text:
After the Nforce4-A939, lets move up the chain a bit(in terms of price) with this elegantly packed KN1 Extreme. The layout is typical ECS with a nice expansive design and neatly placed connectors. Being a non-SLI, it scored a low 80 in performance. It is slightly higher in features and packs in 6 SATA ports, dual S/PDIF( both coaxial and optical) one Gigabit and one 10/100 LAN ports. The board has a fan placed above the back panel components which sucks out the air displaced by the CPU fan which enables efficient cooling. It only supports 6 channel audio however and since it doesn't bundle any extra features like wi-fi, Bluetooth etc, we feel that the price tag is not justified and you are better off spending 850 bucks more to buy our top performing ASUS board. RQS# E24 or SMS 131024 to 9811800601
ECS Nforce4-A 939
IF you are looking for a board with excellent performance but will not cost an arm or a leg, this is the one!
The first thing you feel when you see the board is a feeling of space. The board is very neatly laid out with some space marked out even for the logo! The purple color board supports a single Gigabit port, 4 USBs and a coaxial S/PDIF. In terms of performance this board was placed last in this group but that was primarily because it is NON-SLI. The beauty of the board is that it provides all the essential functions (even two PCI-E x1 slots which the MSIs don't have) and costs about half of what the second cheapest board in this category does.
If you don't care for the frills of firewire and Bluetooth and want a cheap solid performer, this is the one you should go for without even thinking twice. RQS# E25 or SMS 131025 to 9811800601


text:
I feel as though all of us Giants fans are coming down way too hard on Velez after a little over a month at the major league level.
His line right now is .223/.263/.348 which is not overly impressive
but for a guy with game changing speed, that slugging percentage isnt too bad for how much contact he is making. That slugging percentage translates to .440 if he was batting .275
But regardless, I have never been a fan of ragging on your team's players, but getting on Velez is even more stupid. Velez wasn't some prized free agent signing that hasn't lived up to his contract; in fact, if you asked anyone in the blue jays organization 3 years ago, they would tell you that he was never going to see a major league at bat.
Velez was a guy who was seemingly abandoned by his former club, and worked his ass of to become a serviceable hitter. In 2006, he was an afterthought roster filler for the Augusta Greenjackets, and what did he do? Win league MVP.
I was guilty at one point of falling falling for Eugenio-mania over the off season as many of us were. We all read the baseball america chats where he was compared to Chone Figgins, or even a poor man's Jose Reyes, and have come to expect those types of performances out of him.
I would much rather see Eugenio Velez penciled into the 8-hole, playing 2nd base than Ray Durham anyday of the week. I am not convinced that Durham is that much better a fielder, and Velez certainly has more offensive upside.
He may be the next Chone Figgins, he may not make the 25 man roster in 2 years, but he will NEVER be a bust.

subset: commoncrawl


text:
Art Themen
|This biographical article needs additional citations for verification. (June 2012)
|Art Themen
Themen performing in 2009
|Background information
|Birth name
|Arthur Edward George
|Manchester, England
United Kingdom
|Musician, surgeon
|Associated acts
|John Critchinson, Jack Bruce, Alexis Korner, Stan Tracey
Arthur Edward George 'Art' Themen (born 1939) is a British jazz saxophonist[1] (and an orthopaedic surgeon).
Themen was born on 26 November 1939 in Manchester. In 1958 he began his medical studies at the University of Cambridge, going on in 1961 to complete his studies at St Mary's Hospital Medical School in London, qualifying in 1964. He specialised in orthopaedic medicine, eventually becoming a consultant.
Themen started playing jazz with the Cambridge University Jazz Group, and then in London playing with blues musicians Jack Bruce and Alexis Korner. In 1965 he played with the Peter Stuyvesant Jazz Orchestra in Zürich, going on to play with such English luminaries as Michael Garrick and Graham Collier's Music.
In 1974 he entered on what was to be one of his central musical relationships when he started playing with Stan Tracey. He has played with all of Tracey's groups, touring with him all over the world as well as around the UK. He has also played and toured with musicians such as Nat Adderley, Ian Carr, George Coleman, and Al Haig.
In 1995 he formed a quartet with pianist John Critchinson.
His style originally owed much to the influence of Dexter Gordon and Sonny Rollins, but later influences included such disparate saxophonists as Coleman Hawkins, Evan Parker, and the "sheets of sound" John Coltrane.
- 1982: Bebop "Live" – Al Haig, Peter King, & Art Themen
- 1997: Classics – Howard Riley & Art Themen Quartet
Themen is now concentrating on his jazz career, following his recent retirement as consultant orthopaedic surgeon.
- ^ Lifschutz, Jonathan (2 October 2009). "Art Themen - Lund Theatre". Jazzwise. Retrieved 20 June 2012.
External links[edit]
- Art Themen discography at Discogs


text:
Pittsburgh Steelers QB Ben Roethlisberger (ribs, shoulder) is officially active and will play in Sunday's game against the San Diego Chargers. Big Ben sat out the last three games after suffering a dangerous rib injury against the Ravens. He was trying to play last week, but it didn't happen after struggling in practice.
Charlie Batch started the last two games, taking over after Byron Leftwich went down.
Fantasy Impact: Even if he's not 100%, Ben is a big boost to the fantasy stock of Pittsburgh's offense. Antonio Brown is also back, and should be starting in all leagues during the fantasy playoffs.
Ben is a fine QB2 play for the rest of the season as the Steelers fight for a playoff spot.
For more fantasy info, head over to the SB Nation Fantasy War Room 4-8:30 p.m. ET Monday through Thursday and 9 a.m. to 1 p.m. on Sunday. Check out SB Nation's own Fantasy Football game, Pick 6!


text:
Al Bernstein of Showtime Sports runs down last night's action from the Staples Center with these video highlights featuring Mares vs Moreno, Santa Cruz vs Zaleta, and Alfredo Angulo's comeback...
Abner Mares and Anselmo Moreno headline a five-fight televised card tonight on Showtime and Showtime Extreme, with Alfredo Angulo, Leo Santa Cruz, and Nathan Cleverly featured on the undercard.
Abner Mares and Anselmo Moreno both made weight for their super bantamweight title showdown tomorrow night on Showtime.
Abner Mares faces Anselmo Moreno in the main event, and Alfredo Angulo, Leo Santa Cruz, and Nathan Cleverly are featured on the undercard this Saturday night on Showtime.
The weekend is filled with notable names, as Wladimir Klitschko, Chris John, Nathan Cleverly, Humberto Soto, Gary Russell Jr, and Robert Helenius are all in action, and Abner Mares faces Anselmo...
Fight Hub TV was in the house for Tuesday's press conference featuring Abner Mares and Anselmo Moreno, as well as Leo Santa Cruz and Alfredo Angulo.
Abner Mares and Anselmo Moreno met up today in Los Angeles to announce their November 10 Showtime main event at the Staples Center, with Alfredo Angulo and Leo Santa Cruz also discussing their...
Rising bantamweight star and IBF champ Leo Santa Cruz will bring his fan-friendly style back to Showtime airwaves on November 10.
Chris Arreola and Alfredo Angulo will be part of the Mares vs Moreno Showtime boxing card on November 10. Bad Left Hook has more.
Bad Left Hook has all the TV boxing listings for this weekend, including Martinez vs Macklin, Brook vs Hatton, Holt vs Coleman, and more.
As part of the new SB Nation launch, prior users will need to choose a permanent username, along with a new password.
Your username will be used to login to SB Nation going forward.
Please login to your Vox Media account. This account will be linked to your previously existing Eater account.
As part of the new SB Nation launch, prior MT authors will need to choose a new username and password.
Your username will be used to login to SB Nation going forward.
We'll email you a reset link.
If you signed up using a 3rd party account like Facebook or Twitter, please login with it instead.
You must be a member of Bad Left Hook to participate.
We have our own Community Guidelines at Bad Left Hook. You should read them.
You must be a member of Bad Left Hook to participate.
We have our own Community Guidelines at Bad Left Hook. You should read them.
Choose an available username to complete sign up.
In order to provide our users with a better overall experience, we ask for more information from Facebook when using it to login so that we can learn more about our audience and provide you with the best possible experience. We do not store specific user data and the sharing of it is not required to login with Facebook.


text:
Trek in the Park
Are you a Star Trek fan visiting Portland on a weekend in July? Then you must not miss Trek in the Park, which features a local theater company putting on a famous Star Trek episode from the original series. It's well-done and hilarious; go early to score a good seat.


text:
- Mobile site
- E-Newsletters
- News feed
- Find us on Twitter
All the latest news and views from News Shopper
- Find us on Facebook
News Shopper
Like us on Facebook
Lewisham Hospital closure petitions handed in at Downing Street (From News Shopper)
Get involved: Send pictures, video, news and views - text NEWS SHOPPER to 80360 or email us
Greenwich news RSS Feed Send your news, pictures & videos
Lewisham Hospital closure petitions handed in at Downing Street
12:29pm Friday 7th December 2012 in Greenwich news By Mark Chandler, deputy news editor
PETITIONS containing thousands of signatures from patients, supporters, doctors and health professionals against the closure of Lewisham Hospital A&E have been handed in at Downing Street today.
One petition alone, organised by Lewisham East MP Heidi Alexander, has around 40,000 signatures online and in hard copy form.
A document from the doctors of Lewisham, both in the hospital and local GPs has 319 signatures so far, while 651 GPs and other healthcare workers across South East London, including neighbouring boroughs, have signed a third petition.
Six Lewisham consultants and GPs released a statement today, saying: "We, doctors in Lewisham, have grave concerns about the proposal to downgrade emergency services at Lewisham Hospital made by the Trust Special Administrator (TSA) for South London Healthcare NHS Trust.
"Lewisham Hospital is a solvent, successful organisation delivering high-quality care. Extraordinarily, the TSA has proposed that, due to problems at the neighbouring Trust, Lewisham's Accident and Emergency Department should close for admissions, and maternity services may be lost.
"Lewisham contains some of the most deprived wards in England. Our new £12m A&E department was opened this year in response to the increased need for emergency services. The TSA claims a 30% reduction in hospital care could be produced by providing care in the community, but there is simply no clinical evidence to back this up.
"Emergency and maternity services could not be provided by other hospitals without risking our patients' safety and quality of care.
"This is the first time the unsustainable provider regime has been used in the NHS, and yet it is a sustainable provider which stands to lose most. These proposals are opposed by the public and GPs of Lewisham, will harm patient choice, and are based on unsound clinical evidence. They should be rejected by the Secretary of State."
Comments (4)
Please log in to enable comment sorting
3:49pm Fri 7 Dec 12
Margaret Smith says...
ogspot. all of the NHS is in Danger not Just Lewisham so please sign the petition and spread the word.
10:37am Sat 8 Dec 12
sol worrell says...
12:50pm Sat 8 Dec 12
Slonik says...
1:28pm Mon 10 Dec 12
Primeval Mudd says...
Once a hospital's A&E goes the flow of patients to other departments/wards reduces and complete closure raises its head. That's what we're going to be looking at if this goes ahead.
Comments are closed on this article.


text:
Reply to comment
Submitted by JC (not verified) on Wed, 2012-06-06 18:13.
Knowing the Creator's word is accurate is foundational to all faith. Evolutionism is a false religion with no facts to back it up. All it has is theory — theory that changes frequently, trying to avoid the inevitable conclusion that it should have been thrown out long ago. But Christians have everything — a sure and certain promise that they will live in righteousness with their good and gracious King forever.


text:
Category Archives: fashion
today's inspiration
Fred Perry Knitting Patterns
If you are like me and have long admired the longevity, distinctive mod styling, and careful brand aesthetic of British retailer Fred Perry your heart may have skipped a wee beat when you read those words. Fred Perry Knitting Patterns? Really?
Yes, really. The gorgeous golden cardigan on the left currently retails on Fred Perry's website at £125, but the company is also offering knitters the amazing opportunity to really re-create this look themselves – why not download the pattern for free and whip one up today!
There are eleven designs for men and women, including both garments and accessories. Every attention has been paid to the patterns' careful vintage styling and 'authentic' mid-century graphic design and layout.
But sadly, the same care and attention has not been paid to the content of the patterns themselves.
The recommended yarn for these patterns is Rowan British wool Red Faced Leicester. Have you come across this yarn? Or heard of a Red Faced Leicester sheep? No, nor have I. In effect, Fred Perry is suggesting you knit this sweater with a yarn which does not exist, that grows on a non-existent sheep.
Red Faced sheep do exist:
One must assume Fred Perry is unable to distinguish between these delightful creatures and others, equally delightful, but rather different.
(British Blue Faced Leicester sheep)
Sadly, the problems don't stop there. There's no gauge or sizing information (!), nothing about yarn weight, quantities, shades, or other materials required, and the 'language' of these patterns would, I imagine, confuse any hand knitter either vintage or modern.
. . . certainly this contemporary knitter could make neither head nor tail of the incomplete and oddly constructed Cabled beanie pattern, which you might imagine, would be one of the easiest designs to get to grips with. Could it be, then, that Fred Perry's offer to "knit your own" garment from their Autumn / Winter 2013 knitwear collection is merely a sneaky marketing ruse? A way of spinning and bolstering the brand identity of mass-market knitwear through recourse to familiar ideas of the 'vintage' and 'handcrafted'? Surely not!
But, when you fail to knit yourself a lovely golden Aran cardigan from Fred's badly-put-together pattern (which fails to include instructions for the sleeves) , you can easily return to the website to purchase one ready-made. As you can see, this cardigan was "originally designed for fishermen on the Scottish isle of Aran" [sic] as opposed to the Irish Aran islands . . . you know, Fred, where actual "Aran" knitwear comes from? Perhaps the error-ridden and confusing "knitting patterns" are merely the tip of an eroneous marketing iceberg? Oh Fred! How cruelly you shatter my mod dreams!
Discussing a British brand I like and admire in this context is all the more galling as I really think these patterns are a brilliant idea. Why not engender more collaboration and interplay between high street retailers and hand-knitters? Between ideas of making and consumption? Between the world of "knit" as it is currently taught on fashion and textile courses, and the world of "knitting" as now practiced all over the world by savvy and talented craftspeople? Having had a good look at the Fred Perry Knitting Patterns, it strikes me that their single biggest problem is that they have been produced by someone who might know an awful lot about designing for Shima knitting machines, but has no understanding of the evolving descriptive vocabulary of contemporary hand knitting. With just a little more effort Fred Perry might have produced something truly innovative here, rather than this epic – and slightly cynical – fail.
All of your thoughts are welcome.
Thanks to Karie (@kariebookish), Helen (@ripplecrafts) and Benjamin (@knityounexttues) for the enlivening twitter debate which prompted me to write this post.
not a onesie?
I purchased this boiler suit from LHD Marine supplies in Lerwick a while ago and have been wearing it pretty much constantly for the past three weeks. We have not had a washing machine; I have been spending most of my time decorating, and for both reasons it has formed a useful uniform. For some reason I feel very happy wearing it. Perhaps this is because the boiler suit makes me feel as if I am getting things done, and indeed, I actually AM. Last time I was in Shetland I had an interesting conversation with a friend of mine about these garments, which, given the amount of serious sea and land work that goes on there, are pretty ubiquitous. I was told that many Shetland men have boiler suits of ascending value, and keep one for "best". I am seriously considering doing the same.
My "thing" for boiler suits is of some long standing, as I recall that, for my twelfth birthday I asked my Mum to sew me one, which she kindly did. This stupendous 1980s garment was pale pink, and featured turn ups and giant batwing sleeves. I have no photographs of me wearing it, but given that I also had a terrible perm at the time, I fear that I must have looked like a small, pastel-clad circus entertainer. I proudly wore the pink boiler suit for the first party I was allowed to hold without the presence of my parents. My only recollection of this momentous event is that Christopher Hodgkinson played frisbee with some mini tacos, firing them into next door's yard, where, after the effects of evening rain, they expanded to form a soggy snack-based crazy paving. There were words, but not of the serious kind.
My affection for my boiler suit leads me to question my horrified reaction to the animal-print onesies that are the evening-wear of choice of many Edinburgh youths, as well as to the fleecy "leisure" suits that are sold for festering on the sofa. All these garments say to me is "fire hazard" and "adult baby", neither of which are positive associations. Or perhaps I am merely late to the boiler-suit party as onesies of all kinds were certainly the thing a couple of seasons ago. I recall I saw an entirely functional-looking navy boiler suit on sale for £350 last year at YMC. All I can say is that you can get a boy's age 9-10 32″ boiler suit from LHD Marine supplies for £15 and it will do you just fine. Do you have a boiler suit? Or do you, as I, arbitrarily divide different kinds of all-in-ones into categories of acceptability? I am interested to hear about your relationship to these garments.
This digression comes to you from upstairs, where I have finished the woodwork and am about to start painting the walls. Below me, the kitchen is actually IN, with its (gulp) oak surfaces and exciting appliances (including a dishwasher, which I have never previously possessed – the novelty!). But the plaster is still wet, and the walls have yet to be painted and tiled. This will happen in a couple of weeks and then I promise there will be pictures. In any case, I hope to have my studio painted and completed over the next couple of days and be back at my desk by Friday, so if you've been waiting for an email response from me I'll be beginning to catch up then.
(Delaunay in an outfit of her own design)
Do you remember a little while ago I was having a Sonia Delaunay moment?
('Simultaneous' dress & car upholstery)
Around this time, I was knitting the the Puffin Sweater, and shortly afterward, I wrote a piece about Delaunay which has just been published in Rowan 53.
The brief for my feature was to write something to accompany this Rowan design story . . .
. . . and I felt that the influence of Delaunay was startlingly evident in mod-inspired knitwear collections.
(Delaunay, 1923 / Céline, Autumn / Winter 2010-11)
Delaunay's proud, modernist vision of garments as wearable art was the starting point of my thinking . . .
(Delaunay celebrated by Vogue in 1925)
. . . but I ended up somewhere rather different.
(Jean Shrimpton in Yves Saint Laurent's Mondrian Dress, 1964)
(Lisa Perry & Phillip Lim's appropriations of Lichtenstein)
You can read more in the magazine!
suit of the day
on the move
Sonia Delaunay, Driving Caps, Silk and Wool, 1924-28. Included in the Cooper-Hewitt Color Moves exhibition, 2011.
I am taking a break from my collection today, and researching a feature which somehow keeps bringing me back to the work of Sonia Delaunay. I came across these amazing wool and silk 'driving caps' that she designed, and was so blown away by them that I just had to show you. In their interplay of colour and rhythm, they capture so much of what I love about Delaunay's work. They are hats for use as much as ornament, garments intended, like most of Delaunay's clothes, to be worn with ease by what she regarded as 'modern' women — women on the move. Like Delaunay's famous 'simultaneous' coats and dresses, the bold, undulating and interlocking rectangles that create the structure of these these caps are the effect of dense, woollen embroidery rather than knitted stitches . . . still, as you can imagine, they have got me thinking. But today I am not supposed to be thinking about knitting. I am supposed to be thinking about 1920s Paris and New York, of the grid of the city, of wheels in motion, sleek architectural lines, bobbed hair, sportswear, dancers and swimmers, runners and cyclists, chevrons and stripes, blocks and spirals. I suppose it does all come back to the knitting, after all.
Delaunay and her matching decorated Citroen B12, 1925
Delaunay, cars and clothes, 1925
George Lepape, cover image for Vogue's 'Winter Touring' issue, January 1925, depicting Sonia Delaunay driving outfit with matching vehicle.
For anyone interested in Delaunay, I highly recommend the catalogue and accompanying essays of the Cooper-Hewitt Color Moves exhibition (2011).
Pleats now and then
I've been thinking about pleats for a little while now.
The heat-set pleats that have been a familiar feature of Issey Miyake's "Pleats Please" brand . . .
(Issy Miyake, "Pleats, Please" in Dazed & Confused June 2012, image via Style Bubble)
. . . now seem, in attenuated form, to be everywhere on the high street.
(pleats at Maxmara, Jaeger, Cos, Paul & Joe, Hobbs / NW3)
I find myself ambivalent about contemporary pleats, largely because all of these examples (including Issey Miyake's) are heat-set on 100% polyester fabrics. Frankly, the mere words "polyester heat-set pleats" are enough to make me feel a wee bit sweaty, but then you know I am all about the natural fibres . . .
The first name that springs to mind in association with modern methods of pleat-setting is probably that of Mariano Fortuny.
In 1907, Fortuny developed an innovative (and closely-guarded) pleating process for fine silks. He showcased this process, and the beautiful form-fitting fabric it created, on his famous "Delphos" dresses.
(Film star Lillian Gish in a Fortuny "Delphos")
Worn uncorseted, and echoing the lines of the ancient chiton, Fortuny's gowns had a forward-thinking, body-freeing simplicity. But the craft processes used to create them – pleating, cutting, cording, weighting with tiny glass beads – were of course incredibly elaborate.
In a way, however simple the lines of a garment, heavily pleated textiles immediately carry the suggestion of excess because of the sheer quantities of fabric they require. Thirty years after Fortuny's silk gowns, another designer took a fabric with much more homespun connotations, and, through innovative pleat-setting, turned it into the height of fashionable luxury.
In the early 1950s, the combined linen industry of the North and Republic of Ireland employed more than fifty thousand people. Yet, like other traditional textile manufactures, the industry was threatened by the rise of man-made fibres. Linen, of course, has a propensity to crease and stay creased, which rather limited its range of uses as a modern dressmaking fabric. But together, Belfast handkerchief manufacturer, Spence-Bryson and Dublin designer, Sybil Connolly were attempting to turn what many regarded as the negative attributes of traditional Irish linens to their advantage. Connolly recalled the process thus:
"A challenge invariably makes one creative; after pondering the question for some time and in conjunction with the workroom staff, it was decided to experiment to see if we could develop a process that would permanently crush or pleat the linen and so make a feature of the problem rather than an insurmountable setback. It took eight months, during which time we put many theories to the test, before we came up with the correct solution. The process we decided on still remains our secret."
Here is the beautiful fabric Connolly developed with Spence-Bryson.
Sybil Connolly Day Dress. Victoria and Albert Museum T.174-1973. Gift of Mrs V. Laski
Through Connolly's pleat-setting process, nine yards of fine handkerchief linen were transformed into a single yard of dress fabric. Like Fortuny, Connolly used cords and smocking for structure, but her pleats were set in the garment horizontally rather than vertically, lending her full, floor-length skirts an airy, textured quality remiscent of the underside of a mushroom. In these dresses, as in many other of her designs, Connolly's explicit aim was to promote and support 'traditional' Irish textiles. Yet her dresses perhaps proved so successful because they were also regarded as uniquely meeting the demands of the modern 1950s woman. "Crumple it into a suitcase," enthused Vogue of one of Connolly's dresses in 1957, "and it will emerge, uncrushed, uncrushable, to sweep grandly through a season of gaiety."
(Sybil Connolly with Robert Briscoe, Lord Mayor of Dublin and Patti Curran wearing one of Connolly's signature Irish linen dresses in Life Magazine, May 20th, 1957)
Like other mid-century designers and entrepreneurs, Connolly had a clear sense of the value of the idea of Irishness. She frequently launched her work across the Atlantic, and her designs were perhaps most popular in the United States and Canada. When Jackie Kennedy chose to wear one of Connolly's gowns for her official White House portrait, there was a clear statement being made about national presidential connections.
("Irish invade Fashion World" Look Magazine, August 10th, 1953)
When promoting her work, Connolly consistently lauded Irish skills and craftsmanship, and often developed styles in direct reference to those 'traditionally' worn in rural Ireland. For example, the striking cloak that appeared on the cover of Life in 1953 was meant to suggest red flannel petticoats.
But as the 1960s rolled on, the diasporic romance that Connolly's work spoke to began to seem rather anti-modern.
Sybil Connolly didn't move with the times. She professed a profound dislike for the mini skirt, and instead turned her hand to ceramics, producing some beautiful work for Tiffany, inspired by Mary Delany's eighteenth-century floral paper cuttings.
Until her death in 1998, Sybil Connolly continued celebrating and promoting Irish craft and design, producing several publications on the subject. I have a copy of her last book Irish Hands, which is not only really interesting and informative, but also a damn good read.
At this year's BAFTAs, Gillian Anderson's attire spoke to current trends . . . in a heavily pleated linen dress designed in 1957 by Sybil Connolly.
Perhaps the time is now ripe for a revival of pleated Irish handkerchief linen? I suppose one can dream. . . and continue to feel ambivalent about heat-set pleated 100% polyester.
Further reading:
Sybill Connolly, Irish Hands, The Tradition of Beautiful Crafts (Hearst Books, 1994)
Alexandra Palmer, Couture & Commerce: the Transatlantic Fashion Trade in the 1950s (UBC press, 2001)
Claire Wilcox, Modern Fashion in Detail (V&A reissued edition, 1997)
(You can see examples of Connolly's pleated linen dresses at the Museum of Decorative Arts in Dublin (I had the pleasure of seeing these gorgeous garments last year); at the Hunt Museum in Limerick; at the V&A and the FIDM in Los Angeles)
Jean Moss interview and giveaway
Today I'm really pleased to bring you an interview with Jean Moss, as part of the blog tour for her new book, Sweet Shawlettes, which has just been published. With twenty-five different designs, this book is a veritable showcase of cowls, shawls, capelets and collars. Small projects provide an ideal canvas for exploring new techniques, and one of the most distinctive things about Jean's book is the sheer range of knitterly styles and techniques it covers. So if you have never tried entrelac, intarsia, or shadow knitting, there's a nifty project or two in here for you.
Perhaps contrarily, given its impressive technical range, my favourite design in Sweet Shawlettes is possibly the simplest – Enigma – a dramatic and contemporary two-piece shawl. Knit in plain stockinette with two sweet-shop shades of kidsilk haze, it has a truly elegant simplicity.
Working with Rowan, and Jamieson and Smith, as well as international brands like Ralph Lauren and Benetton, Jean has been at the forefront of British knitwear design for more than three decades. Based in the UK, but traveling all over the world, the trajectory of her career really interests me, so I began by asking her how it all started.
Could you tell us a little about how your design career began?
Originally I learned to knit before I went to school because I wanted to please my beloved grandmother who spent hours teaching me. A fallow period ensued but my interest was rekindled in my teens when I started to make my own clothes. It was the swinging sixties and I loved what I was seeing on the street and in magazines, but had no way of achieving anything similar other than to pick up my needles again. From then on I was hooked. It never occurred to me that I'd ever be able to make a living out of it, especially as I had no formal training in design, but after getting requests for sweaters I'd made for the kids, I decided that it might be a way of making some extra cash from home. No-one was more surprised than I was to find that very quickly I was presenting my designs to luminaries such as Ralph Lauren and Calvin Klein and they were placing orders! It was a meteoric learning curve!
. . .and how you began to create designs for hand knitting?
When I started, I was living in an ramshackle old farmhouse with my husband, two toddlers and a menagerie of pets miles away from anywhere. My husband was commuting daily to teach miles away, so we were wracking our brains to find another way of making a living, which involved less travelling. So… we bought a knitting machine! My designs sold well so we quickly had to get more people to knit them. At a London show an agent for Ralph Lauren asked me to do some handknits for him. I jumped at the chance although at the time I had no production capacity and handknitting was definitely not my forte, but within six months we had 2000 knitters in the UK producing handknits for the Polo/Ralph Lauren label as well as selling my own collections to boutiques in the US and Europe. Obviously, as I had no design training whatsoever, there's a certain amount of luck involved, but this was the eighties when the ethos was go for it and anything can happen.
From your perspective, how has British knitting and knitwear design changed since the 1980s?
The internet has changed everything. When I started I saw myself as a fashion-led knit designer, producing fair isle, aran, lace and intarsia sweaters which were difficult to knit, had limited production and therefore had a very high price point. However, the cult of the knitted stitch has superseded the fashion angle now. Knitters are into techniques, relaxing with their knitting and sharing the fruits of their labours with their friends and the web is a fantastic tool for facilitating this. If you look at the most successful books on knitting right now they are all about techniques – there are far fewer book which are purely collections of designs. This is fine with me as I've always been interested in both – I love fashion, but I'm also a technique junkie, so I try to make each design a mini tutorial for at least one technique.
How would you describe your style? Do you feel this has evolved over time?
My signature style has always been a combination of colour, texture and form. However, I'm interested in exploring as much of the art of knitting as I can and I like to think my designs are ever-evolving as I learn more and more. I keep my camera to hand and I take many pictures of interesting objects, people and places – looking back over them often sows the seeds of new patterns. Fashion is essentially ephemeral, and what gives me a buzz is creating timeless pieces that transcend fashion, which hopefully will look just as good in twenty years time as the day they were knit.
You have a great knack of selecting exactly the right yarn for a design. What's most important to you in a yarn?
I'm flattered that you think that as I do try hard to find beautiful yarns for my designs. I make a list of the yarn requirements for each project and then try to find one that fits the bill. Having said that, it's become impossible to be au fait with every yarn on the market at any given time, so I always start with yarn companies I love like Rowan, Sublime or Jamieson & Smith. You can never know how a yarn will behave until you've swatched it, some projects demand drape, others need stitch definition and every pattern is different, but for me it's important for the yarn to feel good in the fingers whilst being knit.
Some of the most distinctive of your "Sweet Shawlettes" are inspired by vintage fashions. Do you have a favourite era of fashion history? Or a favourite fashion icon?
I love the glamour of the 1920s and 30s. Poiret's orientalism, Fortuny's sumptuous pleats and the fashion drawings of Erte and Iribe are all hugely inspiring. Women were trying out all sorts of new ideas as they threw off the shackles of the Victorian era and fashion design was innovative, outrageous and chic – all the things I love. It's hard to name one fashion icon, but having done a whole book on Audrey Hepburn, I must say the research was a delight. She was the perfect muse, as Ralph Lauren famously remarked: "Who wouldn't want to drop everything and design for Audrey Hepburn?"
Your work takes you all over the world, but is there a particular place that you love to visit again and again?
Definitely Morocco, but I love the theatricality of Venice too. I've been hosting knitting holidays with my partner Philip Mercer for ten years now, mainly in the UK, but our trip to Morocco last year was one of my favourites – design inspiration wherever you look.
Your love of plants and flowers has inspired many of the designs in "Sweet Shawlettes", and your garden is clearly very important to you. Do you see any similarity between the processes involved in knitwear design and gardening?
Yes I do find many similarities. At the start of each book I have to have a couple of weeks of cooking time, when I do nothing but displacement activities like gardening, cooking, playing guitar or going on long walks. This gives me a chance to mull over and crystallise ideas and it's amazing how the seeds of designs are often planted years before and given the right conditions they spring forth – much like growing plants.
Thankyou Jean!
Now, a giveaway! Courtesy of the nice people at Taunton Press, I have a copy of Sweet Shawlettes set aside for one of you. Following Jean's remarks about gardening and knitting, to enter, please leave a comment on this post telling us the name of your favourite garden flower. We'll (randomly) select the winner on March 21st, the date of the final stop on Jean's world blog tour.
Good Luck, Everyone!
If you'd like to follow the Sweet Shawlettes world blog tour, here is the full list of destinations:
Wed 7 Mar Jen Arnall-Culliford Knitwear Jen Arnall-Culliford
Thurs 8 Mar Yours Truly
Fri 9 Mar Rock and Purl Ruth Garcia-Alcantud
Sat 10 Mar Woolly Wormhead Woolly Wormhead
Mon 12 Mar Yarnscape Alison Barker
Tues 13 Mar Confessions of a Yarn Addict Anniken Allis
Wed 14 Mar Joli House Amanda France
Thurs 15 Mar This is Knit Lisa & Siobhan
Fri 16 Mar The Knitting Institute Katy Evans
Sat 17 Mar Life'n Knitting Carla Meijsen
Sun 18 Mar ConnieLene Connie Lene
Mon 19 Mar Just Call Me Ruby Susan Crawford
Tues 20 Mar Tiny Owl Knits Stephanie Dosen
Wed 21 Mar Ulla-Bella Anita Tørmoen
I have a downstairs neighbour (also a knitter) who, in the course of her work, often comes across interesting objects. She sometimes brings these up to show me, and together we will enthuse over a gorgeous set of art-deco buttons or an ancient pair of butter-pats. The other day she brought up a very special object, which I thought you'd like to see.
It resembles a small bible, but it isn't.
One clasp is broken, but the other is in fine shape. The pages are heavy, gilt-edged.
Shall we look inside?
On the first leaf is a print of a young and grieving Queen Victoria.
It is a photograph album. A typically Victorian repository of memory.
The style of the clasped book, and the particular settings of the cartes-de-visites dates it, I'd say, to the late 1860s.
But there are many types of studio portrait in here, from the 1850s to the 1890s.
This fragile-looking woman has a face that seems to recede from the camera. Her shawl is simple and heavy – perhaps the property of a photographer who requires some drapery to set this pale and light-boned figure off against the studio background.
I love the drape of the mantle over the crinoline; the detail around the skirt; the combination of the mantle's internal pockets with the rather elaborate corded bag.
You can almost hear the rustle of her dark, heavy silks.
His beard-quiff combo is really quite extraordinary.
And I love the jewelery and piled hair of this woman of later era, who appears in the album several times.
To whose memories do these faces, long dead, belong?
Cabbages & Roses
(Peerie Flooers hat and mittens, Caller Herrin' Sheepheid, and Funchal Moebius, all styled with Cabbages and Roses garments from 2007 to 2011.
I receive a lot of queries about the clothes I am wearing in the photographs you see here, and I generally receive the most queries whenever I am wearing clothes from Cabbages and Roses. Anyone who reads this blog will know how much I love and appreciate good clothes. Apart from my precious vintage garments, and some things I have made myself, it is fair to say that I love Cabbages and Roses clothes most of all. The very name Cabbages and Roses – in its suggestive combination of beauty and utility – conveys what is so different about these clothes. They are classic British garments: sometimes luxurious, sometimes practical, but always aesthetically pleasing and designed and made to last. Here is an anecdote which will immediately suggest to you the depths of my fondness – nay, obsession – with these clothes: when I had my stroke, I was wearing a Cabbages and Roses coat which was (and still remains) one of my favourite things in my wardrobe. I collapsed while out walking, was manhandled into an ambulance, and taken to hospital, where all my clothes were swiftly and forcibly removed. I was terrified, half paralysed, and undergoing gruelling neurological examination, but there was still room in my brain to worry about the condition and whereabouts of my coat. The first thing I asked poor Tom when I emerged from the CT scan was to check that The Coat was ok. There was a small tear to the lining which I have now repaired, but it was otherwise happily unscathed.
Me and Bruce in October 2010. I am wearing Tantallon hat, Tortoise and Hare gauntlets, and The Coat.
This coat has all the hallmarks of what I love about Cabbages and Roses' garments. It is beautiful, distinctive, carefully constructed and tailored. It looks and feels special (folk are always asking me where I got it) but is also comfortable and easy to wear. The design includes several thoughtful signature details, such as the pleated empire line, and the ribbon-tie at the reverse. And importantly, it is made from a lightweight wool (hurrah!) that is really of fabulous quality. The label inside the coat not only told me this, but gave me information about where that fabric had been sourced and woven. Like all of the clothes in Cabbages and Roses' collections, this coat was made on a relatively small scale in their London factory. So not only is the design truly lovely, but the quality of the British craftmanship in this garment is absolutely top notch. I have already worn it over several winters, and it still looks glorious.
The Coat in 2009. Also wearing Fugue mittens.
Why am I telling you all this? Well, first because I would like to come clean to those of you who are always asking me about my styling: really, quite a lot of it is due to Cabbages and Roses. Second, at a moment when so much of British fashion design seems sadly plastic and ephemeral (I would really rather not wear a disposable blouse inspired by a 1980s pencil case), and when the UK high street is full of badly made synthetic garments that will end up as tomorrow's landfill, it is really rather nice to be able to celebrate and warmly recommend a company whose design aesthetics, quality textiles, and admirable values are the happy antithesis of those you will find in the Wovember Hall of Shame. And finally, because today I have the very great pleasure to share with you an interview with Christina Strutt.
Christina's background is in interior decor and styling. When, just over a decade ago, she found herself unable to source the quality vintage-feeling fabrics which she needed for her work, she established Cabbages and Roses and began to design her own. Following the popularity of their textile line, Cabbages and Roses brought out their first garment collection in 2006, and since then have gone from strength to strength. Christina is clearly an individual with tremendous creative flair, yet there is also a good-humour and lack of pretense about both her and her work that I find really refreshing and inspiring. So, here's our virtual chat, interspersed with some of my favourite looks from the current Cabbages and Roses collection.
KD: Could you say a little about how what lead you to develop your clothing line after the establishment of the C&R fabric and interior design brand? What were the core ideas behind the line?
CS: When our first fabric rolled off the production line, we were so excited by its beauty, in the style of The Sound of Music we made dresses, skirts, shirts, cushions, curtains from our first creation 'bees.' It was so refreshing to have in our hands a beautiful faded rose print, something we had been searching for for so long that it was hard not to make anything and everything from it. Then when we joined forces with our current partner, Jigsaw, they wanted a Cabbages and Roses collection in their stores. At this point our clothing collection more than doubled in size.
KD: What would you like women to say about your clothes?
CS: That their daughters steal their Cabbages & Roses clothes from their wardrobe. That we have a cult following. That still, five years later, they are still wearing the same piece with as much pride as when it was new. That they have been chased up the street by a complete stranger asking where they bought that coat / dress / skirt from. That our clothes make them very happy. That at last there is something interesting for women of a certain age to buy that their children also covet.
KD: Would you describe the Cabbages and Roses style as British ? I certainly would, but I wondered what that meant to you?
CS: Yes, I think I would describe our style as British as it has a certain ecclectic-ness that says "I am my own person." The influences that go to make a collection are, on the whole, inspired by a generosity of spirit, an extravagance of fabric, and the 'Made in England' labels that we are so proud to sew into our seams! Although born of Italian and South American parentage, I have lived in England for all of my life. I am privileged to travel extensively, but truly I am happiest at home in England and quite resent having to be abroad so much! I am very proud of this fine country, and to be involved in a very English label that sells all over the world is a source of great pleasure.
KD: Is there a particular era of fashion history that you find most inspirational?
CS: Yes indeed, everything from 1066 to 2011! Since childhood I have loved the history of fashion, from the gentle empire lines, to the exuberant Victorians, from the grand elite to the working-class garments. I also love Edwardian lines and sixties shifts — the only period that distresses me is the 1970s and 80s — a time of my life when I was able to take charge of my wardrobe, but when clothes took on a strange giant-shouldered boxy shape and hair spiraled outwards in a curly, shaggy mullet-shaped embarrassment!
KD: Whose style — either now, or in the past — do you most admire?
CS: When I was a young 20-something girl, working on Vogue Magazine, Kenzo Takada was de rigeur – his beautiful, colourful prints and lovely shapes were all I desired. I also love Helena Bonham Carter's eccentric and interesting ensembles: she has an independent spirit, wears what she loves, and always looks splendid – especially when she wears Cabbages and Roses.
KD: Do you feel that your design aesthetic has evolved over the decade since you established C&R? If so, how would you describe this process of evolution?
CS: Yes, I do think we have evolved: it has been a hard road that we have travelled, but I think that with our sales growing so steadily year on year, confidence in my designs has grown too. In the early days our designs were simplified to correspond with our limited manufacturing facilities. Now with access to marvelous pattern cutters and a splendid London factory, the designs tend to be more complicated and fewer compromises are made.
KD: Fabric quality is clearly very important to C&R. Could you say a bit about the kinds of textiles you like best and why?
CS: For me, choosing fabric is a matter of aesthetics above all else. When buying fabrics I tend to go for look, texture, and colour, it is an instinctive process and without any sort of financial or manufacturing control! It is only when sampling is being ordered that I am reigned in by our production department — this is where compromises come, but only in the quantities that are to be made. Although I prefer to to use natural fabrics — cotton, wool, linen — I do not mind having to use a man-made fabric if its look is in line with the design.
KD: Are you able to successfully source these textiles within the UK? Is it important to you to that C&R supports the UK textile industry in this way?
CS: In Winter nearly all of our textiles are made in the UK, as the British tweeds and tartans are perfect for our requirements. However, Summer fabrics are necessarily sourced from abroad. I would like to be able to say that we only use organic cottons but sadly this is not true. In a perfect world all of our fabrics would be organic but at the moment we are just too small to be able to afford to make our clothes from organic cotton. However, all our furnishing linens are printed with Okatex approved water-based inks; all our own fabrics are printed in London; and all our woven collection is also made in London. Wherever possible, we support British industry, and wherever possible, we print, manufacture and source British goods and textiles. It is extremely important to us.
KD: One of the most impressive things about C&Rs clothes is that they are so evidently designed to last. How important to you is it that your clothes have longevity in women's wardrobes? And do you ever feel that this this longevity is at odds with current trends toward the disposable in women's fashion?
CS: It is absolutely the most important aspect of our clothing collection. Longevity is the antithesis of fashion, and we are so un-fashion-conscious that we consider that it if something is not in fashion, it is not possible to be out of fashion. I do have a horror of seeing someone walking down the street wearing an article of Cabbages and Roses clothing and looking ridiculous: if, say, we had produced a 'one-sey' in an extremely fashionable leopard print (I think that this is the name for the all-in-one boiler suit that was fashionable earlier this year) I would feel compelled to throw a blanket around her shoulders and lead her home to change. Happily, though, I don't think we have ever produced an article of clothing that I wish we had not! I love seeing perfect strangers wearing a Cabbages and Roses piece from five years ago and still being proud of what we have produced, often I see clothing that I had quite forgotten about and think – 'how clever'!
KD: I love old hand-knit sweaters, and think that good clothes, like those designed by C&R, can really last a lifetime if they are cared for properly. I wondered if you had a favourite item of clothing in your wardrobe that has lasted many years and whether you could tell us a bit about it?
CS: I am wearing, as I write, a Cabbages and Roses A-line sweater first introduced in 2006. We have reproduced this sweater every year since and it remains a best seller to this day. It is designed in our favourite A-line shape, as flattering a style as possible: fitted at the shoulders and bust and gently flaring out so as not to hug body parts that should remain hidden. I am also wearing a navy wool side-button skirt, again produced about four years ago and still featuring in our current clothing collection.
KD: I love your books about textiles, interior decor, and sewing (particularly Home Made Vintage), and wondered whether you had any plans in the future to produce a book about fashion and styling?
CS: Yes, my publisher has asked that we do another book — we are trying to think of a suitable subject. I would very much like to make a fashion book, but it would be difficult to make it not seem like a catalogue of Cabbages and Roses clothing. A retrospective, perhaps — but I am not sure that we are at that stage yet. Perhaps your readers would like to suggest a perfect topic for Cabbages and Roses next tome?
KD: And finally, just for fun: do you have a favourite variety of English rose, or, indeed, of cabbage? I don't think you can beat a January King.
CS: I think cabbages are as beautiful as roses and often use lovely savoy cabbages as decoration. My favourite rose is Eglantyne – named after Eglantyne Jebb who founded the 'Save the Children' charity. It is multi-petaled in delicious pale pink, and has a lovely delicate rose scent.
Thankyou so much, Christina!


text:
Guns in every home. One Marion County Group hopes that will happen.
Members of Marion County Campaign for Liberty are pushing for an resolution that will encourage every household in the county to own a gun."Marion County has already supported a resolution that supports the Second Amendment," said Commission Chairman Carl Zalak. "People arming themselves in relation to the Constitution."There are some exceptions to this proposal, like banning those with mental disabilities and making sure everyone is properly trained to use a firearm."I think we'll bring it back and vet that a little further," said the chairman.The group says that, if this passes, it will help drop the crime rate."What we're doing today is advising people that they should protect themselves, it's really up to them to protect themselves," said Jim Burkiewicz, who presented the proposal to the commission Tuesday morning.No vote was taken. Commissioners are going to look more into this proposal and discuss it in the coming months.
35 Skyline DriveLake Mary, FL 32746
Phone: (407) 644-3535News Tips: (866) 55-FOX35


text:
Defending Oneself in Court
Rights vs. Justice
On December 7, 1993, a late-afternoon commuter train left Manhattan to go to Long Island, as documented on an American Justice program. The train was packed with people trying to get home. Colin Ferguson, 34, boarded it in Jamaica-Queens, armed with a 9mm handgun and a bag of bullets. He was angry, and he'd spent most of the day letting his anger fester. At the end of the day, he had gone to the train station. On the train, he took a seat and watched others get on. The train began to move. People closed their eyes or opened up the day's paper.
Suddenly Ferguson stood and fired his gun at a woman. He continued to shoot, hitting several more passengers. Some tried to escape into the next car or hide behind seats. Those who saw the shooter reported later that he had a blank look on his face. He fired 15 rounds in approximately ten seconds, and then reloaded, walking up the aisle and shooting. Then he stopped, and someone shouted to others to grab him. Three people did so, and he pleaded with them not to hurt him. At the next stop, he was removed. In less than two minutes, 19 people had been wounded and six were dead.
At police headquarters, authorities found notes in his pocket offering scribbled reasons for what he had done. He denied nothing, and justified his actions by saying that he had been persecuted his entire life by prejudice. Assigned lawyers decided to use the defense of temporary insanity in the form of "Black Rage," but Ferguson decided to dispense with them and defend himself. He refused to see a psychiatrist or have his records reviewed. To determine his competency, he merely had to describe the role of the prosecutor — and he was led along by the judge. He then offered his defense theory: A police officer had told him that someone else had done the shooting, so he was innocent. His lawyers insisted that this position was proof of his incompetency, but he continued to refuse to accept psychiatric care. Nevertheless, they strove to prove that he was psychotic and found a psychiatrist to testify to it. Yet the prosecutor said that Ferguson was malingering to throw things off track. He was scheming and manipulative, and therefore should be judged competent.
The judge once more found him competent — he knew the dangers of representing himself and had the right to do so. Ferguson assured the judge that he would be a formidable opponent to the prosecution team, so on January 26, 1996, the case went to trial. Despite Ferguson's claim, the DA had fifty people who could identify him as the shooter on the train that fateful day. In addition, the gun used in the shootings belonged to him. Ferguson's job was to convince the jury he was not the man.
In his opening statement, Ferguson said that the only reason there were 93 counts on the indictment was that it matched the year 1993 —the year of the incident. "Had it been 1925," he insisted, "it would have been 25 counts." He said that he was being victimized by a conspiracy out to destroy him. The person who had committed the crime was a white gunman who had taken his weapon from the bag while he was asleep and started shooting. Ferguson also accused a man who had tackled him of being the real killer, because he'd grabbed the gun. Because President Clinton had honored this man, Ferguson wanted to subpoena the president. In addition, he called a homicide detective, Brian Parpan, to the stand, attempting to prove that some other Colin Ferguson was the killer.
Resting his case, he spoke for three hours, insisting there was reasonable doubt and begging the jurors to see him as a persecuted human being. They didn't. Instead, they found Colin Ferguson guilty on all counts. In March, Ferguson was sentenced to six consecutive life terms.
Legal experts and psychologists debated whether he should ever have been allowed to represent himself. The DA said Ferguson had schooled himself in the law and fought for his innocence, so he was not in some "other world," as some mental- health experts insisted. But can the same be said of the next case?
- « Previous Chapter
- 1
- 2
- 3
- ...
- 12
- 13
- 14
- 15
- Next Chapter »


text:
Wednesday, February 26, 2014
Thursday, February 27
DIABETES SUPPORT GROUP MURRELLS INLET: Waccamaw Community Hospital 1st floor classroom at 1:30 p.m. Information at 652-1281 or 652-1638.
Free trees: Trees for Tomorrows Tree Party weekend was a success but they still have trees left over. Several hundred dogwood and Northern red oaks are free to the public for the asking. Call 843-457-8126 or email email@example.com.
FRIENDS & FAMILY CPR MURRELLS INLEt: Wachesaw Conference Center at 4367 Riverwood Dr., Suite 160 in Murrells Inlet 6 to 8 p.m. Adult CPR is covered but emphasis is on pediatric CPR. Fee $20 per couple or $10 for individual. Pre-registration required call 520-8490 or register via the hospitals website.
Friday, February 28
Health insurance: Free enrollment fair for those who have questions or need assistance enrolling in the Health Insurance Marketplace. Waccamaw Community Hospital from 8 a.m. to 6:30 p.m.
ribbon cutting: There will be a ribbon cutting at eellese event logistics solutions at noon, 102B South Merriman Road, Georgetown.
Blood drive: The drive is scheduled for 12:30-5:30 p.m. in the American Red Cross blood mobile, which will be located in the parking lot at HealthPoint. Appointments will take priority, but walk-ins are welcome. Appointments can be made by calling 843-527-7173 or going to http://www.redcrossblood.org. HealthPoint is located at 12965 Ocean Highway in Pawleys Island.
In addition to having a valid ID, blood donors must be healthy, be at least 17 years old and weigh a minimum of 110 pounds.
MENTAL HEALTH: Mental Health America in Georgetown County Board of Directors will meet at 5:30 p.m. at Georgetown County Library, 405 Cleland St. Call Everlena Lance, board chairwoman, at 527-1435.
Saturday, March 1
Veterans benefits workshop: There will be a Veterans benefits workshop from noon to 2 p.m. at the Georgetown Outreach Ministries (The Meeting Place,) 2921 Highmarket St., Georgetown.
Great american clean-up: Keep Georgetown Beautiful will be hosting the annual Great American Clean Up 9 to 11 a.m. with lunch served afterwards at Ben Cooper Park on the corner of Prince and Lafayette Street. Volunteers are needed to pick up litter on assigned streets and areas throughout the city of Georgetown. Trash bags and trash grabbers will be supplied by Keep Georgetown Beautiful. Call 545-4100 for more information.
Sunday, March 2
gospel sing out: Coastal Carolina Universitys annual Gospel Sing Out will be held at 4:30 p.m. in Wheelwright Auditorium. The event is part of the Spring 2014 African American Legacy and Multicultural Celebration. Admission is free; however, tickets are required. Wheelwright Auditorium is located at 108 Spadoni Park Circle on CCUs main campus in Conway. For more information and tickets, call the Wheelwright Box Office at 843-349-ARTS (2787).
Mt. Zion missionary baptist church: Mt. Zion Missionary Baptist Church, 365 Parkersville Road, Pawleys Island, presents 2008 American Idol contestant, Jeffrey Lampkin and the Francis Marion Universitys gospel choir at 4 p.m.
Monday, March 3
Pancake supper: The 15th annual Pawleys Island Kiwanis Pancake Supper to benefit JOY School and other Kiwanis Kids programs will be held at Eggs Up Grill in Litchfield. Eat in or take out. Tickets are $5 each and will be available at the door. Serving time is 4:30-7:30 p.m. Food and facilities are donated by Eggs Up so all money goes to Kiwanis programs.
The Waccamaw Neck Computer Club: Photography SIG (Special Interest Group) will hold its monthly meeting from 9:30 to 11 a.m. at the Georgetown County Library, Waccamaw Neck Branch, located at 24 Commerce Lane, Pawleys Island. This meeting will featuring Bill Jordan (Darkness-to-Light Photography) who will be sharing some of his favorite photos from Shooting the Smokies.
PARKS/REC COMMISSION: The Georgetown County Parks and Recreation Commission will meet at 6 p.m. at the Beck gym, adjacent to Georgetown County School District on Church St. Call 545-3323.
Alzheimers and other Dementias Caregiver Support Group: Alzheimers and other Dementias Caregiver Support Group meets the first Monday of the month from noon to 1 p.m. at Holy Cross Faith Memorial Church Chapel, 85 Baskervill Dr. Pawleys Island. Call 237-3459 for further information.
Tuesday, March 4
Mardi gras parade: The second annual Mardi Gras parade and celebration will be held at 6 p.m. at the Town Clock on Front St. in Georgetown.
Pancake dinner: All 4 Paws Animal Rescue will be having their annual Pawcake Dinner at Applewoods House of Pancakes in Pawleys Island on March 4th from 5 7 p.m. All funds raised will support the work of the 501 (c)(3), no kill shelter, which is staffed by volunteers. Dinner will include a triple stack of Applewoods famous pancakes, eggs, bacon or sausage, a drink and your tip for only $10 per person. Tickets for the dinner are available at the shelter located at 67 Waverly Road in Pawleys Island which is open to the public Tuesday Saturday from 11 a.m. 5 p.m.
Georgetown Alumnae Chapter of Delta Sigma Theta Sorority, Inc.: A shoe drive will be held from 4:30-5:30 p.m. in front of Georgetown County School District Administration Building located at 2018 Church Street. Brand new or gently used mens, womens, and childrens shoes will be accepted. This service project is in collaboration with UNCF and Alpha Kappa Alpha and Zeta Phi Beta sororities. The Kelly Company will make a monetary donation to support student scholarships and operating support to the five UNCF South Carolina institutions.
AIRPORT COMMISSION: The Airport Commission will meet at 6 p.m. at Georgetown County Airport. To contact the commission, call chairman John Meehan at 235-8811. To contact the airport, call Rick Westfall at 545-3638.
SHERIFFS ADVISORY: The Sheriffs Citizens Advisory Board will meet at 6:30 p.m. at the Georgetown County Sheriffs Office, 430 N. Fraser St. in Georgetown. Call 436-6020.
Wednesday, March 5
U.S. Coast Guard Auxiliary: Flotilla 12-10 of Georgetown meets the first Wednesday of every month. Are you looking for a volunteer position that puts you in touch with the boating community? Members participate in safety patrols, vessel examinations and safe boating courses. They also attend community events such as the Wooden Boat Show to keep people aware of safe boating practice. Boat ownership is not a requirement. For information, please contact Ed Wozniak, Human Resources Officer, at tel. (843) 545-9750 or email firstname.lastname@example.com.
WAVE WEDNESDAY: Support Waccamaw High School by dining at the Murrells Inlet area Chick-fil-A from 5 to 8 p.m. Ten percent of all sales made during these hours will be donated to WHS.
bbq fundraiser: There will be a BBQ fundraiser at Pawleys Island Community Church from 11 a.m. to 6 p.m. to support the ministry of Pawleys Island Christian Academy. The cost is $10. Lunch delivery service is offered for businesses ordering five or more plates in Georgetown, Pawleys Island and Murrells Inlet. For information call the school office at 237-9293.
Pawleys Island bridge club: The Pawleys Island Bridge Club meets weekly at J.D.s Steakhouse, 13089 Ocean Hwy., Pawleys Island, on Monday afternoons at 1:30 p.m., Wednesday mornings at 10 a.m., Wednesday evenings at 7 p.m., Thursday morning at 10 a.m. and Friday morning at 10:15 a.m. For more information email email@example.com or visit the Clubs Web site at pawleysislandbridgeclub.com.
ISLAND SERENITY AFG: The Island Serenity Al-Anon Family Group meets at 10 a.m. in the Parish House at Holy Cross Faith Memorial Episcopal Church, 1113 Baskervill Dr. and Highway 17 Bypass in Pawleys Island.
MIDWAY AFG: The Midway Al-Anon Family Group meets at 8 p.m. in the Sandtrap Room at Tupelo Bay Golf Clubhouse, 1800 Business 17 South in Garden City.
South Strand News is pleased to offer readers the enhanced ability to comment on stories. We expect our readers to engage in lively, yet civil discourse. We do not edit user submitted statements and we cannot promise that readers will not occasionally find offensive or inaccurate comments posted in the comments area. Responsibility for the statements posted lies with the person submitting the comment, not South Strand News.
If you find a comment that is objectionable, please click "report abuse" and we will review it for possible removal. Please be reminded, however, that in accordance with our Terms of Use and federal law, we are under no obligation to remove any third party comments posted on our website. Read our full terms and conditions.
© 2014 South Strand News an Evening Post Industries company. All Rights Reserved.
Registration on or use of this site constitutes acceptance of our Terms of Service, Privacy Policy and Parental Consent Form.


text:
Printed for personal use only
What Happened to Mitrice Richardson?
Posted on
August 23, 2011
Los Angeles magazine
In "
What Happened to Mitrice Richardson?
," which appears in the September issue of
Los Angeles
magazine, writer Mike Kessler chronicles the circumstances surrounding Richardson's death. The recent college graduate had been acting strangely in the months leading up to her arrest in Malibu for not paying a dinner tab. After being jailed briefly, the she was freed in middle of the night with no car, no ride, no phone, and no money. Her naked remains were discovered a year later in a remote canyon. Within days of our story breaking, the sheriff's department tentatively agreed to settle with Richardson's parents, who had sued the department over the way it handled their daughter. Watch as Kessler walks us through details of the story.
Video by Julie Ellerton
Watch this segment from
The Today Show
on our investigative report:
Listen to writer Mike Kessler discuss this article on
The Madeleine Brand Show
on KPCC
Copyright 2012, Los Angeles magazine


text:
Recent Posts
Recent Comments
- Nitai Gauranga Das Hammari on Bitcoins, gold and silver and government
- Ramananda Roy Dass on Bitcoins, gold and silver and government
- Amar Puri on DOM is a sideshow – BBT is at the center
- jitesh on Please show me right direction
- Karanodakasayi Visnu Dasa Adhikari on Passing of Ananta Shanti Prabhu
Tag Archives: print money
To print or not to print
Euro Schizophrenia in Germany Zero Hedge – WOLF RICHTER – Nov 21, 2011 Merkel's government is under immense worldwide pressure, and fewer of its members are speaking out against Inflationspolitik. Countries like Spain are practically begging for help from the ECB. … more
Posted in Economy, Money, Politics Tagged Euro, print money Leave a comment


text:
If you aren't listening to the S&A podcast, you're missing out...big time! Do yourself a favor and join us--the S&A Crew--today at 8pm/est. It's nonstop fun and tomorrow will be no exception. Slated for discussion:
-Interracial Love on screen
-Nicole Beharie
-Rumors that Jamie Foxx and Will Smith turned down Django Unchained
-British black actors/actresses working in the USA
-How much accountability should be placed on actors and actresses when they accept awful projects?
Remember, you can listen and join us HERE or download the podcast later. Don't forget you can check into the chat room as well. If you have problems getting in, give us a call so we can help you. See you there!
CareyCarey | June 25, 2011 7:12 AM
JMac, I didn't see you come back (just read your last comment) but you KILLED this one. Damn, I could feel the passion in your words. And I doubt Mr Accidental will be coming back because we've put a deep whole in his argument.
I also agree with you sentiments about the podcast. Some folks seem to be afraid to take a strong opposing stance. Like you said, that's so boring. I could watch a slow and plodding PBS special if I wanted to listen to safe, one sided and agreeable banter. When I look at all the successful radio programs and round table discussions, most of them are fueled by strong dissenting voices. I don't care if the issues are sports, politics or movies, the best are those that have distinct opposing views, not safe and soft banter with the moderator/host giving the most voice to their opinion/view/position.
JMac, you said: "I'm not gonna lie, there are some f'ed up black chicks who revel in WM/BF pairings for all the wrong reasons (makes them feel prettier *snicker* or they feel like they're being avenged after decades of BM/WF on screen relationships.) Either way we're getting screwed literally and figuratively."
PREACH! That's what I'm talking about. Let's tell the whole story.
JMac, I saw you sitting in the chat room at the last podcast (this podcast) and I was their too. I understood your silent voice (for several reasons). Anyway, as I was sitting there I wasn't going to phone in because, well, I didn't want to be the "bad guy" and I don't know how to kiss ass. Also, earlier in the week I had "talked" with Monique and asked her if I could sit in Sergio's spot (to keep the party poppin' and have the opposing voice) since he would not be there, and I was told to call in during the show, not be a panel member. That's a very slippery slope. The conversations, viewpoints, positions and issues are already on the floor and then the phone line is opened... "BAM! what do you think about that Carey"? Well hell, what do I think about which one of the millions of opinions and issues on the floor? So I sat on the sidelines until I heard Monique call my name over the air @ around the 40 minute mark. I then picked up the phone and called in. Although I poked fun about it, I really do feel rushed and setup when I fall into that position.
**Damn, this is becoming an open letter to S&A** lol
"It'd be more fun to assign two people to intentionally take completely opposing sides on this issue and debate it for the next podcast. There was too much consensus this week. Everybody agreeing with each other is boring even if we actually do agree :D That's what I meant about the lack of bitterness, people disagreeing just for the sake of disagreeing"
Again JMac, you're making a whole lot of sense.
Personally, I believe S & A's blog is the perfect portal for an outstanding podcast, if only 1... 2... 3... 4... and 5 and possibly 6 egos work as a unified front, not a clique and a clack here and there.
JMac | June 24, 2011 9:00 AM
He hasn't come back yet so let me slide this comment in here. Obviously everyone has their own perspective on this issue and I still think there's more BM/WF pairings if we're going back to the Guess Who's Coming to Dinner/ Great White Hope days. Of course, whether it's lopsided today or not doesn't really matter. At heart it's just a childish tit for tat argument - "well BW do it more" "no BM do it more." I'm not gonna lie, there are some f'ed up black chicks who revel in WM/BF pairings for all the wrong reasons (makes them feel prettier *snicker* or they feel like they're being avenged after decades of BM/WF on screen relationships.) Either way we're getting screwed literally and figuratively.
I'm more pissed off when the black character has completely dysfunctional relationships with other black characters of the opposite sex (or no relationships with black characters at all) but they always find solace in the arms of the white character. Watcha tryna say? I see that more with tv shows than movies but I think that just makes it worse. Week after week seeing the same mess until you just have to boycott the show altogether. Also don't like this movie trend where black women supposedly have these "magical vaginas" that can make crazy men sane, sad men happy, gay men straight, blind men see - but only if they're white men. Black guys just go to jail and die. The racism sexism double punch.
"And to be perfectly fair why should a black male or black female character denounce iR on screen?"
I've got a different take on this question. How about because it happens in life - a lot but you never see it on the screen. Why not? Because we must love our oppressive masters and be nice little niggras. Please screw me I have such low self esteem and black people are soo mentally unhealthy not like you white folks. Not even hundreds of years of slavery and racial discrimination affected any of your perfect minds unlike Tyrone down the street who can't even get a job and Kisha's multiple baby daddy babies making ass [rolls eyes].
I just learned Jada's Hawthorne show is supposed to take place in Richmond VA. All I'm going to say about that is the IR aspect better be a major issue everywhere they go otherwise they should've chosen Los Angeles instead. Richmond wasn't a capital of the confederacy for nothing. That place is still a shithole.
Oh and add Eriq LaSalle to the list of black actors that won't do IR just for kicks.
It'd be more fun to assign two people to intentionally take completely opposing sides on this issue and debate it for the next podcast. There was too much consensus this week. Everybody agreeing with each other is boring even if we actually do agree :D That's what I meant about the lack of bitterness, people disagreeing just for the sake of disagreeing.
CareyCarey | June 24, 2011 3:16 AM
@ Accidental,
Before you address my next comment, I am suggesting (and I believe Monique hit on this) the present IR stories on screen are not out stories. They are written by white folks for white folk. Yet, they use or actors to draw us to the turnstyles. The frequent response (and Cynthia hit on this) is to say, "the actors have to eat and it's a way for a black actress to advance her career"
I say "miss me with that and stop using our black actors to advance the careers of white actors, and pad the pockets of white producers"
Who likes being pimped and pimp slapped? I don't!
CareyCarey | June 24, 2011 3:00 AM
"The question is more about the extreme one-sided pairings of IR on the big screen"
AccidentalVisitor, I believe Jmac asked you to support that opinion (one-sided pairings) in another post. You've yet to address her concerns.
But I don't believe there was ever an established "question" so S & A couldn't have "it" wrong. So, I believe that's your point of interest, but the discussion was wide open.
My concern, as I've repeated several times, is the lack of diversity in the script/plot/message. I don't care if it's Bm/WW or WM/BW, i want to see stories that show the inner conflicts that are directlly related to the color of their skin color (like Kia's project). I don't want to see guy meets girl, they screw and that's the end of the story... with a little giggle, wiggle and flirting in the middle. I am tired of seeing a slip and slide IR couple (side storyline) in which the action,storyline or drama is not focued on their relationship and the issue (their issues) created directly by their skin color and culture clash.
"And to be perfectly fair why should a black male or black female character denounce iR on screen?"
That's a vague question? What do you mean "denounce IR on screen? Who suggested denoucing anything?
Now, if you're trying to ask why should a black actor turn down an IR role in which the couples COPULATE on screen (which many actors, white and black do turn down) I hope you can find answers that question. If not, your position is well stated and then a further conversation would be moot.
AccidentalVisitor | June 24, 2011 2:09 AM
{{{ Where is the brother that comes to the realization that marrying a white women was a huge mistake, and show why he came to that conclusion. }}}
Ha! First you actually have to find a number of examples in modern cinema of a "brother" dating a white woman (let alone marrying her) before you can expect the black male character to denounce such a union.
And to be perfectly fair why should a black male or black female character denounce iR on screen? Once again folks here get the argument wrong. The question is more about the extreme one-sided pairings of IR on the big screen.
CareyCarey | June 24, 2011 1:25 AM
LOL @ Jmac, woman, don't be stirring the pot and kicking up mess, that's my job *smile*
But I don't know if I should agree with you... or what?
"clipped your little wing did she"
Well, I guess I can say that's true, for several reasons. I do know what type of bird don't sing.... a jail bird. So, did she handcuff me and thus clipped my wings? Well, I'd have to say my roll was slowed and I didn't get much sleep last night. I don't think she's gonna hug me like she loves me.
"You need lessons in how to kiss ass"
Ohh that's nasty, but COME ON, kiss an ass? Listen, I'm not going to be someone's special kind of fool. Plus, that's some nasty drama, and drama is nothing but the space between a lie and the truth.
But if I did kiss someone's nasty behind, we might find the core of a serious problem.
I mean, think about it, if you ask me to kiss your ass, drama is going to breakout because somebody is lying. I am lying to myself if I believe that kissing somebodies rusty ass will make them love me, and they''re lying to themselves if they think a wet kiss on their ass is going to solve our problems. Consequently, if we remove the lies; drama ceases to exist. Nobodies ass is getting kissed but...
Don't get me wrong, I didn't come to this conclusion over night. Oh no! Not until it got real dark did I see the stars. But don't ask me to kiss your ass, because my new motto is... WHAT ABOUT A TIME CALLED NOW! NOW... I am going to ask you why you'd want me to do that? Then we will see if we are moving toward an event filled with lies, deceit and drama, or moving to a mutual agreement that one of us just wants to get their freak on. Hey, I might like kissing somebodies ass (you never know) and that's no lie. No lies, no drama... er'body be happy.
"Those last few lines did seem a little… snotty"
Now ya got me, which lines? I've never been called snotty, arrogant but not snotty. But maybe you're not talking about mine lines? And I know you're not a kiss ass who is afraid to tell the truth. Nawl, that's not you.
"I think the podcast is better when Sergio's on. The bitterness to reasonableness ratio was definitely off last night"
I believe I've said (joked) enough about the podcast and my humor doesn't always seem to fly, but Sergio is my guy.
"bitterness to reasonableness".... huuuummm, you'll have to splain that one cuz I ain't going to touch it. I am already in deep doo-doo. :-)
CareyCarey | June 23, 2011 12:35 PM
Damnit Monique, you messed up my sleep, your comment (2 down) didn't rest well with me. You say you have a sense of humor but your comment spoke differently.
In my comment preceding to yours, how on earth did you use that to come to the conclusion that I was being sexist? I don't know you and I sure as hell don't know if you have 6 babies. That was obviously intended as a joke. I certainly do not believe calling Cynthia the big shot caller falls under the description of being a sexist. And seriously, to say I'd slide you 2 C-Notes to sit in the captain's chair is being sexist?
You even spoke of my use of analogies, and again, you missed it, but yet you say you have a sense of humor. I believe everyone knows the meaning of "sitting at the children's table" so I was referring to my continued theme (JOKE) that I've been sitting at the children's table, and thus longed for the day (maybe this Thanksgiving :-O) that I would be allowed to come up to the big table. So what's really going on?
Heck, I enjoyed the conversations, and even though I joked about James's air time ( I believe he knows that) I was in agreement with much (if not all) of what he said last night. In particular, I believe he agrees with my opinion that there's a deep lack of diversity in interracial films. As a counter point, someone mentioned Hancock and a canceled TV program. Yeah, Hancock! James jumped all over that one by saying the black character was still a drunken slob, and I said the Hancock character does not even fit the discussion, and then someone said we were going too deep. Too deep?
My problem with the whole IR in film is not so much the lack of "positive" male figures, it the lack of diverse storylines. Where is the sister that tells the white dude to get out of her face? Where is the brother that comes to the realization that marrying a white women was a huge mistake, and show why he came to that conclusion. The brother does not have to play Mr. Perfect, he should have all the character flaws of most humans, but he has come to the conclusion that he let his little head control his big head.
What about a story that centers on black women and black man that date exclusively outside their race. Now most of us know but might not say it in public (an open forum) that those types of individuals are quite different from the average going black man and women. Come on now, y'all know what I'm talking about. Heck, for the most part, they go out of the way to remove themselves from anything considered "black". And they are scorned and ostracized. Where is the story of the grass looking greener on the other side but horribly ugly when the curious one jumped on the other side. DIVERSITY!
Where is Paul Harvey, I want to hear the rest of the stories.
JMac | June 23, 2011 5:51 AM
Ahh, Monique clipped your little wing did she? You need lessons in how to kiss ass. Those last few lines did seem a little... snotty.
I think the podcast is better when Sergio's on. The bitterness to reasonableness ratio was definitely off last night.
CareyCarey | June 23, 2011 3:46 AM
@ Monique, Oh Lawd, sexist?! Might you be reaching?!
My comments toward you and Cynthia.. SEXIST?!
Okay Monique.
And who said I chastised Tamara for waxing poetic? Excuse me, my exact words.... "We can wax poetic; words and mo words, lines after line, but never get to the most central points. Ambiguity is a bad thang when discussing an issue of major concern, not to mention the journey of trying to finding real solutions"
Didn't I not say "we" and did Tamara and I meet a common place? So I am left to believe you're on something. But I understand. And if you don't understand you should ask somebody before venting your frustrations on me. And we were getting along so good :-)
"Pointing your finger at other people"??!! Maybe you'd like to talk about that. I mean, let it all hang out. Show me yours and I'll show you mine because as it stands, you can miss me and have missed me with the white girl cry. Damn! We can disagree but please don't make up false reasons to voice your disapproval of my commenting style, unless you're prepared for me to critque your style? I think we'd better let this one lay right here.
CareyCarey | June 23, 2011 3:24 AM
Kia Said: "CareyCarey you might be happy to know that I'm developing a story as we speak about IR, but from the pov of what I think is missing: an honest unbiased look at IRs, namely black female/white males. In fact, I actually want to focus on the subtle bias moments that occur, but are overlooked b/c the notion we sometimes fall prey to: That color does not count. It most certainly does, even in a "perfect" IR."
First Kia, I have to say THANK YOU! I know I get on some folks last nerve with my whimsical banter and my pointed opinions, so it's always nice to hear that someone "gets" my form of commenting.
Even though I can be arrogant, preachy, bullheaded and foolish, I too - sometimes - need love (validation).
I don't know if you listened to the podcast, but I referenced your comment (twice) because through your words, I felt you had an open mind about interracial relationships, and I agreed with what you said. And, because I have a penchant of "speaking outside the lines" I've had to accept the following Japanese and Russian proverbs:
"The nail that stands up gets smashed down."
"The tallest wheat stalk bends first."
Kia, I will definitely check you out.
Monique | June 23, 2011 2:54 AM
@Carey, if I didn't have a sense of humor, I would think your comments toward Cynthia and I were pretty darn close to sexist.
Not to mention, it's funny how you chastise Tamara for her "waxing poetic" and yet, you get on your pulpit all day long around here...aimless analogies, and endless poetic license that almost always veers off the topic at hand. We know you are a preacher Carey, but please practice what you preach before pointing the finger at other people.
CareyCarey | June 23, 2011 1:58 AM
@ Tamara, yeah, I was just ruffling your feathers -too.. But the written word is very hard to convey all our thoughts.
" Look forward to hearing you and others on tonight's show"
Well, we will have to talk about that. They only let me on when they want to use and abuse me *lol*
Seriously though, have you notice they always set me up before they let me speak... "okay now Carey, be nice and we only have so much time, so keep your comment short"
They even say, "your buddy Sergio is not here (the old conquer and divide), so you'll have to deal with us women, And since James gives us a kickback, he can talk forever, but not you"
See Tamara, I just can't win. :-)
You know what I should do? I wonder if I could slip Monique a couple of C-Notes to persuade her to let me co-host, or better yet, HOST an entire show. You know Monique has about 6 babies (heard them in the background) so I know she could use the cash. I mean, she has repeatly said she is looking for I good my, so I am here to fill the void. But wait, I believe Cynthia is the big shot caller and we've been getting along, so maybe I should tender my request to her? Yeah, that's it, I could co-host with my buddy Sergio and let the women sit at the children's table? Then I can tell them to be nice and precede their comment with "the following are not the opinions of S & A, only two chicks that work here" *LOL*
Monique | June 23, 2011 1:40 AM
@Vanessa, we're doing a part two next week. Call in again and be sure to drop myself or Cynthia an email beforehand and we'll be sure to get you on. - Monique
Vanessa | June 23, 2011 1:26 AM
yah good show even though I was ON HOLD and nobody saw me lol. It was nice to listen to OTHERS comment :-)
James Madison | June 23, 2011 1:12 AM
Great show S&A! As always, thanks for giving us all an opportunity to discuss topics in a great forum.
P.S. Don't go on hiatus. (^_^)
Kia | June 23, 2011 1:09 AM
You might be happy to know that I'm developing a story as we speak about IR, but from the pov of what I think is missing: an honest unbiased look at IRs, namely black female/white males. In fact, I actually want to focus on the subtle bias moments that occur, but are overlooked b/c the notion we sometimes fall prey to: That color does not count. It most certainly does, even in a "perfect" IR.
I had abandoned the project recently, but decided to pick it up again b/c I'm seeing the cries here on S&A, among my peers and from anybody who feels that the grass is greener on the other side. My own personal standpoint is that it doesn't matter what color a person is, but as long as I stay true to myself about why I'm really engaging in that relationship. Am I dating this person b/c their race, which might be based on some misguided ideal or am I truly attracted to that person (mentally and physically).
If anyone wants to know more about the story contact me @ email@example.com.
Great podcast as always.
Jamie Brewster | June 22, 2011 12:30 PM
Hi Guys,
Do you have an email I can send question while your live on air I'm writing from London, UK.
Tamara | June 22, 2011 12:06 PM
@ CareyCarey,
Well my comments are just comments; definitely not gospel. And yes, I did speak from one perspective (the selfish actor) and of what I said, LOTS was un-said. Maybe ambiguity exists in my points because I only have a limited perception but a desire still to speak on the topic, to contribute a little, and/or maybe provoke others (you) to respond. I am but merely a humble observer (who waxes poetic), always in this. Perhaps I should've have gone with my initial comment which was much longer and more expansive than what I presented here.
Appreciate your thoughts, as always. Look forward to hearing you and others on tonight's show.
Kia | June 22, 2011 10:34 AM
Thank you, thank you for addressing the accountability issue. There was a post awhile back about being responsible with casting choices in regards to skin color and being mindful of why those choices are being made as the filmmaker. I feel the same way about some of the films that are being made as of late. You can make money and quality at the same time... I think.
Nicole Beharie, happy for this topic as well.
CareyCarey | June 22, 2011 7:22 AM
@ Tamara, since you jumped the gun (it's 2PM my time), and I may not be allowed on tonights program. I'll address a few of my conerns with your comment.
Well, in short, you comments do not address any of the underlying deeper issues. For instance, Sydney Poitier didn't accept many rolls, why? Every actor (white & black)would not accept a role in which their love interest was of a different race, why? Halle Berry faced a ton of scorn for having sex with a white man on screen, why? Was it the sex, or the color of the man's skin?
On the issue of "accountablity" , again, you missed several pertinent questions. You spoke from the perspective of an actor with selfish motives.
I can go on about what I did not hear in your comments and what you failed to address, but I believe the written word will not do it justice. If a moderator (like in a live cast) was present, they could break in when the discussion fails to address an issue on the table and/or when a "respondent ", or differing point of view is not addressed.
We can wax poetic; words and mo words, lines after line, but never get to the most central points. Ambiguity is a bad thang when discussing an issue of major concern, not to mention the journey of trying to finding real solutions.
Posted @ 2:20 PM
james Madison | June 22, 2011 5:46 AM
I'm in! Looking forward to the topics. Especially Interracial Love and Accountability.
Tamara | June 22, 2011 3:10 AM
-Interracial Love on screen: why the hell not? and gimme some more. variety is the spice of life, and he who controls the spice... lol
-Nicole Beharie - on the radar, thankfully. wish her well and more. one to watch.
-Rumors that Jamie Foxx and Will Smith turned down Django Unchained - meh. debunked, no? given the latest post?
-British black actors/actresses working in the USA - get in where you fit in. West (the USA) seems to be "up" (no place else to go). Interesting though in your write-up how even in the UK the representations of black there is as singular (street/neighborhood blacks) as the depictions of us in the US market (bitter but 'strong' black woman, Jezebel, gangsta-thug, magical negro). Hollywood: a system of containment. A layer of seeming-impenetrable starry-painted sky above the proverbial "glass ceiling". Napalm the sky; put a flame-thrower to it all ye black peoples of all nations.
Point: at least these UK invaders are 'actors'... Or are they rappers and singers too? I'll read the article again... I certainly think that would make a difference, but then not seeing as how our roster of 'black hollywood' is inundated with rapper/singer/model as well as actor.
-How much accountability should be placed on actors and actresses when they accept awful projects? Only that between them and their consciousness after signing the contract and receiving payment. Actor-X may know the project he's on is turrible and may vow never to do that type of project again. Actor-X may also decide to keep doing projects of the same terribleness because the pay is good. It's all on the individual. I don't hold them accountable, too much. I mean, Black film can run the gamut of excellence to utter trash, just like 'white' film and other films do. As long as there's a range for me to praise/criticize. If I don't like it, doesn't mean I have to watch it. If they (actors) are okay with it, let them do what they do.
Monique | June 22, 2011 3:02 AM
@ Jamie, yes, click the contact tab (above) on our blog and you'll find all our email addresses. Thanks for listening!
Waves @ James!


text:
Toyo-Venezuela Opening CeremonyJan. 7, 2010 Toyo Engineering Corporation
On September 23, 2009, Toyo Ingeniería de Venezuela, C.A. (Toyo-Venezuela), a TOYO group company in Venezuela, celebrated its opening in Caracas, Bolivarian Republic of Venezuela.
The ceremony was attended by more than 100 guests, including Ms. Socorro Hernández, President of PDVSA Ingeniería y Construcción, Mr. Julio Carpio, Vice President of Petroquímica de Venezuela, S.A. (Pequiven), and Mr. Shuji Shimokoji, Ambassador of Japan to Venezuela.
Projects under planning in Venezuela include development of oil and gas fields such as Orinoco oil field and Mariscal Sucre gas field, heavy oil upgrading facilities, refinery modernization to process heavy crude oil, LNG plant, and large-scale petrochemical complexes, in line with the government's policy for adding value to the natural resources.
Company Information
|Company Name
|Toyo Ingeniería de Venezuela, C.A.
|Director General
|Satoshi Matsui
|Edif. Cavendes, Piso 10, Av. Francisco de Miranda c/1ra Av. Urb. Los Palos Grandes, Caracas, Venezuela