text:
An interview with Adam Overton in his home
January 17, 2014 · Print This Article
Guest post by Jacob Wick.
The first time I went to Adam Overton's house, I sang a song. I don't remember what song, but I remember showing up, sitting down, and Adam turning on a song, a hit song, something that probably had just been on in the car, as we were driving – there were about twelve of us, maybe sixteen, five in my car – and beginning to sing along, very tentatively. By the end of the song, all of us were singing, without any prompt or encouragement from Adam, without any internal discussion, without consideration of who would sing what, without worrying about whether or not we knew the song or if it was in our range, without giving each other puzzled or encouraging looks, without giggling, without any hesitation or embarrassment or even any thought. It was one of the most magical musical experiences I've ever been part of. The second time I went to Adam's house, to conduct the interview that appears, with very little editing, below, he offered me some key limes – now is the time of year when citrus drops in southern California, baskets of oranges and limes and lemons everywhere – and some homemade ginger concentrate with seltzer water.
Adam's dog sat on my lap for most of the interview that follows, and contributes in a minor fashion to our dialogue. Adam's cat made a brief appearance to scuffle with the dog, but is not mentioned or referred to in the interview, although certainly at least one portion of our chat could be interpreted so as to refer to the cat. For instance, did you know that chat is cat in French?
This is the first in a series of interviews on the subject of listening.
JW:Â Hi Adam.
AO:Â Hi.
JW:Â Maybe we should just talk about your various projects before we get to anything else. Does that sound reasonable?
AO:Â Sure. Yeah, if there's any…
JW:Â And also, like, kind of how you…well good, I didn't bring my notes. So this will be less professional. Remember when like, the, uh, CCA social practice horde descended upon you?
AO:Â Oh so you were, oh so that's how you know Dave…
JW:Â Yeah, that's how I know Dave, and that's how I know you, yeah…
AO:Â Oh!
JW:Â I mean, I don't think I introduced myself then, umm, I don't know.
AO:Â See that's when I started loosening up about remembering faces was when I started teaching because it became so hard to keep track of…
JW:Â I think, yeah, I'm kind of losing my…yeah.
AO:Â Yeah. Don't start teaching.
JW:Â Yeah, ok.
AO:Â Or, if you want to loosen up.
JW:Â See, ok, maybe we can talk about that: what's been your, uh…maybe it's a grass is always greener thing, like I'm not teaching now so I'd really like to teach and I keep thinking about classes I want to teach and thinking like "oh, that'd be really fun," or interesting, or both, but you're saying you're tired of teaching…what's the…why?
AO:Â Why am I tired of teaching?
JW:Â Yeah.
AO:Â I'm sick of dealing with shitty employers, basically.
JW:Â Yeah.
AO:Â And that's ultimately what my regular, um, that's the typical experience that I'm having right now, is working with shitty employers. Like really shitty employers. And, uh, the places that are really steady, in terms of work, are the shittiest, or have been, at least for the kind of work that I get, and the ones that are better are ones where I only have electives, and I come in and I teach a class and they're like "wow that class was great, everyone really loved it, maybe you can come back and teach in in two or three years…" But there's a big unionizing push going on right now, in Los Angeles and Boston and potentially nationwide to unionize adjunct professors, so I'm getting really interested in seeing how that goes…
JW:Â I've heard a bit about that. Are you teaching at multiple schools right now or just one?
AO:Â Uhhh, right now I just had my classes reduced from three classes to half a class over the holidays by one of the schools that I teach at.
JW:Â That sucks. Are you teaching arts courses or are teaching more like skills, skill-based…
AO:Â At one place, at the for-profit that I teach at, I teach mostly web-related programming skills. So that's usually the steadiest stuff…I used to teach more like digital – like Adobe Suite – stuff at a community college, so that was also kind of steady, but more design-oriented than my background calls for…
JW:Â Yeah.
AO:Â And then the stuff that, uh, when I get to teach what I want to teach, or when schools offer me courses that are closer to the range of what I want to teach, typically it's somewhere in the range of sound art, performance art, and/or um..uh… I got to teach this one class that was pretty fantastic related to activism and education and media…like streaming and stuff, technologies like that. And there's one school that I teach at, that I get to teach about once a year and I get to teach an experimental video workshop there, and I hope they don't read this, but I have no experience – like I don't make video – but when I first signed on to work there about four years ago, I signed on and I realized I had this whole library of video art, and this whole background as a viewer of video art that was really influential on me as a performer, and it's ultimately just a class where we look at stuff, we talk about it, and then they have a loose assignment based around an experimental strategy, which could easily be, you know, a performance class or a sound class or whatever, it's loose enough that it's about strategies, it's not specifically about editing, and that class is probably the best class I've ever had my entire life, because it's talking to commercial film kids about non-entertainment based, non-commercial work, and I want to say they love it, but it's not that they love it…
JW:Â They love it!
AO:Â All the sudden they realize there's this other thing and they're hungry for something that's not just commercial narrative. And it's at a film school, so the students there are so much more interdisciplinary than any other school I've ever…
JW:Â In what way?
AO: At this film school, this is the only place – I mean, I've taught at other art schools, like Otis and elsewhere – but this is the only art school this is the only school that I've ever taught at where students will not only say "oh, I like to write," but many of them identify as writers, so you can talk about text and they won't rebel; almost all of them have experience editing video, of course, but because they've done that they also almost all have experience working with audio; and since some of them are coming out of an acting background, or have worked with actors, they also have connection to performance. And so you can come to them and do a movement-based workshop – like we always do a movement-based workshop based off on some Simone Forti and Hana Vanderkolk exercises – and they gobble it up. Whereas if you do something like that at Otis, I mean, sometimes half the class will really dig it, but I've had students come up to me and be like, wait, are you a sculptor, and I'll be like no, and someone actually said like, "well then why are you here?" and it's like "ok, because you're in the Sculpture/New Genres department?" But so, but I've never gotten flak for, I mean, anyways that interdisciplinarity, and kind of confusion of where one lies in the medium spectrum, is particularly strong at this film school, which is great.
JW:Â But it probably doesn't matter to them too much where they lie on the medium spectrum, I mean, am I generalizing too much, or…?
AO:Â Maybe a little bit? Just because it is a professional-track thing, and so they do identify as "I'm a director," "I'm an editor," "I'm a cinematographer," so they do have these professional kind of things that they hump down into. And on their evaluations every once in a while you get, you know, "was this class valuable to you?" and someone will say, "no, because I'm a director, I loved it but it wasn't useful because I'm a director," which I still don't understand. But anyways, yeah, I teach a lot of things at a lot of different places, and I'm trying to…ideally what would be best for me teaching-wise would be…what feels best is teaching classes where it's this awesome conversation and people are experimenting and trying things out, but unfortunately those classes are just electives in my schedule and not enough to live off of. They just feel like little rewards, like a a mini-grant for three months. And so the regular ones are these kind of shitty corporate places that don't give a fuck about you or the students. So that's really where I am – that's why I looking for other work. Other quote-unquote professional work. If anyone out there is looking for very talented uh…I'm really good at making cocktails…
JW:Â Have you considered applying at bars or anything?
AO:Â I'm really intimidated because I've never worked in restaurants or anything like that, but actually I'd be terribly interested to work as a barback or a cocktail apprentice, because I'm really into cocktails right now.
JW:Â I've been really thinking about, um…
AO:Â And I'm a night owl, so it would kind of work.
JW:Â I mean, I've been kind of getting into wine a bit more, and for a minute I was kind of thinking of opening a coffee shop, and now my pet dream is to open a cooperative grocery store, that would have maybe within it a coffeeshop/bar situatation, but I don't know, whatever. But like I feel like there's a lot of people – a lot of artists who are veering towards more service industry-related things…I mean, I don't know, we don't have to talk about that much, but I curious about that kind of transition of like, and it's often people whose practices I really identify with, where generosity or collaboration or like a concern…
AO:Â Well, I think the language in the social practice arena primarily goes towards generosity, and I think that's there, but I see it as desperation, like artists are trying to figure out how to fit in and find part-time and/or full-time work that feels useful or and is productive for them in some way, shape, or form. But there is a trend, because actually in the experimental music community in Los Angeles, what you're talking about is very common. In terms of people brainstorming, but not necessarily following through. I don't know if you know James Klopfleisch…
JW:Â No, but I was playing with Ted Byrnes on Monday and he mentioned James…
AO:Â Yeah, he's involved with the wulf., and the Southland Ensemble…I think that's what they're called. But he for a while had an idea for, um…he wanted to do like an ice cream truck, except it was like a coffee, like an iced coffee, and like experimental music coming out of the speakers…and he seemed really serious about it, but then he went off on a cruise ship for a couple years.
JW:Â To play?
AO:Â Yeah.
JW:Â Oh wow. I've heard that's like the worst thing to do…
AO:Â He loves it!
JW:Â I guess if you have the right kind of mindframe, it would be ok, but it just seems like…
AO:Â I think it fit his personality…he likes people, and talking to weird people…
JW:Â And yeah, that seems like a very weird place.
AO:Â Your background is as a musician, right? Did you do your undergraduate as a musician?
JW:Â I did, yeah. And a lot of people went to ships…
AO:Â Yeah, I was a jazz major in Atlanta, and a number of my friends did the ship thing. And I remember thinking about it…I never got the phone number. But it was very possible. It's either you go to New York or you go to the ship in the Caribbean.
JW:Â Or both.
AO:Â Or both, yeah.
JW:Â And then you give up somewhere.
AO:Â Yeah. Oh there was one other precedent though, too, that actually got really close, there was a composer named Gary Schultz, who lived here, who now lives in Berlin, but he was gonna start, well, we joke that it was going to be "Gary's Juice," but it was really gonna be more of like "Gary's Juiceteria," and he was going to be doing the juice selection at a place, some health food store in the West Side, and he got as far as the designs and was setting stuff up, but I think the store closed before it open.
JW:Â Yeah I feel like there's a pool of money that one has to have to open anything like that that I do not have access to that right now, but that's also ok.
AO:Â Yeah. But actually that's the next thing – it's just dawned on me in the last two months – there was like the big wave – I'm 34 now – there was the big wave of "all my friends are getting married" and now the big wave is "now all my friends are starting businesses," and it's weird because when they were getting married I was like "oh, I don't want to get married," and now that they're starting business I'm like "oh, should I start a business?" "no, I don't want to start a business," or maybe I should, or…you know, like…
JW: I think it's still a bit of this desperation thing that you were talking about. I think it's like "well, I don't know what to do now, so maybe I should just invent a job, or…" So did you go to Emory or something?
AO:Â No, Georgia State. Georgia State had a really good program, at least for Georgia. And it was situation downtown, which was the only place that jazz existed in the state of Georgia, except for Valdosta, I mean there was one other jazz program in Valdosta.
JW:Â Where is Valdosta?
AO:Â It's on the border with Florida.
JW:Â Are you from Georgia?
AO:Â Yeah, I'm from the suburbs of Atlanta.
JW:Â One of my best friends lives in Athens.
AO:Â I would never go to Athens.
JW:Â Oh.
AO:Â I mean, it was kind of like a high school angst-ridden principle, that UGA and Athens represented high school part II, and I was very anti-high school and that point, and so for me going to school in the city that was…
JW:Â He grew up in Athens, and I think he feels that way…he has a very clear marker, or at least he did until a couple of years ago, of a street that he would not cross, because that was the UGA side of Athens.
AO:Â Right, yeah. I'm much more grown up about it now, and I feel like I missed out on a really beautiful town that I could've visited more, and a music community that was probably worth checking out when I was there.
JW:Â It's still there, it's still good. So when did you move to California?
AO:Â In 2003 I came here, to go to grad school at CalArts.
JW:Â Was it all CalArts or partially the allure of California?
AO:Â Well I actually almost went to Mills…I thought I wanted to go to Mills more because I thought I wanted to go to the Bay more and I'd only ever heard bad things about Los Angeles, but in the end I ended up going to CalArts because I realized I wanted to go to an art school, not just a music school, and then when I got there I found out that LA is fucking incredible and I found out that San Francisco is really provincial and very un-integrated, so it ended up being a really fantastic decision for me.
JW:Â So did you go to grad school for music?
AO:Â Yeah, I was in the music school there. But I figured out really quick how to get out of the music school and into other departments, which was ultimately the most useful for me.
JW:Â Did you head to CalArts with an idea in your mind that you were going to move out of music?
AO:Â I know going into CalArts, or into grad school, that my practice was….that I considered myself…well one I didn't consider myself a composer heading in…
JW:Â [coughing]
AO:Â Do you need some water?
JW:Â Sure! Maybe I'll eat a mint, too, that's what my mom does when she starts coughing uncontrollably. I guess I'm just curious about the transition between, for you, the transition between, for you, the transition between being a composer and, sorry buddy…
AO:Â Is he getting annoying?
JW:Â No, I just sat on his tail.
AO:Â I didn't consider myself a composer. I mean, I had taken some composition classes and I was doing computer music, but you know I got to grad school and I met composers and they're the kind of people that could look at notes on a page and hear them in their head, and I didn't have that ability and I didn't have a background in harmony, and I knew I was going to an experimental school so that wasn't necessarily a requirement when I got in, but I thought of myself as a sound artist and even more so as a performance artist who was using sound.
JW:Â Ok.
AO:Â So I was doing work that involved attaching sensors to my body and the work that I was looking at was not sound art necessarily, but I was really attracted to body artists at that point, like Carolee Schneeman, Marina Abramovic, the Vienna Actionists, Fluxus, et cetera, like that was what I was looking to, at least right before I got into school. And doing my sound things as kind of like looking into the performance of the body.
JW:Â Yeah.
AO:Â My whole experience, though, is just one of transitioning from one medium to another and feeling like there's a thread running throughout all of it and therefore I don't know this thing anymore. So for instance, you know I was a jazz drummer, and there were many moments where I just realized once I got into the computer, doing computer music, that I don't need drums to do the thing that I want to do. And with jazz, one of the attractions was this notion of moment-form, like being in the moment, and this notion of working intuitively or even psychically with other people, and working within constraints or structures together and seeing what happens, and those sorts of things have continued in some shape or form throughout. So the mediums keep shifting, but…the general progression is like jazz drums, sensors attached to the body, then there was a big breakthrough halfway through grad school where it was, um, what I call biometric pieces, but minus the sensors where we used our fingers instead, where it was like checking someone's pulse at the neck and watching their blinks. And all the sudden the tunnel vision got like this because all the sudden you're staring into someone's eyes for sixteen minutes in a piece and it's really intimate and it was like "wow, this is amazing and it's so much fun and really weird and I'm falling love with people just looking at them," and it's really uncomfortable…so I dropped the electronics at that point and I was writing text scores, just instructions for how to perform things, and that brought in – you know, I've always enjoyed words, so – it was just like coming out of the closet as someone who likes text. And ever since then text and writing has been a really big part of my practice no matter what. There's a lot of different places we could pop into whatever…
JW:Â How do you view the relationship between writing and – because I too have a penchant for setting up bureaucratic entities or…I guess, yeah I don't know, I don't know how you want to talk about Guru Rugu, or the Bureau for Experimental Meditation, or…
AO:Â Well what were you just about to say, though, about your practice?
JW: That I have a penchant for creating these kind of bureaucratic organizations or pseudonyms or things like this and I always kind of wonder if that's tied to an improvisational approach to composition where it's composing not as "here's this set thing that everyone has to this" but "here's this structure that a bunch of people can be part of"…I don't know, I've always just kind of wondered why I started doing that. And I'm wondering if there's anything that you can see…
AO:Â Well the kind of flippant answer for me would be that it's genetic. My dad's professional was that he was a copy-editor in the sports section of the newspaper, and I remember very vividly growing up and being little and him talking about headline writing as a form of haiku, you know, and it's not like we did exercises, but that kind of attention to what a few words can do, how they can resonate together…
JW:Â Have you ever read the book How to Do Things With Words?
AO:Â No.
JW:Â Neither have I, but it's a great title! And apparently it's also a really interesting book. It's by this Oxford philosopher and Judith Butler writes about it a lot…uhh, but it's sort of…there's the performative, there's the something else…like, you know, there's things that you say that you do while you're doing them, like "I name this ship blah blah blah" or "I now pronounce you man and wife" or blah blah blah and there's things that you say where they're referencing an action that happened before, or, whatever…I don't remember the terms so it's kind of not worth talking about.
AO:Â Yeah. Some other ways I think about it is, like, for me, coming into writing text scores…Text scores, ultimately in the tradition of them, they're like prompts, and especially Fluxus and that tradition it's like one-liners, it borders on humor or punchlines, and there's this sense that through a single command or prompt there can be…there's like an activity or process or group activity lying beyond that statement that's much more complex or interesting and fun, or just something to do. Another thing that you probably know from the realm of music is that it's really fun coming up with band names, that's a really big tradition, but also band names have a huge influence over…ultimately they can be prompts for a certain kind of action or performance demeanor…
JW:Â Or the people that are in a band can be sort of the limits of what that band is or what it can do or what direction it's going. Do you think of the Bureau of Experimental Meditation as a band?
AO:Â Well, it's actually the Experimental Meditation Center of Los Angeles, and the Bureau of Experimental Speech and Holy Theses.
JW:Â Right, sorry.
AO:Â They do, I mean when I started creating some of them, especially Experimental Meditation Center, cofounding it with Guru Rugu, or BESHT with Professor Padu-Paga, like, I didn't think of them as band names, but I don't know, it's just fun to invent names…or sometimes it's you invent a name and you're like "what does this thing do," but other times it's like "what sums up this thing that we want to do together?" and like you kind of said, with a band, when you create a band name the identities of the people in the band kind of get subsumed under this, so you can be a guitarist or a drummer in a band, or you could be in multiple bands, but it's not necessarily your band, it's that thing. And so these platforms – I think of them as platforms, ultimately, they're platforms, they're prompts, for people to come in and do things that they wouldn't normally…that might be part of their practice, but might not…one of the first ones where I consciously had an experience was that was with the Eternal Telethon. I don't know if you know them…
JW:Â No.
AO:Â It came out of CalArts, and it was a group who started doing these fundraisers, these telethons, of varying durations, at different locations, that were streamed online using Ustream when it first came out, and the goal was to raise money for a convalescent home for retired artists, and it would located be at the Salton Sea, and so the hope was that anybody who became part of it would then be a part of Telethon and would one day be able to retire along with us at the Salton Sea.
JW:Â That's a great idea.
AO:Â A lot of the people who got involved – it was basically a variety show with MCs ranting in between – and a lot of the people who participated were not performance artists. It was primarily a performance thing, but a lot of people were not performance artists. So you saw a lot of artists who didn't typically perform doing performances, you saw writers performing, you saw people – just creative people…and so that of course seemed really exciting. The stakes were really low, like it was broadcast online, but nobody's watching, and I'm interested in that phenomenon, and you can see it very clearly happening again in a much larger way at KCHUNG radio right now, because they're broadcasting, there might not be anybody listening, it's a radio/sound thing/phenomenon with primarily a lot of artists doing stuff, many of whom have never done anything with sound before, or even performed before, so I don't know, I like that kind of experiment or that kind of platform or that kind of theme-based thing. You see that happening with theme-based shows, theme-based group exhibitions, too, you know like, "hey Jacob, do you want to be in this show about dogs and cats?" and you're like "I don't really make work about dogs and cats, but sure."
JW:Â Well, I like this dog.
AO:Â Yeah.
JW:Â There's also something really interesting about having a broadcast that everyone is part of that brings people together to make this broadcast that everybody knows nobody is listening to.
AO:Â Well, some people do.
JW:Â Well, but something about the direction towards a public that doesn't exist that allows people to do something they wouldn't otherwise do.
AO: I mean, in LA too, there's a tradition of, like…like people here don't come out to performances the way they do in New York. In New York, or even Berlin, when I go see friends' performances, there are lots of people there watching who are not their friends, and the tradition that I've witnessed in LA, at least among experimental arts stuff, is that typically the people who are watching are your friends. And it's less and less so, places like the wulf. are growing, and people go there more regularly to see things by people they don't know, and same thing with Human Resources there'll be like a hundred people now for something, but my experience with it here in LA and in Atlanta is like "I'm doing this for and with my friends," and I'm neither for or against either model, but I come out of being interested in this kind of, what kind of things that can happen in that sort of space. I mean, when you don't know people, there's a certain kind of vulnerability that can take place when things are more anonymous, which is similar to the kind of things that can happen on craigslist or on dating sites, because you can do certain things there that you wouldn't normally do. But there's also things you can do with friends that you wouldn't do with strangers.
JW:Â Yeah.
AO:Â A lot of my work, at least with the Experimental Meditation Center of Los Angeles, or Signify, Sanctify, Believe, the stuff that kind of focuses on ritual or religious or spiritual technology, kind of focuses on like what kind of things happen within the privacy of a concert hall or what I would call a magic circle or something.
JW:Â Well, maybe that's a good transition point to start actually talking about listening, which was sort of the pretext of our conversation. So I'm really excited about listening as a – we probably have like 10 minutes, right?
AO:Â No, well 10 minutes until the alarm, 20 minutes until I need to…25 minutes. Sorry about getting bookended.
JW: No, it's fine, it's really fine. So I'm really excited about listening as an aesthetic activity that places the agency to have an experience on the listener, the viewer, the participant…somebody else who's not like "here's this experience you're having," but also that's not a new thing, that's what really excited El Lissitsky about exhibition design, or what excited some conceptual artists about making non-existent work or whatever, it was always this excitement about bestowing upon the viewer this magical agency which is, you know, I think I have to think about it more to really kvetch about. I mean these spaces – the concert hall, magic circle, any kind of religious situation – there's a lot of ritual things happening, but there's always this practice of listening.
AO:Â Well I mean broadly, my notion of listening is not ear-based anymore. I would like to say that it's focus-based, like I would like to say that listening is about focusing on something, but even that is too narrow, like as someone with an undiagnosed form of ADD, some of my biggest breakthroughs in listening to experimental music have been when I let go of trying to focus and allowed my mind to bounce around the room and, you know, quote-unquote not pay attention, and release from the shackles of having to focus in what I thought was the right way.
JW:Â Yeah.
AO:Â So I'm definitely interested in a more embodied notion of listening. One that's maybe more about presence more than anything else. Which was actually my approach to Occupy…for Occupy LA or Occupy Wall Street, I didn't necessarily find all the entryways I wanted to in terms of political stances, but I felt it was really important just to be there, just to follow that prompt and to Occupy, be present, whether I agree or disagree or whatnot. But similarly, there's this…I don't know. I think that's a period there. I was going to say something else, but I forgot.
JW:Â Was it about…I was reading this, that you wrote for East of Borneo…and I really enjoyed it.
AO:Â Thanks, thanks for reading it.
JW:Â So you're talking a bunch of the intersection ritual practices and music and you say this one line in here that…what do you think about it? I mean it's really interesting to read and it's a very nice history of these practices, but you…
AO:Â What's the line?
JW: "LaVey's one-man band demonstrates satanism's infatuated embrace of uncompromising, self-satisfied, alienated individuality, similar in some ways to ahbez's lonely wanderer. These albums, then, are the egomaniacal satanic masterworks of one man in a recorded universe where he is finally the king of his own masturbatory, musical jungle." So it seems like you almost have a contempt for these practices that like…
AO:Â Contempt? No. Masturbation is great!
JW:Â Yeah, ok, that's true.
AO:Â No, yeah, that line in particular is about the embodiment of…like LaVey's thing – LaVey and Satanism – is this complete self-centered ego…like it's just about satisfying your own ego, not anybody else's, and it's about self-reliance, it's about DIY, it's about doing it yourself, not doing it together, doing it by yourself, potentially, unless you need someone else, and you get it from them, take it from them…it's very objectivist and it's very egoistic and egotistic. But I don't mean those necessarily in bad ways. I identify with those on certain days and on certain subjects. His thing is about selfishness, and not being ashamed of that. It's about the worship of being a sensuous being and about obeying these emotions and drives that you feel. That's the way he thinks and talks about it. And actually I used to be really interested in Ayn Rand's writing. Because in high school I loved her writing, because I had a lot of self-doubt and I had a lot of angst, and I had a lot of…what's the word…you know, I just didn't like myself. And her books actually helped me learn to like myself and to have pride, and so in that way that stuff was actually very useful, like for someone who's depressed, but later on I moved into Buddhist and other things, but Anton LaVey pulls out of the ultimate kind of selfishness of pride. Which becomes misanthropic and angry and…
JW:Â Maybe what was interesting…Whatever, I don't know what I was thinking when I brought that up. But maybe something that is interesting, that's even related to what we were talking about just before I brought that up, but it seems like…I've never listened to LaVey's music, I mean I've seen a YouTube video of him playing organ, which is incredible…
AO:Â He's an amazing musician.
JW:Â But it seems like that would be kind of a debilitating musical experience, like there would be no room to hear anything else besides Anton LaVey.
AO:Â You mean at one of the services he did?
JW:Â Or maybe just listening to the recording. But probably moreso at a service. Which I think points out a little bit of the silliness of my dream of listening as this radically active thing, where sometimes there's actual no other alternative but to hear what's enveloping you. But I feel the total opposite might be Pauline Oliveros…[loud noise]…oh, I think I got a text message. Yeah, I did.
AO:Â What I would say is…if we're just going to talk about listening, I would say that while yes I agree with the notion of like placing this agency in the listener, ultimately what I feel like is if we're still going to enjoy this division of the listener and the performer or the listener and the artist or the observer and the artist – which is fine, it's a fun kind of role-playing to do ultimately – it's not that the listener/viewer has all that agency, it's that the artist has the opportunity to facilitate a kind of listening, or a kind of framework to see things through, and for me listening has never just been about just sound, or sight has never been about light, it's always based on information that one has while one is listening to something, and by information you can also think of it as a framework, so this article is a framework through which you can listen to this music again. I have a very vivid memory, in high school, when I was first learning how to play jazz drums, my teacher gave me this jazz video, and I remember watching it – and we had been doing the ding-ding-da-ding thing on the cymbal – and I watched it and I literally cried out of frustration – tears down my face – because I could not follow a single beat of it.
JW:Â Was it a drum video where you were supposed to follow along?
AO:Â No it was a performance. And it was absolutely frustrating because what was happening was I had a little bit of the framework – I had the ding-ding-a-ding – but I didn't yet have the jazz framework of listening to that. And now…I mean, I can't remember if I ever listened to it a year or two later, but now I would be able to listen to that and I would probably be able to appreciate it, or not appreciate it, but still because I knew about the politics that it represented, within the jazz world or whatever. So Anton LaVey's work is actually really horrible to listen to if you're listening to it for sonic qualities, but if you know a little bit about his history and whatnot, and if you see him play, too, it kind of damns the music, you know what I mean? And so ultimately if you're talking about a framework of listening, you're talking ultimately about a belief system, right? And even if it's a temporary one, it's still like, "I believe that music is this right now, and because of this my constitution tells me that I need to listen for the harmonics." Because I'm listening to James Tenney or Cat Lamb, and if you're listening for the fundamental pitch – which I've done throughout all their concerts – you're missing the concert. But all the sudden if you believe in all these angelic harmonies, or these harmonics, or these weird physical things that are happening in your ears that aren't even in the room…and I've had that experience, like listening to music once and having no idea, or listening to the wrong part of it, and listening to it again, or listening to that kind of music again, and being like oh, duh, why didn't anyone tell me that before? It doesn't have to be a belief system, but it's related to one. Because a belief system gives you a way to view the world, a way to be an observer and an agent in the world, just as activism does, and politics does…
JW:Â That makes sense to me. The idea that listening allows for being aware that there are multiple different frameworks through which to have any kind of given experience.
AO:Â And it's totally fun subscribing to those things, too.
JW:Â Yeah, but I think what's exciting, that's maybe available in music, especially in improvised music, that might not be available everywhere else, is the constant knowledge that there might be something else you could be listening for, or another way to experience a given thing, so I'm much more open to intentionally having the wrong experience. I find it really generative. I mean, I don't know, Claire Fontaine came and talked to the CCA Social Practice class, and I don't know, I was late and a little hungover and they were tired and the discussion was not very good, but it was a really – because it's two of them and they have a child and for some reason the entire time they were at at CCA only Fulvia was talking and James wasn't saying anything and the baby was just screaming a lot – and I started experiencing the discussion as a performance rather than a discussion and it was infinitely more satisfying. I mean, it was great.
AO:Â I feel like there's no reason to be disappointed – I mean I get disappointed all the time – and I have a piece called Listening Performances, and it's just a list of different ways to be at a concert or whatever that you're not digging or whatever. When I teach I actually talk about this a lot, just as an introduction if someone's coming from one medium and moving to another, but there's this quote from Alan Kaprow where he says "what if I were to think that art is just paying attention?" and it's this notion of art begins with me focusing on something. I like to replace his "think" with "believe" and say "what if I were to believe art was just paying attention?" which moves it into this notion of that you're kind of creating this universe and through this process you're beginning to include things into what you're seeing, but you're also excluding things. For instance, to kind of wrap this around in a weird way, I have plenty of friends who are really angry about being brought up as Christian, like they were hardcore believers and really mean to people as a result, up to a certain point, and then they stopped. And when they stopped being mean to people they ultimately stopped being a certain kind of Christian, or Christian whatever. I kind of feel the same way about drums, like that was my religion growing up for ten years, and I love drumming, but I'm a little bit bitter because there was probably a period of four to six years where I only listened to drummers on recordings, and so there's this whole period of a half decade or more, where I witnessed so much amazing music and I totally lost out because I didn't even listen to the piano player, or I didn't listen to the trumpet player. There was a moment where I actually tried listening to a saxophone solo, maybe seven years in, and it really felt like I had never listened to a saxophone solo. So I don't know, I'm interested in that kind of focusing…
JW:Â Not just focus, but believing. Believe is a different verb than focus.
AO:Â No, exactly. For instance, we use the term belief, because at least in cinema, but in other things too, we talk about the suspension of disbelief, which I translate as temporary belief, belief that's bookended, potentially by your entering the space. And it is…you're becoming vulnerable, you're going into a suggestive state hypothetically, you allow yourself to listen, you go through the program, you see the title, maybe you listen to it based on what the title says, you look at the name under it…that's a huge thing actually, really interesting thing, actually, my friends love their friends music, and many of them hate strangers' music.
JW:Â I'm the same way.
AO:Â But as soon as they meet somebody and get to know them, they become huge fans of their music, when they hated it before, and you see how just a name can change the way someone listens to it, or knowing someone's background, studying their history – who was Anton LaVey, you know? – so listening is just so…what's the word…it's just so easy.
Jacob Wick is an artist, writer, and improviser who lives in Los Angeles.
Adam Overton is an experimental and conceptual artist based in Los Angeles who works between performance, writing, publishing, experimental music, workshops, event production, and massage.
The Rise of the Performance Art Festival in the USA
December 17, 2013 · Print This Article
Guest Post by Autumn HaysÂ
Over the last few years within the United States a growing interest has arisen in festivals that specialize in Performance Art, that offshoot of the visual Arts, who's practices center around temporal body-based works. This festival-circuit format for showing performance based art works has already produced a strong development in terms of organizations and events outside of the United States. Often however it's difficult for American performance artists to break into these circuits. Although there have some who have successfully done so, many festivals go years without showing a single American performance artist. This could be for many reasons, but one is certainly the relative lack of funding. Often the diplomatic and cultural establishments of foreign countries, such as embassies and consulates assist artists with expenses so that they can make and show artworks outside their country of origin. In the USA however, we do not invest money in the arts to the extent of other countries and thus American artists often have less accessibility to funds outside of their own pockets.
Performance art festivals are often intensive endeavors, involving a diverse group of international artists. Always on very tight budgets, these festivals often seek to supply food and housing for the artists for the duration of the festival, often lasting from several days to weeks. Unlike showing at a, gallery the festival becomes a sort of community or summer camp. Here artists and curators network and meet performers from all over the world. Viewership is open to the public but there is a community of support at many festivals where artist see each-other's works, often living together and sometimes collaborating on the fly. Festivals are often popular for performance art as spaces willing to show the work, or spaces aware of the needs of exhibiting performance art are often few and far between.
The good news for performance artists is, the USA is starting to develop their own performance art festivals. These festivals seek to bring international artist to the USA while showcasing local talents. It will be exciting to see what other festivals are brewing here in the United States and some in and near Chicago itself. Here are three festivals to look for this year:
   Lone Star Performance Explosion
   Huston, TX
   February 19-23, 2014
This is the second time around for this international performance art    biennale after a successful run in 2012. "LONE STAR EXPLOSION 2014 seeks to showcase performance art that pushes the artists and audience in new ways, especially performance art that questions fundamental assumptions about the way we experience time, space, relationships, the self, society, and sexuality. " As many of our festivals on this list the line up features local, national and international talents in Performance Art. Lone Star Explosion 2014 is curated and directed by Jonatan Lopez and Julia Wallace. Confirmed artists include: Elia Arce (Costa Rica), Marce Sparmann (Germany), Natalie Lovleless (Canada), J. Morrison (NYC), Ryan Hawk (Huston), Roberto Sifuentes (Chicago), and over 25 more artists. http://lonestarlive.org/
Rapid Pulse International Performance Art Festival
Chicago, IL
June 5-15, 2014
This is year three for Rapid Pulse International Performance Art Festival, taking place here in Chicago. "The RAPID PULSE INTERNATIONAL PERFORMANCE ART FESTIVAL aims to represent a range of styles and forms in order to provoke thought and stimulate discourse surrounding performance art.†This intensive festival features performance,  video screenings, artist's talks and panel discussions. It includes a wide range of performance art from durational, public, and digital based works. Unlike the rest of the festivals on this list Rapid Pulse is centered in and around Defibrillator Performance art Space as opposed to being a wide range, multi-venue event. Artists have yet to be announced but the application period is closed and the curatorial process is beginning. Rapid Pulse is curated by: Steven Bridges, Julie Laffin, Giana Gambino, and Joseph Ravens.  http://rapidpulse.org/
Supernova Performance Art Festival
Rosslyn, Virginia
June ?
Super Nova first took place in June of last year and word is the event will be back again this year. "SUPERNOVA will bring together emerging and established local, regional, national and international performance artists to present an expansive range of positions and approaches to performance art.†Though not confirmed Supernova came together well last year showing and they have to potential to continue on this year. Tough mostly national based artists, Supernova has the bones of a strong festival and hopefully they continue. Supernova's 2013 Chief Curator was Eames Armstrong. http://rosslynartsproject.com/
The question that arises with these projects and others like it is one of sustainability. Performance Art festivals are often struggle all year to find funding for the next event. Often performance artists who wish to see this kind of festival thrive in the USA produce these festivals. These factors, and the fact many performance art specific festivals around the world struggle to stay open make the running of an international festival a labor of love, to say the least. Even if these festivals eventually come to an end, the recent creation of these festivals might be pointing to a new trend in performance art exhibitions in the USA. Hopefully the adoption of the festival format international performance festivals will continue to propagate more opportunities in the exhibition of performance art. It will be interesting to see if the new trend in festival production will flourish in the United States and if festivals like these will run strong and multiply in the years to come. Perhaps, the appearance of American Performance Art festivals, and the participation of American artists in them, may lead to an increased interests in American practitioners of performance works both at home and abroad.
Autumn Hays is an Artist, Curator, Teacher and Writer. She graduated the School of the Art Institute of Chicago with an MFA in Performance where she received the John Quincy Adams Fellowship. She received her BA in Visual Arts at UCSD. Hays was the recipient of numerous scholarships, grants and awards including two major Jack Kent Cooke association scholarships. Currently she is assistant curator at Defibrillator and Co-Producer of the 2014 IMPACT Performance Art Festival. www.autumnhays.com
Process Notes: Part 2 with Tatyana Tenenbaum
December 5, 2013 · Print This Article
Guest Post by Hannah Verrill
Tatyana Tenenbaum is an interdisciplinary artist whose work examines sound and movement within a shared perceptual, historical, and dramaturgical framework. Her most recent piece, Private Country, premiered this past October at The Chocolate Factory in New York City after a working process that spanned several years.Â
I met Tatyana back in early 2006 when we were both studying at Oberlin College in Ohio. We became fast art friends and began collaborating soon after meeting. As I try to make sense of the past, it occurs to me that we connected so immediately because both of us were experiencing a shift in our creative frameworks. I had grown up inside of dance and was beginning to reach outside of it to sound, video, and installation. Tatyana had grown up inside of music composition and was beginning to explore the body and choreography. We met somewhere in the middle and continue still to learn from each other's artistic endeavors.Â
In an effort to get inside of Tatyana's process of working towards Private Country, while being unable to physically witness it, I staged a kind of experiment that Tatyana graciously pursued with me through written correspondence. If the result is messy, with bursts of clarity—so it goes, as with any process. Thank you for bearing with us.
Hannah—Tatyana, I'm asking you to pull up discrete moments, notes, from the making of Private Country. These can be messy and detailed as if they were occurring in the present moment. Is this even possible? I'm certainly unsure. Time does its thing, right? Certain moments will come up for air while others are swept out to sea.  Or this is how I imagine it at least. The director Anne Bogart writes that if the theatre were a verb, it would be  'to remember'. I'll exit here and cue your entrance.Â
Tatyana—I'll begin here:
         Note 1Â
Techno-Minimalism… TuneYards and Gang Gang Dance.  Moving out of the "new complexity" (or, as my 78-year old composition professor would say, "the new stupidity.") Moving towards audience immersion, sensory experience, spectacle as visceral sensation—where spectacle departs from tried-and-true convention—where it began as something primal, something essential to the human experience, ritual as catharsis, religious ritual, art as ritual/ and /or / religion.  Contemporary pop counter culture as ritual. || None of this writing is suitable for an audience but perhaps I will try to articulate it further. || WHERE FORM MEETS  – – – } FUNCTION, and this becomes aesthetic.  Everything dependent.  Everything related.  Everything a choice.  Proliferation of media means theater becomes one-dimensional in the conventional sense.  Prosceniums are officially flat, not adapted to a world that frequents the 3-D movie theater.  Antiquated.  Dull, irrelevant?  Or just self-conscious in their flatness? Â
H—If I simplify a working process as having two tracks, the track that is concerned specifically and directly with the project, and the track that filters everything else happening in one's life and still lends itself to the current work at hand, it seems like this process note would fall into that latter category. And it's a messy situation! But this stuff is so important, right? I mean when looking back at how a work was made, or rather, why it was made.
This idea of flatness in theater as an outgrowth of the proliferation of media. How does this kind of thinking—it almost reads as despair—propel you forward in the midst of project that is mining your personal history with musical theater? How do you choose to contend with the flatness?Â
T—The question of flatness in a theater excites me.  The idea of frontality excites me too. In the canon of musical theater, it's almost a motif unto itself. I think, consciously and unconsciously I wanted to amplify this motif.Â
For Private Country I chose to seat most of the audience on risers as in a "proscenium front" and a small handful in a single row on the edge of stage left.  Ezra and I continued this seating line on the upstage left.  It was as if the audience on that edge was disappearing into the horizon line, until they became the performers. A lot of action happened on the diagonal that joined those two audience lines.  However, the obvious weight of the frontally oriented audience was of interest to me.  It was like giving one thing an 80% value and something else a 15% value… 5% went to the mystery. Towards the end, I second-guessed this configuration—for the obvious reason that it would make those viewers on the side become apart of the visual space.  But removing them somehow made the frontality less powerful. There needed to be something to rub up against.
H— I know you grew up inside of the musical theater canon, and I often wonder about kids who grow up with a certain knowledge or familiarity with an art form. When you approach the form later on, is the desire (or need) for invention within the form always a critical point of interest?Â
 T—I want to say that I was always drawn to the absurd.  I was also some form of outsider.  I couldn't even get a role in my town's community theater production because I was too shy… so I started writing my own musicals, and I found power in that.  It was the most un-self conscious re-production of convention… to the downbeat.  I mean, without knowing what I was doing, I was channeling so much history (I had grown up with it).  So it made it easier, later on, to comment on that canon.  I had already begun archiving and indexing those conventions as a child.  It was my way of making sense of that world.  Part of unearthing that is realizing what that absurdity means to me now—what it is bumping up against. Â
         Note 2
Reading The Old Way by Elizabeth Marshall Thomas.
 The first mention of art and "artistic genius" [within the society of the Ju/Wasai Bushmen of the Kalahari] was in regards to hunting.  She feels that the creative energies are played out in this arena, and points out that the first art in caves was to commemorate big hunts.  She describes, also, the storytelling and oral myth making around hunting.  When she gives an example of the style of storytelling, it is all in the present tense: "I creep forward, I creep.  He jumps!  He is just that far."
H—How did these ideas "play out" in the arena of Private Country? Why do you feel that the sport of hunting sparked artistic expression? And what about the present tense, why make note of that? What feels important about an expression of the past happening as if it is in the present?
 T— I think I was drawn to these old ethnographies (I also read John McPhee's "Coming Into the Country," a collection of contemporary ethnographies of Americans living back-to-the-land style in rural Alaska) because I was trying to understand where this compulsion to depict ourselves came from. Â
 "I creep forward, I creep."
When I am temporally engaged in an art practice, I feel it in the present tense. Â But when I analyze it, contextualize it, or write about it, I do so by separating it from my daily life practice. Â There is an "otherness" that develops; this classic division between art and life. Â So maybe I was searching for the root of that otherness. Â
The hunting bit—it surprised me.  And then, it made sense.  The oldest stories are hero myths.  And these stories exist without a written language.  I find it interesting now because I have been engaged in this memorization practice within my own work.  Even though I take notes on my texts as they develop, I never treat the written word as having authority over the lived moment.  I re-write the material over and over again in rehearsal, changing things as I forget or alter subconsciously.  I've always been drawn to memorization.  I used to listen to stories on audiocassette and memorize them.  I had this one children's series called "The Great Composers."  I used to listen to it over and over again.  It became, in effect, a completely oral tradition, a series of hero myths, westernized, classicized, internalized, plagiarized,and canonized…
         Note 3
H—When and how does the impulse to archive arise for you? Is it in the very instant? In which case I imagine you living a kind of double life; being while simultaneously acting like archeologist. Asking yourself which moments need to be recorded, preserved. Or is it an afterthought?
T— I think archiving is a constant.  Some of the text I used in Private Country was originally sourced in 2005 from an interview with an archeologist.  I first set that as a vocal composition in 2006… later I started experimenting with recitation of the memorized composition in a very resonant space, which is where I was first able to hear my own pitch fluctuation in my speaking voice… I developed a practice around that recitation and that began to open up the process I used with my ensemble to create these spoken-sung passages for Private Country.  So I was still using part of the original text 8 years after I first acquired it.  Now that I've let go of that text, I'm still using the musical phrasing that I found with it to structure new ideas…that's an example of how archiving or my relationship to my archive is happening constantly inside of my process.Â
         Note 4
H—Working with your brother, archiving moments in your relationship—do you work with that as raw or already composed material, or both?Â
T—So, Ezra and I really played out our relationship on and off stage.  It started with our original conversations… I asked him to help me as "dramaturge", because I thought he was in a unique situation to act as one.  We fought, we played, we analyzed.  No matter what, we couldn't escape our Brother/Sister roles within the piece.  And as far as I was concerned, we didn't have to.  Because we basically made the duet and then worked on it for a year and a half—the progress was internal.  We built up a mythology within what we were doing.  It was supposed to be spare, raw, but also dense with history and context.Â
Note 5 (revised sibling dialogue)
On that note, we find an ending.
Hannah Verrill is an artist living and making work in Chicago, Illinois.
Guest Post by Autumn HaysÂ
Let us start off by acknowledging that there is a distinct difference between Queer and Transgender subjects. It's important not to lump these two together. Though related and often overlapping, these are not interchangeable terms. Queer being a reclaimed pejorative for gay, and transgender being a person whose self-identity does not conform unambiguously to conventional notions of male or female gender. (see more.) With that in mind what I would like to look into a reoccurring concern in the discussions that take place around both queer and transgender performance art.
In the last month I have seen multiple panels touching on the subject of new Queer and or Transgender works. There was a definitive connection between all panels: and attempt to shake up current the definitions, and what some define as new codified zones of safety. When I say zones of safety, I am referring a kind of identity politics that sits safely in a form of expression that is confortable enough for new standards of acceptance. Artworks that sit in this comfort zone fail to realize the full potentiality of the subjects and often begging to forum it's own predictable cliché. The challenging of the formulation of a tamed queerness or transgender performance is an often-highlighted theme appearing in new works. The formulation of a safely circumscribed zone undermines the attempt to reconsider the subject due to an inadequate scope.
Queer and or transgender arts panels often attempt to define the new wave of artists making work in these areas. Today many artists are attempting to define a new direction that departs from the identity work that came out the 80s and 90s. Often these earlier works are ascribed the quality of crying out for recognition. Much of the work being produced today is looking for finer definitions, as opposed to this preliminary awareness.
We could go on to talk about the subject of the word Queer as discussed during the roundtable "New Queer Aesthetics†in late October. Queer New York International Arts Festival (QNYI)  had come to Chicago to exhibit a Queer Fest as an extension of the one in New York at Defibrillator Performance Art Gallery . The Chicago show featured artists Suka Off, Bruno Isakovic, Gabreiela Mureb, and Keijaun Thomas. Queer fest distinctly pulls itself away from other Queer festivals which they feel are accepted ideas of the term Queer. As one of the festivals curators, Zvonimir Dobrović, explained, the festival seeks to redefine and challenge preconceived notions of the term Queer. Not all work is made by the LGBT community and instead is defined loosely by a sort of norm-challenging ascetic. After struggling through various definitions, redefinitions, embracing, rejections, fears of washing out the word of meaning completely, and other post-modern linguistic dilemmas an audience member mentions queerness in regards to race, specifically the colored queer. Why is this important? Because the conversations began to progress from the semanticlogical, what is Queer, to what are current Queer issues are concerned about, who are we dealing with the queer female of color in art today.
This November I attended a panel at the School of the Art Institute of Chicago. Transgender / Arts : A roundtable on the future of transgender cultural production, which  included panelists Trish Salah, Jules Rosskam, Julian Carter, David Getsy, and Micha Cárdenas. During the panel many valid points were made about Transgender art. Micha Cárdenas presented important question to the panel, "Where are the trans women of color in art?†Many of the panelist themselves who specialize in Transgender arts could in fact not think of a single artist. The panel began to discus a kind of film festival, performance and art transgender normative narrative. A washed down version, where you began to see something constrained, not quite all the way there. Sitting in a place somewhere in academia where it is comfortable and safe.
How does performance readjust and challenge Queer and Trans identity without losing site of the community in general? There is something that happens to us when we are about to fully realize the other; we find a way to compromise, to only go so far. Many Queer or Trans artist today are attempting to push at the boundaries of a newly accepted normative narrative and point at the things we are forgetting, those who still don't have a voice. The Art world, the world, is still white male dominated. In a way the lull of sleep we put ourselves in this supposedly post-feminism, post-racism, post- sexism, post-gender issues world that we keep referring to as better than it was before is more dangerous. Because hiding under that comfort is the fact we haven't changed all that much, we should be forging new grounds and making sure it doesn't fall asleep.
If I was asked where the new queer or trans aesthetic is headed today, I would say somewhere within the struggle of continuous disturbance, in the understanding that things aren't there yet and we have to keep shaking it up, shaking ourselves up, so we don't become our own worse enemies, the perpetuators of a normative Queer of Trans identity. As performance art specifically keeps pushing on with another panel at the Hemispheric Institute for Performing Arts, this week discussing "Race & the Colonial Impulse: Queer Performance Practices", I look forward t a continued discussion that bridges gaps in the dialogue between racial queer and transgender issues in the arts.
Autumn Hays is an Artist, Curator, Teacher and Writer. She graduated the School of the Art Institute of Chicago with an MFA in Performance where she received the John Quincy Adams Fellowship. She received her BA in Visual Arts at UCSD. Hays was the recipient of numerous scholarships, grants and awards including two major Jack Kent Cooke association scholarships.Currently she is assistant curator at Defibrillator and Directing Coordinator of the Rapid Pulse International Performance Art Festival. www.autumnhays.com
Endless Opportunities: Call for Proposals and Applications too
November 2, 2013 · Print This Article
1. International Performance festival, Rapid Pulse, is now accepting proposals until November 15th.
DEFIBRILLATOR PERFORMANCE ART GALLERY is now accepting proposals for our third annual RAPID PULSE INTERNATIONAL PERFORMANCE ART FESTIVAL (RP14) to be held JUNE 5-15, 2014. RAPID PULSE aims to represent a wide range of styles and forms of performance art. Contextualizing performance within visual art, RAPID PULSE embraces artists who look to the body, objects, space, and time for inspiration, research, and practice. We are committed to invigorating CHICAGO by bringing to the city artists of exceptional calibre from around the world while also supporting local artists. Dynamic programming, decidedly fearless and unique, aims to provoke thought and stimulate discourse surrounding performance art. more info here.
2. BOULEVART Call for Submissions: Outdoor Installation, Performance, Sculpture
BOULEVART presents art installations and community-based projects in a large front yard along Chicago's historic Logan Boulevard. The outdoor space is located at 2723 W. Logan Boulevard and measures 48 x 60 feet. Water, electricity are available and opening reception is provided. Project affords a $100 honorarium. Send an e-mail with your name, address, phone, project description, images (optional) to firstname.lastname@example.com. Check out Boulevart's tumblr here.Â
3. Corinthia London Artist in Residence 2013-2014 is inviting filmmakers to respond to an application form (below) by December 13th 2013.
This is the third year of Corinthia London's Artist in Residence programme, which each year sees an artist from a different discipline (art, theatre, film, fashion, design, literature) chosen by a panel of judges and create work in response to a brief set by Corinthia London. The application forms will be reviewed by the judges by the end of January with the winner awarded a residency at Corinthia London for approximately one month, between February and April 2013 (depending on the applicant's availability), with £15,000 to make a short film based about The Power of Sleep. During the residency the winner will be tasked with making a film to be screened at Corinthia London early May 2014. Read the prompt, how to apply and more details here.
4. Propose your work for artlab and/or the KRASL Art Center (MI): Deadlines for review are November 15 and March 15.Â
To have your artwork considered for display in the main galleries, please mail the following materials to the Krasl Art Center, attention Curator: Cover Letter, Artist Statement, Current Resume, 12-15 JPEG images. Critical reviews of your artwork may also be included but are not mandatory. // artlab is a venue for all artists who are pushing the boundaries of medium and form. / artlab is a gallery space dedicated to installation, time-based media, sound and light. / artlab is not afraid to showcase the fruit of visual experimentation; it does not require a 'finished product' or an 'established artist'. Go here for more details.


text:
With that said, everything I struggle with in writing about the Obama presidency and race is in this video. It's often said that the Obama family's occupation of the White House is only of "symbolic" importance. I don't believe that's true, but even if I did, I think symbols are really important. An unbroken 200-year plus run of white men in the White House must, necessarily, convey that only people meeting such a criteria need apply for the position.
Evolution of Blog Dancing
Michelle Obama's dance sketch on 'Late Night with Jimmy Fallon' over the weekend was an unfathomable moment just a few decades ago.
- Previous Ta-Nehisi Coates Post Yes, but Michelle Malkin Can't Dance
- Next Ta-Nehisi Coates Post How We Managed to See Your Boobs

subset: commoncrawl


text:
Does anyone know of a good airhead mechanic near or in Miami Florida
Please, and do not tell me John Long's or BMW of Miami, or 441 Cycle. None of them care about old airheads.
Forever greatful!!!
What's going on with your bike?
I'll bet there's someone out there who will help you...
replaced everything
rotor, stator, diode board, regulator...and still the sill little generator light constantly glows red when I accelerate. I can't find a short, and the battery is good. When I put a voltmeter anywhere within a foot of the bike it has this crazy electrical aura that causes the meter to fluctuate wildly. I've tried other meters as well, and they do the same thing!!! I think my bike hates me, which sux because I saved it from certain doom 5 years ago, and will never part with it.
What condition are the brushes in? Are they making good contact with the rotor? The springs bottom out on the holder and there is not enough pressure on the brushes to make good contact with the rotor.
I'd verify continuity or, even better, check resistance between all components in the charging system. Make sure all your contacts are clean and well-conducting without any resistance (except where there should be). All terminals should be bright and shiny. Pull them off to check, brush them with a brass brush and contact cleaner if necessary and put them back together with a dab of dielectric grease. It's not a crazy complicated system and there isn't THAT much there to check. I think with a multimeter, contact cleaner, maybe some parts, and a little wisdom from the old skool you can have this thing charging again yourself.
everything is replaced
I even ran wires from diode board direct to battery (as per Rick of motoelektrik's reccomendation, and it still stopped charging after 10 miles. Wireing harness was checked, connections checked, bmw dealer is stumped. Could it be a short in the instrument cluster? HELP!!!!:cry
I had a very wierd problem also. I checked everything that people said it could be and still my bike wood not charge. It ended up being the wire from the regulator to the back of the diode board. It was heat damaged and barely hanging on inside the plug on the regulator side. It would give good meter readings but not pass any current. It was a very strange issue. Maybe try to check that.
Look up Barnsley Motrwerks in google and call David.
If you look you will find a number.
He is the best I have EVER dealt with! I brought him a non running barn find and he had it running in under a week for less than the cost of parts at the dealership, and he even lubed the brake and throttle cables.
happy riding
The volt meter had a short in it, screwing up everything. Full charging system later the problem is solved. Poor but happy!
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Maroochydore Things to Do
Visit Ocean Street....a surprise
Well those of you who know The Sunshine Coast, Queensland, Australia, and in particular Maroocydore will be amazed at the transformation of Ocean Street....and I am told especially on Friday nights.You will fine cafes and restaurants the like of which you have never seen before in Ocean Street...what a variety.We had heard but today we went to...more
Visit The Wharf Complex
So the complex is a little run down IMO but there are some fun things to do even so.Would you like a meal at the iconic Hogs Breath Cafe...all Aussie....or do youfancy a visit to The Tavern with food and slot (poker) machines to while away some time and cash.Maybe you would enjoy looking at some of the little boutiques such as Marine Dreams or...more
Silva Spoon ..a secret space
There is a cosy little tea and coffee emporium is in Cotton Tree . There is a couch ...we grabbed that...I love couches in coffee/tea shops.2014...Wow...if you are going to indulge they served the most gorgeous piece of banana cake you have ever seen...if one is going to indulge...well do it in style.I had cucumber finger sandwiches but was offered...more
Maroochydore Hotels
Palmer Coolum Resort
I am currently writing from my hotel room here at the Hyatt. Advertised as the number one spa in the...more
Majorca Isle Beachside Resort
We booked a 3 bdr unit with a bedding configuration of 1 queen, 1 double and 2 singles. We confirmed...more
Heritage Motor Inn
Our friends who live "up the road a bit" stayed here for 3 nights just this week (Aug 2009) and...more
Maroochydore Restaurants
Don't miss the fresh seafood
Just a little way from main surfing beach and set amongst the fishing fleet, you will find the wonderful fresh seafood, much of it local and cooked to perfection at "Fish on Parkyn". We keep going back and taking our friends. You are always given a warm welcome from the friendly and efficient staff.There are some really nice wines and the waiter...more
Red Sea Restaurant belittled me. :(
This was the first time my wife and I had gone out of house since the birth of our child, we thought this place looked nice and since it was new we went there to celebrate Valentines day.I ordered a wagyu steak meal medium-rare & my wife ordered the rib fillet steak in medium, they cost $30.50 and $35.00 but both came out well-done.I'm timid so...more
Its the Gypsy in Me
This is not a review ...just a link to a very quaint , charming restaurant you should not miss.Please take a trip up to Montville in the Hinterland and visit this most wonderful restaurant called Gypsy's Plate. If you follow the link you will read all about dining there.Open Wednesday to Saturday for dinner (at night) and Wednesday till Sunday for...more
Maroochydore Nightlife
Nightlife on the Coast
Well around the Coast the young people say there is nothing for them(2009). A picture in the local rag said "all dressed up and nowhere to go" There are nightclubs around Mooloolaba which are well patrolled by security and O'Malley's Irish pub. Not my cup of tea once the disco starts.Caloundra RSL attracts quite a few and as the night gets later...more
The Younger ones go there
On Friday or Saturday night when it is a good LOUD band...you know the disco type .... "a makes you jump and clap hands band".... then the young people flock there. After a Race Day you are lucky to find a spot . They don't arrive early but after 10pm here come the girls in short skirts and high heels and the boys not far behind.Of course...more
Maroochydore Hotels38 Hotels in Maroochydore
1 Reviews
Maroochydore Transportation
Getting Around the Sunshine Coast.
Once you are on the Sunshine Coast (Caloundra to Noosa) or in the Hinterland ,if possible ,hire a car. To me transportation is not easy. Yes most resorts have courtesy vehicles with set routes and some have little "tuk tuk" things to traverse their own grounds. Otherwise it is a bus or a tour, and yes bicycle hire .Our buses go to most places but...more
Shuttle service
There is a shuttle bus from Maroochydore Airport provided for guest staying at the Twin Waters Resort. The distance is only about 7km's.At the resort, there are also guest buggies to take you and your luggage from reception to your rooms.Don't worry if the driver seems to be speeding along the corridors and around tight corners... he does this all...more
Don't Forget Insurance
If your current health insurance doesn't cover you while your abroad, you should consider getting international travel insurance just in case something should go wrong.
Maroochydore Shopping
On The Market Trail 2012
Here are some of the Markets: Noosa Farmers Market 155 Weyba road Noosaville (7am to noon Sundays) 0418769374 Noosa Harbour Marine Village (8am to 2pm Sundays) Peregian Beach Markets (1st ,3rd.5th Sundays) Eumundi Markets (7.30 to 1.30pm Wed and Sunday) Eumundi Pavilion Markets (6.30 to 1.30 Sat. 8am to 1.20pm Wed) Yandina Plant and Produce (6am...more
For That Special Occasion
JA BOUTIQUE AT MOOLOOLABA HAS CLOSEDThe Buderim boutique is still open......Julie Ann has two shops on the coast. One in Brisbane Road, Mooloolaba just down from the beach front and the other in the main street of Buderim, Sunshine Coast.The clothes you will see here are wonderful for going to the Races, Weddings and for Dancing. You should see how...more
Leather shoes...jackets...handbags
You will find some classy yet comfortable shoes...leather jackets...handbags and scarves in this truely delightful shop.Every time I visit Cotton Tree I pop along to see what is on display. Bargains from time to time but always quality.Open every day...photo shows the times..... Average price...this is not a cut price storemore
Maroochydore Local Customs
Best location for your hoilday
Well this is not so easy to answer....depends on you and what you love.......the Sunshine Coast stretches from Caloundra in the south to Noosa in the north with our beautiful hinterland set behind the beaches....the bush behind the beach....We have some really beautiful beaches...and everyone has their favourite...visitors and locals...Some just...more
A Few Things
Through the eyes of my Irish (soon to be Australian) friend I offer the following;We go to bed early ...well many restaurants serve meals 6pm to 8pm so that supports this theory.The streets are quiet very early in the night (This is not King's Cross Sydney)We do not dress for the weather." In Ireland we like to be comfortable" says Bill. Well I am...more
Ask a QuestionGot a question about Maroochydore? Get an answer from our Location locals and frequent travelers
Maroochydore Warnings and Dangers
Mosquitoes and Sandflies
See my Queensland page for details. You could get very itchy or contract a mosquito borne disease if you do not take precautions.Seems as if this is too short.....well it points you to my Queensland page where I have lots of in formation.But no I think the tip is still too short....Maybe now I see how sparse it is not even a photo.....I will look...more
Getting Lost
You can get lost at sea , in cities, in the bush ,in the outback. Night comes quickly...we have little twilight.See my Queensland Travel Page for warnings about getting lost in the bush in Queensland. Just scroll down from this link.You might do well to look at our Australian information in the pages of The_Downunder_Mobmore
Paralysis Tick
See my VT Queensland Travel page for information on the paralysis tick...Just scroll down in the Warning and Dangers section with this link..more
Maroochydore Tourist Traps
$A10,000 meal for 6
We have found a few mistakes on our bill in restaurants over the years and always check carefully.
Just as well, this time we were given an account for 6 people and the total was $10,000.
There were two sheets of very faint print out and the first sheet looked fine as far as our orders went.
But on the 2nd sheet ...well. More than we paid in Jules Verne thats for sure.
And no apology...no free coffee ...just "It must have been the way we entered the ice cream dishes that were off menu.
Oh well $400 or so looked a better bet.
Unique Suggestions: Always look at your bill carefully. Query anything that does not seem correct. If you are the host don't let others in the group take over...It is your telephone number the restaurant have.
Fun Alternatives: If it happens again choose somewhere else to dine.Related to:
- Food and Dining
Maroochydore What to Pack
Mind The Sun and the Jellyfish and Rips
Luggage and bags: A bright colourful beach bag ,waterproofed on the inside, to make a "splash" on the beach. Then one for shopping as we are trying to discourage plastic .
Clothing/Shoes/Weather Gear: Be careful on the rocks or near oyster beds ..can be slippery and oysters can be sharp. Once in a while there will be a "nasty" in the rock pools...a blue ringed octopus for example. Remember too the sun can burn the tops of your feet.
Sometimes we get heavy rain and storms , especially in summer...so a raincoat. And it can be cool especially in air con. Mostly the beach goers dress in light , cool gear but be warned our sun will burn. So protect yourself. Don't forget a hat! Sun glasses and hats will also help protect you in the Spring from the birds who dive bomb to protect their nests.And you will need your swimsuit of course.
Toiletries and Medical Supplies: Basic first aid is a must but then I am a nurse. Something to treat bites and stings. Sandflies can be a problem for overseas visitors and they make you itch. There are doctors and chemists readily available but if you are from another country follow the usual safeguards if you are on prescription drugs.Be aware there are ticks in rain forest areas which can kill small children and animals.
Do not drink/drug and drive.
Camping/Beach/Outdoor Gear: Surf only on patrolled beaches and swim between the flags....check the safe flag colours.
Rips can be very dangerous..ask especially if you are not an experienced swimmer.
Mind the jellyfish. There are deadly ones only they are usually further north.
Road rules apply when driving on the beach in a 4WD of course.
Miscellaneous: Keep your valuables safe. Sand is a problem it gets in everything and thieves are around on the beautiful beaches...worse luck.
Do not stay out in the sun too long.
And never dive into water till you make sure the water is deep enough.Related to:
- Budget Travel
- Beaches
Maroochydore Off The Beaten Path
Have a Hair Cut
It is off the beaten track because you may never find this place without me. Hidden away in an arcade at Cotton Tree not far from Maroochydore CBD is The Cotton Tree BarberJust look at the Barbers Pole and the decor. Smashing.Well I do not know about his hair cutting skills...but they line up for him.King Street, Cotton TreeHe is open Sunday...more
Visit Cotton Tree Markets
First of all Cotton Tree is a delightful little spot...coffee shops...a tea shop and then an array of clothes stores to tempt you.But on Sunday morning come along to the Markets. The main street is closed off and everyone is sitting around enjoying breakfast or else strolling around the market stalls.more
OP Shops Galore
Well if you enjoy going on the op shop trail there are quite a few about. You will see a couple as you drive along Aerodrome Road .But there are a couple hidden away.The Maroochy RSL is in 1st Revenue...use your GPS and right close by is Bloomhills...quite a good one to visit. Fancy a bit of a drive...head to WoombyeAnother more secret place for op...more
Maroochydore Sports & Outdoors
Maroochy River Trail
Today I discovered part of The Maroochy River trail. I was out taking photos of Dunethin Rock where many years ago I rode horses and I found the trail.
Maroochy River Trail
Maroochy River kayaking
"The Maroochy River Trail is part of the Strategy for Regional Recreational Trails in South East Queensland and was funded, in part, through a $500 000 grant from the Queensland Government. Council delivered the trail in partnership with the Queensland Department of Local Government and Planning (formerly the Department of Infrastructure and Planning).
The Maroochy River Trail provides visitors to the Sunshine Coast with another quality outdoor experience, that supports eco-tourism within the regional economy. The trail provides visitors with a journey of discovery through the beautiful river landscape that historically provided residents with a route between the hinterland and the coast."Related to:
- Kayaking
- Sailing and Boating
Maroochydore Favorites
Churches can be like ATMs
Favorite thing: You can go to church but churches can be like ATMs difficult to find when you need one.
So I have compiled a list on my Buderim page of all the Churches I could find in the Buderim area. So if you are in Maroochydore, Mooloolaba or Cotton Tree you will find Buderim is not far away or my tip will give you a "lead" with telephone numbers.Related to:
- Budget Travel
- Family Travel
Instant Answers: Maroochydore
Get an instant answer from local experts and frequent travelers
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Explore Deeper into Maroochydore
- Sunday Morning Breakfast At Cotton Tree
- Things to Do
- Go Out with Lively Fish
- Things to Do
- Nude for Breakfast
- Restaurants
- Spanish with a modern twist
- Restaurants
- A taste of Mexico
- Restaurants
- Maroochy Tourist Information Centre
- Things to Do
- Opera at Bli Bli Castle.
- Things to Do
- Buy a pizza at Luckys & watch the cars go by.
- Things to Do
- TWO Little Places Side by Side
- Restaurants
- Contemporary twist on the classic steakhouse
- Restaurants
- Hidden on "The Wharf"
- Restaurants
- Fresh as a Daisy
- Restaurants
- Visit Buderim Mountain
- Things to Do
- Hire a Boat
- Things to Do
- Visit my Queensland Page
- Things to Do
- Visit the Maroochydore Shopping Complexes
- Things to Do
- Thai .. a bit different
- Restaurants
- Maroochy Bushland Botanic Gardens
- Things to Do
- Maroochy Bushland Sculpture Garden
- Things to Do
- The Younger Group have Stolen the Show
- Restaurants
- Italian Trattoria by the water
- Restaurants
- Ewen Maddock Dam and Recreation Area
- Things to Do
- The Krass Locomotive in 2009
- Off The Beaten Path
- Things to Do
- Things to Do
- Things to Do
- Things to Do
- Stingers in the Surf
- Warnings and Dangers
- Shopping
- Things to Do
- Things to Do
- Buderim-Palmwoods Heritage Walking Track
- Off The Beaten Path
- Swim Between the Flags
- Warnings and Dangers
- Danger in Rock Pools
- Warnings and Dangers
- Lock Your Car
- Warnings and Dangers
- Find Charlie Moreland Park
- Things to Do
- Australia Day Parade Buderim
- Things to Do
- Birds that dive bomb you
- Warnings and Dangers
- Outlook to pool and lagoon
- Restaurants
- Pool and lagoon
- Things to Do


text: Four years ago, I had the great privilege of standing alongside an amazing leadership team in New York City as Boingo rang the NASDAQ opening bell in celebration of going public. As anyone involved in a venture-backed business will tell you, the road from start-up to IPO is incredibly difficult. In fact, only 5% of VC-backed companies ever go public. So the fact that Boingo succeeded where so many others have failed was not simply the result of a great idea, good timing, sound leadership and patient investors. It included plenty of luck, too. And believe me, every one of us who had a hand in Boingo's journey from start-up to IPO felt very lucky that day. But in many ways, it was a day like any other. That's because – as I shared with our team many times – "going public" was never Boingo's ultimate goal. It was just one more step in the ongoing journey of building a great company. That's really important. Because if we felt we'd "arrived" on May 3, 2011, then we wouldn't have been prepared to take on the significant headwinds that blew our way not long after going public. Boingo was built on


text:
Originally written on Fox Sports | Last updated 3/21/13
Free agent defensive end Frostee Rucker has agreed to a one-year contract with the Arizona Cardinals. Rucker started all 16 games with the Cleveland Browns last season, with four sacks, a forced fumble and a pass defensed. His 48 tackles were third-most on the team. Rucker joined the Browns last season after six years with the Cincinnati Bengals. He was a third-round draft pick of the Bengals out of Southern California in 2006. In his career, Rucker has played in 69 games, 35 as a starter, with 11 sacks, four forced fumbles, three fumble recoveries and one interception.
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text:
over 2 years ago in collection: Art
Hi I'm Kaylee, or KJ, or Bunny, what ever works for you :). I'm 18. I am a poet and I know it. I love to read, write, sing, dance, and act :)
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text:
Hi my name is Ginanjar :o I've known a cosplay since 2004 ^o^ I live in Surabaya East Java Indonesia ;) i will following all of you ... ^^; heheheheheh.... nice to meet you cosplayers :p WOW new fitures!!! chatting!! :v let's chatting everyone!! XD~~ sorry if my english is bad :'(
Hello beautiful people ,i'm brazilian cosplayer I hope you like my cosplays and <3 my photos XD espero melhorar cada vez mais *--*
Olá eu sou a Beatriz e sou nova cosplayer, espero que gostem das minhas fotos
Hi! My name is Erika Ayumi. I'm from Japan, I live in Brazil since 2006 and cosplayer since 2011. I hope you enjoy my cosplay photos (*´v`*) 日本出身、ブラジル在住のレイヤーでございます(*´v`*) ジブリ、ディスニー、ニトキラ、銀魂、HxH、BLOODシリーズとか好きです。 流血表現多いかもしれません。 よろしくお願いします☆ Facebook > https://www.facebook.com/erikaayumicosplay
hi, my name is Jorge Bringel and i'm a cosplayer since 2012, i enjoy animes, mangas and video games, hope you enjoy my world cosplay photos and progress ^^
【Lockerz profile】: http://lockerz.com/u/20305075?ref=20305075 【Facebook profile】: https://www.facebook.com/auristela.luana 【Pinterest profile】: http://pinterest.com/aurichan/ 【Twitter profile】: https://twitter.com/Auri_Chan 【DeviantART】: http://tecatsuki.deviantart.com/ 【Ask profile】: http://ask.fm/AuristelaLuana
Hello there everyone! My name's Lillian but my friends call me lilicy, i've been cosplaying since 2009 but in the last 3 years i made more time to this hobby, hope you guys like my pictures and follow my cosplay progress *A* thank you my friends
My name is Tul Penname : Coffee Princess Cosname : Alluka Chan I like anime and cosplay. I also love to writing fiction and listening music. My favorite anime is Katekyo Hitman REBORN! My Cure: http://en.curecos.com/profile/?ch=360787
{cosplayer since 2011 ≈ o(≧▽≦)o DeviantArt: http://kirajoe8.deviantart.com/ Instagram: https://instagram.com/eyra_8/
hi, I'm saga, very nice to meet them welcome!
Hi guys ! My name is Gabriela, but you can all call me Gabi or Hiru. I'm a brazilian cosplayer. I started cosplaying in 2011. I hope you enjoy and follow my work! Facebook : https://www.facebook.com/hirunocosplay
Tumblr: http://jenniferjuliet.tumblr.com/
Hi ^^ My name's Gustavo, i'm brazilian and i'm cosplayer two year. My first cosplay is "Shinigami - Sama" from "Soul eater" I did not feel very safe with this cosplay but I liked to use - it. Anyway, hope you like :3 https://www.facebook.com/GustavoCosplay
Olá!! Acho o cosplay uma coisa incrível! Ainda estou começando, mas espero poder sempre faze-los cada vez melhor. Os meus fandoms preferidos são: Kuroshitsuji - Fairy Tail - Clamp - Yaoi - Bleach - Ouran - Magi - Ao no Exorcist - Tiger & Bunny
Yoh (^-^)/ meu nome cosplayer e Rodrigo shiryu adoro fazer cosplay e trabalho como cosmaker! espero fazer amizades pelo mundo cosplay My name cosplayer and Rodrigo Shiryu love cosplay and work as cosmaker. I hope to make friends around the world cosplay. ~( ^u^) ADD my facebook : http://www.facebook.com/animenewhouse ADD My Face-Photography: https://www.facebook.com/animenewhousejapan beijos e abraços... Nyuh ~( ^o^)9 Kissu Hugs


text:
Knight, Thompson steal the show at the Kreul Classic
Originally Published: December 23, 2008By Reggie Rankin | Scouts Inc.
CORAL SPRINGS, Fla. -- The Kreul Classic is one of the most prestigious invitational tournaments in the nation. It features 24 boys (16 and 8 team brackets) and 8 girls' teams from around the country. Proceeds from the 19-year-old event is a go to charity. The Classic provides full tuition scholarships to Florida Atlantic University and numerous monetary awards to students in need. Director Jim Reilly and the volunteer staff did a terrific job with this event that goes toward a great cause.
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text:
MASH fundraiser
Date posted: August 26, 2014
SHERIDAN— Powder Horn Kadies Golf Association and Sheridan Memorial Hospital Foundation are teaming up for two fundraisers next week. The events benefit medical advancements for Sheridan Hospital, or M.A.S.H. On Friday at 6 p.m. at the fairgrounds, there will be live music by Sidetrack, a buffet dinner from Big Horn Mountain Caterers, plus auctions. Tickets are $50 per person and you can get them by calling 673-2417. On Saturday, Sept. 6 at the Powder Horn golf course, there will be an 18-hole women's scramble. No handicap required and tee time is 8 a.m. For more infor go to www.sheridanhospital.org or call 673-2417.
Copyright © 2015 The Sheridan Press or Sheridan Newspapers, Inc.
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text:
will this fit ipod touch 5th gen?
will this fit ipod touch 5th gen?
- Asked by Marshall M from Beamsville
Olloclip Quick-Connect Lens Solution for iPhone 5
Product No Longer Available
3 Answers from the Community
Best Answer:
Hey Marshall, I can confirm it fits the iPod touch 5th Gen. It does indeed come with an adapter in the packaging and it even says so on the box.
- Answered by Akash M
The product's manufacturer's website at www.olloclip.com indicates that it comes with an adapter clip that will allow it to work with iPod Touch 5th gen. Could someone confirm that the Apple store version of the product also contains the adapter clip? Worst case, the adapter is available right from olloclip.com for $9.99
- Answered by Kent M from Edmonton
In the Flipcase version which I purchased there are adapters which allow you to use this with the iPod Touch.
- Answered by Russell B


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You can now invite anyone to meet at your favorite Starbucks.
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49 year old woman | Pittsburgh, PA, USA | Seeking men 45-50 within 50 miles
How are you?
Have you been there, done that, got the tshirt, still have it? Me too. I think beauty is in the eye of the beholder, and no one is perfect or always right (least of all me). I know what I like, what I don't like, and what I want. What I don't want is someone who wears more jewelry than I do, is not exactly tall, lives to ride and rides to live, and holds his eating utensils like a shovel. He must be gainfully employed, somewhat emotionally and financially stable, and hopefully his prior bag(gage) is packed and left elsewhere. He must also not take this whole dating site too seriously and take it for what it is. I want to meet people and make new friends, but my ultimate goal is my last "forever" relationship. If nothing else, I can be a great friend. Also - - this is very important to me - - I will drink alcohol socially but I am not a big drinker. If you drink consistently every night and cannot hold your alcohol - - including in or out of the bedroom - - we will probably not be a match. If you do recreational drugs of any kind, we definitely are not a match. I say what I mean and mean what I say. I'm talkative (sometimes too much, which is amusing to some, annoying to others, but do know when to keep quiet), witty and quick on my feet (I will make you laugh), and intelligent. Some call me impatient and a bit stubborn, I say I'm just passionate about what I believe in. I am also a great listener, and will help anyone at any time...especially family and friends that I love. I'm loyal to a fault. Oh, and p.s., I shouldn't have to say this but I will: If you're married, keep moving and don't waste my time. I have little tolerance for superficial people. If this means you, please walk on. All that said, though, I am fairly easygoing believe it or not, and I do not like to argue. Why waste energy on being negative? But, I'm not a pushover, and will let it be known if I am unhappy or annoyed. Then, I'm over it. You will never have to guess what I'm thinking in that regard. I want to enjoy, and be enjoyed. Anything else is just gravy. My serious, long-term relationship ended last Fall for good. I've dated since then, but nothng too serious. I'm ready to try again. Are you?
Camping , Coffee and conversation , Business networking , Dining out , Fishing/Hunting , Gardening/Landscaping , Hobbies and crafts , Movies/Videos , Museums and art , Music and concerts , Exploring new areas , Nightclubs/Dancing , Performing arts , Shopping/Antiques , Travel/Sightseeing , Video games , Wine tasting
Baseball, Cycling, Football, Other types of exercise, Swimming, VolleyBall, Walking / Hiking
I exercise 3-4 times per week.
I like Dogs, Horses
Middle of the Road
Z{{Cta}} {{#if HasMoreInfo}} ?{{CtaSecondary}} {{/if}}
|What she is looking for
|5'5" (165cms)
|5'9" (175cms) to 8'11" (271cms)
|Body type:
|About average
|No preference
|No preference
|No preference
|No Way
|No Way, Yes, but trying to quit
|Social Drinker
|Social Drinker, Moderately
|I'll tell you later
|No preference
|$75,001 to $100,000
|No preference
|Never Married, Widow / Widower, Divorced
|Have kids:
|No preference
|Wants kids:
|Not sure
|No preference
|White / Caucasian
|White / Caucasian
|Christian / Catholic
|Christian / Catholic, Christian / Protestant
|English, Other
|Graduate degree
|Some college, Bachelors degree, Graduate degree, PhD / Post Doctoral