadeskutt (Damage Shot)**
 Saturday September 25 at 2:00

Carlmar’s films were especially appealing in the 1950s because they exposed contemporary problems that today are seen as social and cultural history. In Carlmar’s best known work — a coming-of-age tale in an idyllic rural setting that marked the screen debut of Norwegian actress Liv Ullmann —young love is mixed in youthful hedonism and the awakening moral constraints of adult life. (1959, 35 mm, Norwegian with subtitles, 95 minutes)

**GenMex: A New Generation of Cine Mexicano**
 In a memorable year for Mexico —2010 marks both the bicentennial of independence from Spain and the one-hundredth anniversary of the start of the Mexican Revolution—it’s also becoming abundantly clear that fresh directorial talents are invigorating the burgeoning pool of distinctive cinematic known as Nuevo Cine Mexicano, one of the world’s most dynamic national cinema movements. This series includes the work of eight filmmakers. The Gallery wishes to thank Carlos Gutierrez per petetum mobile by Ingrid Dokka, Saturday September 4 at 4:00

Winner of the Best Mexican Film Award at the prestigious Guadalajara Fes- tival, Perpetuum Mobile is the story of young Gabino, a van driven in Mexico City living with his nagging mother. In an impressively disciplined narrative, the film creates a portrait of family relationships within a panorama of urban street life. Director Pereida (b. 1952), with only three features, is well on his way to becoming a leading stylist of Mexican cinema. (Nicolás Pereida, 2009, 35 mm, Spanish with subtitles, 90 minutes)

**Norteado**
 Saturday September 5 at 4:30

A delicate and accomplished debut feature, Norteado’s fresh take on the border crossing tale tracks Andres, an Oaxacan in Tijuana attempting to enter California. Temporarily finding employment and a few fragile friendships, Andres not only learns to tolerate the anguish of wanting to be elsewhere but more importantly discovers “the fleeting pleasures to be found in transitional spaces” — Melissa Anderson. (Roberto Hernández and Geoffrey Smith, 2008, Spanish with subtitles, 87 minutes)

**El Calambre**
 Saturday September 11 at 4:30

In Ariel’s best known work — a coming-of-age tale in an idyllic rural setting that marked the screen debut of Norwegian actress Liv Ullmann —young love is mixed in youthful hedonism and the awakening moral constraints of adult life. (1959, 35 mm, Norwegian with subtitles, 95 minutes)

**Acidflut (The Wayward Girl)**
 Introduction by Ingrid Dokka, Saturday September 11 at 2:00

A kind of male-hysteria, as Erik comes to regard Sonja increasingly as an enigma whom he can not control or understand” — Norwegian Film Institute, (1953, 35 mm, Norwegian with subtitles, 95 minutes)

**Ung flukt (the Wayward Girl)**
 Introduction by Ingrid Dokka, Saturday September 11 at 2:00

A kind of male-hysteria, as Erik comes to regard Sonja increasingly as an enigma whom he can not control or understand” — Norwegian Film Institute, (1953, 35 mm, Norwegian with subtitles, 95 minutes)
An ongoing program of classic cinema, documentary, avant-garde, and area film premieres occurs each weekend in the National Gallery’s East Building Auditorium, Fourth Street at Pennsylvania Avenue NW. Films are shown in their original formats. Programs are free of charge but seating is on a first-come, first-seated basis. Doors open approximately thirty minutes before each show. Programs are subject to change. For more information, visit our Web site at www.nga.gov/programs/film or call (202) 842-6799.

This summer brings recent documentaries on subjects ranging from American painters and art collectors to new Swiss-produced films about musicians with deep connections to the quintessentially American art form of jazz. The work of renowned avant-garde filmmaker Phil Solomon is highlighted in Rhapsodies in Silver, a retrospective trilogy presented by the artist and organized to coincide with his installation American Falls, on view at the Corcoran. Other series include Edith Carlmar: Of Love and Loss, a cycle of four films by this groundbreaking mid-twentieth-century Norwegian director who remains little known outside her own country; Film and Reality in the 1930s: Roots of the Docudrama, celebrating the seventy-fifth anniversary of The March of Time; and Gen


1984)
As called by Carol Ormand
Source: Midwest Folklore
Formation: Contra, duple improper
Music: The Red Crow/Lady Ann Montgomery/The Notch (Dan Lanier)

A1 - 1s as a couple dosido with woman 2
   Same three circle left once around
A2 - 1s as a couple dosido with man 2
   Same three circle left once around
B1 - Down the hall 4-in-line (actives in center)
   Turn into a cozy line facing up the hall
   (1s, without releasing partner’s or neighbor's hand, turn back to back
   beneath their own hands to face up,
   while 2s turn towards partner and join
   their free hands behind the 1s
   Return, and 2s lift their joined hands
   over 1s' heads to form a clover
B2 - Circle left as clover once around
   1s swing, end facing down

Original dance had a left hand star once around instead
of the 1s swing in B2.

**Ted's Triplet #4**
By Ted Sannella (May 27, 1970)
As called by Mary Wesley
Source: Balance and Swing
Formation: Triplet, proper
Music: Conley's Reel/Quindaro

A1 - 1s cross through the 2s and balance the opposite two dancers (with hands
   joined in two rings of three; 1s are in the center with backs toward each
   other)
   Circle left 1½ and open out to form
   lines of three with the 1s in the center
   (all facing partners across the set)
A2 - Lines forward and back
   1s right hand star with the couple below

**Young at Heart**
By Steve Zakon-Anderson (1989)
As called by Mary Wesley
Source: Give-and-Take
Formation: Contra, duple improper
Music: Rocky Ray (Bob McQuillen)/Alan's Reel (Bob McQuillen)/John Brennan's Reel

A1 - Allemande left neighbor 1½
   Ladies chain across
A2 - Full hey, women pass right to start
B1 - Ladies allemande right once around and
   swing partner
B2 - Circle left ¾
   Neighbor swing

The original B2 is, "Circle left all the way and ladies chain." This dance was written for Bob McQuillen on
the occasion of his 63rd birthday.

Waltz: Allen McBride (Bob McQuillen)
Dance Workshop: Gems from the Upper Midwest
Saturday 9:00 – 10:30 AM
Led by Carol Ormand
Music by Rodney Miller (fiddle), David Surette (mandolin), Gordon Peery (piano)

Fly Around My Pretty Little Miss
By Dale Wilson (Jul 2006)
Source: Dale's website
Formation: Contra, double improper
Music: Fly Around My Pretty Little Miss

A1 - Left hands across star once around
Gents drop out and loop over your right
shoulder while ladies continue a left
hand turn until they meet their partner
Partners right allemande right once
round
A2 - Full hey, women pass left to start
B1 - Partner gypsy and swing
B2 - Right and left through across using a ½
courtesy turn so ladies can join right
hands to begin a right hand star
Gents join star behind their partner
Turn about ¼ until you meet your next
neighbor

From Dale: “I wrote this dance after a partner said, “I
love the dances where I can keep moving from one
movement to the next.” My goal was to keep the lady
“flying around” through the entire dance.”

Cozy Nella
By Orace Johnson (Feb 20, 1989)
Source: Midwest Folklore
Formation: Contra, Becket (CCW)
Music: Greenfields of America/Old French

A1 - On right diagonal, ladies chain (if and
only if there is someone there), gents
cheat courtesy turn to end across from
partner
Balance ring
Spin one place to the right as in
Petronella

A2 - Balance ring
Spin one place to the right
Repeat
B1 - Balance ring
Form a cozy line; with everyone holding
on to ring; gents raise right hand in
front of neighbor and twirl her
clockwise until she’s next to your
right shoulder, both facing same
direction; end in cozy line facing
opposite direction of other couple but
in a line.
Fly right: Turn counter clockwise
B2 - Reverse the cozy line; ladies slide back
to back, gents wheel around so you
and partner face same direction
Fly left: Turn clockwise to original side
of set
Partner swing

Original dance was in indecent formation (1s proper
and 2s crossed over), and begun half-way through the
A1 in the above. The diagonal chain was in the last
half of the B2. Note that the “cozy line” in this dance
is not the same as the “cozy line” in Money in Both
Pockets that we danced last night. This term doesn’t
have a specific meaning; it is more of a general
description of being very close (almost cuddling) to
the one you’re dancing with.
Colonel North's Contra Insurgency
By Erna-Lynne Bogue (Oct 1991)
Source: Midwest Folklore
Formation: Contra, duple improper
Music: Coloraine/Fair Jenny's Jig (Peter Barnes)

A1 - Neighbor dosido
   Grand right and left* around the set,
   starting with right hand to current neighbor
   Continue to fourth neighbor for allemande left once around
A2 - Grand right and left back to original neighbor
   Neighbor swing
B1 - 1s ½ figure eight up through their 2s
   1s start contra corners
B2 - 1s finish contra corners
   1s swing, end facing down

* The “grand right and left” in B2 is in the opposite direction from what it normally is in a square dance: that is, here the gents go clockwise and the ladies counterclockwise.

Hey, Hey, Max is on the Way
By Eric Zorn (1981)
Source: Eric's website
Formation: Square (no partner change)
Music: You Married My Daughter But Yet You Didn't

A1 - Heads forward and back
   Pass through, separate, around one, through the sides and meet again in the center of the square
A2 - Heads circle left once around
   Partner dosido; end in a row-of-4 across the hall – heads facing partner in center, sides facing back of nearest head person
B1 - Pair of full hey's across hall, heads pass right to start
B2 - All partners dosido and swing; end with heads across from home and sides at home

Sequence: Introduction, figure for heads, figure for sides, break, figure for heads, figure for sides, ending

Original switched the order of the figures in A2, and had a balance and swing in B2.

A.O.'s No-No
By Michael Fuerst (Aug 1993)
Source: Midwest Folklore
Formation: Contra, Becket (C.W.)
Music: Duck River Red Prairie Dawn (Gary Harrison)

A1 - Hey, men pass left to start; keep going until neighbors meet for second time (on the side of set men started the dance)
   Pass right shoulders with neighbor, and all immediately turn right and walk along set to face next neighbor
A2 - Future neighbor dosido
   Original neighbor swing
B1 - Left hand star once around
   With new neighbors, start right hand star 1½ until on original side of set
B2 - Finish star
   Men turn back and partners swing

Michael prefers a left shoulder gypsy to a dosido in A2. He also suggests that at the beginning of the walk through, the caller has the dancers note that the couple on the left diagonal will be their next neighbors. This will help dancers orient correctly at end of thehey. The star right in B1 will run into the first 2-4 beats of B2. This is how the dance got its name; Michael: “A1 Olson objected to this overflow from B1, despite the very positive reaction of other dancers.” Note: A1 Olson passed away last year.
**Kimmswick Diamonds**
By Jerome Grisanti (May 2010)

**Source:** Jerome’s website

**Formation:** Contra, duple improper

**Music:** Gillian's/Brenda Stubbart's Trip to Windsor

A1 - Neighbor allemande right 1 1/2 to wave across with gents in center by left hand
Balance wave
Spin right as in Petronella to a diamond shape, ladies in the center facing up/down, gents on the sides

A2 - Balance diamond
Spin right
Balance diamond
Spin right

B1 - Balance diamond
Gents draw partner into swing -- ladies twirl to the right into partner’s arms

B2 - Long lines forward and back
Gents allemande left 1 1/2 to new neighbor

In the B1, Michael suggests that ladies twirl into the swing, noting that this twirl should be the opposite of the spin


 a new venue for LOoP, and we are very excited to be able to bring our production to a new area of Portland. If this is your first time coming to a LOoP show, welcome! We hope that we will keep seeing you for many more productions in the future.

This production would not have been possible without the help and support of so many behind the scenes, but I would particularly like to thank our Producer and President of our board, Sara Rivara, without whom this production would not have got off the ground. Thanks also to Beth Kahlen for finding rehearsal venues for us, Lucy Tait for excellent costume work, and to all our board members for making sure our company was able to survive the pandemic years.

H.M.S. Pinafore is one of the earlier collaborations between Gilbert and Sullivan, and is arguably the first to make them a powerhouse duo of the late 19th century stage, and a household name. After being brought together by theatre manager Richard D’Oyly Carte to create Trial By Jury, a one act opera to be presented before a production of Offenbach’s La Perichole that became a surprise hit, the pair were reunited in 1877 and created The Sorcerer. This full length comic opera satirized several operatic tropes of magic and romance gone awry, but also included a plot line where characters from opposite ends of the social spectrum were compelled to fall in love with each other. Gilbert returned to this idea when he wrote H.M.S. Pinafore in 1878, building upon the commentary on the class system as multiple characters within the opera are in love with a character that society would consider inappropriate.

Gilbert also included a dose of political satire in the character of Sir Joseph Porter, the head of the British Navy who has never been to sea. At the time, the post of First Lord of the Admiralty was filled by W.H. Smith, a political appointee with no military experience. Smith had made his fortune establishing and running a chain of shops that sold books, newspapers, and stationary. Going in to politics in 1868, Smith was appointed to head the Royal Navy by Prime Minister Benjamin Disraeli in 1877, a year before Gilbert started work on Pinafore. While Gilbert would deny that he based the character on Smith, Disraeli himself would refer to him as “Pinafore Smith” for years afterwards.

To conclude, I would like to offer special thanks to our founding Artistic Director, Dennis Britten, for founding this company ten years ago. It has been my pleasure to be a part of it through all that time, and I look forward to leading the company into a bright and successful future, filled with our trademark Absurdity Done In Complete Sincerity!

Laurence Cox,
Artistic Director
ALLEN DENISON (Bob Becket)
H. M. S. Pinafore is Allen’s fifth role with Light Opera of Portland. He is a Portland native and has lived here most of his life. He first became interested in Gilbert and Sullivan when attending Portland’s New Savoy Company Productions at the Oriental Theater in the 1950s. Non-G&S roles in Portland theater include Narrator/Actor 4 in Around the World in 80 Days, President Roosevelt in Annie, and Otis in Suite Surrender. He appreciates the support of his castmates and crewmates, his incredible wife and family, coaches, friends, and many others who know who they are.

ANNE KOLIBABA LARKIN (Chorus of Sisters, Cousins and Aunts)
Anne Kolibaba Larkin has been active in LOoP for several years, both onstage and behind the scenes. Other local credits include chorus roles for Mock’s Crest, Broadway Rose, and Lakewood theaters. Anne is a cantor at St. Philip Neri and All Saints Catholic churches. She and her husband, Jerry Larkin, are members of Laurelhurst Dance Club.

BEATRIZ ABELLA (Little Buttercup)
Beatriz Abella is a first-generation Filipino-American that was born and raised in Alaska. A mezzo-soprano, she studied Music and Business Administration at Southern Oregon University. Beatriz performed classical and musical theatre repertoire in San Francisco, Seattle, Germany, Mexico, the Czech Republic, and at a variety of venues including the Oregon Cabaret Theatre and New York City’s Carnegie Hall. Beatriz received Camelot Theatre’s 2017 Best Character Actress Award and appeared onstage with multiple theatre companies including Brava! Opera Theater and James M. Collier Young Artist Program, Mocks Crest Opera, Portland Opera, and in Light Opera of Portland’s “Princess Ida” as “Lady Blanche.” In 2020, she made her film debut in 945 Productions’ TV series “Buried” as “Kane.” In 2021, she continued Kane’s story in Volcano Beach Productions’ short action-film series “Quicksand,” and was cast as “Orfeo” in Opera Cecilia’s inaugural production of Gluck’s “Orfeo ed Euridice.” Proud of her Filipino heritage, Beatriz continues to prioritize diversity and inclusivity with her artistic pursuits.

BETH KAHLEN (Chorus of Sisters, Cousins and Aunts)
Beth maintains a performance studio for non-classical singing and speaking, where she especially enjoys working with singer-songwriters and adult beginners. Beth has performed in various musicals, performance troupes, dramatic productions and bands (yes, that’s redundant) throughout her many years on stage. She continues to lovingly contribute to the long and storied history of writing, performing and laughing with her vocal jazz trio, the Swizzle Chicks. HMS Pinafore is Beth’s third production with LOoP!. bethkahlen.com
BRYNA MONTGOMERY (Chorus of Sisters, Cousins and Aunts)
Bryna Montgomery is thrilled to be back with Light Opera of Portland. Bryna has performed with Lakewood Theater Company, Broadway Rose Theater Company, Musical Theater Company, Theater in the Grove, Slocum House, Mount Hood Rep., Portland opera, Mock's Crest Theater, Sylvia’s, San Jose Civic Light Opera and is a company member of Northwest Senior Theater.

CASEY LEOBOLD (Bill Bobstay)
Casey is proud to be making his Portland area theater debut as Billy Bobstay in HMS Pinafore with LOOP. He recently moved back to Oregon from Idaho where he performed extensively with Opera Idaho. Recent musical theater roles have included Sweeney Todd in Sweeney Todd, Emile DeBeque in South Pacific and an award winning run as the voice of the plant in Little Shop of Horrors.

Regularly working with professionals to improve voice and acting skills, He is now looking forward to working in the opera and musical theater scene in his home state of Oregon.

CATHRINE HUARD (Chorus of Sisters, Cousins and Aunts)
Cathrine Huard is a vocal performing artist based in Beaverton, Oregon. She fell in love with 40’s jazz as a teenager listening to her parents’ albums, and continues to enjoy all styles of jazz. She began her performing career in 2001 singing with an internationally renowned barbershop chorus, and continued singing in barbershop choruses and quartets until 2016. She has performed with Light Opera of Portland since 2017.

She is currently pursuing a Bachelor of Arts in Vocal Performance at Portland State University.

DAVID RIDLEY (Dick Deadeye)
David’s adventures in theatre have lasted four decades and counting. Of the many roles he has played, his favorites include Matt in The Fantasticks, Jonathan Jasper in The Mystery of Edwin Drood, Jonathan Peachum in The Three-Penny Opera, The Minstrel in Once Upon a Mattress, Otto Von Bruno in Bullshot Crummond, and Lloyd Dallas in Noises Off. He has a BA in Theatre from Lewis and Clark College and an Ed.M from Oregon State University. As always, he credits his wife Jillane and daughter Emma for their support.

HAROLD WILLIAMS (Chorus of Sailors)
Harold joined the Light Opera of Portland playing trombone in the orchestra for “The Student Prince” and “The Mikado”. He moved onstage with the chorus for “We Met in Moscow” and “Princess Ida”. He has sung for 5 years with Vox Academy’s Healing Voices Choir and currently sings with the Vancouver Bravo Chorus. He plays trombone with the Vancouver Community Concert Band and various small brass ensembles. He also enjoys the ukulele and singing from the “Great American Songbook”.

8
JAMES MONTGOMERY (Chorus of Sailors)
James Montgomery makes his fifth appearance for LOOP. The veteran performer has appeared on many stages across the country, touring in Once Upon A Mattress, Mr. Roberts, The Music Man and others. In Portland, he portrayed the brutal Frank Maurrant in Kurt Weill’s Street Scene and has sung in Portland Opera’s Turandot, Der Fliegende Hollander and Don Carlo. He has appeared in over eighty area productions at such venues as Lakewood Theatre, Broadway Rose, Mt. Hood Rep, Firehouse Theatre, Mock's Crest and Musical Theatre Co among many others. Favorite roles include Judge Turpin in Sweeney Todd, Scrooge in A Christmas Carol, King Kaiser in My Favorite Year, Captain Von Trapp in The Sound of Music, Abner Dillon in 42nd Street and Judge Coffey in Inherit the Wind. James recently played Tom Sawyer in The Boys in Autumn for American Reader’s Theatre, Mr. Laurence in Little Women, Judge Roan/Old Soldier in the acclaimed Staged production of Parade, Fogarty in Chicago and The Chairman in The Mystery of Edwin Drood


1 Bob Dylan (harmonica).
4 Donnie Herron (violin).
6 Donnie Herron (mandolin).

Notes
Other Bob Dylan concerts in Christchurch, New Zealand:
12 September 1998  Westpac Trust Entertainment Centre
26 February 2003  Westpac Trust Entertainment Centre
10 September 2014  Horncastle Arena
28 August 2018  Horncastle Arena
Stereo audience recording, 120 minutes.

Session info updated 28 August 2018.
29510  TSB Arena
Wellington, New Zealand
10 August 2007

1. Cat's In The Well
2. It Ain't Me, Babe
3. Watching The River Flow
4. Lay Lady Lay
5. Rollin' And Tumblin'
6. When The Deal Goes Down
7. Honest With Me
8. Tangled Up In Blue
9. Spirit On The Water
10. Highway 61 Revisited
11. My Back Pages
12. Stuck Inside Of Mobile With The Memphis Blues Again
13. Nettie Moore
14. Summer Days
15. Ballad Of A Thin Man

16. Thunder On The Mountain
17. Blowin' In The Wind

Concert # 239 with the 20th Never-Ending Tour Band: Bob Dylan (vocal, guitar & keyboard), Stu Kimball (guitar), Denny Freeman (guitar), Donnie Herron (violin, mandolin, steel guitar), Tony Garnier (bass), George Recile (drums & percussion).

1-4 Bob Dylan (electric guitar).
5-17 Bob Dylan (electric keyboard).
8, 9, 11, 15 Bob Dylan (harmonica).
1, 13, 17 Donnie Herron (violin).
5 Donnie Herron (mandolin).

Notes.
Previous Bob Dylan concerts in Wellington, New Zealand:
5 February 1986 Athletic Park
10 September 1998 Queens Wharf Event Centre
24 February 2003 Queens Wharf Event Centre

9 new songs (52%) compared to previous concert. 9 new songs for this tour.
Stereo audience recording, 115 minutes.
29520 Vector Arena
Auckland, New Zealand
11 August 2007

1. Rainy Day Women # 12 & 35
2. Don't Think Twice, It's All Right
3. Watching The River Flow
4. Just Like A Woman
5. Rollin' And Tumblin'
6. When The Deal Goes Down
7. Things Have Changed
8. Tangled Up In Blue
9. Spirit On The Water
10. Highway 61 Revisited
11. Desolation Row
12. Most Likely You Go Your Way (And I'll Go Mine)
13. Nettie Moore
14. Summer Days
15. Masters Of War

16. Thunder On The Mountain
17. All Along The Watchtower

Concert # 240 with the 20th Never-Ending Tour Band: Bob Dylan (vocal, guitar & keyboard), Stu Kimball (guitar), Denny Freeman (guitar), Donnie Herron (violin, mandolin, steel guitar), Tony Garnier (bass), George Recile (drums & percussion).

1-3 Bob Dylan (electric guitar).
4-17 Bob Dylan (electric keyboard).
4, 8, 9 Bob Dylan (harmonica).
7, 13 Donnie Herron (violin).
5, 11 Donnie Herron (mandolin).

Notes.
Other Bob Dylan concerts in Auckland, New Zealand:
9 March 1978 Western Springs Stadium
7 February 1986 Mt Smart Stadium
18 April 1992 Super Pop Tent
7 September 1998 North Shore Event Centre, Glenfield
8 September 1998 North Shore Event Centre, Glenfield
21 February 2003 North Shore Event Centre, Glenfield
22 February 2003 North Shore Event Centre, Glenfield
26 August 2007 Civic Theatre
27 August 2007 Civic Theatre
30 April 2011 Vector Arena
26 August 2018 Spark Arena

8 new songs (47%) compared to previous concert. 3 new songs for this tour.
Stereo audience recording, 115 minutes.
Session info updated 26 August 2018.
29530  Brisbane Entertainment Centre
Brisbane, Queensland, Australia
13 August 2007

1. *Cat's In The Well*
2. *It Ain't Me, Babe*
3. *Just Like Tom Thumb's Blues*
4. *Lay Lady Lay*
5. *Rollin' And Tumblin'*
6. *When The Deal Goes Down*
7. *High Water (For Charley Patton)*
8. *The Lonesome Death Of Hattie Carroll*
9. *Honest With Me*
10. *Spirit On The Water*
11. *Highway 61 Revisited*
12. *Tangled Up In Blue*
13. *Nettie Moore*
14. *Summer Days*
15. *Ballad Of A Thin Man*

—

16. *Thunder On The Mountain*
17. *All Along The Watchtower*

Concert # 241 with the 20th Never-Ending Tour Band: Bob Dylan (vocal, guitar & keyboard), Stu Kimball (guitar), Denny Freeman (guitar), Donnie Herron (violin, mandolin, steel guitar), Tony Garnier (bass), George Recile (drums & percussion).

1-4 Bob Dylan (electric guitar).
5-17 Bob Dylan (electric keyboard).
8, 9, 10, 12, 15 Bob Dylan (harmonica).
1, 13 Donnie Herron (violin).
5, 8 Donnie Herron (mandolin).
7 Donnie Herron (banjo).

*Notes*
Other Bob Dylan concerts in Brisbane, Queensland, Australia:
12 March 1978  Festival Hall
13 March 1978  Festival Hall
14 March 1978  Festival Hall
15 March 1978  Festival Hall
28 February 1986  Lang Park
1 March 1986  Lang Park
28 February 1992  Entertainment Center
1 September 1998  Entertainment Center
30 March 2001  Entertainment Center
11 February 2003  Entertainment Centre
25 August 2014  Brisbane Convention & Exhibition Centre
27 August 2014  The Tivoli, Fortitude Valley
24 August 2018  Entertainment Centre
8 new songs (47%) compared to previous concert. 3 new songs for this tour.
Stereo audience recording, 115 minutes.

Session info updated 25 August 2018.
29540  Entertainment Centre
Sydney, New South Wales, Australia
15 August 2007

1. Cat's In The Well
2. The Times They Are A-Changin'
3. Watching The River Flow
4. It's Alright, Ma (I'm Only Bleeding)
5. When I Paint My Masterpiece
6. Rollin' And Tumblin'
7. Workingman's Blues #2
8. 'Til I Fell In Love With You
9. A Hard Rain's A-Gonna Fall
10. Tangled Up In Blue
11. Spirit On The Water
12. Highway 61 Revisited
13. Nettie Moore
14. Summer Days
15. Masters Of War

   —

16. Thunder On The Mountain
17. All Along The Watchtower

Concert # 242 with the 20th Never-Ending Tour Band: Bob Dylan (vocal, guitar & keyboard), Stu Kimball (guitar), Denny Freeman (guitar), Donnie Herron (violin, mandolin, steel guitar), Tony Garnier (bass), George Recile (drums & percussion).

1-5 Bob Dylan (electric guitar).
6-17 Bob Dylan (electric keyboard).
8, 10, 11 Bob Dylan (harmonica).
1, 4, 13 Donnie Herron (violin).
6, 9 Donnie Herron (mandolin).

Notes.
Other Bob Dylan concerts in Sydney, New South Wales, Australia:
13 April 1966  Sydney Stadium
1 April 1978  Sportsground, Sydney
10 February 1986  Entertainment Centre
11 February 1986  Entertainment Centre
12 February 1986  Entertainment Centre
13 February 1986  Entertainment Centre
24 February 1986  Entertainment Centre
25 February


 the board, priority one! I want everyone on this! Wake up Zeddi! Get him back in men’s clothing!
(MORE)
The Robbery Division starts scrambling. Dance Instructor takes the photo of a porcelain figurine labeled “STOLEN” and moves it down a notch on a cork board. Drunken Zeddi tries to take a HOLSTERED PISTOL from it’s peg on the wall. Mound grabs it first.

**MOUND OF ASSHEAD**
Too slow. I get the pistol today.

**ZEDDI**
It’s my turn!

**MOUND OF ASSHEAD**
Boss!

**ZEDDI**
Fine, take it! Just don’t leave this one on the bus!

Lajos steps between them.

**LAJOS VARJÚ**
Seniority! Hand it over.

Mound unhappily helps Lajos put on the cool shoulder holster. Lajos slides on some mirrorshades. Everyone nods their approval: that Lajos is one suave fuck.

**LAJOS VARJÚ**
That’s it, gentlemen. Let’s go grill some witnesses.

**BIGFOOT**
But I’m only two away from the record!

**LAJOS VARJÚ**
Maybe you didn’t hear me, clown shoes -- Budapest is turning into the wild west! Now ship out!

Bigfoot reluctantly shuffles out the door with the rest of the men. Lajos whispers to Keszthelyi.

**LAJOS VARJÚ**
My record stands.

Keszthelyi looks on in disbelief...
EXT. APARTMENT BUILDING - DAY

Bouncer Viktor and a Driver are asleep inside the black sedan. They jolt awake when Attila knocks on the window.

ATTILA
Sorry for the delay. I got the money here, plus some interest. And these are for you.

He hands over the MONEY and a box of PASTRIES.

ATTILA
Just some crumb cakes. You guys put in long hours. There’s a tip for you in the box. Don’t tell the boss. I know it’s customary for you to punch me again, but I also brought coffee. (he hands that in too) Okay?

Bouncer Viktor counts out his tip. It’s nice.

BOUNCER VIKTOR
Yeah. Okay. (beat) Come back any time, player...

He pats Attila on the cheek. The Sedan drives away.

INT. BASEMENT APARTMENT - DAY

Attila stuffs money into his coffee can. Don watches.

ATTILA
You should have seen it. The other day it’s an elbow to the face. Today it’s “come back any time”. All because of this stuff. No one gives respect, you have to buy it. It’s disgusting.

The can is full and he’s still got a big pile of cash.

ATTILA
(sighs) What the hell do we do now? I can’t have all this lying around. It’s evidence.

As Attila spreads out the cash, considering his options, AC/DC’s “What do You do for Money, Honey” begins to play. Attila looks at Don and smiles mischievously...
INT./EXT. RED OPEL – DAY

A used RED OPEL (one door primer grey), speeds down the street with the radio blasting. A hockey bobble-head bounces on the dash. Attila smiles under his shades, behind the wheel of his new car...

INT. BASEMENT APARTMENT – DAY

Attila installs a new TV and STEREO. His place now has FURNITURE. It’s all gaudy as hell, but new. He puts down custom water and food bowls labeled “DON”. Don looks on from his new leopard print DOG BED.

INT. MCDONALD’S – DAY

A CASHIER looks bored. She perks up when Attila whips off his shades and struts to the counter in slo-mo. He’s wearing an outrageous suit and red cowboy boots. He points to a picture of the BIG MAC with confidence. Impressed, the Cashier rings him up.

EXT. UTE PARKING LOT – DAY

Attila pulls his Opel next to Bela Benko’s Mitsubishi. He hops out in his Puma tracksuit and calls over Petr, the car wash kid.

ATTILA
What’s he paying you?

PETR
Three florints.

ATTILA
I’ll give you five if you do mine first.

Petr grabs his gear and heads over. He’s super skinny, with thick coke-bottle glasses and protruding teeth.

ATTILA
What’s your name, kid?

PETR
Petr.

ATTILA
You got a pretty good enterprise going here.

PETR
I used to work for my mother.
He indicates a small car wash on the corner. It’s called “EVA’S SUPER-WASH”. EVA, 30’s and plain, scowls.

PETR
But she was cock-blocking my style. I had to blow that scene and get my own thing going. You pay first.

Attila gives him the coins. Petr starts vacuuming under the seats, snagging something. It’s a sleazy Hungarian nudie magazine, “Kurva”. Petr looks at it, wide-eyed.

ATTILA
That’s your tip. Enjoy it in good health.

INT. UTE HOCKEY RINK - DAY

During practice, Attila prowls in front of his net with newfound authority. He screams at the YOUNGER PLAYERS.

ATTILA
Hey shithead! How could you miss that play? Am I gonna have to make it for you next time? That’s your man! Don’t look at me! Skate! Te fasz!

Bela Benko nods at his crony BUBU, who cranks back and SLAPS a screamer right at Attila’s head. THWAP! Attila catches it right in his glove.

ATTILA
Again! This time like you’ve got a dick!

The rink quiets, impressed...

EXT. UTE TRAINING FACILITY - PARKING LOT - DAY

Attila struts out of the locker room. Just as he gets to his Opel, Eva marches up to him.

EVA
Hey you! Yeah, you, pervert! Did you give this to my son?

She holds up the dirty magazine.
ATTILA
Okay, guilty. But, come on, every growing boy needs a little fuel for the rocket. I had to get by with the girl on the syrup packet.

EVA
(disgusted)
Just... Stay away from my kid.

ATTILA
Lady, loosen up, okay? I was just being friendly. The other guys can be rough on him because, you know, he’s...

EVA
He’s what?

ATTILA
You know. Different. Big glasses, the teeth. Don’t get me wrong, he’s a nice kid. But they call him “hamster”.

EVA
(fuming)
You want your car washed, come to me, not my son. Otherwise I’m gonna call a cop.

She slaps the magazine against his chest and storms off.

INT. CASINO - NIGHT
Bela Benko and the Teammates gamble together.

BUBU
What was up with that Panther today?

BELA BENKO
He’s got a big mouth for a practice goalie. You see the way he crawled out of here last time?

BUBU
He’s not crawling tonight.

Heads turn to where Bubu is pointing -- Attila is coming through the door with a HOOKER on each arm.

ATTILA
Boys! Boys! Anybody thirsty?
The Whiskey Robber gets a Christmas present he likes: a bottle of his signature drink, Johnnie Walker Red.
Attila slaps a wad of cash on the bar. Bela Benko fumes as his cronies abandon him for Attila.

ATTILA
(showing off his hookers)
This is Zdenka. And this is Marin. Ladies, these are the boys.
(he turns the girls loose)
Share and share alike, that’s what I say. Hey! Drink up! To all my friends!

Everyone toasts with Attila. He smiles at Bela Benko. For once, Attila is the life of the party...

INT. BASEMENT APARTMENT – LATER THAT NIGHT

Attila lays on his floor drunk, gnawing on a pig’s foot. Don looks at him expectantly.

ATTILA
You’re right. 20% for you.
(he tosses Don the foot)
We’re the king shits now, Don.

He fingers the empty coffee can laying next to him.

ATTILA
We’re the king shits...

He considers those words as he says them. They feel quite nice in his mouth. Maybe even a little addictive. He smiles as he passes out...

EXT. EVA’S SUPER-WASH – DAY

Attila walks up to find Eva.

ATTILA
Excuse me, miss Eva? I just wanted you to know, I spoke to your boy. I told him that magazine was a big mistake. Exploits women and things like that. It won’t happen again.

EVA
Fine.

ATTILA
I hope you don’t mind, but I put him to work.
EVA
I told you I don’t want him washing your car anymore.

ATTILA
He’s not.

She looks over. Next to the Opel, Petr is washing Don.

ATTILA
That’s Don. He’s cool. Petr said he’d take care of him while I go mail a letter. Anyway, sorry.

Eva watches as Attila buys a bouquet of FLOWERS from


s around the parlor slowly.

NANCY
This entire house is an antique!

Alex subtly gives Nancy a “remember what we discussed” look. She assumes her “buyer’s face.”

NANCY
Of course, we’re in no hurry.

KENNETH
Perhaps this isn’t for you then. I’m sure it’ll be sold by Monday.

Nancy digs her nails deeply into Alex’s arm.

KENNETH
... original inlaid parquet floor.

The floor is scuffed, gouged, pocked and puttied.

KENNETH
A lot of story there.
NANCY
Can you imagine all the furniture that’s lived here over the years?

Kenneth gestures to an alcove of bookshelves.

KENNETH
This is the library...

ALEX
(can’t stop himself)
Wow.

Nancy playfully shoots him an exaggerated “buyer’s face.” He laughs, busted.

NANCY
Alex is a writer.

KENNETH
(doesn’t give a shit)
Really? What do you write?

ALEX
(modestly)
I wrote a book, you probably never heard of it… “Unbodied Souls.”

NANCY
It was nominated for all sorts of first novel awards.

KENNETH
(not apologetic)
I don’t read books.

NANCY
Alex is almost done with his second novel. Which would look great
(spokesmodel flourish)
in these magnificent, built-in Nineteenth Century bookcases!

Alex obviously likes that idea. But...

ALEX
Too bad it’s out of our price range.

NANCY
(gesturing)
It is at the top of our price range.
ALEX
(gesturing above her)
Over the top.

NANCY
(intertwining her fingers
with his)
At the tippy top.

KENNETH
Would you like to see the bedroom?

NANCY
Yes please.

INT. APARTMENT – BEDROOM DOOR

Kenneth pushes open a large wooden accordion divider. He’s
saved the best for last...

They walk into the light. Nancy actually GASPS. The bedroom
is huge; there is a curved front window area that looks out
to the leafy street.

As they walk into the center of the room, Alex steps on a
floorboard that CREAKS LOUDLY. He stops to look down at it.

Nancy semi-pirouettes over to the fireplace; Kenneth follows.

KENNETH
Fireplace is tiger-eye maple—

He is interrupted by SEVERAL CREAKS. He looks over to see
Alex STEPPING REPEATEDLY on the creaky floorboard.

ALEX
(re: floorboard)
That could get annoying.

KENNETH
Yes.
(back to fireplace)
If you look closely you’ll see it’s
actually hundreds of hand-carved
pieces fitted perfectly together.

NANCY
(caressing fireplace)
Who could have done this?

KENNETH
Craftsmen.
NANCY
I miss craftsman.

KENNETH
And over here you’ve got a little alcove, if that’s the word, a round outcropping.

NANCY
A nook!
  (excitedly, to Alex)
A writer’s nook.

Alex looks at the nook, and out the windows at the park. He is buying into the fantasy.

ALEX
A writer’s nook.

NANCY
  (innocently caught up)
Or it could be a nursery!
  (notices something)
Ew.

The opposite wall contains a large interior window that has been painted over for some reason. Nancy approaches it, frowning, but then looks more closely. She scratches at the paint, which flakes off in several layers.

NANCY
Is there stained glass under here?

KENNETH
  (unctuous smile)
Could be.

INT. APARTMENT – FOYER/PARLOR

The three emerge from the bedroom.

KENNETH
You’ve got my card if you want to make an offer...

Alex’s attention is caught by a large spiral planter.

NANCY (O.C.)
Can you call us if anybody else makes one?

KENNETH (O.C.)
I’m not supposed to, but...
Over the proceeding, we follow Alex’s gaze up the planter. The plants still have price tags. The wrought-iron planter spirals to the top, where a rather obvious circular piece of wood has been painted white to match the ceiling.

ALEX
Excuse me, is this a stairway?

Now that he mentions it, it very clearly is a spiral staircase. Kenneth doesn’t miss a beat.

KENNETH
Oh, I’m sorry. I thought you realized. This is a duplex.

ALEX
There’s another floor?

KENNETH
It’s on the listing sheet. In your hand.

Alex looks at the listing sheet. Fucking Kenneth is right.

NANCY
(a little worried)
Why’s it sealed off? Were there a slew of murders up there? You have to tell us if there were.

KENNETH
Oh, nothing like that. It’s just, there’s a sweet old lady who lives up there…

ALEX
A tenant.

KENNETH
Yes, and it is rent-controlled, so… but she’s so sweet and so, (annoying chuckle) she’s gotta be a hundred years old.

ALEX
(good-natured sigh)
Well, that’s unfortunate, because--

NANCY
Can we meet her?

Kenneth CHUCKLES, in a chortling sort of way.
INT. BROWNSTONE – LOBBY

As they climb the stairs, Nancy caresses the banisters.

ALEX
Rent-controlled means we can’t kick her out, right?

NANCY
Alex!

INT. BROWNSTONE – SECOND FLOOR LANDING – CONTINUOUS

Kenneth stops at a door in mid-landing.

KENNETH
(that chuckle again)
A legitimate question. No, you can’t evict her. She has to decide to leave, or...
(as if changing subject)
Poor dear hasn’t been feeling well.

He KNOCKS, loudly.

KENNETH (CONT.)
She’s hard of hearing.

The three stand there for a long beat.

KENNETH (CONT.)
It may take a little while for her to get to the door.

They all smile at each other. After another longish beat, we hear a lock being LABORIOUSLY OPENED on the other side. There is another beat.

KENNETH (CONT.)
(mouthing, low volume)
Arthritis.

We hear a second lock being opened with a LONG GRINDING CREAK. A moment later, the door opens slowly, JERKING to a halt at the end of the security chain.

Nancy’s eyes widen in expectation; Alex is curious. Their expressions flash to shock, then polite suppression of shock.

INSIDE THE DOOR

Peering behind the chain is MRS. CONNELLY. She’s a tiny, frail lady, in a housecoat that may be as old as she is.
She stares unblinkingly; this, combined with her total lack of make-up, makes her looks more than a little like a corpse. After a moment, her face flashes in recognition; she smiles sweetly and speaks with a slight Irish brogue.

MRS. CONNELLY
Kenneth!

KENNETH
Good afternoon, Mrs. Connelly! How are you feeling today?

MRS. CONNELLY
Oh, don’t let me burden you with my troubles...
(then)
I don’t feel good, Kenneth.

ON KENNETH
Nancy peeks over his shoulder into the apartment.

KENNETH
I’m sorry to hear that. I’ve brought by a young couple, who might want to buy the apartment.

Kenneth steps back to reveal Nancy on tip-toe; she drops down quickly and interlocks arms with Alex.

NANCY
Good afternoon, Mrs. Connelly! I’m Nancy, and this is my husband, Alex.

ALEX
(tiny wave)
Hello.

NANCY
Do you mind if we look around?

NANCY’S POV
As Mrs. Connelly speaks, Nancy’s gaze drifts above her head. She sees only a sliver: another magnificent fireplace, its mantle draped with Catholic memento mori.

MRS. CONNELLY (OVER PRECEDING)
It’s in a horrible state. Haven’t had the energy to tidy up in ages. I can only imagine what it must smell like.
NANCY
We’ll be in and out in a jif.

MRS. CONNELLY
Sorry, dear. I don’t feel up to it.

The door CLOSES on Nancy’s face. We hear the door slowly being LOCKED again. Then, from behind the door:

MRS. CONNELLY (O.C.)
(Long sad coughing; tiny squeak of sickly despair.)

Nancy and Alex are thinking the same thing.

KENNETH
Poor dear.

EXT. BROWNSTONE – STOOP

Kenneth gestures across the street.

KENNETH
And you’ve got the park right there, of course.

Nancy sees kids in the park. She emits a YEARNING SIGH.

KENNETH (CONT.)
Shame you’re not ready to buy. But there’ll be other places. Not as special but... Maybe we should look a little deeper into Brooklyn...

Alex takes one look and his crestfallen wife and:

ALEX
We’ll take it.

EXT. LOWER EAST SIDE – SIXTH STREET – NIGHT

Alex and Nancy sit in the window of a restaurant. A neon sign above them reads, “NY Delhi.”

INT. NY DELHI – CONTINUOUS

A cheesy


Friday-August 10, 1984
8:00 pm

Tickets on sale now

The Old Town Cafe
San Diego, CA
9:00 pm

Tickets on sale now

A Walking Tour in the Gaslamp Quarter, Saturday, August 18, 6:00 to 11:00 pm

2 stages of continuous music • Rockin' 5th Ave. between J & K

Neville Brothers
Robert Cray Band
Jack Mack & The Heart Attack
Beat Farmers

All this for 6 bucks

San Diego Watercolor Society

1984 INTERNATIONAL EXHIBITION
JULY 28-AUGUST 20
San Diego Civic Center
ART GALLERY

9/11 welcomes!

MICHELOB STREET SCENE II
in the Gaslamp Quarter
Saturday, August 18, 6:00 to 11:00 pm

Neville Brothers
Robert Cray Band
Jack Mack & The Heart Attack
Beat Farmers

All this for 6 bucks

San Diego Watercolor Society

1984 INTERNATIONAL EXHIBITION
JULY 28-AUGUST 20
San Diego Civic Center
ART GALLERY

9/11 welcomes!

MICHELOB STREET SCENE II
in the Gaslamp Quarter
Saturday, August 18, 6:00 to 11:00 pm

Neville Brothers
Robert Cray Band
Jack Mack & The Heart Attack
Beat Farmers

All this for 6 bucks

San Diego Watercolor Society

1984 INTERNATIONAL EXHIBITION
JULY 28-AUGUST 20
San Diego Civic Center
ART GALLERY

9/11 welcomes!

MICHELOB STREET SCENE II
in the Gaslamp Quarter
Saturday, August 18, 6:00 to 11:00 pm

Neville Brothers
Robert Cray Band
Jack Mack & The Heart Attack
Beat Farmers

All this for 6 bucks

San Diego Watercolor Society

1984 INTERNATIONAL EXHIBITION
JULY 28-AUGUST 20
San Diego Civic Center
ART GALLERY

9/11 welcomes!

MICHELOB STREET SCENE II
in the Gaslamp Quarter
Saturday, August 18, 6:00 to 11:00 pm

Neville Brothers
Robert Cray Band
Jack Mack & The Heart Attack
Beat Farmers

All this for 6 bucks

Attention Survivors of the Saturday, July 21 "Castle Party"

A claim of 25 million dollars is being filed on the behalf of the teenagers involved and their parents who suffered emotional stress and shock as a result of the Coast Guard intentionally sending party guests off shore.

Sincerely, The Excelsior Sunbeam Club

If you attended please call 297-0060 to leave your name and number and we'll get back to you.

P.S. - We Survived!
T-shirts will soon be available for those who were stranded on the Castle.

"TINTYPES IS DELIGHTFUL",
...the show is a high energy, clean physical timing and potent vocal harmonies combine for an evening that combines cabaret and classic standards.

William Starke. LOS ANGELES TIMES.

Experience A Grand Of Musical Revue of America July 20 - August 25

TINTYPES by Mary Site, Cary Peck and Mark Hans

TINTYPES
by Mary Par, Cary Peck and Mark Harn

LAMB'S PLAYERS THEATRE
550 PLAZA BLVD. - PACIFIC CITY
and 15 minutes from downtown.
474-4542

"Spend Your Summer Dancing"

Classes are offered in tap, jazz, hip-hop, and other styles, beginning through advanced levels for children and adults. Monday through Thursday, 6-9pm. Adult classes are taught by professionals. Learn from the professionals.

Chris Agnew, Ph.D. Faculty, Linda Rednors, All of Alex Unlimited

Memorial Studios of Dance
620 Sun Pacific Blvd. (550 Plaza Blvd.)
Sunrise Hotel. 474-7672, 32-5357

BRAIN EXPANSION WITH JOHN-DAVID

- Super memory
- Concentration
- Eliminate self-sabotage
- Creative thinking
- Left and right brain integration
- Problem solving
- Overcome fear
- Increased confidence

"The greatest pleasure in life is doing what people say you can't do." - John- David

Total September Workshops:
August 16-18, 23-30, 31 and September 1, 2, 3.
150 individuals presented 360 workshops in 35 cities.

Workshop Schedule

Guitar/Drum 9:00-12:00
Painting/Sculpture 12:00-3:00
Computer/Photography 3:00-6:00

100% Money-Back Guarantee... Full refunds if student cancels for any reason.

Total Seminar Hours: Approx. 240 (240 mins.)

JOHN-DAVID LEARNING INSTITUTE

1500 S. Ocean Ave. - P.O. Box 1300
La Jolla, CA 92038
1-800-782-5053

"OCTOBER FEST"

A two-hour operetta with a modern opera music style. Performer's talent at its highest level. Under the direction of Jack Robinson, the cast is made up of the finest opera and musical theatre performers on the West Coast. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"TWO NIGHTS"

An evening of comedy and music featuring two of America's top comics, Dyanne Hall and Dave Barry. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"THE HOUSE"

A one-man show about the life and times of a New York City real estate agent, written and performed by Charles Durning. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"THE MILLION DOLLAR MARCH"

A musical revue featuring songs from the 1920's to the 1940's, performed by the Los Angeles Civic Light Opera. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"THE BROADWAY MUSICAL"

A one-hour show featuring songs from Broadway musicals, performed by the Los Angeles Civic Light Opera. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"THE GREAT HITS OF THE 60's"

A one-hour show featuring songs from the 1960's, performed by the Los Angeles Civic Light Opera. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"THE ROYAL FAMILY"

A one-hour show featuring songs from the 1970's, performed by the Los Angeles Civic Light Opera. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"THE MUNSTERS"

A one-hour show featuring songs from the 1980's, performed by the Los Angeles Civic Light Opera. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"THE MILLION DOLLAR MARCH"

A one-hour show featuring songs from the 1920's to the 1940's, performed by the Los Angeles Civic Light Opera. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"THE BROADWAY MUSICAL"

A one-hour show featuring songs from Broadway musicals, performed by the Los Angeles Civic Light Opera. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"THE GREAT HITS OF THE 60's"

A one-hour show featuring songs from the 1960's, performed by the Los Angeles Civic Light Opera. The show will be held at the Gallery of Fine Arts, 1101 S. Western Ave., Los Angeles. Call 739-1200 for tickets.

"THE ROYAL FAMILY"

A one-hour show featuring songs from the 1970's, performed by the Los Angeles Civic Light Opera. The show will be held at the Gallery of Fine Arts, 110


td>

Shanice
Saving Forever For You
English

Shanice
Yesterday
English

Shanice
When I Close My Eyes
English

Shannon
Let The Music Play
English

Shannon, Del
Runaway
English

Shannon, Del
Little Town Flirt
English

Shannon, Del
The Swiss Maid
English

Shannon, Del
Sea of Love
English

Shapiro, Helen
Walkin’ Back to Happiness
English

Sharkey, Feargal
A Good Heart
English

Sharp, Dee Dee
Mashed Potato Time
English

Sharp, Kevin
Nobody Knows
English

Artist
Song

--------------------------
----------------------------------------------------------------------

Sharp, Ten
You

Sharpe, Rocky & The Replays
Rama Lama Ding Dong

Shatner, William
Common People

Shaver, Billy Joe
Ride Me Down Easy

Shaw, Sandie
Puppet on a String

Shaw, Sandie
(There's) Always Something There To Remind Me

Shaw, Sandie
Long Live Love

Shawanda, Crystal
My Roots Are Showing

Shawanda, Crystal
You Can Let Go

She & Him
Fools Rush In (Where Angels Fear to Tread)

She Wants Revenge
These Things

She Wants Revenge
Tear You Apart

SHeDAISY
Don't Worry 'Bout A Thing

SHeDAISY
Passenger Seat

SHeDAISY
Mine All Mine

SHeDAISY
Lucky 4 You (Tonight I'm Just Me)

SHeDAISY
In Terms Of Love

Sheehan, Ciaran
My Wild Irish Rose

Sheer, Ireen
Heut' abend hab' ich Kopfweh

Sheer, Ireen
Tennessee Waltz

Sheer, Ireen
Komm, ich mach das schon

Sheer, Ireen
Feuer

Sheer, Ireen
Du bist mein allergrößter Fehler

Sheeran, Ed
Save Myself

Sheeran, Ed
Happier

Sheeran, Ed
Biba Be Ye Ye

Sheeran, Ed
The A Team

Sheeran, Ed
You Need Me, I Don't Need You

Sheeran, Ed
Lego House

Sheeran, Ed
Kiss Me

Sheeran, Ed
Drunk

Sheeran, Ed
Small Bump

Sheeran, Ed
Give Me Love

Sheeran, Ed
Wake Me Up

Sheeran, Ed
U.N.I.

Sheeran, Ed
Skinny Love

Sheeran, Ed
Gold Rush

Sheeran, Ed
I See Fire

Sheeran, Ed
Sing

Sheeran, Ed
All Of The Stars

Sheeran, Ed
Don't

Sheeran, Ed
Thinking Out Loud

Sheeran, Ed
One

Sheeran, Ed
I'm a Mess

Sheeran, Ed
Afire Love

Sheeran, Ed
Photograph

Sheeran, Ed
Tenerife Sea

Sheeran, Ed
Make It Rain (from Sons Of Anarchy)

Sheeran, Ed
Wayfaring Stranger

Sheeran, Ed
Bloodstream

Sheeran, Ed
Runaway

Sheeran, Ed
Even My Dad Does Sometimes

Sheeran, Ed
Photograph (Felix Jaehn Remix)

Sheeran, Ed
Supermarket Flowers

Sheeran, Ed
This

Sheeran, Ed
Shape of You

Sheeran, Ed
Castle on the Hill

Sheeran, Ed
How Would You Feel (Paean)

Sheeran, Ed
Shape of You (Stormzy Remix)

Sheeran, Ed
Eraser