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Cherrytree Records
Your Pop Alternative Source
Reported on TheTripWire.com is 21-year old singer La Roux, also known as Elly Jackson will be travelling to the States to perform five dates in the next month. Her three-track EP 'Quicksand' will see a U.S. Release this April through Cherrytree Records. La Roux's tour dates can be seen below:
La Roux tour dates
04.03.09 - Brooklyn, NY (Studio B)
04.04.09 - Montreal, OE (Les Saints)
04.05.09 - To…
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subset: commoncrawl


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Quality of Life Center
Restoring Peace in Our Lives
The Quality of Life Center at the Liliha campus, the newest ministry of St. Francis Healthcare System of Hawaii, is an expression of our mission to create healthy communities in the spirit of Christ's healing ministry.
The St. Francis Quality of Life Center will offer a number of activities and educational sessions to help people cope with the stresses of everyday life, to stay healthy, and to age healthfully. Our Sponsorship, Mission & Values Integration, Spiritual Services, Healthy Lifestyles Program, the St. Francis International Center for Healthcare Ethics, and Continuing Medical Education department are housed within the Quality of Life Center. Our goal is to help people live their entire lives to the fullest, beginning with St. Francis Healthcare System employees and employees of the tenants on the Liliha campus. Eventually, the Quality of Life Center will serve all guests to the Liliha campus and Oahu residents.


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Can't join us for the Night for Sight, but still want to help cure needless blindness?
Visit CRAVE at Midtown Crossing and order off their CRAVE Cares menu during the month of September and a portion of your bill will be donated to the International Division of Ophthalmology.
Just $20 covers the cost of one sight-restoring surgery. You can also donate directly to the International Division. All donations are tax deductible.
Should you choose to donate directly, Please make checks payable to the University of Nebraska Foundation. Please notate Fund #01120960 in the memo portion of your check and mail your donation to:
Department of Ophthalmology & Visual Sciences International Division
Durham Research Center Suite 4005C
985840 Nebraska Medical Center
Omaha, NE 68198-5840


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The dog ate their $300, but not for good
Updated On: Sep 19 2012 02:06:49 PM EDT
Florida couple Corey and Hope O'Kelley are not ones to lose $300 without a fight.
Last month Arnie, one of their family's two beagles, shredded and ate the hundreds in cash while the O'Kelleys were sleeping, according to the Tampa Bay Times.
But the couple didn't let it go at that.
Instead, they meticulously collected the money pieces that surfaced in Arnie's droppings and vomit, then soaped and rinsed them by hand, the newspaper reported.
Hope O'Kelley said her father's wife and sister-in-law helped her put the pieces back together, a chore that took about 90 minutes "with wine," according to UPI.com.
After all that, the couple said, their bank agreed to replace the money since the serial numbers on the bills could be read, according to UPI.com.
Distributed by Internet Broadcasting. This material may not be published, broadcast, rewritten or redistributed.
The views expressed below are not those of News4Jax or its affiliated companies. By clicking on "Post," you acknowledge that you have read the Terms of Service and your comment is in compliance with such terms. Readers, please help keep this discussion respectful and on topic by flagging comments that are offensive or inappropriate (hover over the commenter's name and you'll see the flag option appear on right side of that line). And remember, respect goes both ways: Tolerance of others' opinions is important in a free discourse. If you're easily offended by strong opinions, you might skip reading comments entirely.


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'Very affordable'
'Good hardware and exciting new OS'
'Solid build quality'
'Slick and responsive interface'
'For all its limitations Windows Phone 7 is the fastest and most responsive mobile operating system on the market. '
'Good battery life.'
'well chiselled, handsome, and light phone'
'For casual video, you won't be too disappointed. '
'It has exciting features of QWERTY keyboard, accelerometer sensor for UI auto-rotate and proximity sensor for auto turn-off and all is packed with LG C105 mobile phone as well. '
'built-in accelerometer'
'The Samsung Epic 4G offered excellent call quality during my tests. '
'Great battery life'
'Big, comfortable keyboard'
'It packs in enough features to compensate for its price, and to earn a spot on my list of today's best Android phones and my list of today's best smartphones. '
'fairly impressive features'
'The black plastic back of the phone has specks of silver in it, a nice touch, and it's pretty easy to pop the cover off should you want to access the battery or memory card. '
'YouTube HQ is a feature that enhances certain YouTube videos' quality tremendously. '
'Excellent display'
'It also features an exceptionally thin smartphone design with a slide out, full QWERTY keyboard and 4-inch Super AMOLED touchscreen display. '
'The Motorola Droid 2 Global offers world-roaming capabilities and has a faster processor than the Droid 2. '
'music sounded unusually good.'
'highly impressive voice quality performance'
'Android 2.2 OS.'
'Improved design'
'very good voice quality'
'superb call quality'
'great call quality'
'Everything about this phone is awesome.'
'The speakerphone was quite loud and could be used outdoors.'
'Able to capture clips at HD 720p, the quality is rather impressive.'
'attractive smartphone'
'The Samsung Captivate is no iPhone killer, but it's one of the best smartphones on the market today. '
'The 4-inch Super AMOLED did the talking for us, thanks to its super-high contrast and incredibly wide viewing angles. '
'The TouchWiz music player is touch-friendly and easy to navigate.'
'awesome features'
'very fast phone'
'Best Budget Mobile Phone'
'excellent keyboard'
'the phone is so good and such a pleasure to use that you really just forget about everything else and simply get on with your day.'
'slick design'
'This classic looking, budget phone from Nokia is an amazing phone that was released in June 2010. '
'The C3 is nice, sleek phone with full qwerty keyboard.'
'With a great design and messaging functions, the Nokia C3 is an attractive device for those who want to stay in touch in an interactive way – without costing a lot. '
'Nokia C3 has ample of features as far as the music is concerned.'
'Good battery life'
'great battery life'
'Out of the box this heavy dose of plastic is clearly evident, but it's only going to get worse with use as this finish shows up every blemish, scratch and scrape whenever the phone catches the light.'
'One positive feature is battery life. '
'Mired in mediocrity.'
'The Nokia C5-03 is one of the best budget Symbian smartphones you can find. '
'Software is hopelessly outdated'
'excellent music support'
'Symbian S60 5th edition'
'Unresponsive resistive touchscreen'
'While not much is known about this smartphone, what is for sure is that it will be one of a long line of great HTC smartphones. '
'decent low-end smartphone'
'The Nokia 5250 is a touchscreen music phone with a whole bunch of delicious musical treats. '
'very appealing features'
'The 5250 follows in the footsteps of the highly popular Nokia 5230 and has a lot of that phones appeal while offering much more into the mix. '
'This should be enough space to hold your music tracks which you can play using the always impressive multimedia player on Nokia mobiles. '
'Samsung phone offers easier messaging Samsung parades designer sliders'
'Its dimensions are just 104 x 51 x 18.9mm so you can be sure to fit it in your pocket comfortably which is a big selling point and essential factor in today's world. '
ReviewGist helps you find the best products to buy by making sense of online reviews.
We are currently aggregating 360,836 reviews
covering over 28,896 products. See what the press says about ReviewGist here.
The Best Cellphone Buying Guide for 2014 is the definitive starting point for your next cellphone purchase.
© 2007-14 ReviewGist.com. All Rights Reserved.


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Hy-Bird electric solar plane to fly around the world this summer, ships next year
Take a look at the Hy-Bird, a hydrogen-powered electric airplane that gets 10% of its power from the sun. Made of super-lightweight (and expensive) carbon fiber, there's talk of this fuel-cell aircraft flying around the world this summer, and shipping to paying customers starting next year. Could happen, because this is not the first electric airplane we've heard of, and certainly won't be the last.
Created by French company Lisa Airplanes, the idea is "to fly around the world with a 100% clean electric airplane powered only by renewable energies: solar energy and hydrogen." The company says that power system will allow the plane to circumnavigate the globe in 3000-km stages. The electro-aviators aren't saying how much the shipping product will cost, though.
Lisa Airplanes, via Inhabitat
Lisa Airplanes, via Inhabitat


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The summer months usually bring us myriad stories about players getting bigger/stronger, improving a specific facet of their game and generally vowing to come back more complete players, but here's an off-season workout I didn't see coming – Rudy Gay working on his post game with the one and only Hakeem Olajuwon.
Archive for the 'Rudy Gay' Category
Gay Working With Olajuwon
Posted by Joseph Casciaro under Rudy Gay on Aug 29, 2013
Gay's Tweet Fuels Fan Speculation
Posted by Joseph Casciaro under Rudy Gay on Jul 03, 2013
Let's all read way too much into a professional athlete's tweet…
Lookin forward to playing a full season with the raptors
— Rudy Gay (@rudygay22) July 3, 2013
RaptorBlog Radio: Bye Bye Bargnani, Hello Tank Nation?
Posted by Joseph Casciaro under Andrea Bargnani, Detroit Pistons, Marcus Camby, New York Knicks, Quentin Richardson, Raptorblog Radio, Rudy Gay, Steve Novak, Tank Nation on Jul 03, 2013
With Andrea Bargnani finally gone (as of July 10, anyway) and a ridiculous offer reportedly out there for Rudy Gay, Drew and I got together to discuss "The Trade" and to once again ask the question, 'to tank or not to tank?'
And for all of you Oliver fans out there, don't worry, The Big O even sent us a prepared statement to read on air in lieu of him being away.
Report: Pistons Offer Raptors Prime Tanking Opportunity For Gay
Posted by Joseph Casciaro under Detroit Pistons, Rudy Gay, Trade rumours on Jul 03, 2013
With Andrea Bargnani set to be out of the picture come July 10, the next move Masai Ujiri makes will likely be the move that gives us an indication one way or the other whether the Raptors will be looking to go "Diggin' For Wiggins" next season or will be looking to take a step forward.
If the Detroit Pistons have their way, they'd reportedly like to take Gay and his maximum salary off of Ujiri's hands while presenting Toronto with a prime opportunity to tank…
My man @WindhorstESPN reporting that Pistons have offered expiring deals of Rodney Stuckey and Charlie Villanueva to Toronto for Rudy Gay
— Marc Stein (@ESPNSteinLine) July 3, 2013
Grizzlies Success Without Gay Doesn't Mean Raptors Are Doomed With Him
Posted by Joseph Casciaro under Memphis Grizzlies, Rudy Gay on May 16, 2013
With the Grizzlies booking the franchise's first trip to the Conference Finals on Wednesday night, much of the talk was about how obviously improved the team is in a post-Rudy Gay world.


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Subaru Crew - Meet The Members II
From the software's point of view anyway :P
New name = new discussion = new posts
I THOUGHT some of those posts looked familiar as I was catching up!!
Need some roadside assistance? email@example.com - or send a private message by clicking on my name.
Share your vehicle reviews
Guys, going to need some luck this weekend down at VIR. It's our first race as a team with the new car. Wanted to thank the good folks here who have helped us get to this point. Especially helping to orchestrate my purchasing the 1994 Legacy Turbo from a fellow member in Texas almost 3 years ago this spring. It has now come full circle and the car is race ready! We will be doing the Friday practice with a sprint race on Saturday against Nissan SERs and Sunday morning a sprint race in the AM. Sunday afternoon we will be competing against Spec Miatas in a 3-hour Enduro Race.
Details of the car:
1994 Subaru Legacy Turbo 5MT
Grahm Goode Turbo Back 3.5" Exhaust
FHI 4-pot front Calipers
DBA DB4000 Slotted and treated Rotors Front
Mountain Vented stock rotors rear
Hawk Blue Pads Front
Hawk Black Pads Rear
Goodridge SS Lines
ATE Superblue Fluid
Hella Micro DE HID Projector Fog Lights
99 2.5RS 16" Rims
Yokohama A048R Race Tires
Toyo Proxy RA1s Race Rain Tires
Faulken Azenis Sports Practice Tires
GAB Coilover Struts Front and Rear may swap to JIC Coilovers midway through the weekend w/camber plates
Autopower Rollcage Weld-in
Tekk 5watt Radios with 1/4wave antenna
STi Short Throw shifter w/linkage
Sparco Evo 2000 Seat
Sparco Removable Steering Wheel
That's it the rest is fairly stock.
Adam the driver won the ECHC- H5 Class last year, 1/2 way through the season he had it locked up! He is a long time 2.5RS owner since 1999 and we started Auto-xing and HPDEing together. Great driver. Alex will be our crew chief, and we have a few other support folks as well. I'll be managing and spotting/working the radios from the pits and Timing.
Anyone in the Danville, VA area that wants to come down and watch drop me an e-mail!
Bummer, Bob. That's what's nice about the Forester, especially with unpainted bumpers that fix themselves. Mine is fine.
The Miata, on the other hand...I'm sure I got some scratches when I got it out. Had to rock it, a lot, and this is after it had been stuck for 8 days!
I let it melt as much as I could, then carved a narrow path, but I had to back out up a slight incline.
After having lots of clearance, AWD, and snow tires, going to RWD with all seasons 4" off the ground is pretty much the opposite - horrible in these conditions.
If you can't pull the dent OUT, maybe push everything else IN? :P
This would have the added benefit of reducing the silhouette of your car, making it more aerodynamic! LOL
Need some roadside assistance? firstname.lastname@example.com - or send a private message by clicking on my name.
Share your vehicle reviews
Interesting, I went to check out how 98 Foresters are priced, and the one surprise was how many miles most of them have - most are well over 100k miles, and one is over 200k!
I guess 92k miles in my case is "low miles".
Not actively selling until April, probably, as I have to see the 08 Tribeca at the NY Auto Show before I decide what I'm gonna do.
The Fence is safe, for now.
Another foray into world of Subies (and submarine sandwiches perhaps)
The Subaru Crew Chat is on tonight. The chat room opens at 8:45PM ET Hope to see YOU there! Check out the schedule
Need some roadside assistance? firstname.lastname@example.com - or send a private message by clicking on my name.
Share your vehicle reviews
Sorry about the bumper, Bob.
They have body guys that specialize in repairing those plastic bumper covers that get dented like that- maybe they can "pop" yours out?
I tried the hair dryer thing and trying to push the dent out from the inside-it didn't work- that plastic is really tough!
I heard a heat gun might do the trick though. But I was worried about the paint with the heat gun so I didn't try it.
Well, so far we are having issues
A stuttering problem on the legacy we had about 2 years ago came back. Could be a problem with the TPS, IAC, or some other ignition issue. We ordered up new plugs, wires, and fuel filter, disconnected the TPS and took it down the road, no issue, we'll see how it goes during the morning practice.


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The Mountain Goats
Wonder Ballroom; Portland, OR
In the past, I've used this live blog to air personal grievances. Whether or not it was proper, it was nonetheless publishable. So with apologies to Merge (who got me into the show for free) and Loamlands (who seem like lovely people and who play lovely music) and The Mountain Goats (who, no offense, put on a really tepid and somewhat patronizing show last night) and the many people who were clearly enjoying themselves (I don't begrudge you), I would like to hone my focus entirely on the strange couple who stood in front of me:
Hi, couple. It wasn't that you pushed through the already-existing, awkwardly partitioned, and funny-smelling crowd to stand directly in front of me. I've dealt with that at virtually every show I've attended since I started going to shows. It is — and was — a minor annoyance. But your positioning didn't help. Between my eyes and the stage, you — the two of you — took up most of my field of vision, so I had to watch you, together, foremost. Every song was interpreted through — and worse — by you. "High Hawk Season" and "Black Molly" were alright — a few small pecks, some gentle PDA. "Old College Try" was a little more risqué (mostly light groping), but manageable. But what the fuck happened during the rest of the set?
It began with heavy groping and swaying to the beat of "Twin Human Highway Flares." It morphed into making out, in starts and stops, to the pace of "San Bernardino." It continued through "Linda Blaire Was Born Innocent," and coalesced during "Tallahassee," in a bizarre blur of ugly and spit and hands. All of this, during the same "Tallahassee" that sings prayers to summon the destroying angel. Listen, I'm no prude. I understand love and its physicality. But love and exhibitionism are not the same thing; the latter is a display of insecurity, and, yeah, it's unfair to force others to watch. In the future, and in the spirit of infamous mistakes, would you please relegate your interpretive dance to the venue's dark corners? The rest of us really would appreciate it.
Otherwise, like I implied above, the show was alright, I guess.
Man Or Astro-Man?
Le Romandie; Lausanne, Switzerland
I know we're all a little jaded when it comes to reformed bands of yesteryear, and I realize it's old hat to marvel at the necromantic power of the internet and its globalized fan bases to resuscitate underappreciated groups of past decades , but still, I'm a little nonplussed that the new Man or Astro-Man? LP didn't receive more attention when it was released last summer.
Not only was Defcon 5…4…3…2…1 overlooked by the humble site you're reading now (though we covered their set at Psych Fest 2013), but it was also denied the review treatment by "the essential guide to independent music," which more or less entails that it doesn't really exist. And this is a shame, because their first album since reuniting in 2010 is no mere nostalgic regression to the already "hyper-nostalgic" sounds of Is It … Man Or Astro-Man? and Experiment Zero. To give it my capsule review, it's freaking ace, so it's a good thing Tiny Mix Tapes got the chance to make amends, sending me all the way to a country none of us had ever heard of before, where I watched the quartet detonate their spaceage circus before a captive and impeccably sober audience.
Touching down to the anticipatory techno of "Defcon 4," the Astromen said hello by immediately flinging themselves "Inside the Atom" with characteristic neglect for earthly standards of restraint. Coco the Electronic Monkey Wizard may not have beamed down with them, but the Alambamian's didn't want for energy or exuberance, twitching and rushing around the small Swiss stage to the point where taking a non-smeared photograph was an impossibility. With their famed banter kept to an efficient minimum, they sped from one turbo-charged, uranium-soaked bombardment to the next, their selection balanced perfectly between older and newer cuts, ranging all the way from a scalding "Invasion of the Dragonmen" to a punishingly moody "Antimatter Man." That said, their patented crowd interaction made the occasional appearance, since after a particularly rowdy version of "Sferic Waves" Birdstuff jumped into the crowd with a mic, handed it to some bearded and dreadlocked cheesemonger, and coaxed the guy into producing an indescribably profound hum for several seconds.
Then he announced that the band were to going to play "Aunt's Invasion" by Shadowy Men On A Shadowy Planet, at which point I mouthed a silent thank-you prayer to the Almighty, Steve Jobs. Without wanting to detract from the evil genius of Man Or Astro-Man?, Shadowy Men On A Shadowy Planet are so great even Rod Stewart himself could come out, play one of the Canadian trio's numbers, and then get back to his personal mission of euthanizing music, and it would still be one of the greatest gigs ever. And if their alive and affectionate rendition wasn't enough, MOAM? topped it off with "Man Made of CO2," which sounded no less crazy than its recorded template and yet all the more snappy and virile.
Things only became more energetic from there, with "Defcon 5" from the newie and "Maximum Radiation Level" from Experiment Zero being two simultaneously gleeful and intense highlights. Even 20 years after their debut, Man Or Astro-Man? exist in a dimension unto themselves, apart from any single rock scene or domain that might potentially dilute the novelty and impact of their sci-fi surf rock by reproducing it ad nauseaum. Of course, it could be argued their anachronistic "goofiness" has prevented them from ever representing modern life as it unfolds for millions of people, in all its pettiness and gritty detail, but it also could be replied that it's precisely their seeming detachment from reality that makes the whole MOAM? aesthetic so pure and potent.
Either way, Star Crunch, Birdstuff, Avona Nova, and Victor Vector never let up from start to finish, with the noisy Vaudois crowd lapping up every second of their kinetic freakshow. After Birdcrunch praised a short, dancing guy in front of me for having a well-shaped head (seriously), they rounded off their set (and the European leg of their tour) with the Venusian one-two of "Destination Venus" and "Transmissions from Venus" before a final salvo of "Special Agent Conrad Uno" saw Nova dive into the pit with her guitar, much to delight of fools with cameras and the arm-waving chap she'd accused of flashing her halfway through the performance. And like the gentle astro(wo)men they are, the four-piece capped this overspilling closer by trashing their equipment, leaving us all with stupid grins on our faces as we were transported safely back to Earth.
[Photo: Baron von Kissalot]
00: Defcon 4
01. Inside The Atom
02. Evil Plans of Planet Spectra
03. Anitmatter Man
04. Put Your Finger in the Socket
05. Planet Collison
06. 9 Volt
07. Sferic Waves
08. Aunt's Invasion (Shadowy Men on a Shadowy Planet cover)
09. Man Made of CO2
10. Invasion of the Dragonmen
11. Defcon 5
12. Maximum Radiation Level
13. Escape Velocity
14. Name of Numbers
15. Televsion Fission
16. Destination Venus
17. Transmissions from Venus
18. Special Agent Conrad Uno
Sun Araw
Georgia's apartment; Chinatown, NY
I'm sitting at work, and usually when a number I don't have saved calls me (which, I don't have ANY numbers saved right now 'cause I'm fucking with an old phone), I answer with my headphones plugged in, no mic, and just let the caller talk. I hear background chatter, a hang-up, and then a text: "YO man — private Sun Araw show in Manhattan in a few minutes man, totally forgot to invite you earlier. I'm so sorry!!! It will start around 6." It was 4:30, and I'm out on Long Island. I find a train at Mineola (around the corner) that leaves at 4:53, I duck outta work telling 'em I forgot about a dental appointment, blast it to the bank, blast it to the train, train is late by 14 minutes, buy two Four Lokos and two Black & Mild wine's, train comes, I drink an entire can of Four Loko as I'm standing up, and arrive in the city around 5:20.
Around this time in NYC, especially the devil's asshole that is Penn Station, people are EVERYWHERE. So I did some pushing, which was shitty, so I'm sorry if I pushed you yesterday and you're reading this Live Blog. Ran around outside looking for the yellow line, couldn't find it, the line to grab a cab was stretching back INTO Penn, and I see a dude on one of them bike gondolas. I grip a ride from him, his legs are individually both larger than my torso and he tells me something about Obama being in town, and I drink the second Four Loko, am probably smashed, and my buddy calls me and says, "We'll wait 10 more minutes. It's on the fifth floor. Ask for Georgia." I get off the bike around Chinatown, see Fatima Al Qadiri doing yet ANOTHER interview, and the biker charges me $100 for the ride. -_-
SMASHED on booze and JACKED adrenaline, I run up to the door, buzz it and say, "Georgia, it's Clifford, and I'm here for the show!" Georgia is a dude, which is chill, and hugs me SUPER tite. Alex Gray and Cameron Stallones already have played "Like Wine" and are in the middle of "Right Out of Town." There's hardly anyone here, maybe 20 people MAYBE.
I take a spot on the floor inches away from the aura Sun Araw is pulsating. Then they get into this original jam, unrecorded, and zones become deeper than dirt. It feels like Chinatown is going to stop all at once outside and look in. To the left, Stallones is occasionally shredding the most minimal licks while keying some slippery synth sounds. On the right, Gray is fucking around on a sampler and completely going to town on them buttons — maybe it's a drum machine – flinging out tin bongo sounds, while he also moves his finger on a laptop mouse pad as if it is a Kaossilator, and it sounds like liquid metal, or as if all the programs and software on his computer are melting together. Once they finish flaying music into next-level dimensions, I foolishly forget they are about to do a collaborative tour with Laraaji and are all in New York 'cause they are leaving that next day for Europe, and thus the legend joins them on stage.
The three played together for about 20 minutes. Honestly, I couldn't tell who was doing what. The only time I noticed a single person's sound was when they were either playing a solo-ish part or when Laraaji used the electronics to his left, or chose a different way to play his zither (options: fingernails, a bow, brushes, sticks). And Laraaji was decked OUT in orange, including a fanny-pack and fisherman's hat, which blended well under the red lights above the stage and philodendron sprouting out from corners. I didn't even notice it getting darker, but considering it was an early show, I didn't give a shit. Oh, I also didn't give a shit about most anything else 'cause it was Sun Araw with Laraaji, live and intimate.
When they finished, Stallones and Gray came over and hugged everyone still in attendance. Georgia put out a bunch of wine, of which I probably had a bottle, 'cause after I wished them a safe trip and I left, I gave a homeless lady $10 for walking directions to Penn and she hugged me really hard, and I don't remember finding Penn or getting on the train. I just remember not being able to get into the other train car for the bathroom and now a train in Long Island smells like cheap wine. A passenger on the train asked if I wanted gum, but I couldn't because of my braces, and Ken thinks she was picking me up. BOTTOM LINE: Sun Araw brings the adventure, always.
Red Bull Music Academy: Robert Henke's Lumière / The Haxan Cloak (US debut)
The Brooklyn Masonic Temple; Brooklyn, NY
I arrive with minutes to spare after bumping between Fulton and Greene for 10 minutes, stupidly having misread Google Maps. My thinking was not focused on finding the temple; I was considering the structural meaning of sound, how it is ensnared by language and such — fitting. I arrive at the temple, emerging out of a mass of classic, distinctly upper-middle class Brooklyn homes. Surrounding the temple is a large line, winding around the building. But there is a second mass — press. That was for me. I merge in, state my name — in. The temple features open hardwood floors leading to a stack of speakers and a fenced-off stage covered by a screen for projection. Hanging in the periphery, eclipsed by piercing spotlights, was the balcony, which is nearly full. I wait.
The thing about this performance is that the ideation of space, real space — so not the ideation, its point, weight in space — will be under attack. I'm excited by the possibility of being bowled over by sound, physical warpings of resonant frequencies and the congealing of sounds heard and unheard collapsing spaces within a zone. I remember the first time I heard "Taku" from Monolake's Ghosts, the sound of a metal, spherical object hitting, bouncing, multiplying, and then dividing back into a singularity, sliding from one ear to the next.
Rising before his oddly jovial audience, Robert Henke appears docile and chipper, with a sheepish demeanor that's infectious (isn't it strange how shy and happy the "headier" musicians appear to be?). But despite his sheepishness, Henke requests no mobile phones be used during the performance, to which the crowd responds with strangely resounding applause. With a nod, Henke darts off the stage, appearing moments later behind a wall of projectors.
Although the press essentially calls Henke's performance an advancement of the Pink Floyd laser-light show trope, the idea of spectacle is all but lost on me, as a single slither of light dots the massive screen. Before long, the room is submerged in dangerously low tones paired with panning drones and blistering snaps. Tumultuous, chest-shattering kicks strike and tumble half a breath behind the anchoring beat, as the two-dimensional, line-and-point-oriented lights shift into a generative and measured body of pivots and throbs.
I've always felt a romantic dystopianism in the sounds of dubstep, and Henke's performance proves this to be more true than I initially thought. The fidelity-draining, form-twisting aspects of dub, applied to a firm beat pattern, is spectacular in its pinning-down of sonic qualities. Despite much of the "light show," which was phenomenal in itself, the sound design is what strikes me the most: even as fog is expelled, bridging the lights toward an evolved three-dimensional prismatic shape, I am entranced by the uncanny valley-breaking sound objects employed by Henke.
Quickly after, The Haxan Cloak (real name Bobby Krlic) takes the stage for an intensely physical set. Through gauzes of white noise spiking suddenly into broad strokes of blatantly acoustic deconstructive scapes, my earplugs become a handy friend.
Russian Circles / KEN mode / Helms Alee
The Metro; Chicago, IL
Chicago is a brutal town. How brutal? A building on the south side caught on fire, froze over from the influx of water from firehoses, and then caught fire again while frozen. This city is brick and concrete and hard angles and six-month winters and natives who'd rather see a tourist get hit by a taxi than offer directions (myself included). Naturally, brutal music would spring out of this unforgiving soil.
Russian Circles fucking destroy live. I've been a huge nerd for this band since they played a show at my alma mater in 2007 in support of Enter, and they've only honed their craft in the ensuing years. It is dizzying how cavernous three dudes on a stage can sound, and the support for Memorial is their magnum opus of making and playing crushing, enormous, desolate music.
Everything about this show lined up. They played The Metro, one of my favorite venues in the city, and brought along two other trios, KEN mode and Helms Alee, as openers. A friend whom I was meeting at the show ran late and asked me to describe KEN mode in 10 words, but I only needed nine: "Hating god through a Drop D Southern Metal barrage." I stand by the accuracy of my statement. Also: big ups to surprise hit of the night Helms Alee. Their show was all syncopation and prog riffs and making me wish I was alive for metal shows in the 70s.
The Metro was writhing by the time Russian Circles took the stage. The last time I saw them was 2011 at their Fun Fun Fun Fest aftershow in Austin, and Dave Turncrantz was still operating floodlights behind him with his hi-hat foot when he got the chance. Their set-up post-Memorial is now a solid two-row track light of pivoting flood lights and enough fog to give one/all of the Bronte sisters a ladyboner. Russian Circles have always been able to mold and cut a set list for maximal dynamics, but at this point they have it down to an art. From opening with "309" and slinging at least twice the decibels of Helms or KEN, Dave Turncrantz, Mike Sullivan, and Brian Cook covered the entire discography. My two favorites from the night were by and far "1777," in my opinion their best-crafted song to date, and "Deficit" because it's the most punishing track on Memorial and the second half of the song sounds like the most metal Zelda dungeon ever. Can that be the rest of my life, metal Zelda dungeons?
[Photo: Robert Elwood Photography]
St. Vincent
Commodore Ballroom; Vancouver, Canada
Chances are if you have heard of any music venue in Vancouver, it's the Commodore Ballroom. With a capacity of about a thousand, the Commodore is the tipping point between the city's many fine clubs (The Cobalt, Biltmore, Fortune, etc.) and fabulously appointed concert halls (Orpheum, Queen Elizabeth, Vogue, etc.). It ties the city together, and there are few music venues in North America still thriving that boast its kind of history.
Designed in brilliant art deco style by H.H. Gillingham, the Commodore Cabaret was built in 1929. Unfortunately, that also was the year of the great stock market crash and subsequent depression, which had the effect of forcing the venue to close mere months after it opened. A section of the original stylized wall paneling is still on display near the coat check, a small piece of the art deco design puzzle that becomes rarer by the day in this terminal city presently infected by condo gentrification. To keep the Commodore alive in those lean years, the owners focused on dinner and dancing, with an evolving house big band (12-14 piece orchestras) the venue would maintain into the early 1970s. From the 30s to the 60s, the shadows of traveling artists Count Basie, Cab Calloway, George Burns, Duke Ellington, Sammy Davis Jr., and Tommy Dorsey all darkened its stage. However, it wasn't until Drew Burns took over its lease in 1969, and changed its name from the Commodore Cabaret to the Commodore Ballroom, that it became iconic.
Under Burns' direction, Captain Beefheart, New York Dolls, Kiss, Tim Buckley, Bo Diddley, Canned Heat, Talking Heads, and the Ramones all played there in the 70s, including the first Vancouver appearances by Patti Smith, Blondie, Devo, Tom Petty, The Police, and the North American debut of The Clash. The '80s saw gigs from U2, XTC, the Cure, the Cramps, Iggy Pop, Gang of Four, Echo & The Bunnymen, Pixies, and others, while the 90s hosted the likes of Nirvana, The Pogues, The Buzzcocks, Primus, Happy Mondays, My Bloody Valentine, Beastie Boys, David Byrne, P.J. Harvey, Jesus Lizard, Stereolab, and too many more to name here.
Good times can't last forever, though. When Drew's lease ran out at the end of 1995, his vision went with him. The venue sat empty for three years, leaving a big hole in the local scene, until Live Nation (then House of Blues) dumped $3.5 million into renovations, replaced the bouncy dance floor and colored bubble pillars with a more subtle design, and started filling the venue with impressive names again. Under their control in the 2000s, the Commodore landed marquee performances once again, even convincing Tom Waits to play his first club show in nearly three decades to commemorate the venue's 75th anniversary.
The great sightlines of the open floor design make the Commodore a near-perfect place to see an explosive artist like St. Vincent. Her sound is so vibrant, her performance so captivating, both of which have exponentially improved even since her last appearance at the Commodore in 2011.
Indeed, a former Polyphonic Spree cultist and touring bandmate of Sufjan Stevens, Annie Clark has been through a lot of changes. She released her major label debut, moving from the legendary independent 4AD to a Republic sub-label for her eponymous 2014 record, which has reached her highest point on the U.S., UK, and Canadian charts yet. Her music popped up on Boardwalk Empire and Twilight, while her appearance on a Season 4 episode of Portlandia all but cemented her pop culture relevance for this generation. Perhaps most importantly, though, her 2012 full-length collaboration and tour with David Byrne (who also has multiple Commodore appearances to his credit) seems to have given her wings on stage and in life. It's with no false modesty that her new album was self-titled. She has just arrived.
Eventually, the lights dimmed and, after fashionable pause, the synth lead from "Rattlesnake" kicked in and Clark drifted into position. She was totally pale, save her piercing blue eye-shadow and a floral disemboweling on her summer dress, her wild blond mane channeling the kind of Einstein-crazy of which Wayne Coyne would approve. Clark's guitar sound and technique is impossible. It sounds something like Steve Vai or Tom Morello, but placed in an indie art-pop context well beyond the comprehension of either. On this tour, she relied on supporting guitar/synth player Toko Yasuda (formerly of The Lapse, Enon, and, briefly, Blonde Redhead), keyboardist Daniel Mintseris (who Clark later introduced as "a priest of ones and zeroes"), and percussionist Matt Johnson ("thrower of hot lava" and former drummer for Jeff Buckley) to create the skeletons for her to flesh out with her elegant vocals, delivering cerebral yet relatable lyrics, and tasteful guitar. She shreds with alien theatricality, ever mind-boggling yet never showboating, favoring intuition over classical training as a dozen assorted pedals forge her distinctive timbre. Her voice was incredible too, an angelic tone pure as the driven snow one minute and modulated with guttural tones the next.
Apparently working with artistic director Willo Perron (of Lady Gaga fame) and choreographer Annie-b Parson for this tour, Clark gave off a far more confident vibe onstage than she did when I first saw her at the 2010 Calgary Folk Fest. She seemed reluctantly thrust into the spotlight by her undeniable talent and vision back then, just after her sophomore album Actors hit the shelves. Now, her nervous energy has been channeled into effortless smiles and plot-driven gestures, like trading skitter walks with Yasuda as they swapped riffs, slowly rolling down a set of stairs at the back of the stage, taking her pulse during "Digital Witness," and head-banging harder than Beavis and/or Butthead on "Your Lips Are Red" (which bore little resemblance to the version on her 2007 debut Marry Me).
Some of the biggest cheers and sing-alongs went to older material, namely "Cruel" and "Cheerleader" from 2011's Strange Mercy. Her set-list heavily favored her new album, though, and she did an amazing job of balancing her older tracks with her present style, having evolved from its comparatively simplistic beginning and baroque development to the maximalist noise-pop present, what she described as "a party record you could play at a funeral." Nothing was played exactly as it was on record, but nothing was alienating. The arrangement for "Laughing With a Mouth of Blood" from Actor was more dramatic than the studio version, using electric instead of acoustic guitar and driven by digital strings rather than embellished by an organic string section, likely out of necessity but employed to great effect. The titular track from Strange Mercy received the most drastic change, performed in the encore with only Clark's emotive vocals and mournful electric guitar.
As of late, the Commodore's soundsystem has been sounding tired, the victim of too many excessively loud shows tipping over the distortion boiling point, yet Clark held it together admirably while demonstrating Bowie-level charisma. While Yasuda added essential ingredients on the Theremin and Moog Voyager, Mintseris triggered choir and synth patches with a MIDI keyboard, and Johnson filled in the blanks on a hybrid drum kit, you couldn't take your eyes off Clark for a second. She twitched, shrugged, and nodded, burning a hole in the fabric of space/time with her smouldering glare. She's unreal. It doesn't seem possible by the laws of physics and chance that a human being could be this weird, gorgeous, and talented.
But seeing is believing. It's heartwarming to watch someone who came out of the gate so full of promise realize their full potential. Annie Clark is a fantasy become corporeal, maximum skill and style. Right now, she deserves all the fucking praise she can get.
[St. Vincent photos: Caily DiPuma]


text:
Military Surplus British Warm Weather Pants Multi-Terrain Pattern Camo M
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- 5 pockets
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These Military Surplus British Warm Weather Combat Pants are made of soft 70/30 Cotton/Poly fabric with zipper fly and oversized belt loops. Also features two front slash pockets, one with zippered inner pocket, two flap-covered button-down cargo pockets on the legs, one rear button flap pocket, reinforced crotch area and drawstring ankle cuffs.
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- Fabric Details: 70/30 Cotton/Poly
- Waterproof: Not listed by manufacturer
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- Inseam: Not listed by manufacturer
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text:
I've been taking some pictures when I spot an interesting conifer lately (well, at least interesting for me as coming from the southern subtropics). I'd like to share them and ask for ID if someone's up for it.
Conifer 1, in Barcelona, Montjuic:
Conifer 2: Wollemia nobilis, Jardin de Plantes, Paris:
Conifer 3: in Toulouse (sorry for the light)
Conifer 4: in Toulouse, France
Conifer 5: Araucaria araucana, in Toulouse
Conifer 6: in Toulouse
Conifer 7, in Toulouse
Conifer 8: Cedrus deodara, in Toulouse
Conifer 9: in Chateauroux, France:
Conifer 10: around Paris
Conifers 11/12: Araucaria araucana and Cedrus deodara growing together in the city of Paris
Conifer 13: xmas trees in Paris
Conifer 14: Parc de Sceaux, around Paris.. very well pruned cones. Taxus baccata?
Follow-Up Postings:
|1. Picea glauca 'Conica'
2. as stated
3. Picea pungens
4. Cupressus nootkatensis
5. as stated
6. Pseudotsuga menziesii subsp. glauca
7. Abies concolor
8. as stated
9. Picea pungens
10. Picea abies
11. as stated
12. as stated
13. Abies nordmanniana
14. as stated
- Posted by cryptomeria (My Page) on Sat, Jan 22, 11 at 5:46
|I agree with Resin,
but Nr.6 I would say Picea breweriana.
|"but Nr.6 I would say Picea breweriana"
Sorry, nope! - look at the buds and glaucous leaves in the foliage pic ;-)
- Posted by cryptomeria (My Page) on Sat, Jan 22, 11 at 6:02
the habitus is different,too!
|That Araucaria Araucana looks impressive!
*notes down*
- Posted by coniferjoy (My Page) on Sat, Jan 22, 11 at 7:25
|Hi Richardus, your member page don't show us from which country you're, why didn't you fill out that part?
- Posted by gardener365 IL 5/6 (My Page) on Sat, Jan 22, 11 at 9:39
Last photo, on the right, what's going on with those deciduous trees that look like rectangles? What are those?
|"Last photo, on the right, what's going on with those deciduous trees that look like rectangles? What are those?"
More topiary. Most likely Hornbeam Carpinus betulus, that's the traditional species for this use.
|Nice plants, and scenery!
|I love the Wollemia nobilis. Does it always stay that columner and narrow?
|Re: Coniferjoy
I'm from Skopje, Macedonia. Trees and conifers are my relatively new obsession so I check the forum daily. I'm trying to figure out why we don't have a variety of trees and conifers over here...
I tried updating my member page but on few ocassions I got error messages, I don't know why. Some of the info got saved, some didn't.
- Posted by gardener365 IL 5/6 (My Page) on Sat, Jan 22, 11 at 14:29
|Thanks, Resin.
That would be the largest topiary in my experience on this planet! It brings a certain visual element, that's rather - dynamic.
|"I'm from Skopje, Macedonia. .... I'm trying to figure out why we don't have a variety of trees and conifers over here... "
You've got Macedonian Pine (Молика), what more could you ask for!
|the French love topiary. it's chestnut tree on that place, and london plane tree on some other rows in the same park.
some extra pictures below:
|Thanks for the pictures. I bet they don't let any old Tom, Dick or Harry equipped with garden shears near those cones! Wouldn't be surprised if they have a purpose-built machine to do the job. Then again, topiary masters do exist -spare no expense,please! T.
|Re: Pineresin
Yeah, the Macedonian Pine, popular as Molika here. Typical for national park Pelister, beautiful place with a beautiful forest. Someone told me it only grows there, 1.400 meter and higher and wouldn't thrive in the lower places and cities? Is that true?
I was thinking more of why we didn't have a selection of urban trees. I can only see linden, maple, oriental plane, populus, cypress arizonica, add two or three more and that's it. I stuggled to find an oak in the city and I finally found... two!
|"Someone told me it only grows there, 1.400 meter and higher and wouldn't thrive in the lower places and cities? Is that true? "
Not all true, no; it is native more widely in the Balkans, e.g. the Pirin and Rila mountains in Bulgaria, and north to the Mokra Gora mountains on the Montenegro / Kosovo / Serbia border. Also it occurs naturally as low as 600m in some places. But whether it could be grown as low as 250m in Skopje, not sure. Try it and see! It might be successful if given a site with moist soil.
|well I come back to share one more picture and a thought... about how amazing the mediterranean climate is, allowing plants like Picea glauca 'Conica' to grow in the same city as banana trees (Barcelona).
The picture shows banana trees (producing bananas!) growing next to Cedrus libani 'Atlantica Glauca'. It looks like it's a little protected by the building, but still...
and also spotted a Syagrus romanzoffiana in Barcelona, a palm tree native to where I live in subtropical South America. Not a conifer but it amazes me concerning climate zones...
|Hi Goodstav. I think it has a lot to do with atmospheric humidity. The Picea glauca conicas also appear to be growing in semi-shade and are a bit sparse on needles in my opinion.
There is a lot of experimenting to be done with ornamentals in Mediterranean and Sub-Mediterranean climates.Then again,part of the public opinion is frankly against planting non-endemic species, thinking of this as being un-natural. They seem to forget that the stone Pine (Pinus pinea),the Cedars (C.libani ssp.,deodara),the vines,the Cypresses(C.sempervirens,arizonica,glabra,dupreziana),the fig-trees and many-if not most- of the fruit trees grown here have also been introduced by man. T.
|Hi Tunilla,
yes, I agree that it has to do with atmospheric humidity.
I thought the stone pine, the cedars, Vitis vinifera, the fig-trees and some of the cypresses you mentioned were native to this Mediterranean area and not introduced by men here.
|"I thought the stone pine, the cedars, Vitis vinifera, the fig-trees and some of the cypresses you mentioned were native to this Mediterranean area and not introduced by men here"
The Mediterranean is a large area; most of the species Tunilla names are only native to small parts of it, not the whole area.
Stone Pine Pinus pinea: definitely native in Portugal, and southern & central Spain only. Other populations likely naturalised from ancient human cultivation.
Lebanon Cedar Cedrus libani: naitve in the Atlas Mountains (subsp. atlantica) and Turkey to Lebanon (subsp. libani).
Mediterranean Cypress Cupressus sempervirens: native to Crete, southern Turkey, and Cyrenaica (Libya) only. All populations north of the Med and west of Crete are cultivated origin.
Vitis vinifera is the exception in being native across almost the entire Med.
- Posted by nothotsuga (My Page) on Tue, Jan 31, 12 at 13:08
|Good call!
It was nice touring the Parc de Sceaux again.
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Body Solid® Leverage Flat / Incline / Decline Bench
Item # WX2-134914
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Add an additional $40.00 heavy/bulky shipping charge per each.
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Body Solid® Leverage Flat / Incline / Decline Bench helps sculpt a barrel chest!
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text:
Definitions for IRISˈaɪ rɪs; ˈɪr ɪˌdiz, ˈaɪ rɪ-
This page provides all possible meanings and translations of the word IRIS
Random House Webster's College Dictionary
i•risˈaɪ rɪs; ˈɪr ɪˌdiz, ˈaɪ rɪ-(n.)(pl.)i•ris•es; esp. for 1,8 ir•i•des; i•ris
(n.)the contractile, circular diaphragm forming the colored portion of the eye and containing an opening, the pupil, in its center.
Category: Anatomy
any plant of the genus Iris, having flowers with three upright petals and three drooping, petallike sepals.
Category: Plants
a flower of this plant.
Category: Plants
(cap.) an ancient Greek goddess of the rainbow and messenger of the gods.
Category: Mythology
a rainbow.
Category: Photography, Optics
Ref: iris diaphragm.
Origin of iris:
1350–1400; ME < L Īris, īris < Gk Îris, îris rainbow
Princeton's WordNet
iris, flag, fleur-de-lis, sword lily(noun)
plants with sword-shaped leaves and erect stalks bearing bright-colored flowers composed of three petals and three drooping sepals
muscular diaphragm that controls the size of the pupil which in turn controls the amount of light that enters the eye; it forms the colored portion of the eye
iris, iris diaphragm(noun)
diaphragm consisting of thin overlapping plates that can be adjusted to change the diameter of a central opening
A plant of the genus Iris, common in the northern hemisphere, and generally having attractive blooms.
The contractile membrane perforated by the pupil, which adjusts to control the amount of light reaching the retina, and which forms the colored portion of the eye.
A diaphragm used to regulate the size of a hole, especially as a way of controlling the amount of light reaching a lens.
A rainbow, or other colourful refraction of light.
(of an aperture, lens or door) To open or close in the manner of an iris.
A messenger of the gods, and goddess of rainbows.
; a flower name used since the end of the 19th century.
, an asteroid
Origin: Ἶρις iris "rainbow".
Webster Dictionary
the goddess of the rainbow, and swift-footed messenger of the gods
the rainbow
an appearance resembling the rainbow; a prismatic play of colors
the contractile membrane perforated by the pupil, and forming the colored portion of the eye. See Eye
a genus of plants having showy flowers and bulbous or tuberous roots, of which the flower-de-luce (fleur-de-lis), orris, and other species of flag are examples. See Illust. of Flower-de-luce
see Fleur-de-lis, 2
Iris is a genus of 260–300 species of flowering plants with showy flowers. It takes its name from the Greek word for a rainbow, referring to the wide variety of flower colors found among the many species. As well as being the scientific name, iris is also very widely used as a common name for all Iris species, though some plants called thus belong to other closely related genera. A common name for some species is 'flags', while the plants of the subgenus Scorpiris are widely known as 'junos', particularly in horticulture. It is a popular garden flower. The often-segregated, monotypic genera Belamcanda, Hermodactylus, and Pardanthopsis are currently included in Iris.
The Nuttall Encyclopedia
the daughter of Thaumus (i. e. wonder) and of the ocean nymph Electra (i. e. splendour); was the goddess of the rainbow, and as such the messenger of the gods, particularly of Zeus and Hera, the appearance of the rainbow being regarded as a sign that communications of good omen were passing between heaven and earth, as it was to Noah that they would continue to be kept up; she is represented as dressed in a long wide tunic, over which hangs a light upper garment, and with golden wings on her shoulders.
U.S. National Library of Medicine
The most anterior portion of the uveal layer, separating the anterior chamber from the posterior. It consists of two layers - the stroma and the pigmented epithelium. Color of the iris depends on the amount of melanin in the stroma on reflection from the pigmented epithelium.
Translations for IRIS
Kernerman English Multilingual Dictionary
the coloured part of the eye.
- irisAfrikaans
- قُزْحِيَّة العَيْنArabic
- ирисBulgarian
- írisPortuguese (BR)
- duhovkaCzech
- die IrisGerman
- regnbuehinde; irisDanish
- ίριδαGreek
- irisSpanish
- vikerkestEstonian
- عنبیهFarsi
- iirisFinnish
- irisFrench
- קַשתִיתHebrew
- आख की पुतलीHindi
- šarenica u okuCroatian
- szivárványhártyaHungarian
- anak mataIndonesian
- lithimnaIcelandic
- irideItalian
- 虹彩Japanese
- 홍채Korean
- rainelėLithuanian
- varavīksneneLatvian
- irisMalay
- irisDutch
- regnbuehinneNorwegian
- tęczówkaPolish
- قسمت رنگه چشم، عنبیهPersian
- د سترګو رنګه برخهPashto
- írisPortuguese
- irisRomanian
- радужная оболочкаRussian
- dúhovkaSlovak
- šarenicaSlovenian
- dužicaSerbian
- irisSwedish
- ม่านตาThai
- gözbebeği etrafındaki renkli halka, irisTurkish
- 虹膜Chinese (Trad.)
- райдужна оболонкаUkrainian
- آنکھ میں قرنیے کے پیچھے گول رنگدار جھلّیUrdu
- tròng đenVietnamese
- 虹膜Chinese (Simp.)
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Live Music at Paradise Park Trailer Resort
Presented by Paradise Park Trailer Resort at Paradise Park Trailer Resort
December 18, 2012
Head downtown to catch live music in one of Nashville's unique honky-tonks, Paradise Park Trailer Resort. Music City is known to boast live music all day long, and this is just one establishment of many to hear it. Located right on Broadway, stop by for a bite and pitcher (late night or dinner) at Paradise Park Trailer Resort!
411 Broadway
Nashville, TN 37203
Admission Info:
Free Admission
Phone: (615) 251-1515
Accessibility Information: Currently, no accessibility information is available for this event.


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Loving the Storm-Drenched
Loving the Storm-DrenchedBy Tasoni Frederica Matthewes-GreenThe culture, then, is like the weather. We may be able to participate in it in some modest ways, seeding the clouds, but it is a recipe for frustration to expect that we can direct it. Nor should we expect positive change without some simultaneous downturn in a different corner. Nor should we expect that any change will be permanent. The culture will always be shifting, and it will always be with us.God has not called us to change the weather. Our primary task as believers, and our best hope for lasting success, is to care for individuals caught up in the pounding storm. They are trying to make sense of their lives with inadequate resources, confused and misled by the Evil One, and unable to tell their left hand from their right (Jonah 4:11). They are not a united force; they are not even in solidarity with each other, apart from the unhappy solidarity of being molded by the same junk-food entertainment. They are sheep without a shepherd, harassed and helpless (Matt. 9:36). Only from a spot of grounded safety can anyone discern what to approve and what to reject in the common culture.But we must regretfully acknowledge that we too are shaped by the weather in ways we do not realize. Most worryingly, it has induced us to think that the public square is real life. We are preoccupied with that external world, when our Lord's warnings have much more to do with our intimate personal lives, down to the level of our thoughts.So, when Christians gather, there's less talk about humility, patience, and the struggle against sin. Instead, there's near-obsessive emphasis on the need for a silver-bullet media product that will magically open the nation to faith in Jesus Christ. Usually, the product they crave is a movie. Now, I'm delighted that Christians are working in Hollywood; we should be salt and light in every community that exists, and so powerful a medium clearly merits our powerful stories. But it's telling that the media extravaganza so eagerly awaited is not a novel or a song, something an individual might undertake, but a movie: something that will require enormous physical and professional resources, millions of dollars, and, basically, be done by somebody else.This focus on an external, public signal is contrary to the embodied mission of the church. Christ planned to attract people to himself through the transformed lives of his people. It's understandable that we feel chafed by what media giants say about us and the things we care about, and that we crave the chance to tell our own side of the story. It's as if the world's ballpark is ringed with billboards, and we rankle because we should have a billboard too. But if someone should actually see our billboard, and be intrigued, and walk in the door of a church, he would find that he had joined a community that was just creating another billboard.


text:
Turkey Breast with Mushroom Filling
From Good Housekeeping
triple-tested at the Good Housekeeping Research Institute
Roast a delicious sauté of finely chopped mushrooms, onion, and garlic under the turkey skin for a flavorful twist. To save time and stress on the big day, make the mushroom mixture 2 days ahead.
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Nutritional Information
(per serving)
|Total Fat
|Saturated Fat
|Total Carbohydrate
|Dietary Fiber
Ann Stratton
Serves: 10
Yields: 10
Total Time: 3 hr 45 min
Cook Time: 3 hr
|Conversion chart
Mushroom Filling:
- 2 package(s) (10-ounce) mushrooms
- 1 medium onion, cut into quarters
- 2 clove(s) garlic, peeled
- 2 tablespoon(s) margarine or butter
- 1/2 teaspoon(s) salt
- 1/4 teaspoon(s) coarsely ground black pepper
Turkey and Gravy:
- 1 (7-pound) bone-in turkey breast
- 1/2 teaspoon(s) salt
- 1/4 teaspoon(s) coarsely ground black pepper
- 2 tablespoon(s) cornstarch
- 1/2 cup(s) dry red wine
- 1 can(s) (14 1/2-ounce) chicken broth
- Basil sprigs, for garnish
- Prepare Mushroom Filling: In food processor with knife blade attached, pulse mushrooms, onion, and garlic, one-third at a time, until finely chopped.
- In nonstick 12-inch skillet, melt margarine or butter over medium-high heat. Add mushroom mixture, salt, and pepper, and cook until mixture is dry and golden, about 25 minutes, stirring often. Transfer mushroom mixture to plate; cover with foil or plastic wrap and refrigerate until cool.
- Preheat oven to 325 degrees F. With fingertips, gently separate skin from meat on turkey breast. Spread cooled mushroom mixture on meat under skin. Sprinkle turkey with salt and pepper.
- Place turkey breast, skin side up, on rack in medium roasting pan (about 14 by 10 inches). Insert meat thermometer into center of turkey breast, being careful that pointed end of thermometer does not touch bone. Cover turkey breast with a loose tent of foil.
- Roast turkey 2 1/2 to 3 hours, until temperature on meat thermometer reaches 165 degrees F. Internal temperature of meat will rise to 170 degrees F upon standing. Start checking turkey breast for doneness during last 30 minutes of roasting.
- To brown turkey breast, remove foil during last hour of roasting time. Transfer turkey to platter. Cover and let stand 15 minutes to set juices for easier slicing.
- Prepare Gravy: Remove rack from roasting pan. Skim and discard fat from drippings in pan. In cup, mix cornstarch with 1/2 cup water; set aside. Add red wine to pan and heat to boiling over medium-high heat, 2 minutes, stirring to loosen brown bits from bottom of pan.
- Pour mixture from roasting pan into 2-quart saucepan; whisk in chicken broth and cornstarch mixture. Heat to boiling; boil 1 minute. Pour gravy through sieve into bowl. Slice turkey breast and arrange on platter; garnish with basil. Serve turkey with gravy.
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From Wikipedia, the free encyclopedia - View original article
|Camille Paglia
|Camille Anna Paglia
April 2, 1947
Endicott, New York
|Professor, cultural critic
|United States
|Binghamton University
Yale University
|Popular culture, art, poetry, sex, film, feminism, politics
|Camille Paglia
|Camille Anna Paglia
April 2, 1947
Endicott, New York
|Professor, cultural critic
|United States
|Binghamton University
Yale University
|Popular culture, art, poetry, sex, film, feminism, politics
Camille Anna Paglia (/ˈpɑːliə/; born April 2, 1947) is an American teacher and social critic. Paglia, a self-described dissident feminist,[1] has been a professor at the University of the Arts in Philadelphia, Pennsylvania, since 1984. She is the author of Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), a best-selling work of literary criticism, among other books and essays. She also wrote an analysis of Alfred Hitchcock's The Birds, and Break, Blow, Burn on poetry. She writes articles on art, popular culture, feminism, and politics. Paglia has celebrated Madonna and taken radical libertarian positions on controversial social issues such as abortion, homosexuality, and drug use. She is a critic of American feminism and of post-structuralist theory.
Paglia is known for her critical views of many aspects of modern culture, including feminism and liberalism.[2][3] She has been characterized variously as a "contrarian academic" and a feminist "bête noire,"[4][5] a "witty controversialist,"[6] and a maverick,[7] Margaret Wente has called Paglia "a writer in a category of her own... a feminist who hates affirmative action; an atheist who respects religion" and "a Democrat who thinks her party doesn't get it."[8] Martha Duffy writes that Paglia "advocates a core curriculum based mostly on the classics" and rails against "chic French theorists Michel Foucault and Jacques Lacan," and "has a strong libertarian streak — on subjects like pornography — that go straight to her '60s coming-of-age."[4] Elaine Showalter has called Paglia a "radical libertarian," noting her socially liberal stands on abortion, sodomy, prostitution, drug use, and suicide. Paglia has denounced feminist academics and women's studies, celebrated popular culture and Madonna, and become a media celebrity, writing op-eds and gossip columns, appearing on television and telling her story to journalists.[9]
Paglia has said that she is willing to have her entire career judged on the basis of her composition of what she considers to be "probably the most important sentence that she has ever written": "God is man's greatest idea."[10]
Paglia's Sexual Personae was rejected by no fewer than seven different publishers (not unusual, in and of itself), but when finally published by Yale University Press, became a best seller, reaching seventh place on the paperback best-seller list, a rare accomplishment for a scholarly book.[4] 'Paglia called it her "prison book", commenting, "I felt like Cervantes, Genet. It took all the resources of being Catholic to cut myself off and sit in my cell."[9] Sexual Personae has been called an "energetic, Freud-friendly reading of Western art", one that seemed "heretical and perverse", at the height of political correctness; according to Daniel Nester, its characterization of "William Blake as the British Marquis de Sade or Walt Whitman and Emily Dickinson as 'self-ruling hermaphrodites who cannot mate' still pricks up many an English major's ears".[11]
Paglia is a devotee of Oscar Wilde and Walter Pater, cherishing "performance, artifice and play rather than earnestness." She has expressed admiration for Dorothy Parker and Mary McCarthy, as well as for models, singers and movie stars such as Elizabeth Taylor, Madonna, and Barbra Streisand.[9]
In 2005, Paglia was named as one of the top 100 public intellectuals by the journals Foreign Policy and Prospect.[12]
Paglia was born in Endicott, New York, the elder daughter of Pasquale and Lydia Anne (née Colapietro) Paglia. Both her parents immigrated to the United States from Italy.[2] Additionally, Paglia has stated that her father's side of the family were from the Campanian towns of Avellino, Benevento, and Caserta.[13] Paglia attended primary school in rural Oxford, New York, where her family lived in a working farmhouse.[14] Her father, a veteran of World War II,[15] taught at the Oxford Academy high school. In 1957, her family moved to Syracuse, NY, so that her father could begin graduate school; he eventually became a professor of Romance languages at Le Moyne College.[4] She attended the Edward Smith Elementary school, T. Aaron Levy Junior High and William Nottingham High School.[16] In 1992 Carmelia Metosh, her Latin teacher for three years, said "She always has been controversial. Whatever statements were being made (in class), she had to challenge them. She made good points then, as she does now."[17] Paglia thanked Metosh in the acknowledgements to Sexual Personae, later describing her as "the dragon lady of Latin studies, who breathed fire at principals and school boards".[16]
She took a variety of names when she was at Spruce Ridge Camp, including Anastasia (her confirmation name, inspired by the film Anastasia starring Ingrid Bergman); Stacy; and Stanley. A crucially significant event for her was when the outhouse exploded after she poured too much lime into the latrine. "It symbolized everything I would do with my life and work. Excess and extravagance and explosiveness. I would be someone who would look into the latrine of culture, into pornography and crime and psychopathology... and I would drop the bomb into it".[18][page needed][19]
For over a decade, Paglia was the partner of artist Alison Maddex.[20][21] Paglia legally adopted Maddex's son (who was born in 2002).[12] In 2007, the couple separated.[22]
Paglia entered Harpur College at Binghamton University in 1964.[9] The same year, Paglia's poem "Atrophy" was published in the local newspaper.[23] She later wrote that the biggest impact on her thinking were the classes taught by poet Milton Kessler. "He believed in the responsiveness of the body, and of the activation of the senses to literature... And oh did I believe in that".[11] She graduated from Harpur as class valedictorian in 1968.[4]
According to Paglia, while in college she punched a "marauding drunk,"[19] and takes pride in having been put on probation for committing 39 pranks.[16]
Paglia attended Yale as a graduate student, and she claims to have been the only open lesbian at Yale Graduate School from 1968 to 1972.[19][24] At Yale, Paglia quarreled with Rita Mae Brown, whom she later characterized as "then darkly nihilist," and argued with the New Haven, Connecticut Women's Liberation Rock Band when they dismissed the Rolling Stones as sexist.[25] Paglia was mentored by Harold Bloom.[9] Sexual Personae was then titled "The Androgynous Dream: the image of the androgyne as it appears in literature and is embodied in the psyche of the artist, with reference to the visual arts and the cinema."[26]
Paglia read Susan Sontag, and aspired to emulate what she called her "celebrity, her positioning in the media world at the border of the high arts and popular culture." Paglia first saw Sontag in person on October 15, 1969 (Vietnam Moratorium Day), when Paglia, then a Yale graduate student, was visiting a friend at Princeton. In 1973, Paglia, a militant feminist and open lesbian, was working at her first academic job at Bennington College. She considered Sontag a radical who had challenged male dominance. The same year, Paglia drove to an appearance by Sontag at Dartmouth, hoping to arrange for her to speak at Bennington, but found it difficult to find the money for Sontag's speaking fee; Paglia relied on help from Richard Tristman, a friend of Sontag's, to persuade her to come. Bennington College agreed to pay Sontag $700 (twice what they usually offered speakers but only half Sontag's usual fee) to give a talk about contemporary issues. Paglia staged a poster campaign urging students to attend Sontag's appearance. Sontag arrived at Bennington Carriage Barn, where she was to speak, more than an hour late, and then began reading what Paglia recalled as a "boring and bleak" short story about "nothing" in the style of a French New Novel.[27]
As a result of Sontag's Bennington College appearance, Paglia began to become disenchanted with her, believing that she had withdrawn from confrontation with the academic world, and that her "mandarin disdain" for popular culture showed an elitism that betrayed her early work, which had suggested that high and low culture both reflected a new sensibility. In 1992, Paglia attacked Sontag; according to Carl Rollyson and Lisa Paddock, this was a way of saying, "I'm the next stage of you." Questioned about Paglia by the Brazilian magazine IstoÉ, Sontag said she should form a rock band.[27] Sontag later said of Paglia, "We used to think Norman Mailer was bad, but she makes Norman Mailer look like Jane Austen."[28]
In the fall of 1972, Paglia began teaching at Bennington College, which hired her in part thanks to a recommendation from Harold Bloom.[29] At Bennington, she befriended the philosopher James Fessenden, who first taught there that very semester.[30]
Through her study of the classics and the scholarly work of Jane Ellen Harrison, James George Frazer, Erich Neumann and others, Paglia developed a theory of sexual history that contradicted a number of ideas in vogue at the time, hence her criticism of Marija Gimbutas, Carolyn Heilbrun, Kate Millett and others. She laid out her ideas on matriarchy, androgyny, homosexuality, sadomasochism and other topics in her Yale Ph.D. thesis Sexual Personae: The Androgyne in Literature and Art, which she defended in December 1974. In September 1976, she gave a public lecture drawing on that dissertation,[31] in which she discussed Edmund Spenser's Faerie Queene, followed by remarks on Diana Ross, Gracie Allen, Yul Brynner, and Stéphane Audran.[32]
Paglia "nearly came to blows with the founding members of the women's studies program at the State University of New York at Albany, when they categorically denied that hormones influence human experience or behavior".[33] Similar fights with feminists and academics culminated in a 1978 incident which led her to resign from Bennington a year later. After a lengthy standoff with the administration, Paglia accepted a settlement from the college and resigned the following year.[34]
Paglia finished Sexual Personae in the early 1980s, but could not get it published. She supported herself with visiting and part-time teaching jobs at Yale, Wesleyan, and other Connecticut colleges. Her paper, "The Apollonian Androgyne and the Faerie Queen", was published in English Literary Renaissance, Winter 1979, and her dissertation was cited by J. Hillis Miller in his April 1980 article "Wuthering Heights and the Ellipses of Interpretation", in Journal of Religion in Literature, but her academic career was otherwise stalled. In a 1995 letter to Boyd Holmes, she recalled: "I earned a little extra money by doing some local features reporting for a New Haven alternative newspaper (The Advocate) in the early 1980s". She wrote articles on New Haven's historic pizzerias and on an old house that was a stop on the Underground Railroad.[35]
In 1984, she joined the faculty of the Philadelphia College of Performing Arts, which merged in 1987 with the Philadelphia College of Art to become the University of the Arts.
Paglia is on the editorial board of the classics and humanities journal Arion[36] and has been writing a monthly column for Salon.com since the late 1990s (currently on hiatus). Paglia has announced that she is currently working on "a study of the visual arts intended as a companion book to Break, Blow, Burn".[37]
Paglia cooperated with Carl Rollyson and Lisa Paddock in their writing of Susan Sontag: The Making of an Icon, sending them detailed letters from which they quoted with her permission. Rollyson and Paddock note that Sontag "had her lawyer put our publisher on notice" when she realized that they were investigating her life and career.[27]
Paglia participates in the decennial poll of film professionals conducted by Sight & Sound which asks participants to submit a list of what they believe to be the ten greatest films of all time. According to her responses to the poll in 2002 and 2012, the films Paglia holds in highest regard include Ben-Hur, Citizen Kane, La Dolce Vita, The Godfather, The Godfather: Part II, Gone with the Wind, Lawrence of Arabia, North by Northwest, Orphée, Persona, 2001: A Space Odyssey, The Ten Commandments, and Vertigo.[38][39]
Some feminist critics have characterized Paglia as an "anti-feminist feminist," critical of central features of much contemporary feminism but holding out "her own special variety of feminist affirmation."[40] Elaine Showalter notes Paglia's admiration for Simone de Beauvoir and The Second Sex ("the supreme work of modern feminism... its deep learning and massive argument are unsurpassed") as well as Germaine Greer,[9] but Time magazine critic Martha Duffy wrote that Paglia "does not hesitate to hurl brazen insults" at several feminists including Greer, whom Paglia accused of becoming "a drone in three years" as a result of her early success; Paglia also called activist Diana Fuss' output "just junk – appalling!"[4] Showalter calls Paglia "unique in the hyperbole and virulence of her hostility to virtually all the prominent feminist activists, public figures, writers and scholars of her generation", mentioning Carolyn Heilbrun, Judith Butler, Carol Gilligan, Marilyn French, Zoe Baird, Kimba Wood, Susan Thomases, and Hillary Clinton as targets of her criticism.[9]
Paglia has accused Kate Millett of starting "the repressive, Stalinist style in feminist criticism..."[41] Paglia has repeatedly criticized Patricia Ireland, former president of the National Organization for Women, calling her a "sanctimonious", unappealing role model for women[42] whose "smug, arrogant" attitude is accompanied by "painfully limited processes of thought".[43] Paglia contends that under Ireland's leadership, NOW "damaged and marginalized the women's movement".[44] Paglia has called feminist philosopher Martha Nussbaum a "PC diva", and accused her of borrowing her ideas without acknowledgement. She further contends that Nussbaum's "preparation or instinct for sex analysis is dubious at best".[45]
Many feminists have criticized Paglia; Christina Hoff Sommers calls her "Perhaps the most conspicuous target of feminist opprobrium," noting that the Women's Review of Books described Sexual Personae as a work of "crackpot extremism," "an apologia for a new post-Cold War fascism," and patriarchy's "counter-assault on feminism." Sommers relates that when Paglia appeared at a Brown University forum, feminists signed a petition censuring her and demanding an investigation into procedures for inviting speakers to the campus.[46]
Naomi Wolf traded a series of sometimes personal attacks with Paglia throughout the early 1990s. In The New Republic, Wolf labeled Paglia, "the nipple-pierced person's Phyllis Schlafly who poses as a sexual renegade but is in fact the most dutiful of patriarchal daughters" and characterized Paglia's writing as "full of howling intellectual dishonesty".[47][48][49][50] In 1991, Paglia referred to Wolf as a "twit".[51]
Gloria Steinem said of Paglia that, "Her calling herself a feminist is sort of like a Nazi saying they're not anti-Semitic."[52] Paglia said that Steinem, whom she accused of not having read her, had compared her to Hitler and Sexual Personae to Mein Kampf.[53] Paglia called Steinem "the Stalin of feminism."[7]
Katha Pollitt has characterized Paglia as one of a "seemingly endless parade of social critics [who] have achieved celebrity by portraying not sexism but feminism as the problem." Pollitt writes that Paglia has glorified "male dominance," and has been able to get away with calling the Spur Posse California high school date-rape gang "beautiful," among other things "that might make even Rush Limbaugh blanch," because she is a woman.[54]
Paglia's view that rape is sexually motivated has been endorsed by evolutionary psychologists Randy Thornhill and Craig T. Palmer; they comment that "Paglia... urges women to be skeptical toward the feminist 'party line' on the subject, to become better informed about risk factors, and to use the information to lower their risk of rape."[55]
Paglia is critical of the influence modern French writers have had on the humanities, claiming that universities are in the "thrall" of French post-structuralists,[56] that in the works of Jean Baudrillard, Jacques Derrida, Jacques Lacan and Michel Foucault, she never once found a sentence that interested her[57] and that Post-structuralism has broken the link between the word and the thing, and thus endangers the western canon.[58] François Cusset writes that Paglia, like other major American public intellectuals after World War II, owes her broader recognition mainly to the political repercussions of polemics that first erupted on college campuses, in her case to a polemic against foreign intellectualism. He says she achieved phenomenal success when she called Foucault a "bastard", thereby providing (together with Alan Sokal's Social Text parody) the best evidence for Paul de Man's view that theory should be defined negatively, based on the opposition it arouses.[59] However, Paglia's assessment of French writers is not purely negative. She has called Simone de Beauvoir's The Second Sex "brilliant", and identified Jean-Paul Sartre's work as part of a high period in literature. Paglia has praised Roland Barthes' Mythologies and Gilles Deleuze's Masochism: Coldness and Cruelty, while finding both men's later work flawed. Of Gaston Bachelard, who influenced Paglia, she wrote "[his] dignified yet fluid phenomenological descriptive method seemed to me ideal for art", adding that he was "the last modern French writer I took seriously".[60][61][62]
Paglia characterizes herself as a Clinton Democrat and libertarian.[7][56] She opposes laws against prostitution, pornography, drugs, and abortion.[63] Paglia criticized Bill Clinton for not resigning after the Monica Lewinsky scandal, which she says "paralyzed the government for two years, leading directly to our blindsiding by 9/11."[64] In the 2000 U.S. presidential campaign she voted for the Green Party candidate Ralph Nader, "[because] I detest the arrogant, corrupt superstructure of the Democratic Party, with which I remain stubbornly registered."[64] In the 2004 U.S. presidential election, Paglia supported John Kerry; and in 2008, she supported Barack Obama.[65] In 2012, she supported Green Party candidate Jill Stein.[66] Some of her views have been characterized as conservative.[4]
Paglia has criticized transsexualism as a current fashion and has claimed that transgender celebrities such as Chaz Bono are "mutilating"[67] their bodies and "are popping their pills and shooting themselves up with male hormone every day."[68]
In Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990) Paglia argues that human nature has an inherently dangerous Dionysian or chthonic aspect, especially in regard to sexuality.[69] Culture and civilization are created by men and represent an attempt to contain that force.[69] Women are powerful, too, but as natural forces, and both marriage and religion are means to contain chaotic forces.[4] A best seller, it was described by Terry Teachout in a New York Times book review as flawed, but "...every bit as intellectually stimulating as it is exasperating".[70] Martha Duffy wrote that the book had a "neoconservative cultural message" which was well received, but rejected by many feminists.[4] In a review of Sexual Personae, feminist author Molly Ivins accused Paglia of historical inaccuracy, demagoguery of second-wave feminists, egocentrism, and writing in sweeping generalizations.[71] In his review, Anthony Burgess described Sexual Personae as "a fine disturbing book" that "seeks to attack the reader's emotions as well as his or her prejudices".[72] Germaine Greer writes that Paglia's insights into Sappho are "vivid and extremely perceptive", but also "unfortunately inconsistent and largely incompatible with each other".[73]
Sex, Art and American Culture: Essays (1992) is a collection of short pieces, many published previously as editorials or reviews, and some transcripts of interviews.[63] The essays cover such subjects as Madonna, Elizabeth Taylor, rock music, Robert Mapplethorpe, Clarence Thomas Supreme Court nomination, rape, Marlon Brando, drag, Milton Kessler, and academia. It made the New York Times bestseller list for paperbacks.[74]
Vamps and Tramps: New Essays (1994) is a collection of 42 short articles and a long essay, "No Law in the Arena: a Pagan Theory of Sexuality". It also contains a collection of cartoons from newspapers about Paglia. Writing for the New York Times, Wendy Steiner wrote "Comic, camp, outspoken, Ms. Paglia throws an absurdist shoe into the ponderous wheels of academia".[75] Michiko Kakutani, also writing for the New York Times, wrote: "Her writings on education... are highly persuasive, just as some of her essays on the perils of regulating pornography and the puritanical excesses of the women's movement radiate a fierce common sense... Unfortunately, Ms. Paglia has a way of undermining her more interesting arguments with flip, hyperbolic declarations".[76]
In 1998, and in commemoration of the 35th anniversary of the release of Alfred Hitchcock's The Birds, the British Film Institute commissioned Paglia to write a book about the film. Paglia's 96-page book interprets the film as "in the main line of British Romanticism descending from the raw nature-tableaux and sinister femme-fatales of Coleridge."[77] Paglia uses a psychoanalytic framework to interpret the film as portraying "a release of primitive forces of sex and appetite that have been subdued but never fully tamed".[77]
Break, Blow, Burn: Camille Paglia Reads Forty-three of the World's Best Poems (2005) is a collection of 43 short selections of verse with an accompanying essay by Paglia.[78] The collection is primarily oriented to those unfamiliar with the works.[78] Clive James noted that Paglia tends to focus on American works as it moves from Shakespeare forward through time, with Yeats, following Coleridge, as the last European discussed,[78] but emphasized her range of sympathy and her ability to juxtapose and unite distinct art forms in her analysis.[78] Christopher Nield remarked that Paglia has "a rare gift to capture a poem's mood and scene in terse, spiky phrases of descriptive insight" and exhibits moments of brilliance, but also notes that some of her selections from recent writers fall flat. He also praises her pedagogical slant towards basic interpretation, suggesting that her approach might be what is required to reinvigorate studies in the humanities.[58]
Glittering Images: A Journey Through Art from Egypt to Star Wars (2012) is a series of essays about notable works of art from ancient to modern times. It was published in October 2012.[79]
|url= missing title (help)[dead link].
|Library resources about
Camille Paglia
|By Camille Paglia


text:
|Jimmy Dossett
105 South Iris Drive
Councilman Jimmy Dossett works as a dispatcher at Rogers Group. He has been with the company for 38 years. He graduated from Hopkinsville High School in 1973.
Dossett has served on City Council since 2009. He currently holds a position on the Emergency Communications Center Board and the E911 Advisory Board. He has also served as Vice President and PowWow Chairman for the Trail of Tears Commission for four years and as President of the Vaperz Car & Truck Club for 5 years.
He is married to the former Becky Craft, and they have two children and three grandchildren. He has worked with the Boy Scouts for several years. There, he helped his son earn an Eagle Scout Award and is continuing the tradition with his grandson through Cub Scouts.


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