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11 March
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Hzey SOUND OFF! ROOMS Rocks, RAINBOW is Resplenden

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Paul Scott Goodman, along with bookwriter Miriam Gordon, has created another rock score worthy of respect and reverence with his work for the semi-autobiographical ROOMS: A Rock Romance, this coming more than ten years after his last effort, the arresting and alarmingly inventive BRIGHT LIGHTS, BIG CITY which was based on the classic 80s second-person stream-of-conciousness novel by Jay McInerney. While ROOMS lacks the dramatic weight and engaging, esoteric storytelling style of BRIGHT LIGHTS, BIG CITY, it makes up for it in the enthusiasm and energy exhibited by the excellent leads, Leslie Kritzer and Doug Kreeger. The Scottish brogue explicitly evocative of the composer/lyricist himself (and his then girlfriend, upon whom the Kritzer role is based) is brought off with adept aplomb by the leads. Kreeger and Kritzer are both positively wonderful. Track-by-track, and hit-by-hit, the score traverses musical styles as varied and various as one would come to expect from Goodman, who always keeps one foot firmly planted in world of rock. Where the other foot may fall is anyone’s guess.

The album begins with two themes that are reprised repeatedly, each time with more layers of lust, love and lyricism, both on the part of the characters and the actual composer himself. “Rooms” and “Steps” are arresting recurring themes that bring to mind the elusive elegance and eeriness of “Coma Baby” from BRIGHT LIGHTS, BIG CITY, starting off the memory play in a memorable manner. As the reprises pile on, one is immediately struck by the subtle strength of Goodman in making the seemingly innocuous, such as a simple set of stairs, so interesting and involving. “Bring the Future Faster” rocks hard and Kritzer navigates the high-belting with assuredness and the result is really quite riveting. “Friday Night Dress”, with its Biblical allusions, showcases the strength of the simultaneous storytelling in an entertaining and inventive fashion. By its title alone, “Scottish Jewish Princess” purports to be funnier than it turns out to actually be, but the beginning Bossa Nova beat, which creeps into a few numbers, compounded by the intricate vocal line and patter song sibilance ultimately proves successful. The rhyme of “Uncle Georgy” and “orgy” is certainly an unexpected and funny rhyme and, in the end, the song serves a similar function to “I Hate The French” in BRIGHT LIGHTS, BIG CITY. “I Love You For All Time” at first brings to mind Sting & The Police and given the 80s time-setting of the piece, it is totally appropriate to the period. As the song builds, we become increasingly floored by the fierce and furious electricity ignited by Kritzer and Kreeger’s performances. It is at this point that I came to the conclusion that even if the material were weaker, the leads would raise it up a few levels through sheer will. “Let’s Go To London” contains some high-belting on the order of “A New Argentina” from EVITA and Kritzer’s favorable comparisons to Patti LuPone, having played LuPone herself in a tribute show off-Broadway a few seasons ago, are justly justified. “All I Want Is Everything” is Goodman’s expert musical evocation of everything 80s, and it is, in the words of Wayne & Garth from WAYNE’S WORLD, excellent, totally. “Let’s Leave London” left me a little bit cold and, given that it is the turning point of the story, one wishes for a bit more from the lyrics than “two punks in love”, but every song can’t be a knock-out, I suppose. “NYC Forever!” contains the weakest lyrics of all and it is at this point that the ground upon which this score stands starts getting shaky, but it soon gets back on track with the next half of the show. That being said, the theme for “Pour more booze” in “NYC Forever!” hasn’t left my head since I first heard the album, so, if nothing else, this track is catchy, though some re-writes are in definitely in order.

Time-Life also provide us with a fun, if frivolous, bonus track called “Click”, and it is quite clear why it was cut, but it is, indeed, just a little bit more of a very good thing. The recording is also so successful in large part due to the sterling work done by producer Rob Sher, whose contributions cannot be overestimated. Speaking of good, Goodman had the misfortune of premiering (and, at that point, performing in) BRIGHT LIGHTS, BIG CITY around the same time as Jonathan Larson’s RENT and was subsequently overshadowed by that work and its author. Similarly, ROOMS ended up off-Broadway in the same season as NEXT TO NORMAL. With the immeasurable loss of Larson, Goodman proves with BRIGHT LIGHTS, BIG CITY and, now, ROOMS, that he is the current master of the rock musical. Then again, I am one of those who feel BRIGHT LIGHTS, BIG CITY is just as good as RENT, and now if forced to compare would prefer ROOMS to NEXT TO NORMAL - BRIGHT LIGHTS, BIG CITY is certainly more inventive and more innovative in its style, structure and the substance of the characters than RENT, while comparisons between ROOMS and NEXT TO NORMAL are less useful. ROOMS rocks and Goodman is the rock n roll king of musical theatre - on Broadway or off as he proves with this score that certainly had me, to use a discarded phrase from NEXT TO NORMAL, feeling electric.



SOUND OFF! ROOMS Rocks, RAINBOW is Resplendent

This week we are taking a listen to the new Off-Broadway rock musical ROOMS: A Rock Romance and the revival cast recording of FINIAN’S RAINBOW. From Scotland to Ireland, and back to Broadway, we, quite joyfully, jaunt…

Sitting In My Room, Nothing Is Missing

“The Diabolical” represents the point at which the central relationship begins to show signs of dissolution and the depravedness and decadence of the rock stars starts to show its effects on their romance. “Little Bit of Love” is conversational, but pulsating and painfully punishing, and ultimately a pretty perfect performance of a dramatic moment that is, pardon the pun, pregnant with the dramatic and emotional themes that have amassed by this point in the drama. The counterpoint and hushed conversation that the song ends with is ravishing. “Fear of Flying”, which is reminiscent of “Odeon” in BRIGHT LIGHTS, BIG CITY, is a propulsive patter song with particularly effective sound effects, though subtlety is certainly nowhere present here, whether in Kreeger‘s performance or the album’s production. Nor should it be. “Happiness” is heartbreaking and brings to mind the material meant for the mother character in BRIGHT LIGHTS, BIG CITY, as well as that show’s “Kindness” so memorably recorded by Sherie Rene Scott on the Sh-K-Boom concept album. “When I’m not with him I’m drowning,” perfectly illustrates the female side of this relationship and exhibits Goodman’s deftness with a common phrase meaning so much more in the context of the drama, particularly since the lyrics are so often focused on alcoholism and liquid allusions - and for good reason. “Clean” is my favorite track on the album and the jaunty riff upon which the melody is based is winning - “The rhythm of the alcohol, keeps kickin’,” indeed. Few composers have musicalized the demons of addiction more expertly or evocatively than Goodman both here and in BRIGHT LIGHTS, BIG CITY, which is largely concerned with cocaine addiction. The reprises of “Rooms” and “Steps” are very sad and somber, totally appropriate given the subject matter. “My Choice” could have been insufferably maudlin and sentimental, but due both to the performers and the production it is not, and, in the end, actually brings to mind the best of Sondheim in its style and tender yet tenacious turn-of-phrase. “My choice. Done./ We have a son.” is about as simply elegant as you can get in musical theatre. “Each minor chord, a major test” is another excellent lyric in this equally tear-filled and tender, and tough, song. “A New Song For Scotland” is as patriotic as we are led to expect given the title, and given what has just occurred in the drama leading up to it, is a breath of fresh, clean air. And so is this score, evident, of course, in the “Finale” - and everywhere else.

Starting with a sparkling “Overture,” and the hanky-panky of the harmonica beginning the first vocal track, this cast recording does just about everything just right. The syncopation and sibilance of every single syllable surround us as “This Time of the Year” gets going, and it is rare to hear a chorus this well-mixed and marvelous, whether on a cast album or in the theatre itself. Kate Baldwin is an instant-win with her establishing number, one of the most famous and well-worn songs in all of musical theatre, “How Are Things In Glocca Morra?” Following up that gem is the nearly equally famous and well-known “Look To The Rainbow” and the results are winsome and winning. We are treated to a complete recording of the dance break, as well, and the overall comprehensiveness of this recording is one of many myriad reasons why this album is so momentous and instantly memorable. Cheyenne Jackson, currently on NBC’S 30 ROCK but having established himself as one of the foremost male performers of the 21st century musical theatre, is immediately likeable with the most famous song in a score full of fabulous, famous standards, “Old Devil Moon”. The subtle phrasing and slight homage to a 1940s Broadway delivery were certainly not lost on this attentive listener. The chemistry between Jackson and Baldwin is tangible, even on record, and one hopes to see them pair-up again in the near future, hopefully on a duets album like Jackson’s current collaboration with standards master Michael Feinstein, THE POWER OF TWO. “Something Sort of Grandish” is one of the best examples of Harburg’s wicked and wonderful way with words, and the reprise is equally winning and even more riotously hilarious. In “If This Isn’t Love” Jackson pays homage to the vocal inflections of John Raitt and the results are resplendent, with the chorus members providing expert assistance, both comically and vocally. Even the kiss sound effect is perfect.

Character accents are one of the most treacherous treks actors must traverse, as previously alluded to above in the discussion of ROOMS, and it is to the credit of the cast of FINIAN’S RAINBOW that they pull off the Irish brogue so well, rarely over-doing it as is so commonplace in community theatre productions of the show. “Introduction To Necessity” is another fine example of the expert mixing and mastering of the choral work on this album, and though there is a slight echo here and elsewhere it seems as if that is entirely intentional and meant to bring to mind the classic Godard Lieberson-produced albums of the Golden Age. “Necessity” seems slightly old-fashioned and quaint when compared to blues songs and scatting in the scores of today, but given the time-frame in which the show was written it shows how boundary-pushing Lane was trying to be with this score. Lane, by way of this wonderful revival cast, ends the act on a rollicking and raucous note with “That Great ‘Come-and-Get-It’ Day”. But these marvelous moments are merely half the hues of this remarkable RAINBOW.

SCORE: 8/10

Things Are Great In Glocca Mora

While the Broadway revival of FINIAN’S RAINBOW may not have had the luck of a four-leaf clover, the masterfully produced and performed cast album is the true gold pot at the end of the titular rainbow. Forget Gene Kelly, Petula Clark, or any of their Broadway counterparts - this is the recording of FINIAN’S for the ages. It is rare that a show that produced quite so many standards as this one - I can count four off-hand - and it is to the credit of Burton Lane and E.Y. Harburg that this score shines so brightly more than fifty years following its Broadway premiere. While it may not be the most complex or innovative score of that decade, or even that year, one would be hard pressed to find a more lovely way to spend an hour in Ireland without leaving the comforts of home. Even the album art and production photos, beautifully showcased in the elegant album design, makes my heart flutter a bit. This is classic Broadway at its best.

The “Entr’Acte”, much like the “Overture” before it, beginning with that spine-tingling and classic “Old Devil Moon” cue, makes excellent use of the full-bodied orchestra, the mere presence of the thirty plus musicians an anomaly due to the crippling economics on Broadway today which, more often than not, renders the classic scores of yore anemic and antiseptic sounding in the cripplingly reduced orchestrations that plague far too many productions these days. It is rare to hear so much care and attention paid to every single second of a cast recording and the work by Tommy Krasker and company at PS Classics cannot be applauded enough. “When the Idle Poor Become the Idle Rich” starts Act Two off endearingly, and the delicate orchestrations of the dance sections are carried off with utmost care and precision, making it a truly multi-layered and mellifluous moment for both the superb cast and sumptuous orchestra. “Dance of the Golden Crock” is notable if only for the enticing harmonica playing and audible hoofing comically included on the track. On a less comprehensive and considered recording, dance tracks like this would undoubtedly be left by the wayside. “The Begat”, the second act answer to “Necessity”, is a fun, if innocuous, blues number, though the second act does seem to contain a bit of filler - but, in comparison to the irreproachable first act song stack, that was bound to be the case. The reprises of both “Old Devil Moon” and “Look To The Rainbow” are appropriate and accentuated with slight nuances by Jackson and Baldwin not evident in the full versions of the songs that came previously. Again, they are positively perfect in these roles, both separately and together, and more of their performances are always a welcome addition on this recording. “When I’m Not Near the Girl I Love” is the last of the big, famous standards in this score and it is performed well by Broadway regular Christopher Fitzgerald. The “Finale Ultimo” is the perfect ending to a perfect recording of a nearly perfect score, and leaves the listener wanting to go right back to the base of the rainbow and replay the album again and again. The attention to detail - of each shade and hue of every single, solitary color, both dramatic and musical - is what makes this RAINBOW an absolute winner. A true pot o’ gold.

SCORE: 7.5/10

11 March
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brex Sony Reader Touch Edition Fills a Niche_141

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The biggest reason to opt for the Touch Edition is, you guessed it, the touchscreen. Simply swipe a finger across the screen to move forward or back a page. You can set it to recognize a finger swipe left or right, depending on your preference. These aren’t exactly the same gestures you’d use to turn pages of a regular book, but they come close enough. Yet, you must have a firm touch on the middle two-thirds of the screen for the software to detect your gesture.

Two other applications on the home screen also take advantage of touch. With Text Memo, you can store notes such as books you might later want to check out at the library or even grocery lists and contacts. Sony uses a virtual keyboard that appears on screen as needed, instead of the physical iterations seen on Kindle readers. It’s an aesthetic choice that especially helps the black version of the Touch Edition look more elegant. The device is also available in a red or silver finish.

Touchscreen Features

There’s more to touch than turning pages. You can double-tap a word to look it up in the newly built-in New Oxford American Dictionary and double-tap the corner of a page to create or remove a bookmark. By tapping on an Options button on the lower part of the device, an on-screen menu appears on top that lets you choose from a digital highlighter or drawing tool that will store your selections in notes that can later be downloaded to a PC or Mac.

But after testing the Touch Edition over the past few weeks, it’s easy to see why Sony (SNE) opted to include it in the lineup. The touchscreen and other features are a step up for users of the current Sony Reader. And new users who aren’t holding out for a wireless version will no doubt like the intuitive feel. Its features are far easier to master than those of the rival Amazon (AMZN) Kindle family of readers.

This isn’t Sony’s first touchscreen Reader. But the new Reader Touch Edition is a vast improvement over the previous iteration, the PRS-700, introduced in 2008. The now-discontinued earlier version suffered from the inclusion of a well-intentioned but poorly executed feature. Most e-readers are virtually impossible to read in poor lighting. To address that, Sony included a backlight. But to accommodate the light, Sony had to install another layer on top of the digital e-ink used to render images. Contrast was so poor in normal lighting situations, and glare so strong, that users needed to keep the backlight on all the time. That drained the battery within a couple of days instead of the two weeks without a charge that other readers boasted.

Another application, Handwriting, lets you use your finger or a stylus to take notes. Both text and handwriting notes appear under "Notepad" in the desktop software. You can view them but you can’t edit or export unless you highlight them and transfer into a Microsoft (MSFT) Word file.

With the Touch Edition, Sony removes the backlight completely. Instead, it sells a book cover with an integrated book light for $55. Sony also jettisoned the stylish leather cover that came with previous Readers. It’s too bad you now have to pay at least $30 extra for what came standard previously, but Sony at least includes a neoprene slipcase that offers some protection for the fragile glass screen. Amazon.com’s Kindle 2 and Kindle DX come with no case at all.

Sony Reader Touch Edition Fills a Niche

When Sony announced three new digital book readers in August, pundits quickly surmised that the mid-tier model, the Sony Reader Touch Edition, might find few takers. Their concern was that the $299 version might get lost between the lower-priced $199 Reader Pocket Edition, with its obvious appeal to budget-minded readers, and the high-end touch-equipped $399 Reader Daily Edition, which is due later this year and is expected to boast wireless access.



11 March
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lzdv SORDID LIVES Opens at Rising Action Theatre,

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SORDID LIVES Opens at Rising Action Theatre, 1/15

Fort Lauderdale’s Rising Action Theatre presents Del Shore’s black comedy about white trash, SORDID LIVES.

A black comedy by Del Shores (Southern Baptist Sissies, Queer as Folk), SORDID LIVES is about small minds in small town Texas, complete with cross-dressing “Brother Boy” and his obsession with country singer Tammy Wynette. SORDID LIVES was nominated for over thirty awards (and won 14 Dramalogue Awards) during its long run in Los Angeles and went on to become a movie. SORDID LIVES has recently been translated to the small screen and become a hit TV series on Logo starring Rue McClanahan.



There will also be a free opening night party at Depot on January 15th at 11pm.

Subscriptions are available to see four shows in one year at the Rising Action Theatre (out of a choice of ten shows) for $100. Upcoming shows include REEFER MADNESS, SUM OF US, MOTHER/SON and AS BEES IN HONEY DROWN. Visithttp://www.risingactiontheatre.comfor details.

For tickets and more information visit http://www.risingactiontheatre.com.


SORDID LIVES is set to open on Friday, January 15th. Performances are scheduled for Thursday, Friday and Saturday nights at 8 pm and Sunday nights at 7 pm through February 21st.

Says the L.A. Times of the piece: “[This play by] the master of Texas Comedy, Del Shores has colorful eccentrics teetering on a Bowie knife’s edge between the hilariously improbable and the achingly real.” L.A. Weekly named it”Pick of the Week.”

When Peggy, a good Christian woman, hits her head on the sink and bleeds to death after tripping over her lover’s wooden legs in a motel room, chaos erupts in Winters, Texas.

11 March
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djsy SOUND OFF! ROOMS Rocks, RAINBOW is Resplenden

Posted by admin in Uncategorized

Character accents are one of the most treacherous treks actors must traverse, as previously alluded to above in the discussion of ROOMS, and it is to the credit of the cast of FINIAN’S RAINBOW that they pull off the Irish brogue so well, rarely over-doing it as is so commonplace in community theatre productions of the show. “Introduction To Necessity” is another fine example of the expert mixing and mastering of the choral work on this album, and though there is a slight echo here and elsewhere it seems as if that is entirely intentional and meant to bring to mind the classic Godard Lieberson-produced albums of the Golden Age. “Necessity” seems slightly old-fashioned and quaint when compared to blues songs and scatting in the scores of today, but given the time-frame in which the show was written it shows how boundary-pushing Lane was trying to be with this score. Lane, by way of this wonderful revival cast, ends the act on a rollicking and raucous note with “That Great ‘Come-and-Get-It’ Day”. But these marvelous moments are merely half the hues of this remarkable RAINBOW.

Time-Life also provide us with a fun, if frivolous, bonus track called “Click”, and it is quite clear why it was cut, but it is, indeed, just a little bit more of a very good thing. The recording is also so successful in large part due to the sterling work done by producer Rob Sher, whose contributions cannot be overestimated. Speaking of good, Goodman had the misfortune of premiering (and, at that point, performing in) BRIGHT LIGHTS, BIG CITY around the same time as Jonathan Larson’s RENT and was subsequently overshadowed by that work and its author. Similarly, ROOMS ended up off-Broadway in the same season as NEXT TO NORMAL. With the immeasurable loss of Larson, Goodman proves with BRIGHT LIGHTS, BIG CITY and, now, ROOMS, that he is the current master of the rock musical. Then again, I am one of those who feel BRIGHT LIGHTS, BIG CITY is just as good as RENT, and now if forced to compare would prefer ROOMS to NEXT TO NORMAL - BRIGHT LIGHTS, BIG CITY is certainly more inventive and more innovative in its style, structure and the substance of the characters than RENT, while comparisons between ROOMS and NEXT TO NORMAL are less useful. ROOMS rocks and Goodman is the rock n roll king of musical theatre - on Broadway or off as he proves with this score that certainly had me, to use a discarded phrase from NEXT TO NORMAL, feeling electric.

SOUND OFF! ROOMS Rocks, RAINBOW is Resplendent

This week we are taking a listen to the new Off-Broadway rock musical ROOMS: A Rock Romance and the revival cast recording of FINIAN’S RAINBOW. From Scotland to Ireland, and back to Broadway, we, quite joyfully, jaunt…

Sitting In My Room, Nothing Is Missing

SCORE: 8/10

Things Are Great In Glocca Mora

While the Broadway revival of FINIAN’S RAINBOW may not have had the luck of a four-leaf clover, the masterfully produced and performed cast album is the true gold pot at the end of the titular rainbow. Forget Gene Kelly, Petula Clark, or any of their Broadway counterparts - this is the recording of FINIAN’S for the ages. It is rare that a show that produced quite so many standards as this one - I can count four off-hand - and it is to the credit of Burton Lane and E.Y. Harburg that this score shines so brightly more than fifty years following its Broadway premiere. While it may not be the most complex or innovative score of that decade, or even that year, one would be hard pressed to find a more lovely way to spend an hour in Ireland without leaving the comforts of home. Even the album art and production photos, beautifully showcased in the elegant album design, makes my heart flutter a bit. This is classic Broadway at its best.

Paul Scott Goodman, along with bookwriter Miriam Gordon, has created another rock score worthy of respect and reverence with his work for the semi-autobiographical ROOMS: A Rock Romance, this coming more than ten years after his last effort, the arresting and alarmingly inventive BRIGHT LIGHTS, BIG CITY which was based on the classic 80s second-person stream-of-conciousness novel by Jay McInerney. While ROOMS lacks the dramatic weight and engaging, esoteric storytelling style of BRIGHT LIGHTS, BIG CITY, it makes up for it in the enthusiasm and energy exhibited by the excellent leads, Leslie Kritzer and Doug Kreeger. The Scottish brogue explicitly evocative of the composer/lyricist himself (and his then girlfriend, upon whom the Kritzer role is based) is brought off with adept aplomb by the leads. Kreeger and Kritzer are both positively wonderful. Track-by-track, and hit-by-hit, the score traverses musical styles as varied and various as one would come to expect from Goodman, who always keeps one foot firmly planted in world of rock. Where the other foot may fall is anyone’s guess.

The album begins with two themes that are reprised repeatedly, each time with more layers of lust, love and lyricism, both on the part of the characters and the actual composer himself. “Rooms” and “Steps” are arresting recurring themes that bring to mind the elusive elegance and eeriness of “Coma Baby” from BRIGHT LIGHTS, BIG CITY, starting off the memory play in a memorable manner. As the reprises pile on, one is immediately struck by the subtle strength of Goodman in making the seemingly innocuous, such as a simple set of stairs, so interesting and involving. “Bring the Future Faster” rocks hard and Kritzer navigates the high-belting with assuredness and the result is really quite riveting. “Friday Night Dress”, with its Biblical allusions, showcases the strength of the simultaneous storytelling in an entertaining and inventive fashion. By its title alone, “Scottish Jewish Princess” purports to be funnier than it turns out to actually be, but the beginning Bossa Nova beat, which creeps into a few numbers, compounded by the intricate vocal line and patter song sibilance ultimately proves successful. The rhyme of “Uncle Georgy” and “orgy” is certainly an unexpected and funny rhyme and, in the end, the song serves a similar function to “I Hate The French” in BRIGHT LIGHTS, BIG CITY. “I Love You For All Time” at first brings to mind Sting & The Police and given the 80s time-setting of the piece, it is totally appropriate to the period. As the song builds, we become increasingly floored by the fierce and furious electricity ignited by Kritzer and Kreeger’s performances. It is at this point that I came to the conclusion that even if the material were weaker, the leads would raise it up a few levels through sheer will. “Let’s Go To London” contains some high-belting on the order of “A New Argentina” from EVITA and Kritzer’s favorable comparisons to Patti LuPone, having played LuPone herself in a tribute show off-Broadway a few seasons ago, are justly justified. “All I Want Is Everything” is Goodman’s expert musical evocation of everything 80s, and it is, in the words of Wayne & Garth from WAYNE’S WORLD, excellent, totally. “Let’s Leave London” left me a little bit cold and, given that it is the turning point of the story, one wishes for a bit more from the lyrics than “two punks in love”, but every song can’t be a knock-out, I suppose. “NYC Forever!” contains the weakest lyrics of all and it is at this point that the ground upon which this score stands starts getting shaky, but it soon gets back on track with the next half of the show. That being said, the theme for “Pour more booze” in “NYC Forever!” hasn’t left my head since I first heard the album, so, if nothing else, this track is catchy, though some re-writes are in definitely in order.


Starting with a sparkling “Overture,” and the hanky-panky of the harmonica beginning the first vocal track, this cast recording does just about everything just right. The syncopation and sibilance of every single syllable surround us as “This Time of the Year” gets going, and it is rare to hear a chorus this well-mixed and marvelous, whether on a cast album or in the theatre itself. Kate Baldwin is an instant-win with her establishing number, one of the most famous and well-worn songs in all of musical theatre, “How Are Things In Glocca Morra?” Following up that gem is the nearly equally famous and well-known “Look To The Rainbow” and the results are winsome and winning. We are treated to a complete recording of the dance break, as well, and the overall comprehensiveness of this recording is one of many myriad reasons why this album is so momentous and instantly memorable. Cheyenne Jackson, currently on NBC’S 30 ROCK but having established himself as one of the foremost male performers of the 21st century musical theatre, is immediately likeable with the most famous song in a score full of fabulous, famous standards, “Old Devil Moon”. The subtle phrasing and slight homage to a 1940s Broadway delivery were certainly not lost on this attentive listener. The chemistry between Jackson and Baldwin is tangible, even on record, and one hopes to see them pair-up again in the near future, hopefully on a duets album like Jackson’s current collaboration with standards master Michael Feinstein, THE POWER OF TWO. “Something Sort of Grandish” is one of the best examples of Harburg’s wicked and wonderful way with words, and the reprise is equally winning and even more riotously hilarious. In “If This Isn’t Love” Jackson pays homage to the vocal inflections of John Raitt and the results are resplendent, with the chorus members providing expert assistance, both comically and vocally. Even the kiss sound effect is perfect.

“The Diabolical” represents the point at which the central relationship begins to show signs of dissolution and the depravedness and decadence of the rock stars starts to show its effects on their romance. “Little Bit of Love” is conversational, but pulsating and painfully punishing, and ultimately a pretty perfect performance of a dramatic moment that is, pardon the pun, pregnant with the dramatic and emotional themes that have amassed by this point in the drama. The counterpoint and hushed conversation that the song ends with is ravishing. “Fear of Flying”, which is reminiscent of “Odeon” in BRIGHT LIGHTS, BIG CITY, is a propulsive patter song with particularly effective sound effects, though subtlety is certainly nowhere present here, whether in Kreeger‘s performance or the album’s production. Nor should it be. “Happiness” is heartbreaking and brings to mind the material meant for the mother character in BRIGHT LIGHTS, BIG CITY, as well as that show’s “Kindness” so memorably recorded by Sherie Rene Scott on the Sh-K-Boom concept album. “When I’m not with him I’m drowning,” perfectly illustrates the female side of this relationship and exhibits Goodman’s deftness with a common phrase meaning so much more in the context of the drama, particularly since the lyrics are so often focused on alcoholism and liquid allusions - and for good reason. “Clean” is my favorite track on the album and the jaunty riff upon which the melody is based is winning - “The rhythm of the alcohol, keeps kickin’,” indeed. Few composers have musicalized the demons of addiction more expertly or evocatively than Goodman both here and in BRIGHT LIGHTS, BIG CITY, which is largely concerned with cocaine addiction. The reprises of “Rooms” and “Steps” are very sad and somber, totally appropriate given the subject matter. “My Choice” could have been insufferably maudlin and sentimental, but due both to the performers and the production it is not, and, in the end, actually brings to mind the best of Sondheim in its style and tender yet tenacious turn-of-phrase. “My choice. Done./ We have a son.” is about as simply elegant as you can get in musical theatre. “Each minor chord, a major test” is another excellent lyric in this equally tear-filled and tender, and tough, song. “A New Song For Scotland” is as patriotic as we are led to expect given the title, and given what has just occurred in the drama leading up to it, is a breath of fresh, clean air. And so is this score, evident, of course, in the “Finale” - and everywhere else.

The “Entr’Acte”, much like the “Overture” before it, beginning with that spine-tingling and classic “Old Devil Moon” cue, makes excellent use of the full-bodied orchestra, the mere presence of the thirty plus musicians an anomaly due to the crippling economics on Broadway today which, more often than not, renders the classic scores of yore anemic and antiseptic sounding in the cripplingly reduced orchestrations that plague far too many productions these days. It is rare to hear so much care and attention paid to every single second of a cast recording and the work by Tommy Krasker and company at PS Classics cannot be applauded enough. “When the Idle Poor Become the Idle Rich” starts Act Two off endearingly, and the delicate orchestrations of the dance sections are carried off with utmost care and precision, making it a truly multi-layered and mellifluous moment for both the superb cast and sumptuous orchestra. “Dance of the Golden Crock” is notable if only for the enticing harmonica playing and audible hoofing comically included on the track. On a less comprehensive and considered recording, dance tracks like this would undoubtedly be left by the wayside. “The Begat”, the second act answer to “Necessity”, is a fun, if innocuous, blues number, though the second act does seem to contain a bit of filler - but, in comparison to the irreproachable first act song stack, that was bound to be the case. The reprises of both “Old Devil Moon” and “Look To The Rainbow” are appropriate and accentuated with slight nuances by Jackson and Baldwin not evident in the full versions of the songs that came previously. Again, they are positively perfect in these roles, both separately and together, and more of their performances are always a welcome addition on this recording. “When I’m Not Near the Girl I Love” is the last of the big, famous standards in this score and it is performed well by Broadway regular Christopher Fitzgerald. The “Finale Ultimo” is the perfect ending to a perfect recording of a nearly perfect score, and leaves the listener wanting to go right back to the base of the rainbow and replay the album again and again. The attention to detail - of each shade and hue of every single, solitary color, both dramatic and musical - is what makes this RAINBOW an absolute winner. A true pot o’ gold.

SCORE: 7.5/10

11 March
0Comments

Xjjf Spam offers to let people use their PC to att

Posted by admin in Uncategorized

The e-mail message says: “If You dont like Obama come here, you can help to ddos his site with your installs.”

New spam is circulating that supposedly offers a way for people to use their computers to launch a denial-of-service attack on the Web site of President Obama, researchers said on Tuesday.



Spam offers to let people use their PC to attack Obama site

Spammers are hoping to rouse Obama critics to launch a cyber protest and to download malware onto their PCs in the process.

It’s not clear whether the software does turn the computer into a DoS attacking zombie, or what it does, if anything. But it would be crazy to expose your computer like that, regardless of your political leanings.

The e-mail then provides a link to a Web site where visitors are offered money for installing the supposed denial-of-service (DoS) software, according to a blog posting on the site of e-mail security provider Proofpoint.

Elinor Mills covers Internet security and privacy. She joined CNET News in 2005 after working as a foreign correspondent for Reuters in Portugal and writing for The Industry Standard, the IDG News Service, and the Associated Press. E-mail Elinor.


The spam site also tells visitors to come back and get updated versions of the purported denial of service software if their antivirus program is detecting it as malware and disabling it.

11 March
0Comments

3hid SOUND OFF! ROOMS Rocks, RAINBOW is Resplenden

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Character accents are one of the most treacherous treks actors must traverse, as previously alluded to above in the discussion of ROOMS, and it is to the credit of the cast of FINIAN’S RAINBOW that they pull off the Irish brogue so well, rarely over-doing it as is so commonplace in community theatre productions of the show. “Introduction To Necessity” is another fine example of the expert mixing and mastering of the choral work on this album, and though there is a slight echo here and elsewhere it seems as if that is entirely intentional and meant to bring to mind the classic Godard Lieberson-produced albums of the Golden Age. “Necessity” seems slightly old-fashioned and quaint when compared to blues songs and scatting in the scores of today, but given the time-frame in which the show was written it shows how boundary-pushing Lane was trying to be with this score. Lane, by way of this wonderful revival cast, ends the act on a rollicking and raucous note with “That Great ‘Come-and-Get-It’ Day”. But these marvelous moments are merely half the hues of this remarkable RAINBOW.

SOUND OFF! ROOMS Rocks, RAINBOW is Resplendent

This week we are taking a listen to the new Off-Broadway rock musical ROOMS: A Rock Romance and the revival cast recording of FINIAN’S RAINBOW. From Scotland to Ireland, and back to Broadway, we, quite joyfully, jaunt…

Sitting In My Room, Nothing Is Missing

SCORE: 8/10

Things Are Great In Glocca Mora

While the Broadway revival of FINIAN’S RAINBOW may not have had the luck of a four-leaf clover, the masterfully produced and performed cast album is the true gold pot at the end of the titular rainbow. Forget Gene Kelly, Petula Clark, or any of their Broadway counterparts - this is the recording of FINIAN’S for the ages. It is rare that a show that produced quite so many standards as this one - I can count four off-hand - and it is to the credit of Burton Lane and E.Y. Harburg that this score shines so brightly more than fifty years following its Broadway premiere. While it may not be the most complex or innovative score of that decade, or even that year, one would be hard pressed to find a more lovely way to spend an hour in Ireland without leaving the comforts of home. Even the album art and production photos, beautifully showcased in the elegant album design, makes my heart flutter a bit. This is classic Broadway at its best.

Starting with a sparkling “Overture,” and the hanky-panky of the harmonica beginning the first vocal track, this cast recording does just about everything just right. The syncopation and sibilance of every single syllable surround us as “This Time of the Year” gets going, and it is rare to hear a chorus this well-mixed and marvelous, whether on a cast album or in the theatre itself. Kate Baldwin is an instant-win with her establishing number, one of the most famous and well-worn songs in all of musical theatre, “How Are Things In Glocca Morra?” Following up that gem is the nearly equally famous and well-known “Look To The Rainbow” and the results are winsome and winning. We are treated to a complete recording of the dance break, as well, and the overall comprehensiveness of this recording is one of many myriad reasons why this album is so momentous and instantly memorable. Cheyenne Jackson, currently on NBC’S 30 ROCK but having established himself as one of the foremost male performers of the 21st century musical theatre, is immediately likeable with the most famous song in a score full of fabulous, famous standards, “Old Devil Moon”. The subtle phrasing and slight homage to a 1940s Broadway delivery were certainly not lost on this attentive listener. The chemistry between Jackson and Baldwin is tangible, even on record, and one hopes to see them pair-up again in the near future, hopefully on a duets album like Jackson’s current collaboration with standards master Michael Feinstein, THE POWER OF TWO. “Something Sort of Grandish” is one of the best examples of Harburg’s wicked and wonderful way with words, and the reprise is equally winning and even more riotously hilarious. In “If This Isn’t Love” Jackson pays homage to the vocal inflections of John Raitt and the results are resplendent, with the chorus members providing expert assistance, both comically and vocally. Even the kiss sound effect is perfect.

The “Entr’Acte”, much like the “Overture” before it, beginning with that spine-tingling and classic “Old Devil Moon” cue, makes excellent use of the full-bodied orchestra, the mere presence of the thirty plus musicians an anomaly due to the crippling economics on Broadway today which, more often than not, renders the classic scores of yore anemic and antiseptic sounding in the cripplingly reduced orchestrations that plague far too many productions these days. It is rare to hear so much care and attention paid to every single second of a cast recording and the work by Tommy Krasker and company at PS Classics cannot be applauded enough. “When the Idle Poor Become the Idle Rich” starts Act Two off endearingly, and the delicate orchestrations of the dance sections are carried off with utmost care and precision, making it a truly multi-layered and mellifluous moment for both the superb cast and sumptuous orchestra. “Dance of the Golden Crock” is notable if only for the enticing harmonica playing and audible hoofing comically included on the track. On a less comprehensive and considered recording, dance tracks like this would undoubtedly be left by the wayside. “The Begat”, the second act answer to “Necessity”, is a fun, if innocuous, blues number, though the second act does seem to contain a bit of filler - but, in comparison to the irreproachable first act song stack, that was bound to be the case. The reprises of both “Old Devil Moon” and “Look To The Rainbow” are appropriate and accentuated with slight nuances by Jackson and Baldwin not evident in the full versions of the songs that came previously. Again, they are positively perfect in these roles, both separately and together, and more of their performances are always a welcome addition on this recording. “When I’m Not Near the Girl I Love” is the last of the big, famous standards in this score and it is performed well by Broadway regular Christopher Fitzgerald. The “Finale Ultimo” is the perfect ending to a perfect recording of a nearly perfect score, and leaves the listener wanting to go right back to the base of the rainbow and replay the album again and again. The attention to detail - of each shade and hue of every single, solitary color, both dramatic and musical - is what makes this RAINBOW an absolute winner. A true pot o’ gold.

SCORE: 7.5/10


Paul Scott Goodman, along with bookwriter Miriam Gordon, has created another rock score worthy of respect and reverence with his work for the semi-autobiographical ROOMS: A Rock Romance, this coming more than ten years after his last effort, the arresting and alarmingly inventive BRIGHT LIGHTS, BIG CITY which was based on the classic 80s second-person stream-of-conciousness novel by Jay McInerney. While ROOMS lacks the dramatic weight and engaging, esoteric storytelling style of BRIGHT LIGHTS, BIG CITY, it makes up for it in the enthusiasm and energy exhibited by the excellent leads, Leslie Kritzer and Doug Kreeger. The Scottish brogue explicitly evocative of the composer/lyricist himself (and his then girlfriend, upon whom the Kritzer role is based) is brought off with adept aplomb by the leads. Kreeger and Kritzer are both positively wonderful. Track-by-track, and hit-by-hit, the score traverses musical styles as varied and various as one would come to expect from Goodman, who always keeps one foot firmly planted in world of rock. Where the other foot may fall is anyone’s guess.

The album begins with two themes that are reprised repeatedly, each time with more layers of lust, love and lyricism, both on the part of the characters and the actual composer himself. “Rooms” and “Steps” are arresting recurring themes that bring to mind the elusive elegance and eeriness of “Coma Baby” from BRIGHT LIGHTS, BIG CITY, starting off the memory play in a memorable manner. As the reprises pile on, one is immediately struck by the subtle strength of Goodman in making the seemingly innocuous, such as a simple set of stairs, so interesting and involving. “Bring the Future Faster” rocks hard and Kritzer navigates the high-belting with assuredness and the result is really quite riveting. “Friday Night Dress”, with its Biblical allusions, showcases the strength of the simultaneous storytelling in an entertaining and inventive fashion. By its title alone, “Scottish Jewish Princess” purports to be funnier than it turns out to actually be, but the beginning Bossa Nova beat, which creeps into a few numbers, compounded by the intricate vocal line and patter song sibilance ultimately proves successful. The rhyme of “Uncle Georgy” and “orgy” is certainly an unexpected and funny rhyme and, in the end, the song serves a similar function to “I Hate The French” in BRIGHT LIGHTS, BIG CITY. “I Love You For All Time” at first brings to mind Sting & The Police and given the 80s time-setting of the piece, it is totally appropriate to the period. As the song builds, we become increasingly floored by the fierce and furious electricity ignited by Kritzer and Kreeger’s performances. It is at this point that I came to the conclusion that even if the material were weaker, the leads would raise it up a few levels through sheer will. “Let’s Go To London” contains some high-belting on the order of “A New Argentina” from EVITA and Kritzer’s favorable comparisons to Patti LuPone, having played LuPone herself in a tribute show off-Broadway a few seasons ago, are justly justified. “All I Want Is Everything” is Goodman’s expert musical evocation of everything 80s, and it is, in the words of Wayne & Garth from WAYNE’S WORLD, excellent, totally. “Let’s Leave London” left me a little bit cold and, given that it is the turning point of the story, one wishes for a bit more from the lyrics than “two punks in love”, but every song can’t be a knock-out, I suppose. “NYC Forever!” contains the weakest lyrics of all and it is at this point that the ground upon which this score stands starts getting shaky, but it soon gets back on track with the next half of the show. That being said, the theme for “Pour more booze” in “NYC Forever!” hasn’t left my head since I first heard the album, so, if nothing else, this track is catchy, though some re-writes are in definitely in order.



Time-Life also provide us with a fun, if frivolous, bonus track called “Click”, and it is quite clear why it was cut, but it is, indeed, just a little bit more of a very good thing. The recording is also so successful in large part due to the sterling work done by producer Rob Sher, whose contributions cannot be overestimated. Speaking of good, Goodman had the misfortune of premiering (and, at that point, performing in) BRIGHT LIGHTS, BIG CITY around the same time as Jonathan Larson’s RENT and was subsequently overshadowed by that work and its author. Similarly, ROOMS ended up off-Broadway in the same season as NEXT TO NORMAL. With the immeasurable loss of Larson, Goodman proves with BRIGHT LIGHTS, BIG CITY and, now, ROOMS, that he is the current master of the rock musical. Then again, I am one of those who feel BRIGHT LIGHTS, BIG CITY is just as good as RENT, and now if forced to compare would prefer ROOMS to NEXT TO NORMAL - BRIGHT LIGHTS, BIG CITY is certainly more inventive and more innovative in its style, structure and the substance of the characters than RENT, while comparisons between ROOMS and NEXT TO NORMAL are less useful. ROOMS rocks and Goodman is the rock n roll king of musical theatre - on Broadway or off as he proves with this score that certainly had me, to use a discarded phrase from NEXT TO NORMAL, feeling electric.

“The Diabolical” represents the point at which the central relationship begins to show signs of dissolution and the depravedness and decadence of the rock stars starts to show its effects on their romance. “Little Bit of Love” is conversational, but pulsating and painfully punishing, and ultimately a pretty perfect performance of a dramatic moment that is, pardon the pun, pregnant with the dramatic and emotional themes that have amassed by this point in the drama. The counterpoint and hushed conversation that the song ends with is ravishing. “Fear of Flying”, which is reminiscent of “Odeon” in BRIGHT LIGHTS, BIG CITY, is a propulsive patter song with particularly effective sound effects, though subtlety is certainly nowhere present here, whether in Kreeger‘s performance or the album’s production. Nor should it be. “Happiness” is heartbreaking and brings to mind the material meant for the mother character in BRIGHT LIGHTS, BIG CITY, as well as that show’s “Kindness” so memorably recorded by Sherie Rene Scott on the Sh-K-Boom concept album. “When I’m not with him I’m drowning,” perfectly illustrates the female side of this relationship and exhibits Goodman’s deftness with a common phrase meaning so much more in the context of the drama, particularly since the lyrics are so often focused on alcoholism and liquid allusions - and for good reason. “Clean” is my favorite track on the album and the jaunty riff upon which the melody is based is winning - “The rhythm of the alcohol, keeps kickin’,” indeed. Few composers have musicalized the demons of addiction more expertly or evocatively than Goodman both here and in BRIGHT LIGHTS, BIG CITY, which is largely concerned with cocaine addiction. The reprises of “Rooms” and “Steps” are very sad and somber, totally appropriate given the subject matter. “My Choice” could have been insufferably maudlin and sentimental, but due both to the performers and the production it is not, and, in the end, actually brings to mind the best of Sondheim in its style and tender yet tenacious turn-of-phrase. “My choice. Done./ We have a son.” is about as simply elegant as you can get in musical theatre. “Each minor chord, a major test” is another excellent lyric in this equally tear-filled and tender, and tough, song. “A New Song For Scotland” is as patriotic as we are led to expect given the title, and given what has just occurred in the drama leading up to it, is a breath of fresh, clean air. And so is this score, evident, of course, in the “Finale” - and everywhere else.

08 March
0Comments

dbeg Open source, not $19 billion, may be best hea

Posted by admin in Uncategorized

This bottom-up development effort appears to be working: the VA hospital system consistently delivers superior care at less cost,ugg boots cheap, as noted by ZDNet. As a volunteer at my local VA hospital, I get to see it firsthand.

Open source, not $19 billion, may be best health care stimulus

The federal economic stimulus package provides $19 billion to upgrade the U.S. health care system to digital records. It’s a nice gesture,discount ugg boots, but the U.S. federal government has already developed a robust medical ERP system that could significantly improve U.S. health care. It’s called VistA. It’s open source.

Matt Asay brings a decade of in-the-trenches open-source business and legal experience to The Open Road, with an emphasis on emerging open-source business strategies and opportunities. Matt is vice president of business development at Alfresco, a company that develops open-source software for content management. He is a member of the CNET Blog Network and is not an employee of CNET. Disclosure. You can follow Matt on Twitter @mjasay.


Though some suggest the specialized knowledge needed to program in MUMPS is a selling point, let’s put it this way: in the programming universe filled with PHP, Java, .Net, and other constellations of programmers, MUMPS is like a single Red Dwarf. It’s not going anywhere except into oblivion.

Better quality health care at a much lower price. What’s the punchline?

At first glance, there is none. VistA works, and works well,Paul Smith Watches, particularly when packaged and delivered by companies like Medsphere, perhaps the most prominent advocate for the open-source health care ERP system.

Scratch the surface, however, and you quickly run into a major problem with VistA: MUMPS (Massachusetts General Hospital Utility Multi-Programming System). MUMPS is the archaic programming language in which VistA was written, and which perpetuates its inflexible architecture.

Follow me on Twitter @mjasay.

VistA was developed by the U.S. Veterans Administration and the medical professionals involved in its extensive hospital network. Read: doctors developing software for other doctors.

Open source might prove to be the wrong answer to the health care mess. But given the VA’s success with VistA, President Obama should be spending pennies on the stimulus dollar with VistA before he looks elsewhere for solutions. It’s already written. By all accounts, it works well.

It’s already paid for.

There are other open-source answers to the U.S. health care problem, including the federal Connect project and Axial Exchange, which was set up by former Red Hat executives to commercialize these federal efforts. But none is more proven than VistA, which has successfully served U.S. veterans for many years.

One company, Software Revolution, claims that the MUMPS-based VistA code could be converted to Java at a cost of $125 million. If even remotely true, that could well prove to be a much smarter investment than $20 billion in stimulus money. Heck, given how easily billions are being spent in Washington today, $125 million is pocket change.

It just needs to shake the MUMPS out.



08 March
0Comments

Gpvn Obama seeks to get back on track in Florida_3

Posted by admin in Uncategorized
Obama seeks to get back on track in Florida
STEPHEN COLLINSON January 29, 2010 - 7:54AM

President Barack Obama headed to Florida Thursday, hoping to use his defiant State of the Union address as a springboard for political recovery in an economically scarred electoral battleground.

The administration says its 787 billion US dollars stimulus plan has saved or created up two million jobs, but with unemployment at 10 percent and set to stay high for months, a political rebound may be a long time coming for Obama.

“Through the Recovery Act, we are making the largest investment in infrastructure since the Interstate Highway System was created,” Obama said, in an advance copy of his remarks.

Florida, like swing states Ohio, where Obama went last week, and New Hampshire, on his itinerary next week, has seen independent voters turn against the president after national unemployment hit 10 percent.

In the 2008 election, victory in the key electoral state helped pave the way to the White House for Obama, and as recently as a year ago his approval ratings in the state stood at 64 percent in the same poll.

Obama was to make a rare joint campaign-style appearance with Vice President Joe Biden, to unveil eight billion US dollars in funding for high-speed rail projects, part of a jobs push which is now the White House’s top priority.

The president, seeking to rescue his ambitious political program, vowed on Wednesday night in the key note address to Congress that he would not quit, and was determined to haul the American economy out of the mire.

The administration had previously announced the eight billion dollar grant for high speed rail under the stimulus act, but will offer more details at a town hall meeting in Tampa, Florida.

He demanded Congress pass a jobs bill and send it to his desk “without delay,” and warned that if lawmakers did not maintain the strength of his bid to crack down on Wall Street he would veto their efforts.

Obama’s agenda took a huge hit when Republicans seized a Senate seat in liberal Massachusetts last week,Discount North Face Coats, and the president is under intense pressure to show leadership and to restore his authority.

A Quinnipiac University poll last month found 49 percent of voters in Florida, hard hit by the mortgage foreclosure crisis, disapproved of Obama’s performance and only 45 percent approved.

He also vowed he would not “walk away” from the stalled health care reform drive which dominated his first year in office.

The administration said the investment would create or save tens of thousands of jobs over time in areas like track-laying, manufacturing,North Face Coats, planning and engineering, and rail maintenance and operations.

He turned towards foreign policy only towards the end of an address dominated by economic challenges, almost as an afterthought, warning Iran would face “growing consequences” if it did not halt its nuclear program.



“That investment is how we can break ground across the country, putting people to work building high-speed rail lines,timberland roll top boots, because there?s no reason why Europe or China should have the fastest trains when we can build them right here in America.”


“Right now, I know there are many Americans who aren’t sure if they still believe we can change — or at least that I can deliver it,” he said, and bluntly stated “change has not come fast enough.”

“Jobs must be our number one focus in 2010,” Obama said, and promised to redirect 30 billion US dollars from a Wall Street bailout fund to help small businesses get credit and create new positions.

Obama said the US government must double US exports in five years to support two million more jobs, and to boost commerce with South Korea, Panama and Colombia, but stopped short of urging Congress to pass trade pacts.

“I campaigned on the promise of change — change we can believe in, the slogan went,” Obama said, recalling the days before his barnstorming 2008 campaign promises hit a brick wall of Republican opposition in government.

In another bid to recapture the heady spirit of change which swept him to power, Obama said he would work with Congress to repeal the “don’t ask, don’t tell” law banning gays from serving openly in the US military.

08 March
0Comments

xerf Obama- worst of economic storm passed_86

Posted by admin in Uncategorized

Obama added he would veto any finance bill that does not contain “real reform.”

“The House has already passed financial reform with many of these changes. And the lobbyists are already trying to kill it,” he told lawmakers in his State of the Union address.


“Well, we cannot let them win this fight. And if the bill that ends up on my desk does not meet the test of real reform, I will send it back.”



Obama said his administration’s early actions last year had staved off a repeat of the 1930s Great Depression.

Obama: worst of economic storm passed
January 28,mbt professional shoes, 2010

US President Barack Obama declared in his State of the Union address that the worst of the economic storm had passed,timberland shoes, but that a trail of devastation was left behind.

“And one year later, the worst of the storm has passed, but the devastation remains,timberland womens boots,” Obama said.

08 March
0Comments

lmph Online tools for the eBay seller_561

Posted by admin in Uncategorized

ListingTicker will show all your recent listings.

(Credit:Screenshot by Don Reisinger/CNET)

(Credit:Screenshot by Don Reisinger/CNET)

Photoblat Photoblat is a neat utility if you want to save some money on adding photos to your eBay listings. The site allows you to upload photos to the service. From there, you can add those photos to your eBay listings page through tools like eBay’s Blackthorne Pro. All the photos are hosted on the Photoblat site. Photoblat charges $3.99 per month for access to its service.

(Credit:Screenshot by Don Reisinger/CNET)

(Credit:Screenshot by Don Reisinger/CNET)

eBay tools

My top 3

1. Auctiva: with so many options and a relatively affordable price, Auctiva takes the top spot.

Auctiva is quite powerful. You can create side-scrolling galleries with pictures you upload to the site (you’re allowed 1GB of storage), change the color of your listing page, and issue invoices. It won’t help you determine if you’re selling products that eBay users want, but it will help you easily manage your auctions. Admittedly,cheap mbt shoes chapa, Auctiva is for active sellers, but at $9.95 per month for so many nice features, it’s an affordable offering.

Toolhaus displays how users view you.

Auctiva helps you add inventory and track it on the site.

ListingTicker ListingTicker is a simple tool that helps you post all your listings on your blog or Web site. The site asks you to input your eBay user ID. It then creates a widget to be placed on your site. It shows all your auctions that will be ending soon. It also provides your site’s visitors with a search box in case they want to find something else.

eBay Market Researcher Terapeek’s eBay Market Researcher tool is a fine way to determine how to get the most out of your listing.

(Credit:Screenshot by Don Reisinger/CNET)

HammerTap features the number of listings and the keywords matching your query.

2. Vendio: Vendio has some offerings that should appeal to you.

eBay Market Researcher provides you with a variety of research tools.

After you sign up for the site and choose a membership (it costs $24.95 per month or $197.95 per year), you can immediately start searching through the app’s listings of eBay products. When you find the product you’re looking to sell, it provides you with information on the item’s average bid, how much the average listing makes, and how page design affected profits. The app even provides you with information on which day is best to list the product and end your auction. It’s a powerful tool.

(Credit:Screenshot by Don Reisinger/CNET)

Vendio lets you create a store in no time.

HammerTap is a useful tool, but beware that it costs $19.95 per month after a 10-day free trial.



Selling Manager eBay’s Selling Manager app is installed into the My eBay section of a seller’s listing page. The app allows you to manage all your listings in one place. You can also create customized e-mail templates to send to buyers who won your auction. If the buyer doesn’t pay, it automatically relists your item. If you want all these options,ugg for sale, you’ll be forced to pay $15.99 per month. The free version of the Web-based app will let you create a professional listing and edit your listings in bulk.

Auctiva Auctiva is a full-featured product that allows you to use a variety of templates and modules to help you sell products more effectively on eBay.

3. ListingTicker: having the option of listing all your eBay auctions is quite convenient.

Selling Manager lets you relist items quickly.

HammerTap HammerTap is another eBay market research tool that provides basic information, like the number of active item’s listings, how many times a product has sold,ghds, and the average sales price of those auctions. One of the app’s nicest features is its “will it sell?” offering, which displays a scale, showing the percentage chance of the product selling on eBay.

Vendio Vendio is an online shopping platform. If you want to sell products on your site, it will help you out. But Vendio’s real value is in its marketplace tools that help you improve your listings on eBay.

Don Reisinger is a technology columnist who has written about everything from HDTVs to computers to Flowbee Haircut Systems. Don is a member of the CNET Blog Network, and posts at The Digital Home. He is not an employee of CNET. Disclosure.

Toolhaus Toolhaus is a service that allows you to see the reliability of an eBay user. It lists all the feedback the user has received, including both positive and negative reviews. It’s not the most useful app in this roundup, since it basically lists information you’ll find on eBay, but it does come in handy when you want to quickly determine if you can trust users.

Vendio’s listing-creation tool lets you display images, set up promotions, and track all the items that were sold on eBay. The site also tracks customers, displaying their name, the last time they purchased products from you, when they bought those products, and more. Vendio is free to use, but it takes up to 1.95 percent of your sales that are generated through the service.


Photoblat allows you to upload images in no time.

(Credit:Screenshot by Don Reisinger/CNET)

(Credit:Screenshot by Don Reisinger/CNET)

Online tools for the eBay seller

After Amazon experienced some difficulties last week with its selling options in the Amazon Marketplace, it made me wonder if anyone decided to start selling some of their merchandise on eBay. If so, they would join thousands of others who are using the online auction site to make a few extra bucks. If that’s your goal, check out some of these services for eBay sellers.

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