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Deborah Remus
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Deborah Remus
Show Review: New Found Glory (05/26/13)
05/27/13 at
Deborah Remus
So we already have a few New Found Glory show reviews on this website, but I still felt compelled to write one on my day off because this was New Found Glory's first show in Winnipeg and the first official tour across Canada. I don't know why they skipped over us the last 16 years, but I'm not really angry as much as I'm happy that they've finally seen the light. Aside from attempting to promote my favourite Canadian bands, I've always tried to promote the country in general because there's so much potential up here. I don't know if anyone actually listens to me, but that's seriously one of the main reasons I've remained a staff member here at AbsolutePunk. Most of the time Winnipeg puts on some pretty awesome shows and the more bands realize this the better. Last night was a huge success and I can only hope for the same when The Wonder Years finally get up here on June 8.
Living With Lions were up first and they were awesome as always. I've written it a million times, but I will never, ever, ever get sick of seeing those guys. There were too many people sitting way back in the seats, which I thought was crazy because this band plays Winnipeg all the time and I think that anyone who's into pop-punk should love them. But there was still an enthusiastic and dedicated bunch of us up at the front so I guess it didn't matter that much anyway. The guys sounded even better than they did in January, which I thought they would as they've continued to perform more shows as a four piece. They ended up playing a new song off the new 7" called "My Winter Vacation" and it sounded really good. It starts off with a cool bassline from Bill and I think everyone should love it. If you've seriously been a huge fan of this band since 2007 like I have I don't know how you can all of a sudden turn your back on them now. They mostly played stuff off of
Holy Shit
, plus the occasional choice cut from
Make Your Mark
Dude Manor
. It was a good set and of course it ended with "A Bottle of Charades."
Cartel is another American band that's never seen the Canadian prairies and it was cool to finally see them. I listened to
a lot back in the day and then I started to lose some interest, but I have to admit the show last night made me want to take another listen. It was a pretty simple set, they mostly just stood around and played their songs, but they sounded great and they truly write some really catchy hooks. I enjoyed hearing "Deep South" live and of course it was cool to finally here "Honestly" too. More people showed up to see Cartel and they seemed into it. I noticed someone even made a sign that seemed to be filled with song requests for the band to play.
Lastly it was time for New Found Glory and the band honestly put on one of the better sets I've seen in awhile. I also think it's important to note that
Sticks and Stones
wasn't one of the records that got me into the genre, I've always thought some of their songs were catchy and that's about it, though that didn't stop me from immensely enjoying the show last night. As a casual listener of New Found Glory, I left the Garrick with a new sense of respect for that band that I didn't have before. They really know how to put on a really good performance and it basically boils down to 2 factors.
For one thing the show was just incredibly energetic. I was feeling pretty exhausted by the time they went on, probably because I was standing around all day at my retail job, but the second they ran out onstage and launched into "Understatement" I felt like I had drank 10 cups of coffee. It feels kind of corny writing that, but I don't know how you can't feel pumped by watching that band play. I'm not going to go into too much detail about the set-list because that's what
this site
is for. I will say that we got a second encore and they didn't end up playing "Kiss Me" even though it was on the set-list that was taped right in front of me on the stage. They put everything they had into every song and it was really awesome to see.
Secondly I really liked that it was intimate and they didn't bother putting up a barrier. Some bands do when they play the Garrick and in some ways I can understand their decision. Near the end of the set during "Hit or Miss" some drunk bro pushed his way to the front and threw beer right into Ian's face. I don't know how often that happens, but I feel like I have to apologize on behalf of Winnipeg because that was such an asshole move. That's why bands hire security and put up huge barriers, but I'm sort of glad that NFG doesn't seem to allow the one idiot in the crowd to ruin it for everyone. All of the guys were really great about interacting with the crowd, Ian even handed me one of his guitar picks by placing it on my head, of all places. It's been a long time since I've brought home a souvenir from a show so that made the night even better in some ways. I was pushed up against the stage for the whole thing and I wouldn't have had it any other way. The best shows are always the ones where you feel like you're part of something, not just a random spectator watching from a distance. NFG definitely delivers that experience and that's why you should go see them.
new found glory
living with lions
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I Saw Broadway Calls Last Night...
04/10/13 at
Deborah Remus
And I just wanted to say that it was awesome. The fact that they actually came back to Winnipeg, the fact that they played all my favourite songs and the fact that I was right in front of Ty for the whole set definitely added to the experience. After going to so many "big" shows lately it was really nice to return to something more intimate, something that felt more like a party than an actual show. That's the main reason that I'm not writing an actual review, because I have a hard time reviewing something that isn't really supposed to be some huge spectacle. This is the type of show where everyone hangs in the crowd for the opening bands, where there is no encore or elaborate stage setup. It's just a bunch of people spending the night together and enjoying some really awesome music.
Oh, and I want to give props to 1971 for ending their set with "Pain For Pleasure." Thanks for doing what the real Sum 41 didn't have the time for almost two weeks ago.
broadway calls
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Show Review: Billy Talent (03/28/13)
03/29/13 at
Deborah Remus
Near the end of Billy Talent's set, while they were playing their first hit single "Try Honesty," Ben Kowalewicz stopped singing to let the crowd in on a few facts. For one, he mentioned that this summer will be their 20th anniversary of playing in a band together. For another, he mentioned that it will be their 12th anniversary of being known as Billy Talent instead of Pezz. And also he gave a shout out to Sum 41, who took a chance on them before anyone cared and brought them on their first real tour across Canada in 2001 or 2002.
And while I don't mean to correct him, I think he has the dates wrong because I remember attending the very tour he's talking about on May 25, 2003 at the Burton Cummings Theatre right here in Winnipeg. That was the first of countless shows I've ever attended over the years and that makes attending the
Dead Silence
tour 10 years later all the more meaningful to me. Tons of things have changed over the last decade, not only in my life, but in the lives of the bands as well. But the one thing that hasn't changed is that they're still playing shows and I'm still into the same music I loved when I was in grade 7. I feel like this tour is just concrete proof that it was never just a phase, that there was something really special going on that night in 2003 and I think it's cool everyone (except Brownsound) is here to commemorate it:
Over the years Billy Talent and especially Sum 41 have been incredibly supportive of up-and-coming Canadian bands. This was no different last night when they selected Indian Handcrafts from Barrie, Ontario to open up the show. I have to admit I don't know that much about this band, aside from the fact that they only have two members and they're signed with Sargent House, but I still enjoyed their set. They lack the energy and charisma that brings a lot of arena shows to life, but I have a feeling if I saw them at a place like the Pyramid they'd be a lot more into their element. They never addressed the crowd until the end of the set and even then it was only to introduce themselves and talk about their Jagermeister sponsorship. I really think they could have done a better job bringing some life into their set, but the music was good.
Hollerado were in the same boat because they never played arenas before either, but this quirky pop rock band from Manotick, Ontario proved that they are born naturals and absolutely commanded the crowd. They kicked their set off with "Americanarama" by having a pogo party on stage and in between songs they were just as lively. Instead of spending a lot of time plugging themselves and the record they just released in February, they chose to compliment the crowd (whether it was by mentioning the Winnipeg Jets or Propagandhi) and tell the back story behind one of their tunes. Like Billy Talent opening for Sum 41 in 2003 and Protest the Hero opening for Sum 41 in 2004, they left the crowd wanting more and I can only assume they're going to have a bright future ahead of them.
Up next was Sum 41 themselves and I was quite excited for their set, mostly because the last time they played Winnipeg was in 2005 and the last time I saw them was in 2004. After the departure of Brownsound they stopped touring Canada as much and Deryck Whibley's back problems forced them to cancel shows in 2007 and 2011, but they finally returned last night and that's all that matters I suppose. Deryck also acknowledged this during their set, saying they were "fucking assholes" for taking so long to come back and I can't say I disagree with him, haha.
I was curious to see what they would play and in the end their choices surprised me a little bit. For a band that talked themselves up so much surrounding the release of
Screaming Bloody Murder
, I found it very interesting that they chose to play none of those songs. I'm not really disappointed because I didn't really like that record, but I still find it amusing, especially when I think back to that free documentary they released awhile back. I'm not really too sure if it's because they don't like those songs after all, they know most of their fans prefer their older material or they wanted to keep up with the 10th anniversary theme, but whatever the reason the older material is what we got. They also busted the first cover I've seen them play, which was a lively punk version of Queen's "We Will Rock You" that was incredibly well done.
As for the actual performance, it was absolutely phenomenal. I was sort of doubting them, but they came back and definitely restored my faith in their band. I'd have no problem slamming them in this review if I thought they actually deserved it, but I can't do that because there's nothing to really complain about. They came out to AC/DC's "TNT" and then Deryck (who still has his spiky hair that's currently dyed red) addressed the crowd saying "Here's Johnny" before launching into "The Hell Song." The band sounded amazing and they looked like they were having fun, which is always a plus. Deryck was an even better front man than I remembered him being, he seemed even more confident this time around, but maybe that's just me. He reminded me a bit of Green Day's Billie Joe Armstrong at times and that definitely isn't a bad thing. He tried to keep the crowd engaged and at one point he pulled up a few people to watch their set from the side of the stage, which I thought was cool. I still miss Brownsound, but Tom Thacker is amazing guitarist while Stevo and Cone were just as awesome as I've always remembered them. One thing I noticed is that the band chose to improvise some of their songs, which I thought added a nice touch. At the end of "Motivation" they played this metal instrumental and for "In Too Deep" they launched straight into the loud chords instead of doing the softer guitar intro. The only thing that sort of bummed me out was that they didn't launch into "Pain For Pleasure" after "Fat Lip." Deryck going behind the drums and Stevo grabbing the mic was always a highlight back in the day, but their set was a little on the short side and I guess they didn't have the time.
The Hell Song
We're All to Blame
In Too Deep
Walking Disaster
Over My Head (Better Off Dead)
We Will Rock You
Still Waiting
Fat Lip
While Sum 41 ignored their newest material, Billy Talent definitely didn't follow suit and they played a lot of tracks from
Dead Silence
, which was released last September and proves they still have the capability to release good records. Of course they also tossed in their beloved singles and some choice cuts like "This Is How It Goes," but the new record definitely dominated the stage set-up and song choice that night. I think this is my fourth time seeing Billy Talent and they sounded great as always, especially Ian D'Sa who was playing a guitar with a maple leaf on it. The band talked a lot about Canada and hockey in between songs, giving a shout out to the late Stompin' Tom Connors and making a bet that they'd play a free show in Winnipeg if the Jets beat Ben's team (I'm assuming that's the Leafs?) in the playoffs. The stage set-up was similar to how it's always been, but I noticed they had screens on both sides of the stage that captured the guys as they were playing. I thought that was cool, but I was also in the stands so I wasn't exactly that close to the stage. A lot of people were complaining that Deryck looks awfully old in the birthday thread I made for him last week, but based on where I was sitting and without the use of the screen for their set, I can't really comment, haha. I will say that all the guys in Billy Talent were looking pretty good though. Near the end of the set the camera was flipped and it showed everyone in the crowd going crazy instead, which was another nice touch.
As for the crowd, it seemed to be a decent turnout and it wasn't just your typical punk show kids. I sort of feel silly for writing this, but we spotted a guy with an Insane Clown Posse jacket and after watching people in my Critical Studies of Discourse class give a 45 minute presentation on Juggalos I just have to mention it in this review. I think it really hammers home my point that Billy Talent brings out a large, diverse group of people and I think that's a pretty awesome thing in most cases. With their trademark sound and because Americans don't care, I really think it's laid the groundwork for Billy Talent to become a band that we can really call our own as Canadians. This was one of those nights that makes me really happy to live in Canada and be around for some of the amazing music that's being made. I guess I can still be pissed that American bands like Fall Out Boy pretend we don't exist, but we have our own amazing bands right here in our own backyard and that's something I should be more grateful for. Make sure you go to the
remaining shows
of this tour and show your support for our amazing homegrown talent!
Lonely Road to Absolution
Viking Death March
Devil in a Midnight Mass
River Below
Love Was Still Around
The Ex
This Suffering
Stand Up and Run
Rusted From the Rain
Saint Veronika
Runnin' Across The Tracks
Diamond on a Landmine
Man Alive!
This Is How It Goes
Try Honesty
Devil On My Shoulder
Fallen Leaves
Surprise Surprise
Red Flag
show review
billy talent
sum 41
indian handcrafts
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Show Review: All Time Low (01/21/13)
01/22/13 at
Deborah Remus
Usually I only go to shows when I'm really into the bands playing, but sometimes curiosity (and a little nostalgia) gets the best of me and that's pretty much what happened last night. The nostalgia hit pretty hard when I walked into the Burton Cummings Theatre and they were blasting Cute Is What We Aim For, followed by some older New Found Glory, Blink-182, The Matches and My Chemical Romance. It perfectly set the tone for the night and reminded me why I was there in the first place, even though it was -27 degrees Celsius outside.
Fireworks were up first, although I was more curious to see them than nostalgic. The band kind of fits in with The Wonder Years and Living With Lions, but they still went over with the crowd of predominantly teenaged girls pretty well. Most people chose to stand rather than sit, which I thought was interesting, especially because most sat when Teenage Bottlerocket and The Menzingers had the exact same slot on the exact same stage. I still think the lead singer's voice is too high pitched for my tastes, but other than that they sounded pretty good and brought a lot of energy to their short set. In between songs they discussed the seats and the cold, which is something every band talked about that night. The only surprising thing is that they never paid much attention the their first record. They didn't even play "Detroit," but I guess bands can get sick of songs sometimes. These are the tracks that I caught, but I could be missing one:
I Grew Up in a Legion Hall
X's On Trees
Oh, Why Can't We Start Old and Get Younger
The Wild Bunch
Yellowcard almost didn't make it because their bus broke down in the cold, but thankfully they did because they played the best set that night and I'm glad I finally saw them. Ryan Key joked a few songs into their set that they'd hurry up and get to "Ocean Avenue" as quickly as possible, but truthfully the band's new material translates just as well, especially the live version of "Always Summer." The guys weren't quite an energetic as I was expecting, especially since I heard Sean Mackin does back flips, but they were still talkative with the crowd and fun to watch. This band will always make me think of grade 8, but seeing them live showed me that they haven't lost all relevance in 2013 and I will be giving
Southern Air
another spin. This is the set list that has been circulating around and it seemed pretty accurate to me:
Surface Of The Sun
Way Away
Rivertown Blues
Light Up The Sky
Always Summer
Rough Landing, Holly
Sing For Me
Here I Am Alive
Only One
With You Around
Southern Air
Lights And Sounds
Ocean Avenue
While it was a co-headlining tour, someone had to play last and that was All Time Low, which was probably a good choice. The crowd was excited to see Yellowcard, but they were even more excited to see those guys come out and play some songs. It's been over 5 years since I saw All Time Low with Boys Like Girls, Valencia and The Audition and a lot has changed, aside from just the larger venue. The band has put out three more records since then and they definitely focused on
Don't Panic
Nothing Personal
the most. "Dear Maria, Count Me In" and "Coffee Shop Soundtrack" were the only songs I really knew the words to, but I can't say I was shocked by their decision to keep it more current either. The newer stuff doesn't stand out to me as much, though I do like "The Irony of Choking on a Lifesaver," a song that the band unfortunately didn't play that night.
Yet, despite my jaded attitude the crowd seemed to love the songs the band chose to play. The girls were all screaming, while holding signs and even paper hearts. One thing that didn't really change was the stage banter about testicles and running naked through the streets. These guys were even more talkative than Yellowcard and Alex Gaskarth proved again that he's really good at fronting that band and commanding the audience. There was a point where he made everyone on the floor sit down in their seats while he lectured the people in the balcony for sitting there texting and people actually seemed to listen to him. It's like the crowd would seriously do anything that he said.
I see the bra throwing is still going on, something I didn't see the last time, but remember reading about through this very website. There were just a few on Jack Barakat's mic stand, but still, it's something that puts a bit of a bad taste in my mouth. I know it's not supposed to be offensive, but for me it just continues the idea that women are only capable of being girlfriends or groupies. I wish more girls would be inspired to do more than just fool around with guys in bands, but I'm afraid that I don't see that attitude changing anytime soon either. Their fangirls are pretty intense, but at least the band is willing to laugh at them a little I guess. When Gaskarth tossed his water bottle into the crowd, some girl immediately tossed it in her purse and he joked around with her about it, even doing a Gollum style "My Precious" impersonation. Ultimately All Time Low proved they know how to keep their target audience happy and in the end I learned I'm not really a part of that audience like I once was:
Somewhere in Neverland
Forget About It
For Baltimore
If These Sheets Were States
Damned If I Do Ya (Damned If I Don't)
Coffee Shop Soundtrack
Lost in Stereo
Backseat Serenade
The Reckless and the Brave
Dear Maria, Count Me In
all time low
show review
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Show Review: Title Fight (01/12/13)
01/13/13 at
Deborah Remus
Going into this show it was interesting to see just how many people would show up, especially because you can never be sure how the crowd will react in Winnipeg. I've seen Sharks, Thursday, Cobra Skulls, Broadway Calls, Dave Hause, Tony Sly and more play to an almost empty room and that's always a bummer because you know the band doesn't really have a reason to come back, especially when the city is so isolated in the first place. Thankfully that didn't happen with Title Fight and Winnipeggers were stoked to see them so I'm sure they'll be back sooner than later. After such a slow year, 2013 is already starting to look up and hopefully the city can welcome more bands like this during the next 11 months.
Title Fight kicked things off with "Secret Society" from
Floral Green
and mostly let the music speak for itself. Out of the four, bassist/vocalist Ned Russin was the most entertaining to watch live and while he didn't say much in between songs he did apologize for not making it to western Canada sooner. Other new tracks like "Leaf" made the cut, but so did older ones like "Memorial Field" and "27." "Numb, But I Still Feel It" is a song I always have to blast when it comes on shuffle and being able to hear it live was a definite highlight. The crowd went wild throughout the set and there was a ton of stage diving, even though the volunteers at the WECC seemed to disapprove. People were also shouting for an encore when the approximately 45 minute set was over.
As usual, Living With Lions played another entertaining set. This is the first time the band has officially played Winnipeg as a four piece with Chase taking over vocal duties and while his voice isn't as low there wasn't a huge difference. Bill took on the backing vocals and it mostly sounded like the Living With Lions everyone already knows and loves. It's a bit of a bummer that Stu's no longer in the band because he really was a great front man, but the band proved it is possible to make it work as a four piece and they're still one of my favourites making music in Canada right now. Sometimes the guitar was a little bit sloppy as Chase sang, but it's still earlier in the transition and I expect the band will be more polished when they return. The set began with "Pieces" and then launched into the next three tracks on
Holy Shit
. The latest record was where most of the songs came from, but they still fit in "Later is Better," "Cold Coffee," and "A Bottle of Charades" at the end. The set was less talk, more rock as usual, but Chase did acknowledge it had been ages since they had been in Winnipeg, which was true. The band played three shows here in 2011, but no shows in 2012, so seeing them within the first two weeks of 2013 was long overdue for sure.
Dangercat seems to be quite popular in this city and brought out a decent sized crowd who seemed to know the songs from
Where I'll Be
, which was released through The Newform Label last year. It will be interesting to see what happens with this band in 2013 and if audiences outside of Winnipeg latch onto them. There were a number of people who showed up for Distances as well, another band that gives me some faith in our local music scene. They seem to sound way better live than on the recordings so that means I might have to give that EP another chance soon.
show review
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living with lions
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Show Review: Gallows (11/16/12)
11/17/12 at
Deborah Remus
The first show of 2012 was City and Colour and it looks like the last show I'll have seen this year is Gallows. It's not the Alexisonfire farewell tour, but it's still cool to see the former members haven't totally forgotten about us. I've personally always wanted to see Gallows, but when Frank Carter was in the band they never made it to the Canadian prairies. They were supposed to play on the massive Billy Talent/Alexisonfire/Against Me! tour in 2010 and Cancer Bats ended up filling in the slot instead because they couldn't make it.
But with Wade MacNeil on vocals, he has made touring across Canada a priority and that's something he acknowledged himself last night. He said it was cool to show the guys more of his country, especially since he got to see so much of the U.K. earlier this year. Then he launched into "Cross of Lorraine" and dedicated it to us. Overall, the band played an intense, compact set that lasted around 45 minutes. They chose a few other songs from the self-titled record, like "Outsider Art," "Odessa" and "Last June." But they also opened with "Misery," a single from 2009's
Grey Britain
and tossed in tracks like "London Is The Reason." The band also busted out "In the Belly of a Shark" and they ended with "Orchestra of Wolves," which sparked a cool singalong at the end. While the set was a bit short, it was a good mixture of everything they have released so far.
I've seen more people packed into the Pyramid, but I've also seen a lot less so I'd say the band had a decent mid-sized turnout. It was nice to see a smaller show without a barricade and the crowd was well behaved, aside from someone who MacNeil kept telling to be quiet between songs. The pit wasn't too crazy, but it was also a bar show and people were older so that's possibly why. Gallows sounded great and everyone was energetic, especially guitarist Laurent Barnard. MacNeil didn't move around as much, but he still delivered a solid performance.
Montreal's Barn Burner were the opening act and they were OK. There was a lot of long hair, a lot of head banging and a lot of metal riffs, but that was the extent of it. I think I would have enjoyed the set more if I was a bigger fan of the band and of metal in general. They just kind of got up there and played their songs, which is fine, but it doesn't really do much to engage the crowd. Sometimes the songs speak for themselves, but I can't say that was the case for me last night.
And since both bands played for less than an hour, they got two local bands to take the stage as well. One was called Terrorist. The other was called The Blackout Brigade and they reminded me of the Bouncing Souls and Pennywise mixed together. The singer admitted right at the start that they aren't really active anymore and they were only playing the show to see Gallows for free, so take that as you will. Musically they showed promise, but the vocals were absolutely awful, even for a punk band. I think Dangercat or Kids and Heroes would have been a better fit, but the band did have some people singing along near the front, so I could be alone on that one.
barn burner
show review
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Show Review: Marianas Trench (10/21/12)
10/22/12 at
Deborah Remus
After releasing three commercially successful records, Marianas Trench have finally started headlining arenas in Canada. And despite listening to them since I heard "Say Anything" in 2006, this was the first time I got around to catching them live. I wish I didn't put it off for so long, but I'm also really glad that they've reached this level and can pull off a huge tour like this. If there's any band on Hot 103 deserves a show at the MTS Centre, it's definitely them.
The fans were the main focus that night and the guys tried to interact with them as much as possible throughout the show. Before they launched into "Beside You," Josh Ramsay said their first show in Winnipeg was at the Zoo. Then they showed a slideshow of pictures submitted by fans while they performed as a way of saying thanks. At one point Ramsay decided to sing in the crowd and once he got to my section girls bolted down in hopes of getting close to him, which I can tell was the highlight of their night. During the encore he let fans choose the song he would cover via Twitter, which was my personal highlight of the night. I was expecting him to cover Justin Bieber or another current artist, but to my pleasant surprise he launched into "Jumper" by Third Eye Blind while sitting behind a huge white piano. The moms and girls in my section didn't seem to get it, but I was totally smiling.
The band promised theatrics, which they more than delivered. At the start of the show Ramsay came out of a jack-in-the-box and he was attached to some wires which allowed him to float around in the air. They decided to recreate the underwear scene from the "Desperate Measures" music video and that was just one of the many costume changes. I think it's also worth mentioning that there was a person in a pink gorilla suit running through the sections pumping up the crowd. Basically there was always something crazy going on, the band really tried to do something different for each song. And if you think I'm talking about Ramsay too much while ignoring Matt Webb, Mike Ayley and Ian Casselman, it's just because he stole the show and truly commanded the crowd. The guy has an amazing voice on recordings and it was really cool to finally see him in action.
As for what they played, it was mostly songs pulled from
Ever After
which was released last November. It's another concept record and while they didn't play the whole thing front to back, they showed video clips which recreated the storyline in between songs, which I thought was a nice touch. I wish they busted out "Perfect" but I can't really fault them for it. I was entertained even if I didn't get to hear some of my personal favourites:
Ever After
All To Myself
Shake Tramp
Desperate Measures
Truth or Dare
Beside You
Toy Soldiers
Celebrity Status
Haven't Had Enough
Cross My Heart
So Soon
No Place Like Home
The opening slot should have gone to Brighter Brightest, but instead it went to Vancouver's Anami Vice, who were pretty much a poor man's Down With Webster. I was thinking of skipping the real Down With Webster, but I remembered
AbsolutePunk introduced
me in 2008 and my curiosity got the best of me. I still think they're cheesy, but I can't deny the fact that their set was a lot of fun. Like Marianas Trench they know how to entertain and give the crowd what it wants, which is never really a bad thing. There was a cool drum solo in the middle where they used the theme from Super Mario and a clip from "Gangnam Style." "Your Man" was super catchy and I sort of enjoy that song for what it is despite some of the objectionable rhymes. The main track I recognized was "Rich Girl$," a Hall & Oates mash-up which the crowd seemed to know all of the words to. And lastly I have to give them props for inviting fans to meet them after the show at the merch table. I wasn't about to take them up on it, but I think it's pretty cool a band at their level is willing to do that. All the bands really tried to break the barrier that night and it was truly refreshing to see.
show review
marianas trench
down with webster
anami vice
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Show Review: Brand New (08/07/12)
08/08/12 at
Deborah Remus
Eight years is a long time to be waiting for something and that�s the amount of time I�ve been waiting to see Brand New. I was 14 back then and while lots of things have changed over the years, my love for this music scene is not one of them. I�d have to say living on the Canadian prairies is the reason why it took so long, since the region is not a place many bands tour, especially bands from the United States. Brand New did play a show here back in 2007, but I was 16 and wasn�t really allowed to go to shows so all I could do was cross my fingers and hope they�d come back. Thankfully five years later they have and I knew when this tour was announced in March that there was no way I wouldn�t be there.
My expectations for this show were obviously sky high and I�m happy to say that Brand New definitely met them the second they came on stage for �Millstone.� All of them seemed happy, which I think is worth noting as well. I don�t know if it�s true, but I�ve heard the band can be a little standoffish, something I didn�t experience. Jesse didn�t talk much in between songs, but when he did he sounded enthusiastic for sure. They didn�t have a backdrop or anything like that, but they did have plenty of lights.
The venue was switched from the Burton Cummings Theatre to the Garrick, something I have mixed feelings about. I think Brand New deserve to sell more tickets, but the Garrick only holds 750 people and it�s my favourite venue in the city, one I haven�t been to since Face to Face were there in May 2011. I�m not too sure if they sold it out, since I know they were still selling tickets when I arrived. Still, I think they came close because it was quite packed and I got there just in time to secure my spot in front of Vinnie�s side of the stage. If I was standing further back or sitting in the seats, I don't think my experience would have been quite as awesome. I wanted to be right up there in the middle of everything and I'm really glad that I was. There was sadly a barricade, but it was a bigger show and there were a number of Jesse Lacey fangirls so I guess it was needed.
The set list has been circulating all over the Internet, including our
Tour Discussion forum
, so if you're really interested you can head there. It would have been nice to hear "Logan to Government Center" or "Me Vs. Maradona Vs. Elvis" but I really can't complain because I think they put together a fairly diverse selection. I'd rather write about things that seemed to be more unique to the Winnipeg show and the first was the addition of "Mix Tape" after "Jude Law and a Semester Abroad" and �Seventy Times 7.� I was wondering if there would be crowd surfing during the
Your Favorite Weapon
songs and there definitely was. There was also some great sing alongs, especially for �Mix Tape.� I find that song to be pretty cheesy now, I legitimately remember my older sister laughing out loud at the lyrics, but it was awesome to finally hear it live. For those three songs it was almost like they were an entirely different band in some ways, especially when they started up �Jesus� right after.
We also got �The Quiet Things That No One Ever Knows,� which made me really happy because that was the first Brand New song I ever heard and the reason why I bought
Deja Etendu
. Hearing it was pretty special and I loved how Jesse�s guitar was out of tune at first so he just sort of hummed the opening guitar line. For the encore, Jesse came out to perform �Play Crack the Sky,� which was what I was expecting and it was an excellent way to end their set which lasted almost two hours. It�s hard to pick a favourite point, but near the end was probably the best. The live version of �You Won�t Know� was just phenomenal because the guys put everything they had into it. Vinnie grabbed one of the lights and started using it to strum his guitar while Jesse dropped to his knees as he was singing.
I was there strictly because of Brand New, but the openers were amazing too and both sets ended up blowing me away. An Horse are all the way from Australia and their songs remind me a little bit of something Tegan and Sara could write. Jesse Lacey himself actually came out to play bass for them, which was cool. He looked really happy up there with them and was singing along to most of the songs. I had to do a double take at first because he looked like he was a member of the band, not just a fill in. I really wish I was more familiar with Cursive, I�ve heard some stuff off
The Ugly Organ
, but I never really gave them the attention they probably deserved. It�s been awhile since I�ve seen someone sing with as much emotion as Tim Kasher does and I know I�ll be checking out more of their stuff now.
I just want to use the end of this to thank Union Events for bringing such an amazing tour up to Canada. And of course thanks to Brand New for agreeing to come up here to play for us, even though the drives are long and the crowds aren�t as big. I appreciate it.
brand new
an horse
show review
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Show Review: Brighter Brightest (08/04/12)
08/05/12 at
Deborah Remus
I just got back from Ecuador a few days ago and while I ended up missing Strung Out thankfully I didn't miss Brighter Brightest at the Ellice Theatre last night. I had an amazing trip, but it was kind of nice to get back into the music, especially when I've only been to three real shows this year and the last one was in April. The night started out with a lot of local talent, but I was out for dinner and didn't end up catching any of it. I couldn't get there until 9, which wasn't too late in the end because The Red Threat were just setting up. The band hails from Edmonton and I first heard of them when they were added to the Ten Second Epic tour, the one The Dangerous Summer dropped off of before missing their flight to the UK shortly after.
Anyway, the band sounded alright, but they weren't really my thing. They made me feel like I stepped back in 2005 and in some ways I'm over that sort of stuff. Their lead guitarist had a haircut that looked like the one Pete Wentz used to have, complete with the little emo swoop. But they don't really sound like Fall Out Boy, they reminded me more of Silverstein without the screaming. And to be honest with you the crowd seemed to be on my side. Only around 11 people were actually standing at the front, everyone else was sitting down near the back for the whole set, which I think is a decent indicator. I remember seeing TAT with Lagwagon four years ago and a lot of people were skeptical, but by the end every single person was at the front of the stage. Overall I felt that their singer should have moved around a lot more than he did. Their bass player made up for it though and he was the most entertaining to watch out of all of them. They even had little stage props with their names on them at opposite ends of the stage. But in the end I can't say their set amazed me, although it was cool to see another up-and-coming Canadian band.
Brighter Brightest didn't have any stage props, but they didn't really need them. It was my second time seeing these boys and they were solid as usual. Like The Red Threat, Brighter Brightest aren't overly energetic either. They just kind of stand around and play, but the fact that they write hooks better than most bands covered on AP.net definitely makes up for it. Their songs are unbelievably catchy and it's awesome to be able to hear them in a live setting because they can pull them off just like they sound in the studio. The guys looked like they were having a blast too and Derek was eager to talk to us in between songs.
They obviously played a ton of songs off of
Right for Me
, which is the debut record they released almost a year ago that I still listen to regularly. "It's Not Easy," "All I Know," "Everyday," and "Who I'm Supposed To Be" are just some of the songs that made the cut. The second last song was "Welcome Home," which was the only cut from the EP they released back in 2009 I believe it was. They closed with "Right For Me," a song most of the small crowd definitely knew the words to. I was a bit worried that the crowd was just going to be teenage girls, but that wasn't the case at all. I think that further shows the wide appeal this band has compared to The Maine and All Time Low.
And of course, the guys always seem to do a cover song and this time it was "Teenage Dirtbag" by Wheatus. A little cheesy as even Derek admitted, but still tons of fun and the guys pulled it off. I think I preferred the Taking Back Sunday cover last year, but still awesome. They didn't do an encore, but "Call Me Maybe" came on immediately after for better or worse. Just seeing them alone is worth the $10, I think they could get away with charging more, but that's what the merch table is for I guess.
Support these guys
and go to the shows! The Canadian scene needs all the help it can get in my opinion, especially on the prairies where only around 50 people show up.
show review
brighter brightest
the red threat
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Record Store Day... With Frank Turner!
04/22/12 at
Deborah Remus
I think Winnipeg had the best RSD celebrations in Canada yesterday and a lot of that had to do with an appearance from Frank Turner. He just happened to be here while opening for Joel Plaskett and he was awesome enough to come to the Folk Festival Music Store to play some songs with his acoustic guitar. I already thanked him, but I want to thank him again for being so awesome to Winnipeg. We appreciate it!
There's a tiny room behind the main store and it was pretty packed for his set. I'd say you could probably squeeze 20 more people in there if you tried, but if anymore than that showed up, some people would have to stand outside. You could even spot John K. Samson in the store, which I thought was pretty cool! As I said last October, he's got a big following here in Winnipeg. And just like last time, he was charming as usual and sounded great. Here's what he played if anyone is interested:
Peggy Sang The Blues
Time Machine
Balthazar, Impresario
Long Live the Queen
American Girl (Tom Petty cover)
After he hung out in the store and eagerly chatted with anyone who wanted a word with him. As for the actual vinyl, a copy of Refused's
The Shape of Punk To Come
captured my attention instantly. I also walked to Into the Music since it's so close. When I was going to Red River I was in the Exchange District every day, but I haven't been there since I saw Brighter Brightest at the Death Trap in September. It's probably one of the nicer parts of the city, at least I think so, and the weather held up for an awesome walk through the area. It was an amazing way to spend a Saturday afternoon and I hope whoever reads this had a great Record Store Day too.
frank turner
record store day
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Show Review: The Flatliners (04/12/12)
04/13/12 at
Deborah Remus
I've lost count how many times I've seen The Flatliners over the years, but it's a lot. Whether they're headlining or opening for someone else they're always worth seeing and last night was no different. The band packed in a decent sized crowd into the Ellice Theatre and they kicked things off with "Meanwhile, In Hell..." before launching directly into "Carry the Banner" from 2010's
. They don't talk much to the crowd, they don't have a crazy stage set-up and they don't do anything overly entertaining, but it works for them. All of their songs sound excellent live and they don't need anything extra to keep you interested. The crowd was pretty tame, but someone nearly cracked their head open the last time they headlined Winnipeg so that's probably the reason people didn't get as rowdy.
A lot of songs were from their latest record, but you won't see me complaining. It's held up over the last two years and it was the moment they truly lived up to their potential in my opinion. They ended their set with "He Was a Jazzman" and it was cool seeing "Monumental," "Shithawks," "Liver Alone," and "Count Your Bruises" make the cut alongside "Christ Punchers," which was on the
7-inch. "Eulogy," "Mother Teresa Chokeslams the World" and "Fred's Got Slacks" were some of the older tracks and at this point I've listed most of their set. They played for about 50 minutes so you can expect quite a few songs.
A bunch of Winnipeg bands opened the show and one of them was this metalcore band called Waster. If you like Cancer Bats, there's a chance you might like them. They're pretty heavy, they used to be called FAME and Daniel from Carpenter released their new record. Kids and Heroes reminded me of a cross between Blink-182 and Set Your Goals. I heard of them through our weekly Mailbox Listings and while I didn't review the record, I did listen to a few songs and was pretty stoked to see they recorded a cover of Wave's "California." That song was the jam back in grade 5 and I wish they played it, but I can't complain too much. A punk band called Asado was the first to play and I'm assuming other cities will see their local talent represented at their dates as well.
So if this tour is coming near you, check it out:
the flatliners
kids and heroes
show review
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Show Review: Cancer Bats (03/30/12)
03/31/12 at
Deborah Remus
After seeing them open countless shows over the years, I finally saw Cancer Bats headline last night. I'm not sure what took me so long, but I'm glad I finally went because this band puts on a killer show. They kicked off their set with "Old Blood," the first single from
Dead Set On Living
, their new record that drops on April 17. I was also happy to see them play "R.A.T.S" because that's probably my favourite track from the new record.
And of course they didn't forget their older records either. I was happy to see "Sleep This Away" make the cut because it's one of my favourite album openers ever. It's just so heavy and low and it translated perfectly to a live setting. "Deathsmarch" is another song I was glad to see them play. Basically, the only downside was having to leave a little bit early to catch the last bus. Usually shows finish by 1 a.m. at the Pyramid, but whatever. The best thing was that lots of people showed up, which was nice to see. The place was pretty packed and everyone went wild, including the band. I want to post a picture Jeremy Bolm from Touch� Amor� took because it shows Winnipeg's love for Cancer Bats better than any of my words can. It was an intense kick-off for the band's Canadian tour:
Speaking of Touch� Amor�, I don't listen to them much, but I still enjoyed their set even if I thought it was incredibly short. The only song I recognized was "Home Away From Here," which they dedicated to the Weakerthans and Propagandhi. Apparently they played here before, which made me respect them more because few American bands tour western Canada. The best part was during a song that I think is called "Honest Sleep." A bunch of people jumped on stage to sing the last part of that song, even though the security guard was less than impressed.
Waster, formerly known as FAME, opened the show and they were OK. A Sight For Sewn Eyes was next and they were OK too. I think it's cool the singer performed the last song in the crowd and he also said that Distort will release their new record in June. All in all, it was a fun night and my fellow Canadians should definitely go to this tour when it rolls through their city!
cancer bats
touche amore
a sight for sewn eyes
show review
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Show Review: City and Colour (02/03/12)
02/04/12 at
Deborah Remus
I�ve seen Dallas Green with Alexisonfire numerous times over the years, but this was the first time I saw him solo as City and Colour and it was a good, but obviously different experience. It was nice to finally see someone at the Burton Cummings Theatre who fits in with how the venue is laid out. All you�ll find is red plush seats, but those are perfect for taking in a show like this, which is a lot mellower than the shows I usually go to.
Dallas came on stage all dressed up with his band, sticking to the left side instead of moving to the front and centre where his bass player stood. I�m probably reading into it too much, but I thought it was interesting he was in the same place he stood with his former band. He kicked things off with �We Found Each Other in the Dark� and instantly I realized just how great he sounds live. Usually there�s a slight difference, but with Dallas, there�s no difference between his amazing voice live or on recordings. It was perfect. After he dug into �Sleeping Sickness,� one of his more popular songs and then into �The Death of Me� before choosing
Little Hell
�'s �The Grand Optimist.� For the most part he just kept on playing. He wasn�t as conversational as some of the other solo acts I've seen, but I can�t say I was expecting him to be either. It wasn�t until he played the somber �Missing (Serravalle)", a song he wrote about his religion teacher, that he really got talking.
I was too busy watching him on stage to really know what happened, but apparently some people were standing up, moving around in their seats and trying to get a better angle to capture the performance on their iPhones. He said �What the fuck?� and stopped playing before launching into how people paid money to see the show and how everyone in the crowd should be respectful to each other and sit down. The majority of the crowd seemed to agree and cheered as he was talking and I could see where he was coming from to a certain extent. Before he started his new song, �Body in a Box,� he asked everyone to do him a favour. He didn�t want anyone to get on their phones to recapture the show, he just wanted them to be experiencing it in the moment. And after that, the diverse crowd was on its best behaviour. There were plenty of people like me who grew up on Alexisonfire and MuchMusic, I even ran into two people I went to high school with. But it was so much more than that, I saw some people my age at the show with their moms, some younger families, even some people who had to be in their 40s or 50s. He sold a venue that holds just under 2000 people out and it was a big reminder of just how big City and Colour has gotten over the years.
Back to the show, he basically continued on as before. He got the crowd to do a sing along for �What Makes a Man?� and that was cool. The way the chorus is set up, he needs two singers and it worked out well. Then he played �The Girl� and he started doing some friendly small talk, commenting on the abnormally warm Canadian winter this year. Before long, it was time for the encore. He came out alone, still sticking to the left side of the stage, and apologized for lashing out earlier that night, which was met with cheers. Then he launched into �Comin� Home.� Eventually his backing band returned and they played �Sometimes (I Wish)� before leaving the stage for good. It was a good set, about 16 songs I believe. He played for an hour and a half.
The opening act was Rhode Island�s The Low Anthem and while they sounded great, I can�t say their set was too memorable. The type of music they play, it�s definitely not energetic, but I felt like they could have engaged the crowd more.
show review
city and colour
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Living With Lions In-Store Performance (11/24/11)
11/24/11 at
Deborah Remus
I went to go see Living With Lions again today. They couldn't find a real venue, I guess The Death Trap is gone. Surprisingly I found out through a fellow staffer who read about it through the comments on Punknews. So I don't know
it shut down, I know it had a few issues, but it did the job and booked some awesome punk bands during its short existence. Instead they did a free in-store at this tiny record shop in Osborne Village called Music Trader. Luckily for me my class was done at 3:45 so I was able to walk there just in time to catch their set.
I was wondering if it was going to be acoustic and just a few songs, but no, they set up their gear and played a full set to around 25 people. They're heading back to Vancouver and they decided to do some shows on the way back from Toronto so it's cool they thought of us. Because I'd love LWL either way, but part of my love stems from the fact that they never forget Winnipeg. A lot of American bands they're lumped with skip us every single tour, but they never do and I'm so thankful for that. It would be nice to see the crowds grow a bit, I love seeing them play in such an intimate setting, but they deserve bigger things. They are my favourite band making music in Canada right now.
Stu told us Bill drank his piss, but that was about the extent of the banter. I didn't get the full set, but here's an idea of what they played. And a shitty picture, the only thing that sucks about no stage is the fact that people block your view unless you're a giant:
Regret Song
Maple Drive Is Still Alive
She's a Hack
A Bottle of Charades
Rough Around the Edges
Whatever You Want
Honesty, Honestly
The only thing that sucked was I was too shy to introduce myself. I really need to stop being so quiet, I think 2012 is going to be the first year I do something about this because I'm starting to realize I have a serious problem.
EDIT: I was just flipping through the University of Winnipeg newspaper and I was surprised to find an article that answered my question. The Death Trap shut down because of money and lack of community support. Doesn't surprise me, but it's still a bummer.
living with lions
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Show Review: Frank Turner (10/22/11)
10/23/11 at
Deborah Remus
I've been to the West End Cultural Centre numerous times over the years, but I've never seen a nearly sold-out crowd packed inside. In fact, it's usually quite the opposite. Cobra Skulls, Broadway Calls and The Flatliners played to a fairly empty room. And while attendance was up for Protest the Hero and Moneen, it still felt cold and empty. I'm not too sure why Winnipeggers came out in droves this time, but I guess I shouldn't complain. He definitely deserves it and
England Keep My Bones
is one of the better records that came out in 2011 so far. Maybe the fact that it was a Saturday had something to do with it too, I really have no idea.
Anyway, things did start off slower for Into It. Over It., but that's usually the way it is for the opening acts. I was able to grab a spot right in front of the stage and was there for the rest of the night. Evan is the first person I've seen to sit down while performing at a show like this. He had a little stool and he sat there for the entirety of his set, hunched over his acoustic guitar. He was very talkative, but he doesn't really talk with the crowd. Instead he just talked to the crowd. He started off the set talking about Winnipeg and continually remarked about how polite and friendly we were. He also liked to go into detail about the songs he wrote, giving us background on them. He told various little stories, like how his bike got stolen and some kid put it on Craigslist so he was able to get it back. And of course, he still had time to actually play songs. He ended his set with "Anchor" and played tracks off of his new full-length
Andrew Jackson Jihad played an entertaining set with just an acoustic guitar and stand-up bass. It definitely inspired me to check out the material in further detail. They seemed to have a number of people in the crowd who were huge fans, there were some big sing-alongs and some people were even shouting out requests. At the end of "American Tune," some guy in the crowd shouted "Fuck white male privilege!" really loudly. Other songs included "Rejoice" and Jesus Saves," the crowd participation remaining enthusiastic throughout. And for "Love Will Fuck Us Apart," Evan came out and played the kazoo. They were the least talkative act that night, choosing to focus on playing their acoustic-folk-punk songs instead.
And of course, Frank Turner. The opening bands were good, but they definitely didn't come close to what Frank Turner and the Sleeping Souls had to offer. The room was packed and the crowd went crazy. It was a diverse crowd too, there were a number of people who looked old enough to be my dad. But the crowd still got pretty rowdy and the politeness Evan was talking about earlier started to wear off. Some dude jumped on stage and grabbed Frank, trying to hug him and refusing to let go. A security guard came on stage five seconds later to haul him off, which is something I haven't seen in awhile. There was also some fighting, which Frank called out from the stage. And heckling too, AJJ did nothing about the fans calling requests, and Frank was quick to silence them.
But all that made the show slightly more interesting, for better or worse. I saw Frank a little over two years ago when he opened up for The Gaslight Anthem at the Garrick. It was just him and his acoustic guitar, so it was cool to finally see him backed up with drums, keyboards, electric guitar and bass. The bass was loud in particular, you could really hear the bass-lines and sometimes they entirely overpowered the actual guitars. They were all wearing matching white shirts and they were all very energetic, moving and jumping everywhere. It was nice to see some energy because the opening acts remained quite still.
He opened with "Eulogy" to a loud cheer before going into "Try This At Home." About halfway through the set, the band left the stage and Frank Turner sang "English Curse." He also played "Dan's Song" alone and encouraged everyone to play "air harmonica" before the band returned. Crowd participation was a huge part of this show, he really wanted everyone to sing along and get into it. Seeing everyone sing "There is no God" during "Glory Hallelujah" was a pretty cool thing to experience.
He played "Long Live The Queen," "The Road," and then launched into a cover of Queen's "Somebody To Love" before coming back for the encore himself. With just an acoustic guitar, he proclaimed his love for Propagandhi and The Weakerthans before strumming the opening of "One Great City," changing the lyrics slightly and ending with "I love Winnipeg." I've been going to shows here regularly since 2007 and I've never seen people attempt this song until this year when I witnessed two covers. Dave Hause and Mikey Erg played this song back in June too.
The last track of the night was "Photosynthesis." Frank gave his acoustic guitar to Evan and he jumped around the stage, getting the crowd ready for the biggest sing along yet, where everyone was to shout "And I won't sit down and I won't shut up. And most of all I will not grow up." Frank really knows how to bring his songs to life and you can't get that same experience sitting in your house and listening to them on record. It was a great way to end an amazing night. And totally worth attending even if I got soaked because I had to walk there in the middle of a gigantic thunderstorm.
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frank turner
into it over it
andrew jackson jihad
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By JILL MCNEAL6 News Anchor/Reporter
KNOXVILLE (WATE) - What qualifies a dog to legally be a service animal in Tennessee? Do they have to graduate from a guide dog school? Pass a state test?
There's a lot of gray area and now a new bill is attempting to clarify things.
Three-year-old Lola the lab goes everywhere her owner does.
That is what the Federal Americans with Disabilities Act guarantees.
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"The dog is wonderful. When I am in a place I know nothing of, she takes over directing," Smith said.
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Under current Tennessee law, however, businesses can also ask for credentials issued by an accredited school for training dog guides.
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The bill and the ADA basically put people on the honor system.
Last year, then State Representative Julia Hurley brought her 11-pound Chinese Crested into the Roane County courthouse claiming it was a service dog and its service was companionship.
Therapy and companion dogs are not considered service animals under the law and neither are monkeys or pigs as others have tried to claim.
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With over 6,500 racks/hoops located around campus, stashing your wheels is a breeze. Bicyclists will find free racks and hoops near almost every building.
Be sure to read these theft prevention tips to keep your bike safe.
Lockers are also available to rent for a small fee.
Locate bicycle lockers/paths/lanes on the Campus Biking map for the Minneapolis Campus and St. Paul Campus .
If the racks are full by your building, call PTS (612-626-7275) with the time of day and location. We'll try to add more racks in that area if the situation persists.


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general purpose, new in package - $20
John, Antis Twp. 931-3272
Bunk Beds Set
with matresses, only used 7 times - $50
Frank, Altoona 946-3292
Dog License Collection
125 tags, 1950-1998, from Blair, Bedford
and Mifflin Counties - 25 cents each OBO for all
Rampco Repower Station Advertising Clock
G.E., electric, lighted face, needs repiar - $25 OBO
Jake, Newry 696-3377
Wanted to Buy:
Refrigerator and Stove
Ed, Altoona 330-3632
Yard Sale
Today until ? / Sat Aug 23rd 8am to ?
715 First Avenue Altoona
2 circular saws, glassware, childrens clothes sizes 5 to 10
and more
Click HERE for Dial N Deal Archive
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Human Interest
Dial N Deal - August 8th 2014
by Doug Herendeen
posted Aug 8 2014 12:59PM
Dial N Deal returns Friday August 22nd
High Chair
Early American, wooden, one-piece,
45 years old - $30
Pedestal Table
24" round, 3' tall, dark wood - $20
Milk Can
decorative, 20" high, painted black,
with Pennsylvania Railroad decal - $15
Anna Marie, Altoona 942-3019
Multi-Family Yard Sale
Saturday August 9th 7am -Noon
Masonic Hall
1008 Edgar Street, Hollidaysburg
also - Bake Sale and Car Wash to benefit
Hollidaysburg High School Wrestling
Hoover Proheat Carpet Shampooer
used once, works well - REDUCED - $75
Table Lamp
20". brass and glass, with shade,
VG condition -
Nancy, Altoona 932-4252
Pressed Glass Pieces
5 dishes, etc - $15 for all
Saki Set
includes 6 cups and pot, ceramic,
bright orange with small green leaf of each cup - $20 OBO
Donna, Altoona 944-6621
Old Magazines
years 1990-1998, aprrox 100, titles include
Country Woman, Taste of Home, Country Living,
Crafting Traditions - 4 for $1
Holly, Altoona 943-7218
Weider Pro 4850 Home Gym
300 lbs of weights, 3 workout stations,
unassembled - $200
Karen, Altoona 946-4672
Click HERE for Dial N Deal Archives
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Anna Marie
Saki Set
Dial N Deal - August 1st 2014
by Doug Herendeen
posted Aug 1 2014 2:09PM
Marlboro Sherpa Jacket
2003 premium, tan/khaki, courdory, never worn,
Large, Sherpa collar, mint condition with tags - $25
JF, Altoona 943-9015
3 1/2 HP Motor
with horizontal shaft, on wheels - $40
RV How-To Books
four, various info in each - FREE
[Following for Dodge 3500 Series Pickup Trucks]
Louvered Tailgate
for easier hookup to 5th wheels - $40
Air Foil
- $20
Diamond Plate Tool Chest
Aluminum, 5 years old, excellent condition - $100
Ed, Altoona 943-3903
Hoover ProHeat Carpet Cleaner
shampoos rugs, used once, works well - $90
Elvis Presley Memorabillia Collection
- (reduced) $125
Avon Bottles Collection
- $50
Nancy, Altoona 932-4252
Wooden Rack Clothes Dryer
folds - $3
Hamilton Beach Wide-Slot Toaster
two slots, like new - $5
Shark Hand Vac
cordless, used - $2
Dirt Devil Hand Vac
used - $5
T-Fal Steamer
used - $4
Dumbbell Tree
with hand weights, 2 5-pound, 2 3-pound,
2 1-pound with tree holder - $7
Grace, Hollidaysburg 695-2975
Rustoleum Paint
two one-gallon cans, Hunter Green,
never used, unopened, 2-3 years old
- $20 per can
Jake, Newry 696-3377
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Dial N Deal - Friday July 25th 2014
by Doug Herendeen
posted Jul 25 2014 12:31PM
Dell Computer Monitor
25" flat screen, new/factory refurbished,
works well - $50
Nissan Factory Alloy Wheels
set of 4, 16", like new, taken off new vehicle for mod,
fits Exterra and Pathfinder, model years 2005 and up
Scott, Altoona 942-1390
Mac Two-Ton Hydraulic Jack Kit
used only once - $25
Solar Outdoor Lights
set of 5 yard lights - $5 for all
Plastic Clothes Hangers
set of 36 - $8 for all
Carol, Altoona 944-1420
Garage Sale
TODAY 7/25 Now until ?
2801 Maple Street, Altoona
exerciser, gass gril, suitcase
record player, more
Mavis 943-4842
Hammond Organ
electric, model 501, cherry wood cabinet,
draw bar, 8 pedals, heavy but on rollers - FREE
Galvanized Wash Tubs
new, never used, on stand - $10
Hand-Made Quilts
price depends on amount of work,
call for information
Linda, Altoona 942-2065
Marlboro Sherpa Jacket
2003 premium, tan/khaki, courdory, never worn,
Large, sherpa collar, mint condition with tags - $25
JF, Altoona 943-9015
Propane Grill
2 burners, side arms, on wheels,
7 years old, works - $40 OBO
Patio Set
metal table, glass top, beige, umbrella,
4 resin matching chairs, 2 years old - $75
Margaret, Altoona 944-3858
1976 Plymouth Motor
225 CI, Bell housing, & 3-speed transmission - $300
Wheel Glamour/Trim Rings
set of 4, 16.4" - $20
Rick, Antis Twp. 943-1939
Elvis Collectors Items
large collection includes chair, mugs, lunchbox,
call for more info - $150 for all
Wall Mirror
large, 4' x 3 1/2', gold frame -
Nancy, Altoona 932-4252
Walco needle replacement matrix and instructions
Walco "Getting the Most Out of Your Phonogragh Records
RCA Victor Schematics for KCS 136 Y, RS-199B AMPL. Chassis
Hang tag from RCA Victor 'New Vista' Television
Round overlay for turntable. Operating instructions
- Make offer
Martin, Altoona 944-4040
Homer-Laughlin Mixing Bowl
ceramic, made in USA, beige, blue stripe
around rim -
Book, Knickebocker's History of New York
by Washington Irving, old, published by Henry Artemus,
smaller 6" tall, 192 pages, hard cover, very good condition -$26
Donna, Altoona 944-6621
Wanted to Buy:
Love Seat/Swing for two
for outdoor use under tree, metal frame support
to sit on ground, not hung from above
Linda, East Freedom 931-9184
Click HERE for Dial N Deal Archive
Dial N Deal - Friday July 18th 2014
by Doug Herendeen
posted Jul 18 2014 1:15PM
Peavey Electric Guitar
Six-string, lead guitar, with mini-amp, guitar stand
Mark, Altoona
Moving Sale
Saturday July 19th 9am - 4 pm
Nice furniture and a few other items
Large Bookcase/Book Shelf - 75" tall x 30" wide
x 18" deep, Smaller Bookcase, Computer Desk,
two end tables, Plant Stand, Typing table, other items
(computer and books
Info: Mary
Bilco Basement Door System
primed in red, double doors, angled, install at
ground level, provides basement access from outside home,
O size, 47" wide x 30" tall, 58 1/2" long - asking $250
Ed, Altoona
Sump Pump
1/3rd HP, 30' discharge hose, 5 years old,
used twice, lightweight construction, plastic top
and base, rust reisistant, works well - $40
Drapes Set
Red, new, for sliding glass doors or large window - $20
Bracelet Watch
Leopard bracelet with gold color accents - $15
Nancy, Altoona 932-4252
Bar Stool Set
four, solid walnut wood, captian's style,
(with arms and can swivel), very good
condition - - $30 for all 4
Joanne, Altoona 312-5037
Baby's Crib
with three-drawer attachable changing table,
ten years old, Nordstrom brand, medium
brown wood -
Darlene, Duncansville 327-0768
Beach/Lawn Chairs
Aluminum folding, low to ground - $5 each
Folding Table
30" x 60" - $25
Joe, Altoona 942-3019
Old Town Otter, 9',
resin / fiber body, sit-in, 5 years old, barely used,
good condition, light green - REDUCED to $100
Dave, Altoona 330-6606
Tractor Parts
Farmall, International, Cub Cadet, many others,
mostly New Old Stock, some used, magetos,
fuel pumps, radiators, manifolds, engine parts,
bumpers, cables - Prices Negotiable, call for info
Jake, Newry 696-3377
Garage Sale
Friday July 25th 9am - ?
2801 Maple Street, Altoona
exercise bike, small TV, portable record player - suitcase style-works, etc
Mavis 943-4842
Click HERE for Dial N Deal Archives
Recent Posts
The 11th Hour - Guests & Topics August 25th-29th 2014
The 11th Hour - Guests & Topics - August 18th-22nd 2014
The 11th Hour - Guests & Topics - August 4th-8th 2014
The 11th Hour - Guests & Topics - July 28th - August 1st 2014
The 11th Hour - Guests & Topics - July 21st-25th 2014
The 11th Hour - Guests & Topics - July 14th-18th 2014
12:07pm, 08/29/14
The 11th Hour - Guests & Topics August 25th-29th 2014
Doug Herendeen
Aug 22
Monday August 25th James B. Huntington, PH.D Choosing a Lasting Career The Job-by-Job Outlook for Work's New Age Work's New Age Blog Tuesday August 26th David Ickes Wednesday August 27th including The Blair County Antique...
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Dial N Deal - August 22nd 2014
Doug Herendeen
Aug 22
Aloe Plants 12 in small pots - $1 each 8 in one crock - $8 Sue, Hollidaysburg 695-1474 Love Seat white, with design, 8 years old, but brand-new condition, rarely used - $150 Betty, Altoona 949-9022 Harley-Davidson Saddle Bags leather,...
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Aug 15
Monday August 18th Steve Willett Super-Sized 9am to Noon Tuesday August 19th [Doug's back] David Ickes Wednesday August 20th Dr. Gabe Mirkin Dr. Mirkin.com Dr. Gabe Mirkin on Fitness & Health Facebook page Dr. Mirkin on...
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text:
Topic Page
Nation Topics - Youth
News and Features
Russell Simmons was never a young voter. The 46-year-old hip-hop tycoon
cast his first vote in a presidential election seven years ago, he says,
at the age of 39.
A recent article in the Washington Post described some suburban
high schoolers preparing for their proms by spending nearly $3,000 to
rent an H2 Hummerzine, "complete with six TVs, a DVD
Last fall, a half-dozen child psychologists lurked around New York's
Yale Club at a convention called "Advertising & Promoting to Kids"
in search of new, higher-paying clients.
The universe of online computer games is home to 200,000 players at any time. It's also where you can find the newest innovation in military recruiting.
When a girl becomes her school's designated slut, her friends stop talking to her. Pornographic rumors spread with dazzling efficiency, boys harass her openly in the hallways, girls beat her up. "WHORE," or sometimes "HORE," is written on her locker or bookbag. And there is usually a story about her having sex with the whole football team, a rumor whose plausibility no one ever seems to question.
Even those of us who weren't high school sluts and don't recall any such outcast from our own school days have become familiar with her plight--through media stories and the growing body of feminist-inspired literature on female adolescence, as well as the talk shows and teen magazine spreads that have made her their focus. What's harder to understand is how the label persists when the landscape of sexual morality that gives it meaning has so drastically changed--well within living memory. If the sexual revolution didn't obliterate the slut, wouldn't the successive waves of libidinous pop stars, explicit TV shows and countercultural movements to reclaim the label have drained it of its meaning? What kinds of lines can today's adolescents, or those of the 1990s or 1980s, for that matter, possibly draw between nice and not nice girls?
Emily White's Fast Girls sets out to look at the central dilemmas of the slut label. Two earlier books that have focused on the slut--Leora Tanenbaum's Slut! Growing Up Female With a Bad Reputation, a collection of oral histories, and Naomi Wolf's Promiscuities, a reflection on girls' sexual coming-of-age in the 1970s that combines memoir with a casual survey of the women Wolf grew up with--rely primarily on the subjective narratives of women and girls to explore the slut phenomenon. Paula Kamen's Her Way: Young Women Remake the Sexual Revolution surveys the sexual mores and activities of young women, but not specifically of teenagers. White is the first to combine different methodologies in an attempt to write specifically about the functions and significance of the teenage slut--in her words, "to shed some light on that space in the high school hallway where so many vital and troubling encounters occur."
White spoke to or corresponded with more than 150 women who had been the sluts of their school (whom she found largely by soliciting their stories through newspaper ads), and she spent "a couple of weeks" observing in a Seattle-area public high school. She also offers cultural criticism--of horror movies and the riot grrrls, for instance--as well as a digest of psychological, sociological and post-structuralist theory pertinent to the subject. White's evident ambition makes it all the more frustrating that the book's impressive breadth doesn't translate into thoroughness or rigor.
When White interviewed the women--most of them white, middle-class and from the suburbs--who responded to her ads, the stories she heard had certain similarities. There was a "type" of girl who tended to be singled out: She developed breasts earlier than other girls; she was a loud, vocal extrovert; she was self-destructive, tough or wild; often she had been sexually abused; and in one way or another she was usually an outsider, whether she had moved from a different town, had less money than most kids or belonged to some peripheral subculture. Some women described themselves as having been promiscuous, but more said they were not as sexually active as their (untainted) friends, and none of them had done the things that were later rumored. Often the first rumors were started by bitter ex-boyfriends or jealous friends. Once they caught on, the ritual torments and "football team" fantasies inevitably followed.
These similarities make up what White calls the "slut archetype," and for much of the book she riffs on the common factors of the stories, with chapters dedicated to subjects like the role of suburbia, the slut's social isolation and the preponderance of sexual abuse. Though sprinkled liberally throughout the book, the women's testimonies are only a launching point for White's meditations. She writes about these interviews in a way that at times both romanticizes and condescends to the women. "She walks so confidently in her boots," writes White of one 18-year-old, "causing tremors in the ground beneath her feet. She presents herself as a girl who has crawled up out of the underworld, who has found her way through the isolation and the drugged dreams.... It is a way of coping, this tough act. It's a start." Still, despite certain problems of credibility, this overwrought style is pretty effective at conveying the anguish of the ostracized adolescent girl (if only by echoing her earnest self-dramatization). It's much less suited to considering the girl in social and cultural context.
In editing and interpreting her interviews, White emphasizes their similarities at the expense of the kind of detail that makes a particular social universe come to life. Her time observing the Seattle-area high school students inspires mostly familiar observations. ("The cafeteria is high school's proving ground. It's one of the most unavoidable and important thresholds, the place where you find out if you have friends or if you don't.") Only about half the time do we get any real sense of the sort of community an interviewee grew up in or what the social scene was like at her school. There's even less detail about precisely how she fit into the hierarchy before the slut label took hold, whether she was perceived as threatening or flirtatious, what her past relationships were like with girls, boys and teachers. Even worse is that for all their lack of texture, the women's stories are by far the most interesting part of the book; when White pulls away to supply her own commentary, it's usually vague and predictable--precisely because she's not attuned to the details that would reveal how the slut really functions in the teenage universe. Although she acknowledges that the slut myth is much bigger than any individual girl behind it, she is also attached to the literal-minded notion that the girl being labeled has some kind of privileged relationship to the slut myth--that her individual story is the slut story, and the women's emotional recollections of abuses and scars collectively explain the slut myth. In fact, to understand the myth we need to know at least as much about what the rest of the school is thinking.
White suggests that "the slut becomes a way for the adolescent mind to draw a map. She's the place on the map marked by a danger sign...where a girl should never wander, for fear of becoming an outcast." But, given the arbitrary relationship White found between the slut label and a girl's actual sex life, does the slut myth really have any practical applications for girls? Do they limit sexual activity out of fear of these rumors? Are there particular sex acts that can bring censure in themselves? Can social status insulate some girls from slutdom, regardless of how much they fool around? White doesn't directly pose these questions, but one of her findings hints that, though they may fear the label, kids themselves interpret slutdom as primarily an expression of social status rather than a direct consequence of sexual activity: "Girls who at one time might have been friends with the slut recede as her reputation grows; they need to be careful how they associate with her or they will be thought of as sluts along with her."
The slut doesn't seem to point to an actual line that a nice girl can't cross; she commemorates the fact that there once was such a line, and suggests that the idea of a line still has currency, even if no one can figure out where it is anymore. It's no surprise that she is such a popular subject for third-wave feminists; her ostracism seems to have implications not only for residual sexism but for the way that we personally experience sex and desire.
Ididn't think I had a personal connection to the slut story. For most of my adolescent years, which were in the late 1980s and early '90s, I was very good, and too awkward to attract attention from boys. In the schools I attended there were whispers about who did what, and some girls were considered sluttier than others, but there was no single figure who captured the imagination of the whole class.
Then I remembered something about one of the girls I was closest to from age 10 to about 13 or 14. We didn't go to the same school, but for much of the time we both attended Saturday Russian classes held in her kitchen by an elderly neighbor. She was the only one of my friends who was, like me, born in Russia, though her family still lived in Philadelphia's immigrant neighborhood while mine had moved to a more prosperous, non-Russian suburb several years earlier. My family had a bigger house. We had, thanks to my American stepdad, more American ways of doing things. I was a better student. I think she was more popular at her school than I was at mine; at least, she was more easygoing and sociable. I never felt in awe of her, as I did of other friends. I was not always nice to her, though usually I was.
She knew more about sex in our early years than I did, but, like me, she didn't go out with anyone in the time we knew each other. She was pretty, in a round-faced, unfashionable way that made me think I had a discerning eye for appreciating it. She always seemed more developed than I was. (That may not have been true in any measurable sense.) At some point in those years, though it didn't particularly affect our friendship, and I don't remember thinking about it while I was actually with her, I began to spend nights casting her as my proxy in every kind of pornographic fantasy I could conjure.
It's always difficult to figure out the relationship between cultural fantasies and mores, on the one hand, and actual behavior and sexual self-image on the other. You could probably spend a long time listening to teenagers and still not get to the bottom of how the slut myth filters into their own lives. Still, the site of the slut's continuous re-creation, the high school hallways, deserves closer scrutiny, and the mysteries of her endurance await further exploration.
They're looking for help with college and a reason to believe in government.
Chelsea Clinton bristles at the antiwar movement while she attends Oxford.
It's a slippery slope that these two lawgivers would have us tread.
In Canada, Maude Barlow gave a stirring speech criticizing the free-trade agenda of the Summit of the Americas.
If you are the parent of a newborn, beware. Fourteen to eighteen months from now your child will be programmed to nag for a new toy or snack every four hours, "branded for life" as a Cheerios eater or a Coca-Cola guzzler and placed in the loving care of a market researcher at the local daycare center.
That, at least, was the view of early childhood development presented by the 400 children's-market honchos at the third annual Advertising & Promoting to Kids Conference, held in New York City on September 13-14. Conference-goers attended sessions on topics like Building Brand Recognition, Marketing in the Classroom and The Fine Art of Nagging ("40% of sales of jeans, burgers and other products occur because a child asks for the product"). They cheered winners of the Golden Marble Awards for best breakfast-food and video-game commercials.
The marketing confab was held as the government released a report documenting the growing commercialization of public schools and also as the Federal Trade Commission blasted media companies and the advertising industry for deliberately marketing violent films and products to children. Although kids have been targets of marketing for decades, the sheer amount of advertising they are exposed to today is "staggering and emotionally harmful," says Susan Linn, a Harvard Medical School psychologist who studies media at the Judge Baker Children's Center in Boston. Linn and other child psychologists, educators and healthcare professionals led a protest outside the Golden Marble Awards to draw attention to the effects of the $12-billion-a-year kid-ad industry, including the epidemic of obesity in children and increasing violence in schools. "It's appalling that creativity is being rewarded in the service of manipulating children," Linn says. "We hope this is the beginning of a national movement to challenge this."
In fact, this fall has been a good one for grassroots opponents of corporate commercialism. The Madison, Wisconsin, school board voted in August to terminate its exclusive beverage contract with Coca-Cola, making it the first school district in the country to cancel an existing marketing deal [see Manning, "Students for Sale: How Corporations Are Buying Their Way Into America's Classrooms," September 27, 1999]. The board cited "overwhelming public opposition" as the reason for its decision. That action came hard on the heels of successful campaigns to stop proposed school-marketing deals in Oakland and Sacramento, California; Philadelphia; and the state of Michigan, where a cola contract involving 110 school districts was shot down. In October the American Dental Association passed a resolution urging its members to oppose the marketing of soft drinks and junk food in schools, and the American Psychological Association, under pressure from many of its members, agreed to form a task force to examine whether it is unethical for psychologists to advise companies that market to children. Meanwhile, ZapMe!, the in-school marketing company, abandoned its educational business after failing to convince enough schools to accept its offer of free computers in exchange for delivering student eyeballs to advertisers.
"We're seeing a dramatic increase in local resistance to all forms of corporate marketing to kids," says Andrew Hagelshaw, executive director of the Center for Commercial-Free Public Education, in Oakland. "The issue has finally hit critical mass with the public." Hillary Rodham Clinton has jumped on the bandwagon. Citing a "barrage of materialistic marketing" aimed at young children, the Democratic candidate for senator from New York wants the government to ban commercials aimed at preschool children and to prohibit advertising inside public elementary schools. Anticorporate activists welcomed Clinton's proposals but said they don't go far enough. Opponents of a New York City school board plan to finance free laptop computers for students through in-school advertising say her proposals won't protect millions of high school students. Nor would the proposals apparently affect the commercial in-school TV program Channel One, whose market is primarily middle school students.
Corporate lobbyists are already putting the heat on members of Congress who might support legislation reining in children's advertising. Hagelshaw believes the real battles will take place in local school boards and state legislatures, which may be more receptive to anticommercial arguments. There's never been a better, or more important, time for local activists to step up the pressure on corporate exploiters of children.
Nation Media
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text:
Plate Tectonic Maps
Basic Map of Earth's Tectonic Plates
This U.S. Geological Survey map shows borders of the major lithospheric plates and some minor ones too.
Plates and Their Boundaries
A more sophisticated map showing 21 plates and their boundary types.
Boundaries of 52 Tectonic Plates
Plate boundaries, 52 of them, from a major 2003 paper.
Plate-Tectonic Features and Global Topography
A map of the actual landforms that signify plate-tectonic entities.
Tectonic Activity of the World
A snapshot of the moving parts of Earth's surface.
Map of the Mid-Ocean Ridges
A schematic map with the names and locations of the spreading ridges.
Map of World Seafloor Ages
Seafloor spreading is what first made plate tectonics a plausible theory.
Map of Global Plate Speeds
The present motions of the plates are measured with amazing precision.
Map of World Hotspots
A handy guide to names and locations of the most commonly cited hotspots.
Plate Boundaries for Google Earth
This KMZ file from the U.S. Geological Survey has plate boundaries and their types for the world, with 18 plates named. Another file, plateboundaries.kmz, shows much finer detail of the boundaries without names. Play with both of them at once in Google Earth.


text:
If Idle No More is supposed to be about unity, sending a message, standing strong, it's also about politics, conflict, and about racial skirmishing that has once again broken through the surface of public debate like an infected boil.
While the identified foe is the heavy handedness of the Harper regime, it has created divisions within, such as the political cage match Chief Shane Gottfriedson finds himself in over his tepid support of the cause.
Admittedly, there's a certain admiration for the determination of First Nations against the arrogance of this government when the rest of us have passively accepted it so often.
Bill C-45, the genesis of Idle No More, is said to endanger First Nations rights to consultation. Yet, this omnibus legislation, at more than 400 pages, changes so much about our country that everybody of any colour should want to understand the government's thinking.
MP Cathy McLeod devoted some space to it in her householder when the bill was introduced last October. It would, she claimed, help "grow Canada's economy, fuel job creation and secure Canada's long-term prosperity."
And it would "strengthen" environmental assessment.
Environmentalists see it differently. Ecojustice, an environmental-law think-tank, stated on the day the bill was introduced that it removes environmental hurdles for projects like Enbridge's Northern Gateway pipeline and,
"(This bill) hands oil, gas and other natural resource extraction industries a free pass to degrade Canada's rich natural legacy."
But it's the racial undercurrent to the public debate stirred up by Idle No More that's so unfortunate. The blogosphere has lit up with a war of words in which the objectives of Idle No More have become a casualty.
As the rallies focus on environmental and aboriginal rights issues, the old stereotypes of lazy Indians and redneck whites are being trotted out on websites.
Concern over the loss of protection for waterways has been usurped in the public dialogue by questions about whether Chief Theresa Spence is cheating in her hunger strike by drinking Boost, a meal-replacement drink popular with seniors.
"Suck it up 'first nation' losers," is a not-atypical comment on the websites. "If you want something: wake up, stop drinking, and try to work for a change."
Racial insults are a two-way street, as in the response that characterizes non-natives as "immigrants" who are "ignorant" and motivated by "evilness."
Such exchanges ignore the diversity of today's Canada, as if there are only two kinds of people — native and "white man." And if you aren't on one side, you must be on the other.
What a sad state we're in. It's possible that Idle No More will turn out to be just another Occupy Wall Street, unable to sustain itself for long, and maybe Chief Spence will give up and start eating again.
Or, maybe the prime minister will stop worrying so much about giving the protesters a moral victory, realize, as his predecessor Joe Clark put it, that "First Nations-Canada relations are heading in a dangerous direction," and make the first move.
It's not so much to ask, really.


text:
Popular throughout much of Central Asia, buzkashi is a form of horse polo in which horseback players wrestle a goat carcass across a playing field. Believed to have its origins as a defense tactic against Genghis Khan's livestock-snatching Mongols, the sport is played with few rules and no teams – every man fights for himself.
Buzkashi is practiced more widely in Tajikistan, compared to the other ex-Soviet republics, where the sport is occasionally controlled. For Afghan horse traders upholding their own buzkashi tradition, Tajikistan is also one of the chief sources for the prized — and often extremely expensive — buzkashi steeds.
All of the photos in this gallery were shot in Tajikistan, as part of a project on buzkashi culture throughout the 'stans. A selection of photos from this series won a gold award in the 2011 Prix de la Photographie (PX3) and 2nd place in the 2011 International Photography Awards.
Growing up in China, India and Indonesia, Theodore Kaye found a natural passion in photographing the world. While majoring in Film at Yale, he studied Uzbek and Farsi and then went to work as a newspaper editor and mountain guide in Central Asia before settling on a photo career.
As a former staff photographer at Rhythms Monthly, a Chinese-language geographic magazine, he has covered stories in China, Taiwan, Japan, India, Sri Lanka, Afghanistan, Kazakhstan, Kyrgyzstan, Tajikistan, Ireland and Great Britain. His work has been featured in the New York Times, the International Herald Tribune, the Associated Press, McSweeney's, CNN, Eurasianet and the National Film Board of Canada. Past NGO clients have included the Aga Khan Foundation, the Tzuchi Foundation, the Eurasia Foundatio,n VSO, and GIZ.
Theodore Kaye is currently pursuing personal projects in the Central Asian 'stans, Greater China and South Asia. He is available for editorial, portrait and commercial assignments. He can speak English, Chinese, Tajik and Russian.
To license this work for editorial, creative, or other uses, click on the OZMO logo above.
This will take you to the Ozmo website where you can review the cost and license for the photographs in this exhibit.
You will need to create an account with both Amazon payments and with the Ozmo website as described on the Ozmo website.
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