Thursday, February 27, 2014




THEATER

59E59 Theater
Opportunity Makes a Thief - Gioachino Rossini

I'm in sunny Naples, Florida finishing an acceditation survey and Carolyn's in cold, snowy New York City going to a theater.

It's getting down below 10 degrees in NYC and I fly home tomorrow.



The little OPERA theatre of NY presents
 
OPPORTUNITY MAKES THE THIEF
 
By GIOACHINO ROSSINI
Libretto by LUIGI PRIVIDALI
Translated by MARK HERMAN & RONNIE APTER
Conducted by JAMES BAGWELL
Directed by PHILIP SHNEIDMAN
With A COMPANY OF TWELVE
 
The little OPERA theatre of ny makes a triumphant return to 59E59 with Rossini's enchanting 1812 comic opera. This is New York's opportunity to savor a glorious operatic rarity that first delighted modern audiences in 1987 at both the Rossini Festival in Italy and the Buxton Festival in the UK; and later at Opera North in Leeds in 2004. The accidental switch of two suitcases inspires a rogue to assume a new identity. Turmoil ensues when both the imposter and the original show up on the same doorstep of a young woman.

James Bagwell conducts for the first time with little OPERA theatre of ny.

Sung in English

The running time of Opportunity Makes the Thief is 75 minutes without an intermission.
 
 

Tuesday, February 25, 2014



NAPLES, FLORIDA

Today I leave for a 4 day survey of an organization in Naples, Florida.

 



 
 


Saturday, February 22, 2014




THEATER

The Lynn Redgrave Theater
Saint Joan - George Bernard Shaw

Named one of the top 10 plays and musicals of 2013 by Time Magazine!

Four actors carried the entire play with virtually no props.  It was wonderful!  The performance was at the highest level of creativity, professionalism, and intellectual provocation.

We are going back to see the same four actors do the play, Hamlet.  We're excited.
 


After celebrated engagements downtown and in Washington D.C., Bedlam brings its critically-acclaimed productions of Saint Joan and Hamlet back to New York! Following the edict "the play's the thing," this innovative theater company distills two of the stage's greatest classics down to their simplest form—placing the focus on the actors' performance and the authors' words—and breaks down the walls between the performers and the audience. The result is a powerful and immersive piece of theater that allows the viewer to experience these masterpieces like never before.
The Wall Street Journal named Bedlam's s production of Saint Joan the "Best Revival of 2012" and said their Hamlet is "an experience so intense and concentrated that you'll feel as though you were part of the action."

Saint Joan

Bedlam immerses its audience in an unconventional and galvanizing production of George Bernard Shaw's classic play.

By  •  • New York City
The cast of Bedlam's Saint Joan: Eric Tucker, Andrus Nichols, Tom O'Keefe, and  Edmund Lewis.
The cast of Bedlam's Saint Joan: Eric Tucker, Andrus Nichols, Tom O'Keefe, and Edmund Lewis.

If you see the title Saint Joan and think "long boring story about a girl who hears voices," you couldn't be more wrong. Here's why: Saint Joan is often laugh-out-loud funny. And in the hands of Bedlam, an acting company founded in 2012, the play is brought exuberantly to life in an electric production at theLynn Redgrave Theatre.
George Bernard Shaw put his own modern spin on the recorded events of Joan of Arc's life to examine the conflict between individual conscience and authority. His version hews relatively close to history. Plucky, persuasive Joan (played by Andrus Nichols) hears the voices of saints who tell her to drive the English from France and see the Dauphin crowned king. She manages to talk her way into military supplies, lay siege to the city of Orleans, and take it back from the English. Through a series of fortunate events (some may call them "miracles"), Joan ends up leading the French army in their defeat of the English.
After an extremely deadly battle in which the English sustain heavy losses, Joan is accused by both the French and English of witchcraft and of heresy, that is, putting her ideas and interests above those of the church. Joan leads the French to victory, and the Dauphin is crowned king. But Joan wants to take back Paris too. This idea fails to win support, and she finds herself alone, and later on trial for heresy. She then realizes that the voices she has been hearing have failed to protect her. In the eyes of the judges, this voice-hearing, woman-dressing-as-a-man witch who puts her own ideas above the church's, must be burned at the stake.
In order to achieve the physical immediacy of these events and of Joan's ultimate isolation, Bedlam has stripped away the fancy costumes and detailed scenery and put the emphasis squarely where it belongs — on the language and action — then brings it all right to the audience. Bedlam's four brilliant actors take on the roles of the play's twenty-odd characters on a wide-open, audience-level stage, which features imaginative set designs by John McDermott. The general admission seats are positioned around the theater and rearranged during both intermissions, so you can decide just how close you want to be to the action.
"Action" is an understatement. Actors Andrus Nichols, Eric Tucker (who also directed), Edmund Lewis, and Tom O'Keefe work — work! — the theater from top to bottom, playing all those characters with aplomb. How do they do it? With a hand to the stomach and a puffed-out face, you see the Archbishop of Rheims. With a flick of the wrist, a twist of the beard, you see the Dauphin's impersonator, Bluebeard. A deliciously fun trick that the actors play in the beginning is tossing a character from one to the other. Tucker becomes the Archbishop, then O'Keefe puts hand to stomach and takes the role, then he wings it back to Tucker, like kids tossing a Frisbee. These guys are having fun, and it's a riot to watch. Every aspiring thespian will learn a thing or two here.
The masterful acting is not all this production has going for it. Bedlam keeps this sometimes talky Shaw play moving without diluting Shaw's language and themes. Under Tucker's direction, even the longer conversation scenes, such as the one in the second act, course along at a brisk pace. The audience literally sits next to and around the actors as they discuss Joan's fate, making it nearly impossible to be disengaged from the action. In less skillful hands, the scene might plod on painfully. But O'Keefe, Tucker, and Lewis give it an intensity and humor that keeps the audience riveted.
Shaw's Saint Joan and Bedlam have something in common: They violate expectations. Shaw disregards the conventions of classical tragedy by not giving us villains to hate or a hero to love. In fact, at the end we're left feeling ambivalent about everyone, including Joan. In a similar way, Bedlam turns the theatrical experience on its head, by showcasing Shaw's undeniably brilliant language in a kinetic, illuminating production. So don't let the humble title fool you. Bedlam's Saint Joan is one of the off-Broadway season's highlights.

Friday, February 21, 2014




LECTURE

New York Public Library
Elusive Jane: In Search of Jane Austen

An examination of the life and works of Jane Austen as reflected in the collections of the New York Public Library.

“Mrs. Hall, of Sherborne, was brought to bed yesterday of a dead baby, some weeks before she expected, owing to a fright. I suppose she happened unawares to look at her husband.”

— from a letter of Jane Austen to Cassandra, October 27, 1798
 


The most magical thing about visiting London for the first time was the sense of being so close to the source of the literature I’d spent so much of my life reading. One of my sharpest memories is of the day I turned a corner in the National Portrait Gallery and came unexpectedly upon this likeness of Jane Austen done by her sister, Cassandra. Although I had previously seen reproductions of the unfinished sketch--always of special interest because it is only one of two authenticated images (the other is of Jane seen from the back, face hidden by a bonnet)--coming across the real thing was another matter. Time collapsed, and I felt almost in the physical presence of an author already deeply rooted in my imagination.
 
Maybe the resemblance is not the most accurate or truthful. The family seemed to think it was not a success. According to R. W. Chapman, when James Edward Austen-Leigh decided to include an etching of the portrait in his memoir, his sister, half-sister, and cousins gave it only “very guarded and qualified approval.” Although it “was not positively inconsistent with their youthful recollections,” they seemed to think that “perhaps it gave some idea of the truth.” Despite their reservations, the actual penciled work with its washes of watercolor is a great deal more delicate and beautiful than any reproduction would lead you to believe, and I stood in the gallery staring at it, transfixed. If there was anything wrong with the image, I thought, it wasn’t Cassandra’s lack of skill in capturing the likeness but rather in her inability to animate it with any of the intelligence, irony, or playfulness which any reader of Jane Austen would expect to find there.
 
Who is the elusive figure hiding behind this sketch’s stern expression and dark, unreadable eyes? Almost all of our knowledge of Jane Austen has been filtered through her siblings and their children, who sought to cast her in the kindliest possible light. Many of the letters, mostly to her sister, Cassandra, were destroyed by her to ensure that the younger nieces never encountered their aunt’s often lacerating comments on neighbors and other family members. The earliest biographical information--her brother Henry’s “Biographical Notice of the Author,” prefixed to the 1817 posthumous publication of Northanger Abbey and Persuasion, and her nephew James Edward Austen-Leigh’s 1870 A Memoir of Jane Austen--were charming and pious accounts of the kindly maiden who lived an uneventful family life without ever paying much heed to the events of the world outside her narrow scope. But whose family life is ever really uneventful? Isn’t everyone allotted his or her share of death, illness, and unhappiness?
 
Some modern biographers, according to an essay by Jan Fergus in the new Cambridge edition, now focus too closely on the “disturbing material that the family legend omits or obscures,” and have ended up painting Austen as “an embittered, disappointed woman trapped in a thoroughly unpleasant family.” As far as politics is concerned, although Austen may be the least ideological of writers, her view of British society still deeply informs the world of her novels. Her life spanned the Napoleonic wars, ending only two years after the decisive Battle of Waterloo; and, as Tony Tanner points out, “it has become clear that Jane Austen was much more aware of contemporary events, debates and issues, of the wars and domestic unrest, of the incipiently visible results of the Industrial Revolution, and of a radical change taking place in constitution of English society, than the conventional view allows, or perhaps wants to allow.” Of the facts of Jane Austen’s life we know a great deal, but intimate knowledge of her thoughts and emotions are scarce beyond what can be inferred from the six novels, handful of juvenilia, and what remains of the family letters. The question of who this rural, middle-class, clergyman’s daughter was who led such an apparently mild domestic life--yet whose literary output has been compared to that of William Shakespeare--is one I will attempt to explore in my fall and winter presentation “Elusive Jane: In Search of Jane Austen at the New York Public Library.”
 
The publication only last year of an all-new scholarly edition, the Cambridge Edition of the Works of Jane Austen, is a clue as to how vital Jane Austen remains today. These nine handsome red volumes (only the dust jackets are slightly pedestrian) contain all of the published and unpublished work, as well as a compelling volume called Jane Austen in Context, which sets the fiction against its literary, political, cultural, and social backgrounds. Although I covet this set for my home library, it is too exorbitantly priced to consider replacing my old Oxford Illustrated Edition, and I’ve had to content myself with poring over the public copy in the Rose Main Reading Room.
 
Whatever the edition, however, Jane Austen is part of my literary bedrock. Although my circuits are always rearranging themselves to incorporate some fresh book or author, Jane Austen is permanently there, a sort of gauge against which to measure other literary pleasures. “Each generation makes a consistent image of the author,” writes Janet Todd, in The Cambridge Introduction to Jane Austen, “a new commodity in keeping with its own desires: the kindly spinster of the nineteenth century, the baulked romantic heroine of the twentieth, and the ambitious professional author of the present.” I sometimes find it is as a piercing and sarcastic ironist that I find her most engaging. The opening quote from one of her earliest letters is a good example of her wit, and I occasionally entertain myself with wondering how Austen would have mocked and laughed at our own increasingly vulgar and ill-mannered world. How would she have portrayed a stranger sitting alongside her who pulled out a cell phone and started to jabber loudly and abrasively of strictly personal matters? What would she have made of anyone who spent time with a reality television show called “Dance Your A** Off”? I’m sure any stroll through midtown would have provided material for a dozen additional novels. Although we now live in an almost exclusively visual age--a cultural vacuum of computer screens, high-definition televisions, and video games--I like to believe that Jane Austen can transcend all and that her words and attitudes are likely to endure.


Saturday, February 15, 2014



RING OF STEEL AND MORE SNOW!

It's Valentine's Day!  It's also the first clear day we've had a quite a while.

We decided to walk from our apartment to Washington Square and just see what's going on.  People often ask, "How do you deal with the cold weather?"  The answer is simple... Put on a good coat and wear the proper footwear.
 
On the way we walked through Madison Park where the Shake Shack was still open for business.
 



Washington Square is the southern terminus of 5th Avenue and it's surrounded by New York University.  It is quite the place on a warm day.  It's a bit of a hoot on a cold day!
 


 
 
 
 
This is the day following Valentine's Day and it's snowing again!
 
 
 



Thursday, February 13, 2014



SNOW

These New York City Yankee kids are tough.  Snow is not falling.  It's blowing horizontally from the north in large, watery flakes and the NEW YORK CITY SCHOOLS ARE OPEN!

If a storm like this hit Mobeetie, Texas, they'd close school and the only thing open would be the Cowboy's Oasis Restaurant.

 


Wednesday, February 12, 2014



MUSIC

Morgan Library and Museum
Strauss & Strauss

Richard Strauss, Piano Quartet in C minor, Op. 13
Johann Strauss I & II, Selected Dances

The Morgan Library and Museum has a wonderful performance space where concerts and recitals are presented throughout the year.

It's a short walk from our apartment on 32nd Street and 6th Avenue to 36th Street and Madison.

Great venue.  Great musicians.  Great seats.

The following video features the playing of the pianist who performed the Strauss Piano Quartet.  Not bad.

http://www.youtube.com/watch?v=gGGuAAduGSI






Tuesday, February 11, 2014



MUSIC

Carnegie Hall
Steven Lin - Piano

Two days ago Carolyn and I attended a recital performance by Garrick Ohlsson at Carnegie Hall.  As we were entering we noticed a placard showing an upcoming performance by Steven Lin.


Steven Lin is an artist we heard last year at a recital at Juilliard.  He is really good.

Below is the note I wrote about him in April 2013.

Below is a video that shows him in Japan playing through the earthquake.  Give it a look.


https://www.youtube.com/watch?v=qEtVwY77gPw



The setting and the performance were magical.

Weill Hall is a smaller venue within the Carnegie Hall complex.  It is first class.

The audience was about half and half.  One half young friends of Steven Lin and one half of adults who really appreciated music.

Lin was wonderful.  Even though, he's in a tough business and is not guaranteed to make it big.  If he does, we'll know we knew him first.



_______________________________________________________________________



April 2013

Several weeks ago Carolyn and I were leaving a performance at Juilliard.  The performance venues at Juilliard are primarily in the same building in the same area.  We went that evening to hear a horn performance in a smaller venue and walked past the larger Paul Hall as we were leaving.  Inside Paul Hall we could hear some really beautiful piano playing.  We entered Paul Hall and listened to a solitary young man practicing on the stage in an empty room.  He was exceptional.

Tonight we went to hear him perform in a filled to capacity Paul Hall.  We were about 15 yards from him and able to see both the keyboard and his face.  Amazingly, it was free to attend!  It was a wonderful way to see and hear an extremely talented young pianist.  I promise that this young man is going to succeed in his career.



Steven Lin was spectacular.  Hearing him is fundamental to why we moved to New York City.

Here is a video that shows him in Japan playing through the earthquake.


Sunday, February 9, 2014



MUSIC

Carnegie Hall
Garrick Ohlsson - Piano

Beethoven: Piano Sonata No. 30 in E Major, Op. 109
Schubert: Fantasy in C Major, D. 760, "Wanderer Fantasy"
Griffes: "The Fountain of Acqua Paola" from Roman Sketches
Griffes: Scherzo from Fantasy PiecesGriffes; "The White Peacock" from Roman Sketches
Chopin: Piano Sonata No. 3 in B Minor, Op. 58

"Regarded as one of the world’s leading exponents of the music of Chopin since winning the International Chopin Piano Competition in 1970, Garrick Ohlsson commands an enormous repertoire that ranges the entire piano literature. After being praised for his "remarkable assurance in executing wicked pyrotechnics … with extraordinary power and demonic furor" byThe New York Times at his last Carnegie Hall engagement, he returns with a recital of piano sonatas by Beethoven and Chopin, Schubert’s "Wanderer Fantasy," and works by Griffes."

Garrick Ohlsson was great!  The audience appreciated him.  A good time.

There is something about a piano recital in Carnegie Hall.  A solitary piano, lighted alone, a smaller space than Avery Fisher, and a history to reflect upon.

I took a long walk this morning before the concert.

















Saturday, February 8, 2014



LECTURE

ONE DAY UNIVERSITY
New York Hilton

I attended Darwin, Photographs, Genius, Carnegie, and Philosophers.

There were around 1,500 "students' rotating among 3 ballrooms of the Hilton Hotel.  Quite an experience.



One Day University: 2500 Years of History (in just one day)
February 08,2014
ONE DAY UNIVERSITY:2500 Years of History(in just one day)



Schedule of Classes and Professors

9:30am - 10:30am
Charles Darwin: What He Got Right, What He Got Wrong 
Susan Lindee / University of Pennsylvania
10:45am - 11:45am
From The Founding Fathers To Today's Congress: What Went Wrong 
Richard Beeman / University of Pennsylvania
Noon - 1:00pm
Charles Darwin: What he got right, What he got Wrong 
Susan Lindee / University of Pennsylvania
Lunch Available for Purchase - 1:00pm - 2:00pm

2:00pm - 3:00pm
The Richest Man in the World: Andrew Carnegie's Life and Fortune 
David Nasaw / City University of New York 
3:15pm - 4:15pm
1968: The Extraordinary Events of a Memorable Year 
Leonard Steinhorn / American University


Course Descriptions

1968: The Extraordinary Events of a Memorable Year 
Leonard Steinhorn / American University
The Sixties. It was a decade of hope -- and disillusionment. A time of promise -- and backlash. An era animated by youthful idealism -- and frustrated by political disappointment. We entered the decade inspired by a president, stirred by a dream, and dancing innocently to "I Want to Hold Your Hand." We ended the decade still clinging to those hopes and ideals, but sobered by the realities of a brutal war, bloodied protesters, burning cities, and a nation and culture coming apart.

No other year better encapsulates the narrative of the Sixties than 1968. It was a year when young people went Clean for Gene in the New Hampshire primary -- and then got tear gassed in Chicago. When the country looked to larger-than-life leaders to guide us out of war and division -- and then saw them felled by assassins' bullets. When many hoped that a Kennedy would return to the White House -- and instead we got a Nixon. In 1968, we saw a political party that represented the common folk get torn asunder by cultural and racial hostilities. We saw no light at the end of the tunnel in Vietnam. We saw Black Power meet law and order. We saw an America barely anyone would have recognized just a few years back.

1968 was like an electrical storm that hit our country, one that hot-wired every interaction, conversation, and event. And it put a charge in the emerging culture war that would define American politics and culture for decades to come. To understand the Sixties generation -- and who we are as a nation -- it is essential to journey through 1968 and see how that seminal year shaped and influenced our history.

The Richest Man in the World: Andrew Carnegie's Life and Fortune 
David Nasaw / City University of New York 
 

Andrew Carnegie epitomized the Gilded Age ideal of the self-made man, becoming one of the wealthiest individuals in the history of the world. By the turn of the century, Carnegie Steel was the largest steel company in America; it was acquired in 1901 as a subsidiary of U.S. Steel for $480 million. In addition to being the only American "captain of industry" to rise from rags to riches, he was also the only one who tried, in his lifetime, to give away his fortune. Carnegie retired to Scotland and dedicated his time and money to various philanthropies consistent with the philosophy that he had advanced in The Gospel of Wealth, including the Carnegie Foundation for the Advancement of Teaching, the Carnegie Institution of Washington, the Carnegie Endowment for International Peace, and the Carnegie Corporation of New York. In this lecture, Professor David Nasaw will discuss the two arcs of the Andrew Carnegie story: how he made his millions and how and why he believed himself obligated to give it all away. 


What truly constitutes "a good life"? Are there activities and experiences that are especially important, or even essential? Are the answers to these questions the same for everyone, or are there different answers for different kinds of people? Is it even good to ask these questions? And can we really hope to answer them? Perhaps no one has addressed these issues more powerfully than the three philosophers who stand at the head of the Western philosophic tradition: Socrates, Plato, and Aristotle. Join Professor Surprenant as we travel back to antiquity in order to learn more about ourselve - about what we are and what we may yet choose to be.

Charles Darwin: What He Got Right, What He Got Wrong 
Susan Lindee / University of Pennsylvania

Charles Darwin’s Origin of Species presented one of the most important ideas in the history of human thought. Darwin’s impact over the last 150 years cannot be overstated: his ideas have provided the central organizing core for modern evolutionary science. But DNA had not been discovered, and therefore Darwin could not have foreseen the complexities of modern genetics. He did not understand that certain situations that occur in nature could confer advantages upon organisms that worked as a group instead of as selfish individuals. This fascinating new class will bring us up to date on Darwin’s remarkable theory which has survived a century and a half of rigorous scientific skepticism and scrutiny.

From The Founding Fathers To Today's Congress: What Went Wrong Richard Beeman / University of Pennsylvania

There is an abundance of evidence to suggest that the American public is thoroughly disenchanted with the way in which our political system is functioning. Indeed, that disenchantment borders on disgust when the subject is the hyper-partisan and vituperative manner in which our United States Congress functions (or, in many cases, fails to function). In this era of political dysfunction, it might be useful to look back in time, to the summer of 1787, when 55 delegates,  representing widely diverse constituencies across the breadth of America, were able in just under four months to craft a constitution that has not only brought stability and justice to the United States, but has also served as a model for other constitutions around the world. In this session we will examine both the eighteenth century context in which the delegates to the Constitutional Convention carried out their deliberations and the varieties of individual and collective leadership represented among that group of extraordinary men. We will then engage in a discussion of how those eighteenth century lessons in leadership might be helpful to “We the People” of America today as we seek remedies to our current political dysfunction.


Pictures, it is said, are worth a thousand words. But photographs do not speak for themselves. Images tell a story and only a close examination of how a photograph was taken and circulated can allow us to understand why certain pictures become iconic and how they shaped America. 

In this class, we will look closely at three remarkable and influential photographs and what they tell us about America at pivotal moments in the nation’s history: Dorothea Lange’s Migrant Mother, Joe Rosenthal’s Raising of the Flag on Mt. Suribachi, and Stanley Forman’s The Soiling of Old Glory (these last two won the Pulitzer Prize). In doing so, we will look at many other images and come to a deeper understanding of the era in which these photographs were taken and how they continue to shape our vision of the nation.


Since its founding, the United States has offered a distinctive model of political and economic development to the rest of the world. The American model emphasizes representation, federalism, and ethnic pluralism in its definition of democracy. This lecture will explain how American leaders over more than two centuries have sought to apply the American model to the most significant challenges of each era. Policies have differed across time, but the United States has consistently sought to build governments and nations that approximate its distinctive model.

Examining this long history of American nation-building offers some valuable lessons for our contemporary world. Some elements of the American model have proven successful in their broad implementation. Some elements have not. Time and again, Americans have under-estimated the difficulties of spreading their political model. This lecture will encourage listeners to consider the continued possibilities for American-led change in the world, with renewed attention to the historical limits of American power. More than anything, history shows that the United States needs wise leaders who can deploy the nation's valuable political model in carefully chosen situations.

The Nature of Genius: From Leonardo Da Vinci to the Beatles
Craig Wright / Yale University

About 1 in 400 people have an IQ considered genius (140 to 145) and anything above 165 is considered high genius. After a score of 200, genius is said to be immeasurable. Galileo would have hit about 185, with Descartes coming in close behind at an IQ of 180. Darwin and Mozart had an IQ around 165 and Rembrandt 155.

How do we account for the genius of Jefferson, Einstein, Newton, Leonardo, Joyce, Picasso, and others? What is genius? How do we define it? Can we all become geniuses if we just practice diligently for 10,000 hours over a 10 year period, as some recent "self-help" books suggest?  This never-before-offered class taught by Yale Professor Craig Wright will test our definition by evaluating luminaries past and present, including Charles Darwin, Michael Phelps, Michael Jackson, Mark Zuckerberg, Warren Buffet, and even Secretariat!

Friday, February 7, 2014



MUSIC

Marble Collegiate Church
Jazz Service

This is new for our church.  We expect it to be good since all the music at Marble Collegiate is at the highest quality.

Thursday, February 6, 2014



THEATER

Laura Pels Theater
Dinner With Friends


"Winner of the Pulitzer Prize for Drama, this highly celebrated play by Donald Margulies (Time Stands Still) returns to the New York stage with direction by Tony Award® winner Pam MacKinnon (Clybourne Park, Who’s Afraid of Virginia Woolf?).
 
Ever since Karen and Gabe played matchmaker with their friends Beth and Tom, the two couples have been inseparable—going to the Vineyard every summer, raising their kids and enjoying countless dinners together. But when one marriage unexpectedly crumbles, the couples' lives begin to veer in opposite directions. Can these four friends move on to the next chapter without moving apart… or have they changed beyond recognition?
 
Wryly funny and richly layered, Dinner With Friends is a modern masterpiece about the path you choose, the millions you don’t and the detours that make it worth the ride."

Sunday, February 2, 2014



SCOTTSDALE, ARIZONA

Today I leave for a 4 day survey of a health care facility in Scottsdale, Arizona.

I will literally be in the air, flying over, across the country while the Super Bowl is being played.