Medical Blog 3104

Nominated for 9 Emmys and 2 Golden Globes, Scrubs premiered in Fall 2001 to moderate fanfare and a respectable Nielsen rating of #34. And although the series has yet to achieve blockbuster ratings, it has managed to build a loyal fan base devoted to its unique brand of humor and quirky characters. Created by Bill Lawrence (creator of Spin City), Scrubs is a spoof on the dearth of hospital dramas that have cropped up since ER popularized the genre. In a sense, its what Greys Anatomy would be like if Ben Stiller were the lead character.

Filmed in a real life hospital (North Hollywood Medical Center), Scrubs follows the bungling day-to-day experiences of medical intern Dr. John J.D. Dorian (Zach Braff). Along with his college buddy Dr. Christopher Turk (Donald Faison), the two newcomers must learn the ropes of daily life in an actual hospital setting. But Sacred Heart, their new stomping ground, is the epitome of a dysfunctional work environment. One might easily believe that everyones job is to dump on J.D. In getting his feet wet, the young intern butts heads with numerous characters such as fellow intern and potential love interest Dr. Elliot Reid (Sarah Chalke), cranky Chief of Medicine Dr. Bob Kelso (Ken Jenkins), the ever-abrasive Dr. Perry Cox (John C. McGinley), pessimistic nurse Carla Espinosa (Judy Reyes), and a sarcastic janitor (Neil Flynn).

Scrubs is a character-driven show thats exceptionally well-written, and the acting is superb. John C. McGinley is fantastic in the role of Dr. Cox, a performance almost as memorable as his portrayal of consultant Bob Slydell in Office Space. His delivery is almost as perfect as that of Ken Jenkins who often resembles Lloyd Bridges from Airplane with his uncanny ability to deliver ridiculous one-liners with a straight face. Veteran talents Sarah Chalke (Becky from Roseanne) and Donald Faison (Murray from Clueless) round out an excellent supporting cast for Zach Braff who makes his mark with this very likeable character. In the end, Scrubs is a situation comedy built on the strength of biting sarcasm and clever humor. And although its already enjoyed a successful five-year run, its probably one of the most underappreciated comedies on network TV. If you havent yet seen it, do yourself a favor and check it out. You wont be disappointed.

Below is a list of episodes included on the Scrubs (Season 1) DVD:

Episode 1 (My First Day) Air Date: 10-02-2001
Episode 2 (My Mentor) Air Date: 10-04-2001
Episode 3 (My Best Friends Mistake) Air Date: 10-09-2001
Episode 4 (My Old Lady) Air Date: 10-16-2001
Episode 5 (My Two Dads) Air Date: 10-23-2001
Episode 6 (My Bad) Air Date: 10-30-2001
Episode 7 (My Super Ego) Air Date: 11-06-2001
Episode 8 (My Fifteen Minutes) Air Date: 11-15-2001
Episode 9 (My Day Off) Air Date: 11-20-2001
Episode 10 (My Nickname) Air Date: 11-27-2001
Episode 11 (My Own Personal Jesus) Air Date: 12-11-2001
Episode 12 (My Blind Date) Air Date: 01-08-2002
Episode 13 (My Balancing Act) Air Date: 01-15-2002
Episode 14 (My Drug Buddy) Air Date: 01-22-2002
Episode 15 (My Bed Banter and Beyond) Air Date: 02-05-2002
Episode 16 (My Heavy Meddle) Air Date: 02-26-2002
Episode 17 (My Student) Air Date: 03-05-2002
Episode 18 (My Tuscaloosa Heart) Air Date: 03-12-2002
Episode 19 (My Old Man) Air Date: 04-09-2002
Episode 20 (My Way or the Highway) Air Date: 04-16-2002
Episode 21 (My Sacrificial Clam) Air Date: 04-30-2002
Episode 22 (My Occurrence) Air Date: 05-07-2002
Episode 23 (My Hero) Air Date: 05-14-2002
Episode 24 (My Last Day) Air Date: 05-21-2002

Britt Gillette is author of The DVD Report, a blog where you can find where you can find more reviews of movies and TV series. Source: http://thedvdreport.blogspot.com/2006/07/scrubs-dvd.htmlWireless Pet Containment
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The piano, while similar in some of its features too many other kinds of musical instruments, differs materially in several important points from all other kinds. It resembles the Violin, Harp, Guitar, Zither, Dulcimer, in its being stringed. It resembles the Drum, Triangle, Cymbals, Tambourine, Dulcimer, in its being dependent on percussion for the production of its tone; and it resembles the Organ, Clarinet, Concertina, in its being keyed.

But it differs from all of these instruments in the following important points. Firstly, in its being dependent on the player's method of finger push on the key for its quality of tone. Secondly, in its being dependent on rapidity of finger push for its quantity of tone and thirdly, in its being dependent on keys for the means of producing percussion. The actual mechanism of percussion, namely, the hammers, being reachable only through the pressing of the keys.

It is probably from a want of appreciation of this last fact, that the piano has come to be considered rather as a keyed instrument than as a stringed one.

The distinctive feature of the piano is, then, the system of its key mechanism.

As the seat of tone, the wire, is made to sound only by a series of communication, starting with the key, it is therefore necessary to understand the method by which this communication is conducted and kept open.

The piano key is, basically, a lever that's lifts the hammer that strikes the string. It is a lever of the first class, its fulcrum, or prop, lying between the power and the weight. In the case of the piano, this fulcrum, or centre on which the lever works, is placed about halfway between its two ends, the hammer (with some small intermediate mechanism) being the weight, and the finger the power acting on it. The very limited area should be noticed within which the action of the key is confined.

The immediate factor of tone is the hammer. The hammer, by means of intermediate mechanism, being in direct and close contact with the far end of the key, is raised when the near end is depressed by the finger or any weight; and the force with which the hammer is made to strike the string is in proportion to the speed brought to bear on the piano key by the finger at the moment of the push. Quantity of tone is thus the result of the amount of speed used in pushing the key down.

When the string has been struck by the hammer, the hammer falls back immediately, to allow the string to vibrate freely. This fallback of the hammer is, however, not a return to the position occupied by it before the stroke; it does not fall completely back until the key is allowed to rise. When the piano key rises, the hammer returns to its original position, and is ready for the next key push.

It is of great importance for the student to remember that the hammer is always at some distance from the wire. Except during the very short period of time spent in striking; that after having struck the wire it leaves it instantaneously to assume the half position described above; and that it is powerless to do any more work until after the key has been allowed to rise.

Mike Shaw is an organist and music teacher who has produced a selection of downloadable music books for anyone who wishes to learn to play the piano, organ or keyboard. To find out more visit his websites http://www.mikesmusicroom.co.uk and http://www.keyboardsheetmusic.co.ukNevada Health Care Plan
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