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Download a PDF of this Statement
Statement on Consent
This Statement is being issued through NCSF's "Consent Counts" project which seeks to decriminalize consensual BDSM which does not result in the infliction of serious bodily injury. This Statement is presented as a discussion of the ethical and legal concepts of consent that need to be considered in the practice of BDSM activities and in relationships based on BDSM activities. It reflects both the recent extensive study by NCSF of the state of the law in the U.S. and the results of NCSF's Consent Counts Survey which received over 5,500 responses.
This Statement is intended for two audiences: BDSM practitioners and the general public.
For the general public, the objective is to increase the understanding of BDSM and
the importance of informed consent in BDSM practices and relationships1
For BDSM practitioners, who agree that consent is ethically and legally important2,
this Statement will clarify some of the legal issues and create a better understanding
of the ethical responsibilities.
Consent is… an informed, voluntary agreement by two or more people to engage in a particular BDSM activity or to enter into a BDSM, D/s or M/s relationship. Consent is an essential element in BDSM, both as an ethical concept and as a legal concept, and it is important to distinguish between the ethical principles and the legal rules governing consent.
Consent in the context of BDSM relationships
There are two BDSM relationship contexts in which the issue of consent arises, and the legal and ethical analyses differ somewhat between these two contexts. On the one hand, there is consent to BDSM practices that will be engaged in by the participants in a specific "scene." The term "scene" is used by BDSM practitioners to refer to a session of BDSM activities, typically defined within a period of time.
Consent is also an important issue in establishing and maintaining a BDSM-based relationship. BDSM relationships can be informal in the context of friendships or romances, and are based either on shared enjoyment of BDSM or on mutual understanding that one person will be receptive (the "bottom") to the desires of the "top". This is often referred to as Dominance/submission or D/s.
A relationship can also be more formal, with specific—often written—agreement in which one person consents to obey the other person. This is often referred to as a Master/slave or M/s relationship. These relationships usually involve agreement at the beginning of the relationship as to the types of BDSM practices that the Master/Mistress can do to the slave. The participants determine how this consent, that is given in advance and probably in general terms, continues to apply in scenes they do together during the relationship. There is also the issue of whether and how the bottom can withdraw—for a particular scene—the general consent given in the beginning of the relationship (keeping in mind that everyone has the legal right to withdraw
consent at any time).
Consent given at the beginning of a relationship should also be considered in the context of the relationship's mutual obligations. In a Master/slave relationship, the participants take on significant responsibilities to care for each other according to the obligations each take on at the beginning of and during the relationship.
Consent as an ethical principle
BDSM activities are based on the ethical principle that what we do—whether it is a specific scene or a relationship—is done by informed agreement amongst all of the participants. Our ethics require that all the participants communicate what they agree to do and not to do, as well as the nature of the relationship that they agree to enter. Each participant has a responsibility to reach as complete an understanding as possible of the desires and limits of the other participants. In short, consent as an ethical concept is one of mutual and informed consent.
Consent as a legal principle
The legal issue of consent is more narrow and specific. It relates only to a specific activity or scene and only to the question of whether the person receiving the BDSM stimulation agreed in advance to do that act. The legal issue arises when someone is harmed or injured by a BDSM act, and the person who committed that act denies criminal liability on the ground that the other person gave prior consent to the act in question. The extent to which such consent— even if clearly given—is a defense to criminal prosecution, has been greatly limited by U.S. courts. As discussed below, NCSF is working to change what we regard as overly restrictive judicial interpretations.
All references we make to legal obligations and responsibilities relating to consent are based on the law as currently interpreted by the courts. When we speak in this statement about legal responsibilities and obligations, the legal issue is one of possible criminal prosecution for assault (or, less frequently, for other offenses such as trafficking or battery). In the BDSM context, it is the top/dominant who may be vulnerable to such prosecution, and an injured bottom is viewed in criminal law as the "victim," not a party that commits a crime. For this reason, the legal responsibilities and obligations fall on the top and not the bottom. However, the fact that the top has the legal obligations does not in any way detract from or lessen the equally important ethical responsibilities and obligations which the bottom shares in completely.
The concept of risk
Consent is agreement in advance to something that hasn't happened yet. As a consequence, it is impossible to eliminate entirely the risk that the activity or relationship may turn out differently than everyone involved anticipated when consent was given. In this regard, BDSM is like many other activities—team sports, sky diving, rock climbing, etc. BDSM may also include sexual activity which can involve emotional, psychological and health risks, as is the case with any sexual activity.
Among the risks of BDSM activities there are: innocent mistakes, incidents of incapacity, bad intentions and repercussions from the current state of the law in regards to BDSM activity. Those risks may include:
The participants may not understand each other's agreement. Or they may misunderstand the nature of the BDSM activities or scene. Or they may misunderstand the other person's limits.
Even if the participants understand and agree on the nature of the BDSM activities or scene, they may not understand the extent to which those acts could result in physical injury.
Accidents can happen, causing unanticipated injury even in the most carefullyconducted scene with the most skilled practitioners.
The physical or emotional intensity of a scene can result in the participants getting carried away, or being unable to revoke or modify consent.
Someone who claims to respect safewords and established limits may be lying in order to take advantage of someone else.
Someone who is in a scene to which they gave prior consent may deny that consent was given after the scene.
Even if consent was given, a court may refuse to accept it as a defense, either on the basis that serious injury was caused or because the judge or jury find the activity morally offensive.
In a D/s or M/s relationship, a court might conclude that the submissive was "groomed" or brainwashed over an extended period of time to remove their ability to withdraw consent.
The fact that these risks exist, and that it may not be possible to entirely avoid them, does not alter either the ethical or legal responsibility to ensure, to the maximum extent possible, that BDSM activities and relationships are consensual.
Consent is choice
The people giving consent to engage in a BDSM scene or enter into a power exchange relationship must do so voluntarily, without being subjected to threats, fraud, coercion or NCSF Statement on Consent 4 deceit. If you are pressured into doing something or entering into a power exchange relationship, you have not given consent in either the ethical or the legal sense. If someone gives consent that you can do something to them or to enter into a power exchange relationship, you have an ethical responsibility to be sure that such consent was given voluntarily and not coerced.
Consent is informed
Everyone involved must know enough so that the consent is given on an informed basis to the BDSM activities that are planned or to the power exchange relationship. Every person has an ethical responsibility (and the top/dominant has a legal obligation) to be sure that consent is given on an informed basis, taking into account such factors as:
The nature of the BDSM activities or power exchange relationship
The level of potential risk of harm
Familiarity with each other's interests and objectives
Any medical or mental health issues that need to be considered
Experience with the BDSM skills and techniques that will be involved.
Consent is given by an adult with a sound mind
BDSM takes place among consenting adults. As a matter of law, only an adult can give consent. It is every adult's legal and ethical responsibility to make as sure as possible that their BDSM activities are with people who are of an age that, under applicable laws of the state in question, they can give consent. For the same ethical and legal reasons, a person must have sufficient mental capacity to give consent, and each person has a legal obligation to make sure that this is the case with all of their BDSM partners. Finally, in order to consent you must be in a clearheaded state of mind, not impaired by alcohol, prescription medicine or recreational drugs.
Consent is given within limits
Consent is not a blank check. Consent must be clear as to what BDSM activities and/or what type of power exchange relationship is being agreed to. A person giving consent has an ethical responsibility to make clear what the limits are to their consent. Everyone has the ethical responsibility, and the top/dominant has a legal obligation, to find out and fully understand the consenting person's limits. This obligation to understand and respect the submissive's limits is more complicated in the context of a scene between people who are in a power exchange relationship in which consent was given at the start of the relationship. The top/dominant has an ethical and legal obligation to be sure that the BDSM activities in that scene are within the scope of what was consented to when both entered the relationship. The scope and limits to the previously given consent may have been made clear in the beginning of the relationship, or it may be clear from the participants' previous conduct during the relationship. If there is any doubt at the time of a particular scene, however, there is an ethical responsibility to clarify that doubt before the start of the scene, and a top is at serious legal risk if they do not do so.
Consent is revocable
Anyone can revoke consent to anything at any time. If a pre-negotiated and agreed upon safe word or safe sign—or any other pre-negotiated expression of a withdrawal of consent—is ignored, consent has been violated. This is unethical and, if harm occurs, is a criminal violation. Even when a person is in a power exchange relationship in which they agreed to give up contemporaneous consent for the duration of the relationship, the submissive has the legal right to demand that any activity be stopped at any time. The top/dominant in a scene has both an ethical and a legal obligation to respect that demand and stop the activity.
Consent is communication
It is ethically and legally important in any scene that there should be a mutually understood means of communication between the participants, whether you use plain speech and/or a safe word and/or safe sign. Communication is important so consent can be clearly withdrawn, or to alert other participants that a change in activities goes beyond the scope of consent that was given. In any change of limits during a scene, it is important that all participants are in a clearheaded state of mind and that thinking has not been impaired by the intensity of scene sensations. After a scene if someone feels distressed, regretful or didn't like what happened, that does not necessarily mean that consent was violated unless consent was withdrawn or activities occurred that went beyond what was agreed to. It is important that everyone involved has a good understanding of the consent that was given, and the ability to communicate during the scene, so they do not afterwards disagree as to whether consent was
Consent is not a defense for causing serious injury
When "serious bodily injury" occurs during a scene, it is possible that criminal prosecution for assault will take place even when consent was clearly and validly given for the BDSM activity that caused the injury. Here the ethical and legal obligations are different. Ethically, each BDSM participant has a duty not to violate the other participants' limits or to cause injury that was not anticipated and consented to. The law, however, will punish BDSM actions that cause serious bodily injury regardless of consent.
The Model Penal Code, which has been adopted in some form by many states, defines serious bodily injury as harm "which creates a substantial risk of death or which causes serious, permanent disfigurement, or protracted loss or impairment of the function of any bodily member or organ." Any actions that result in injury fitting that definition create a risk of criminal prosecution even if consent was given.
It is not safe to assume that BDSM activities which cause lesser injury will not result in criminal prosecution EVEN if consent was given. The courts have ignored the Model Penal Code NCSF Statement on Consent 6
definition and have found that minor harm—redness from dripping hot wax or the pain of nipple clamps, for example—is enough to be "serious bodily injury."
This is the legal issue that NCSF's "Consent Counts" project seeks to correct.
Until then, any participant in a BDSM scene should assume that there is some legal risk if a participant or an observer complains to the police. It is always important to communicate and be sensitive to and aware of the other participants' feelings, needs and limits.
1 See Appendix: Glossary of Terms for Consent Counts for definitions of words used in this document.
2 By percentages of 85-95% in the NCSF Consent Counts Survey.
February 15, 2013
The National Coalition for Sexual Freedom is committed to creating a political, legal, and social environment in the United States that advances the equal rights of consenting adults who practice forms of alternative sexual and relationship expression. NCSF advances the rights and advocates for consenting adults in the SM-Leather-Fetish, swing, and polyamory communities. We pursue our vision through direct services, education, advocacy, and outreach in conjunction with our partner organizations
to directly benefit these communities.
Glossary of Terms for Consent Counts
BDSM - an acronym for Bondage, Discipline, Dominance and Submission, Sadism, Masochism.
Bondage - any practice involving tying or securing a person, as with ropes, cuffs, chains, or other restraints.
Discipline - any activity in which one adult trains another adult to act or behave in a specified way. For example, rules of etiquette, i.e. table manners.
Sadism - a tendency to derive gratification and/or pleasure from inflicting physical and/or emotional pain on other adults within negotiated boundaries.
Masochism - a tendency to derive pleasure and/or gratification from receiving physical and/or emotional pain from another adult within negotiated boundaries.
Dominance - having control over a scene, situation, and/or aspects of a relationship.
Submission - giving up control over a scene, situation and/or aspects of a relationship.
Scene - a term used by BDSM practitioners to refer to a session of BDSM activities, typically defined within a period of time; ie, the play (action) that happens after a negotiated start time and before the negotiated stop time.
Bottom - "the receiver," the person in the receiving role of a scene, the acceptor in a scene.
Top - "the doer," the person in the active role of a scene, the facilitator of action in a scene.
Dominant/submissive (D/s) - a relationship dynamic in which a negotiated hierarchy is established. D/s dynamics do not necessarily include SM, but when they do, the dominant is commonly the top and the submissive is commonly the bottom.
Master/slave relationship - a more formal dynamic, with specific—often written—agreement in which one person consents to obey the other person.
Master/Mistress - common terms used for the dominant person in an M/s relationship.
Power exchange relationships - consensual, negotiated non-egalitarian relationship dynamics, i.e. D/s and M/s.


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subset: commoncrawl


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An Influential German Magazine Praises The Bat! for Its Focus on Security
German computer magazine c't (Magazin für Computertechnik) has published an article on the email programs. The Bat! got a good evaluation. As the strongest sides the magazine named the diversity of the configuration options, easy email handling, features to schedule tasks, RSS reader, confidentiality of correspondence and safety.
The article was published in the edition 17/2014.


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Planning Information Sheets
Planning Information Sheets
The City has prepared the following Information Sheets to provide basic information on planning matters. You may also wish to view our Planning: Frequently Asked Questions page.
Commercial Vehicle Parking
Development Application Condition Clearance Process
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Extension of Time for Development Approval
Child Care Premises & Family Day Care
Farm Animals
Government Agencies
Home Office, Occupation or Business
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North Forrestdale Development Contribution Plan No. 3: Requirements for Approval of Common Infrastructure Works Pre-funded by Developers
North Forrestdale Development Contribution Plan No.3 Calculation of Development Cost Contribution Developer/Landowner Liabilities
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State Map of Bushfire Prone Areas and Control of Development in Bushfire Prone Areas
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Refer to the City's Parks Section for information on verge treatments and guidelines.
Users of this website are advised that the City of Armadale accepts no legal responsibility for any errors, omissions or inaccuracies in Town Planning Scheme No 4. Whilst the City of Armadale endeavours to regularly update and amend the information contained within the document, the accuracy of this information cannot be guaranteed. The content of this website may also change, vary or be amended at any time. Confirmation of zoning and density coding may be obtained by viewing the official version of Town Planning Scheme No 4 which is available at the City's Administration Centre. Confirmation of information relating to lot sizes and boundaries may be obtained from the Department of Land Information.


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Her Body, Her Self!/
Erin Markey puts on R. Kelly's "Pregnant," which if you don't know it, is a really creepy and absurd song where the R. croons "Gurl, I wanna get you pregnant" again and again in that melodramatic R&B way, and then Erin is lip-synching to it in black lipstick, and then she pulls her hair out of her ponytail and it's all wild and because she is a legitimate actress she can keep a straight face while she does this, make her wide eyes wider, sort of sexy and intense. It's on YouTube, part of her Just a Little Something with Erin Markey series. Another episode has her gyrating insanely in a mirror in her pajamas to Jay-Z's "99 Problems." Watching these, I think: This is like harm reduction treatment for Erin Markey, like her brain is so full-up with constant bananas hilarity and weirdness she has to create these quickie videos to let out a little steam. Like the tiny earthquakes that give us a tremble so the big one doesn't totally destroy us—that's Erin Markey. What is it like inside her brain? Let's talk about it.
Puppy Love: A Stripper's Tail is a sex work narrative, but in the form of a musical. The problem with most sex work narratives is that they are not musicals, and I guess by that I mean, they don't innovate on a story that we've now heard a lot, a story that doesn't really change up all that much. But Erin brings into it her voices, her singular artistic voice of course, but also her singing voice which is really good. Like, she could go on American Idol or something. The phrase She can really belt it out is sort of disturbing if you think about it, so let's use it. It sounds like something deep inside Markey is being cranked when she sings. She practically unhinges her jaw to let the sound spill out—more on this later. In Puppy Love she erects a pole in the middle of the stage, she swirls her body around it, you can see how being a stripper could be fun, like being a fairy, and you would like to—I would like to—go to a strip bar and watch girls that look like Erin spin themselves about such a pole, ribboned like maypoles. Once, in Las Vegas, I took ecstasy and went to a strip club and sat at a platform the size of a dining room table and watched girl after girl climb the pole with the skin of their thighs and slowly undulate back down. Mesmerized, I watched for hours, drinking water from a giant gallon bottle I managed to smuggle inside. Once a stripper held out her arm to me so that I might peel her long, leopard-spotted gloves from her arms. Her skin smelled like a candy tree and was poreless as a dolphin's.
In Puppy Love Erin is a stripper and she falls in love with another stripper. In Puppy Love Erin is female, so she has this body you spin around poles for cash, but she's queer so she sees through it too. It's like you're God, being queer in such a situation, you're the omniscient narrator—you're the girl who has the body and the lez who wants the other girl's body and you see how the whole thing is so stupid and cheesy and pre-fabricated, because you're a feminist, duh, but you see how it works too, how it's powerful, and it's even more powerful—the allure of it—when you have all that knowledge and you are the one you're lusting after, when you can let all of it in, the gross and the cute, the hardscrabble realness and the sillyness, the artifice. Your brain is engaged, and your aesthetic senses, but so is that lazy part, the lizard brain that's like, I don't want to think so much, I just want to space out and watch this girl spin around the pole so slow it's like she's turning over in bed, just waking up from a dream.
Erin Markey has a soft spot for preciousness. It's like she wants to cuddle it and destroy it, kill it, eat it and then, for our pleasure, become it. Families are precious. Babies are precious. We are all precious, our bodies and our longings. It's sort of pathetic, we are, and also poignant, it depends on the angle. Erin Markey hits all the angles. Once I watched her walk onto a stage naked and somber. She began to talk about the history of feminist performance art. This is maybe a little dry for Erin, but the thing is, you know she is very well-versed on the history of performance art. No matter how bonkers her work gets, how off the rails she allows herself to fly, there is always a heavy intellect behind the wheel, and I want to know what she knows, so I'm listening close. She's talking about Carolee Schneemann's Interior Scroll, the classic '70s piece where the artist pulls from her vagina a long scroll of paper and reads from it. Performance theorist Jeanie Forte said it was as if Carolee's vag itself was speaking about sexism, it's an amazing piece. The writer Laurie Weeks calls the vagina nature's little backpack. I mean, it's such a cool contraption, you can smuggle drugs in it, have a baby, have sex, duh, hold onto a tampon, famously there are women who can shoot ping pong balls from theirs (fun!) and open a bottle of beer or, sadly, smoke a cigarette. So much activity from a site that the larger world—don't make me say patriarchy—sort of thinks as a void, maybe a fanged void but a void nonetheless. Makes me think of Jonathan Lethem's As She Crawled Across the Table, and the awesome void Lack which contained everything. Lack is sort of male in the book but whatever, that's what happens. We know Lack is a girl and is chock full, a treasure chest.
Did Erin Markey do a cover of Interior Scroll that night? She pulled a spiral of paper from her vagina and proceeded to proclaim, in a loud, proud Munchinkinland accent, the Munchkin's welcome to Dorothy from The Wizard of Oz. A Fluxus happening for our time, when everything is a mash-up, everything is known, all information available, all references everyone's references. The shock of it was extreme and extremely funny. Later she came out dressed like a Dickensian orphan and took a collection by passing around a baby doll and making people place their money in its hollowed-out genitals.
Some things that Erin Markey has said in interviews are, "Our bodies are all we have." A female will always know how quickly she can be reduced to that, but there is an inverse power in this—our bodies are all we have, what excellent, beautiful monsters we can be! She has also said, "I've got a soft spot for people with big dreams." It shows. The Dardy Family Home Movies by Steven Sondheim by Erin Markey is based loosely on her own childhood. The paradox for queers bumped out of the whole American Dream thing is that, though for the most part the culture discourages us from taking that path as adults, we all come from some kind of family. There is a tenderness in Erin's portrayal of Dardy family matriarch Molly Dardy. Her desires are simple enough to be cliché, derided—a family, a happy American family. And they are simple enough to be fair enough—a family, a happy, American family, is that really so much to ask for? The sweetness of the plain desire and the darker realness of the compound psyches that build a family—the undercurrents of ignored and denied energies, of the banished negative—this forms the force field that Erin steps into, jaw unhinged.
Since we only have our bodies, let's talk about Erin's. She is beautiful, and there is something very terrifying about the way she is beautiful. Her hair is too lustrous. Is it a wig? No, that's just her long, incredibly thick hair. Her face is angular; at certain angles her face falls off the edge of her cheekbone like a cliff. Her eyes are huge. She can either look alluring, or like she's going to pull open her jaw with both hands and crack her head open to show you the monster beneath. And you'd be like—yes! I had a feeling that was in there! It is fortunate for Erin, an artist interested in investigating and embodying both the innocence and horror in being alive, that her visage can flitter so seamlessly between a classic beauty and something more primordial. I was lucky enough to be in New York during the brief run of Green Eyes, a lost Tennessee Williams play that was staged in a very small hotel room in an actual hotel, the Hudson. Two sets of folding chairs, 14 total, were arranged against a wall, facing the bed. We were right there. The play is about a couple, just married, on a honeymoon in New Orleans. The man is an alcoholic soldier, the woman is maybe cheating on him, maybe fucking with him—well, either way she is fucking with him, and she is Erin and in this role as a cruel, sexed-up, manipulative new bride she is lightning. The play is violent, the couple, physical, and you're in the room with them, practically on top of them. Eventually, Erin will lock eyes with you, and it's like a tiger bound into the room and you're in its stare now, will be in its jaws in moments. I forgot to breathe when Erin looked at me, she crackles. The play got stupendous reviews, critics called her scary, observed that she had seemingly no boundaries. That's part of the high-wire act of watching her—how far will she take it? She seems capable of taking it awfully far. And what does that mean for you, in the audience? Who is the one netless one, exactly? But she does have boundaries.
She got rid of a dead-dog storyline embedded in Puppy Love because it was "too weird." I love that. Artists knowing their limitations is just as exciting as limitations being pushed—it creates this boundaried chamber where the work can bounce around, where it can grow to the size of its tank and be done. Once I saw a performance artist in a Buddhist space enact a performance that involved him jerking off his elbow, lighting up a cigarette, smoking it with a pair of cooking tongs while making jokes about the Holocaust, then using a neti pot and drinking the neti pot water. Maybe he gargled with it and sang—I don't remember, like everyone else in the audience I had left my body in horror. The beauty and value of Erin as a performer is that there are limits on where she will go, and if they are not visible to us, the audience, how much more thrilling, to remain on that edge in her safe, manipulative hands. It's not a free-for-all, there's a point here—art, thought, hilarity, surprise, something poignant, something vulnerable, a darkness and then something ridiculous. Erin Markey is a carnival ride, one operated by a recent ex-con whose facial tattoo hasn't fully healed yet.
Erin performs a lot at a regular event at Joe's Pub in New York City called Our Hit Parade, where performers do covers of that week's top ten songs. You can watch videos of it on the Internet and again get a feeling for what it feels like to be in proximity to Erin Markey in action. She sings Bruno Mars' codependency ballad "Grenade" in a sports swimsuit, her hair in a whatever ponytail, her neck rippling with the storm of her voice running through it. The lyrics are melodramatic—I'd catch a grenade for ya / Throw my hand on a blade for ya / I'd jump in front of a train for ya—but in Erin's muscular clutch they get real creepy real fast. That she weaves a bit of "The Wind Beneath My Wings" makes it even creepier, a stalker torch song. But the real performance is in Erin's face, the sneer of her lips, the eyes that grow huger . . . and huger . . . ! She bends over with the effort of the singing but doesn't break a sweat. She cracks a joke and leaves the stage. In another act she sings Shakira's "Hips Don't Lie" with a fake pregnancy and fake black eye. Wiz Khalifa's blackout anthem "No Sleep" is performed as that weirdo little boy orphan with a smudged-up face, suspenders and all her hair tucked under a scrappy beanie. Her voice takes on a tinny, little kid timbre: The bitches, the hotel, the weed is all free! Then she passes around the baby for people to put money in. The drinks is on me! A gang of other disturbing fake little boys with things hanging out of their pants suddenly descend upon the audience grabbing at their money.
Her body, her self! Erin Markey is a maniac who will only keep pushing herself in some sort of breakneck direction, trawling the culture for absurdity and pulling a lot of pathos, sarcasm, sincerity, darkness and joy into her net along the way. Her range is bonkers, able to take on Tennessee Williams, her mother, her younger self, a lollipop kid. I think she is what they call in the biz a triple threat. The night is young, and she lives in the city that doesn't sleep.
Michelle Tea is the artistic director of Radar Productions and cofounder of the legendary and long-running Sister Spit. Tea has published five novels, a book of poetry, numerous short stories, hundreds of Bay Area newspaper articles and has edited several anthologies on fashion, class, queer writing and personal narrative. Her novel Valencia won the 2000 Lambda Literary Award for Best Lesbian Fiction, a San Francisco Bay Guardian Goldie Award for literature and the prestigious Rona Jaffe Foundation award for early-career female writers.
The San Francisco Film Society's KinoTek programming stream presents nontraditional, cross-platform and emergent media. Eight KinoTek programs will be presented throughout 2011 and 2012, each featuring the work of an artist or practice that challenges the boundaries of screen-based art. KinoTek is supported by the Andy Warhol Foundation for the Visual Arts and the Phyllis C. Wattis Foundation.


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Jodi Arias on the Hot Seat
Aired February 25, 2013 - 19:00 ET
JANE VELEZ-MITCHELL, HOST: Tonight Jodi Arias in the hot seat, the prosecution grilling Jodi about the litany of lies she used to cover Travis`s brutal, bloody death and putting huge holes in her claim that Travis sexually and physically abused her. Will the jury buy that Jodi killed in self-defense after all of this? We`ll debate it next. (BEGIN VIDEOTAPE) VELEZ-MITCHELL (voice-over): Tonight, is accused murderess Jodi Arias cracking under the relentless attacks of prosecutor Juan Martinez? He tears into Jodi over her diary, showing she never writes anything about Travis hitting her. Does Jodi now regret ever keeping that journal? Is he proving Jodi`s a manipulative, conniving liar and heartless murderer? Plus, this explosive video of Travis firing a gun, given exclusively to our show by Travis`s friend. Jodi`s defense team was watching our show and now demands that video in open court. Will it blow this case wide open? We`ll debate it with our expert panel and take your calls. JODI ARIAS, MURDER DEFENDANT: I never killed anyone before. JUAN MARTINEZ, PROSECUTOR: You lied to a lot of people, right? ARIAS: Everyone. I just (UNINTELLIGIBLE) something awful happened to me. I was in a strong state of denial. I`m single. I believe that I knew he was dead. MARTINEZ: Well, if that`s the furthest thing from your mind, then the closest thing in your mind is the fact that you killed Mr. Alexander, right? ARIAS: Usually when men like you are screaming at me, it makes my head spin. MARTINEZ: But you did kiss him, right? ARIAS: Yes, I did. MARTINEZ: Knowing that Mr. Alexander was dead, right? ARIAS: I guess so. MARTINEZ: You and Mr. Alexander did this (UNINTELLIGIBLE), didn`t you? ARIAS: Yes. That video didn`t change my hope. It just made that hope unrealistic. It could be (UNINTELLIGIBLE). MARTINEZ: You`re calling as the grieving ex-girlfriend, right? Somebody who cares? ARIAS: It was hurting me to lie. MARTINEZ: You actually said you`re sorry (UNINTELLIGIBLE), right? ARIAS: He was trying to court me back. MARTINEZ: You as her killer, then, are sending these items to her. "He is my best friend in the whole world. It is so unimaginable to live without him." (END VIDEOTAPE) VELEZ-MITCHELL: Tonight, Jodi Arias under fire. What a difference a day makes. The prosecution turns Jodi`s own words and even her journal entries into weapons against her, trying to shoot down her claims that Travis physically assaulted her. Good evening. I`m Jane Velez-Mitchell, coming to you live. The beautiful 32-year-old photographer is accused of stabbing her ex- boyfriend 29 times, slicing Travis Alexander`s throat ear to ear all the way back to the spine and shooting him right in the face. Even though Jodi left horrific wounds, like the ones you see here on the autopsy photos, she`s trying to prove she did it all in self-defense. Well, the prosecutor finally made Jodi and the jury think about just how excruciatingly painful and violent Travis`s death was when he compared the 29 stab wounds with one of Jodi`s failed suicide attempts, a little nick. Listen to this. (BEGIN VIDEO CLIP) MARTINEZ: You took a razor, right? ARIAS: Yes. MARTINEZ: And you cut yourself, right? ARIAS: It was a nick. MARTINEZ: It was a nick. And because it stung so much, that you said, "No, this is not the way for me to go," right? To use your standard, ma`am, of how you stopped because it stung, can you imagine how much it must have hurt Mr. Alexander when you stuck that knife right into his chest? That really must have hurt, right? KIRK NURMI, ARIAS`S DEFENSE ATTORNEY: Argumentative. UNIDENTIFIED FEMALE: Sustained. (END VIDEO CLIP) VELEZ-MITCHELL: And then it looks like Jodi makes a half-hearted attempt. There she is, concentrating really hard, "Let me squeeze out a tear or two." I know I`m being cynical but I wasn`t the only one who felt that was sort of manufactured or contrived. Will the jury buy these waterworks as proof that Jodi only killed in self-defense? There`s a battle raging, by the way, in open court over this video of Travis Alexander, the victim, at a shooting range. We obtained this video exclusively on this show. The defense clearly watches our show, because now they`re in open court trying to use it and get it. And they say maybe it will help show that Jodi is innocent. That`s not what the friend who gave us the video wants it to prove at all. I want to hear from you. Call me: 1-877-JVM-SAYS, 1-877-586-7297. Straight out to our own senior producer, Selin Darkalstanian. Selin, you were inside the courtroom for the fireworks. It was a slug fest. The tears, the yelling, the screaming. Tell us what you saw. And felt. SELIN DARKALSTANIAN, HLN PRODUCER: Jane, I feel like I just got out of an eight-hour day where I heard Juan Martinez yelling at Jodi Arias the entire day and proving all her lies, one by one, and explaining how each of her lies were -- she was lying on the stand. Basically on Thursday, we saw a different Jodi. We saw Jodi coming back at Juan Martinez. Everything Juan said, Jodi had attitude. She was smirking, she was smug, she was smiling. She had an answer for everything he was telling her. But today it was a very different Jodi on the stand. It was a Jodi that was quiet, looking down, not really responding, acting confused, not remembering any dates, not remembering any events that occurred. And Juan Martinez was just going at it, showing her her own diary entries, showing her her own media interviews, and proving that she was lying on the stand. Every single lie she told, she had a media interview or a journal entry to come back at her with and tell her why she was lying and prove to the jury that this woman is lying on the stand. VELEZ-MITCHELL: And we`ll show -- we`re going to show all those clips to our viewers. And essentially, he`s trying to erase all of the impressions that she made on the jurors, possibly during her direct, painting yourself as this abused woman who was sexually degraded and physically battered. The prosecutor, now using Jodi`s own journal entries to show that Travis is not a physical abuser. He points out that Jodi`s diary doesn`t mention anything about being physically abused on the very date where she claims that she was beaten by Travis. Listen to this and then we`re going to debate it on the other side. (BEGIN VIDEO CLIP) MARTINEZ: And it doesn`t say anything there that he backhanded you, does it? ARIAS: No, of course not. MARTINEZ: I`m asking you whether or not there`s the appearance, at least, since you didn`t write anything about it in there, that it never happened? NURMI: Objection, argumentative. UNIDENTIFIED FEMALE: Sustained. MARTINEZ: Didn`t happen, did it, ma`am? (END VIDEO CLIP) VELEZ-MITCHELL: Jodi being called a liar flat-out. OK, the prosecutor is making the case that this backhanding by Travis, well, if it really happened, wouldn`t it have been in the diary? Pathological liars are very difficult to corner. But it is a gift -- a gift -- to the prosecution that she took notes during this crucial time period. Let`s debate it with our expert panel. Two for the prosecution, two for the defense. I will start with Stacey Honowitz. Was this a home run for the prosecutor? STACEY HONOWITZ, FLORIDA PROSECUTOR: Well, I think the whole day was a home run, because I think everyone finally got to see, we all thought she was lying, but now we actually had proof that she was lying. Because her own words or lack thereof came back to haunt her. That`s exactly what a prosecutor wants to see, basically your own words are telling the story. The lack or the omission of saying he was physically abusive is a home run in my eyes, and I think the jury is finally going to see what she`s all about. And I think her defense team probably spoke to her and told her, "You better calm down," because the smirk, the arrogance, the fact that she was manipulating, the fact that she thought she could get away with challenging the prosecutor, those days are over. VELEZ-MITCHELL: Jayne Weintraub, this journal entry, these journal entries that occur at the very same time that she`s saying that she is being beaten by Travis Alexander, she makes no mention. Is that a home run for the prosecution? JAYNE WEINTRAUB, CRIMINAL DEFENSE ATTORNEY: Jane, she`s a victim. She is a woman that is ashamed and abused and in denial herself. And that is not uncommon. And you know that. And the experts will explain that. HONOWITZ: Oh, lease. WEINTRAUB: I don`t think this was a home run for the prosecutors at all. As a matter of fact, I don`t think they even got a base hit. And I`ll tell you why. (CROSSTALK) VELEZ-MITCHELL: You`re taking the diary and buying it... WEINTRAUB: Jane, I`ll tell you why. VELEZ-MITCHELL: You`re writing everything that happened, every Frappuccino you buy, somebody smacks you in the car and you don`t say it in your diary? WEINTRAUB: She admitted -- she admitted she lied, mea culpa, mea culpa. Nothing new came out today. Nothing. Except, he lost his effect by yelling and badgering her constantly. JON LIEBERMAN, HLN CONTRIBUTOR: Jayne, let me ask you this. Jayne, let me ask you this. She admitted today that she conformed her statement to police to fit with the forensics that she knew they had. That is not PTSD. That is not battered women`s syndrome. That is a lying killer. HONOWITZ: She said this on direct already. VELEZ-MITCHELL: Evangeline. Evangeline. I`m showing you some of the journal entries there. And these are some of the crucial dates. OK? They cover the dates where she on her direct said, "Oh, he beat me. He did this, that and the other. He backhanded me. He choked me." No mention whatsoever. WEINTRAUB: Jane, you`re going to put... VELEZ-MITCHELL: Let me throw this to Evangeline. I mean, to me, she`s not writing that for the Huffington Post. This is a personal -- personal diary that she`s writing. Wouldn`t she include that? (CROSSTALK) VELEZ-MITCHELL: Evangeline, please. EVANGELINE GOMEZ, DEFENSE ATTORNEY: Thank you. She would not necessarily. You know why? Because -- Jane, thank you. She would not necessarily include it, because not everybody who keeps a diary includes everything that happens. I keep a diary. HONOWITZ: If you`re battered, you are. If you`re battered, you are. GOMEZ: I don`t record every negative that happens in my day. No, you don`t. No, you don`t. HONOWITZ: You have so many cases where the person says in their diary, "If I`m ever found dead, it`s because he did it." GOMEZ: Not every domestic violence victim keeps a diary and puts down the abuse. A lot of them are in denial, and by putting it in words, by communicating it, by writing it, you`re admitting it, and that is the fundamental problem. HONOWITZ: I think her experts are going to have a very difficult time trying to say that she`s a battered woman based on all the lies, the lack thereof of putting it in her diary. There`s no battered syndrome here. Again, we have to take all -- the totality of all the circumstances. GOMEZ: Exactly. But the expert will go on and give testimony. (CROSSTALK) VELEZ-MITCHELL: Whoa, whoa, whoa. OK, Joey Jackson, you`re usually very vocal, but you can`t get a word in edgewise with this crew. JOEY JACKSON, DEFENSE ATTORNEY: I cannot. But I`ll tell you this, Jane. Not only did Juan Martinez hit a home run, I would call it a grand slam. If it were football, it`s a touchdown. Basketball, a three-pointer. Here`s why. It`s not only the fact that there was an omission in the diary regarding her behavior. She affirmatively stated in the diary that "the reason I have not reported is because there`s nothing noteworthy to report." What does that tell you? As attorneys, that is all we always want via the jury. That is when we`re picking a jury about common sense. Do not leave your common sense at the door. VELEZ-MITCHELL: All right. JACKSON: She affirmatively indicated nothing happened. WEINTRAUB: Jane, we weren`t watching the same trial. (CROSSTALK) VELEZ-MITCHELL: All right. You`re going to have plenty more to debate, because we`re going to play all of the key testimony from today, and it`s a stunner. I mean, really, I feel that it was a game-changer today. But we`re just getting started. So much to debate. Stay right there. Your calls on the other side. (BEGIN VIDEO CLIP) MARTINEZ: Do you have a problem with memory? ARIAS: Occasionally. I don`t remember bringing the gun with me, but I remember throwing it. There`s a lot of that day that I don`t remember. I have no memory of stabbing him. NURMI: Do you remember dragging him across the floor? ARIAS: No. MARTINEZ: What factors influence... (END VIDEO CLIP) (COMMERCIAL BREAK) (BEGIN VIDEO CLIP) MARTINEZ: Were you there to tell the truth? ARIAS: No. MARTINEZ: That wasn`t the truth, was it? That you were there to help them, was it? ARIAS: No, that was not the truth. MARTINEZ: Why didn`t you tell the truth? ARIAS: I was ashamed. MARTINEZ: You have a problem with the truth, telling the truth, don`t you? NURMI: Argumentative. ARIAS: Not typically. MARTINEZ: You said, no, you hadn`t been there. ARIAS: That`s right. MARTINEZ: That`s an absolute lie, right? ARIAS: Yes. It was hurting me to lie. MARTINEZ: Pardon? ARIAS: It was hurting me to lie. (END VIDEO CLIP) VELEZ-MITCHEL: They have established beyond a reasonable doubt, in my opinion, that she is a conniving, manipulative liar. And some of the best evidence against her, her own diary entries and this bizarre interview she gave with "48 Hours." Now, listen to Jodi explain all the reasons why she decided to smile, grin, in her mug shot when she was arrested. (BEGIN VIDEO CLIP) ARIAS: One of my first thoughts when I was actually being booked, I was like, wow, I see this stuff on TV all the time. This is so interesting. It`s almost just like it is on TV. And I thought to myself, you know, what would Travis do if he were in this situation? This is why I`m here. And barring the fact that he would not like get himself into such circumstances, he would -- he would be smiling. He would be like, hey, you know. He would flash this grin that he always does. And so there was part of that. And also part of the fact that I knew it would be all over the Internet, so why not? And then there was also the fact that I know that I`m innocent and everything will be made known and everything will come out, and in the meantime, smile, say cheese. MARTINEZ: You have no way of knowing that that`s what he would have done, that he would have smiled, do you? ARIAS: I have a way of knowing, but it`s more like speculation. (END VIDEO CLIP) VELEZ-MITCHELL: Simone, the -- the idea that she says that she`s going to smile and say "cheese" in her mug shot because that`s what the victim, who at the time she`s saying she had nothing to do with his death, that`s what the victim, Travis Alexander, would have done? Smile and say "cheese." It takes it to a diabolical level, something out of a horror movie. SIMONE BIENNE, RELATIONSHIP THERAPIST: Yes. I mean, absolutely. She is becoming more and more delusional. And I love what you were saying, Jane, earlier about she`s not writing a diary for the Huffington Post. I was thinking that she was written in her diary is about as real as "Bridget Jones`s Diary." It is all absolute fantasy. However, that said, Jane, you`re going to hate me for saying this, and I love you, but I`m going to have to say it anyway. If I was a juror, and as a woman, I feel battered, just watching her being abused and being pushed and pushed and pushed. He`s so aggressive. I do think that the jury, the female aspect of it, could feel some sympathy towards her. And you can see, she is under stress, because she`s there touching her neck so much, which is what people do as a pacifying thing. Because our neck is rich with nerves. We do that when we need to be comforted. So she is showing some kind of emotion. VELEZ-MITCHELL: Yes, well let`s remember, she slit Travis Alexander`s neck. Beth Karas, correspondent for "In Session," you`re there in Phoenix. You`ve been in the courtroom. Do you feel that, A, it could break down along gender lines? And are you sensing that maybe this punishing yelling attack by the prosecutor might create an unconscious or conscious sense of sympathy for Jodi? BETH KARAS, CORRESPONDENT, TRUTV`S "IN SESSION": No, actually I don`t sense that. I don`t sense that there`s a gender breakdown, but who knows? It`s really hard to read the jury. There are seven women and 11 men, and six of them randomly will be excused just before deliberations. But, you know, there are some women in the front row who were paying very, very close attention to Juan Martinez, as well as Jodi Arias. Although the woman closest to her, right on the corner, the front row, closest to the witness box, doesn`t really look at Jodi Arias very much now. There`s still a little bit of note-taking. But, you know, I do think that Juan Martinez`s theme today, at least in the first half of the day, was to show that her lies to the police, to her friends in June and July of 2008, before the arrest, right after the killing, were for her benefit. Because she doesn`t want to get arrested. And she was ashamed of what she had done. And if he, Juan Martinez, can demonstrate that sufficiently to the jury, he`ll then argue that she lied at lot on the stand to them for her benefit, to save her life, so they won`t find her guilty of first-degree murder. She was an absolute liar about pedophilia. VELEZ-MITCHELL: Yes, and look. Right. I mean, she painted a picture of being an abused woman who was battered. She caught him masturbating to pictures of young boys. And he`s erasing it all by damaging her credibility to the point that somebody decides, perhaps in the jury, the jurors, she`s a pathological liar. Can`t believe a word she says, except that we know she killed Travis Alexander. What is the defense going to do on their redirect? On the other side. (BEGIN VIDEO CLIP) TRAVIS ALEXANDER, MURDER VICTIM: You are right. In the bath, it was hot. ARIAS: Oh, when we took a bath together? You were amazing. You made me -- seriously, you made me feel like a goddess. (END VIDEO CLIP) (COMMERCIAL BREAK) (BEGIN VIDEO CLIP) ARIAS: I wrote them a letter. I don`t know if it will ever make it to them. I don`t know if they`ll even read it, but that`s the only attempt that I`ve made, other than I called his grandmother and, you know, expressed my sympathies to her. And I mailed -- well, I sent flowers to her. I sent her 20 white irises. And the reason I chose irises was because, when Travis and I were discussing baby names, he said of girls` names, I know he liked the name Iris, short and sweet. I don`t remember exactly, but I did leave my phone number and I told them that, if they ever need anything, to please call me. And I told them they`re in my prayers now and always. (END VIDEO CLIP) VELEZ-MITCHELL: Oh, expert panel, that`s diabolical out of some kind of crazy, psycho thriller movie, to send irises to the grandmother of the person you killed. And oh, condolences and letters, a long letter, 18 pages, saying, "I`m so sorry." I mean, Evangeline Gomez, criminal defense attorney, that is -- isn`t that psycho behavior? GOMEZ: Look. If this is all the prosecution has, I really feel for the prosecution, because let me tell you, Jane, this is the issue. LIEBERMAN: Unbelievable. VELEZ-MITCHELL: Let her finish. GOMEZ: The prosecution has attacked inconsistent and immaterial statements that she has made. Two, do you see these boxing moves that the prosecutor`s doing in the courtroom? I mean, come on. In addition to the tone in which he`s speaking to her, he is humanizing her in front of the jury. LIEBERMAN: He... GOMEZ: And the jury sees that she`s not selfish, she`s not about her. She`s ashamed. She`s embarrassed. And this is important, because they are deciding whether she gets the death penalty or not. And one thing they need to focus on... VELEZ-MITCHELL: All right. LIEBERMAN: I can`t believe... GOMEZ: ... is whether she can be rehabilitated or not. And right now he`s making her look as if she can be rehabilitated. VELEZ-MITCHELL: Jon Lieberman. LIEBERMAN: I can`t believe that you believe any of what you`re saying. I cannot believe that you actually believe anything that you`re saying. Look... VELEZ-MITCHELL: Let`s not attack her, panelists. Let`s talk... (CROSSTALK) LIEBERMAN: Mr. Martinez -- let me finish. Let me finish. GOMEZ: He`s like pebbles, pebbles, pebbles at the window. LIEBERMAN: Mr. Martinez is speaking for the state of Arizona, and he is speaking for the real victim in this case, Travis Alexander, and he`s giving the jury a clear choice. They can either believe the evidence, or they can believe Jodi Arias. And if they believe Jodi Arias, they have to figure out which of Jodi Arias`s stories to believe. And I think we all know the answer to that. VELEZ-MITCHELL: All right. GOMEZ: She already said on direct that she wasn`t being honest with the detectives. VELEZ-MITCHELL: Jayne Weintraub. (CROSSTALK) WEINTRAUB: Let me -- let me say this. First of all, her demeanor was very appropriate today. I`ve tried death penalty cases, and I can tell you that what`s important is her demeanor, how appropriate she is, and the way that she is coming across, if she`s relating to them. Normally women are harder on women than other women. But I can tell you that this prosecutor, the points that he made today, Jane, he should have gotten in and out. It was to your advantage to lie here, to here and here, to your advantage, like a repetition. Get in and out with the zinger with the knife when she stabbed him and sat down. The rest of it, it`s losing the effect. And what comes out of it? Jodi Arias on the stand today -- I don`t know if you have the clip -- said, "I don`t know if it was first-degree murder or not." In other words, she`s telling the jury, "I`m accepting responsibility here. Just don`t make it first-degree murder." And I think she might get a taker. VELEZ-MITCHELL: First of all, I will say that I think the prosecutor got sidetracked several times when he basically lost the forest for the trees. WEINTRAUB: Like a rabid dog. VELEZ-MITCHELL: And she sucked him into a little tit-for-tat, where to the point where I`m taking notes. I`m like, what was the subject again? So we`re going to debate that on the other side. Did she bait him, even as she was meek, much more meek and much more playing sort of the victim, as opposed to the sassy, sassy combatant she was last week? I`ve got to wonder if she watches our show, because we know the defense does. We`ll talk about that on the other side. So much more to debate. Explosive moments from court today on the other side. Top of the hour, "NANCY GRACE," 8 p.m. Eastern. She`s breaking it down. And on the other side, what is this extraordinary video of Travis Alexander shooting a semiautomatic assault-style weapon going to do to this case? (BEGIN VIDEO CLIP) MARTINEZ: You did kiss him, though, right? ARIAS: Yes, I did. MARTINEZ: Knowing that Mr. Alexander was dead, right? ARIAS: I guess so. (END VIDEO CLIP) (COMMERCIAL BREAK) (BEGIN VIDEO CLIP) JUAN MARTINEZ, PROSECUTOR: To use your standard, ma`am, of how you stopped because it stung, can you imagine how much it must have hurt Mr. Alexander when you stuck that knife right into his chest? That really must have hurt, right? UNIDENTIFIED MALE: Argumentative. JODI ARIAS, ON TRIAL FOR MURDER OF TRAVIS ALEXANDER: I was scared. There are a lot of gaps. Mortal terror. Travis flipped out again. He looked at me like a madman. JENNIFER WILLMOTT, DEFENSE ATTORNEY FOR JODI ARIAS: Jodi believed that Travis was going to kill her. MARTINEZ: Why didn`t you tell the truth? ARIAS: I was ashamed. I would love to help you in any way I can. MARTINEZ: You then went even further in saying that it was two people. ARIAS: I ran. He was still conscious. I didn`t even know that I shot him. MARTINEZ: The reason you did that was because it was to your benefit. ARIAS: I remembered where he kept a gun. So I grabbed it. DAVE HALL, FRIEND OF TRAVIS ALEXANDER: Every time we go out in the desert shooting, he`s always shooting my guns. I was at his house one week before he was murdered, he did not own a gun. ARIAS: He was angry at me and he wasn`t going to stop. (END VIDEO CLIP) JANE VELEZ-MITCHELL, HLN HOST: What a slug fest today and by the end of the day, it seemed both the prosecutor and Jodi Arias were exhausted, almost like two fighters who are like hanging on to each other because they`ve slugged it out. And a lot of people felt that he wore Jodi down and got her to admit at least some inconsistencies in her story especially when it came to her big claim that oh, she went into a black-out when she stabbed him 29 times -- doesn`t remember any of the stabbing and left Travis`s home, driving in the desert, not knowing if he was dead or alive. Listen to this exchange. (BEGIN VIDEO CLIP) MARTINEZ: Didn`t you just tell me previously that you knew that Mr. Alexander was dead. ARIAS: It`s hard to explain. MARTINEZ: Ma`am, what is hard to explain about a person breathing or not breathing? What is so difficult -- why is that a difficult concept for you? ARIAS: Because I`d never killed anyone before. MARTINEZ: Ok, so because you`d never killed anyone before, then you`re having a problem deciding whether or not the person is dead, right? ARIAS: I`m having a hard time describing what my state of mind was during that time. MARTINEZ: What you`re telling us is that you left him to die, didn`t you? ARIAS: I don`t believe that. (END VIDEO CLIP) VELEZ-MITCHELL: This is the crime scene -- a bloody mess. Jodi claims she doesn`t remember stabbing Travis 29 times. She doesn`t remember slitting his throat. She only remembers accidentally firing a shot as Travis allegedly charged at her. We know from the autopsy that bullet hit Travis in the face. I want to go back to Simone Bienne, relationship expert. You know a lot about human psychology. She`s claiming she just went into this black- out. Like I`ve said, I`m going to be 18 years sober in April. I`ve had blackouts, but they usually involved a lot of alcohol. There`s no evidence that anybody was drinking. How the hell did she black out? SIMONE BIENNE, RELATIONSHIP EXPERT: I think there could be truth in that in her mind. Because if she feels that she has so much adrenaline or if there was so much adrenaline pumping through her veins, which you would imagine there would be if you are stabbing someone. I keep talking about her murderous rage, if she is so murderous and angry, Jane, then she could have blackouts. Talking about my own experience when I go back to looking at my abusive relationship, I can`t remember the behaviors and the incidents. I can remember how I was sometimes feeling at the time. So there could be a truth of element to what she`s saying. VELEZ-MITCHELL: Absolutely fascinating, and thank you for sharing your personal story. I know that is difficult. I`ve shared my personal stories about sobriety and being a recovery alcoholic. And you`re sharing yours about personal relationships and problems there. Let`s go to the phone lines. Kerry, Arkansas, your question or thought. Thanks for your patience. Kerry, Arkansas. KERRY, ARKANSAS (via telephone): Hi, Jane. VELEZ-MITCHELL: Hi. KERRY: Thanks for taking my call. VELEZ-MITCHELL: Sure. KERRY: I would like to know, where was Travis`s roommate on the day that Jodi killed him and could she have known that they were going to be gone that day? And also if he had broken her finger on the 22nd of January, why would she even bother, being that she`s left-handed, to be writing in a journal especially to say nothing`s happened, wouldn`t her hand be in pain, wouldn`t her finger be in pain, that she wouldn`t even be picking up a pencil? VELEZ-MITCHELL: Beth Karas, these are two good questions for Beth Karas. BETH KARAS, CORRESPONDENT, "IN SESSION": Ok. Yes. Ok. First of all, let me take the second one first. She said today for the first time that I`ve ever heard it, that she`s actually ambidextrous and she can write with both hands though she`s better with her left hand. Before this, she was always left-handed. Now, regarding the roommates, she may have known the schedule for one of the two roommates, Enrique Cortez. He would come home between 6:00 and 6:30 from work, he`d be gone all day. So she had to get out of there pretty quickly since we know an accidental photo of Travis Alexander dead was at about 5:32. So she had to get out of there within a half hour -- an hour tops. No roommate saw her. The other roommate, Zach Billings, actually was with his girlfriend. He had been house-sitting with her at her parent`s house. He was home that afternoon according to the police report I read from 3:00 to 4:00 in the afternoon when they were maybe having sex or something. But he was gone until 9:00 that the night. He did get home at 9:00 at night though. Neither roommate knew Travis was dead. VELEZ-MITCHELL: All right. Wow -- impressive knowledge of detail, Beth Karas. Our show, by the way, led it front and center in court today. The defense obviously watches this show. Because Jodi`s team demanded a copy of this explosive video that Travis` friend, Dave Hall gave to us exclusively last week. It clearly shows victim, Travis Alexander shooting an assault-style weapon. Now Dave gave us this video to help his buddy, who can`t speak for himself, to prove that Travis did not own his own gun as Jodi claims because Travis borrowed Dave`s gun to go target practice since he didn`t own one. Listen to this in court today. (BEGIN VIDEO CLIP) UNIDENTIFIED MALE: According to what we`ve seen on television through the HLN Network, Mr. Hall provided a video of Mr. Alexander at a shooting range, shooting guns. SHERRY STEPHENS, PRESIDING JUDGE: Do you have any objection to providing a copy of the video to the attorneys? UNIDENTIFIED MALE: No objection. That`s fine. STEPHENS: When can you do that, sir? UNIDENTIFIED MALE: Today. MARTINEZ: We would then call him as a rebuttal witness to indicate that Mr. Alexander did not have any hand guns, and that any time they went shooting, he would have to borrow them. (END VIDEO CLIP) VELEZ-MITCHELL: All right. Let`s bring our panel back. Is this a disaster for the prosecution, or can they explain that, hey, yes, he went target practice, but he borrowed a friend`s gun? And let`s start with Stacey Honowitz. STACEY HONOWITZ, FLORIDA PROSECUTOR: You know what, Jane, this video isn`t going to do anything. I mean certainly the prosecutor is going to call Dave Hall to the stand to testify to everything that he talked about on your show that I`ve been friendly with him. I know him. I have guns. If he had guns, he`d come out to the gun range and shoot with me. That he didn`t own a gun, that`s my gun that he`s shooting. So whether or not it comes into evidence, it`s really not going to make a difference. It`s not going to make it seem like he`s the aggressor. VELEZ-MITCHELL: Jayne Weintraub, shaking her head? JAYNE WEINTRAUB, CRIMINAL DEFENSE ATTORNEY: I think that it`s fabulous for the defense. I think it has him holding a gun, shooting a gun. It shows him with a predilection towards violence which goes to her fear. I think it`s good for the defense. HONOWITZ: How is shooting a gun a predilection to violence? JOEY JACKSON, CRIMINAL DEFENSE ATTORNEY: Yes, how is that a predilection? HONOWITZ: How does that make you an aggressive person? WEINTRAUB: He`s shooting. He`s target practicing. He`s got the not- so little gun. HONOWITZ: A lot of people own guns. WEINTRAUB: It`s an assault rifle. (CROSSTALK) WEINTRAUB: Really? Is that a handgun for self-protection? Look at that weapon. HONOWITZ: It was a .25 caliber that she talked about. Not an assault weapon. VELEZ-MITCHELL: Well, you know, I have to say, Dave Hall is the victim`s good buddy and he was trying to help his friend. We like him. He`s been on our show and I know he`s tried to do the right thing by his friend. But the first time I saw this video, I was like I`m confused a little bit. This has been given to us by a friend of Travis, but then when he explained it, I understood. But yet, I think that it`s tricky and I think that the prosecution is going to make sure -- got to make sure it`s not taken out of context. More on the other side. (BEGIN VIDEO CLIP) ARIAS: (SINGING) (END VIDEO CLIP) (COMMERCIAL BREAK) VELEZ-MITCHELL: While we`re working very hard to cover every aspect of the Jodi Arias trial, we`re also working hard on other stories we know you care about. Searches for missing children: Baby Lisa, Baby Ayla, Isabel Celis. We`re going to keep you posted on all the developments in these stories every weeknight here, 7:00 p.m. Eastern. We care about missing kids. (COMMERCIAL BREAK) (BEGIN VIDEO CLIP) MARTINEZ: Eight days, tell us all of that stuff? ARIAS: Yes, I think it was nine days. MARTINEZ: Ok, nine days. You have a good memory. For nine days, you told us all of that stuff, didn`t you? ARIAS: Yes. It wasn`t based on my memory. Someone told me nine days. (END VIDEO CLIP) VELEZ-MITCHELL: One of the most outrageous facts of this case is that after brutally killing Travis Alexander, Jodi drove to Utah and then made out, canoodled -- whatever phrase you want to use with another guy, Ryan Burns. They didn`t have sexual intercourse but they fooled around as it were. Prosecutor Martinez grilled Jodi about that make-out session and Jodi got into a nearly 3-minute back and forth dispute over details, one tiny detail. Listen to her side track the prosecutor. (BEGIN VIDEO CLIP) MARTINEZ: Your genitalia did not rub against Mr. Burns` genitalia, correct? ARIAS: That`s correct. MARTINEZ: But you did get on top of him. ARIAS: No I got off of him. I fell asleep on top of him. MARTINEZ: That`s not what I`m asking you. You keep saying "think". I want you to tell me. ARIAS: No, I got off from being on top of him. MARTINEZ: If you got off from being on top of him, at some point, you had to be on top of him, right? ARIAS: Yes. MARTINEZ: He also placed his hands between your legs, right? ARIAS: Not that I recall. MARTINEZ: You were here when he testified, right? ARIAS: Yes. MARTINEZ: So it could be that he did place his hands between your legs, right? ARIAS: No. Could be that he was full of crap. (END VIDEO CLIP) VELEZ-MITCHELL: This was a classic example of what happened all day long. I take notes during all of the testimony. And I start with what`s the issue? They`re talking about she fooled around with Ryan Burns after she killed Travis Alexander. But what happens is it`s proving my point is that I`m taking notes and notes and notes and I`m like, what are they talking about? And I think she has, as many pathological liars do, a brilliant ability to side track the conversation and sort of pull him in to these details. Weeds, as it were, so that he`s not getting to the point he wants to make sometimes. Let`s start with Joey Jackson on that. JACKSON: You know, it is true that he does have a tendency to be in the weeds when we need him to be in the bill boards. But the bottom line here is that if you listen to this cross-examination he ended it with, so you`re saying he`s full of crap. You`re the person who lied to him, you lied to your best friend Miss Udy, you lied to Detective Flores, but it`s him who`s a fibber, not you. So ultimately, she does have the effect Jane of pulling him off of his game, but he gets there. But if he sticks with the big ticket item and he sticks with his theory, he`ll bring it home and that`s a conviction. EVANGELINE GOMEZ, CRIMINAL DEFENSE ATTORNEY: He can`t. He can`t. He doesn`t seem to have the skill set to do it. Time and time again we see in this cross-examination -- HONOWITZ: Are you kidding? (CROSSTALK) GOMEZ: He can`t keep his eyes on the prize. HONOWITZ: He doesn`t have the skill set? Is that what you just said? JON LEIBERMAN, HLN CONTRIBUTOR: Jane, Jane -- (CROSSTALK) VELEZ-MITCHELL: Let Evangeline finish and then we`ll debate it. Evangeline -- GOMEZ: And that is why the cross-examination has been ineffective. He has not been able to deal that knockout punch. It hasn`t happened and it`s not going to happen. VELEZ-MITCHELL: All right. Stacey Honowitz. Stacey Honowitz. (CROSSTALK) HONOWITZ: -- for two days straight, this veteran prosecutor who has no skill set, has been able to extract every single lie that this woman has told. She`s manipulative. (CROSSTALK) VELEZ-MITCHELL: One at a time. HONOWITZ: Her life is built on manipulation. JACKSON: Order in the court. HONOWITZ: Her life is built on manipulation. She feels she`s manipulated everybody in her path, she`s going to manipulate this prosecutor to think things her way and it`s not going to work. VELEZ-MITCHELL: Jon Leiberman. HONOWITZ: He`s making his point. LEIBERMAN: Two things Jane. He`s making his point because he`s also pointing out that she remembers all of these details about all of these mundane things, but when it comes to the big things, she forgets -- that`s number one. Number Two, there are three women on death row in Arizona. Mr. Martinez put one of them there. He has the skill set to try these cases and he`s showing off the skill set. (CROSSTALK) GOMEZ: It`s in the cross-examination, that`s all. VELEZ-MITCHELL: Let me make this point. When you`re dealing with a pathological liar, I`ve been told and Beth Karas is actually the one that told me this. That prosecutors jump around a lot because one way to get them off their game and off of their stories is to bounce around. But if you take his bouncing around, because he`s not going in a linear fashion, and then you add her side tracking him, or getting him into disputes over minutia, sometimes I think he gets lost. (CROSSTALK) VELEZ-MITCHELL: However, he`s hit a lot of home runs today. But I don`t think he`s just batting a thousand. I think he`s hitting a lot of home runs, but there are times where she just completely co-opts, whatever the conversation is and then you`re like, what, after about two minutes of them going back and forth. That`s how I see it. We`re going to continue the debate on the other side. (BEGIN VIDEO CLIP) ARIAS: I don`t remember. MARTINEZ: A family home evening starts at 7:00 in the evening, doesn`t it? ARIAS: I don`t remember. I don`t remember the times. I don`t remember her name. It was five years ago, almost. I don`t know. I don`t remember. I don`t actually remember it. (COMMERCIAL BREAK) VELEZ-MITCHELL: Time for Pets of the Day, send your pet pics to hlntv.com/jane. Coco Chanel and Rufus -- what a pair; ebony and ivory, I love it. Chewy, you are just a doll. And Richard, Richard`s so regal. Like a king. Nikki, don`t be picky, Nikki. We like your picture. (COMMERCIAL BREAK) (BEGIN VIDEO CLIP) MARTINEZ: You are ashamed because you killed him? Is that what it is? ARIAS: I was definitely ashamed of that, among other thing. MARTINEZ: You were also ashamed that it would get out that you were the person that did it, right? ARIAS: Certainly. MARTINEZ: Your feeling of being ashamed was stronger back then to the point that it overrode your telling the truth, right? ARIAS: That`s right. MARTINEZ: And -- but that`s no excuse, is it? ARIAS: No. MARTINEZ: Nothing that you might have been feeling at that time was an excuse to lie, right? ARIAS: That`s right. MARTINEZ: But you still chose to do it, right? ARIAS: Yes. (END VIDEO CLIP) VELEZ-MITCHELL: Ok. This is where, and I`ve been very complimentary to prosecutors Martinez today. I think that he might be going the way of the Casey Anthony prosecutors who, remember, from their opening throughout the entire case hammered away at the fact that Casey Anthony was a pathological liar. Where`s Caylee? Where`s Caylee? Where`s Caylee? Well, Jose Baez pulled the rug out from under them by saying, oh, Caylee drowned and there was no missing child. So I`m concerned, Simone Bienne, that by hammering in on her lies, that he may be getting off the fairway where he needs to be to get a conviction that he wants, which is the death penalty case. BIENNE: Yes, you see, I think -- not speaking as a lawyer but looking at the human experience of what is happening here, I think he is making her seem more like a victim. So it can -- we can feel more sympathy with her and, Jane, your point about getting really lost, not having a legal background, I am quite lost in what they`re saying but I`m noticing her reaction. So as you say, the more he hammers her and talks about her lying, lying, lying, the more it actually gives her the chance to say, yes, I`m so sorry. I`m so sorry. I`m so sorry. So I don`t know how it`s going to turn out, I really don`t know. I think you can see this through two different lenses. But as a woman I am feeling more sympathy for her even though that may be wrong. VELEZ-MITCHELL: Oh, wow. Ok. Fascinating. It`s always good to get a non-legal perspective and I like your insights. Leroy, Michigan, your question or thought? Leroy? LEROY, MICHIGAN (via telephone): hi, Jane. My question is this. Travis had a dog, so obviously she must have snuck up on him if the dog didn`t bark if she was there for at least a minute. I have a dog and my dog barks when somebody pulls in my driveway so she had to have snuck up on him. He didn`t notice she was there. She murdered that guy. VELEZ-MITCHELL: You know, Leroy, that was a point that struck me, too. At one point she says she comes in and she looks at Travis and he`s on his computer and she`s just staring at him and his dog is on his lap. I have dogs, ok. They react when somebody just appears. So right there I said she`s lying about that. That is a made-up story. I agree with Leroy. More on the other side. (COMMERCIAL BREAK) VELEZ-MITCHELL: One word answer, who won, panel? Starting with Jayne Weintraub. WEINTRAUB: The defense, unquestionably. VELEZ-MITCHELL: Stacey? HONOWITZ: The prosecution, absolutely. VELEZ-MITCHELL: Evangeline? GOMEZ: Defense all the way. VELEZ-MITCHELL: Joey Jackson? JACKSON: Not even close, prosecution. VELEZ-MITCHELL: And Jon Leiberman? LEIBERMAN: Travis won today, the prosecution. VELEZ-MITCHELL: Yes, I think it was a very strong day for the prosecutor. Listen, when he had a week open, I thought he was screaming and yelling too much, focusing on small details like the fact that she called her sister stupid. Who hasn`t had an argument with a sibling? Today he really saved his righteous indignation for the big moments and he brought those moments home. Wow. This is the reason you don`t put your client on the stand. Nancy next. END


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About Us
Last Light Studio Books is an independent, author-friendly cooperative micropress. We favor a comprehensive workshop/studio approach in working with our authors. A significant chunk of our studio is virtual.
We know we can't do the same things as a large press, so instead of trying to be what we are not, we seek to accentuate the natural strengths that come with being small, adaptable and oh so lovable. Mostly, however, we are determined to bring literary works of art — brilliant fiction framed in compelling stories — to readers who love books.
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text: Housing Authority of Kansas City Kansas City Mayoral Candidates Agree Housing Costs Are Out Of Reach, But Not On How To Fix That By Laura Ziegler • Jun 6, 2019 Laura Ziegler / KCUR 89.3 Listen Listening... / 4:38 Kansas City isn't San Francisco or Seattle. By national standards, we're still an affordable place to live. But it turns out for those at the low end of the earning scale, affordability is elusive with the vast majority spending significantly more for housing than the 30% of income recommended by federal standards in the definition of affordable. National Homelessness Study That Includes Kansas City Shows Promise In Housing Vouchers By Natalie Mayer • Aug 3, 2015 Valerie Everett / Flickr-CC In 2011, Kansas City reported less than half a percent of its population as homeless. Though this may seem like a small sliver of the population, the U.S. has the largest population of homeless children and women in the industrialized world. Within the next year, 1.6 million children will experience homelessness in America. It's numbers like these that prompted the national Department of Housing and Urban Development (HUD) to approach Congress in 2008 to find a solution to effectively end the housing crisis for homeless families in America. Mold, Rats And Uncertainty Run Rampant At KCK Housing Project By Eleanor Klibanoff • May 20, 2015 Eleanor Klibanoff / KCUR Driving up the hill to the Rosedale Ridge apartment complex, it's hard to imagine that anyone lives at the top of this steep incline. But the steps cut into the side of the road tell a different story: 350 low-income residents live in six squat buildings and most them don't have cars. They walk up and down this hulking hill multiple times a day. But probably not for long — Rosedale Ridge is on the verge of being shut down because of terrible conditions. Residents have mixed feelings about their departure, if it even happens at all. Going Separate Ways By Gina Kaufmann, Matthew Long-Middleton, Eleanor Klibanoff & Sylvia Maria Gross • May 19, 2015 Eleanor Klibanoff / KCUR Listen Listening... / 50:32 After years spent battling landlords and management, residents of a Kansas City, Kansas public housing complex await promised vouchers for housing of their choice. What will happen when, and if, they get off that steep hill? Armour Boulevard And Ethical Issues Surrounding Low-Income Housing By Gina Kaufmann • Oct 27, 2014 Controversy has swirled around the Bainbridge apartment complex on Armour Boulevard for years. A legal back-and-forth has accompanied the city's designation of the property as socially blighted. This discussion addresses larger issues about low-income housing and how it is -- and sometimes isn't -- integrated into the fabric of a neighborhood. Guests: Three Decades Of Poverty Law In Kansas City: Highlights From Julie Levin's Career By Gina Kaufmann & Matthew Long-Middleton • May 22, 2014 Courtesy of Julie Levin. Julie Levin has worked with Legal Aid of Western Missouri since 1977. In that time, she's had some monumental cases, from a suit against the Kansas City Housing Authority in 1989 that changed the face of public housing, to a case on behalf of a client who lost her job while on maternity leave. That last case went all the way to the U.S. Supreme Court. Housing Authority of Kansas City Improves Quality By Bill Anderson, Matthew Long-Middleton & Claire McInerny • May 29, 2013 www.barstoconstruction.com Listen Listening... / 51:31 In the 1980's, some of the public housing units in Kansas City were infested with rats, mice and cockroaches. Plumbing and electrical problems put the health and safety of residents at risk. Complaints to the housing authority were ignored and it seemed to be an organization more about serving political needs of a select few than a place organized to provide people clean, safe, affordable housing. Under such circumstances crime became problematic.


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Summer Camp 2014
Eniath's Summer Camp will be commencing on July 7th 2014 and ending on July 25th 2014.
Registration will be held on July 5th 2014 from 10:00 am to 2:00 pm.
Select photos from past Summer Camps are can be viewed in our Gallery.
We look forward to seeing you!
If you have comments or questions, please feel free to call us at 1(868) 672-0807.


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Released November 24, 2017
The Magic Words demo compilation / Damnably (UK)
Available Formats: Cassette, Download
Track Listing
- Jonah
- Skip
- Melody Ranch
- Loaded for Bear
- Mayflies
- Millie Christine
- Watch Yer Back
- Hello Goodnight
- Killer Trees
- Summertime
- New American Standard
- Watch Yr Back
- Maglite
- Rigor Mortis
- Losing Streak
- Tiny Spiders
- Little Paper Birds
- Watch Yer Back
The Magic Words (Damnably, 2017) is a self-titled compilation of solo home recordings by Lisa Walker of Wussy. The limited edition cassette features newly remastered versions of tracks that originally appeared on Walker's limited self-released albums Junk Train and The Day We Ran Away. Both releases feature the bare bones of songs that were later to become fully formed Wussy classics.
"Junk Train, the debut from The Magic Words (aka Lisa Walker of Cincinnati's Wussy) captures the grounded, primitive nature of lo-fi's best. Walker began the project as a means to write new songs for Wussy, but soon realized she had an affinity for her initial tapes. The recording quality adds a sense of mystery and immediacy, much like PJ Harvey's amazing 4-Track Demos CD. On "Loaded For Bear," Walker mixes in remedial computer quirks and beats over simple acoustic strums, while she layers her smoky, distorted vocals like early Elliott Smith. The unselfconsciousness of the recording is reflected in Walker's engaging vocals, which sometimes crack and waver fittingly on emotional songs like "Mayflies" and the mangy "Watch Yer Back," which is built on a grungy, noisy guitar riff that apes the clinched-fist vengeance of the lyrics ("It's time the rites were read/This is better left for dead/I heard things you said"). Fidelicists might not be able to get past the bareness, but music fans who love good songwriting presented as intimate as a whisper in your ear will relish Junk Train's pragmatic aura. "(Mike Breen, CityBeat)
All songs by Lisa Walker. Tracks 1-9, 11 and 13-17 were performed, recorded and mixed by Lisa Walker in 2004-07. Track 10 was performed by Walker with David Enright in 2009, recorded by Walker/Enright, and mixed by Enright. Track 12 was performed by Walker with Bill Alletzhauser and recorded/mixed by Alletzhauser in 2004. Mastered by Matthew Barnhart.


text: Body & Soul Weekly Challenge: April 13th April 13, 2015 / livegreaterwp Jog 1 mile, each day this week. Don't worry about how fast or slow you are going, just get the mile done. Every night this week, spend time praying with your significant other before you go to bed. 0 Likes categories / Body & Soul Challenge


text: The Inuit of Nunavut :: 2 posted Jul 29, 2008 John Hasyn Boy and EldersElders are celebrated and respected in Inuit society. A boy cycles past murals of elders painted on the side of a public housing complex in Iqaluit. 2 of 20 John Hasyn is a Toronto-based documentary photographer. He has worked for a variety of non-profit agencies around the world and is currently working on a long term project about the life of the Canadian Inuit. He also facilitates multimedia workshops for Inuit youth throughout Nunavut, Canada. See more of his work at www.johnhasyn.com


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Series: Cyclone #2
Published by: Victory
Published: October 2016
Pages: 303
Format reviewed: eVersion from NetGalley
Site: Author Site
Goodreads: Book Page
Stars: Five out of Five
This is the second in the Cyclone series, however can be read as a standalone. The whole series however, starting with Trade Me and peppered with short stories here and there (listed in the back of the book) are all worth reading and impossible to put down.
In the first book, Tina and Blake are the main characters. We see snippets of Tina's best friend and roommate, Maria. This book is all about Maria and Jay, who meet through Maria's brother. Jay is driven and determined to not be distracted from his mountain of accomplishments and commitments, and Maria has enough problems of her own to deal with her brother's grouchy and rude friend.
What makes this series spectacular is that, without making too much of a deal of it, (and what you'll already know if you've started the series with Trade Me), is that Maria is trans, and together they are of different backgrounds. Milan also bucks social norms (having Jay's mother be outspoken and sweary, etc) in the most excellent of ways.
Through Milan's on point characterisation and ability to connect seemingly innocent things through background lie plot references, we have a book that can't be put down as you can't wait to see the dawning realisation on the characters at certain intervals. You realise certain things before the characters do, though not in an annoying way. It's engaging and leaves you wanting more, as always, which is why Milan finishes off with links to short stories set in the same world, a suggestion of which series to read next, or a list of other authors and series she recommends if you're already read through her own backlist.
I can't wait for any new parts to come out in the series – I'm desperate. I can't wait to see more of each character (which is such a rare thing!) and I'm slowly starting to trust anything Milan offers – time to get into one of her other series, I think!


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text:
Speed Up with CSS3 Gradients
From the article:
Speed Up with CSS3 Gradients | CSS-Tricks
WebKit browsers paved the way with CSS based gradients. Now Firefox 3.6 is out and is supporting them as well, which makes using them for progressive enhancement all the more appealing. More good news, CSS3 gradients fall into the camp where you can specify fallbacks (i.e. images) so that browsers that don't support them just use the image instead.
But wait… if you need to use an image anyway, why bother with declaring the gradient with CSS? That is kind of how I felt for a long time, but there is one important aspect that makes it worth it: browsers that support them don't load the image fallback. One less HTTP Request = all the faster your site will load.
Huge thanks to Patrik Spathon for this idea and help with the demo page!


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Selena Gomez has sparked rumors she has moved on from her on/off relationship with Justin Bieber after spending her 22nd birthday on vacation with a new man.
The singer celebrated her big day on Tuesday by relaxing on a yacht off the coast of St. Tropez in France with model pal Cara Delevingne, and photographers were there to snap her celebrations at sea, which included several embraces with businessman Tommy Chiabra.
In one shot, Gomez is pictured wrapped in a towel as she leans back into the arms of Chiabra on the deck of the luxury boat, and, in another snap, the birthday girl holds on to her rumoured new beau as they ride a jet ski.
She fueled the romance gossip by linking arms with Chiabra later that evening as they enjoyed a night out in St. Tropez, reports the New York Daily News.
The singer has yet to comment on the latest dating reports, but she took time out of her day to express her gratitude to her fans for their birthday wishes.
She wrote, "Thank you SO much for my birthday wishes this has been the BEST birthday yet! THANK YOU!!!!"
Photo Credit: Helga Esteb / Shutterstock.com


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'Let's Get Lost'
The most exhilirating experience I had in a cinema last year was when I saw a movie that was made when I was twelve; about a guy who seems to have treated everyone around him very badly indeed; but who managed to produce some of the most elegant and meditative music ever recorded.
Chet Baker, in 'Let's Get Lost', Bruce Weber's pseudo-documentary/pseudo-tragic-romance film, acts out the title, lives to excess, and then dies, just as the movie is being completed.
We see him behaving badly, playing his trumpet, behaving badly, looking amazing, behaving badly, driving down Sunset Boulevard, behaving badly, making cigarettes look far cooler than they should, behaving badly, and producing exquisite sounds that are the reason we wanted to see the movie in the first place.
It is, as I said, an exhilirating ride - the breeze hits Chet's face from the front of his convertible, the pathos of his dysfunctional parenting hits us in the gut, the music beguiles us in the space between spaces, and we are confronted by the paradox of art: some people can make very beautiful things, but can't get out of bed in the morning.
'Let's Get Lost' gets its television premiere tonight on the Sundance Channel; and Weber's newest short film 'Liberty City is Like Paris to Me' shows up online next week before Sundance screens it on the 27th August.


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- Introduce and explain the concept of communication.
- Highlight that communication is an ever-present activity in our daily life.
- Highlight that in verbal communication messages get distorted due to selective listening or misinterpretation of words.
- Bring out that the distortion increases with the length of a chain.
Time Required:
30 Minutes
- To introduce the concept of communications.
- To show how things can be miscommunicated
- Instruct the girls to sit in a circle
- Instruct one member to whisper one sentence into the ears of the next member and emphasize that the sentence should be whispered only once.
- The member receiving the sentence cannot ask for clarifications.
- This goes on till the message reaches the last member.
- Instruct the last member to reproduce the sentence aloud
- If the sentence has changed get each member to reproduce what she heard and check at what point the sentence changed.
Discussion Questions:
- Was the message the same at the end as when it started? If not, why do you think the message changed?
- What does this tell you about 'overhearing' things from someone? Do you think something you hear indirectly could be confused for something else?
- Did you find it hurtful to know what was being said around the circle?


text: I will be in Peru next month on the Inca Trail and am considering bringing my HT. I would like to be able to get messages back to family via email. Is there anyone in the southern part of the US (possibly Texas?) that could help me with this? It looks like there would be some footpaths that would cover several minutes on most days. Please respond directly to me. Thanks Scott AC3A **************Recession-proof vacation ideas. Find free things to do in the U.S. (http://travel.aol.com/travel-ideas/domestic/national-tourism-week?ncid=emlcntustrav00000002)