Edward E. Reicin's Blog

An executive-level businessman, Edward Reicin has embarked on many successful career paths, spanning 50 years.

Examining Collapsible Storage Tanks – The BRAG System of Reporting

Now a consultant with MPC Containment Systems, LLC, Edward Reicin has also worked in various executive roles within the company. Edward Reicin’s current affiliation with MPC makes it possible for him to keep military clients up-to-date and advised on the latest collapsible storage systems produced by the organization.

When using collapsible fuel storage systems to hold industrial liquids or gasoline, military personnel must perform a baseline inspection of the bag before the date it is officially put into use (known as the wet date or service date). Personnel utilize a recording tool known as a BSTR (Bulk Storage Tank Record), to note any sign of deterioration or deficiency.

The BRAG rating system is often incorporated into the BSTR as well. A BRAG rating is determined by the condition of a collapsible fuel bag, and is designated by a color code. The colors are black, red, amber, and green, with the first letter being the BRAG rating. The colors serve as quick indicators of a fuel bag’s integrity, and therefore assist site supervisors in the management of fuel inventories and supplies.

The “B” represents “black,” and is a warning to immediately stop using the bag – the conveyance is NMC, or “non-mission capable.”

The letter “R” in the BRAG acronym, stands for “red,” and indicates that despite some evidence of failure, the bag can still utilize 50 percent of its holding capacity.

The “A” denotes the color “amber.” An amber rating quickly tells personnel that the fuel bag, while slightly deteriorated, still maintains a maximum storage capacity of 70 percent.

Finally, the letter “G” in the BRAG acronym represents “green,” notifying the user that the bag is fully operational.

The Marriage of Figaro – Famous Opera by Wolfgang Amadeus Mozart

Bass singer Edward E. Reicin has participated in many productions, including Falstaff and Lucia di Lammermoor. A returning artist of the L’Opera Piccola in Chicago, Edward Reicin has also performed in Le Nozze di Figaro.

Mozart’s Le Nozze di Figaro, known as The Marriage of Figaro, debuted on May 1, 1786 in Vienna, Austria. Based on a stage comedy by Pierre Beaumarchais, the opera is composed of four acts that make up a single day of scheming to delay the inevitable wedding of two of the major characters, Figaro and Susanna.

Upon its opening, the opera drew criticism from the nobility for its plotline, which they worried would incite class warfare. To avoid any repercussions, especially from their royal patron, Mozart and his librettist, Lorenzo da Ponte, presented the story as a light comedy. The opera received resounding acclaim from audience members. However, many in the upper classes remained concerned.

About MPC Containment Systems, LLC

Attorney Edward Reicin served as managing partner of the law firm of Gordon, Reicin, West and Rosenbloom for more than a decade. For more than three decades, Edward Reicin led M. Putterman & Company, LLC, a manufacturer of protective covers for gym floors and athletic fields.

In 1979, M. Putterman & Company, LLC, formed the subsidiary company MPC Containment Systems, LLC. The subsidiary’s first big project was completed in conjunction with DuPont and a group of several oil companies that were seeking an economically feasible approach to the problem of leaks in underground fuel storage systems. Together, the firms developed a flexible membrane liner called PetroGuard that continues to meet fuel containment challenges.

MPC makes a wide variety of other environmental systems, including collapsible storage tanks, geomembranes, primary and secondary containment liners, and containment booms to collect oil and chemical spills in waterways. Whether the material to be contained is solid, liquid, chemical, or waste, MPC can fabricate the appropriate containment membrane. A more comprehensive overview of the company’s products and history is available online at www.mpccontainment.com.

Edward Reicinn- Verdi’s Falstaff

A consultant with M. Putterman & Co. and MPC Containment International, Ltd., Edward Reicin has served for many years as an attorney and business owner. Supplementing these responsibilities, Edward Reicin performed opera in Chicago for 30 years. As a talented bass, he played various roles, including Pistola in L’Opera piccola’s Falstaff.

Of the nearly 300 Shakespeare-inspired operas, Giuseppe Verdi has produced three of the most beloved. Along with Macbeth and Otello, he created Falstaff, based on Henry V’s debauched mentor. Although appearing as a side character in Shakespeare’s The Merry Wives of Window and Henry IV, parts 1 and 2, Sir John Falstaff quickly earned a reputation as one of Shakespeare’s most fun characters.

Approaching 80 years old, Verdi started writing the Italian opera Falstaff with librettist Arrigo Boito. Writing his first comic piece in over half a century, Verdi provided a sense of liveliness and fun worthy of the character. The plot concerns the protagonist attempting to scam two women out of their money before his plot is foiled. Its first performance took place in 1893 at Teatro alla Scala in Milano, Italy. Two years later, it made its North American debut at the Metropolitan Opera in New York. Still popular after more than a century, Falstaff returned to the Metropolitan Opera in 2013 with a reinterpretation set in post-World War II England.

Edward Reicin – The Illinois Wrongful Death Act

Business executive Edward Reicin is currently a consultant with MPC Containment, Ltd., a firm he formerly served as president and a director prior to its acquisition by a private equity fund. Also an attorney, Edward Reicin has written on the Illinois Wrongful Death Act.

Enacted in 1853, the Illinois Wrongful Death Act allows people to file a suit under common law against a person whose negligent or wrongful actions caused the death of a family member. It enables relatives of the deceased to receive pecuniary but not punitive damages from the perpetrator. To establish a claim of wrongful death, plaintiffs must show that the defendant had a duty to the decedent, that he or she breached that responsibility, and that they deserve monetary compensation under the act.

In 2007, Illinois’ Wrongful Death Act underwent a significant revision, when it was amended to allow surviving spouses and next of kin to obtain damages for “grief, sorrow, and mental suffering.” Prior to this change, heirs could only obtain awards on the merits of relationship-based claims, such as loss of consortium and how much the decedent could have contributed to the family during his or her lifetime. However, the legislature did not describe what constitutes these elements, which has led to difficulties in the courts. Attorneys have responded to this lack of clarity by putting lay and expert witnesses on the stand to testify about the plaintiff’s reaction to the death and using results from different jurisdictions to establish award precedents.

Ed Reicin: Opera Terminology

Professional opera singer Ed Reicin has performed in multiple productions throughout his career. A fan as well as a participant, Ed Reicin recognizes that opera may seem daunting to those who have never attended. Like every special interest, opera has its own special language. In order to make the genre more accessible, Ed Reicin offers the following information about opera terminology.

1. Libretto: Just like modern songs, opera compositions have two parts: music and lyrics. An opera’s libretto is the lyrics, written by a librettist.

2. Aria: A solo piece in an opera sung by a single vocalist; main characters typically perform arias.

3. Vocal range: Opera singers have a range of notes that they perform. For instance, a bass sings the lowest notes while a soprano sings the highest. The main categories include bass, baritone, tenor, alto, and soprano, although distinctions exist in each vocal range. For instance, a basso profondo has a very deep bass voice, while a contralto tends to be the lowest female voice.

4. Pants role: When a woman plays the character of a young boy with a high voice, it is called a pants role or a breeches role.

5. Overture: Before the opera, and sometimes at the beginning of each act, the orchestra plays an introduction that sets the mood and often incorporates musical themes the audience will hear throughout the act or entire work.

6. Recitative: Sometimes in opera, characters will “speak” in a singing voice, moving through dialog quickly.

7. Leitmotif: A musical theme to represent something else, such as a character, idea, place, or a state of mind. Wagner was particularly well-known for incorporation of the leitmotif in his operas.

8. Prima donna: The term for the lead female singer in an opera.

9. Grand Opera: A long production with several acts, this type of show features a large cast, complex staging, and dancing.

By Edward E. Reicin

Ed Reicin on Giuseppe Verdi

Professional bass opera singer, Edward Reicin, has performed roles in many noted operas by well-known composers such as Mozart, Puccini, and Verdi. In one such performance at L’Opera Piccola in Chicago, Illinois, Ed Reicin played the role of Pistola in composer Giuseppe Verdi’s final opera, Falstaff. Best known for his operatic compositions, Verdi wrote 26 operas throughout his career, resulting in music that remains popular and highly recognizable in modern day. For instance, even nonopera lovers recognize “Libiamo Ne’ Lieti Calici” (The Drinking Song) from La Traviata, and others may recognize “La donna e mobile” from Rigoletto, which is a popularly used theme in modern media.

Influenced by earlier composers such as Rossini and Donizetti, Verdi sought out stories and libretto that highlighted his musical gifts, leading to classic operas, which retain a place in many opera companies’ regular rotations and remain popular more than a century after his death. Popular works include Rigoletto, based on Victor Hugo’s Le Roi s’amuse; La Traviata, based on the Alexandre Dumas, fils, novel, La Dame aux Camélias (The Lady of the Camellias); Don Carlos, a five-act French Grand Opera; Aida; and Otello, based on the Shakespeare play Othello.

By Edward E. Reicin

Edward E. Reicin: Enjoying Opera Performances

As a professional opera singer in the Chicago area, Edward E. Reicin has performed in many well-known operas such as Mozart’s Don Giovanni and Puccini’s Madama Butterfly. The accomplished bass received classical music training and demonstrates a passion for the medium. In recent times, opera has earned a reputation for being highbrow and difficult to follow. This precursor to today’s musical theater still provides an enjoyable pastime, and Edward E. Reicin offers the following tips for people new to the experience of opera.

1. You do not have to speak Italian, German, or French to understand opera. Many opera companies now offer supertitles of the libretto (words to the opera) on displays above the stage. Reading the supertitles throughout the performance may help you better follow the story.

2. Before going to your first opera, familiarize yourself with the story. Many websites offer synopses of well-known operas. If you know the plot before going, you will be better able to follow the action.

3. Although the lyrics contribute to the story, the music and staging tell the whole tale. Try not to get so caught up in listening for words that you ignore the spectacle of music, action, and set design. Often, composers use music out of character with lyrics to communicate something about that character, such as inner conflict or deceit.

4. Operas vary based on composer, period, and subject matter. Just because you do not enjoy one opera does not mean you will not enjoy others. You can find comedy, tragedy, love stories, lightheartedness, and heavy-handedness, depending on which opera you attend. Try several performances before deciding how you feel about the genre as a whole.

5. Mozart operas are often quite accessible and enjoyable. Since many people enjoy and recognize Mozart’s music, his operas make good starters. You might also enjoy 20th century opera, such as George Gershwin’s Porgy and Bess, or Menotti’s Amahl and the Night Visitors.

Porgy & Bess “Summertime”

Edward E. Reicin on Indigent Prisoners

In the United States, indigent prisoners comprise just under half of all inmate populations and, in some areas, have become the overwhelming majority of convicts. In order to qualify as an indigent prisoner, an individual must have little money—the exact amount varies by institution—in their prisoner accounts. This is often the result of familial nonchalance or lack of relatives with supportive resources. Many indigent prisoners attempt to obtain prison jobs in order to buy items from the commissary, making competition fierce and pay low. Generally, prisoners make only a dollar a day, if that. Indigent prisoners receive the basic necessities from their correctional facility, but these staples never last long.

Until recently, the Illinois Department of Corrections (IDOC) charged indigent prisoners for their healthcare. Although the co-payment was only two dollars, this small amount still placed an undue burden on thousands of inmates who were unable to pay. If the inmate had no money, the charge remained on the books to be collected if and when he or she earned money or a family member deposited money into the prisoner account.

Only a few years ago, the Illinois Supreme Court ruled in Hadley v. IDOC that this charge is unconstitutional according to the language of the law requiring healthcare co-payments. According to the court, the law makes indigent prisoners exempt. This, however, is only a small victory in an ongoing battle. Indigent prisoners increasingly have access to assistance outside of their correctional facilities. For examples, the University of Illinois College of Law operates a Prisoners’ Rights Research Project, through which indigent prisoners may ask questions about their legal problems. Students then conduct the necessary research, sharpening their legal skills and augmenting their knowledge of the American corrections system while providing indigent prisoners with an invaluable pro bono resource.