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© Ronnie Goodman
"Evidence suggests that arts-in-prisons programs lower recidivism (returning to prisons) by 27% and reduce disciplinary actions by 75%," reads the press release for the prison art exhibition The Cell and the Sanctuary: Art and Incarceration currently on show at the Santa Cruz Museum of Art & History (SCMAH).
That's a bold claim.
One of the great difficulties with justifying arts and/or liberal arts education is the difficulty in measuring its direct (positive) effects. Evaluation in budget-constrained prison systems is especially demanding and cynical. First and foremost, people want to know if any type of program steers a prisoner away from anti-social behaviour. If the answer is complex, partly elusive or complicated by other criteria then doubt descends, the enterprise is labeled as airy-fairy, and premise is dismissed.
In brief, prison arts programs wanting to prove themselves have a tough audience.
The effects of arts and education is difficult to track because many benefits such as relative thinking, critical engagement outside of institutional narratives, cumulative learning, etc. take years. Education is a slow build. Benefits are for years down the line; for a lifetime. Also, many prisoners are on long sentences and the primary criteria corrections departments and researchers look to – recidivism – can only be measured once a prisoner is released. The intangibles of a liberal arts education aren't necessarily contributing to a measurable impact the next hour.
A general aura of skepticism surrounding arts and liberal arts education is compounded by the fact that research money often goes toward other prison programming (vocational, prison industries) and other evaluation first. We saw this was the case when the State of California stripped the DOC of its Arts-In-Corrections funding 7-years ago. In times of crisis, arts funding is first on the chopping block.
Despite no state funding, groups such as the William James Association continued, driven by volunteer efforts. The recent California budget has put millions back into the coffers earmarked for Arts-In-Corrections. The William James Association has returned to work in 11 state prisons.
The return was helped by the convincing results of a study, California Prison Arts Evaluation 2014, that was commissioned jointly by the William James Association and the California Lawyers for the Arts. You can download it here.
Here's the results of the study and reason for bold claims.
The California Prison Arts Evaluation 2014 was a one-year study in four prisons revealing that arts programs improve prisoners' behavior and their attitudes about themselves.
"A significant majority of inmates attribute their greater confidence and self-discipline to pursue other academic and vocational opportunities to their participation in arts programs, signaling a pathway for overall personal growth," says the William James Association.
The author was Dr. Lawrence Brewster of the University of San Francisco who had, in 2012, completed a Qualitative Study of the California Arts In Corrections Program.
Prior to these two studies, there had been little research since a cost-benefit study in 1983, An Evaluation of the Arts-in-Corrections Program of the California Department of Corrections (also conducted by Brewster), which posited that society and the institutions benefited by reduced disciplinary actions, community service and beautification of the prisons.
It was high time someone brought the research up to date and dampened down naysayers and skeptics. Hopefully, the California Prison Arts Evaluation 2014 might spur other states to make a return to arts programming.
"Arts-in-prisons programs improve relationships between people within the prison as well as with guards and supervisory staff," says the William James Association." Prisoners exposed to arts programs are more likely to adjust to life outside prison and are less likely to become repeat offenders."
'Blind Curve' (2010) © Felix Lucero
'Lower Yard, San Quentin' @ Ronnie Goodman
'Baseball at Old Folsom Prison' @ Ronnie Goodman
© Justus Evans
'Obscuring Self' © Rolf Kissman
'Jazz In San Quentin' @ Ronnie Goodman
'Uphill Struggle' @ Ronnie Goodman
The Cell & The Sanctuary opening, Santa Cruz Museum of Art & History, November 7th, 2014. Photo: Laurie Brooks / William James Association
'Prison Boots' @ Ronnie Goodman
Installation view of The Cell & The Sanctuary, Santa Cruz Museum of Art & History. Photo: Laurie Brooks / William James Association
The Cell and The Sanctuary features paintings, drawings, sculptures and writings by teachers, artists and organizations who are "working together within the prison system to provide a direct link between incarcerated individuals and something larger than their dehumanizing cells," says SCMAH.
Artists including Ronnie Goodman, Justus Evans, Felix Lucero and Rolf Kissman (whose works are included in this post) are in the exhibition, as well as Ned Axthelm, Peter Bergne, Guillermo Willie, Stan Bey, Khalifah Christensen, Dennis Crookes, Isiah Daniels, Bruce Fowler, Henry Frank, Roy Gilstrap, Thomas Grider, Gary Harrell, Amy M. Ho, John Hoskings, David Johnson, Ben Jones, Richard Kamler, Chung Kao, Darryl Kennedy, Katya McCollah, Pat Messy, Omid Mokri, Gerald Morgan, Carol Newborg, Stan Newborg, James Norton, Eric "Phil" Phillips, Anthony Marco Ramirez, Adrienne Skye Roberts, Mark Stanley, Fred Tinsley, Tan Tran, Kurt Von Staden, Geno Washington, Michael Williams, Thomas Winfrey, and Noah Wright
The Cell and the Sanctuary: Art and Incarceration is produced in collaboration with Barrios Unidos and the William James Association (also on Facebook)
It is on show November 7, 2014 – February 22, 2015
Senseless © Felix Lucero
Happy Halloween, folks. Here's a fun series. Photographer Neil DaCosta went to Oregon's kookiest Halloween attractions during daylight closing hours. However, the scenes he discovered and shot on color film ended up looking as sinister as they appear when shrouded in darkness and staged for the frightened masses.
Week to week, DaCosta works long hours as a commercial and editorial photographer. But that doesn't stop him throwing his camera gear in the car and heading out on his free weekends to shoot personal projects. Shooting stuff to scratch his creative itch is what has kept him sane. At least that was the case until last weekend when his excursions to into haunted houses, forests and corn mazes may have just driven him over the edge.
The ghastly result is a series called With The Lights On.
It all started harmlessly enough. DaCosta stumbled across a haunted trail walking his dog and reasoned that photographing halloween attractions during daylight hours would make for interesting pictures.
"When I was younger, I use to volunteer at a similar haunted trail and remembered how spooky it was even during the day," he says.
Despite his ghoulish memories of younger experience, DaCosta thought a throughly mature and deliberate diurnal examination of the sites would reveal them for the low-budget, facade dependent constructions they are. DaCosta thought his images would draw back the curtain.
And, so, DaCosta trudged with his 4×5 camera to the West Linn Haunted Trail, the Fear Asylum, and The Haunted Maize — tourist spots all within half-an-hour of his hometown, Portland.
"I captured them empty, during off hours, with the lights on," explains DaCosta. "But the dark humor I was envisioning, ended up being just more dark than humorous. Goes to show that some of our fears don't rely on the dark to manifest."
Photographing on site was eerie. Dead dummies swung and tarps billowed in the dank air. DaCosta got the jitters which were not helped by joggers in the forests who crept up while he was under the dark cloth of his medium format camera.
Those that operated the attractions were welcoming. "Everyone was in to it. Owners put a lot of work into these haunts and they are only seasonal. They are excited someone wants to photograph their hard work," says DaCosta.
Like all good Halloween antics, DaCosta's unsettling images jangle the nerves and provide relief and laughter.
Being a procrastinator, DaCosta has yet to decide on his costume for tonight, but he'll be channelling photographer Joel Peter Witkin, who is his favorite macabre showman.
Happy Halloween folks! Enjoy these pics and then get out there, Trick 'o' Treat, and spook some people!
The Magnum Foundation Photography & Human Rights Fellowship is an all expenses-paid scholarship for non-western, regional photographers and activists to attend the Photography & Human Rights summer program at New York University.
Over the past 5 years, 21 fellows from 15 different countries have participated in the program.
Applicants must be:
- Emerging and professional students, photographers, activists, and journalists.
– Born and live outside of North America and Western Europe.
– Proficient in speaking, reading, and writing in English.
– Demonstrated a commitment to addressing/documenting human rights issues within their home country.
For more into contact Alexis Lambrou at firstname.lastname@example.com or 212-219-1248
Arne Svenson, The Neighbors #11, 2012 © Arne Svenson, Courtesy Julie Saul Gallery, New York
The Prying Eye Of The Public Lens, a response piece I wrote for the Carnegie Museum of Art's Hillman Photography Initiative was published earlier today.
A greater cynic than I might argue that Arne Svenson was working for the state when making photographs of his neighbors. One might suggest this not because there is any inherent value, lest any valuable information about the individuals within the snooping shots, but rather, because the brouhaha that erupted around the exhibition of The Neighbors at the Julie Saul Gallery was a distorting and damaging version of the ongoing conversation about privacy in our society.
I go on to explain how the protestations of Svenson's (very affluent) neighbours, lawsuits and public outcry derailed us from actually seeing the more pernicious and invasive layers of surveillance we are subject to daily … and especially in New York city.
Read the 1,200 words here.
The inaugural HPI at CMOA "investigates the lifecycle of images: their creation, transmission, consumption, storage, potential loss, and reemergence. Technology accelerates the pace of this cycle, and often alters or redirects the trajectory of an image in unexpected, powerful ways."
Transition and consumption: Love that. I'm proud to be associated with CMOA's broader consideration of images within society. HPI is getting inside the bloodstreams of the media and changing the discussion.
Christopher Onstott is a freelance photojournalist, photo editor, and videographer working out of his native Portland, Oregon. Before he turned to image-making, he bounced around in various jobs — most of the sales. He was once high-interest loan officer, pizza delivery boy and used-car salesman. At the age of 24, he took a leap of faith and signed up for a college photo program.
I may have left Portland, but I still have friends there and interviews in the can, so here is Christopher and I talking about PDX, rural Oregon, disaster kits, the grounding effect of portraiture, setting up a business, and specifically setting up a business with your love.
In summer of last year, Christopher went inside Oregon State Penitentiary (OSP) as part of the Oregon Project Dayshoot+30. Our discussion begins there. The two images (above and directly below) are from inside OSP. Other images included are from Christopher's portfolio.
Prison Photography (PP): Tell us about your decision to shoot in Oregon State Penitentiary (OSP).
CO: It was with Oregon Project Dayshoot+30 which was the 30 year anniversary of a day of photographing Oregon by 90 photographers back in 1983. I own the original book One Average Day and the images that stood out to me were the penitentiary photos. In between the usual 'day in the life' shots, vineyards, cattle and farmer photos were photographs of a guy in his cell smoking cigarettes.
PP: What was the intrigue?
CO: Prisoners are the under-represented group in Oregon. If you think of Oregonians, you don't think of prisoners. But they're residents here.
PP: There's 14 or 15 thousand people in Oregon's state prisons these days. Thousands more in county jails.
CO: The Oregon Project Dayshoot+30 was a good reason to get access to OSP which I wouldn't usually get access to.
I contacted the public liaison office, told them about the project, sent them to the site, sent them a couple of photos of the book that I'd taken on my phone. "Here's what they did 30 years ago, can I come and shoot?" essentially. They did a security background check and we set up a time. I had only an hour window to shoot. The rest of the day I photographed around Salem.
CO: When I got to the prison, the gentleman I'd been emailing with was not the man I met. The man I'd been in communication with was off work sick. So, immediately there was this disconnect between what I'd asked for and what was being presented to me.
It wasn't a good experience.
PP: How so?
CO: I wanted to photograph the residents of OSP with a documentary approach, in the vein of the original project. But, my escort's perception was I wanted take an updated version of the photo from 30-years-ago!
He asked, "So, you want to take this picture?" as he pointed at a print-off of a camera-phone picture of a image in a book! He walked me to a cell, there were two prisoners. He told me I could only photograph one and he gave me 3 minutes. [Laughs]
PP: You had your own art director!
CO: "The image your holding is an example," I said. "But let's look at the whole penitentiary." He said we were not cleared for that, because all the prisoners were about to move for count. There was no flexibility. My escort was accountable to his boss and he didn't know what had been said before.
PP: What did the subject think about you photographing?
CO: He was totally okay with it. He thought it was cool. I got the impression he knew he was going to be photographed. He was on LWOP (Life Without Parole). Pretty docile.
PP: You think he's seen the photograph?
CO: I don't know. I emailed the prison a copy of the photograph in a thank you email.
PP: when you were in OSP, did you cover your tattoos up?
CO: I wore short sleeves. I don't really think of myself as being tattooed.
PP: Believe me, the prisoners and staff noticed! Do you think there was more to be seen at OSP?
CO: Definitely, just walking in we passed so many people. There was activity and work details everywhere. I was eyeing pictures everywhere but I couldn't take them. It's an entire town in there, right? A cultural complex. There's a million photographs to be made. But I was only to capture a very slim sliver of life.
Still it's important that there's at least a representation of prisoners as residents of Oregon 30 years from now.
PP: Shifting gears. You grew up in Oregon.
CO: Grew up in Portland, spent a year in Texas, went to college in Washington State, spent a year in Texas, worked for 4 years at the Spectrum and Daily News in St George, Utah. I couldn't imagine living anywhere else. The weather sucks five months out of the year.
PP: There's lots of buzz about Portland, right now.
CO: Oregon really is two different states of mind.
You've got the Willamette Valley and the city of Portland and then you've got the rest of the state. The one area that doesn't get attention is Southeastern Oregon. Not a lot of roads, no freeways, hardly a population density. Very rural.
PP: How do you characterize the Portland photo scene?
CO: I think it's really supportive. We've got ASMP Oregon and Newspace. Photographers will move work back and forth and offer one another help. But, on the otherhand, there's a lot of photographers, so it can be competitive at the same time.
PP: Journalism, editorial?
CO: Magazines. There's a lot of international attention on the city so we've people coming here asking for images. Those stories tend to lean the way of food, style travel; not hardcore news stories. There's no tornadoes or hurricanes here!
PP: Maybe an earthquake?
CO: I've got my 72-hr disaster kit and spare film ready [laughs].
PP: Have you always been a photographer?
CO: No. I've been pizza delivery driver. Worked in my dad's automotive shop. I was a used car sales man for four years. I've been a high interest loan officer. I was a bartender for two years. When my father passed away in 2001, I inherited his camera and I was left with "What do I do now?"
My father always told me to be a salesman. But I couldn't stomach earning a living by getting one over on people. I'd never been to college, so after he died. I decided to go back to college. I was a freshman at 24-years-old! I did Photojournalism at Olympic College in Bremerton, Washington.
I took a picture of a girl's basketball game and they ran it big in the paper and that was me hooked. [laughs]
PP: What's easier to sell? Photographs or used cars?
CO: They're both really hard!
PP: How do you feel about photography. Is it as bad as it's often made out? Are you a glass half full or a glass half empty thinker.
CO: I think the glass is awesome. The fact you can wake in the morning, pick up a camera and go make a living. I don't care if your shooting fashion or street photography or using your iPhone, you just have to make pictures. We're a society that is devouring images.
PP: But a photographer still has to package and shape stories. Can't just churn them out!?
CO: You still gotta be good. My degree was in visual rhetoric; saying something with an image. Manage that and you've accomplished something as a photographer. If you're a one trick pony, then you're not gonna last.
PP: I recently met Randy Olson and Melissa Farlow recently.
CO: Randy was my mentor at Missouri Photo Workshop last year.
PP: They're a couple. There's a few photo couples out there.
CO: Jenn Ackerman and Tim Gruber.
PP: Two great photographers. Yourself and Leah Nash are a couple. Is there any element of professional competition between you two?
CO: The secret to being in a relationship with another photographer is to be open to criticism and not to take it personally. If you want to grow, take honest feedback from someone who knows you really well and how you operate.
Leah and I edit one another's work and we don't take it personally. There's no relationship argument to be had over photographs.
We've agreed not be chasing the same jobs. We've formed a separate company, NashCO (Leah Nash & C. Onstott) outside of our own work stylistically that's focused on corporate and commercial work.
PP: What you working on now?
CO: Street photography. I'm carrying my camera everyday capturing people in moments.
I've been working on a personal project of portraits for 5-years now. Using my Hasselblad. It's slower. Because when I was at the newspaper I was running around photographing people but not really meeting them, you know? I was encountering into people who … I wouldn't say were marginalized … but they were people who wouldn't normally be paid attention to by the news. I wanted to slow down.
CO: In news you're photographing people in the highest points of achievement in their life, or at the lowest points of their life. The big award, the win at the big race, or the battle with cancer. Most of the time, we're overlooking the median, the mean of existence.
CO: I want to give those everyday people and experiences some attention. In Nevada, New York, Utah, Washington, Oregon, California. Any time I travel, I try to make portraits.
Pick out the person who is trying not to be photographed and ask their name and their story. Often they reply, "Why me?" and my response is "Because you're interesting."
I've been the only photographer at some of the newspapers I've worked at. I was shooting car accidents, house fires and high school sports. My way to decompress from that is to take pictures that I wasn't taking on the job.
PP: Instagram?
CO: Used to Instagram a lot. When I got my [digital] Leica I stopped posting on Instagram so much. I try to follow people who are making good pictures because I want to be inspired. I don't want to see pictures of peoples kids.
PP: Where do you shoot?
CO: I've been shooting a lot around my neighborhood, the Alberta neighborhood, because it is a gentrified ghetto. There's a lot of collision. Walk up Alberta or Killingsworth Streets and there's a photograph every 10 metres. But here's the hub of Portland's gentrification.
PP: What else keeps your eye busy?
CO: Portland Squared. It's a project that Leah started a couple of years ago. 50 photographers. one square mile divided up into fifty squares and you spend the day shooting a square and ASMP event. Last year, they did a bigger square. 2 x 2 miles and 70 photographers. for 24 hours.
PP: Whose work do you admire here in town?
Jason Langer's work blows my mind. Chris Hornbecker who did the Timbers billboards.
Beth Nakamura's stuff is awesome; she's just a kick-ass daily newspaper photographer. Her blog is great too.
PP: Anything else to add?
CO: Don't move to Portland! There's too many photographers here! [Laughs]
PP: Ha! Thanks, Christopher.
CO: Thank you, Pete.
Keep up with Christopher Onstott through his website, Instagram, Twitter and Facebook.
Follow NashCO on Facebook, Vimeo and web and blog.
Eye On PDX is an ongoing series of profiles of photographers based in Portland, Oregon. See past Eye On PDX profiles here and here.
Today, the Philly Mag published a leaked document about the devastating decline in newspapers. It was created by Interstate General Media, owners of the Philadelphia Inquirer. It showed massive slumps nationwide but particular downturns in the fortunes of Philadelphia's newspapers.
The slump has been rumbling on for over a decade now but the details in the leaked document make Will Steacy's project Deadline even more timely. Steacy is currently raising money to make a photobook and here's why I think it deserves your support.
DEADLINE, by WILL STEACY
I was once Skyping with an artist on a residency in Europe. During the call, in the background, Will Steacy's head popped round the open door. Given the time difference, it was early morning for my friend, and for Steacy.
Pre-coffee, Steacy took the time to say hello. I noticed under Steacy's arm a stack of the newspapers. Printed news from print newsrooms across the globe. Steacy told me it was his daily ritual to read, for hours, the news stories printed on actual paper. It shouldn't have seemed so surprising, but in this era of digital information Steacy's insistence on printed news was, in my mind, unusual. And comforting.
It makes sense that Steacy would not only notice — but also feel attachment — to the dying news daily in his once-hometown of Philadelphia. His photographs document an atrophying Philadelphia Inquirer newsroom. The number of staffers decrease, the presses go silent, the buzz of a breaking news scoop vibrates a little less.
The series is called Deadline, and Steacy is currently crowdfunding on Kickstarter to create a photobook version.
I tweeted last week that Steacy was "photographer, labor guy and workaholic" and deserving of your support. He's worked on the series for 5 years. His father was an editor with the Philadelphia Inquirer for over 20 years before he was laid off in a round of cutbacks in 2011, and his family has been in the news industry for generations. Steacy talks of the newspaper as a form and as a bastion of an institution holding politicians, corporations and the like accountable to society as a whole. Steacy also believes the decline of the newsroom is a labour issue and more than just profits should dictate the operations of free press outlets.
Under corporate ownership every Inquirer asset is on the table in the strategy to stay alive. Ask any local, and they'll tell you the Philadelphia Inquirer ain't what it used to be. The focus on local coverage to secure it's regional readership hails a goodbye to the days when the Inquirer racked up Pulitzers for fun.
The Philadelphia Inquirer still lives but it's downsized from 700 to 200 staff, sold and moved out of its iconic headquarters, The Inquirer Building. This move, as documented by Steacy, is arguably one of the best visuals we have to grasp the size of the changes occuring now in news publishing.
While Deadline is specific to the Inquirer, the story is all too common. Large papers such as the Rocky Mountain News have shuttered completely in recent years. This devastating shift in news publishing was reflected in Philly Inquirer's Hard Years Are Microcosm of Newspapers' Long Goodbye, an article by my Raw File WIRED colleague Jakob Schiller, last year.
Deadline combines great images, great research, local and national narratives and a personal connection. The Kickstarter rewards are imaginative too: newsroom pencils and pin badges, and a limited edition artwork printed on the same presses that rolled out the Inquirer for decades.
Get over to Kickstarter and fund it!
Kickstarter reward at the $25-level. Poster: "A MIRROR OF GREATNESS, BLURRED" (Edition of 50, hand numbered, signed by artist, 20″ x 24″)
Over the course of an evening I am watching his face. He smiles, he relaxes, he shows disgust quickly, then laughs. There are so many things to keep track of. The next day I attempt to recall and I did not, as I had wished, see amalgams but instead discreet moments. There appears to be no use for the amalgamated image in recall. Perhaps this is the reason I am making the amalgamated portrait. It is an image that does not exist for me internally.
— Notes taken by Kristan Horton during production.
Ever flailed your head back-and-forth in front of the camera to catch a blurry selfie? Of course you have. We've all captured head-shots of seemingly maddened selves. Kristan Horton's self-portraits are high-end versions of the blurred selfie … peppered with existential inquiry.
For his series One For Yourself, Horton faces the troubled relationship time and photography head on. Horton says a single photo is too hard to trust, so his animalistic portraits are made by combining multiple images.
"The document is never enough," says Horton who's discontent borders paranoia. "I need multiple perspectives to lessen an inner feeling of distrust. I think that's why I get involved with duration."
How can a single frame suffice? What about everything outside of the frame? What about the moment just before? Or just after? Horton prints out hundreds of images and as he flicks through the stack, configurations and blobs catch his eye.
"I'm trying to find the parts that match up and I combine them producing a neocubist portrait," says Horton. "It was important to arrive at a result that was definitive. I keep using the word 'solid' [to describe the portraits]. These are heavily worked over — there's evidence of long hours of careful collage, and yet they appear as very spontaneous things."
Photographs are often mistaken as some sort of mirror to truth. Yet, they are static and we're interminably moving away from every photograph ever taken; photographs don't come close to describing the physical reality of our world. Horton's amalgamation of image files tears each photo from its single moment in time. He uses image files as indistinguishable part of a larger artistic statement that collapses, attacks and interrogates time.
If you think of the work as navel-gazing, it's probably because it is informed in some way by Horton's fascination with the immediate and the everyday.
In 2010, Horton won the Grange Prize for his composite images of stacked materials in his studio. Then, I applauded the award. Horton has habitually sought to work with what is close.
"Since I'm usually living in the studio, it's often the material of daily life," says Horton. "Through these materials my observation and my preoccupations leak."
The approach came undone, however, when Horton was an artist in residence in the remote west of Ireland.
"The studio was empty and at first this was disconcerting," explains Horton. "Finally, I thought 'If there's nothing to work with then that's the work.' That's when I grabbed the camera and took a shot of myself in this zero condition. In a sense, my reflexes kicked in and I designated myself as the raw material."
From the solitary studio, Horton went on to make work on the subway in Berlin, in a backyard in Ireland, a kitchen in Canada. Wherever. Whenever. He makes portraits of others too.
The ease with which Horton fired off a hundred shots contrasts to the hard slog in post-production. The relationship of parts is not unlike cells used in drawn animation says Horton.
"A stack of clear sheets with parts of the character on each sheet," he describes. "Looking at it from the top you just see the character together. I'm looking through the stack and trying to find where moments in time fit together."
Fascinated by Kurt Vonnegut's characters the Tralfamadorians who exist outside of time and by the early science fiction stories of Ray Cummings, Horton is wondering what it is to get beyond, outside of, or on top of time. He knows it's a fruitless charge but the effort and discovery involved in pushing photography toward an impossible premise is reward enough.
"The combinations of images are without an end. To feel any kind of satisfaction under this condition I have to at least engage, and to engage until exhaustion." he says. "Not exhausting the subject, but exhausting yourself; an exhaustive attempt to stay in step with the complexity."
The tortured results bare resemblance to Francis Bacon paintings. A comparison Horton is quite happy with.
"Bacon once said, 'Technique is always dissolving. The technique of recording has to all the time be remade. It's like a continuous invention to record a fact.' I feel the same way," explains Horton. "I was just trying to satisfy thoughts about a state, and the result ended up looking like something out of Bacon's oeuvre. It didn't upset me to arrive at that."
And the title, One For Yourself? How did he arrive at that. Sat at a Berlin Hotel Bar, Horton explained to a fellow drinker that he was working on a project that dealt with time and the self. The companion responded, 'One for yourself, then.'
As a title, "it seemed sympathetic to the altered state of these portraits," asserts Horton.
One For Yourself is about Horton, and of Horton, but the way it vies with the prevalence of single-shot selfies, it might just have technique for us to borrow in the description of our own time … and our own states.
Kristan Horton was born in Niagara Falls in 1971. He lives and works in Toronto. Horton uses a variety of media — including but not limited to photography — to elaborate on the ways in which movement is represented, and the ways in which things are generated and regenerated. Horton studied at Ontario College of Art and Design and the University of Guelph, where he received his MFA in 2007. Preoccupations since the 1990s include the consumption of texts and mass media, the representation of simultaneous and rotated scenes, and the visualization of power generation. Horton is well known for his photographic series Dr. Strangelove Dr. Strangelove (2003–2006), for which he recreated scenes of a Kubrick film using items from his studio. Recent photography is in a neo-cubist vein; for his 2009 series Orbits, Horton presented photos that layered multiple, rotated views of scenes from his studio. In 2010, Horton won the Art Gallery of Ontario's Grange Prize for contemporary photography and was included in the National Gallery of Canada's Canadian Biennial.
Prisons are but one step in the criminal justice machine. After the division and disciplining brought by a society of economic inequality, the next most abrupt interaction for U.S. citizens with state structures is likely to be that with police and other law enforcement officials. In 2012, just shy of 12,200,000 arrests were made nationwide.
That's one arrest every 2 seconds. Arrests for marijuana-related offenses alone occurred at a rate of one every 42 seconds.
These figures does not include traffic citations.
At any given time, there are nearly 7 million American's under correctional supervision — roughly about 2.3 million in prisons or jails and 4.6 million on probation or parole. In any given year 13 million individuals will be locked up for a given period.
Given that police are the sharp end of many of these fractious interactions, it makes sense for us to look at a body of work that focuses deeply on a single city's police force.
Between 2003 and 2011, Matt Gunther was — on and off — effectively embedded with the Newark Police Department in New Jersey. Gunther's resulting book Probable Cause (Schilt Publishing, 2014) is one of the most rounded, smartly edited bodies of work on police work I've encountered. It is, remarkably, sympathetic to all involved. The police and citizens (particularly those photographed in the precinct) are dealt an equal hand. Within its pages, the drudgery of employment meets the complex issues of social order.
You can see a 15 page preview of Probable Cause here.
Matthew Gunther and I chat about fear, persistence, allegiances, the inside-view, where a book comes from, and boozing with cops before a vice squad bust. Scroll down for our conversation.
The following Q&A has been edited from a longer conversation.
Prison Photography (PP): You worked in Newark a long time. Did you always intend it to be a book or did that emerge as you worked?
Matthew Gunther (MG): My issue as a person or as a photographer is that I would not go the whole-nine-yards on a project. I'd get very deep into any project and then it would peter out. This project on Newark was on the verge of petering out many times — it was such an endless pit of imagery and I just couldn't let go. Until this day, I could still be shooting. Joshua Lutz told me to stop shooting, to edit my images and that I had a book.
So, I did not know it was to be a book. I just started this project. It was cathartic. My projects tackle my fears, or dive into my loves.
PP: Newark is known for it's toughness and it's poverty. How did you come to be working so intimately with the police force?
MG: I was taking an ex-girlfriend to Newark airport and we got lost. I'm a native New Yorker, and instantly fell in love with this city so close to my hometown.
I would take my 35mm camera and spend days walking through Newark and still it took me probably about six months to figure out. It's a pretty tough city. New York is not that tough anymore. Newark feels like New York may have done in the eighties, perhaps. I wanted to do something that is constant in this metropolitan area: cops and liquor stores.
Each project that I've done before or since Newark was always to tackle my fears. I grew up in New York as sort of an art-jock with other jocks and street kids, skateboarders and graffiti artists. I had the artistic gift but I didn't have the strength to show my artistic skills against these tough kids and I guess as soon as I became an adult I was always trying to go back to that place.
Access? I almost hate to say it. My mother was the Head of the Democratic Club of the West Side of New York and I called her up and asked how I'd get into access to the cops. She gave me the number of a retired police captain in Florida. My mom is a waddling, older Jewish woman who knows everyone on the street. My father as well. Born and raised here. The captain in Florida gave me the name of the captain over at the Newark Police Department. It was 8 months of getting denied and constantly sending repeated proposals.
Then, one day out of the blue, I got a phone call, "Matt, you are accepted. What do you want to do?"
PP: It seems like you almost become an artist in residence? The door had been open by this higher official.
MG: You could say that. In the beginning, I had to tell the NPD that I wasn't going to sell pictures to a magazine. It was strictly an art project and if it became something else I had to tell them. I was happy to promise that as I had no idea where the project might go.
I just wanted to shoot. I didn't go looking for funding money. I'm dyslexic and so it's hard for me to write proposals. Even to write a simple proposal takes me a while, but put a camera in my hand and I'm okay. But I wrote a proposal for the project. They didn't really care if it was an art or not. They just didn't want me to sue them if I got killed. I was happy to sign away.
MG: Newark is a special place. It was truly like the wild west. Back then, it didn't look like 2003; it looks like '91 or '89. It feels like there's a gap of about 15 years between big brother New York and this, the biggest city [in the region] outside of New York which is only half-an-hour away. I was always a big Sidney Lumet fan. And films like Siegel's The French Connection and Friedkin's Dirty Harry. Newark brought back that sort of aesthetic sensibility.
By deciding to shoot with a large format 8×10 camera I decided I was okay to miss images. It was my way of slowing down and trying to control some of my reality. I constantly moved and I did shoot some images on a Fuji 6×9.
PP: What reactions did you get from the police officers?
MG: The older cops loved it. Once they knew I wasn't a reporter and that I wasn't out to exploit them, I became a fly on the wall. Even with the 8×10 camera! The older guys loved the big camera. They loved history and they ate it up. The younger cops couldn't care less. They just wanted me to stay out of their way. I had freedom and rarely did I get bothered. Even the non-cops seemed not to worry.
PP: I suppose they had other things to worry about?
MG: Often. There were girls doing tricks in the back of a Portuguese restaurant. I spent time with them. Then when I came out with my camera, I turned it on a girl who was in a towncar for a good 45 minutes. Just waiting on her friend. She was scared to come out because she was scared that the cops would arrest her.
PP: When you were out on the street, were you traveling with police officers and then exiting the vehicle with your camera equipment to begin shooting? Did people on the street see you arrive with the officers?
MG: I was doing drive alongs. With my 8 x 10 I wanted to set up like old imaging and see what I could get. A lot of my enjoyment was in not taking the photograph. I've always enjoyed these types of projects as much as I do taking the photograph. But, I just would tell them what I want to do and if they said move along I'm moving along. Maybe with my 35mm I'd be a little more aggressive.
PP: But was there a reaction from people on the streets shaped by the fact you were with police officers?
MG: There were moments where I was definitely one of the cops … even though I didn't look like it. I looked like a photographer.
There were times that I would take my camera into Newark gentlemen's clubs and there were all these gang-members. The cops were vicious at some moments; it felt like Hollywood to them sometimes. And, there were moments on the street when kids wanted their pictures taken.
There were tense moments on the streets when civilians felt vulnerable but I felt I needed to get that image. I often felt really bad and grappled with those moments for many days. I was justified as an artist; I had to get these images.
MG: You know, I was a street kid and I got into many fights, but I also grew up white in Manhattan. The privileges I had. No matter how bad it was, if you come from a white educated family…
But, it's not an even-playing field. I always had to deal with that. In Newark, cops are on one side and they took full advantage of it. Once the vice squad came out and busted these women doing tricks. Beforehand, the cops were drinking while we ate at a Portuguese restaurant right by the headquarters. We were drinking beers and doing shots and I remember saying, "Is this okay? That we're going out there?"
"We're doing whatever we want. I'm the captain of the vice squad," was the attitude.
That wouldn't have happened in the New York Police Department, there's way too much bureaucracy there.
PP: Some of your night time group shots (below) look like Rembrandt paintings. Two or three sets of eyeballs looking at you as the photographer. The composition of the group. The lighting.
MG: When the cops do these weekend sweeps, you have this vice squad and you have a truckload of cops — about 6 cars full of cops. Every weekend. This is where the cat-and-mouse comes in between cops and perps. This caravan would come through all the neighborhoods that they knew had some issues or drugs problems; the same exact neighborhoods. This, basically, went on every Friday at 12 o'clock.
The kids at the school yard knew exactly what was coming, and you can just see they're exhausted from it. If it happened to me as a kid, we'd have a politician at them, or someone would be getting into a fight with the cop with, 'How dare you stop our night.'
The looks on especially the two kids sitting in their white T-shirts, that's how I sort of felt shooting. Those are the moments when I truly grappled with what I was doing there, and where I almost had the same sense they had to the cops — that it's just too much.
PP: Tell us mores about Joshua Lutz's encouragement?
MG: When I first met Josh the project needed polishing. I'd have let it peter out. Even so, I would still constantly show friends and mentors the work. They all said I had something great and those comments just kept on pushing me back to work. Lutz said all I needed to do was fill in some holes.
I liked Josh's sensibility. He was getting into publishing and we understood New Jersey. We knew the printer had to be right. Through Dutch publisher Schilt in Amsterdam, we found a printer in Germany and we let the German's do what they do so well.
PP: When I saw the post-industrial landscapes in Probable Cause I immediately thought of Lutz's Meadowlands.
MG: Originally, I wanted to document the sense of place in Newark. Later, I fell in love with the cops and how they looked. I started asking them to join me outside and then I developed toward shooting landscapes so it had so many different branches.
Maybe, the 4×5 and the 6×9 sort of helped me live on in this project longer. Does that make sense? How do all these wires connect? How does this urban existence work? Can you feel the hum of it all? Might it explode at any point?
PP: There's a constant precariousness to the work. There's homage to labor, but it's not "pure." The work is very deliberate but it's also uncomfortable because of your obvious privilege to be in that space. This fact is underlined when we see a photograph of a cop with a camera taking a picture of an arrested individual.
On the inside covers, front and back, there are walls of Polaroids of suspects.
MG: Matthew Sharpe talks about them very well in his introductory essay. He asks, 'Can you tell the difference between the cops and the suspects?'
PP: There's a very honest presence of photography and it's many uses — it's both art and it's also an apparatus of power and control and policing. I think this is one of the successes of the book.
MG: I had probably over 300 negatives of large format images. Josh and I edited to a hundred pages. It was difficult.
PP: I also wanted to ask about the cover picture. It is a very different picture to all of the photographs within.
MG: I kept coming back to the image on the front of one of the editions of Truman Capote's book, In Cold Blood. I could not get it out of my head that I needed a sky image. I needed clouds.
MG: I needed something that had some significance about the formation of society, or this world, or the wasteland that Newark is, or New Jersey. The cover is a shot of a beautiful sky above beautiful wetlands but it is also a site where the cops found a body.
Joel Sternfeld did Haunting Grounds, a book on hate and environmental crimes.
PP: A very powerful juxtaposition of seemingly innocuous scenes and horrifying back-stories.
MG: And that's how I felt the book should be. At one point, it was just going to be Newark but then it became something more. The landscapes made it something more.
PP: Can you talk about the attitudes in Newark and New Jersey toward crime. What were the relationships between the police force and citizens like? What's the background — learned from your photographing for almost a decade — that we should know?
MG: Newark is predominantly African American and there is a large portion of Portuguese. Then there's Ironbound which can be a little more blue collar but it's predominantly poor African Americans.
The Newark PD is one of the largest police forces, and in 2001, I think, it was 50% African American police. Now I think that it is 70% African-American. It's a huge difference to go out with an all-white force compared to an all-black force — from the way people on the streets react which is, you know, it's hard when you're coming there with guns, badges and uniforms but it helps to be part of the same group. Things just get calmer. When you have a mix it tends to break down racial tensions. That's where it has changed in a good way.
PP: Your work, as foolish as it sounds, runs counter to easy conclusions. There's cops and suspects; there's all races; there's Muslim cops and female cops; there's chiefs and beat cops too. Policing is made of all stripes.
MG: I didn't want to lose that fairness to both cop and non-cop. I truly feel romance about the images. I wanted to show a fair balance. This is how cities work and the people among them. I'm not trying to sway public opinion.
In a narcissistic way, it has been a cathartic trip.
PP: Because it was about you entering an "alien" world?
MG: Everyone's just trying to get their job done in this capitalist system in which it's hard to get ahead. The cop and the perp are on the same track, but there's a moment some go one way and others the other way. I felt for both parties. They're stuck. At 17-years-old, the options are pretty much there for cop and for criminal. It's about fear, overtime and getting in your years. The cop has his cycle, the robber theirs. They both have their routines. It's the balance of urban play. Social infrastructure plays its part in shaping these groups' lives.
In Newark, as a cop, it's 25 years in a tough environment. It's not easy. They're working on a word processor in 2003!?
PP: Did you get over your fear?
MG: No. But I came a long way. I'm excited to do another project like it. In some ways, I hate that it is a book, because it suggests, it feels, like it's over.
PP: If it is, it's a significant and successful end. Truly, it is one of my favourite photobooks of recent years. Thanks, Matthew.
MG: Thank you, Pete.
Matt Gunther, a native new Yorker, is a film-maker and photographer who has been documenting a sense of place and moments of time throughout his career. His portraits endeavor to uncover and expose the vulnerability and compassion- the core of his subjects. Matt received his Bachelor's in Fine Arts from SUNY Purchase. Matt's work has been featured in numerous international and national publications, Including The New York Times Magazine, Newsweek, London Sunday Times and Gentlemen's Quarterly. His work has been awarded and written about in American Photography, PDN, and Communication Arts among others. Matt's work is in the permanent collection of the Brooklyn Museum and The Palais De Toyko in Paris. He is currently working on his first Monograph, Probable Cause, documenting daily life in Newark New Jersey, which will be published in the fall of 2012.


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There's a story about a young woman who, like her mother, cut the end of her ham off before baking it. She wondered why this trick produced such a good result so she asked her mother. Her mother didn't know why, exactly. She then asked her grandmother why it helped to remove the end of the ham before baking it. Her grandmother eventually responded by saying, "Well, dear, the ham just wouldn't fit into my little oven otherwise."
A couple generations of WordPress theme shops have been blindly copying each other too.
I like to watch what theme shops do, both new and old. If I can figure out what they're doing right and what they're doing wrong then I can learn from them and make my own shop, churchthemes.com, better from both a business and customer standpoint. Here are some bad practices I still observe with theme shops that I would like to see killed off.

subset: commoncrawl


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Reconciliation is okay because someone wrote a letter for Byrd saying so
I'm sure this will have the Senators in tears. Maybe the way to pass cap and tax is to take the next House bill that renames whatever is left in
I'm sure this will have the Senators in tears. Maybe the way to pass cap and tax is to take the next House bill that renames whatever is left in
Control the narrative on Senate reconciliation and leveraged pressure against wavering House members is yours. Public knowledge of Byrd's strong feelings against using reconciliation for healthcare as outlined here and
Harry Reid has stirred up controversy with his recent comments likening opponents of the health care bill with those who obstructed civil rights and women's rights legislation: Instead of joining us
The liberals are trashing old folks again. This time its their own stalwart liberal icons. Senators Byrd and Kennedy are being inconvenient and burdensome, so its time to show them
THIS IS A TEST 1. The defenders of slavery during the Civil War were from which party? A. Republican B. Democrats 2. The States that seceded from the United States
"Those whom God wishes to destroy, He first drives mad." –Euripides What is the mental state of the common American Liberal? They wish to be seen as compassionate and altruistic.
As in, Obama needs to stay on his side of the line drawn by it: Byrd: Obama in power grab Sen. Robert Byrd (D-W.Va.), the longest-serving Democratic senator, is criticizing
The loudest and most liberal democrat and the voice of the democratic party for decades has gone missing….why? and where? It's not like a Kennedy to sit on the sidelines
There's a whole lot to be spun out of this poll and analysis.Appreciate the significant finding that those on this side of the aisle don't support Obama because of his


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Port Orford House Rental Photos and Description
House, 2 Bedrooms, 1.5 Baths, (Sleeps 4) or 3 Bedrooms, 2.5 Baths w/Guest House
SPECIAL | Receive a free night with a week long stay!
Perched high on a secluded bluff, seemingly afloat above the trees, with a breathtaking view of the rugged Southern Oregon Coastline, sits the vacation destination you have been dreaming of...
Welcome to China Mountain House
Imagine the urbane, art-filled ambiance of a downtown loft surrounded by the tranquil beauty of nature. China Mountain House offers you style, elegance, and calming rejuvenation. Located in Port Orford, Oregon, the property is 60 miles from the California border and surrounded by some of the most spectacular scenery on the West Coast.
Lose yourself in the view, enjoy the astonishing home theatre system, create a gourmet feast in the well appointed kitchen, explore the surrounding coastline, raft or fish in any number of rivers, or challenge your game by playing one of the world-renowned courses at Bandon Dunes Golf Resort, only 30 minutes to the North.
You can choose to do everything or simply nothing at all...
...and need more room this rental season? The Guest House can be rented along with the Main House to expand to a total of 3 bedrooms and 2.5 baths! See the China Mountain House website (chinamountainhouse) or send us a message from this page for more details.
Description Of The House:
- Sleeps 2 to 4
- 2500 square feet (232 square meters)
- 12 foot high ceilings and glass walls facing the ocean
- Full gourmet kitchen with pro-style stainless steel appliances
- Spa-like bathroom with multi-head shower and separate soaking tub
- Theater system with a 14 foot by 10 foot movie screen and extensive film library
- 1200 square foot (111 square meters) deck off of the first floor of the house
- Just over 200 feet above the ocean with a view of nearly 40 miles of coastline
- Master bedroom with a king-size bed and a 180 degree ocean view
- Guest bedroom with a queen-size Murphy bed and gas fireplace
- Decorated with pieces of original art
- Bed linens and towels are provided
- Internet WiFi access
Area Description: Port Orford, Oregon
The beaches along the coast of Oregon are some of the most spectacular found on the entire West Coast. The town of Port Orford is approximately 60 miles (96 km) north of the California border and home to some fantastic scenery, a working fishing port, and world-class golf just 25 miles (40 km) north at Bandon Dunes.
Explore the Southern Coast and find yourself in a wide variety of settings. You can be in the Redwoods of Northern California, on the Rogue River for world-class fishing, hiking the Coast Range Mountains behind the house, or even in sand dunes that follow the coast for nearly 50 miles...
United Airlines (Skywest) serves the Coos Bay/North Bend area which is an hour to the north. Direct flights from Portland, Oregon and San Francisco are available on United. United Airlines also serves Crescent City, California - an hour and a half to the south - and has direct flights to San Francisco.
Keywords: beach, ocean view, ocean, coast, house, modern, contemporary, beach house, oregon coast, oregon, exclusive, elegant, art, view, views
- Suitability:
- Minimum Age Limit for Renters
- non smoking only
- pets considered
About The Owner
As busy professionals in the real estate and design fields along the west coast, we love to spend time at China Mountain House whenever we can. After traveling all over the world and seeing numerous amazing sights, both of us can say that the view from the house will hold it's own to any other we've ever seen!
Why The Owner chose Port Orford
We love the fact that we can still have a bit of an urban feel in the midst of some truly spectacular nature.
What makes this house unique
There is so much to do within a 100 mile radius that you can have incredible adventures every day and never repeat one after 2 months! From golf at the world-renowned Bandon Dunes to incredible beaches to the Redwoods to world-class fishing on the Rogue River, the house makes a perfect base for you to explore the remarkable coastline.
Guestbook comments from the owner
We had a wonderful stay at your house. The house is beautiful and the location is amazing. I don't know how three days could pass so quickly with me doing almost nothing. I couldn't even finish a book, I was so at peace. This is a remarkable place! Thank you.


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USACE to complete $1.3 million Half Moon Reef project
MATAGORDA, Texas (April 7, 2014) -- The U.S. Army Corps of Engineers Galveston District is scheduled to complete construction of the $1.3 million Half Moon Reef project April 11 to restore 12 acres of sub-tidal reef and habitat located within the ...
Texas Parks and Wildlife Department proposing speckled trout bag limit change
AUSTIN -- The Texas Parks and Wildlife Department is proposing fishing ... Temporary 2-year closure of a 54-acre oyster restoration site on Half-Moon reef in Matagorda Bay, and a 2-year temporary closure of seven restoration sites located in East Galveston ...
Building of a reef
While living in Matagorda County ... director of Coastal Restoration for Nature Conservancy Texas, Dumesnil is in a position to reverse one of the more significant changes with the Half Moon Reef restoration.
Oyster reefs being rebuilt on Texas coast
MATAGORDA, Texas ... oyster reef and is now no more than hard sand and shell remains, with not one oyster in sight. And so, about seven years after Dumesnil was first tipped off by wildlife ecosystem experts that restoration of Half Moon Reef might ...
Fishing spots around Halfmoon Shoal in East Matagorda Bay
Halfmoon Shoal in East Matagorda Bay is a popular saltwater fishing spot on the Texas Coast. ... A history of fishing reports for Half Moon Reef.
NAME: Half Moon Reef Restoration Project - Headquarters U ...
NAME: Half Moon Reef Restoration Project LOCATION: Palacios/Matagorda County, Texas ACRES/RIVER MILES: 290 acres NON-FEDERAL SPONSORS: The Nature Conservancy
Matagorda, TX. Half Moon Reef. Halfmoon Reef Lighthouse ...
Matagorda, TX. Half Moon Reef. Halfmoon Reef Lighthouse. Matagorda Bay. World Trade Center. Prissy At Habitat.
Half Moon Reef Lighthouse, Texas at thelighthousehunters.com
Half Moon Reef Lighthouse, Halfmoon Reef Lighthouse, ... Texas Historical ... Half Moon Reef was a hexagonal screw pile lighthouse originally in Matagorda Bay, ...
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Time to build: 0.1400 seconds at 01:06 AM Nov. 27, 2014


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Lots to talk about, but mostly the driver's championship outcome, will it be Hamilton or Rosberg? Robin's spreadsheet says 77.2% Hamilton. Good battle between Ferrari teammates, and good results for Felipe Massa and Jenson Button. A bit of feedback, and our predictions for the last race of 2014. Visit http://funwithcars.com for more.
Hey, it's the second-closest race to us, the USGP! We discuss the two missing teams from this race, the three that crashed out, and then the fifteen remaining. More conversation about the current state of F1, and lots of listener feedback in this show. Visit http://funwithcars.com for more.
Both Robin and Jim have a long history with the automotive press, and this latest video from /DRIVE channel goes behind the scenes with Car and Driver Magazine for their major annual track testing event, Lightning Lap. Starting about four minutes in, Jim makes an appearance, talking about the technology he brings to the event, and has done for years. It's an interesting view into our lives when we're not talking about Formula One.
It's the first Grand Prix in Russia for 100 years! Just a week after Jules Bianchi's accident, that's still on everyone's mind, but another race means more championship points and implications. Some more silly season talk, listener feedback, and more. Visit http://funwithcars.com
Just a few days after our last show, we discuss the race from Monza, new silly season talk, Hamilton's mind games, regard for Ricciardo, and a whole lot more. Visit http://funwithcars.com
In this belated coverage, we do our best to remember all that went on in the dramatic Hungarian race. We get Robin's take on his visit to Spa for the Blancpain 24H race, talk some news, listener feedback, and predictions. Visit http://funwithcars.com for more.
We record a show remotely, with Jim in England and Robin stateside at FwC world headquarters. Discussion of the mixed-up qualifying, thrilling racing, news, and more! With listener feedback, a clip of Formula E cars, and a special bonus song! Visit http://funwithcars.com.
In this show, Jim and Robin cover the topsy-turvy qualifying and racing that made for F1's great return to Austria. Debate over teammate relative performances, what's wrong with Red Bull, Williams on the rise, and more. Also we delve into Robin's article about Michael Schumacher for Road & Track, listener feedback and predictions. Visit http://funwitchcars.com for blog posts, feedback, and more.
In this special episode we talk to photographer Jamey Price about his experience covering the Monaco Grand Prix, and share audio clips from Craig "The Kilt" Wilson from the stands. We also settle the F1 noise debate once and for all. Maybe. Visit http://funwithcars.com
We talk about the Rosberg qualifying controversy, and the team tension between him and Lewis Hamilton. Alonso held on with his amazing consistency, and Jules Bianchi scores the first points for Marussia. Sebastian Vettel has a turbo failure and his teammate Daniel Ricciardo challenges for second place. Visit http://funwitchcars.com for blog posts, feedback, and more.


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1. Knocked out atrociously.
2. Knocked out cold
2. Knocked out cold
" man, that nigga was dumbel-funded!!"
"that fool got dumbel-funded in the first hit!"
"that fool got dumbel-funded in the first hit!"
by Eweezee November 17, 2007
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Excellent Felafel found
- s
- staffstuff Sep 14, 2010 07:12 PM
This place just opened on Greenwood Ave betw. 83rd & 85th. I was really delighted by their felafel...the best I've had in Seattle: interesting flavors of cumin and coriander seed, nice textural contrast of smooth center & crunchy exterior...not greasy...definitely a 'cut above'. Surprising spicy 'bite' in both the hummus & baba ghanouj; also has a pleasant dining space.
re: Boychucker
King Felafel Grill, 8317 Greenwood Ave. N. 98103
re: RandyB
Sounds like a beautiful felafel, staffstuff.
As "felafel sandwiches" go, though, have to agree with RandyB - Zaina's is wonderful. These are not the lettuce and tomato stuffed variety like you find at Med Mix and most other locals. The location downtown by Macy's closed a few years back, but the ones they made there were spicy and magical.
re: FoieGrasHotDog
I think they moved the Zaina's that used to be by Macy's down a block or two over by the Nordstrom Rack on Pine between 1st and 2nd. I have been meaning to get over there as I used to love the Pioneer Square one when I worked on that side of town.
re: akq
I hope the one you're referring to is not associated with the Pioneer Square Zaina revered on this board (I've sadly not made it down there yet). Having only a few minutes for lunch, we stopped in to the said falafel place on Pine and 1st and waited about 10 minutes before being helped despite being the only ones inside. French fries with my falafel (leftover from my Europe study abroad days) are one of my faves. They begrudgingly scrapped the last of the previous batch together. The falafel sandwich was decent, but I noticed only 2 or 3 actual balls. There were some veggies and sauces beyond tahini and l&t, but overall, it was pretty meh.
Maybe the reopened King Falafel Grill?
King Falafel Grill
8102 Greenwood Ave N, Seattle, WA 98103
Not to discount the new place--I just haven't made it up there yet, but the far and away best felafel I've found in town is at Mawadda down in the south end.
re: mikeeatsalot
any of the places above have real salad toppings on the falafel, besides drab lettuce and tomato? in search of israeli-style toppings, like pickled beets, sauteed cauliflower, marinated carrots etc etc.
re: lrsseattle
Zaina's makes a roasted cauliflower sandwich as well. They have mixed the cauli and falafel for me in the past, which is tasty. Not so sure about the pickle, though...
re: lrsseattle
You can get all that at Hallava in Georgetown. It's somewhat different from the usual falafel sandwiches being offered in Seattle.
re: lavaca
I love salad type toppings, too, and Hallava is the only place I've been that has them (I didn't realize the guy was still in town, though). It seems unusual in the US for falafel places to have a variety of toppings. I didn't realize that was Israeli-style--so is that the issue? Someone Lebanese or Syrian, etc, wouldn't offer all the toppings?
I just don't get the love for Zaina. It's just been awful the times I've been.
re: lavaca
re: savvy savorer
Where in Georgetown is that? I have seen a food truck parked behind a fence off of Airport Way. Is that it? It didn't look open - what are the hours?
Ooh! I LOVE this place! The meat is so flavorful. However, the wait can be very long. So, either call ahead, or bring some work or a good book.


text: Remember that guy who hacked into Sarah Palin's e-mail? Turns out he faces a max penalty of 50 years. My favorite part is how he bragged about doing it, then broke down and cried like a little girl when he found out he was being investigated :rofl: What did the moron think was going to happen? No one would care? Anyway, just another liberal who doesn't believe that things like privacy belong to eeeeeeeeeeeeeeeeeeeeeeeeevil Republicans. And, of course, the requisite hate mail directed at Palin's children. Sarah Palin Testifies in Alleged E-Mail Hacker Trial - ABC News "He definitely talked about how he didn't believe in what she wanted to do," David Omiecinski, Kernell's roommate at the University of Tennessee, said, although adding that Kernell said nothing about hurting Palin. Kernell's roommate said the defendant bragged openly about what he did. But Davies told jurors that his client didn't attempt to get rid of any evidence on his laptop and that he cried when he found out that the FBI was investigating him. "He really couldn't have done more to let people know what he had done than he did," Davies said. Palin's family friend Ivey Frye told jurors that the hacker sent "vile" and "vulgar" e-mails to Palin's children and other relatives and friends, and that all their e-mail addresses were exposed.


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|By Business Wire
Article Rating:
|November 28, 2012 01:05 PM EST
Ginger.io, the behavioral health analytics startup, today announced a $6.5 million Series A funding round led by Khosla Ventures. Existing seed investors True Ventures and Romulus Capital also participated. Ginger.io is uniquely positioned to take advantage of the need for proactive population management, which has been highlighted by recent healthcare legislation. The company's platform provides a 'check-engine light' for a person's health in the form of an alert that can be sent to a provider, caregiver or individual.
Drawing on research from the MIT Media Lab, Ginger.io's mobile application uses an individual's smartphone to identify changes in behavior that correlate with his or her health. The company is evaluating its system across a number of key conditions including depression, diabetes and cardiovascular disease to demonstrate that it can reduce costs and improve the quality of care. The latest version of the Ginger.io platform, released earlier this fall, provides both a provider team and a patient with health insights based on that person's behavior.
"We are at a time of great disruption in healthcare," said Vinod Khosla, founding partner of Khosla Ventures. "Ginger.io is at the forefront of data-driven technology and healthcare, with the potential to transform the way we manage chronic disease populations, and we're excited to help the Ginger.io team drive this transition."
Jon Callaghan, a founding partner of True Ventures, added, "Ginger.io is exactly the kind of mission-driven company we love to work with at True. We were Ginger.io's first institutional investor back in 2011, and we are thrilled to continue to support them in this round."
This financing is the capstone on a year of growth for Ginger.io. Since raising its seed round just over a year ago, the company has expanded, absorbed the Rock Health startup Pipette, and opened a San Francisco, California office in addition to its Cambridge, Massachusetts location. It has launched a number of important partnerships, including Cincinnati Children's Hospital's Chronic Collaborative Care Network (C3N), and Carolinas-based hospital system Novant. The company has also received industry recognition for applying its platform to supporting individuals living with chronic conditions and their family member caregivers, with awards from Sanofi's 2011 Data Design Diabetes contest and Janssen's 2012 Alzheimer's Challenge.
"We've had a tremendous influx of interest from providers and patients over the last year," said Anmol Madan, CEO of Ginger.io. "This additional capital will help us scale the team and product, and further our mission of changing how patients are supported away from the doctor's office."
Ginger.io is actively hiring for engineering and business development roles, in both Boston and San Francisco. To learn more about employment opportunities at Ginger.io, visit: http://ginger.io/join-us/.
Ginger.io is also actively recruiting individuals living with Diabetes, Congestive Heart Failure (CHF) and Crohn's & Ulcerative Colitis to help accelerate the development and deployment of the Ginger.io system by becoming early adopters. More information about signing up is available here: http://ginger.io/contribute-to-science/.
About Khosla Ventures
Khosla Ventures offers venture assistance, strategic advice and capital to entrepreneurs. The firm helps entrepreneurs extend the potential of their ideas in breakthrough technologies in clean energy, mobile, IT, cloud, big data, storage, health, food, agriculture and semiconductors. Vinod Khosla founded the firm in 2004 and was formerly a General Partner at Kleiner Perkins and co-founder of Sun Microsystems. Khosla Ventures is based in Menlo Park, Calif. More information is available at http://www.khoslaventures.com.
About True Ventures
Founded in 2006, True Ventures is a Silicon Valley-based venture capital firm that invests in early-stage technology startups. With three funds and approximately $600 million in capital under management, True provides seed and Series A funding to the most talented entrepreneurs in today's fastest growing markets. The firm maintains a strong founder community and offers innovative educational opportunities to its portfolio, helping entrepreneurs achieve higher levels of success and impact. More information is available at trueventures.com.
About Ginger.io
Ginger.io is a behavior analytics company that aims to improve the world's health through new data insights. A spin out from the MIT Media Lab, Ginger.io is backed by Khosla Ventures and True Ventures and is an alumnus of Techstars Boston. Ginger.io is currently working with leading US healthcare institutions, has won industry awards for Diabetes and Mental Health, and has been featured in the Economist, New York Times, and Businessweek. The company has offices in Cambridge, MA and San Francisco, CA. For more information, go to http://ginger.io/ or contact [email protected].
SYS-CON Events announced today that Windstream, a leading provider of advanced network and cloud communications, has been named "Silver Sponsor" of SYS-CON's 16th International Cloud Expo®, which will take place on June 9–11, 2015, at the Javits Center in New York, NY. Windstream (Nasdaq: WIN), a FORTUNE 500 and S&P 500 company, is a leading provider of advanced network communications, including cloud computing and managed services, to businesses nationwide. The company also offers broadband, phone and digital TV services to consumers primarily in rural areas.
Nov. 23, 2014 07:30 PM EST Reads: 1,669
"There is a natural synchronization between the business models, the IoT is there to support ," explained Brendan O'Brien, Co-founder and Chief Architect of Aria Systems, in this SYS-CON.tv interview at the 15th International Cloud Expo®, held Nov 4–6, 2014, at the Santa Clara Convention Center in Santa Clara, CA.
Nov. 23, 2014 12:00 PM EST Reads: 1,604
The major cloud platforms defy a simple, side-by-side analysis. Each of the major IaaS public-cloud platforms offers their own unique strengths and functionality. Options for on-site private cloud are diverse as well, and must be designed and deployed while taking existing legacy architecture and infrastructure into account. Then the reality is that most enterprises are embarking on a hybrid cloud strategy and programs. In this Power Panel at 15th Cloud Expo (http://www.CloudComputingExpo.com), moderated by Ashar Baig, Research Director, Cloud, at Gigaom Research, Nate Gordon, Director of T...
Nov. 23, 2014 07:45 AM EST Reads: 1,453
The definition of IoT is not new, in fact it's been around for over a decade. What has changed is the public's awareness that the technology we use on a daily basis has caught up on the vision of an always on, always connected world. If you look into the details of what comprises the IoT, you'll see that it includes everything from cloud computing, Big Data analytics, "Things," Web communication, applications, network, storage, etc. It is essentially including everything connected online from hardware to software, or as we like to say, it's an Internet of many different things. The difference ...
Nov. 22, 2014 10:00 PM EST Reads: 1,332
ARMONK, N.Y., Nov. 20, 2014 /PRNewswire/ -- IBM (NYSE: IBM) today announced that it is bringing a greater level of control, security and flexibility to cloud-based application development and delivery with a single-tenant version of Bluemix, IBM's platform-as-a-service. The new platform enables developers to build ap...
Nov. 22, 2014 05:30 PM EST Reads: 1,452
Cloud Expo 2014 TV commercials will feature @ThingsExpo, which was launched in June, 2014 at New York City's Javits Center as the largest 'Internet of Things' event in the world.
Nov. 22, 2014 05:30 PM EST Reads: 1,437
An entirely new security model is needed for the Internet of Things, or is it? Can we save some old and tested controls for this new and different environment? In his session at @ThingsExpo, New York's at the Javits Center, Davi Ottenheimer, EMC Senior Director of Trust, reviewed hands-on lessons with IoT devices and reveal a new risk balance you might not expect. Davi Ottenheimer, EMC Senior Director of Trust, has more than nineteen years' experience managing global security operations and assessments, including a decade of leading incident response and digital forensics. He is co-author of t...
Nov. 22, 2014 05:30 PM EST Reads: 1,281
Explosive growth in connected devices. Enormous amounts of data for collection and analysis. Critical use of data for split-second decision making and actionable information. All three are factors in making the Internet of Things a reality. Yet, any one factor would have an IT organization pondering its infrastructure strategy. How should your organization enhance its IT framework to enable an Internet of Things implementation? In his session at Internet of @ThingsExpo, James Kirkland, Chief Architect for the Internet of Things and Intelligent Systems at Red Hat, described how to revolutioniz...
Nov. 21, 2014 09:15 PM EST Reads: 1,361
Technology is enabling a new approach to collecting and using data. This approach, commonly referred to as the "Internet of Things" (IoT), enables businesses to use real-time data from all sorts of things including machines, devices and sensors to make better decisions, improve customer service, and lower the risk in the creation of new revenue opportunities. In his General Session at Internet of @ThingsExpo, Dave Wagstaff, Vice President and Chief Architect at BSQUARE Corporation, discuss the real benefits to focus on, how to understand the requirements of a successful solution, the flow of ...
Nov. 21, 2014 08:00 PM EST Reads: 1,427
The security devil is always in the details of the attack: the ones you've endured, the ones you prepare yourself to fend off, and the ones that, you fear, will catch you completely unaware and defenseless. The Internet of Things (IoT) is nothing if not an endless proliferation of details. It's the vision of a world in which continuous Internet connectivity and addressability is embedded into a growing range of human artifacts, into the natural world, and even into our smartphones, appliances, and physical persons. In the IoT vision, every new "thing" - sensor, actuator, data source, data con...
Nov. 21, 2014 08:00 PM EST Reads: 1,373
"BSQUARE is in the business of selling software solutions for smart connected devices. It's obvious that IoT has moved from being a technology to being a fundamental part of business, and in the last 18 months people have said let's figure out how to do it and let's put some focus on it, " explained Dave Wagstaff, VP & Chief Architect, at BSQUARE Corporation, in this SYS-CON.tv interview at @ThingsExpo, held Nov 4-6, 2014, at the Santa Clara Convention Center in Santa Clara, CA.
Nov. 21, 2014 07:00 PM EST Reads: 1,282
Focused on this fast-growing market's needs, Vitesse Semiconductor Corporation (Nasdaq: VTSS), a leading provider of IC solutions to advance "Ethernet Everywhere" in Carrier, Enterprise and Internet of Things (IoT) networks, introduced its IStaX™ software (VSC6815SDK), a robust protocol stack to simplify deployment and management of Industrial-IoT network applications such as Industrial Ethernet switching, surveillance, video distribution, LCD signage, intelligent sensors, and metering equipment. Leveraging technologies proven in the Carrier and Enterprise markets, IStaX is designed to work ac...
Nov. 20, 2014 09:15 PM EST Reads: 1,371
C-Labs LLC, a leading provider of remote and mobile access for the Internet of Things (IoT), announced the appointment of John Traynor to the position of chief operating officer. Previously a strategic advisor to the firm, Mr. Traynor will now oversee sales, marketing, finance, and operations. Mr. Traynor is based out of the C-Labs office in Redmond, Washington. He reports to Chris Muench, Chief Executive Officer. Mr. Traynor brings valuable business leadership and technology industry expertise to C-Labs. With over 30 years' experience in the high-tech sector, John Traynor has held numerous...
Nov. 20, 2014 06:00 PM EST Reads: 1,332
Bit6 today issued a challenge to the technology community implementing Web Real Time Communication (WebRTC). To leap beyond WebRTC's significant limitations and fully leverage its underlying value to accelerate innovation, application developers need to consider the entire communications ecosystem.
Nov. 20, 2014 04:45 PM EST Reads: 1,124
The 3rd International @ThingsExpo, co-located with the 16th International Cloud Expo - to be held June 9-11, 2015, at the Javits Center in New York City, NY - announces that it is now accepting Keynote Proposals. The Internet of Things (IoT) is the most profound change in personal and enterprise IT since the creation of the Worldwide Web more than 20 years ago. All major researchers estimate there will be tens of billions devices - computers, smartphones, tablets, and sensors - connected to the Internet by 2020. This number will continue to grow at a rapid pace for the next several decades.
Nov. 20, 2014 01:00 PM EST Reads: 1,579
The Internet of Things is not new. Historically, smart businesses have used its basic concept of leveraging data to drive better decision making and have capitalized on those insights to realize additional revenue opportunities. So, what has changed to make the Internet of Things one of the hottest topics in tech? In his session at @ThingsExpo, Chris Gray, Director, Embedded and Internet of Things, discussed the underlying factors that are driving the economics of intelligent systems. Discover how hardware commoditization, the ubiquitous nature of connectivity, and the emergence of Big Data a...
Nov. 20, 2014 12:30 PM EST Reads: 1,790
Almost everyone sees the potential of Internet of Things but how can businesses truly unlock that potential. The key will be in the ability to discover business insight in the midst of an ocean of Big Data generated from billions of embedded devices via Systems of Discover. Businesses will also need to ensure that they can sustain that insight by leveraging the cloud for global reach, scale and elasticity.
Nov. 18, 2014 09:00 PM EST Reads: 2,015
SYS-CON Events announced today that IDenticard will exhibit at SYS-CON's 16th International Cloud Expo®, which will take place on June 9-11, 2015, at the Javits Center in New York City, NY. IDenticard™ is the security division of Brady Corp (NYSE: BRC), a $1.5 billion manufacturer of identification products. We have small-company values with the strength and stability of a major corporation. IDenticard offers local sales, support and service to our customers across the United States and Canada. Our partner network encompasses some 300 of the world's leading systems integrators and security s...
Nov. 18, 2014 08:15 PM EST Reads: 1,565
IoT is still a vague buzzword for many people. In his session at @ThingsExpo, Mike Kavis, Vice President & Principal Cloud Architect at Cloud Technology Partners, discussed the business value of IoT that goes far beyond the general public's perception that IoT is all about wearables and home consumer services. He also discussed how IoT is perceived by investors and how venture capitalist access this space. Other topics discussed were barriers to success, what is new, what is old, and what the future may hold. Mike Kavis is Vice President & Principal Cloud Architect at Cloud Technology Pa...
Nov. 18, 2014 01:30 PM EST Reads: 2,007
Cloud Expo 2014 TV commercials will feature @ThingsExpo, which was launched in June, 2014 at New York City's Javits Center as the largest 'Internet of Things' event in the world. The next @ThingsExpo will take place November 4-6, 2014, at the Santa Clara Convention Center, in Santa Clara, California. Since its launch in 2008, Cloud Expo TV commercials have been aired and CNBC, Fox News Network, and Bloomberg TV. Please enjoy our 2014 commercial.
Nov. 13, 2014 05:00 AM EST Reads: 3,543


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Bio: Originally a drunken joke gone horribly right, Beer & Skittles formed in mid-2011 for St Patrick's College annual Saint Pat's Got Talent. Out of roughly thirty acts, the band finished sixth with a powerful cover of Growing On Me by The Darkness. Band practise then became a weekly event at school,... See Full BioMore Info
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How storm potential could affect Thanksgiving getaways
If you leave early, you won't be sneaking out of town.
If you leave early, you won't be sneaking out of town.
Police said some lanes remain closed as crews work to repair the water main break.
Track work also will affect service on the Red and Blue lines.
Three of four lanes are closed.
Weekend lane closings continue as HOT lanes' December opening approaches.
Water main break repaired but work continues in Suitland
The Fairfax County Board of Supervisors has cleared the way for the sale of bonds that will help pay for construction of parking garages at two new Silver Line stations.
TSA officers detected a .38 pistol and 16 loose bullets in the woman's carry-on bag.
Crews are working to fix a water main break that involves a 71 year old pipe
A survey finds only a third of carpoolers have the necessary E-ZPass Flex transponder.
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Page Showing 1-10 of 134 Results
Avg. Customer Rating (Based on 134 Reviews)
Write a Review | Back to Product Page
Son loved these
from Chicago, IL
on 12/2/2013
Still trying to figure out how tight he needs it - but these give my 5 year old confidence in the water. I love it
Perfect for my son
from TX
on 11/25/2013
Just ordered this for my son since he just started the swimming team. These fit him perfectly and he has not complaints thus far.
Favorite goggles
from Mansfield, TX
on 9/25/2013
My daughter is on swim team and these are the only goggles that she will use. (Fits her ages 8-9 years old while wearing clothing size 10).
She tried the vanquisher jr and a couple of others, but always goes back to these. She doesn't like a dark lens, she likes the pool to remain bright so she prefers the clear goggles. We recently purchased the pink frame and aqua frame with clear lens.
I really wish that they would make these in a mirrored lens (maybe pink) that is not too dark, but will hide her eyes. I like the look of mirrored goggles - eyes look wierd in goggles.
My Daughter loves these!
Anna S.
from Stow, OH
on 8/6/2013
I bought two pairs to last us through summer swim team and the first pair is still going strong! I didn't even have to break open the second pair. My daughter loves these and so do I!
jennifer w.
from georgia
on 7/17/2013
This is a great fitting NO LEAK goggle for 6-8yr old (may be other ages but this is the range of my kids). We have tried sooo many goggles (even others withinthe speedo family) and all have had issues with fit. These are well worth the purchase. I am actually buying 2 more pair so I have some back ups for swim team!!!!
great no leak goggles
jenn w.
from georgia
on 7/17/2013
We went through MANY goggles (even the speedo brand) and these are a great NO LEAK fitting goggle for 6-8 year olds (when "kids" goggles may be too small, some "junior" and "adult" goggles are to big). Will be buying a couple more pair for back ups!!
Comfy fit for smaller faces!
from Cottonwood Heights, UT
on 7/15/2013
I love these goggles! I am on my second pair, and wouldn't consider any other. They are comfy, and fit well on my narrow face.
Like them
Karan B.
from Andalusia, AL
on 5/31/2013
My daughter liked them okay, but eventually got a clear pair.
GREAT for ADULT with NO BRIDGE
Anne S.
from Sacramento, CA
on 11/6/2014
I've been wearing these for a few years now and have no complaints. If you're an adult type person with a small or non-existent nose bridge, these Speedos are perfect. What I recommend doing though is warming them first in the water. they seem to be more pliable when warm. Then just pop them on your face. Extremely comfortable.
Nice googles
from San Francisco, CA
on 9/12/2014
Nice fit, and nice thick adjustable band; nice tinting so the sun doesn't hurt w/ backstroke.


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Download this free, 128-page Primary Packaging Line Equipment Playbook jam-packed with strategies for success, best practices, and pitfalls to avoid. Learn more >>
Article | February 24, 2014
Dynamic Conveyor: Vertical incline conveyor
Dynamic Conveyor's DynaCon 90 degree Incline Conveyor for parts conveying saves floor space, can be custom designed to a company's desired height, and includes widths ranging from 4- to 60-in.
The conveyor can include an optional hopper designed to meet desired parts conveying needs. Optional casters are available to make the system easy to move in and away from other equipment.
The DynaCon 90o Incline can also be re-used by being reconfigured when needs change, offering a sustainable conveying solutions.
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Global Contagion Report: Indoguna Otama
Country: Indonesia
Company Involved: Indoguna Otama
Industry: Consumer Goods
Industry Subsector: Farming & Fishing
Country: Indonesia
Company Involved: Indoguna Otama
Industry: Consumer Goods
Industry Subsector: Farming & Fishing
In Indonesia, even a former beauty queen is corrupt.
Rolls-Royce appointed an outside lawyer to investigate allegations of overseas bribery in China and Indonesia.
If allegations from a pseudonymous blogger are true, Rolls-Royce propelled itself into the Asian market with the help of payments passed to an executive of Air China and China Eastern Airlines.
Countries rich in natural resources are often corrupt, or so it seems.
The Securities and Exchange Commission said Monday it has resolved an FCPA enforcement action against Germany-based insurance and asset management company Allianz SE.
The U.K. Serious Fraud Office may be investigating an alleged $20 million payment from Rolls Royce to the son of the former Indonesian ruler who helped the company win an order for aircraft engines, according to a report Sunday in the Guardian.
The BBC online service reported Thursday that Rolls Royce is in talks with the U.K. Serious Fraud Office (SFO) regarding potential allegations of bribery and corruption in Indonesia and China.
A Japanese national was sentenced this week in Indonesia to three years in prison for bribing a judge of a local industrial relations court.
Indonesia's judicial system is widely perceived to be marred by corruption. This system has produced some odd results.


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Find Puppies from Appenzell Mountain Dog dog breeders based on your lifestyle and desired breed. Find Appenzell Mountain Dog puppies for sale today!
Breed Group: Not AKC Recognized
Weight: Male: 60-70; Female: 50-60 lbs
Height: Male: 22-23 Female: 18-20 inches
Color(s): Tri-Color; Black, tan, and white.
Of the four Alpine breeds, the Appenzell Mountain Dog is the least well known and is extremely rare. Originating in Switzerland, this breed was used as a herd guardian, cattle mover, rescue dog, and cart-puller. Today, the Appenzell Mountain Dog has retained their working heritage and is difficult to find and acquire.
The Appenzell Mountain Dog is muscular, athletic, and powerful. The Appenzell possesses tremendous endurance and agility. They are versatile, utilitarian, and hard-working.
The Appenzell Mountain Dog is not recommended for first time dog owners. Although they are loyal and devoted companions, this breed is not solely a pet. Appenzell's are first and foremost a working breed. They are hardy, courageous, and affectionate. They are highly protective of their family, home, and territory. The Appenzell Mountain Dog does best with considerate children. They do well with other dogs and household pets they have been raised with. The Appenzell does not do well if they are isolated or ignored. They will become destructive if they are bored or lonely. They have a tendency to bark incessantly.
The Appenzell Mountain Dog requires occasional brushing with a firm bristle brush to remove loose and dead hair is recommended. It is important to frequently check the ears and paw pads for debris. Bathing should only be done when necessary. Due to the rarity of this breed there are no known health issues.
The Appenzell Mountain Dog breed is a double coat breed. The outer coat is short, thick, and glossy. The under coat is soft and dense. This breed is heavy shedding.
Early socialization and obedience training is absolutely crucial. The Appenzell Mountain Dog breed is highly intelligent but requires a dominant handler. They do not respond to harsh or heavy-handed methods. Training must be done with firmness, respect, fairness, and consistency.
The Appenzell Mountain Dog is not recommended for apartment or city living. This breed requires an inordinate amount of physical exercise and mental stimulation. They do best in a rural setting with room to roam and a job to do.
Help reduce the number of dogs in shelters by doing your due diligence. Many puppies are often purchased with little or no knowledge of what goes into parenting one. Uneducated decisions often leave the puppy in need of adoption and in the care of rescue groups. Bringing home a puppy into your family has many benefits but we first implore you to educate yourself. An informed decision will take into account the characteristics of the breed, your lifestyle, expected veterinary care, the demands and limitations of owning one, their activity requirements and levels of companionship required.
Note: We provide the only safe marketplace for Appenzell Mountain Dog breeders to list and rehome their purebred dogs. Breeders listing puppies on Next Day Pets are required to verify their identity for your protection.


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Alamo Colleges Education Services is a secure portal connecting Faculty, Staff & Students to Academic Resources, Email, and other Online Resources.
Support Contacts: Helpdesk: 210-485-0555 | Weather Line: 210-485-0189
Click Here to Login
For additional information, visit the Student Logins page.
MLK Campus: (210) 486-2330
Location: Center for Learning Resources (CLR)
SWC Campus: (210) 486-7023
Location: Building 1-C123
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The information provided below will assist you in registering or applying for St. Philip's College. Our office is located in the Welcome Enrollment Center (WEC) Room 203.
If you are a first time student, have never attended a college and would like to attend St. Philip's College you must apply for admissions at ApplyTexas.org, submit an official transcript, and take the THEA Test. Visit our How to Apply web page for more information.
A current student does not have to re-apply for admissions, nor take the THEA test. Current students may have to re-apply for Financial Aid depending on the academic year and register for classes. Visit the Financial Aid and the Register for Classes web page for more information.
Students returning to SPC after a year must re-apply for admissions at ApplyTexas.org and retake the THEA Test.
Students transferring from another college or university to St. Philip's College must complete the ApplyTexas application, submit an official transcript and copy of THEA scores or equivalent.
International students transferring from countries outside the U.S. or concurrent and summer transient students must follow the guidelines for International Students. Visit the International Students web page for all information and forms needed to apply for admissions.
Students who are active military, veterans, and family members of active veterans can receive benefits under the Department of Veterans Affairs Educational Assistance Programs. New students must apply for admissions at ApplyTexas.org, submit an official transcript and a copy of their THEA Test scores. Visit the Veteran Students web page for more information.
Dual Credit students (eligible high school juniors and seniors) can earn college credit for high school courses. Students can take up to two college courses (6 to 8 credit hours) for FREE, per fall and spring semester. Visit the Dual Credit web page for more about admissions information to the program.
Nov. 27–30
Thanksgiving Holiday - College Closed
December 1, 2014
Fall Flex II Session - Last day to Withdraw
Dec. 8–13
Final Exams
December 12, 2014
Fall Graduation Ceremony
December 13, 2014
End of Fall Semester
** Academic Calendar **
1801 Martin Luther King Drive, San Antonio, Texas 78203 (210) 486-2000800 Quintana Road, San Antonio, Texas 78211 (210) 486-7000