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Over the next week, Paste will announce our 2010 People of the Year in Documentary Film, Narrative Film, Fiction, and Nonfiction.
It's safe to say that Alex Gibney just turned in one of the most impressive years in the history of documentary film. After winning an Oscar for Taxi to the Dark Side, he shot no less than four complete documentary features in 2010 and contributed a segment to a fifth. His topics ranged from political corruption on both the Right (Casino Jack: The United States of Money) and the Left (Client 9: The Eliot Spitzer Story), to an economic detective story about sumo wrestling (his segment in Freakonomics), to baseball scapegoats (the soon-to-be released Bartman/Buckner ESPN doc), to an intriguing blend of memoir, theater, psychology, history, and political theory (My Trip to Al Qaeda). In a banner year for documentary features, no star shone brighter than Gibney's, and he's shortlisted again for another well-deserved Academy Award nomination, for Client 9.
Gibney can be an intimidating figure—fiercely intelligent, with an intense stare and a no-nonsense personality. He obviously takes his watchdog role very seriously and knows full well the importance of the work he does. But he's a marvelous interview subject because of that same intelligence and passion. He's not shy about discussing his motivations, his process, or the films he produces. Paste had the opportunity to speak with Gibney four times during the course of 2010, and parts of the conversation below are drawn from each of those interviews. For audio versions of those interviews, keep your eye on the Indie-Minded Podcast, and for a look at Gibney's masterful use of music in his films, and for a more in-depth exploration of Casino Jack, see the "Related Links" below.
Paste: What in the world is it like working on five films at once? Do those ideas just sort of all come to you and you can't resist them?
Alex Gibney: Well, sometimes in the execution of a film there are delays. With the Abramoff project or even My Trip to Al Qaeda or Spitzer, sometimes for reasons of access they get delayed. Sometimes for technical reasons they get delayed. Sometimes for financial reasons they get delayed. My Trip to Al Qaeda had to get put on hold while we raised the rest of the money. Certainly it wasn't my intent to do it this way. But when it all came together, we realized that was what we had to do. And it took a tremendous amount of work. It's still hard. But thank God, I have smart and hardworking people around me.
Paste: In Freakonomics, I found your segment the most visually arresting of all the chapters, and it was visually very different from most of your other work. The palate was this wonderful dark, primary color, noirish kind of thing. Were you more inspired for that by the setting there in Tokyo, or by the subject matter of a seedy underworldish story?
Alex Gibney: I think it was a little bit of both. Tokyo is a beautiful city, but it's really only beautiful at night. There's something wonderfully mysterious about it at night. And also, in a story about a corruption, it seems to have a vibe of things that are kept hidden. And also, it was because it's a mystery story. I love noir, and even the Spitzer movie had a nourish feel to some of it. But in the case of Freakonomics, it wasn't archival; there was the sense that you were going somewhere, going into the depths.
Paste: For Client 9, how did you decide to tackle that subject?
Alex Gibney: Some people actually contacted me to do the Eliot Spitzer film, right after the scandal happened. And I wasn't sure, right off the bat, whether it would be a good idea so soon. But I quickly came to believe that it would be because everyone was talking about it; no one could believe that he of all people had done what he had done. And it brings up a lot of important issues to me, about men and women, and about fidelity and infidelity. But also, no sooner did he go down than the financial markets that he had policed did, too. He had been this kind of lone voice saying there's a problem here. The SEC seemed to have been asleep at the switch, and so in its own way had the Department of Justice. So it had a kind of intriguing mystery quality. There was no neat and tidy answer to why everything had happened, which is one reason I went there. I thought that maybe in the telling of the story, something would be revealed, and in the meantime I can investigate the mysteries.
Paste: And did that turn out to be true? Did you feel like at the end of the film you had a better feel for what had gone on than in the beginning?
Alex Gibney: I certainly had a better handle on what had gone on, but there were still mysteries aplenty. There are still now unanswered mysteries, even though the basic story—Sherriff of Wall Street uses hookers—was still at the heart of it.
My Trip to Al Qaeda is so chock full of content, and although there's a lot to talk about stylistically about that film, I can't resist asking a content question. Lawrence Wright, who is of course brilliant, has these two great quotes in the film. One is "Al Qaeda offers young Muslim men glory as against humiliation." The other is "For Al Qaeda, there is no plan for success—only devastation." It reminded me of that great quote in the Batman film where Michael Caine's character says "Some men just want to watch the world burn." Is it that humiliation that drives them to that almost nihilistic place?
Alex Gibney: I think there's a need to rescue from that humiliation some sense of glory, some sense of magnificent battle that can be fought in a way that ennobles everyone fighting it. And it gets detached from reality. In terms of death, there is a tradition in Islam around martyrdom, and I think while the Islamist radicals take it someplace that is not found in the Koran, there is this idea that it is in death that you find your glory. Well, that's a hard enemy to fight, when the purpose is not to win territory but to die. And in a way, it informs, for me, a better sense of what our reaction to it needs to be. Because sometimes our attempts at humiliation, in terms of some of the enhanced interrogation techniques or torture we inflict on them, tends to simply reinforce the terrorist ideal.
Paste: Let's talk about Tom Delay in Casino Jack and the United States of Money. First, I'm curious as to how you convinced him to sit for an interview. But also, when you go into an interview like that, and you have a pretty strong opinion of the man and his role in all of this, do you go into the interview open to hearing his side, open to being persuaded?
Alex Gibney: We got Tom Delay when he was on his book tour, so that made it easier. And because of logistics, it was actually one of my producers that interviewed him. But my philosophy on the interview in general is that it's our job to get the people we interview to say what they want to say in the way they want to say it. And obviously we ask probing questions and we redirect, but I'm not really into the gotcha interview. "On September 24 you said X, and it's actually Y—your response?" I try to get them to lay out their point of view. And I'm open to what they have to say. But at the end of the day, in the cutting room, I put that in a larger context.
Paste: You touch on so many important themes and issues in Casino Jack. This may seem like a hokey question, but what can we take away from this film? What lessons can we learn?
Alex Gibney: I don't think it's a hokey question, I think it's a good question. I think the lesson to take away is, we have to take the money out of the electoral system. It just has to happen. Because if it doesn't happen, we're done as a democracy. We just have to decide as a nation that it's that important. Right now Congressmen and Senators spend two-to-three days out of every week raising money. We're electing them and then paying them to raise money. It's just obscene. Not to mention the bad decisions that are made as a result of the constant need to go get money and to do what money demands. So we have a website called takepart.com, and it's got some great things on it, like identifying exactly where your own Congressperson or Senator gets their money. So that's a way forward. It's not perfect, but it's certainly something to do, and something that should be done.
Paste: How does the film concept start for you? How do you get the ball rolling?
Alex Gibney: Coming into anything, I kind of pre-visualize. I imagine what they story might be, so that it doesn't become this sort of vast fishing expedition. At the same time, once I have an outline, I start digging in and getting anything I can about the subject. That also means finding all sorts of what I call unofficial archive—home movies, videos, artwork, webpages, whatever. Then of course, there's arranging interviews with people I want to talk to. And very often I will change my original conception. Sometimes the story has wildly altered from what you thought it would be, and that was certainly the case with Client 9. But sometimes also the stuff you thought would be really great, and really leap off the screen, isn't so great. And you have to change the narrative to adjust to the material. And that's good! If there's one thing I learned over time, it's that. Back in the day, when I was starting doing documentaries, I'd say, "Well, I have this idea, so I'm going to tell this story." Sometimes that meant using material that wasn't that interesting or provocative. Why would you do that? That's a lecture, not a movie. A movie is finding the material that's magic, that pops out. So it's a big process of first narrowing it down to a story outline that seems to make sense, but then violating it by going in and collecting all that stuff and embracing the contradictions—not only the stuff that seems to fit, but the stuff that violates or contradicts it. That's important.
Paste: Your ratio of footage to finished film must be pretty high.
Alex Gibney: It's pretty high, mostly because I'm not really a verite filmmaker. The Lance Armstrong film was somewhat of an exception; that's more of a verite type of film. But mostly my high ratio has to do with the archive, the materials we collect. That's a vast amount, and it takes a lot of trolling through. I've got great people around who do some of that trolling, but you find stuff in surprising places. In Taxi To The Dark Side, we found the autopsy for the taxicab driver in San Antonio. It's a long story, but that's where it was. For Client 9, we were led mysteriously to a bunch of old web archives where we found some of the old web pages of the escort sites, and that taught us a lot. We even found the old cell phone of one of the bookers.
Paste: Wait, the cell records, or the actual cell phone?
Alex Gibney: The actual cell phone. So we charged it up and it had quite a bit of information on it.
Paste: Wow. I'd say that's unconventional archives, for sure. It's almost more detective work than anything else.
Alex Gibney: It is detective work; that's exactly what it is. And like a lot of detective work, some of it is sort of fun and secret-agent-y, but most of it is just shoe leather. "Oh, do you know someone who has this?" "Maybe this person has that." We found great material on the Spitzer film just in the public archives of some of the state meetings in New York, because the cameras are rolling all the time. But that's not news footage; we had to troll through hours and hours of public record of meetings. It doesn't sound very interesting, but sometimes it turns out to be very, very interesting.
Paste: You seem to draw the best of both worlds, so to speak, from verite documentary and from a more constructed approach.
Alex Gibney: Fundamentally, it's about curiosity. Look, I know Pennebaker, and I know Maysles, and their theory of documentary filmmaking is just different from mine. But we're fundamentally united by the notion of curiosity. You know, Al [Maysles] has a great ability to get people to open up, and he points his camera in unconventional ways—to say he's just recording would be wrong. No matter what he says! It's about curiosity, about finding things, about seeing the world a little bit differently. Because otherwise, if you saw the world they same way we all see it, there'd be no point in making a movie.
Paste: Early on, speaking of filmmakers like that, who was it that inspired you?
Alex Gibney: Well, Al Maysles did. Gimme Shelter, in particular, was a big inspiration. Marcel Ophuls was a huge inspiration to me. In a way, his films are very interview-oriented, but he also has a broader sense of cinema; his dad was a [narrative] feature filmmaker, Max Ophuls. So he brought that kind of broader cinematic perspective to the documentary enterprise. Early on, Errol Morris was certainly an influence. Alain Resnais was an interesting influence for me, because he did a film called Night and Fog. And when I was first coming up, the fashion was, "No narration! Narration is bad!" Because narration was the "voice of God" and that's what they do on the networks, and that BS. Well, I don't think it's BS. I'm a big fan of Werner Herzog, for instance, and he has great narration. But if you watch Night and Fog, that is the most beautiful narration you will ever hear, and it gives a texture to the images that you're seeing that simply watching the images would never be able to convey. So what's wrong with that? If you're putting together a film, and particularly one that's complicated, why would you exhaust the audience with ten minutes of cobbled together interview bites from various sources so that you can try to convey a bit of expository information, when you can do that in a minute with narration? I don't get it.
Paste:: It seems like it's all about using whatever tool will get the job done, and not letting dogma get in the way of your choices.
Alex Gibney: That's right. Because let's face it, it's all been done. Every time they say something is brand new, it's really not. But it is a question of, what is the voice of the filmmaker? That's one of the great things in the last ten years. So many great documentary films are out there which not only have great attention to the contradictions of everyday life, but also show a great deal of the filmmaker's personality. That's great, that's important. And that's what's new, that's what's fresh. We're all different. It's just like when you're reading a really good non-fiction book, you feel the tone of the author in a way that's quite intimate. You get to the end of the book and you think, not only have I gone through this journey, but I've been told a great story by this interesting person.
Paste: How about this year? Did you have any time between five documentaries of your own to see anyone else's this year?
Alex Gibney: (Laughs) Yeah, I did, and I wish I had had time to see more. I've heard _Marwencol_is great, but I haven't seen it. I've seen about half of_ Exit Through the Gift Shop_, which is very inventive. Of course I saw Inside Job; it's a good film. I loved Last Train Home; it's devastating. I saw Armadillo, which I thought was fantastic. And a film that ESPN did for the 30 for 30 series, The Two Escobars, was just riveting. I thought The Oath was great. There's a lot of great work being done out there, and of course I'm going to forget a ton.
Paste: Speaking of the 30 for 30 series, your Bartman piece has not aired yet, correct?
Alex Gibney:: Right. ESPN did what they should never do with a director, particularly with me. They said, "Make it longer." So I did. And it'll be out sometime next year. It's really about scapegoats. I'm a Red Sox fan. And the other great scapegoat in baseball history is Bill Buckner. So it's Buckner and Bartman. It really focuses on Bartman, but Buckner is my way in. You know, ESPN has been great, and I have to say, what they did was courageous. So many cable channels still feel so strongly about the primacy of the brand. But this was one where they managed to keep the ESPN brand, but to say that within that brand, 30 filmmakers can do 30 wildly different films. And that's okay. In fact, that's better.
Paste: And just the audacity of that idea. Connor Schell says, in one year, we're going to do 30 top-quality documentaries.
Alex Gibney: Absolutely. Now, mind you, the budgets weren't that high. But what they offered was freedom. And sometimes you're willing to accept some budgetary duress for a little more freedom.
Paste: In the big picture, when you look back on your career, what's the driving force? What is your body of work doing?
Alex Gibney: I tend to gravitate toward films about power. I'm interested in abuse of power. It makes me angry. I always feel uncomfortable looking for common characteristics in my own films, but I suppose if there is one it usually has to do with a fascination with the perp. I'm attuned to the suffering of the victims, but if you want to stop crimes you have to go where the criminals are. And oddly enough, the longer I do this the more sympathetic I become to the perps, but in peculiar ways. I think the biggest danger we sometimes face in terms of social policy is imagining that there are categories of good guys and bad guys. That person did a bad thing because he's a bad guy. And you see—what was that old TV series, Good Pets Go Wrong or something? Well good guys go wrong, a lot of the time. And so I want to look at why? How did that happen? Self-deception interests me a lot.
Paste: And bringing that to light in the specific instances, or more generally?
Alex Gibney: Well, I think there's always a specific and there's always a general. But there should always be a healthy tension between the two. You don't want to twist the story to fit a larger point. But at the same time, without a larger context the individual story becomes kind of a curio.


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Programme to include:
J. STRAUSS II The Blue Danube Waltz
GRIEG Excerpts from Peer Gynt
VAUGHAN WILLIAMS The Lark Ascending
MOZART Horn Concerto No.4
TCHAIKOVSKY Selections from The Nutcracker
…and many more!
John Rigby Conductor
Duncan Riddell Leader/Solo Violin
Laurence Davies Principal/Solo French Horn
Royal Philharmonic Orchestra
Booming percussion and blazing brass announce the opening of Copland's Fanfare for the Common Man and the beginning of the Royal Philharmonic Orchestra's Here Come the Classics extravaganza.
The programme includes dramatic and thrilling works including Grieg's In the Hall of the Mountain King, Beethoven's Allegretto from his Seventh Symphony and Rossini's William Tell: Galop and calm and spine-tingling pieces such as Vaughan Williams' Lark Ascending, Mozart's Horn Concerto and selections from Tchaikovsky's much-loved Nutcracker.
This sumptuous programme of classical masterpieces is diverse and captivating and is a concert not to be missed!
Tickets: £43, £33, £30, £26, £16
Under 16s, student and group discounts available
Booking fees may apply

subset: commoncrawl


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Garden Master 3.8m x 1.5m Coloured Single Door Garden Shed
Availability: In stock
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You may find that your 'stuff' may be over flowing in the garage or taking over your home. Perhaps you have a shed but its not coping with your new toys.
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Friday, April 22, 2011
Remix Outfit #20
Must be wondering where Outfit #19 went. I wasn't sure as to how I'd go about the days since although I did wear the something from my 30 items I did not get the chance to take a picture hence why there is a day missing.
Anyways, TGIF! Today was an amazing day despite how worn out my body feels now. With the weather being so beautiful today I decided as I was driving home that I would take my Remix pictures outside while I let Rylan run around and get some Vitamin D. He of course loved it and kept wanting to be in my pictures with me (loves taking pictures like mommy lol). So, I of course did not go to work showing skin, but on my drive home I got really hot and that was my solution of somehow cooling myself off since I didn't want to turn on the AC or roll my windows down completely.
Btw, I hope you guys adore these pictures of Rylan as much as I do <3
Labels: 30 for 30 remix challenge, Day 20
1 comment:
- JayMiester said...
i love everything about this post! your outfit your sons outfit! just so perfect! i hope one day to have such a beautiful family like yours.
- April 30, 2011 at 9:45 AM
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Other Free Software
If you want to use Tiny Burner for backup purposes, we have another freeware program that can be used as complementary tool. FBackup is a free backup software that you can use to easily back-up important documents. It will allow you to define backup jobs, and at intervals defined by you it will automatically run the backups. This way your documents will be protected without you having to remember to run the backup each time. FBackup cannot back-up to CD/DVD or Blu-ray, so you can use it to have a back-up redundancy system in place (you manually make backups to CD/DVD or Blu-ray with Tiny Burner, while automatically making the same back-up to other mediums with FBackup).
doPDF is another freeware program created by Softland (the maker of Tiny Burner), that will give you the ability to transform any printable document into a PDF file. Given the fact that PDF files are very common now, doPDF is a must on every computer. You'll also be pleased on how fast and extremely easy to use it is.
Awards & Mentions
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Tiny Burner offers multi-language support which eases the daily use of the program and will help you to use it as efficiently as possible especially if English is not your native language.
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|Translated by
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|Fabrizio Puxxup Ferraro


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AN Argentine who offered to sell a copy of an old document that he claimed would destroy the Argentine historical case for sovereignty over the Falklands, has been turned down.
A source told Penguin News that the Secretary of the group Asociación Civil de Amigos Malvinas/Falklands (ACAMF) Gabriel Di Bernardo made contact with him in October last year.
He offered to sell the Falklands Government what he claimed to be a copy of an important ancient document from Argentina's Congressional archives for 2.5 million Euros, cash.
Mr Di Bernardo, who is also an antique dealer, said he was acting in his private capacity and not as Secretary of ACAMF.
Mr Di Bernardo asked for the cash in 500 Euro notes to be delivered to a location in Rosario.
Penguin News asked Member of Legislative Assembly (MLA) Gavin Short if the Falklands government had been approached about the document.
He said that he and others were aware of the claim by Mr Di Bernardo regarding the document, "that he claims to have found… and the rather startling amount that he was wanting for it."
MLA short said: "We have not formally ever held a meeting about this issue but have spoken to each other and are of the opinion that we will not be parting with over one million of the tax payer's money on something that we have not seen, nor know the authenticity of, nor know whether it's legally the gentleman's property to sell.
"The gentleman himself has never, to my knowledge, approached the Falkland Islands Government directly about the document."
MLA Short continued: "There is plenty of evidence already available that destroys the credibility of the Argentine claim," and yet they still persisted.
His opinion was even if the document made it clear the claim was "hogwash," the Argentine government would in any case dismiss it.
He noted that Mr Di Bernardo was, "part of Ricardo Gomez Kenney's 'Falklands reconciliation group' or whatever they call themselves who say that they want to examine all evidence no matter whether it helps or hinders the Argentine claim, yet here we have one member of that group, saying that he has a document which will help us and is not prepared to make it available to either us or the Argentines without a huge amount of money changing hands…"
He added: "It makes you wonder whether the gentleman should be part of such a group and indeed I know the group is aware of his activities and are not doing anything to try and make the document publicly available which also brings their credentials and credibility into question."
He concluded saying: "If we had a few spare millions I would rather spend it (after a new power station) on buying and on-selling what remains of the FIC and not on something we have neither seen nor been contacted directly about."


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Results 1 to 1 of 1
- Join Date
- Jul 2011
- Posts
- 3
How to get the smartcard information by nexus s phone.
Hello Experts,
I have bought the new nexus s mobile recently. While i checking the NFC setting on the phone , everything is fine and NFC looks good. When I swipe my smartcard in the backside of my nexus s mobile, It giving me the result saying 'New tag collected'. But I am not able to read the unique id of the smartcard. Is this possible to read the unique id of my smartcard. Or I need to write some application to get the unique ID ??? Shall i get that application on android market.?? Or is there any special setting in my moile to enable NFC reader to read the smartcard.
Can anyone help me to read the unique id of the smartcard. Any answers will be heartly appreciatable.
Thanks and regards,


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Book Description
Liferay Portal is the world's leading open-source portal platform built on Java and Web 2.0 technologies. It was designed to not only simplify your work experience but cater to your preferences and needs. With this book in hand, you will be able to solve all your Intranet development-related queries. After all, a solution shouldn't just work—it should work for you.
This practical guide gives you hands-on experience on using Liferay Portal. It uses the latest in Java, J2EE, and Web 2.0 technologies to deliver solutions for enterprises across both public and private sectors. This book will help you get to grips with Liferay Portal, allowing you to deploy its flexibility in a number of different scenarios to meet your key business needs.
This book is a complete guide to building an intranet with Liferay—assessing your needs, installing the software, starting using it, deploying portlets, customizing it per your requirements, and training users. The book focuses on leveraging the Liferay framework by configuring the XML files, without changing the underlying Java code. Each chapter gives practical guidance on how to install, use configure, customize, implement, integrate, and enhance Liferay portal. There are many step-by-step examples for better understanding.


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Join the 'Fan Club'
Ruth Hogben and Katie Grand collaborate
Here is a sneak preview of fashion film director Ruth Hogben's latest project, a creative collaboration with stylist and LOVE magazine Editor in Chief Katie Grand. Titled Fan Club, the film is a spectacular celebration of fourteen years of Louis Vuitton - a true paean of love to LV, coinciding with the publication of LOVE issue 7 'After Taste'. The film itself is showcased exclusively this afternoon at The Electric on Portobello Road, and released to the world via thelovemagazine.com on 6 February. Until now, sate your appetite with this 'cheeky' teaser - in every sense of the word.


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As a busy executive, it is sometimes hard to keep on top of trends in managing your career. The Hunter Group maintains links to recruiting resources and career development tools so that you can stay up-to-date and keep your skills sharp.
Finding the right fit is as much a matter of culture as it is skills. To properly master a successful job search, you need to be aware of both elements. Today's article will focus on ...read more
This is a fantastic book for anyone who wants to improve their social networking skills. It is a little bit dated in terms of the technology (no mention of LinkedIn, but mentions using your Palm ...read more
See our News page for the latest on Upcoming Events and activities.


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Columbia Klunk Bike Shop Ride
Meet at Klunk Bicycles and Repair
10am Start
46 miles
There is no food or Water on the route. The way it is mapped out on Gmap is to meet at the shop and go from here. Once finished, Beer, Coffee and/or lunch at any of the Downtown places open on Sundays if people want to. Flat Branch, Broadway Brewery, etc. I will print off maps and que sheets, the route is pretty straight forward and there are street signs up in most places. Hopefully see you on the 31st. Thanks, Karl
Karl Kimbel
Klunk Bicycles & Repair
211 e broadway
columbia, mo 65201
3 comments:
Seeya there, rain or shine
Bob J
- January 27, 2010 at 3:58 PM
- brown beaver bottom said...
that was a pretty good ride
- February 1, 2010 at 9:17 AM
- 1x1head said...
great ride! Looking forward to a nice Jeff City windburn.
- February 1, 2010 at 5:25 PM
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So happy for you bub!
wedding weekend.
August 07, 2014
So happy for you bub!
16 comments:
- AnonymousAugust 7, 2014 at 5:10 PM
Wow, family resemblance much? You're all so beautiful!ReplyDelete
And I love the cross behind the wedding scene. So poignant.Replies
aw thank you!!! and her dad made that, isnt that amazing?!Delete
You are all so beautiful! My little brother is 9 years younger than me so I definitely felt like a "second mom" to him :)ReplyDeleteReplies
i love this so much!Delete
Love that picture of them kissing in the sparklers. So sweet.ReplyDeleteReplies
ML, !!! I Love you friend!Delete
Beautiful pictures!!ReplyDeleteReplies
thank you love!!Delete
LOVE me a wedding, always so special to see two people come together!ReplyDelete
aw i so agree friend!Delete
Such a beautiful post! I really relate with being 6 years older than your baby brother!ReplyDeleteReplies
thank you so much friend!Delete
Everything is so beautiful! It reminds me of a wedding I just attended, for my cousin, on Cape Cod. Aren't outdoor weddings the most elegant?? It also helps that every person I see here is absolutely stunning! :)ReplyDelete
Beautiful memories to treasure and store! I love these moments, I'm sure you'll look forward to revisiting them and with a glint and perhaps a tear in your eye! I love your posts and I love this linky, thank you for sharing this Casey xReplyDelete
How absolutely amazing that you stood beside your brother. I can't think of a higher honor than that right there. That speaks volumes of you, Casey. Beautiful pictures! As always!ReplyDelete
- AnonymousAugust 14, 2014 at 4:12 PM
What a beautiful family!ReplyDelete


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Why do I enjoy vampire novels so much? I don't particularly like blood. I don't want to be "undead." I have enough teeth issues as it is (I was born with a tooth and have no enamel on my back molars. My first dentist decided it was because of the "stress of childbirth." Ok, whatever). For whatever reason, I really enjoy fiction featuring vampires (Laurell K. Hamilton, Kim Harrison, and the early Anne Rice).
Anyway, I recently discovered MaryJanice Davidson's Undead Series (7 books so far). As of this week, I have read them all. The Undead series stars Betsy Taylor whose 30th birthday is memorable for being fired, being killed by a Pontiac Aztec and then not being able to stay dead. Not only that, but the tall, gorgeous yet somewhat dim Betsy is apparently the long-prophesied Queen of the Vampires. Helping her find her way is the brooding, gorgeous vampire Eric Sinclair and his helper Tina, Betsy's human friends Jessica and Marc, and various other colorful characters include a police detective, her mother, her father and stepmother, werewolves, fiends, and fellow vampires who hate her. Bless Betsy's heart, but she never has a dull day. Oh, and let's not forget her obsession with high-end shoes.
The Undead series is light-hearted fun. Betsy is irreverant, and Davidson's dialogue crackles. I laughed out loud at a couple of parts. In my library, the books are considered romance (notice the large heart on the spine). There is some good sex, but never fear, there is much less sex than in your average Laurell K. Hamilton novel (it would be hard to match the amount of sex in those, but that's beside the point). I enjoyed the first four books much more than the last three. The last three (Undead and Unpopular, Undead and Uneasy and Undead and Unworthy) didn't seem to have the spark that the first four did. With the 8th book in the series due in June, I'm hoping that Davidson is back to form.
Curiously, the series is set in Minnesota, meaning yet another vampire series is set in the Midwest (along with Harrison's and Hamilton's). Apparently Davidson is part of Hamilton's group or an admirer or something, but I'm just befuddled at so much supernatural fiction being set in the Midwest. Again, is there some reference guide all supernatural fiction writers use?
Cute series and an easy read. I read two or three easily in a weekend.


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A Karaite Reading of Exodus
Something a little different this time. Over the past twenty or so years I've travelled extensively, meeting and talking with distant members of the family that had become lost to my immediate family. Some of them thought they were the last of the family members, having lost contact with the other familial lines a hundred years or so ago. But what was most interesting was that even with this separation we shared many of the family stories and tales. Some are anecdotal, others historical, and others even border on the mythical. But they're entertaining, informative, and they do provide insights into Karaism that I believe most of my fellow Karaites aren't even aware of. (See http://legendsofthekahana.webs.com for more stories) These are stories that have been layered extensively until they no longer resemble the original story. They are essential pieces of history that have been concealed. I guess it's come to the time that I no longer think they should be kept under wraps. So I might as well start with the first one from the time of our beginnings. No greater man walked this earth than Moses. His influence 3000 years later can be seen amongst those practicing Judaism, Islam, and Christianity. He changed the world but do we really know who he was? Forget the rabbinic version and I'll let you in on the secrets of the Kahana family. Anan ben David would reaffirm that everything we need to know is in the Torah. It's up to us to know how to read it and find the knowledge.
The Name of Moses
The fable about Moses's name being Moshe, in Hebrew to draw out, as in to 'draw out of the water' a reminder of the baby in the basket inference of the Torah was a Rabbinic creation. In their commentaries to the Torah, they admit it freely that they knew that the word 'mehshitihu' only had the barest resemblence to the name Moshe and that an Egyptian princess would not use the Hebrew language but they refused to admit what the name really meant. It was told through the generataions in my family that his actual name was always known to us but the rabbis attempted to conceal it because they felt it reflected badly on the founder of our people, our lawgiver, and also upon the man whom the rabbis tell us was his brother, Aaron. In fact, the stories in my family say that much of the original details were purposely lost in order to provide a wholly Semitic overview of the Exodus. The accidental dropping of a word here or there from the text in order to serve a 'Holier' purpose.
Perhaps I should start at the beginning of this tale and make it clear that this story is an extension from the teaching of Anan ben David that in order to be Karaite you must make your own relationship with the Torah. And in that respect I will anticipate a tremendous amount of abuse from the Rabbanites as they will accuse me of slandering the name of our great religious founder Moses ben Amram. So be it. They will also have to explain the changes that they made to Torah in order to hide some of the details of this story if that be the case. Their sins are by far the greater. They will understand when I say that it has to do with the elevated or lowered letter 'nun' in the Torah that they added and I will also reveal why they thought it was perfectly alright to add this letter whenever and wherever they wished. This story has a special place for me because when I was a youngster in Hebrew school, my discussions of this particular point of objection led to my caning by the Rabbis. Every classroom had a wooden pointer but I don't recall ever once seeing it used to point to something on the board. But it did crash down on quite a few heads, shoulders and especially knuckles of those of us that dared to counter the rabbi's arguments. In their efforts to knock the Karaite out of me, or as they would say the 'Dybbyk', accusing me of being possessed, they only reinforced that the stories handed down to me were true and that they were aware of them and intended to deceive us all in the process. Especially those Christians that had the Bible translated from the Hebrew with all these additional letter 'nuns' in place. They would never know that the sacred text had been doctored and would pass on incorrect translations. The letter 'nun' was a pictographic representation of Moses. When spelt out the letters look like a man bent in prayer and a righteous one who is upright. The perfect man of which it is written and none have come after Moses that can even be compared to him. The Rabbinic sages say that the letter also represents faithfulness and the reward for faithfulness. Again a reference to Moses. Nun is also said to be a pictogram of a snake which when used as a final letter becomes a straight stick, again a reference to Moses with his staff that was both snake and rod and which God gave him the power to change it at will in Exodus 4:3-4. To give it special significance the Rabbinic scribes will place a special crown on the letter nun (known as the tagin) when written in the Torah to say that this is the king of all letters. Nun also represents the soul and is used to designate the Messiah, the one who will come next that is most like Moses. And numerically it represents the number 50, and even the rabbis say this is to remind us of the 50 references of the Exodus in the Torah and also the 50 days of Omer or the counting of days between the Passover and Shavuot, when Moses received the Torah. So as you can plainly see, the letter represented Moses and by placing it as an additional letter in the Torah, the Rabbis said, "we have done no wrong, we are only making a point that this is what Moses would have done, or Moses would have said." Sort of similar to initialling a contract. And when caught, as I confronted the Rabbis, they confessed that they made certain to elevate or lower the letter so it could be clearly seen that this was not part of the word but a reference to Moses. But then they would read it and translate it as if it was part of the word and that was never picked up by the rabbanite Jews they taught as students. They had a new name for me. I was no longer the student possessed by a dybbyk, I was 'Aher', the 'other', and they knew they were dealing with a Karaite that could be the bane of the existence.
So why is this letter nun so significant? Because of what the rabbis were never wishing to reveal. That the Nun was the actual name of Moses, or in its entirity he was Nunmoses. Similar to other Egyptian names you would have seen, such as Ahmoses or Thutmoses, but in this particular case Moses was named after the celestial river god, the god that spanned the heavens and fathered the other gods. The father of Ra and the one that Ra replaced in the pantheon of Egyptian gods. He was the primordial river and source of the Nile, hence it was he that would have spat out a baby in a basket into the river to be found by the princess. So when you read the words of the princess in Exodus 2:10 what she was saying was, "I called his name Nunmoses beacause I drew him from the waters of the Nile." ie. he was born of the celestial river God Nun.
The Power of a Name
For obvious reasons, the reference to his being the "Son of Nun" as an Egyptian prince had to be removed from a religion that was dedicated to monotheism. The bible still preserved the reference when Joshua became Moses's legal heir, and new leader of the Hebrew masses. He in turn became the son of Nun but this time it was in reference to Moses and not to a pagan god any longer. Since Nun was not an Ephramite name, nor a common name of any other Semites in the Exodus as seen by its absence of ever being used again for anyone else named in the Torah, it was clearly an Egyptian name and one intended for a very specific reference. Its failure to ever be used again was deliberate.
But then again, what is an Ephramite name exactly? Why are we given names sometimes and not other times in the Torah? As my family ancestors have taught, there are no oversights in the bible. Every word is chosen for a purpose and the bible is complete. There aren't riddles or hidden meanings or even absences of information. It is why it was said that the Torah is the complete word of God and there are no other words necessary. That is the fundamental difference between Karaites and the Rabbanites. The latter chose to say the Torah was incomplete and there were all these additional oral laws that Moses never bothered to write down. And only through their wisdom, foresight and guidance could these laws be preserved in the Talmud. Well, if that was the case then why did Moses say that the Torah was the complete work of God and that it requires nothing further to be added? Either the Rabbis are right and Moses was wrong, but then if that was the case the Rabbis would be defeating their own purpose because if they declare Moses as having been wrong, then who's to say he was right about the Torah in the first place. So in fact they have condemned themselves by condeming the Torah. Bottom line is that the Rabbis were wrong and their insistence on the Talmud is also wrong and they have perpetrated the enactment of their own laws and their own agenda on the people. But back to my original story.
Since the Torah is complete and everthing we have to know is already written there, then we can read Exodus 2:1 and recognize that it was written for a specific purpose. It tells us that a man from the House of Levi took a woman of the House of Levi and they had a son. There is no mention of any other son prior so we must assume this was the first son they bore and therefore the first one that was at risk because of Pharaoh's order to kill the male offspring. For those that are now questiong where was Aaron, there was no Aaron in this house. The father is not named, the mother is not named and the sister is not named. An oversight? No, this was intentional. What was more critical was that these two people were both of the House of Levi. Notice that the word House was chosen and not tribe. Remember that in ancient Egypt, Pharaoh was lord of the Great House as the word Pharaoh translates. This House of Levi was a lesser house but still an aristocratic house. Which brings us back to the name Ephraim, first presented in Genesis 51:52. Shame on the Rabbis who have given us a false translation. "Fruitful in the land of my affliction?" The word was not fruitful which is 'poireh' nor is it fruitful in the conotation of being impreganted which is 'hephrayah' which is actually closer to the Hebrew word used. The word used is completely Egyptian and is 'ephrati' which means a royal aristocrat. As an ancient word it was even adopted into the Hebrew, but the Rabbis chose to ignore this translation. The only question is why they did so? The epherates in ancient Egypt were the districts the land was divided into. Over each district there would be an Epher. In the sense he was a pharaoh but not of the Great House; more like a governor. So what Joseph was realing saying was that he named his son Ephraim, A plural of Epher, because God had made him a governor in the land of his affliction which was a true and accurate statement. As master of the horse and vizier, Joseph would have been governor over all of the districts. His children would have inherited as Ephers and governed many of the districts themselves. Which brings us back to Joshua the son of Nun the Ephramite except the first time we are introduced to him is Exodus 17:9 and it is as if he's always been with Moses and he is not referred to as the son of Nun nor as being an Ephramite. He just is Joshua in the same manner that Moses was also first introduced to us without a father or mother's name. Moses refers to the two of them as a team as he instructs "Choose for us". These are two men that have stood together, shared their thoughts, and have known each other's moves for a very long time. The next time Joshua is mentioned is in Numbers 13:16 when Moses changes his name from Hosea to Joshua. Accordingly he is referred to as Ho-shua the son of Nun with no reference to the tribe of Ephraim. It is no coincidence that in the Egyptian pantheon the god Nun raised the god Shu from the primeval abyss. Shu represented the space between heaven and earth, a link between men and God. Shu was considered the son of Nun in Egyptian mythology. Egyptian royals bearing the name of a praticular god would often name their own children according to the pantheon. Is this merely a coincidence, that Moses is Nunmoses and Joshua is Ha-Shu both bearing Egyptian god names corresponding to a father and son? Or is this telling us more about the relationship between Moses and Joshua that makes far more sense from a dynastic perspective? Just in the same way that the Egyptian god reference had to be removed from Moses' name, so too did the reference have to be removed from Joshua's. And Moses we are told is the one that made this alteration to Joshua's name and in all likelihood he was the one to drop Nun from his own name.
Questions You Should Ask
Anan ben David was not opposed to questioning what was written in the Torah. In fact he encouraged it because he believed that over the centuries the Rabbis had dared to alter the sacred text rather than have the truth discovered. Truths which Anan believed would only enhance Judaism by the reader seeing human frailties and foibles. The rabbis on the other hand felt that the religious icons could not be seen with blemishes and attempted to conceal these by direct editing or instructing their followers that statements were merely metaphors that needed interpretation. Both practices were condemned by Anan and he believed that Karaites would be able to read the Torah and see the truth. We would not be deceived by the alterations and we would rejoice in the discovery of the Torah as it was origninally written. In that regard I ask you as readers the following questions just to emphasize the points made in this hub:
1. If Moses did have an Ethiopian Princess as his first wife, (See http://hubpages.com/hub/The-Ethiopian-Princess) then wouldn't it have been natural that he had children by her? Since Moses was a Prince in Egypt and his wife a Princess of Ethiopia, that child would be an aristrocratic royal by birth. Wouldn't that child be an Epher in the Egyptian language? Wouldn't that child have been a leader amongst the Israelites?
2. If Moses was the ultimate leader of the nation, then why are his children in the Torah purposely excluded from any authority of the Israelites during and after his death as it now readss, based on the information given to us? Or is it there but cleverly concealed and Joshua is his son by his Ethiopian princess and therefore a descendant of Moses did lead the nation as would be expected?
3. If Moses was of the tribe of Levi, just like Aaron, and they were brothers, then why is the entire priesthood given to Aaron's descendants and none to those of Moses? We know from the Torah that there was a constant struggle between Moses and Aaron, was there more going on?
4. If Moses' father-in-law Jethro was the priest of Midian, then his children by Zipporah, Gershom and Eliezer would be priests on both sides and more representative of religious cult of the Israelites. Why then are neither of his children given any role in the priesthood?
5. If Moses is in charge of picking his own successor, how is it that he picks a complete unknown who only appears once in the entire book of Exodus, yet in that one appearance the impression is given that he has always been Moses' right hand man? There was obviously a familiarity there that exceeded any great doings by Joshua prior to this event.
6. Why is it that the wording in Exodus in the early chapters refer to Houses, similar to the Egyptian connotation of Houses of the aristocracy and not to tribes? It says even the midwives were given Houses as their reward for saving the children. Only rulers could reward people with Houses in the sense of our knighthood. Who was this highly placed royal awarding midwives with aristocratic titles?
7. Why are the names of Moses' parents absent in Exodus II yet present in what is an obvious later addition by Levitical priests In Exodus 6:14-26? The repetition of 6:13 in 6:27 serves as a marker to not that the insertion took place between these two sentences; almost like quotation marks. The priest responsible was in a hurry to push the insertion through, giving only the generations of Reuben, Simeon and Levi and forgetting that there were at least nine other tribes that were to be brought out of Egypt as well. What was he covering up that he felt the insertion was necessary?
8. And even as a later addition, why does this Levite editor give the name of Moses' father in Exodus 6:20 as a conjunction of two royal Egyptian names, Amose and Ramses or AmRam?
9. And if Amram was the name of Moses' father then why is he marrying his aunt Jochebed in 6:20 which was a practice more customary of the Egyptian royal house? And how could Jochebed (Yah's Glory) be her name if worship of Yahweh hadn't been established until Moses received God's name much later?
10. And if Amram lived for 137 years according to Exodus 6:20, then why wasn't he present during the exodus from Egypt? His mother was and she was already much older than Amram being his aunt according to Exodus 6:20? So what is the real purpose of Exodus 6:20 if all it does is provide misinformation?
The questions are designed only to make you realize that there was an intentional effort to cover up the true history of Moses' origins. The additions in Exodus 6 that I pointed out were meant to be seen as obvious additions, the editor wanting his sentences to be discovered and not considered part of original Torah as handed down by Moses. But he in turn raised interesting issues concerning Jochebed and Amram, giving several hints as to their identity in the process. But these will be reserved for another hub at another time.
So insightful, so much to say and so much complexities, yet
made so simple...May the most continue yto make you a blessing
Kahana, This hub (A Karaite Reading of Exodus) is not only a great lead into understanding the true Levitical Priesthood but is also a great lead into understanding the House of Joseph as well. You are amazingly correct about the name Ephraim deriving from the Egyptian Ephrati. In fact in Morocco there is strong evidence of an Ephraimite Kingdom whose first King was Abraham Ha-Ephrati. They are associated with the areas of Morocco known as Ifran. It was from the Bene-Ifran tribes that the Romans named the Continent Africa.
In this regard the word Africa can actually be traced back to Ephrati(Ephraim). After the downfall of the Ephraimite Kingdom in Morocco some members of the Ephrati families changed their name to Afriat.Interestingly amongst the Pathan-Israelites in Afghanistan the tribe of Ephraim is known as Afridi.Where can we read more about the Egyptian origins of the name Ephrati and the governing position of the Epher???? As you know some early Qaraim traditions taught of a Priestly Levitical Messiah. Do you think the Ephrati and Epher justify the teachings of a coming of a Moshiach BEN YOSEF???
Shalaam,Shalom,Salaam Wa Aleikum
Kahana, You stated when you were young you were being taught by the Rabbis. However you seemed to have been raised in more of a Karaite theology or understanding. Were you from a secretly practicing Karaite family? Did your family have any affiliation with the Qedar Rite of Qaraims? Finally,Do you have ancestral background from Ukraine,Poland and or the surrounding areas?
Kahana, Good Job! Excellent thought provoking questions!The real cover up is that Moses' line did inherit a Priesthood.He inherited the Priesthood of Melchi-Zadok.These were the righteous Priest Kings that were found throughout the nations. Joseph had married Asanat the daughter of the Priest of On. Asanat's father was a Priest in the Order of Melchizadok. Joseph had studied under his teachings and in turn was given authority as a Melchizadok Priest himself. Joseph was also known in Egyptian history as YUYA.(His mumified remains are in the Cairo Museum.His bones were never transported.Remember Joseph was buried as Egyptian Royalty.Can you imagine the Israelites attempting to enter the Royal Egyptian tombs to uproot his corpse while they were fleeing in haste?) Joseph(YUYA)had a grandson named Akhnaten.Akhnaten was ordained in the Order of MelchiZadok.He ruled Egypt and in the instructions of Joseph he destroyed all the images and idols in the Land of Egypt.This is all recorded in the History of Amarna. Moses was later schooled in the Order of Akhnaten(MelchiZadok). When Moses fled Egypt he found refuge with Jethro the High Priest of Midian who was also in the Order of MelchiZadok. On Mount Sinai Moses was declared the MelchiZadok of Israel. The Israelites were not to have a King like the other nations but rather they were to be ruled by a Priest King MelchiZadok)
Deuteronomy 33:4-5
'When Moses charged us with the teaching As the heritage of the Congregation of Jacob.Then he(Moses)became King in Jeshurun.'
When Moses inherited the Kingship the leadership of Israel passed from the House of Joseph(Ephraim) to the House of Levi(Moses).The Priest-Kings of MelchiZadok were to descend from Moses' son Eliezar,while the Zadokites were to descend from Moses' other son Gershom.The third faction of the Priesthood which were the ritual Temple Priests(Monks)were to descend from the line of Aaron.Therefore the descendants of Moses actually inherited 2/3 of the Priesthood.Some members of the House of Joseph did not want to relinquish power and after the departure of Moses they appointed Joshua in his place being that Joshua was a descendant of Ephraim.
The tribe of Judah was never promised the Kingship.In fact the Lion was actually the symbol of Levi and thus the word Lavi can also be used for Lion.The Judahites were actually a Priesthood of Singers and praisers and thus Judah means to praise. The Levitical Priest Kings were only associated with Judah because the Judahites continually surrounded the King's throne.This is why the Book of Samuel states that David taught the Judahites the Song of the Bow as written in the Book of Yashar.
(II SAMUEL 1:18) In this regard David was actually a descendant of Moses. However the first to claim the Kingship was Saul of Benjamin. Benjamin was the close full brother of Joseph and thus the struggle for power between the Josephites/Benjamites and the Levites/Judah
continued.When David replaced Saul the line of Moses was once again restored. The first Israelite to rebel against Solomon was Jeroboam son of Nebat an Ephraimite and thus the House of Joseph declared independence under its own kingship(I KINGS 11:26). This rivalry led to early Israelite teachings on the emergence of a Levitical Messiah and a Josephite Messiah known as Moshiach Ben Joseph. The struggle between these two
great families is an underlining theme in the story of Jesus who is in the Order of MelchiZadok which would actually make him a descendant of Moses through David.The Qaran chimes in on this by referring to Jesus as being of the Family of Amran meaning a descendant of the Families of Moses and Aaron. Jesus is then supposedly replaced by Saul(Paul)the Benjamite.
Shalom sir.
I was born Jewish and consider myself very close to Qaraite Judaism in belief and practice.
I've read your questions attentively. You read too much into things that may be coincidental, such as why `Amram wasn't around during Yesi'at Misrayim (the Exodus). Did it occur to you he may have passed away or been killed prior to that?
How didn't it occur to you that the reason Moshe's children were purposely excluded from any authority over the Israelites during and after his death might have been because Moshe wished to avoid creating an inherited leadership to suucceed him? (Just as Yehoshu`a didn't.) So maybe this was a purposeful act flowing from a nobility of spirit and astute visionary political thought?
`Amram's mother is not mentioned anywhere in the Torah as being present or alive during the Exodus. If she was alluded to elsewhere in the Tanakh as being alive or present that time, why couldn't you take the trouble to mention chapter & verse numbers? One would like to believe you'd avail the readers of them when you try to make them read the Torah critically. This is a profound failure on your part.
Here you accuse "levitical priests" of inserting an addition in Sefer Shemot ch. 6, yet in another hub you accused "Rabbis" of tampering with the Torah's text, and in yet another hub you accused `Ezra the Scribe of tampering with the Torah's text. And you have the gall to call or present yourself as a Qaraite?
I'm afraid you've got a severe credibility problem.
I call upon all Qaraite Jews NOT to disregard your writings, but to read all your hubs to discover *why* you've got little credibility if at all.


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Standards have been set extraordinarily high for animated films over the last decade. We've been spoiled with spectacular work from DisneyPixar studios, with movies that went far beyond the usual fairy tales of the old days (Finding Nemo, The Incredibles, Wall-E, Up). After the pitiful Cars 2, Disney and Pixar have returned to glory with their latest film, Brave.
In Brave, we follow a young Scottish princess named Merida's desperate battle for freedom from the claws of tradition and her unrelenting mother.
Surely enough, a simple story with phenomenal attention to detail and a talented production team make this movie an absolute delight.
All of the voice actors squeezed everything out of their acting arsenal to deliver the perfect trio of humour, emotions and fantasy. Most impressive of all is 36 year old Kelly MacDonald (Harry Potter and the Deathly Hallows: Part 2), who plays the young and feisty Merida. She managed to perfectly portray her adolescent character, without becoming a caricature of an annoying teenager. Luckily, the studio avoided a disaster when they lost out on their first choice of Reese Witherspoon for the lead character.
This jam packed Ultimate Collector's Edition features stunning 3D and 2D Blu Ray copies, DVD and a digital copy. On top of that, the special features list is as impressive as the film. Here's a list of the features that you'll want to check out:
• "La Luna" Theatrical Short
• "The Legend of Mor'du" Short
• Brave Old World
• Merida & Elinor
• Bears
• Brawl in the Hall
• Wonder Moss
• Magic
• Clan Pixar
• Once Upon A Scene
• Director Commentary
• "Fergus & Mor'du" An Alternate Opening
• Fallen Warriors Montage
• Dirty Hairy People
• It is English…Sort Of – One of the funniest features!
• Angus
• The Tapestry
• Promotional Pieces
Hours of fun stuff for fans to dive into.
Bottom Line: This Ultimate Collector's Edition is a must own for fans of DisneyPixar animation!
Movie Grade A
Blu Ray Grade A+
Runtime: 93 minutes
Aspect Ratio: 2.39:1


text: deaf-owner-of-hair-salon Mildred Brown, deaf owner of her own Rock Hill, SC hair salon that was always busy with hearing women. The state shut down her business in 2001 because of licensing laws. Hundreds of hearing women stormed the state office demanding that she be re-instated. The salon reopened and she continued till age 80.


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text:
- Local college athletes getting first home starts (3/15/19)
- Clay County athletes excelling at collegiate level (2/22/19)
- Time to celebrate Knights squad (2/10/19)
- Clay County grads playing well for collegiate teams (1/3/19)
- Northview volleyball program providing collegiate talent (11/2/18)
- Track and softball collegiates wrapping up strong seasons (5/1/18)
- County graduates excel collegiately as winter sports end (3/11/18)
The time is now for Indianapolis Colts
The time is now, the playoffs are here. What happens over the next four weeks or so will go a long way in determining how this year's edition of the Indianapolis Colts is remembered. Another postseason flameout and those 14 wins to end the season will be a fleeting memory and Bill Polian will be firmly in the crosshairs amongst fervent fans. Indianapolis' back-up quarterback, rookie draft pick, Curtis Painter, also will be roundly dismissed as a bust despite taking snaps in just two games. But it's the damage he's done by himself in those two contests that will be remembered more than anything.
Painter entered the Jets game with a lead handed to him by golden boy, Peyton Manning, and the rest of the starting unit, only to immediately fumble away the perfect season as the Jets returned the miscue for the go-ahead score. It was more of the same this week as he bumbled his way to finishing the regular season by completing eight-of-28 passes for 83 yards, two interceptions, a pair of lost fumbles and a sterling quarterback rating of 9.8. Yes, that's right, 9.8 and that's far south of even Raiders' wunderkind QB, JaMarcus Russell and in the ballpark of Ryan Leaf's career rating.
Painter might actually have a better future tending a White Castle drive-thru than finding NFL receivers open.
But as some Northview High School football fans might remember, Painter didn't do much to impress when he brought his top-ranked Vincennes Lincoln Alices to town to face the Knights back in 2003 as a high school senior. Bringing all the hype that goes along with a full-ride scholarship to play QB for Purdue the next season, Painter went out and promptly played much like he has the last two weeks for the Colts. Northview intercepted him three times, one by Austin Staley and one apiece by Matt McCluskey and Joran Ferris. Oh yeah, the Knights shut out Vincennes, 20-0 in that afternoon game. So at least the Bills and Jets can say they've got something in common with some good ol' Clay County football.
Painter not withstanding, the Colts must re-focus and get over the bitterness that comes with a competitor being told by head office brass to take a seat and let the scrubs erase your hard work done over four months. How difficult that may be remains to be seen, but as fans have seen in the past, there is little room for error in the playoffs. One "off" game and it'll be a very long rest of the winter because I don't foresee the Pacers paying me to watch any of their games and that's the only way that debacle of a team will get me to subject myself to that form of torture.
So with the playoff lineup set, in theory, there shouldn't be much standing in the way of a Colts vs. Chargers match-up for a Super Bowl berth.
That being said, anything can really happen with the Colts' homefield advantage throughout never looking better after that trip to snowy Buffalo on Sunday.
The wild card games look to be icy match-ups as the Jets face what should be a very angry Cincinnati squad that got pounded on primetime TV by the J-E-T-S, JETS, JETS, JETS, on Sunday. The Bengals will have questions at receiver after Chad Ochocinco (or is it Chad Johnson now after he was shutdown Sunday night?) injured his knee. How will Jets rookie QB Mark Sanchez perform in his first postseason game? New York could have to win two games in six days, which isn't easy even with a veteran QB.
The other game features a Wes Welker-less Patriots team that even with Tom Brady and his three broken ribs, could struggle. The Baltimore Ravens have designs on a run, but have receiver questions of their own behind Derrick Mason.
So while the Colts and Chargers rest and watch the wildcard carnage, the question remains. Is Indianapolis good enough to overcome a hiatus that has spelled disaster in recent playoff seasons? Only time will tell, but this much I know, leave Painter in West Lafayette because even a one-armed Jim Sorgi has got to be better.
- -- Posted by guesswho? on Mon, Jan 4, 2010, at 11:18 PM
- -- Posted by millertime on Tue, Jan 5, 2010, at 8:21 AM
- -- Posted by millertime on Tue, Jan 5, 2010, at 1:14 PM
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