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- Willamette
- Athletics
- News Archive
- 2013
- Bearcat Midweek Update
Volleyball | Wednesday, November 6, 2013
With Momentum on Their Side, Bearcats Look to Finish Season Strong
Team has Won Five of its past Seven matches heading into Final Weekend
SALEM, ORE. -- After closing the 2012 season by winning seven of 12 matches, the Bearcat volleyball team is at it again in 2013.
Consecutive 3-0 shutout wins over Lewis & Clark College and Pacific University have propelled Willamette to fifth place in the Northwest Conference standings. With a 7-9 conference record, the team is just a single match out of third place.
After dropping four consecutive matches from Sept. 28 through Oct. 11, the Bearcats have stormed back with five wins in their past seven attempts. The team's efficiency has also increased, as Willamette has jumped out to a two-set to nothing lead in its past four matches.
During last week's sweep, the Bearcats received vital contributions from all over the court. Shannon Waltz (Sr., MH, Honolulu, HI/La Pietra School) registered 19 kills without making an error for a .528 hitting percentage, while Sarah Fincher (So., OH, Reno, NV/Bishop Monague/Southwest Baptist Univ.) ended the week with 28 kills.
Senior setter Emily Compton (Portola, CA/Portola HS/Boise State Univ.) tallied 71 assists, including an average of 13 assists per set last Wednesday against L&C.
Willamette aims to keep its momentum rolling heading into the final weekend of action.
The Bearcats kickoff the weekend at home on Friday night, Nov. 8 against the University of Puget Sound. With Friday serving as the Bearcats final home match of the season, the team's five seniors will be honored for their contributions to the program at the conclusion of the match.
The 'Cats will then hit the road on Saturday, Nov. 9 as they oppose George Fox University in Newberg, Ore. Willamette defeated the Bruins 3-1 at Cone Field House on Oct. 12. Both matches this weekend are slated to begin at 7 p.m. (PST).
Willamette vs. Puget Sound
Cone Field House
Friday, Nov. 8, 7 p.m.
Willamette at George Fox
Newberg, Ore.
Saturday, Nov. 9, 7 p.m.


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Fast Forward
Cars 2 Raoul Caroule Lunch Bag
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Description: Are your little tikes obsessed with Disney's Pixar movie 'Cars'? Then they're sure to love this 'Cars 2' inspired Raoul Caroule character lunch bag! Watch their faces light up with excitement as you fill this lunch bag with their favorite treats!
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Gear Question
Is this helmet good to use in a road...
Is this helmet good to use in a road race?
Sure, any helmet would be good. Pretty sure you only have to wear a helmet. Shouldn't matter the style. I think you have to get pretty serious in racing for aerodynamics to be a legitimate concern. Besides, this is what helmets used to look like, the helmets that pro racers wore(sometimes).
View More Details on Giro Reverb Helmet


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Clay Aiken
Name: Clay Aiken
Age: 35
Place of birth: Raleigh
Career: Singer and activist
Education: Bachelor's degree from UNC Charlotte in special education
Previous elected offices: None
Aiken has worked as a political activist since shortly after he rose to fame in 2003 through "American Idol." His most frequent causes have been supporting autism awareness, gay rights and access to education in impoverished countries.
He was appointed to the Presidential Committee for People with Intellectual Disabilities in 2006 by President George W. Bush. He also co-founded the National Inclusion Project, a charitable foundation that provides summer camps for children with autism and awards volunteers who work with disabled children.
He also worked with UNICEF from 2004-08, traveling internationally to raise money and awareness for childhood education in countries stricken by war or poverty, such as Uganda, Afghanistan, Somalia and Mexico. He also traveled to Indonesia to call for efforts and funds to restart schools after the tsunami of 2004, which killed more than 200,000 people.


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Page 46 of 62:
January 10, 2011
Cavalieri Repeats At TLR Supercross Series
Category: Race Results
Just last week Team Associated's Ryan Cavalieri started out the year with a double victory at the TLR Supercross Series at West Coast R/C Raceway & Hobby Garage in La Mirada, CA. The second round of the series is now in the books and again Cavalieri and his Factory... (read more)
January 7, 2011
Check out the Rockstar Energy Lucas Oil Challenge Cup this Saturday on CBS!!!
Category: Lucas Oil Off-Road Racing Series
This is the big one where Team Associated's Kyle LeDuc takes home a total purse of $40,000 after winning the Super Lite and the Pro 2 Unlimited vs. Pro 4 Unlimited classes of the 2010 Rockstar Energy Lucas Oil Challenge Cup! This is definitely a race you don't want to... (read more)
January 6, 2011
January Race Schedule
Category: Past Events
See the team in action at the following race events:
Winter Midwest Championship - Electric
CRCRC - Columbus, OH... (read more)
January 5, 2011
Christmas Race
Category: Race Results
rcIDT, Switzerland's newest indoor dirt track (http://rcidt.ch/), was host to the December 11 Christmas Race, sponsored by HRC Distribution and rcIDT.
Patrick Hofer's Reedy-powered B4.1 and B44.1 seemed to be unbeatable. He dominated the qualifying with three wins in each class, followed by Matthias Meier and Robin Frischkopf. But a... (read more)
January 4, 2011
Indoor Winter Championship Race
Category: Race Results
It was the third Indoor Winter Championship Race in Stans. The track had a lot of traction and the competitors like Mark Heim and Khounmy Bui were very fast.
After the three qualifying rounds Olivier Merminod managed to secure the pole position with his Associated 12R5.1. He won all of... (read more)
January 3, 2011
Cavalieri Starts Out 2011 With A Double Victory
Category: Race Results
As the new year breaks in 2011, Team Associated's Ryan Cavalieri joined 230+ of his fellow racers for the first round of the TLR Supercross Series at West Coast R/C Raceway on Sunday January 2. Gearing up for the Reedy Race to be held at the same facility at the... (read more)
December 29, 2010
Keven Hebert Signs Contract Extension
Category: Announcements
Keven Hebert has re-signed to run Reedy LiPo batteries, Team Associated's TC6 and 12R5.1, and LRP brushless systems for the next two years.
Reedy department manager Rick Hohwart was excited to be able to continue working closely with Keven, saying, "Keven is not only a driver who can win races,... (read more)
December 28, 2010
Reedy/Team Associated are Victorious at Midwest Grand Slam Round 2
Category: Race Results
Round 2 of the Midwest Grand Slam was held December 10-12 at MSI Raceway in Detroit, Michigan. The schedule called for practice on Friday, three rounds of qualifying on Saturday, with the final round of qualifying and the main events on Sunday.
Reedy/Team Associated factory driver Keven Hebert was the class of... (read more)
December 28, 2010
1st Annual Toys For Tots Race
Category: Race Results
Novice Class... (read more)
December 15, 2010
Team Associated's Kyle LeDuc wins big in the 2010 Rockstar Energy Lucas Oil Challenge Cup!
Category: Lucas Oil Off-Road Racing Series
Team Associated's Kyle LeDuc takes home a total purse of $40,000 after winning the Super Lite and the Pro 2 Unlimited vs. Pro 4 Unlimited classes of the 2010 Rockstar Energy Lucas Oil Challenge Cup!
Be sure to catch all of the action of the Lucas Oil Off Road Racing... (read more)
December 13, 2010
Mike Garrison Wins 2010 Fall Offroad Championship
Category: Race Results
The 2010 Fall Offroad Championship was held at the RC Race Barn in Jefferson City, MO this past weekend. Action-packed racing characterized all classes, but the closest race of them all came down to 2WD Mod Buggy.
As the tone sounded for the A Main, TQ Lendel Smith, Mike Garrison,... (read more)
December 5, 2010
Cavalieri & Due Victorious At Spektrum Off-Road Challenge
Category: Race Results
As the 1:10 electric winter racing season kicks off, the Spektrum Off-Road Challenge, hosted by Trackside Hobbies in Brookfield, WI got things underway with over 300 entries for the three day event. Friday's schedule had one qualifier with the three remaining rounds of qualifying on Saturday and concluding with main... (read more)
November 29, 2010
Olivier Merminod Takes Niklaus GP with his RC12R5.1!
Category: Race Results
The Niklaus GP is a well-known Grand Prix in Switzerland with team drivers such as Daniel Fankhauser, Noldi Baumann, Markus Greter, and Olivier Merminod participating. In the 1:12 category we expected a rousing fight.
HRC team driver Olivier Merminod showed excellent speed in practice with his Associated RC12R5.1. He, Noldi... (read more)
November 24, 2010
Fasol-Associated Cup
Category: Race Results
This last weekend, the AMSA track site in Barcelona, Spain held the first of three races for the Fasol-Associated Cup. Thirty-two drivers competed in the race's format of three qualifying and three finals, 7 minutes for each race.
For Final A, competition was tight between Juanma Lerma and Carlos Pineda,... (read more)
November 23, 2010
Chris Pace Wins Georgia Championship Series Finale
Category: Race Results
This past weekend was the finale of the Georgia championship series in Savannah Georgia at Score Raceway. Chris Pace traveled down from Charlotte North Carolina with his Reedy powered RC8B to contend for the win against some of the East Coast's finest racers. With the likes of Barry Pettit... (read more)
November 23, 2010
North American Distributors added to site
Category: Announcements
We've added a list of North American Distributors to the site. If you are a Retail Hobby Shop in the United States or Canada looking to purchase Team Associated products for your store, a distributor list is available in Word and PDF formats below. This listing is available under the... (read more)
November 22, 2010
Hartson & Jandrakovic Fall Classic Champions In 2wd, 4wd & SCT
Category: Race Results
Event Highlights
> Format - 4 rounds of IFMAR qualifying, Triple A-Mains
> Factory driver Steven Hartson battled with local drivers Cody Hollis and Cody Jandrakovic (Team Associated) for Top Qualifying honors in 2wd and 4wd Modified
> Hartson did the double victory by winning both 2wd and 4wd Modified... (read more)
November 22, 2010
Congratulations to Team Associated's Justin Barcia the 2010 King of Bercy!
Category: Race Results
Team Associated's Justin Barcia is crownd the King of Bercy riding his GEICO Honda CBF450R to 1-5-1 victory in Paris, France last weekend. Check the link below to get the full story. (read more)
November 21, 2010
Team Associated Goes 10 For 10 at the 2010 Region 4 Championships
Category: Race Results
Once again the Region 4 Championship was hosted in Coral Springs, FL at one of Florida's premier tracks. The CSRCCC club ran an outstanding program and supplied the best racing surface on the planet. The layout was fast, flowing, and had plenty of elevation changes, which made for some great... (read more)
November 20, 2010
2011 AE Hats
Category: Latest Products
Team Associated proudly releases its all-new 2011 flatbill hats! Black with a blue-trimmed white Team Associated logo, these FlexFit Technology hats come in two sizes: Small/Medium (6 7/8-7 1/4") and Large/X-Large (7 1/4-7 5/8"). (read more)
Page 46 of 62:


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Four to Compete at Fort Benning World Cup
MORGANTOWN, W.Va. – Three members of the National Champion West Virginia University rifle team, along with coach Jon Hammond, will compete at the International Shooting Sport Federation (ISSF) Fort Benning World Cup, March 28-April 4, in Fort Benning, Ga.
Juniors Maren Prediger (Germany), Ziva Dvorsak (Slovenia) and Meelis Kiisk (Estonia), and coach Hammond (Great Britain) will shoot for their home countries.
Prediger, a Petersaurach, Germany, native, and Dvorsak, a native of Ljubljana, Slovenia, will compete in the women's 10m air rifle on March 29. Dvorsak also will compete in the women's 50m 3 positions competition on March 31.
Kiisk, a native of Paide, Estonia, will shoot in the men's 10m air rifle tomorrow, the men's 50m rifle 3 positions on March 30 and the men's 50m rifle prone on April 2. Hammond, a native of Aberdeen, Scotland, will compete alongside Kiisk in the men's 50m rifle 3 positions and 50m rifle prone.
This week's world cup is the first of the season for international shooting. The competition is the first for the Mountaineers since the squad won its second straight, and nation-best 16th, NCAA title on March 15. Prediger, Dvorsak and Kiisk all shot at the NCAA Championships, with Prediger finishing second in air rifle and Dvorsak place third in air rifle and seventh in smallbore.
Womens Soccer: Kadeisha Buchanan Press Conference
Big 12 Media Days: Dana Holgorsen
Women's Soccer: Amanda Hill and Mocha
Big 12 Media Days: Nick Kwiatkoski
Football: Dana Holgorsen on ESPN
Big 12 Media Days: Day One Report


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Hang tight!
Recipe by amy
"This salad is a summertime pleaser. Every time I take it to a barbeque or gathering, everyone wants the recipe. Simple and quick to make with just a few ingredients. Everyone will love it! Can eat right away but the longer it sits in the refrigerator the better it tastes. I like to make it the day ahead of when I am wanting to serve. Enjoy!"
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1 cup
2 tablespoons
2 tablespoons
1 tablespoon
white sugar
salt and ground black pepper to taste
4 (8 ounce) cans
dark red kidney beans, drained and rinsed
hard-boiled eggs, chopped
green bell pepper, chopped
1 small
red onion, chopped
I made this because I remember my grandmother always having it at picnics. I took it to a pot luck and it was a rave !! I did substitute 1/2 of the mayo with greek plain yogurt.
This was so tasty and very quick & easy to prepare. Next time I'd probably do half yoghurt. This will be a winner for barbecues.
7 Ratings
Good! I added a little sweet relish and left out the onion and it was delicious. Will definitely make again.
I added chick peas
Very good recipe. Definitely make it ahead of time because it tastes much better after a day or two.
I found that making it per recipe it comes out quite bland for my tastebuds. However, I rated it 4 stars because it's a great combo that can easily be tweaked to greatness. I added 6 TBS of vinegar and 6 pks of nutrisweet, plus LOTs of salt and pepper. ( I added it 2TBS of vinegar at a time and kept tasting it until it tasted the way I thought was good) The basic recipe does have a hint of the sweet and sour, but it's very faint. I think using the greek yogurt with it's tanginess would help. I suggest making it with 1/2 yogurt and otherwise per recipe, then just tweek it until it has the taste you like. Certainly a healthy dish. Thank you for sharing it.
Yummy! I also used 1/2 cup of yogurt and 1/2 cup mayo..did not have milk so used coconut milk and it still tasted great! Thanks Amy!
* Percent Daily Values are based on a 2,000 calorie diet.
Amy's Kidney Bean Salad
Serving Size: 1/8 of a recipe
Servings Per Recipe: 8
Amount Per Serving
Calories: 365
Calories from Fat: 237
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A mayo-free salad perfect for large family gatherings and picnics.
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A flavorful cold bean salad with garlic, lemon, roasted red pepper, and mint.


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Tim Burton interviewed by Gavin Smith
THE HOLLYWOOD SIGN up in the hills recedes rapidly into the darkness of a stormy Los Angeles night as the camera pulls back over the rain-swept city and pans down to a skid row theatre, venue for the premiere of a play by Edward D. Wood, Jr. This outrageous model-shot opening is part of Tim Burton's signature-his way of establishing unchallengeable control of the domain of each film, defining its reality as a privileged imaginary landscape of eccentric, mannered artifice. It's also pure mise-enscene: the distance this shot puts between Hollywood and Ed Wood the man will remain fixedly out of reach, ironically sanctioning Ed Wood the film, a sort of secret history of cinema, to perform the miracle of belatedly delivering the World's Worst Director to his promised land. Wood's films raise a lot of questions about cinema, and the EXIT sign used to answer most of them, so it's apt that in the end Ed Wood circles back triumphantly to another stormy night to allow Wood to exit the theatre justified, the premiere of his magnum opus, Plan Nine from Outer Space unspooling.
Like Quentin Tarantino, Burton is a cinema true believer and avid fan turned artist, and by recasting Wood as a naïve auteur wannabe whose ineptitude produces inadvertent art, Burton proposes Wood as a patron saint of movie junkies, raptly mouthing his own films' dialogue Rocky Horror-style, his own number one fan. Wood's idolization of fellow pariah Orson Welles and the splendidly unforeseen audience with Welles that the film grants Wood combine to move beyond affectionate tribute to bestow him with unlikely, surreal grace, adding luster to the Wood myth. An alternate title might be It's All True, since much of it is.
Welles's gospel-"Visions are worth fighting for. Why waste your time making other people's dreams?"-and the cast-and-crew baptism that is a precondition for the financing of Plan Nine simply the possibility of salvation through cinema that seems natural given the religious undertones of Burton's latter oeuvre (the gothic monumentalism, the almost Old Testament moral gravity). Burton's films all contemplate in near-sacred terms imagination's attempts to negotiate the mysteries of life, death, and the human need for love that fills the interval between them. Wood is a variant, like The Penguin, Edward Scissorhands, and Beetlejuice, of the irrepressible outsider who will not be denied.
Fifties retro-hip as Ed Wood is, its vindication of mediocrity is very modern, not merely for its fringe/subculture cachet but because Wood's style is akin to, even inspiration for, the Abject Art aesthetics of artists like Mike Kelley, Candyass, and Sean Landers, who privilege the pathetic, the infantile, and the banal as the semantic DNA of contemporary art practice. But Burton is less invested in this than in the same sense of loss-for a bygone era, for outcasts and misfits-that distinguishes Edward Scissorhands and Batman Returns. The Wood-Lugosi relationship, easily imagined under the circumstances as one of sad mutual exploitation, is idealized with breathtaking conviction as a father-son or mentor-student dynamic, all the more poignant for the realization that the declining Lugosi (magnificently incarnated by Martin Landau in a performance that Academy Awards were made for) foreshadows Wood's own eventual fate.
Up until Edward Scissorhands, Burton's work was distinguished by a flip hit-and-miss postmodernism: his mining of the outlandish potential of makeup effects; special effects, and production design suggested a sui generis cinema of cartoon-macabre, its aesthetics equal parts joke shop, theme park, and pop. The willful lack of visual or tonal consistency in Pee-Wee's Big Adventure and Beetlejuice and their gleeful inversions of convention indicated a genuinely anarchic sensibility. By Batman it was evident that narrative came a distant third, behind Burton's inventive visual gags and designs and his interest in the psychotic triangular play of identity and desire between Batman/Bruce Wayne, The Joker, and Vicki Vale. The Batman-Edward Scissorhands period represents a significant transition phase from which Burton emerged with much increased stylistic control, and there can be no underestimating the importance of key collaborators such as composer Danny Elfman, screenwriter Caroline Thompson, cinematographer Stefan Czapsky, and Batman production designer Anton Furst in cementing the Burton aesthetic. From Scissorhands on, Burton's visuals are markedly more specific in terms of composition, choreography, and cutting and much more unified in terms of tone and style, achieving a precarious balance between anarchy and order.
prodigal son returned to the fold with Tim Burton's The Nightmare Before
Christmas (directed by Henry Selick, Burton co-producing), and there was
even talk of Burton designing theme park rides in the future. Beetlejuice
at any rate suggests a distinct ambivalence towards the theme-parking
of America, but has Burton resolved the riddle of corporate sponsored
pop art? Ed Wood begs the question in the implicit contradiction between
Burton's commitment to the purity of the artistic vision and his affection
for B movies with their bottomline exploitation mentality. In any event,
Ed Wood is an immaculately executed metacinematic feat, rich with unexpected
sentiment and comic pleasures, which simultaneously redeems Wood and confirms
Burton's artistic maturity.
Q. Is there a sense of wish-fulfillment about Ed Wood? Do you wish you could have been a director of horror and sci-fi B movies in that era?
A. Oh yeah. That's what I grew up on. I don't know what it was, maybe the movie theaters in my immediate surrounding neighbourhood in Burbank, but I never saw what would be considered A movies. It's like folk art vs. fine art: rather than this finely brushed painting, it's more of a broad stroke kind of thing. There's a roughness and a surprising nature to most B movies that you don't get in classic films-something more immediate. I never chose those movies to leave impressions in my brain, they just did. Why do certain things remain with you? I remember a lot more images from those movies than I do from even Citizen Kane, which has incredible images. For some reason, the images from The Brain That Wouldn't Die are stronger in my head.
Q. Although I laughed at Wood's Plan Nine from Outer Space and Glen or Glenda? now and then, overall their pathetic, desperate mediocrity depressed me.
A. I agree with you. They are depressing. Obviously they're bad, but they're layered in a way, to me. They're long, they're kind of unbelievable, and there's this denial, which we all go through. Wood did have this perverse optimism. . . I could relate to that in terms of, when you're making a film it's like doing a painting: you have this weird sense of power and energy, and you feel - and you should feel - like you're making the best movie ever made. In fact you could be making the worst, and that could happen to anybody. It happened to him in its purest form; his work is purely "bad:'
Q. Do you see anything good in his work?
A. The films are unusual; I've never seen anything like them, the kind
of bad poetry and redundancy-saying in, like, five sentences what it would
take most normal people one, which I can also relate to. (Laughs) Yet
still there is a sincerity to them that is very unusual, and I always
found that somewhat touching; it gives them a surreal, weirdly heartfelt
feeling. And there's this overly heavy emotional air, a kind of out-of-it
quality. I think these people were all out of it, which creates this feeling
of doing something from the unconscious. And with the people in the movies,
there's a weird consistency. How do you get this collection of peopie?
It's like the reverse of a group of artists who get together in Paris
at certain times in history when so-and-so was hanging out with so-and-so.
This is like a bad version of that.
Q. What kind of personal chord did the material strike in you?
A. I think it's several themes and issues. You run it through your own personal mill. I was fascinated by the weird perverted optimism because it's something that I started out with and has somewhat eroded, and (Ed Wood) kind of reenergized me. I liked the theme of duality in somebody's nature: like in Batman, the idea of hiding what you have inside. And perception, how you perceive somebody-I'm interested in that theme. Also the relationship with Bela Lugosi - I romanticized it from what I read, but I related that to how I felt about Vincent Price.
Q. Did you approach directing this as an actor might approach a performance, with a sort of emotional preparation?
A. In some ways that's all I have. It would be hard for me to do a Western unless I felt something about it. I do have to feel it. Whether or not it comes out in the film, that's all I really respond to. That's why, with the actors I work with, I have to feel like they're with me in a way. It's all feeling, even if it's not showing up to other people.
Q. Yeah, but does it go a step further? When working on the Lugosi-Wood scenes, was Vincent Price in your thoughts-or are you just thinking about the shots you've got to get?
A. No. In actual fact, that whole relationship was comprised not only of Vincent Price but another person as well; it's a composite. A lot of that relationship had to do with another friend of mine who died, somebody I cared about who probably had the rougher edge of what Bela had.
Q. Would that be Anton Furst?
A. Yeah.. . . I didn't realize this until just before the shooting. The most obvious comparison was with Vincent Price; that was an intellectual and emotional thought at the very beginning. But Anton came before shooting, but after I had responded emotionally to the material. Movies are like an expensive form of therapy for me. (Laughs).
Q. The business of the last footage of Lugosi is very moving.
A. I tried to put a tiny bit of ambiguity in there.
Q. When he holds up the film can and uses it to sell the film?
A. Exactly. Which again I find very realistic. The film shows the other
side of the Hollywood dream of making it-the casualties and people at
the bottom of the food chain. I'm very affected by seeing those people.
Have you ever been down near Selma Avenue in Hollywood? I remember when
I was a kid taking the bus there. You're very haunted by these people;
you could feel them there in the Seventies, and they're there now. There's
something very intense about it. They're like living ghosts, and there's
a sadness and a weird humor, an emotional quality all in one that is very
powerful to me.
Q. It's a bit like the Hollywood of Aldrich's Whatever Happened to Baby Jane?
A. Yeah! That one's beautiful. I like things that give you those feelings all in one package-sadness and humor and horror. It really seems for me to be what comprises the essence of life. Those people in some way are symbolic of all of that.
Your conception of Wood is very innocent, with none of the pain, self-loathing, and masochism I imagine he went through.
The thing that gave me the feeling of freedom to do this was Nightmare of Ecstasy-all of these people and their Rashomon-style contradictions. That made it feel like a real story. I think true memory is. . . as things get further away from you, what you think changes. When I'm talking about the last movie I did, it's always the most nightmarish experience, but as movies get further away, I start to look back on the experience fondly and romantically. Because you experience new things all the time, it's obvious that you change and your impressions of things change. And when you add the fact that their recollections were all so screwed up and drug- or alcohol-induced, all of that gave it a looseness. I found it what I call very realistic about the nature of memory and how we perceive things. I don't like film biographies, I find them dull and pretentious. There's something kind of bogus in the stoic reverential approach that's less realistic than this movie, which people might perceive as very unrealistic. We're kind of reverential, but in a funny way, because we treat him optimistically.
Q. How did you formulate the film's perspective on Wood?
A. I operate a lot out of my own subconscious, and it gets me into trouble sometimes. I can't help but invest a little bit of myself in a lot of the characters. I didn't learn filmmaking in the classic way, I just get in there and mutate along with the characters. A lot of what I was doing was flip-flopping, in terms of seeing things through Ed Wood and then kind of drifting back and commenting. I'm always aware of a balance of not making fun of a character while trying to make certain things funny. I'm aware that there's no flashing red light that says, "We're inside the character, in his head, and now we're outside, hovering up on the ceiling looking at him?' It's hard for me to structure that. In this case it's probably more amorphous than in some of the other movies.
Q. Given that you make little of Wood's sexuality, when Lugosi talks about the link between eroticism and horror I couldn't help thinking that your films function at a remove from both-they restore horror to a kind of preadolescent innocence.
A. I think it comes from just treating the horrible as more matter-of-fact. To me, Catwoman is the only real sexual character that I've dealt with. I'm very interested in sexuality as a theme, so hopefully it'll come up here or there in the future. Wood's wearing of women's clothing is not camp; I didn't want it to be ha ha ha, drag queen. The fact that he would dress in drag and the people around him didn't even acknowledge it, I thought was great. That's my approach; that's what I think about when I'm doing something. I think, well, it's not weird.
Q. Was that why you revealed Wood in drag in such a non emphatic way, with Dolores simply opening the door?
A. We wanted to make it very presentational but then sneak up on it a little bit. That shot had an odd quality that I liked very much. I like the opening of doors, you know? There's something that's always shocking about opening a door or going through a window. Going through a door is so symbolic and seems to say something to me visually, though I don't know what. (Laughs).
Q. You must have loved all those doors in Masque of the Red Death.
Oh yeah. I guess it's door movies.
This and Edward Scissorhands both seem to be clear statements about the intolerance of nonconformity in suburban America and Hollywood. In Edward Scissorhands, that comes out, but it's weird: even though I had trouble growing up in suburbia, it also made me what I am. You may have a love-hate relationship with it, but you can't completely come down on it. When you are doing things that are visually maybe more extreme, therefore people see them more simplistically. I don't think I'm so much ambivalent as that-that yin-yang sign is the perfect symbol because there's always another side, even though there's a thrust and an overriding point of view.
Q. And in terms of your view of the film industry?
A. Well, it's the same. I didn't grow up in independent film; from the
first, I was in the studio system, and yet I've still been able to do
what I wanted to do. So I feel very lucky, but I don't embrace it. I have
a resistance to joining the club because I'm just too aware of what can
happen to you. I've seen how people are-if you're successful they like
you, if you're not, then they don't as much. It's not based on deep emotion.
America, especially in the era I grew up in. in the aftermath of the Fifties nuclear family-it's all about winning and the American dream, and we're all individuals and free. I remember conformity and categorization from the very beginning, so where is all this individuality? The people I have known who have been individuals have always been tortured. There's this predatory love- hate thing in this culture; they get preyed upon and devoured. For me there's a fine line between what is a winner and what is a loser, especially nowadays, where people who kill people become celebrities and people who do bad things start selling books. I wasn't trying to make a comment on that so much as an observation on the personal nature of how people are perceived and how you perceive yourself, the contradictions of life. That's why it was important for me to put those final overly dramatic supers at the end.
Q. How much did you direct or revise the work of Ed Wood's screenwriter's, Scott Alexander and Larry Karaszewski, after they brought the idea to you?
A. Not very much. Before the script was written we had meetings and talked about general things. It was something they had in them. It was the quickest script I ever got-like a month-and it was really long. I'm really specific about tone, and there's a very hard-to verbalize mix of things that I like. They got the tone that I was very excited about right away. The only changes were in cutting it down. I find that once you're shooting, certain things get redundant. I'm not a brilliant structuralist, but I sort of edit as we go, especially when we're behind schedule. [Laughs.]
Q. What was Michael Lehmann's involvement?
A. Originally Denise Di Novi and I were just gonna produce and Michael
was gonna direct. For some reason either he decided-or I just decided,
Oh, I really would like to do this. There was no script at that point.
A. I'm learning more and more that I have that something in me, and I'm searching for a spiritual foundation. Even my interest in fairy tales and folk tales is based in that. I never thought of myself as a religious person. In Burbank you'd never say you were an atheist-you'd say you were a Protestant. Nobody wants to come out with any sort of rash statements. When you grow up in a blank, unemotional environment- no weather, no culture, no seasons-the impulse to create and do stuff, especially movies, is a desire to create things that are lacking in your life.
Q. So creativity is a kind of wish-fulfillment, or compensation?
A. Yes. There's different levels of that. And perversely, without being too cynical, sometimes I mix positive things with negative things. That's what I loved in Beetlejuice, these people who live in this sort of hermetically sealed world and probably have a very whitebread view of heaven, but it turns out to be a weird parallel-universe bureaucracy. It's almost a horror movie: when you die it becomes a cheap horror film. So it's perverse and hopeful at the same time.
Q. Is Ed Wood ~s heightened acting style an attempt to re-create the acting style of the period?
A. We tried to get the spirit of it without being judgmental and making fun of it. We don't rehearse a lot; I never have. I try to work with actors who don't mind looking ridiculous and who are interested in exploration. Almost everybody had a different style. I've worked with actors who can put up with my abstract notions. They kind of look at me and don't know what I'm talking about, I (but) it kind of comes together, which I'm very fascinated by.
These people (Ed Wood's stock company) are all perceived as bad, the easiest targets in the world, so the difficulty was how much to pull back. Johnny Depp would try things that would work for one scene, but for other scenes might have been too broad. Filming in black and white helped-it became a sort of unifying character. Production design and music, too-all of those elements you treat as characters; you listen and look as you would with an actor.
Q. I thought the acting styles in Beetlejuice were much less consistent.
A. This is a thing I've experienced a few times. People look at Michael Keaton and say, "He's great:' and then look at Geena (Davis) and Alec (Baldwin) and say, "Oh, they're boring." Or Jack Nicholson is great and Michael's boring. I somewhat disagree, because it's like in a Marx Brothers movie: if every character was like the Marx Brothers, would that work as well? Some of that is in the inherent nature of my see-what happens, hoping-for-the-best approach.
Q. Were there any actors you never succeeded in communicating your ideas to?
Q. What were you trying to suggest in the third part of the credit sequence, where the camera pulls back from the Hollywood sign and down over the city to the theatre?
A. There's something about having an overview and then coming down into a and camera moves have become so much little piece of it, a microcosm. It sets a place, and with this character it gives a cheesy overview of the whole thing. And coverage seems much more precise and there's something about initially punching holes through what's not real and then settling into something to find its own reality. I always liked credits in movies, so I like to make something of them, to help set a tone.
Q. Beetlejuice opens with an aerial view of an actual town that dissolves seamlessly into an obviously fake model shot of the town, to form one continuous space. But I never quite understood why they had a model of the town in their attic.
A. It was more symbolic of these people. The intention was that these people live in a hermetically sealed world and everything's perfect and retentive.
Q. Each of your films creates its own artificial world.
A. Yeah, (but) even though they're all the same that way, (each) is meant to have a slightly different bent on that. Beetlejuice had to do with anal retentiveness. In Edward Scissorhands it had more to do with a fairy tale kingdom and the way suburbia really looks-slightly romanticized but slightly cheesy. That's probably the overriding consistency between all of the films.
Q. Does shooting in black and white present any technical problems, maybe in relation to production design?
A. When you're doing a period thing, it's a unifying force. Red is an odd color because you never know which way it's gonna go.
Q. You mean dark or light?
A. Yeah. Part of the decision to do Ed Wood in black and white came when we were doing makeup tests with Rick Baker. Rick said, "What color were Bela's eyes?" and we realized none of us had seen Bela Lugosi in color. And since we were portraying him as he hadn't really been seen, kind of out of it, we realized we didn't want to be asking those kinds of questions.
Q. How do you think your approach has evolved since Batman?
A. I've gotten less planned. At the very beginning I storyboarded, but now I find that there's so many elements, you really don't know until that moment what your going to get. Experience has given me more confidence, but at the same time I've gotten looser, more abstract in terms of how something is going to come out.
Q. I'm surprised, because the compositions and camera moves have become so much more specific and controlled from Edward Scissorhands on, and your coverage seems much more precise and economic.
A. That's true, I don't actually shoot a lot of coverage. Because I always spend a lot of time on shots, I never had time to do a lot of coverage. We kind of approach things one shot at a time. I don't come in with a shot list-it's more organic. I think it has gotten more specific, but that just has to do with experience.
Q. In Batman Returns there's a two-minute scene where Michelle Pfeiffer comes home and plays her messages, and its four shots, four setups, four long takes. That's very economic you didn't do anything like that in Batman.
A. Yeah. It's just a little bit more confidence. Perhaps it's a resistance
against the rock video age, but I like the idea of staying on an image,
lingering on something and seeing something. With Michelle I just said,
"This is your little apartment, this is what we need to do";
I let her do what she wants to do, and then I suggest something. It's
fun. As they start walking through it, I take the viewfinder and feel
it out. It can kind of wreak a little havoc on your schedule. It's such
a joke, flilmmaking-they treat it like an exact science. It wasn't an
exact science when I brought in a shot list on Pee-Wee's Big Adventure.
It's hard enough for me to beat myself up on a storyboard because it changes.
I'm much more aware of the amorphous nature of the process. You know,
I'm kind of moody, so my mood changes from film to film and each film
becomes its own organism. During Ed Wood I remember saying to Stefan Czapsky,
Q. Batman looked as if it was worked out in the cutting room.
A. Yeah, even though there wasn't a lot of coverage. A lot of that had to do with my background in animation. Here's a blank piece of paper, here's a square and you draw a picture in it. I still sometimes shoot things proscenium, I like sometimes locking it off and letting something go through the frame. I wasn't necessarily as confident or comfortable moving the camera.
Q. What advantages has your animation background given you?
A One advantage I think is a design sense. When you're drawing, every element, every line, makes up what it is; and there is a feeling of that when I think about a shot. I've gotten a lot of criticism like, "Oh, the film looks good but there's nothing to it." I've never tried to think of something as just looking good, I've always thought of it in terms of supporting a character or a setting. Animation broadened my horizons in terms of thinking about color and light.
Q. Take that shot in the sanatorium waitingroom in Ed Wood, where you have Depp sitting foreground left, a woman in middleground right, the far wall is divided by an extreme contrast of light and shadow by the wall lights, and then what looks like a process shot of the view outside the windows. How do you create an image like that?
A. It's not a process shot, but it's odd. Every element should mean something, even if it's not screaming out at you. Take the lady: I liked the way she looked, she had a feeling about her that reminded me of that kind of hospital. We put her into it before we lit it. I didn't say, "Add bright light and shadow here' but what Stefan and I will do is talk about a feeling-sort of dark, institutional, with a brighter outside. It all comes to making a feeling, and I trust my feelings much more than I do my intellect. I certainly don't go into a situation with no idea; I think about it to a point, but then I like to let the emotional side take over, and build each element, and finally, when we're ready to shoot, look through the camera and just feel it, and it's either yes or no.
Q. Can you give an example of where you changed or added something in a shot?
A. Nothing major. With Bela in the coffin the first time, the pillows around him were too bright, and I just got some dark fabric because it made him seem more dead, and it had a richer texture. These tiny little things are just ingredients; I never think about them too much. And we try not to have too many very specific references to other films. You may look at a movie and go, "Oh that looks like Fritz Lang or blah blah blah," but I try not to do it. If I do use a reference, I try to use a contradictory reference as well that kind of annihilates it. I remember using a Godzilla film and To Kill a Mockingbird once-I don't remember for which movie!
Q. All of your films are about outsider artists or performers who seek acceptance. Why do you think that is?
A. That's sort of the history of the world, isn't it? Why are these people tortured so much? Some of it's self inflicted. But they're never embraced in their lifetimes. Van Gogh. . . Orson Welles....
Q. What was the signficance for you of the scene in Batman where The Joker mutilates the paintings in the art gallery?
A. Part of what I loved about that character was the freedom. It's a
Q. At what point did you become serious about yourself as an artist?
A. I'm still not serious. I'm uncomfortable with the word. I don't mind
using it about other people, but I don't use it about myself. I like to
make things, and I've always been serious about that. That never left
me as a child. It gets beaten out of you. Every kid can draw. What seems
to happen in the environment I grew up in is that, as you grow older,
you're taught, "No no, you can't draw like this, you got to draw
like that?' Why didn't that happen to you?
Q. Were movies part of that sealing off?
A Sure, oh yeah. You're in a world that's safe because nobody's on your case about it. I remember, I was at Cal Arts and I wasn't a good life-drawer; I struggled with that realistic style of drawing. And one day I was sitting in Farmer's Market sketching, and it was this weird, mind-blowing experience: I said, Goddamit, I don't care if I can't draw, I'm just gonna draw how I feel about it. All of a sudden I had my own personal breakthrough, and then I could draw, and satisfied myself. I've had very few experiences like that, and I'll never forget it.
Q. When were you at Cal Arts?
Q. Was it a good experience?
A. You hated it at the time, but in retrospect it was great. I got a scholarship in the second year and I was in the Disney animation program. The character animation program were like the nerds and freaks. The rest of the school looked on them as crass, commercial geeks. And they were.
Q. Was your scholarship on the understanding that you'd then go work for Disney?
A. Well, that's why they created the program, but there were no guarantees.
At the end of the year, it was like being drafted into the army or something.
Q. Was it what you wanted?
A. Yeah, initially, until I got to Disney. (Laughs). I realized fairly early on that I was not cut out for that, drawing foxes. My foxes looked like roadkills. It was very frustrating; I couldn't do it. The company was really retarded at the time; there was no direction, which in some ways gave me a lot of freedom. I kind of mutated. They let me sit in a room for a couple of years and draw whatever I wanted to draw. I did reams and reams of drawings for The Black Cauldron, which they never used anything from. I got to work out a lot of my creative problems on paper.
Q. Did you start to find certain images that were meaningful to you?
A. I did a lot of work that is still applicable, absolutely. That's where certain things, like Edward from The Nightmare Before Christmas, came from-drawing an image and then analyzing it as it kept coming up. So far for me, that has been the more telling way to do things.
Q. It sounds very daydreamy and freeassociative Was that what you were like as a kid?
A. Very internalized. I didn't speak much and drew a lot. But I don't think 1 drew any more than any other child.
Q. When you made Frankenweenie, were you abandoning animation?
A. There was a need to come out and communicate, not just by drawing but interacting with people. When I was at Disney I think most people perceived me as a little odd, even for that group. I was lonely, I didn't have a girlfriend for a few years, I felt pretty depressed. Once I got into that other world, that really helped me.
Q. So you were drawn to filmmaking because it forced you to integrate with other people.
A. Exactly. When you look at most people who are in film, they're all kind of loner types. I remember going to my ten-year high school reunion; I was never friends with anybody, and that's kind of why I went, as a sociological study. What was fascinating was that the people who were deemed antisocial and freaks in high school were now incredibly attractive and well adjusted. There seemed to be some sort of catharsis about growing up and being alone that made you rely on yourself. What that seems to do, I think is-the nature of creating, film, painting, whatever-you look to create those things that are lacking in your life. I never used to speak, and all of a sudden you find yourself in an environment where you have to speak to hundreds of people during a day. I'm still not great at that, but I've gotten better. We're weird, hopefully self-healing organisms.
Q. Weren't you pretty much into the L.A. music scene, though?
A. Oh yeah. Punk music was very cathartic to me, the anger and the emotional
immediacy. But there's a really heavy feeling when you go to a club by
yourself and you see people together. It actually only helped support
my alienation-not the music, but the social scene. I never talked to people.
Q. When Prince was hired to write songs for Batman, you didn't use many.
A. What's funny was that I listened to a lot of Prince, used it as an emotional thing; I listened to it for The Joker. I just don't fit into that whole Hollywood slick technical thing-I can't pull it off. People think that they can impose certain things on me. I think he's incredible, and I used it as playback on a couple of the scenes where we needed music- going into the museum, the parade sequence. In flimmaking you throw a lot of stuff out, so it's scary getting involved with people you admire like that, because if it's not working it's very difficult to deal with.
Q. What was the germ of the idea that years later became Edward Scissorhands?
A. It started when I was a teenager. I would go to clubs by myself and
couldn't speak. It's rooted in depression, in having a lot of feelings
inside that are very strong, and the very disturbing feeling of not being
able to get those out to anybody.
Q. Was that one of the images you found yourself drawing a lot?
A. Yeah, that was one of those doodles that came out and you think, What does this mean? And you think about it- you've got a lot of free time on your hands, you don't have any friends, you're not talking to anybody, so you just think.
Q. Why are you drawn to the fairy tale/fable form? Is it in some way more truthful?
A. Most other cultures are very rich with folk tales, fairy tales. America
is a fairly new country so there's a desire in me to create that. There's
a lot of freedom in symbolism and layers of reality. It's slightly abstract.
People can get things if they want to-or not.
Ultimately the housewives in Edward Scissorhands turn into the villagers in Frankenstein, but 1 try to show a little more to them. It would be easier if the films were perceived as realistic, because the fairy tale veneer sometimes confuses people from seeing some of the subtleties.
Q. You once said that every time you make a film you think it's your last-something many other filmmakers feel. If that fear makes you go all out, is fear a useful creative force?
A. Because of the nature of the technical problems that arise, I can't imagine that anybody could walk into it feeling like it's a picnic. Those are the people who should be hauled away. It's like the idea of finding a completely happy person somewhere in the world. It's an incredible responsibility because of the money involved even on a low-budget film; you should care a 1000 percent, and if you care 1000 percent you go through a lot of emotions. Studios don't realize that, and they should a little bit. They're giving you money and then torturing you. I'm trying to do what they want as well-come up with a good movie that some people might like. That's anybody's impulse. There's a little too much torture involved, in my opinion.


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Jan 20 2009
A Basset's Sweet Revenge
I woke up this morning with plans—many, many important plans. Aside from a full day of homeschooling, I had a new recipe (for my favorite hamburger—groan) I was all ready to post, a pressing Home and Garden matter I wanted to address, and a great deal of analysis about all the things going on in the world: the weather, the stock market, the Inauguration. Because I know when you visit this website, you're looking for up-to-the-minute news and commentary about national and world events.
As it turned out, my website-related plans were thwarted when I discovered I had no internet access this morning. This is always a realistic possibility in the country, where satellite internet access—with all its erratic predictability—is the only option. There was no explanation for the outage, however; the skies were clear and blue (satellite internet often goes out in inclement weather), and everything on the computer and modem was functioning properly.
So I shrugged, figured it was as good a day as any to be offline, and got my children started on a history project. Fortunately, our ranch office is just across the driveway, so I was able to use its painfully slow internet connection here and there throughout the day. But for all intents and purposes, I've been plunked back into the nineteenth century.
Well, except for my washer and dryer. And my refrigerator and freezer. And that flushing mechanism on my toilet.
Anyway, it would be hours before I'd finally figure out the origin of my outage.
On a slightly separate note, would you like to see a really pitiful photo?
No, it isn't my smudged up, dirty window that's pitiful (well, that's pitiful too, but that's not why I'm showing you this photo.) It's Charles. My Basset. I think you've met him before?
Well, before you allow the little booger to manipulate your emotions, let me just tell you that when I took this photo of Charles looking longingly through the door and into the house, it was a balmy 61 degrees outside—a heatwave compared to the frigid couple of weeks we've had—weeks during which, by the way, Charlie spent most of the time in the house.
But Charlie? He's not happy with "most of the time." If you give him an inch he'll take a mile; if you let him in the house for an hour, he thinks its within his inalienable rights to stay a year. This despite the fact that he has two happy, energetic canine brothers, plenty of acreage, and a cushy apartment outside. And a pond. With all the turtles he can eat.
Check it out: There's Hamilton, trying to get Charlie to hop in the Rhino with him and go drag Main.
But nooooo. Charlie prefers standing at the door, laying all kinds of guilt trips on me, and secretly plotting ways to get even with me not just for forcing him to stay outside for a few hours in 61 degree weather…
And okay, I admit it: I wouldn't exactly like it if someone fiddled with my jowls and took pictures of me while I was napping…but Charlie's a dog. Dogs aren't supposed to care about things like that.
And anyway, Charlie got the last word. When I looked outside late this morning to check the wire running from the satellite into the house, I found that he'd gotten hold of the satellite cable with his teeth—and chewed the sucker clean in half. And that was all that was left of my connection to the outside world: two halves of black RG6 cable—ripped, exposed, and dangling in the gentle breeze.
I really have to give it to Charlie—this was one of the more creative stunts he's ever pulled. The dude really figured out how to hit where it hurts.
Don't ever believe anyone if they tell you Bassets aren't brilliant.
374 Comments
Teslaca On Tuesday, January 20 at 4:35 pm
Oh No! I can't believe he did that! (But he's still adorable.)
Jenna On Tuesday, January 20 at 4:36 pm
But what we really want to know is…did you let him in?
sandy On Tuesday, January 20 at 4:36 pm
awwwwww … look at that face… he couldn't have done that lol
Miz Booshay On Tuesday, January 20 at 4:36 pm
You've been very naughty.
Melissa F On Tuesday, January 20 at 4:36 pm
What a brat! =)
Annie S. On Tuesday, January 20 at 4:37 pm
He is sooooooooooo cute! I want one of those puppies. My husband says our zoo is full, drat!!!
slammie On Tuesday, January 20 at 4:37 pm
Debbie in SLC On Tuesday, January 20 at 4:37 pm
Ree, is he SERIOUSLY covered with a blanket for his nap??? LOL!
Debbie in SLC On Tuesday, January 20 at 4:37 pm
Phoo-d On Tuesday, January 20 at 4:38 pm
Oh no! Beneath that droopy face lies a cunning mind! Good thing he's so cute!
Andrea in WI On Tuesday, January 20 at 4:38 pm
Oh, boy…that Charlie…
heather On Tuesday, January 20 at 4:38 pm
Those eyes bother me.
Missy from Maine On Tuesday, January 20 at 4:38 pm
Been there, had pets do that……….lol………..
Erin L Thiele On Tuesday, January 20 at 4:38 pm
Silly puppy.
DebiP On Tuesday, January 20 at 4:39 pm
HA! Go Charile
Claudia On Tuesday, January 20 at 4:40 pm
Dogs have ways of getting back at us humans and we still love them. My oldest brother ignored his dog when he was dating his girlfriend(now wife). The dog got even…chewed up his best baseball mitt and left it in the middle of his bed. You can't tell me they are dumb.
sheilah On Tuesday, January 20 at 4:40 pm
Now THAT'S a bad dog.
karen l On Tuesday, January 20 at 4:40 pm
yup – they'll do it to you everytime. My sister's beagle lifted his leg daily on the a/c unit behind the house (of course no one realized) and guess what? Hottest, most humid day ever? Yup – all that acidic stuff corroded the line – no a/c.
Lori B. On Tuesday, January 20 at 4:41 pm
Aaaahhmm, Charlie, your in big trouble mister! Ree wont stay mad for long if you get that sad look out and use it every time she looks at you for the next several days.
Barbara in Texas On Tuesday, January 20 at 4:41 pm
Sorry Ree, you didn't see him do, you have no witness' and you can't prove nuthin. Charlie — get a lawyer.
Annette On Tuesday, January 20 at 4:41 pm
What a devious little guy! But, are you sure he wasn't framed by one of his canine brothers?!
Dana On Tuesday, January 20 at 4:41 pm
LOL!!! I'm not surprised!!! Those dogs can get into all kinds of trouble!!! Charlie looks about as pitiful as our beagle, Smokey, when he's looking inside through the sliding glass door! Although he was quite comical when i put him outside this morning we had a dusting of snow here in SC and he was more than a bit puzzled, he was barking at the flakes as they were dropping onto the deck!
Houstonmomof3 On Tuesday, January 20 at 4:42 pm
Smarty Farty Pants Charlie! HA
Middle Child Heather On Tuesday, January 20 at 4:43 pm
He is so stinkin' cute
Robin On Tuesday, January 20 at 4:44 pm
DEVIOUS!!!! I'm Shocked!!! You think you know a dog,,,,,
Brandi On Tuesday, January 20 at 4:44 pm
Note to self: Do not cross Charlie.
Stacy On Tuesday, January 20 at 4:44 pm
Haha! Love it! So glad to know it isn't only my dog. My dog likes to eat the hoses.
Rebecca On Tuesday, January 20 at 4:45 pm
OMG – cute stinker! I'm sure the poor guy didn't MEAN to do it! But if he did, he's pretty smart!! : ) I hope you get it fixed soon!
Barb 1230 On Tuesday, January 20 at 4:45 pm
I think Hamilton did it and tried to frame Charlie!
Viking Mom On Tuesday, January 20 at 4:45 pm
Oh Charlie! Innocent Charlie. NO! say it ain't so! He's an actual mastermind under that droopy innocent look?! LOL!
I lost five pairs of shoes by my "innocent" Great Dane-Kasey, while pregnant. That was just while I was pregnant. All together she has eaten 9 pairs of shoes, two boxes of crayons (Yes, we had rather colorful poop that day), box of craft clay, water color paint, a tree, and fence post. Cayenne pepper and chili oil mixed with olive oil is a great deterrent from those bored gnashing teeth.
Ruth Ann in East Texas On Tuesday, January 20 at 4:47 pm
Poor Charlie; he really did it this time; but hard to get mad at him isn't it?
Dyan On Tuesday, January 20 at 4:49 pm
I once had a hamster that LOVED speaker wire! I agree with #2 – what we really wanna know! So, did you let him in?
Brenda S. 'Okie in Colorado' On Tuesday, January 20 at 4:51 pm
I just don't think Charles did it. This has to be a mistake.
Kristen On Tuesday, January 20 at 4:51 pm
We have a Siberian Husky with some serious passive agressive tendencies… so I get it. Sorry.
snobound On Tuesday, January 20 at 4:51 pm
Why is it the little guy who gets blamed for everything? He is adorable though – how can you ever stay mad at that sad face?!
Tabitha (From Single to Married) On Tuesday, January 20 at 4:52 pm
I'm glad your internet came back up!
KristyDi On Tuesday, January 20 at 4:52 pm
That reminds me of the 2 times my bassets chewed the wires connecting the air conditioner to my house clean in two.
AC is very important in Georgia and we were too poor to have it fixed.
I know those droopy faces were laughing at us.
Janelle On Tuesday, January 20 at 4:54 pm
oh no, Charlie
BOSSY On Tuesday, January 20 at 4:56 pm
With sweet pups like Charlie, who needs enemies?
Heather On Tuesday, January 20 at 4:57 pm
My sisters dog has taken to eating her newborns pacifers… Not exactly a welcome habit.
Dana (The Homesteading Housewife) On Tuesday, January 20 at 4:58 pm
LOL poor poor Charlie!
and Poor poor Ree for getting a dog that is so cunning and knowing what buttons to push.
groovebag On Tuesday, January 20 at 4:58 pm
Sneaky, crafty dog indeed!
Cindy Adams On Tuesday, January 20 at 4:58 pm
Okay -I've got one worse. When I was a girl, our dog dug up and chewed our oil line – of course it was winter.It was a cold day till we got it fixed.
In His peace -Cindy
MoM(Mom of Many)
jean On Tuesday, January 20 at 4:59 pm
Poor thing. You, not the dog.
Stephanie On Tuesday, January 20 at 4:59 pm
HAHAHAHAHA!!!! That is the funniest thing I've ever heard!! Not funny that you lost your internet connection, but funny that it was because of Charlie's revenge! Look at those eyes, you can hear him saying, "Cord? What Cord? I know nothing of this cord of which you speak…" BRILLIANT!
Jen On Tuesday, January 20 at 5:00 pm
Ok, Ree….so how do you know it was Charlie that did it? I vote for Charlie being innocent.
Anita On Tuesday, January 20 at 5:00 pm
Awww Charlie was framed I tell ya! No way, no how would Charlie ever do such a thing. I just know that pesky Hamilton did it. Charlie is innocent I say! That's my story and I'm stickin to it!
Kara On Tuesday, January 20 at 5:00 pm
Just gotta love em, even when the chew through cords. My Holly has chewed through 2 cell phone rechargers, 4 beads on the end of a tie on a dress, and a cord for my foot massager. Oh plus a couple flip flops. She may be a big chewer but she's still too cute!
Connie On Tuesday, January 20 at 5:00 pm
A long time ago in a land far far away when phone lines were still a part of the every day world…a friend of mine had a pet rabbit that had the run of her apartment. For some reason Mr. Rabbit loved that phone cord and chomped it in half…not once but twice! Once when she was on the phone!
The last time she held it together and was able to get the phone company to come and make the repairs. Funny!
She also had a cat that burned his feet on top of her cooking stove because he didn't know it could ever be hot – she never cooked.
Good Luck. Connie
Shelby On Tuesday, January 20 at 5:02 pm
I think I'd rather be without internet for a day……the city just came and informed me there is a water main break and they…..SHUT OFF MY WATER!!! I'm trying to finish cooking dinner. ARGHHH!!
Gem In Australia On Tuesday, January 20 at 5:02 pm
Oh Charlie – you really are too cute! But very, very naughty!!!
Janet On Tuesday, January 20 at 5:03 pm
Ok, that is funny! Poor Charlie! Take pity on him. Or at least for a minute.
Jennifer On Tuesday, January 20 at 5:03 pm
When my husband, who is from England, came to visit me and my family in the states for the first time, my extremely jealous beagle chewed my husband's leather wallet to smithereens! My mom beckoned to me to come inside from the pool, where I frantically tried to figure out how to break the news to the guy I had only just met in person. As it turns out, he and Jackie Dog became fast friends after that – I think my husband was amused by his cheekiness. Dogs are clever creatures…but usually only when they're also being devious!
Denise from Marengo Illinois On Tuesday, January 20 at 5:04 pm
Oh my gosh!!!! I couldn't resist that face either. He really knows how to work that gorgeous face.
Still Life in South America On Tuesday, January 20 at 5:04 pm
What a little stinker! How did he know how to really get your goat?!?
Stephanie On Tuesday, January 20 at 5:05 pm
On second thought, in that last picture he IS displaying a deviant look…"NOW, will you let me in?!? You don't wanna know what I have up my sleeve next!"
Texas Rhea On Tuesday, January 20 at 5:07 pm
Charlie!! Bad boy. He's a sneaky little bugger.
bekah On Tuesday, January 20 at 5:09 pm
hahaha crafty little devil!!! you better watch that he doesnt rub off on the rest of the dogs, or next think you know you and yours will be locked out of the house while he snuggles in your bed.
nancypants On Tuesday, January 20 at 5:10 pm
He reminds me of Milton in Office Space, having had the last straw, what with his red stapler having been taken and the constant movement of his desk and the lack of a paycheck. Ree, I think you're pretty lucky. From that look on his face I'm pretty sure he's thinking, "I could thet the building on fire."
erasue On Tuesday, January 20 at 5:12 pm
I had a pitbull that would eat the outside airconditioner unit cable in half EVERY stinkin' day! The electrician (that we put on speed dial) said it was so wonder she didn't die from the shock! lol Anyway, we got some pickets and some chicken wire and just built around it so she couldn't get to it anymore. Maybe Charlie just wanted to come inside and that was the way to get you! lol
Diane Cooper On Tuesday, January 20 at 5:12 pm
Don't leave us hanging Ree! What was the result of the showdown at the OK Corral??? Did the Charlie, BH extraordinaire, get his wishes and his plush throw? Or did PW keep the dangnabbit cutie patootie out in the cold (well less cold)? INQUIRING MINDS WANT TO KNOW!
(P.S> I love and respect you PW but I think I side with Charlie on this one. How can nyone not succumb to his powers???)
Lizzie On Tuesday, January 20 at 5:12 pm
He's so adorable. I can't look at his picture without smiling. ok…. back to studying…..
Theresa in Alberta On Tuesday, January 20 at 5:13 pm
CHARLES!!!! How could you deprive your loving fans of seeing your handsome doggy wips, and doggy woggy noses and ears. ohmygoodness, I just want to sing "how much is that doggy in the window" song But because I love my family I will not.
Jgirl On Tuesday, January 20 at 5:13 pm
Nothing can pull those pitiful eyes quite like a Basset can – they are the best at what they do….that is, being mischievous and looking angelically sweet and innocent when accused of their crimes.
Astaryth On Tuesday, January 20 at 5:13 pm
I live in the middle of nowhere also, so I depend on satellite internet also. So, I feel you pain! Luckily those cables are easy to come by and easy to change out! LOL!
brigid of Calif On Tuesday, January 20 at 5:14 pm
Awwww! Charlie was getting even with you for those unflattering photos, and also, he thinks you spend too much time on the internet. He's much too clever.
Lisaiz On Tuesday, January 20 at 5:14 pm
Hahahaha – oops, no I'm not laughing – "Bad, bad Charlie!" (~smothering a giggle~)
Smart little booger!
Mrs.C On Tuesday, January 20 at 5:14 pm
It wasn't Charlie. He looks too innocent. Had to have been one of his siblings.
Sarahmch On Tuesday, January 20 at 5:15 pm
Now, now … just wait a minute. Did you SEE Charlie chewing on the line? Maybe it was one of the OTHER dogs, or a wild dingo. Or a mountain lion. Or maybe it was Charlie's imaginary friend. Shoot, here at my house, it just as well could have been one of the kids. *sigh*
Linda On Tuesday, January 20 at 5:15 pm
You still let him in though, didn't you…..:)
Karen On Tuesday, January 20 at 5:15 pm
Oh I love that dog!
Kiki On Tuesday, January 20 at 5:15 pm
He's like Dr. Evil.
michelle On Tuesday, January 20 at 5:17 pm
Let's see…I've lost one cell phone, two pairs of shoes, three sets of flannel sheets, two comforters….do I need to go on? lol Dogs will be dogs and we love them regardless.
Kim On Tuesday, January 20 at 5:17 pm
Jenny On Tuesday, January 20 at 5:18 pm
We love you, Charlie!
Kim On Tuesday, January 20 at 5:18 pm
charlie's face is incredible! those jowls, and the eyes….. he really knows how to work it.
and opppps, sorry, i accidently posted a blank comment above.
Caroline On Tuesday, January 20 at 5:18 pm
Ah, how can you not give in to that face?! He just wants to be with his beloved humans…
Rach On Tuesday, January 20 at 5:19 pm
Charlie, get a Lawyer…
Never mind she will forget before she gets to town, if you
can get her to leave.
Ree, you really should take a crash course in cables
just in case of an emergancy like this and you would be
fixed in 15 min…
One of my many college classes was computer repair that came with a class or 2 in cables etc. etc.
I find it very helpful to know a few basic things. Cause my cable guy takes 1 to 2 weeks to come out here.
Now you and Charlie kiss and make up! Ha Ha Ha
Andi the desert rat On Tuesday, January 20 at 5:19 pm
I grew up with a Bassett Hound, and he was always seeking revenge. Once, my mother had bought a brand new pair of leather sandals and Beau chewed them up before she ever had a chance to wear them. She was pretty upset with him and made him stay outside all day (we live in Southern Cal., so he wasn't suffering or anything). That night when she let him back into the house, he peed on her pillow! I think Bassets always need to have the last word!
Janet Bridge On Tuesday, January 20 at 5:20 pm
All the Turtles he can eat?? Awwwwww! Poor turtles!
Cricket On Tuesday, January 20 at 5:20 pm
Hell hath no fury like a Basset scorned! I wonder if he will try to blame Nell for it since she can't really get in trouble!??! Bassets are clever and devious like that.
Lawgirl On Tuesday, January 20 at 5:20 pm
You have to admit, he know where to hurt you. For all that he doesn't look that brilliant, he truly is.
Daniela On Tuesday, January 20 at 5:21 pm
Oh dear..that reminds me of a little dachshund I know named Logan. I guess Charlies in the ..excuse the pun..dog house.
c-lyn On Tuesday, January 20 at 5:21 pm
my dog has done that twice!!
Erine On Tuesday, January 20 at 5:21 pm
Wait a minute… did you say 60 degree weather? Here in my beautiful coastal North Carolina it is 28 degrees and snowing!!!!!!!! I am SO jealous-
RW On Tuesday, January 20 at 5:22 pm
Aww Charlie… revenge is sweet… (not so for everyone though he's makeing us all suffer… lol;)
Elizabeth Holmes On Tuesday, January 20 at 5:24 pm
It is really funny how pets know how to get to us. I have two cats and they can be pests when they want something.
We get woken up through the night if their dish is close to empty. One just lays on you and stares at you while occasionally clawing your face. The other will take flying leaps on the bed making it a point to pounce on each of us.
If your in the bathroom with the door ajar the smallest one will open the door. If you don't let one of them do what they want you get attacked or they find something that would get your attention.
Pets are a challenge at times with personallites that make you wonder: who is the real boss of the house. I think of the funny things they do and reflect how my life would be without them. I would truly miss them!!
Abbie S On Tuesday, January 20 at 5:24 pm
Meddlesome lil' pup!
Glass Dragonfly On Tuesday, January 20 at 5:25 pm
What a sweet sad face!
Patty Paulsen On Tuesday, January 20 at 5:26 pm
My two puppies (Belle & Rio) ate my $500 faux (read fake) Christmas tree. But they had the good graces to wait until after Christmas–and they did let me undecorate it before they turned it into an appetizer.
I just love Charlie.
Jean On Tuesday, January 20 at 5:28 pm
I think that warrants a day outside.. maybe more than a day!! You don't mess with the internet!! LOL I know you caved.. I see that face..
Sues2u2 On Tuesday, January 20 at 5:30 pm
mine's name is rex & he chewed through two different "hot" electric cables! sly young "men" aren't they?!
btw, roflol!!! (sorry, 'cause i totally "feel" your pain!)
Kelly In Florida On Tuesday, January 20 at 5:30 pm
Oh Charlie, Charlie, Charlie… good thing you're so cute!
ms ellie On Tuesday, January 20 at 5:32 pm
Charlie? Why the Long Face?
Prairie Ranch On Tuesday, January 20 at 5:33 pm
Our puppy chewed through our brand new, just hooked up DirectTv service cable- after two years of no cable, we were way too excited about our new cable, until we went to turn it on….. and nothing!
you have my sympathy– I have no idea what I would do all the way out here on the prairie with no internet!
Certainly not posting new recipes on my blog like I did today!
Check 'em out at
Stories of hope and healing and horses at
Tammy On Tuesday, January 20 at 5:33 pm
I feel your pain. I have several dogs who pull the same stunt – and one who looks as pitiful even though he's not a basset:
Barney is a griffon bleu (I rescued him in France) – at least he mostly is – who really knows when you rescue them?
Suzanne On Tuesday, January 20 at 5:34 pm
I remember those days… having a dog that once chewed the cord to my electric blanket while under the bed, while I was sleeping… only to be awakened by sparks, the smell of burnt fur and a pup who was scared to death to come out from under the bed! He had little burn marks on his nose and where the electricity came out on his hip. (He was deemed ok by the vet.)
Lori in Michigan On Tuesday, January 20 at 5:35 pm
My lab Jack ate the cable box, cords, and router, tore up the blinds put a hole in my comforter and ate my one of my sons stuffed animals in a 30 minute period when I closed him in my room to go to the grocery store. He is at this moment sleeping across my bed, I can feel your pain!! I also know you will let Charlie back in the house really soon!!
Sue W On Tuesday, January 20 at 5:36 pm
As the mother of two bassetts, Chloe (the diva) and Maggie, the mini-bassett, I have concluded that 1) other dogs want to please you; and 2) Bassetts would like YOU to please THEM! I love my girl bassetts, but they are different from the other six that we have! You won't be able to stay mad at Charlie for long – he's just too cute!!!
Lauralee On Tuesday, January 20 at 5:37 pm
I say, innocent until proven guilty! Where's the evidence? I didn't see any telltale black marks on his beautiful white teeth.


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Posted by alison on Jan 12, 2012 in life | 2 comments
This is a pretty loaded topic, and one that could fill numerous pages, but since others have said it better than me, I'm going to skip all the doctrinal and theological arguments and just share my heart on the topic of discipline. (For some of those doctrinal and theological arguments, check out Arms of Love Fellowship and Why Not Train a Child.)
Here's the thing: When I read the Bible, I don't see a God who punishes His people. He disciplines, yes, and allows the consequences of their actions to be experienced, but He does not inflict further shaming, guilting, or pain on top of what the child has already reaped. (His dealings with those who are not His children are another matter entirely, but that is of no consequence to me because I am His child.) But somewhere along the line, Christianity has developed this weird split personality view of God. He's full of grace, we say, and His love is unconditional and His mercy saves us…but then, in next Sunday's sermon, we're told about how the pastor really got "spanked by Jesus" and how God punishes us in order to drive our sin from us. And the thing is, I don't see any Biblical evidence to support the idea of God punishing us. And yet, so many Christian parents turn to this skewed view of God and point to it as their model for how they parent their own children.
Part of the problem is that we've allowed the use of the words "punishment" and "discipline" to change. Even online dictionaries now use "punishment" in their definition of "discipline." But discipline has never meant "to inflict punishment". Its true meaning is simply, "to teach." The life of a parent is a life of discipleship–24/7, we are teaching, instructing, correcting, training–and not once is there a need for us to insert pain into those lessons. Do you have to spank your child make them learn the alphabet? To learn to tie their shoes? To learn to read? Learning proper behavior is no different from those lessons. With proper modeling, correction, instruction–and by the child reaching the necessary level of maturity–proper behavior and the development of a moral heart will form. Along the way, there will be some consequences for negative behavior. Privileges may be removed. Toys may be put up for a time. Fun events may be missed. On their own, those consequences can hurt plenty–but the truth of the matter is, not every consequence is going to hurt. And that's okay. Because again, pain is not absolutely necessary in teaching.
When I think about my goals for my children, the list is topped with, "To teach them God." What message does it send them if I tell them that God insists that I physically hurt them when they make a mistake or a poor choice? What kind of relationship does that set them up for with their Heavenly Father? It creates a fear-based relationship, and yet we are told in Scripture that perfect love casts out fear. If God's perfect love should cast out our fear, then our children shouldn't fear Him. But how can we tell them not to fear Him when, in the next breath, we say God tells us to hurt them? We'd be asking our children to not fear pain–and yet, the whole point of pain-based punishment is that the fear of the pain will stop the child from exhibiting that behavior. There is no logic here.
The other issue I take with punishment is that it doesn't actually do what parents want it to do. Parent want their children to be moral beings with a moral compass that points to true north. But teaching children to suppress a negative behavior by threatening pain doesn't teach morality. It teaches fear. It teaches them to push down the desire for that behavior–not to change their desire and their heart completely. And when the threat of pain is no longer scary enough to stop them, that behavior will surface again, because they weren't taught morality in a logical way.
So what's this "logical way" of teaching morality? I believe natural and logical consequences do the job just fine. The one thing parents have to remember, however, is that their children's emotional and mental development plays a key part in their ability to learn any particular lesson. If you expect your three-year-old to exhibit self-control, then you're going to be constantly disappointed, because child development shows us that the ability to control one's impulses and desires does not fully develop until around age 7. Until about age 5 or so, which is when self-control slowly begins to form, whenever a child does what you ask them to do, it's because complying with your request is the only thing they want to do in that moment–which is another reason why developing a trusting and deeply attached relationship with your child is so important.
And, lastly, we parents have to remember to show our children grace. In those times that they're overtired, we need to recognize that their choices are not being driven by a brain that is functioning on all cylinders. In those times that they're hungry, we need to realize that we can't expect them to sit patiently for you to finish a conversation. In those times that they're angry, or scared, or anxious, or lonely, we need to take a deep breath and say, "Something else is going on here that they can't control." And in those times, we need to extend them the grace that God gave each of us when we could not control ourselves against our sin. And when they're fed or soothed or have gotten a nice long nap, then we can sit them down and say, "Next time, instead of screaming at me and throwing your toy because I wouldn't give you ice cream, you need to express your frustration this way." An easy rule of thumb is to ask yourself, "How would I want to be treated if I were in my child's shoes?" Hence "Golden Rule Parenting," which could be summed up as thus: Parent your child the way you'd want to be parented. Treat your child with the same grace, compassion, mercy, empathy, and understanding that you hope others will extend to you when you're having a crappy day and not being the most stellar wife/parent/friend/coworker/Christian on the planet.
So, to sum up: Look to God as your model for parenting. Never let up in your gentle and empathetic correction and discipline. Allow your children to experience the consequences of their actions. But above all, remember grace.
This is a beautifully written manifesto of gracious, gentle parenting! Thanks for sharing it.
I agree with Katherine! (I also loved your thoughts on the family bed and on homeschooling.) Gentle parenting is such a wonderful blessing for parents AND kids. When I do sometimes lose my temper with my kids and I yell, my kids actually gently call me on it. We respect one another and they are not afraid of me. I'm proud of the people they are, and are becoming.


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Betty Boyd Caroli
A graduate of Oberlin College, Caroli holds a master's degree in Mass Communications from the Annenberg School of the University of Pennsylvania and a Ph.D. in American Civilization from New York University. A Fulbright scholar to Italy, she also held fellowships and grants from the National Endowment for the Humanities, the Franklin and Eleanor Roosevelt Institute, the Hoover Presidential Library, and others. After studying in Salzburg, Austria and Perugia, Italy (but before joining the faculty at the City University of New York), she taught in Palermo and Rome, Italy.
Frequently appearing on national television and BBC to discuss the role of presidents' wives in American politics, Caroli has been a guest on Today, The O'Reilly Factor, Lehrer NewsHour, "Book Notes" with Brian Lamb, and many others.
Betty Boyd Caroli is the author of The Roosevelt Women (Basic, 1998; 1999); America's First Ladies (GuildAmerica, 1996) Inside the White House (Abbeville, 1992; expanded ed., GuildAmerica, 1999); Immigrants Who Returned Home (Chelsea, 1990); First Ladies (Oxford University Press, 1987; 1988; expanded eds., 1995, 2003, 2010). A different version of First Ladies was published (in both regular and large print editions) by Literary Guild (later BookSpan) in 1988, 1995, 2001, and 2009. Caroli also authored Italian Repatriation from the U.S. (Center for Migration Studies, 1973; iUniverse, 2008); co-authored with Thomas Kessner, Today's Immigrants: Their Stories (Oxford University Press, 1981, 1982) and co-edited with Robert Harney and Lydio Tomasi The Italian Immigrant Woman in North America (Multicultural History Society of Ontario, Toronto, 1978).


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The San Diego researchers injected zebra fish with cells from inflammatory breast cancer, the deadliest form of human breast cancer. Some of the cells carried the cell migration protein, and some did not. The cells were tagged with fluorescent proteins that emit different colors so the researchers could identify the cells they were seeing through their microscope and determine if the migration protein is important.
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So it required both proteins -- one for mobility and one for generating new blood vessels -- to "complete the most critical step of metastasis, entering the blood vessels," said the university's Konstantin Stoletov, lead author of a paper on the research in a recent online edition of the Proceedings of the National Academy of Science.
If some way can be found to keep those two proteins from cooperating, the cancer could be stopped in its tracks, the researchers said.
"That would be huge because the vast majority of cancer patients succumb to the spread of the disease to other organs," Klemke said.
And once again, the zebra fish will be called into the battle. Researchers will actually be able to see how various therapeutic agents function.
"We can grow human tumor cells in an optically transparent animal so we can visualize the process in high resolution detail," Klemke said. "Then we can test the pharmaceutical agents and determine how they impact the process of tumor formation and metastasis. It's a win-win situation."
So the zebra fish, common in aquariums around the world, is likely to be on center stage for a long, long time.
Lee Dye is a former science writer for the Los Angeles Times. He now lives in Juneau, Alaska.


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Easy installation in a minutes just careful when drilling, find the cross mark before. I have radar detector and portable MP3 Player.
The install was very easy. The only problem I'm having is , every time I use it, it blows the 5amp fuse. I've checked to make sure that it is not touching any other part of the bike and still it blows the fuse. I'm afraid to use a higher amp fuse for fear of really screwing something up.
And we can't wait to show you how it's done!
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