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The Place of Utopia: gloATL's Blue Astro Turf Swings
August 22, 2013 · Print This Article
Introduction: Laying the Floor
This July, I participated in the gloATL Summer Intensive. gloATL is an Atlanta-based dance company that creates physical installations for the public. During the Intensive, there were six of these installations that focused on the concept of utopia for a series of "utopia stations†that was part of its series Liquid Culture: a collection of gestures and sensations from an asphalt perspective that had occurred during the summer for the past few years; this summer was the last of these installations. Lauri Stallings, the choreographer and founder of gloATL, considers these performances installations – physical and public installations; the series is described as "physical installations [that] are unveiled as public utopia stations for arriving, leaving, and staying for awhile.†[1]
During the first weeks of the Intensive, Stallings described to us her interest in utopia, referencing Thomas More's book Utopia (Of a republic's best state and of the new island Utopia (De optimo rei publicae statu deque nova insula Utopia)), published in 1516. What seemed to be impelling Stallings to the notion of utopia is that the word utopia has multiple and somewhat contradictory meanings. The statement for this summer's series of utopia stations describes that "[t]here is a double-meaning in the term "utopia,†being both a good place (eutopia) and a no place (outopia).†[2] The perplexing concepts of "good†and "no†together propelled me to enter the work. During this discussion with Stallings, the company, and fellow intensive participants, I mentioned that it seemed that "no place†had to be impossible. Wherever there is being, there is movement. Even between two atoms, there is an ever-so-slight vibratory motion. Animate form, or life, is exactly that, animate. It moves. [3] If "no place†cannot possibly exist, then what of the "good placeâ€?
All of the installations involved swings, swing sets, and the encouragement of public engagement with the swings. For Stallings, this is a gesture of ultimate freedom; the ability to partake in the childlike joy of swinging within public space. Each installation also had blue astro turf designating a stage of sorts that at most times separated the dancers from the public. However, Stallings said that even this space should not be maintained as an eternal divider. She keeps in mind that a member of the public could always step over the edge of the floor and enter the space of the stage.
In looking back on this Intensive experience and observing the installations while reading Plato's Republic for my PhD comprehensive exams, I find myself in a rather perplexing state of body-mind. Both Thomas More's Utopia and Plato's Republic describe a space where all would be good – proper governance, happiness, order, common property. Both of these spaces are fictional, however, and cannot possibly exist in the real world; a confluence of the double-meaning – a good place that is no place. In encountering a work that attempts through dance to create a utopian space in the current world we live in, the troubling passages in Republic become more clear instances of the perceived dangers of artistic freedom. [4] However, maybe the utopian installations illuminate these same passages in terms of a Platonic sarcasm; since the idea has been so pushed to the edge, it has become ridiculous.
Being There
As a participant in the making of the work and also as a viewer, my experience of the series of installations straddles multiple spheres of engagement, perception, and bodily recognition. I have to admit that those three weeks of July were among the hardest I have lived yet. The physical exertion of dancing for hours six days a week was taxing. The emotional investment was more than I had expected. The mental exercising was beyond what I had encountered before. Being in a PhD program at Emory, I don't often have the opportunity to use my body as the material of my thought and production of work, so putting myself in the mode of bodily "thought" was an exercise in mental gymnastics.
Inhabiting another's work was something I had not experienced before. Taking on someone else's idea as my own and incorporating it into my own body was more of a challenge than I could have imagined. The ability to fully take on the choreographer's concept as inspiration for one's own bodily experience is a skill that I fully respect. It amazes me to see gloATL dancers express these concepts with their whole bodies; each finger is doing something special; each facial twitch is a culmination of an entirety of being. As Stallings says, "the movement is in your fingers.â€
Stallings process is an incredible one to witness. Starting with an idea, it traverses into often unexpected territory, blossoming into full body expression. This part of the process, called "Process†by gloATL, usually came after a warm-up led by Stallings or other gloATL dancers. This wasn't any sort of warm-up though. Called "Tools,†it was an exploration of internal bodily connections that make movement manifest externally. All movement generates from the inside and radiates towards an external form that can be witnessed. Coming out of a Gaga tradition, a dance technique and vocabulary formulated by Israel choreographer Ohad Naharin, "Tools†is a way to connect to the pleasure of movement. Even when difficult, the ability to move is a pleasure in and of itself. One of the goals is to constantly search for the unexpected places in the body that initiate movement. Stallings often said that if you feel you are comfortable with a particular movement, it's time to move towards something previously undone, unthought, un/not-moved.
After finishing the intensive and going back into my usually more stationary world of reading books and writing words on a screen, I feel that the world of movement has infiltrated my world of stationary contemplation. I realize that the movement was there all along and that it's just that I have begun to accept it more fully into the life I am living.
Swinging Release
During the last installation I participated in with gloATL, I felt something inside come up into my throat. Maybe a purely physical experience, but something tells me that it was more. At the end of the installation, we invited the audience into the middle of the blue astro turf floor by leading them using our elbows as the anchor for them to hold onto. There, after looking into each other's eyes, we decided as a group to speak: "You have only to say yes.†With childlike wonderment and excitement, about the beautiful swing sets, about the blue of the astro turf, about being there moving, the group performing in the installation let go with screams, laughter, and every other kind of expression that erupted from the core. At this point, something inside my body crept up to the top of my throat, something was attempting to escape through my mouth. I stopped still. If I moved anymore, that thing would exit my body onto the astro turf. I couldn't fathom that happening. It was a purging that I couldn't handle happening at that time.
I went home that night after the installation and tried to process what had happened to me. The next morning during process, we went over that moment. The same thing kept happening. Whatever was in there wanted to be let go, but, for some reason, I couldn't let it. I sat down in the hall outside the studio. My body couldn't accept what it was saying. The connections between my body, my mind, and my internal emotional existence were confused with each other. It seemed that my mental thoughts couldn't keep up with the internal movements of my emotions and body. I couldn't keep it together. I couldn't participate in the last installation. Of this, I am deeply regretful. I wish I could have made it through, but something, I'm not sure what exactly, kept me back.
Maybe it was the thought of utopia, a freedom I couldn't comprehend. That feeling deep in my belly that rose to my throat threatened me simultaneously with the "good place†and the "no place.†Something in my unconscious body-mind didn't understand what that even could mean. How could I occupy that position of "good place†and "no place†at all, let alone at the same time? Maybe this is what Plato was warning against: a radical disorder. If the body, mind, and soul cannot be easily divided and categorized, what happens to that being and the rest of the world she inhabits? Music and gymnastic together as dance brought be to that precipice of disorder that was begging to erupt. This eruption of bodily order holds within it the potential for ultimate freedom from restraint, but also ultimate devastation of a creeping chaos.
This is the experience that Stallings created – for me, for the public, maybe for the other dancers themselves. Though these installations are meant for public interaction, it is rare that you see an audience member claim the space as her own. The dance floor remains a dance floor for most of the time until glo explicitly invites the public to join them. There is a timidity to dance and art viewing even with the explosion of socially-engaged and participant-driven art. However, during one of the performances at The Goat Farm Arts Center, one of the participants decided to take control of the space. He took on one of the swings hanging from the rafters as his own. He did not want to get off the swing, even when approached by glo dancers that needed the swing to perform the choreography. Eventually, with some silent, eye coaxing he got up and off the swing. In the public sphere, it is impossible to claim a particular space as purely your own. Part of the freedom the series of installations points to is the freedom to not grasp so tightly.
During the ending section performed at The Goat Farm Arts Center and The Woodruff Arts Center, we played a game of switching and racing for swings. It was so satisfying to attain the glory of the swing, but at a certain point, while swinging with pride, watching the other dancers in the middle of the floor fidget with anticipation and wide eyes, I decided to jump off the swing, give it over to another to enjoy. That might be the space of utopian contradiction – both the "good place†and the "no place†together; the space suspended in air where you joyfully float, exiting the swing in order for another to occupy it.
For more images of the installations, check out BURNAWAY's flickr sets for gloATL's Liquid Culture installations at Historic Old Fourth Ward, Goodson Yard at The Goat Farm Arts Center, and Woodruff Arts Center.
For a great review/write-up of the 2013 Liquid Culture series, check out Cynthia Bond Perry's article "gloATL's "Liquid Culture" series finds breath, simplicity, and freedom" published on Arts ATL.
[1] Statement for Liquid Culture: a collection of gestures and sensations from an asphalt perspective, gloATL, http://gloatl.org/upcoming/whats-next/ (accessed 8.21.2013)
[2] Statement for Liquid Culture: a collection of gestures and sensations from an asphalt perspective, gloATL, http://gloatl.org/upcoming/whats-next/ (accessed 8.21.2013)
[3] Maxine Sheets-Johnstone, The Primacy of Movement, 2nd edition (Amsterdam and Philadelphia: John Benjamins Publishing Company, 2011).
[4] See for example Plato's treatment of music and gymnastic as the best tools for educating the body and soul to be temperate, courageous, and good. However, there are stipulations attached to these training methods; no innovation is allowed. Since music is claimed to be the most mimetic art, it comes with a certain power that must be controlled. I don't think it is surprising that this art form is paired with an art of the body, gymnastic. (Plato, Republic, Book II, 376; Book III, 410; Book IV, 424; and etc.) Also consider the discussion of music and gymnastic in relation to the proper form of narrative in poetry, pure third person narration, which does not inhabit the person of a character and speak through him or her. In Book II, section 377, Plato asks whether music also includes literature, and further, whether this literature is true or false. This leads the members of the dialogue to a discussion of what stories should be allowed to be told and which ones are dangerous to the ears – too influential.
I keep trying to trace emergent themes at Open Engagement. Our organizers have done a good job of marking three umbrella categories, under which each panel, presentation or discussion resides. These headings, Publics, Contexts, and Institutions, feel like hubs through which a larger, interconnected current runs. One conversation bleeds into the next. Institution could be one example of a context, for instance. An institution could also be populated by a  public, but neither "Contexts" nor "Publics" rely exclusively on "Institutions." The project of this particular conference, one might say, is to investigate the way socially engaged art practice runs through (or negotiates) those headers.
That said, I am hunting around for additional trends, for theoretical concerns that crop up continually in the subtext of various presentations, reflecting perhaps on a collective undertow that Social Practice artists are preoccupied with. There is something problematic about my efforts. It's an artificial exercise in a way, especially when the subject of presentations — not to mention the styles of address — are so broad. My insights are additionally subjective, stemming from what panels I've seen and how the concerns therein stick to my ribs.
Still, I persist. Obviously this is a post that I deliberately published. Obviously I am interested in failing a little bit. I'm emboldened by the fact that failure, as a topic, is one of those recurring themes. Failure and the equally nebulous question about ethics. These subjects bubble to the surface not only in talks themselves, but also in audience questions. For instance, "I feel there is a danger that the projet you described could waste someone's time. Someone in your intended audience for instance. How can you be sure you're not doing that? What can you guarantee your public?" It suggests the artist ought to deliver something, and ideally that whatever is delivered is good, or worthy of (in this instance) one's time. Ethics and failure are linked up with responsibility in this regard — conveying a feeling that something in works of art that rely on audience participation ought to offer or fulfill something.
First let me make a case for the #EthicsTrend. In an account of Friday's panel, "Sociology (of and) for Socially Engaged Practice, Institute for Art Scene Studies" I was told Pablo Helguera, Barbara Adams, David Peppas, and Adeola Enigbokan staged a kind of reductio proof of what not to do as a social practice artist. I missed it, unfortunately, but heard that someone posed as an artist, presenting a series of ill-advised projects to the panel, pretending to be an artist. (For instance, the acting artist claimed to have done a project where s/he gave up all possessions in order to see what it was like to live under the poverty line.) The panel then critiqued these projects, highlighting what exactly was ill-advised about them. (Using the same example, the panel pointed out that the artist was able at any time to reenter her/his life of material stability). This was relayed to me by a rather horrified member of the audience who, at the end of her account, leaned in conspiratorially and whispered "And it was all a hoax! The 'artist'" (she used scare quotes) "was making it all up!" seeming at once relieved and frustrated that she had been duped. In a later panel that same day, "What's the Harm of Community Arts and Social Practice? The Ethics of Engagement and Negative Value," Marnie Badham, Amy Spiers, Claude Schryer, and Dr. Kathleen Irwin wrestled with questions of how and when artists intrude on a public. In her opening remarks, Badham noted first, "this turn to community is rarely explored critically," and then asked "is social change always good?" An ethical approach is often taken for granted in socially engaged art. There is an implied use or service tends to go hand in hand with these social experiments. A desire to save the world, or at least some very small piece of it.
Here the idea of failure comes in — because, in a way it is impossible to save the world. However in articulating an attempt, I would argue, the art project sets out to "do" something. As such it becomes easier to measure and assess.  Rakowitz rebuffed this point yesterday when he suggested that art didn't necessarily have to do anything. But if that's the case, one's ability to measure success and failure becomes more difficult. And, perhaps, more interesting. For instance, this morning at "Craft + Social Practice: A Roundtable Conversation" at the Museum of Contemporary Craft, a group of panelists (Gabriel Craig, Ayumi Horie, Stacy Jo Scott, Michael J. Strand, moderated and organized by Sarah Margolis-Pineo) described their relationship to failure. Many suggested that failures provided new opportunities for insight — Gabriel Craig talked about "Slow Gold," a project based on ethical metal sourcing, where he and four collaborators went to the Black Mountains in South Dakota to find gold for a couples' wedding bands. (The betrothed couple participated in this project.) They could only find .4 grains. His conclusion, "Mining, no matter what scale it's on is absolutely catastrophic for the environment." On that same panel, Stacy Jo Scott of the Craft Mystery Cult confessed, "Occult is always dealing with failure. That's because we have this desire to speak of ideals, in terms of an ideal poetic space, but also in terms of utopic vision. Knowing the failures of past utopias, but still desiring Utopia. What results is the absurd: optimism in the face of futility."
Keep this idea of ethics in one hand. Hold in your other hand the idea of failure. Now imagine yourself in the Shattuck Annex, sitting (like I was) in chair with a small desk attached. It is the sort of desk students often use. The sort of desk I haven't sat in for years. Keep in mind it is raining outside and the opening bars of Woody Guthries' "This Land is Your Land" is playing on a loop. People shuffle in slowly. Some are ushered to an overflow room when the room is at capacity. In that room this afternoon, Claire Doherty gave a fantastic keynote, opening with an observation that keynote speakers have the ability to highlight and anchor conversations in a conference. The keynote provides a kind of watering hole – a central point in the middle of the day during which most conference-goers sit in the same room, sharing the same experience, after scattering out again to different panels, rendez-vous, and performances. Doherty hastened to remind everyone about the underbelly of social practice — that many projects, while on the one hand providing photographs of an engaged and happy public digging ditches and/or eating ice cream often come out of duress or protest. These works have the ability to engage a collective, public imagination because they tend to address points of tension. She went on to discuss Nowhere Island, a project by Alex Hartley produced by Situations — the organization Doherty directs. As a travelling landmass, self-designated as a site belonging to no-country, Nowhere Island became another version of Utopia. Pulled by a tug boat through international waters, it visited many ports, acquiring 23,003 citizens over the course of a single year. There is much more to the story, of course, but I like situating this island in this post because the land mass in an of itself is what Doherty might call a "charismatic object," a physical object both engaging and alluring to a public imagination. This object was capable of, again in Doherty's words, "Nourishing the capacity for creative illusion, [such that a public was able] to act and think as though things were different." In and of itself the island is not ethical, but it enables a public to explore their own Utopian expectations thereby exploring the problems that such ideals might subsequently create.
Now, open your hand.
In Tim Etchells words, "A Utopia of dispute might be better:"
Dear Citizens of Nowhereisland
as we stop in the shelter of a doorway in the thunderstorm
S. holds out his hand to check the rain.
The hand. The flatness of it. The open-ness. The question of it. The directness. The simplicity. The pragmatism. The straightforwardness. The sunshine.
And maybe just the repetition of this gesture, which must be as old as the hills, as old as the co-presence of hands and rain.Â
(read more of Etchells' Nowhere Island response)
As I mentioned yesterday, there is a great performance festival taking place called IN>TIME. Organized by artist Mark Jeffrey, IN>TIME features both international and local artists exhibiting in 14 diverse venues across the city between the months of January and March. Bad at Sports will be posting a mini-series of interviews and essays about this festival, including an upcoming interview with Mark Jeffrey himself. This particular post is dedicated to two concurrent exhibits at threewalls that are also part of Jeffrey's festival. On January 11th, Mary Patten's performance/sound/video installation, Panel opened in the main space. Mathew Jinks' began screening his new 73 minute, single-channel HD video, The Unreliable Narrator, in the project space. While these artists are distinct from one another, exhibiting independent projects, I was interested in facilitating a conversation between them, particularly as both negotiate film, performance, history and collaboration. These exhibits will be on view until February 23rd, with an artist talk from Jinks on January 31st at 7pm, as well as a performance, SCHIZO CULTURE: A Collaborative Reading, and publication release of the catalogue associated with PANEL. On February 9th, there will be another performance, SCHIZO PANEL, at 7 PM.
Caroline Picard:Â You both call on speculative fiction in your respective projects. What does it mean for each of you to employ the fantastic?Â
Mathew Jinks: The idea of alternate histories is very resonant for me, not necessarily in the reconstruction of various alternative spaces, but aiding in imagining that sense of an 'other' space that can be inhabited by a narrative. Fictive narratives do not interest me. They seem too comfortable as a source of abstract invention in some way, which I see as an escape from reality and a dead end street; a more complex and evocative device for me is to sow seeds of doubt, to introduce situations and characters with a set of dynamics which have been loaded from the start and see how they play out. The origination in my practice was at the point of departure from personal histories and the evolution of expansive political histories.
Mary Patten: Mathew's articulation of alternate histories, his desire to "sow seeds of doubt,†the leaking or trespassing of "personal†histories into the territory of "the political†are all-compelling to me… and describe sensibilities or impulses that have shaped my own work for many years. It's very difficult, maybe even pointless, to draw an easy divide between "fact†and "fiction,†despite persistent claims of "objective journalism†or "scientific truth.†This is well-trodden territory: what "we†(in the most capacious sense) collectively and cumulatively "know†is subject to constant revision and reconstruction. We understand that "facticity†doesn't equal truth, and that what passes as fiction is not a series of falsehoods. One of the oldest cultural practices, the oral tradition — often taking the form of what we call fables or myths — has been a crucial element in constructing "history.†And yet "telling stories†is still a euphemism for telling lies.
"Speculative†introduces the possibility of wonder, a wandering imagination, the work of invention to heal or bridge inescapable gaps in any historical record. It is a kind of affective, archaeological process to make empirically un-provable connections between obscure, unknown or little-known histories. "Speculative†need not connote the fantastical, however — at least not in the "spectacular†sense. These words are funny… so interconnected, but full of paradoxes.
In the case of Panel, I was drawn to an obscure transcript, photocopied many-times over, given to me by the only participant still living, my friend Judith Clark, herself a survivor of a barely-remembered radical history, serving a 75-to-life sentence in Bedford Hills prison in New York State. (Judy's story deserves its own independent telling; I would ask readers to please check out judithclark.org.)
Judy's memory of the "panel on prisons and asylums†at Schizo Culture is that the three men – Foucault, Harp, and Laing – did most of the talking. That's contradicted by the transcript, which is itself very odd, characterized by breaks and ellipses. We know from Sylvère Lotringer's accounts that the entire Schizo Culture conference was rife with outbursts and interruptions, including this panel discussion, although that's not evident in the transcription.
In attempting to re-stage a little-known but somewhat exotic event, I wanted to resist any impulse to reconstruct or "narrativize†the episode in any kind of "realistic†way. I didn't want a performance designed to dissolve the distance between the "original†event and its contents, both very marked by that moment of the mid 1970s, and yet eerily (and depressingly) prescient of our current traumas of the "societies of controlâ€: diagnosis, punishment, imprisonment, and torture. I didn't want to blend or unify these four amazing characters and social actors, two of whom (Foucault and Laing) possess an iconicity shimmering with all kinds of aura, with the people reading and inhabiting their words now. I am compelled by both the "connects†and "disconnects.â€
CP: You share an interest in collaboration, but also work independently. How do you negotiate the role of an author who is also dedicated to fostering relationships in your work?Â
MJ: I have always felt uncomfortable in a lonely practice, with the idea of the studio Artist who appears after years of hermetic work with a portfolio under the arm. I began working for other artists in Chicago because I had always been a part of a DIY scene which to me was about skill sharing and enabling others to achieve their goals whilst you achieved yours, doing this I witnessed the evolution of a work through multiple creative minds first hand and this stayed with me. I introduce performers and artists into my works to have them re-interpret my ideas, for them to take the work in directions unknown to myself or to the work. It is quite stressful in many ways to work with others, although I am not precious about my projects I do have creative demands and I like to try to keep the overall affect of the work under my thumb. In return I try hard to become a tool for them to use, whether I am recording sound as I did for Mary's Piece, working as a Cameraman for Kirsten Leenars, or doing sound for Melika Bass. I simply try to gel with the process at hand.
The most important elements of my practice that I feel need to be under my control I will do myself, The Unreliable Narrator was shot, edited and mixed by myself, with voiceover recordings, studio shoots, post image production all done in my studio. I decided to use a colorist to step up my game a little and he really did a great job, I wanted some animation work for the chapter titles and again I used a great animator Han Han Li — the big key for this work was to employ a Producer, Parveer Singh Sohal. Without Parveer's connections in India the work would not exist, so that was an integral decision. I needed access. But Parveer is not a Producer, he is a Graphic Designer and so there were many discussions about what I needed and what he was bringing to the project.
MP: Mathew's discomfort with the notion of a lonely, hermetic studio practice and artistic identity is of course very much in sync with my own ideas, feelings, and history… although not without risks — losing oneself in the collective, for example. A good friend who shares a similar collaborative history once commented that it's possible that no one will know or remember that her labor and creativity helped form some of these projects, since individual authorship is so often dissolved… I'm obviously not talking here about the art world's current embrace of "relational practices†and the career building that goes along with that. But as I've said elsewhere, I continue to be drawn to collaborative ways of working, such as the Chicago Torture Justice Memorials Project, because it's urgently needed, and impossible to realize by a single or even a handful of authors. Most importantly, collaborations embody the kind of collective labor and passion necessary to any project that's trying to make change.
As you, Caroline, and Mathew make very clear, the project of film and videomaking, like so many art forms, is necessarily collaborative… Chris Marker makes this point beautifully during the ending credits of "Grin without a cat†which he dedicates to the anonymous and unnamed artists and technicians without whose clips, shots, sequences, and documents that epic film would have never been realized, seen, or distributed. To that point, I would like to acknowledge the thoughtful labor, participation, and support of performers Darrell Moore, Mikal Shapiro, Matthias Regan, and Mark Jeffery; Directors of Photography Yoni Goldstein and Meredith Zielke; Mathew for such great sound engineering; Alex Brown for assisting with camera; Ilan Gutin for helping with the large prints; and the lovely, hardworking, and brilliant Joey Carr who has worked as producer, compositor, and hardware/software engineer.
CP: You call on various histories, whether philosophical or psychological traditions, fortune telling traditions,  — is it possible to collaborate with disciplines? Or do you think about the way you engage those traditions differently?
MJ: This is a wonderful question; tradition by nature is a stubborn legacy and confronting it head on is an antagonistic strategy. If you lay the threads down together: personal history and its discipline of remembrance, familial oral history, musical traditions as in Jazz, Cheiromancy, Homeopathy, Metallurgy, then these lines will touch and intersect like magnets picking up each other. It is a naïve want to reshape these lines to any sort of permanence. I think of Francis Alys work, The Collector — with the magnet on wheels that he pulls behind him collecting metal from the street as he goes — the street will fill up once again with shards and paperclips. Francis creates a moment of being present, and it's this re-presenting and laying down with traditions in new almost aleatoric ways.
MP: I consider myself a visitor, a curious student, an interloper or trespasser in many disciplines, an auto-didact, or rather someone who has learned from many teachers and texts, "negative†as well as exemplary…
CP:Â How do you all think of beginnings and endings? Are those narrative touchstones useful to you?Â
MJ: No, I instinctively move away from creating narrative structure, arcs and so forth. I find the idea of conclusion quite arrogant in non-fiction. The episodic device is interesting because it introduces the idea of the 'false start', or the hidden track at the end of an album, or the prologue as in Bergman's Persona, or 'rewind' in Jamaican dance hall, the stutter. This is why gallery installations are so useful: people enter and leave as they wish; this is a very considered position for my work, the ideal position.
MP: There are no real beginnings. We're always starting in the middle, picking up someone else's traces and tracks… For me, in the realm of ideas, relationships, as well as many projects over the years, there are so many interruptions and breaks… things are "left for now†and unfinished or deferred. I find it much more habitual to abandon something, rather than "end†it. Like Mathew, I am drawn to the episodic, to "false starts†and "stuttersâ€â€¦ but when Mathew talks about resisting narrative arcs, I think he is perhaps referring to "mainstream†or what we used to call "Hollywood narrative cinemaâ€â€¦ for me, there are so many wonderful, rich and complicated examples of "narrative fiction†that escape these constraints – the films of Robert Bresson and Chantal Akerman, for example, but also so many more – in cinema and literature, in expanded forms of the essay, in experimental non-fiction and media forms…
CP:Â How do you conceive of utopia? Is such a thing possible? Is it a condition of being? Or a place?Â
MJ: More than a construct, a Modernist ideal, pathological, LSD induced? I never conceive of utopia. Utopia and dystopia to me are devices, but they are not very interesting devices. They suggest spaces of utter happiness or utter sadness and isn't that a psychological state? Bi-Polar? There is no tension in these extreme spaces and it is too easy to create heroics from such static dynamics. This is exactly what popular culture thrives on. The fine-line-in-betweens, and the slippage that occurs within those minimal gradations is what art production responds to. The  entertainment industry responds to those other extremes. Even in a spiritual sense — in Buddhism, for instance, elements are in a balance, whereas in cults, the utopian ideals are offset by the leader sexually prowling its herd for ultimate control. Conceiving of utopia maybe undermines an art making practice? Desire is a more interesting space to work from for me. It has the same goal as utopia — the perfect space — but it is much more psychologically complex. Desire is fixated on process, and the moment. There is presence in desire without conclusion.
MP: Unlike Mathew, I don't think that utopian impulses can be reduced to mere devices, or that they are necessarily tied to dangerous heroic narratives… maybe this is just a difference of language, because I find that his conception of desire as a transformative force is very akin to what I would call utopian longings.
Until fairly recently, it's been fashionable to dismiss "utopia†because of its attachment to so many terrible and failed agendas that promised brave new worlds and then delivered totalitarianisms. We know now that we should dislike and mistrust master narratives, totalities of certainty, and teleological schemes. However, I am drawn to utopian impulses not just because I was formed through my engagement with them – to the point of political lunacy, perhaps – but also perversely because they have been a despised or at best suspect category for so long.
Contemporary social movements and revolts against globalized capital, the fleeting "occupys,†the movements of the squares, the queer utopias of so many interesting artists today, all embody what people call "prefigurative politicsâ€: "Be the change you want to make.†The emphasis is on the here and now, against telos, embracing not only possibility, but doubt. Recognizing that we, and all matter, is/are in a constant state of becoming, that small and invisible shifts and changes are always (potentially) occurring, whether or not they are seen or recognized… this is what intrigues and provokes me. Brian Massumi is an extremely useful thinker and writer here.
Paradoxically, there's a lot of interest in reclaiming utopian thinking now because of how hopeless and scary the world has become, how reduced and flattened to information, to bits and bytes everything seems… and all the ways that capitalism forecloses the imagination and desire, except as an instrument of and for the commodity, no pleasure outside of consumption… or the deadliness of an actuarial life, with its endless assessment debits and credits…
CP:Â What does it mean to come from somewhere? What role does memory play in that reality?
MJ: The transition is interesting, to come from somewhere to go to somewhere else, and the translation from one meaning to another. There is a great deal of nostalgia and longing for previous inhabited spaces, especially if you have been formed by them in some way; that complicates memory. A new space can act as a lens from which to view the previous space and this is truly a unique position. You no longer belong to that place but the memories are attached to you, somehow the filtration from one's current position gives a sober screen. I think it is essential but painful, and again that tension of knowing you need separation while at the same time being in touch with a sense of longing is the drive for this 'other' space to be imagined in my work.
MP: Again, we return to the problem of origins…Years ago, I made a piece provoked by Courbet's "The Origin of the World.†I was very influenced by Linda Nochlin's pivotal essay on that infamous painting, and the difficulty, if not impossibility, of locating an originary point — whether in relationship to that picture, which existed in several versions, disappeared, and re-surfaced over a long stretch of time… as well as the funny ridiculousness of imagining the universal vulva-cunt as the origin of us all, the Great Mother… how much better to use the term "beaver� or just ordinary women's names: a succession of beavers…
A more recent project was instigated by the notes, translated from Arabic into English, allegedly written by Mohammed Atta in preparation for the hijackings and attacks of September 11, 2001. When I read these, all sorts of problems immediately presented themselves. Was this an actual document? Were the notes, in fact, "found� or were they a fiction, invented to "prove†a rationale as incomprehensible as the acts that followed? Was this a reliable translation?
The idea that translation is often slippery and inexact, and sometimes impossible, is widely acknowledged. Yet we like to pretend that complete transparency is within our reach, that vast differences of culture, language, and history can be breached, if only the right tools, technologies, and "mindsets†are available. And translation, like everything else, has undergone a renewed politicization in this ever-encapsulated world.
In a lot of my work, I explore spaces and distances between a "here†and a "there,†a presumed "center†and its "periphery,†to work off the grid to the point of falling off a map completely. I work with images drawn from public, although possibly ephemeral archives – things like newspapers, outtakes, margins of the margins – to fictionalize them, at the same time as undermining the authority of "authentic†or alleged autobiography. Like Mathew, I'm preoccupied with the instability of memory, very enamored of the idea, the necessity of the unreliable narrator… or the mute, opaque, or invisible one.
Episode 252: Natasha Wheat
June 27, 2010 · Print This Article
This week: Brian and Patricia talk to Artist Natasha Wheat.
As part of the ongoing collaboration between Bad At Sports and Art Practical, as well as the summer series exploring social practice, this week Brian Andrews and Patricia Maloney sit down with Natasha Wheat as she prepares for her upcoming exhibition and temporary restaurant "Self Contained,†which opens at the Museum of Contemporary Art, Chicago on July 13.
Currently based in San Francisco, Wheat is an American artist whose work attempts to understand and interrupt the way that human beings exist together. She is interested in the social hierarchy of space, utopian attempts, and the tension between exclusivity and inclusion. Wheat founded Project Grow, a Portland Oregon based Art Studio and Urban Farming Project that includes people with mental diversity. Her recent work examines agriculture in relationship to human culture, distribution, and control. She received her BFA from the School of the Art Institute of Chicago in 2008.
Wheat has exhibited collaboratively and individually at The UC Berkeley Art Museum; The Pete and Susan Barrett Gallery, Santa Monica; Rogaland Kunstsenter, Stavanger, Norway; G2, Mess Hall, and the Museum of Contemporary Art, Chicago.
Check out the text version of this interview, starting July 1, in Issue 18 of Art Practical.


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New Orleans Saints receiver Marques Colston was held out of practice for the third straight day Sunday to rest his surgically-repaired right knee. He was out on the field, but he did not participate. Chances are, he will be back on the field Tuesday after the players have Monday off.
Also missing practice Sunday were tailback Chris Ivory (foot), cornerback Tracy Porter (knee), defensive end Greg Romeus (knee), receiver Adrian Arrington (ankle), receiver Jarred Fayson (ankle), linebacker Ezra Butler (hamstring), cornerback Fabian Washington (hamstring), offensive tackle Alex Barron (knee) and defensive tackle Mitch King (heart/chest). Cornerback Johnny Patrick (wrist) and linebacker Ramon Humber (quad) were injured during practice.
King's ailment was described as atrial fibrillation. Apparently it's a condition he's had in the past and he's expected to return to the field soon.

subset: commoncrawl


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Last Updated on Wednesday, 14 November 2012 23:53
About Us
The FP&C Office provides support for a variety of services in order to support the mission of Facilities Services and ultimately the SAISD. As a result of two successful bond programs (1997 & 2001), a full range of services have been developed and implemented to support these very critical and important initiatives. In addition, the FP&C office ensures the built environment is properly planned and safe by providing support in the various areas of Planning and Construction.
Mission Statement
The FP&C Office is committed in improving district physical facilities to support the teaching and support mission of the SAISD in quest for education excellence.
Vision StatementThe Facilities Planning and Construction Office is dedicated in establishing the highest quality of services to students, staff and stakeholders, and providing PF&C staff with the necessary resources to become the best in their respective fields.
- The FP&C Office provides Facility Planning, Demographics, Project Management, Facility Initiatives, Resources Management, and Environmental Services that supports the mission of the Division of Facilities Services and the San Antonio Independent School District.


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Click here for PDF copy.
Anoka Technical College and Anoka-Ramsey Community College shall follow the hiring and appointment practices as outlined in Minnesota State Colleges and Universities Board policies, Minnesota Management and Budget policies, all applicable collective bargaining agreement language, and all local, state, federal rules/laws/regulations.
For Minnesota State Colleges and Universities (MnSCU) policies and procedures, go to http://www.mnscu.edu/board/policy/index.html


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After losing nine of their last 10 games, the Los Angeles Lakers will attempt to bounce back against the division rival Los Angeles Clippers on Friday night at the Staples Center. Although the Lakers will be underdogs against Blake Griffin and company, new starting point guard has made a bold guarantee heading into the next battle for Los Angeles via Mark Medina of the L.A. Daily News on Jan. 9:
"I've already guaranteed a win to him," Marshall said when the Lakers play in a designated road home Friday against the Clippers at Staples Center. "I also told him that if he ever guards me, I might go for 30 [points].
In four games as the starter at floor general for the Lakers, Marshall has played much better than expected. Currently, Marshall is averaging 9.1 points and 7.0 assists per game while shooting 42 percent from beyond the arc, but he's coming off his worst game since signing with the Lakers.
In the loss to the Houston Rockets on Wednesday, Marshall had an awful night shooting going 2-of-13 from the field finishing with five points. The former UNC standout was able to dish out eight assists in the loss, but clearly struggled against Jeremy Lin and company.
Fortunately for Marshall, Chris Paul won't be playing in the second matchup of the season between the Lakers and Clippers. Although Paul won't be on the floor due to a shoulder injury, Marshall will still have his hands full against Darren Collison.
Follow the Los Angeles Lakers Examiner on Twitter: @Lakers_Examiner
Check out Ryan Ward's articles at LakersNation.com


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Mystery Object Took Down American Airlines Flight at JFK
And reports are quick to tell us: It's not what we think.
According to federal aviation officials, a foreign object that was sucked into a jet engine was the cause of the emergency landing of an American Airlines flight earlier this week. Here are the first two sentences of the Post story about the discovery:
Mechanics and engineers suspect some kind of foreign object got sucked into the engine of an American Airlines jet that made an emergency landing at Kennedy Airport, airline officials said today.The mystery object wasn't a bird, the airline said.
It kind of feels like they turned and looked at us when they said that, doesn't it?


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Excellent post Sag. I was a big Bradford guy and have fallen off the wagon so to speak, based on injuries, salary, and performance, but that is a different post and issue. You are spot on on your post regarding the so called Suh/Bradford debate.by F.Mulder - The Original HERD
QuotePaulButcher59 After week 1, I lost a lot of faith in Fisher and have despised his OC hiring from day 1. I agree completely and also remain pissed more players aren't held accountable for bone-headed penalties that reek of lack of focus/preparation and just sheer stupidity. The Bates 15 harder on the kick rerun made me livid. He had dodged a bullet on the punt return where they ruledby F.Mulder - The Original HERD
I agree completely. Going into the season, prior to Bradford's injury I could see a good best-case scenario and a surprisingly poor worst-case scenario if things didn't along. Once Bradford went down my hope for the season went down significantly. I think the first game confirmed my biggest fear. I feel this is a fragile team. They DO have a lot more talent and a lot of young players but somethby F.Mulder - The Original HERD
I'm surprised about the Hayes delay in being 100%. I know he had offseason "clean up" but would've thought he'd be ok by now. Either they are being very cautious about him or it was more involved than reported. Hayes is huge.by F.Mulder - The Original HERD
I think they will try to survive and hope that they get to the Bye unscathed AND Jones can come back healed providing more depth and versatility to the OLby F.Mulder - The Original HERD
For me his job is to get the ball out and into the hands of guys like Austin, Quick, and Britt and let THEM make plays. For me, Hill is more of a distributor and the rest falls on the RBs and Receivers. Let's see Austin juke his way to big gains and Britt and Quick break some tackles with their size and strength.by F.Mulder - The Original HERD
The front four needs to play their lanes and the LBers and DBs need to tackle better. Too often I've seen Long and Quinn suckered wide and the play run through their vacated area. For me it is more about the DTs on the front four getting penetration and/or tying up 2 blockers to allow others to make the play.by F.Mulder - The Original HERD
Quotemax This game is simple for me. Stop AD. PETERSON killed up last time we played them. He opened thongs up for Ponder who had a good game. Bradford was awful in that game, I expect Hill to be better than that. If we can't run the ball on them, then I'll be very disappointed in our OL. All that investment in Long, Saffold, and GRob needs to pay off. I agree Max. It's easier said thenby F.Mulder - The Original HERD
QuotePeoriaRa Full of actual analysis and football talk. I suspect that depending on where the value lies, we may be looking at CB in the first or second round next year. Finnegan has to be gone at his price/production. Jenks runs hot and cold, and Tru shows potential still but not there. If a CB shows and is good value, I could easily see that with one of our first 3 picks. Not sure wby F.Mulder - The Original HERD
I think they extend him and draft a QB in rd 2-4; someone who has upside or who needs some NFL coaching and experience but hopefully is able to start and play well if need be.by F.Mulder - The Original HERD - Archives
I think Finny is out. I think Pead gets activated while Benny is out. I think Benny is out a few weeks with a high ankle sprain so this could be Pead's best/last chance. I'd rotate Saffold in with Barksdale getting the start and Saffold a few series and take it from there.by F.Mulder - The Original HERD - Archives
QuoteMamaRAMa QuoteRAM23 Quick or who that got hit in the back of the helmet yesterday with a pass that looked like the one Sam was throwing to was the prime target all the time, like he totally blew turning around to get the pass. Shorty after that I saw one of the RAMS coaches on the sidelines jawing at a WR with intensity like chewing out screaming at him :lol3 me think someone didn't be focby F.Mulder - The Original HERD - Archives
I never know if these things are true or not but if so, can the OP expand on thier thoughts on Bradford's play, and if the staff knows how to turn things around overall?by F.Mulder - The Original HERD - Archives
Boy the Long signing looks better and better. This will be Saffold's last year with the Rams. Someone will overpay him based on potential and end up with another Amendola situation (I love DA BTW). They need at least 2 new OL next season.by F.Mulder - The Original HERD - Archives
Sometimes the most effective plays don't show up on the stat sheet. Just like Pistol QBs, the Rams D (within legal limits) should go for every delivery sack possible. It's funny how ending up on your back with tough hits takes its toll on confidence and patience for a QB. Hit Romo early and often.by F.Mulder - The Original HERD - Archives
Good point; that was an area that needed improvement as well as 3rd down conversions (I don't have the stats nearby but I think those are still low). TDs over FGs all day!by F.Mulder - The Original HERD - Archives
He suffered a rib injury vs NY in the opener.by F.Mulder - The Original HERD - Archives
Good post. A few thoughts: I agree about Bradford and the check downs. I'm a big Bradford guy but I can't figure out if the early days of Spags/Shurmur and the 2 second throw whistle, or Bradford himself, or a combination of the two factors, are just too cautious at times. Bradford needs to give his guys the chance to win 1 on 1 balls and even accept a few INTs for the sake of some biggerby F.Mulder - The Original HERD - Archives
Thanks for the update and local knowledge. Please keep us in the loop as/if things develop throughout the week. Do you think Romo took any hits yesterday that could have aggrevated his injury?by F.Mulder - The Original HERD - Archives
I'll just tell you, a lot of posters don't post on this board because there never is any gray area with certain posters and others have so many personality conflicts they should be subjected to a duel. Bradford is not a bust. Bradford is not in the HOF. Bradford is a good young/developing QB who needs to get better. Bradford does some things well and can do other things better. Weapons hby F.Mulder - The Original HERD
QuoteRamgator About 30 days closer to preseason!! Yeah but who's counting :spintounge. I'm with you. I'm pumped most seasons but last year felt like a downer coming into the season personally. This year I worry about the schedule but think this is a team on the cusp of being strong for a very long time and that is all most of us want in a team.by F.Mulder - The Original HERD - Archives
I'm a big Bradford guy but he really is the key to the whole thing. If you end up with an average QB and an average team out of all of it it is a net fail IMO. IF Bradford can become the upper echelon QB I think he is capable of then it is a steal of a trade regardless of what RG III does (and I think he is a fine player FWIW).by F.Mulder - The Original HERD - Archives
QuoteScRAM Once he has a couple big games the other teams will have to game plan for him & it'll open things up for other players, whether it be a size mismatch for Quick or Cook, or a speed mismatch for Givens, should also make the misdirection type plays even more effective. This is exactly right. Once teams begin to have to account for Austin by providing extra help it only makes other pby F.Mulder - The Original HERD - Archives
I worry about a lot of things but overall I worry about the Safety and LB position on Defense. I don't care how they spin Mcleod and Daniels, they are weak there (I'm not a McDonald fan FWIW). LB has 3 guys at best and the rest are borderline cast-offs. I used to like Hull but it is obvious to me he is overmatched at the NFL level. J Williams is everyone's favorite cut but he needs to show sby F.Mulder - The Original HERD - Archives
We shouldn't get too caught up in pre-OTA rankings or opinions. I can look at things two ways: Offensively: Polly Anna- Bradford in his second year of same Offense and ready to take next step. Speed on the outside in Givens and Austin, as well as at the TE in Cook. On paper a solid OL with a stud LOT, a solid LOT playing ROT, a vet center, a vet guard, and 3-4 potential guards fighting iby F.Mulder - The Original HERD - Archives
You know, I can see why some might want some type of vet FA WR type with so many young WRs but frankly I'd rather let them cut their teeth in regular action and question how much a cast-off has to offer (see S. Smith). In some ways Pettis is a vet (scary I know) but guys like Givens and Quick have faced live bullets. The coaching staff is excellent and they know, and will continue to develop Giby F.Mulder - The Original HERD - Archives
This is how I view the draft and "offseason" in general terms as far as team-builiding and hopefully excellence both in the near and long-term: 1) at some point you need to hit some homeruns via FA or the Draft. I don't care whether they are #1 overall picks, high-priced FAs or some under the radar UDFA that becomes a super star. The league is filled with solid teams and the differby F.Mulder - The Original HERD - Archives
No way Quick jumps from a pure raw project with numbers to support it last year, to a top WR this year. With that said, I expect a 45-55 type season from him and that is not bad. IF he can do that he is showing he COULD become that WR. If not, he looks like another tease.by F.Mulder - The Original HERD - Archives
I think a team struggling for consitency and good drafts and player development only get so many "projects" IMO. IF Jenkins keeps his nose clean he is a legit top CB, T. Johnson is a solid player, Givens also. With that said, they gambled on Quick and this year will tell us a lot. You don't keep going to the well thinking you are smarter than every other GM/Scout. Martz did that andby F.Mulder - The Original HERD - Archives
Quotemax Quote@ThePigskinArch: Excellent. RT @squick4n: Awesome news. @MikeSilver will again be in the Rams war room for the 2013 draft Should get a nice in depth article from it. I forget- who is the reporter we don't like? Is it Silver? Florio? Someone else? They all meld together into one giant Internet bogger/reporter for me. Of course what I ate for breakfast this morning has escapby F.Mulder - The Original HERD - Archives


text: Happy Tail: Third time's a charm for Min Pin Posted on Aug 07 , 2014 by Joan, staff writer Print Home > Blog > Adoption stories > Happy Tail: Third time's a charm for Min Pin Tags: dog adoption, Miniature Pinscher Over on the dog bed, there's a lot of loud snorting going on. You see Lilo, a nearly 2-year-old Miniature Pinscher squirming around amid her blanket, jerking the cover this way and that, getting it just right before she settles in for the night. It's standard procedure, says Tiziana Bianchi, who looks on with pleasure. After a rocky start, Lilo is now sitting pretty . Lilo, spotted on Petfinder and adopted from Muskoka Animal Rescue Volunteer Group in Emsdale, ON, is one of the joys of Tiziana's life. Although the dog is a rescue, the Toronto woman says she and her fiancé, Reese, were the ones who needed rescuing after she learned she was unable to have children. "The news was disheartening and pretty much broke me down," she says. Lilo enabled her to shift her focus to helping a puppy who needed tender, loving care. Lilo wasn't without issues, mainly from being taken away from her mother and litter mates too early. Studies have shown that a premature separation can prevent dogs from learning puppy manners. When Lilo was surrendered to the rescue group, she had already been in a second home. Fortunately, she didn't show aggression, as is sometimes the case, but she was extremely shy and nervous. Tiziana says that Lilo has become an "amazing, smart and well-centered dog." She and Stitch, a relative's Staffordshire Terrier, have a special bond. "At first it didn't seem like it was going to happen, but then one day they just clicked and became inseparable," she says. One evening the two dogs were playing, and "Lilo went running for Stitch as he was lying down. Suddenly he moved so quickly that as Lilo jumped for him, they hit, and Lilo went bouncing into the air, a full 360 degrees, before landing, miraculously, on her paws. I swear this dog is Wonder Woman." This, Lilo's third home, is a charm, thanks to Tiziana and Reese. All homeless pets should be so lucky. Learn why Petfinder believes all dogs should wear collars and tags. Share this Article: Print


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Jordan Henderson has revealed the bug which forced Brendan Rodgers to miss the 3-0 win over QPR also struck him on Saturday night - but admitted the lure of putting on a starting shirt was too great to miss.
The England U21 captain managed to play for just over an hour and gave a fine display as the Reds produced a brilliant performance to sink Harry Redknapp's bottom-of-the-table side.
Henderson said: "I was close to not playing. I had a bad stomach and was sick on Saturday night, which is unusual for me as I'm normally never sick. I caught the bug a few people and the boss got, but I love playing football and I want to play every chance I get for this club.
"There's a lot of competition for places at this club so when you are given the opportunity you can't let anything get in the way so I was pleased to be able to play.
"The coaches just said to me see how you feel in the warm-up. I felt okay so I managed to play for an hour which I'm pleased with.
"I got a text from my dad saying I looked white when I came off, but I feel fine and hopefully will be ready for the next game now against Sunderland."
Henderson received a great ovation from the travelling Kop when he made way for Lucas, and he was keen to acknowledge their support.
"Our fans are brilliant," he added.
"They travel home and away in their thousands and we really appreciate that. They are so passionate and we are very pleased to get this win for them."
Reflecting on the win at Loftus Road, Henderson admitted it was important to banish the memory of Boxing Day and look forward to trying to start a new winning run.
He explained: "Many people could see we put in a good performance at QPR. We played some really good football, defended really well, scored some good goals so overall we are delighted.
"It's always good to bounce back from a defeat with a win in your next game and it was a good test of character for us.
"We just have to keep working hard and keep progressing. I definitely think we are getting better. We've just got to take each game as it comes and keep that winning mentality."
Liverpool's No.14 also had words of praise for Luis Suarez who took his tally to 16 goals for the season with a brace in another fantastic display.
Henderson said: "Luis is brilliant. He is brilliant every day in training and brilliant in every game. It is just a pleasure to play with him."
The Reds will start 2013 with an Anfield clash against Henderson's former club Sunderland, and the midfielder is hoping to get the nod and keep his place in the starting XI.
He added: "It's another big game for us against Sunderland who have been doing quite well of late and they beat Manchester City.
"Sunderland will always have a special place in my heart but we are confident we can do well and get the right result."
Tagged: henderson , jordan henderson , qpr


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|Evans Auto Repair
Evans Auto Repair
Welcome to Evans Auto Repair, proudly providing expert auto and light truck repair, and maintenance services to customers of the Etters area.
We begin by offering a host of FREE services, including on-line auto maintenance schedules for your car or light truck, followed up with friendly reminders that let you know when your car is due for service. It has never been easier or more convenient to keep your car or truck in top shape.
We make your service experience hassle-free. We are happy to offer early bird and night-owl drop-box service and local Pick Up and Delivery to your home or office (within a 10 mile radius).
We also take the time to explain every job, and always provide you with an estimate in advance. You can be rest assured that our technicians have been trained to repair your vehicle — no matter what the age — the first time and to always use the right part for your car.
Our friendly staff invites you to schedule an appointment for your next scheduled maintenance or repair. We are a full service shop and can handle both your basic requirements and your ultimate performance needs. From batteries, to brakes, to tune-ups — let us make sure your vehicle is reliable and safe.
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Long Beach State Begins 2013 Indoor Track & Field Season at UW Invitational
49ers will send eight distance runners to Seattle this weekend
Fraser, Martinez gain national experience at USA Track & Field Junior Championships
Fraser finished 10th with season best in men's shot put
Two 49ers set to compete at USA Junior Outdoor Track & Field Championships
Junior national meet serves as qualifier for IAAF World Junior Championships
Barnard wins steeplechase on first day of Big West Championships
Senior establishes meet and school record in women's steeplechase
Long Beach State track & field heads to Claremont for Cal-Nevada Championships
49ers set to compete in two-day meet at Burns Track & Field Complex
800m - 2:12.68 (10th all-time)
1500m - 4:31.32 (10th all-time)
5000m - 18:40.89
800m - 2:18.6 (10th all-time)
Mile - 5:00.48 (10th all-time)
3000m - 10:31.9
2015 (Junior): Picked up two points at the Big West Championships with a seventh-place finish in the 1500m ... Ran a season-best 4:35.06 to take second at the Big West Challenge ... Registered a season-best 2:12.89 in the 800m at the Beach Invitational ... Competed in the mile during the indoor season.
2014 (Sophomore): Scored at the Big West Championships with an eighth-place finish in the 1500m (4:35.45) ... Notched a personal-best 4:31.32 at the Mt. SAC Relays ... Also established a lifetime-best 2:12.68 in the 800m ... Sits among the top-10 in school history in both events ... Added an indoor best of 2:18.6 to rank among the 800m leaders at the Beach.
2013 (Redshirt): Did not compete.
2012 (Freshman): Advanced to the finals of the 1500m where she finished 10th overall at the Big West Championships ... Ran a season-best 4:33.92 in the preliminary round ... Registered a then personal-record 2:14.93 in the 800m at the Steve Scott Invitational ... Placed 10th in her only 5000m race of the season at the Beach Classic (18:40.89) ... Competed in the mile at the MPSF Championships during the indoor season.
High School: Four-year letterwinner in track & field at Fountain Valley High School ... Two-time All-Sunset League performer ... Garnered All-Orange County honors in the 1600m as a senior ... Ran the second-fastest time in school history at 4:56 ... Added high school personal bests of 2:18 in the 800m and 11:32 in the 3200m ... Also lettered three times in cross country ... Was an all-league selection each year.
Personal: Member of the 49er cross country team ... Majoring in communication studies.
Sport Links
- 2016 Season
- Season Bests (Updated June 13)
- Weekly Release
- Beach Invitational Homepage
- Home Meet Information
- Black & Gold Meet Results
- Official Facebook Page
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- Recruits
- Recruiting Information
- Men's Track & Field Questionnaire
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- Contact Information
- Head Coach Andy Sythe - Jumps, Multis
- Tom Walsh - Distances
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- Cory Loebl - Throws
- Related Links
- USA Track & Field
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CoversCovers & Introduction
Section 1Coaching Staff
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WHAT Smyrna Craft Beer, Wine and Food Festival
WHEN 2 to 8 p.m. Saturday, July 12
WHERE South Market Street Plaza, Smyrna, in front of the Smyrna Town Ha...
WHAT Smyrna Craft Beer, Wine and Food Festival
WHEN 2 to 8 p.m. Saturday, July 12
WHERE South Market Street Plaza, Smyrna, in front of the Smyrna Town Hall and Post Office
RAIN DATE No rain date, event is rain or shine
SAMPLING ADMISSION $35 for 21 and over. ID required
NON-SAMPLING ADMISSION $10 for children and young adults between 10 and 20 years old as well as designated drivers
KIDS ADMISSION Free for children 12 years old and younger
ADVANCE TICKET PURCHASE Advance tickets can be purchased by visiting www.smyrnafestival.com
INFO tinyurl.com/festonfb
1. On tap
Last year, the Smyrna Craft Beer, Wine and Food Festival brought in close to 40 varieties of beer for sampling. This year, the festival will feature more than 50 beers. All the Delaware brews will be represented, from Twin Lakes Brewing Company to 16 Mile Brewing Company.
Warlock Brewing Company, which will soon reside in Smyrna, will also be at the festivalfor people who are curious about what they're bringing to town. They won't be offering samples but will have information about what they're going to offer when they open.
2 Uncorked
More than 35 wines will flow at the festival this year. Expect to see familiar names like Auburn Road Vineyards, St. Michaels Winery and Southern Wine and Spirits, who have provided samples the past two years. Plus, Painted Stave Distilling will join the pouring festival forces by offering up samples of locally-made vodka and gin.
3 Order up
With so much to drink, people should also expect plenty of good eats, too. American fare from the Smyrna Diner and SportZone, traditional Irish pub choices courtesy of Sheridan's Irish Pub, Italian cuisine from Trevi Ristorante and the exotic spices of Karibbean Link will help keep bellies full.
4 At the mic
Obviously, the kids can't drink so the event is organizing a "kid's corner" which will feature face painting and a performance of Jungle John's Reptile Show.
On the other end of the street, the adults will get to knock back their drinks while listening to classic rock, soul, oldies and the blues, courtesy of the Joey Fulkerson Trio. When JFT is not on stage, Deejay Jay plans to keep the tunes spinning and the people dancing.
5 Supporting charity
The purpose of the event is two-fold: get people downtown while supporting local charities. Last year, the town-sponsored event raised $7,000. This year, Sheridan hopes to raise even more money for the six charities that organizers would like to give donations to: Smyrna-Clayton Ministerium, American Legion Ambulance Co. 64, Citizens' Hose Company, Smyrna Library Guild, Smyrna Museum & the Smyrna Opera House.
This year, organizers have also reached out to local organizations catering to family members of the actively deployed. Sheridan said that she's thrilled that they are able to recognize these families and their sacrifices.
Location, ST | website.com


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Originally published in 1998 as the fourth installment in the Southern Sisters Mystery series, ' Murder Makes Waves,' is a captivating and hilariously good read.
The novel begins by introducing Mary Alice and Patricia Anne two sisters that could not be more different if they tried. While Mary Alice is large, flamboyant, and has left a string of rich husbands in her wake, Patricia Anne is small, quiet , and has only been married once to her beloved Fred .
Despite their glaring differences, two sisters could not be closer or love each other more. So when Mary Alice decides to go for a much needed vacation at her beach front condo in Destin, Florida she happily welcomes Patricia Anne , her niece , and a mutual friend to tag along.
What starts out as a fun, and carefree girls get-a-way, soon turns deadly serious when Mary Alice's friend and landlord turns up not only dead but, murdered!
With no witnesses and little clues to go on the police soon turn their focus to the newly departed's husband, who also happens to be a close friend of Mary Alice's .
Believing that her friend is innocent, coupled with a burning curiosity Mary Alice and Patricia Anne are soon on the case.
Can these southern gems save both their vacation, and their friend , all while trying to root out a murderer? Or will this vacation be the sisters last ?
Full of endearing and delightful characters , a tantalizing setting, murder, and mystery makes, ' Murder Makes Waves, ' a fantastically fun and deliciously good read.
This novel is recommended for fans of cozy mysteries, and author Anne George.
Look for , ' Murder Makes Waves,' and other novels at the local Half Price Books http://www.hpb.com
Want to learn more about the Southern Sisters Mystery series and author Anne George? Visit her website at http://www.annegeorge.com


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Stretch.... such a cute little Griffon
My little sister would kill for this on a shirt. This is so freaking cute.
So cute ! <3
too cute
Very cute^^
I may not really like Griffons, but this one is really adorable. ^^
Gosh, it's so cute
Oh my gods, that's the most adorable thing ever! So cuuuuuute, I love it!
what a pretty little creature we've got here!! ;D
Er meh gerd! It's adorable!
So cute! Great job!
Very cute! Love the style of art here.
Cute Eyes!
This is adorable! That expression just makes the entire image.
I love your work so much!
Are Sketch Dailies just a personal thing you're doing?
Or is there a list/challenge posted somewhere that you're using for what you will sketch for that day?
Oh my gosh! This is so super cute!! <3 love the expression and textures x3


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At the heart of commencement
Loving ATSU isn't hard to do — especially when honoring hundreds of bright, compassionate graduates who walk the stage each year at commencement. You know the procession by heart, but here is what stole ours at this summer's celebrations.
Kirksville College of Osteopathic Medicine | May 12 commencement
Tears of joy
ATSU President Emeritus Jack Magruder, EdD, was emotional when KCOM Dean Margaret Wilson, DO, '82, surprised him on stage with a public tribute, thanking him for his leadership. "I feel pretty special about this class," Dr. Magruder said. "We came together four years ago, and we leave together."
58 people in stage party
109 ceremony length in minutes
187 applause breaks
157 grads
School of Osteopathic Medicine in Arizona | June 8 commencement
Dressed to impress
Phoenix's Comerica Theater was aglow in a sea of emerald green commencement regalia. A symbol of students' dedication to helping others, the wearing of robes and hoods at graduation dates back to medieval times.
14 keynote address length in minutes
13 no. of times Dr. A.T. Still was mentioned
92 grads
Arizona School of Health Sciences | August 4 commencement
Double the fun
ASHS hosted two commencement ceremonies during which degrees were awarded in audiology, physical therapy, health sciences, human movement, physician assistant studies, and occupational therapy (online and residential programs). This was Dr. Craig M. Phelps' first and second graduations serving as ATSU president.
2 ceremonies
10 no. of times body, mind, spirit was mentioned
418 grads
Arizona School of Dentistry & Oral Health | June 8 commencement
Strength in numbers
ASDOH is now the alma mater of the largest-ever cohort of American Indians believed to graduate from a U.S. dental school. Six American Indian students took an oath to provide compassionate oral healthcare to rural and underserved communities, including the reservations where they grew up.
62 people in stage party
1 honorary degree
110 ceremony length in minutes
68 grads


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Sept. 14, 2012
2012-13 Men's Basketball Schedule2012-13 Men's Basketball Schedule
NEW ORLEANS - Seventeen home games and road games on both the East and West coasts highlight the 2012-13 Tulane men's basketball schedule release by third-year head coach Ed Conroy on Thursday.
The Green Wave, coming off a 15-16 injury plagued season as year ago, also face seven opponents that reached the postseason in 2011-12, including NCAA participants Alabama, Memphis and Southern Miss, NIT participants UCF and Marshall, while Rice made the CIT field and Hofstra played in the CBI.
"We are very excited about the release of our 2012-13 basketball schedule," Conroy stated. "The non-conference portion of the schedule will provide us with many challenges that should prepare us for play in C-USA."
Tulane will open the season on the road when they visit Georgia Tech on Nov. 9 in a rematch of last season's thrilling, 57-52, Green Wave victory over the Yellow Jackets.
"The opener against the ACC's Georgia Tech will be especially daunting since it will be played in the brand new McCamish Pavilion," Conroy added.
The Green Wave will also participate in the Joe Cipriano Nebraska Classic, an exempt tournament that will have three games in New Orleans and one in Lincoln, Neb., against the Cornhuskers. Tulane will host Bethune-Cookman on Nov. 13, Nebraska-Omaha on Nov. 16 and Chicago State on Nov. 18 before finishing up at Nebraska on Nov. 21.
Tulane also visits each coast with a single game at the University of San Diego on Dec. 8 and play in New York City against Hofstra on Dec. 22 at the Barclay Center, the new home of Brooklyn Nets.
"The game against Hofstra is exciting for us because we will not only get to play in New York City where so many Tulane alumni reside but it will be played at the Barclay Center the new home of the NBA Brooklyn Nets," Conroy said.
Conroy will take his team to Tuscaloosa, Ala., for the final non-conference road game on Dec. 30 to take on the Crimson Tide.
"The game against Alabama gives us the opportunity to test ourselves against a Top 25 opponent on the road just before the start of CUSA play," said Conroy.
Tulane will also host Southern, Loyola (NO), Navy, Nicholls State and Wofford in addition to the Tulane Classic field that includes Pepperdine, UTPA and Alabama State. The Green Wave will face UTPA on Dec. 19 and Pepperdine on Dec. 20.
Conference USA play begins on Jan. 9 when Tulane hosts UTEP. The Green Wave will also host Tulsa, Rice, UCF, Marshall, SMU, UAB and Houston.
Road conference game include trips to SMU, Memphis, UTEP, Houston, Southern Miss, Rice, Tulsa and East Carolina.
"Conference USA will be as competitive as it has ever been in the last three years," Conroy said. "There are multiple teams who look to have the makeup of an NCAA Tournament team. As a whole our program is very fortunate to have the opportunity to play across the Unites States in front our passionate Alumni contingents on both coasts. The experiences our players will have playing in marquee cities and premier venues will be memories they will have forever."
Among the returning players for Conroy and the Green Wave is the 2012 Conference USA Freshman of the Year Ricky Tarrant. Tarrant, a sophomore guard, is joined by junior forward Josh Davis and senior guard Jordan Callahan who started all 31 games during the 2011-12 campaign. Also back is senior forward Kendall Timmons, who started 16 games last season before suffering a season-ending injury.
Other Letter winners returning include senior guard Ben Cherry, junior center Kevin Thomas, redshirt junior center Tomas Bruha, and sophomores Jay Hook, Lotanna Nwogbo and Tre Drye. Last season's Max Keenan (Jr., G) and Josh Birchfield (So., F/C) will join incoming freshmen Louis Dabney, Marc Eddy Norelia, RaAnthony Sanders and Kajon Mack.
Season tickets for the 2012-13 Tulane men's basketball season will cost $500 for floor seats, $250 for reserved courtside, $125 for adult baseline, $50 for youth baseline and $300 for the "Family 4 Pack" which includes 2 adult and 2 youth tickets. For additional information, contact the Tulane Team Shop ticket office in person on the first floor of the James W. Wilson, Jr. Center Monday thru Friday 8:30 a.m. to 5 p.m. Information is also available over the phone at 504-861-WAVE (9283) or via the Internet at www.TulaneGreenWave.com.


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Centers and Institutes
- Ackerman Center for Democratic Citizenship
James F. Ackerman Center for Democratic Citizenship strives to be a national leader in preparing new generations of American citizens. The focus is to provide programs, institutes, activities and resources for educators to implement more powerful citizenship programs and opportunities that result in active student involvement in schools and communities.
- Center for Literacy Education and Research (CLEAR), developed from the former Purdue Literacy Network Project (PLNP), involves a comprehensive and wide-ranging collaboration with schools and is working to develop a research agenda with affiliated faculty who are interested in scholarly pursuits such as evaluating methods, documenting effectiveness, and exploring the processes involved in literacy learning, development, and instruction.
- Center for the Advancement of Teaching and Learning of STEM (CATALyST)
Center for the Advancement of Teaching and Learning of STEM (CATALyST), reconfigured from what was formerly known as CRESME, focuses on improving STEM (science, technology, engineering, mathematics) education for students from preschool to college. The center seeks to develop and research approaches to integrated STEM education.
- Gifted Education Resource Institute
The Gifted Education Resource Institute (GERI) works to further the development of gifts and talents in individuals throughout the lifespan. GERI conducts research on the psychology of talent development, trains professionals from all nations of the world to promote the development of individuals who have gifts and talents, and provides services to talented individuals and their families.
- Purdue Counseling and Guidance Center
The Counseling and Guidance Center is the counseling service and training facility for the College of Education on the Purdue University campus. Our services are available to University students and staff, to high school students, and to adults in the community at large.
- Purdue Center for Serious Games and Learning in Virtual Environments
The center's mission is to provide support for implementing, designing and developing serious games and virtual environments for learning; to encourage collaboration across Purdue and with K-12 schools; and, to establish a foundation for securing funding and conducting research at Purdue on the use of serious games and virtual learning environments in education. [Facebook]
- Technology Resources Center
The Technology Resources Center (TRC) is a multifaceted initiative of the College of Education. It encompasses several functions which together create a focal point through which faculty, students, and staff can explore, discover, and use technology in teaching and learning.


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Valvoline Premium Blue Diesel Motor Oil
Lubrication protection for your diesel engines
This quality motor oil can be used in diesel engines with exhaust gasrecirculation systems. Valvoline® Premium Blue® Diesel Motor Oil is an advanced conventional oil recommended by Cumminsfor use in Dodge Ram Turbo Diesels. Also exceeds the lubricationrequirements for Caterpillar, Detroit Diesel and Navistar. It can be usedin engines with diesel particulate filters. 5 gallon. SAE grade 15W-40. USA made.


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Jin Shang Hua Hotel Chengdu
- Location:
- Address: No.71 Xia Street, Dongchenggen, Chengdu, Sichuan Province
- Tel: 028-86268800、86264537 (Book this hotel, call 800-2682918)
- Hotel Name in Chinese: Jin Shang Hua Hotel Chengdu
- Lowest Price: $31
Located in the prosperous business district of the city center, Jin Shang Hua Hotel Chengdu is a photography theme hotel, close to the popular Tianfu Square. It is the first choice for business, travel, and recreation.
Newly renovated in 2009, the hotel has 150 guestrooms, including standard rooms, king rooms, double suites and business suites, they are spacious, comfortable and elegant. And the conference hall can hold up to 180 persons. Chess and sauna are also available.
- Prices not include 18% service fee and tax.
- Payment Method: pay using our secure online payment service or pay at the hotel at some hotels.
- Triple/quad occupancy may require an extra bed at extra cost.
Hotel Amenities
|Hotel Services
|Luggage service, Car rentals, Laundry service, Room service, Wake Up Call, 24hr Reception, Permanent English-speaking staff, Business Centre, Copy Service, E-mail, Translation Service, Fax Service, Typing Service
|Room Amenities
|Air conditioning, AM/FM radio, Alarm clock, Color Television, Coffee/tea maker, Telephone, Hair dryer, Iron and ironing board, Refrigerator, Bath and Shower, Free for Internet
Hotel Amenities: Elevator, Parking, Air-Conditioned Facilities, Beauty Salon, Business Center, Gift Shop, Meeting Room, Deposit Box at Front Desk, Fire Detector
Dining Facilities: Chinese Restaurant, Western Restaurant
Print the Taxi Directions
- Please drive me to Jin Shang Hua Hotel Chengdu, thank you!
- 请送我到Jin Shang Hua Hotel Chengdu,谢谢
- Address: No.71 Xia Street, Dongchenggen, Chengdu, Sichuan Province
- 地址: No.71 Xia Street, Dongchenggen, Chengdu, Sichuan Province
- Tel: 028-86268800、86264537
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Check out the list of all 233 hotels in Chengdu


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Committed to supporting schools
Committed to supporting schools
At Tucasi we recognise that schools expect the highest quality customer service and we are committed to providing just that. We have a team of experienced trainers and technical support staff who will work with you to implement your Tucasi system and to get the best out of it, through our range of training courses and via our customer support services.
If you have a query or problem you can find answers to many common questions and issues regarding the use of Tucasi software in our Frequently Asked Questions. You can also look at the latest versions of our User Documentation. If you need assistance from one of our support staff, you can either send us an email, complete our problem submission form or phone our customer support line. Our support staff are available between 8.30am and 5pm, Monday to Friday.
"The system is so comprehensive. Staff love the fact that we can issue them a report, instantly, with details of how much money has been collected and who has paid for what"
Secondary School, Hampshire


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Kansas City Chiefs selected offensive tackle Eric Fisher with the No. 1 overall pick Thursday.As had been widely projected in the final hours leading up to the NFL draft, the
Fisher, from Central Michigan, was taken over higher-profile and fellow left tackle Luke Joeckel. Fisher will be expected to help upgrade an offense that now has quarterback Alex Smith at the helm and finished 31st in passing last year (183.6 yards per game).
Fisher becomes the third offensive tackle selected with the No. 1 overall pick since the AFL-NFL merger in 1970. The first two were Orlando Pace with the St. Louis Rams in 1997 and Jake Long with the Miami Dolphins in 2008.
[Related: Eric Fisher an unlikely No. 1]
The 6-foot-7, 306-pound Fisher really began to generate buzz at the Senior Bowl, where he was one of the week's stars. He then backed it up by performing well at the NFL scouting combine a month later.More NFL draft coverage on Yahoo! Sports:
• Pros and cons of No. 1 NFL draft pick Eric Fisher
• Speculation runs wild over Geno Smith and QB draft class
• Photos: Biggest first-round NFL draft busts
• Photos: Worst-dressed NFL draft picks of all time
- Sports & Recreation
- American Football


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LOS ANGELES (LALATE EXCLUSIVE) – What happened to Baby Lyssa Chapman on Dog the Bounty Hunter, will Lyssa Chapman be joining the Dog the Bounty Hunter new show? Baby Lyssa Chapman vowed her support for the new show moments ago, LALATE can report.
Lyssa Chapman is not joining Dog and Beth, the new show debuting tonight on CMT. But she is certainly supporting it. She told followers moments ago "Congrats to my family on their continued success. Make sure you all tune in tonight to @cmt". She shared the message with fellow family members, via Twitter accounts for Leland, Beth and Dog.
It remains unclear why Lyssa chose not to join the new show. But she is working on new projects. She released to news this week her book tour dates. Chapman, as previously reported on LALATE, is debuting a major new book in the coming days. Among her stops are St Louis on June 3 and Atlanta on June 6. She revealed eleven stops including the June 7 CMA Fest in Nashville Tennessee. This week she told news that she is filming a new project. "Last night with my business partner filming for Dis N Dat !"
Baby Lyssa Chapman Pictures Set 3
Baby Lyssa Chapman Photo 9
Baby Lyssa Chapman Photo 10
Baby Lyssa Chapman Photo 11
Baby Lyssa Chapman Photo 12
But her biggest new project is her upcoming autobiography. Walking on Eggshells: Discovering Strength and Courage Amid Chaos heads to Amazon's Kindle from publishing powerhouse Simon and Schuster Digital Sales Inc this May 2013.
Reality shows generally need some background explanation in their lead-in first episode. Many viewers felt that Dog and Beth didn't provide that about Lyssa, Duane Lee and Tim this month. As evident on social media, fans were left guessing what happened to Baby Lyssa while watching Dog and Beth on CMT.
Leland, Duane Lee Pictures Set 1
Leland, Duane Lee Photo 1
Leland, Duane Lee Photo 2
Leland, Duane Lee Photo 3
Leland, Duane Lee Photo 4
Viewers have been writing the same to Leland this weekend. "Leland so where is baby lyssa, and ur brothers…we are going to miss em. hope to see em on the show". Viewers were displeased to learn that Lyssa was not joining the show. "I watched 2 hour special–not the same without Duane Lee & Baby Lyssa."
Baby Lyssa Chapman Pictures Set 2
Baby Lyssa Chapman Photo 5
Baby Lyssa Chapman Photo 6
Baby Lyssa Chapman Photo 7
Baby Lyssa Chapman Photo 8
Fans are excited for the new show. But they don't like the absence of narrative background on the former cast members' departure. "I can't wait for your new show! What happened to Duane Lee and Baby Lyssa and Youngblood?"
Others wanted to know if Baby Lyssa, Tim, and Duane Lee still talk with Dog and Leland. "Do you talk to Duane Lee and Baby Lyssa still at least, since they're not on the new show?" Another asked "What are baby Lyssa and Duane lee up to these days and do you miss working with them?" For now, fans are excited about tonight's premiere. But there are saddened that the entire family is not back on screen. "I just miss seeing Duane Lee and Baby Lyssa but your as great as ever!"
3 Comments
i Know Leland dose still talk to hos brother Duane Lee
I think it's very interesting that Lyssa did not tweet support until the day of the show. Also, her book tour just happens to be at CMT's CMA Fest? I don't think it's a coincidence. Too bad CMT made Dog and Beth the stars instead of Leland. Reality is Duck Dynasty reruns and Spongebob beat them last week and this week and were both included in the days top 100 cable shows. Dog and Beth failed to even make the list both weeks.
I am glad Dog and Beth are back on tv. I missed seeing them and watching them in their 'hunt'. I am sorry that baby Lyssa & the brothers aren't on . Guess they went on to something else .Anyway I am glad & very happy Dog & Beth are back.
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Gerald D. (Jerry), (Slim) Anderson, age 62, of Ulysses, Kansas died Wednesday, August 15, 2012 at Bob Wilson Memorial Hospital in Ulysses, Kansas. He was born September 9, 1949 in Ulysses, Kansas, the son of James Harold and Libby Marie (Thornton) Anderson.
Jerry was a graduate of Ulysses High School and attended Hutchinson Junior College. He returned home to work in the family businesses and later became an owner of Anderson Motor Company and Anderson Automotive (NAPA); retiring in 2007. Jerry married Sonia Alvarez in January 2003. He served on the City Council, Grant County Economic Development Corporation and was a former Rotarian. Jerry was interested in and restored a Cushman Scooter, was a race car fan and owned a car that was raced in Dodge City by Merle Tully. He also enjoyed watching NASCAR, had a private pilot's license, and enjoyed spending time with his grandkids.
Jerry is survived by his wife, Sonia of the home; three stepchildren; five step grandchildren; brothers, Jim Anderson and wife Wilma of Ulysses, Kansas, Leon Anderson and wife Gloria of St. Louis, Missouri, Steve Anderson and wife Rhonda of Ulysses; Bill Anderson of Ulysses, Kansas; sister, Patty Shapland and companion Ronald Craft of Ulysses, Kansas; several nieces and nephews; and a host of friends.
He is preceded in death by his parents.
Funeral service will be held Monday, August 20, 2012 at 10:30 AM at the Country View Baptist Church in Ulysses, Kansas with Reverend Sam Bynum and Reverend Bill Harrold officiating. Interment will follow at the Ulysses Cemetery. Friends may call Sunday, August 19, 2012 from 2:00 PM until 8:00 PM at Garnand Funeral Home in Ulysses. Memorial contributions may be given to the Historic Adobe Museum or the Country View Baptist Church in care of Garnand Funeral Home, 405 W. Grant Ave, Ulysses, KS 67880.
©2016 Seward County Broadcasting Company, Inc.
1410 N. Western Ave. Liberal, KS 67901


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Grant Alden Wistrom
Position: DE
Height: 6-4 Weight: 272 lbs.
Born: July 3, 1976 in Webb City, MO
High School: Webb City
College: Nebraska (school history) (Wistrom college stats)
Drafted by the St. Louis Rams in the 1st round (6th overall) of the 1998 NFL Draft.
Weighted Career AV (100-95-...): 57 (1086th overall since 1950)
Sponsor this page for $10 and help Pro-Football-Reference.com provide this service. Your message will replace this ad.
|0 Accepted Penalty


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Dionea Orcini, the rapidly rising fine jewelry line, has landed in Oxygene and Vault just in time for Valentine's Day.
Orcini's exquisitely crafted pieces make a standout gift for the ultra-luxe love in anyone's life. With celebrity fans like Laura Dern and Christina Aguilera, Orcini's jewels offer a sleek and seductive sophistication - the perfect thing to spark some romance come February 14th.
Check out our favorite pieces at our slideshow-- picks including the Profumo Citrine Necklace, the Queen Boudicca Necklace in Rose Gold and Semiramis Double Ring in Yellow Gold.
To view all of Dionea Orcini's collections, please visit the following link: http://dioneaorcini.com/
More about Valentine's Day Gifts, please visit Lissette Rondon's Blog: www.miamifashionspotlight.net
Contacts: firstname.lastname@example.com


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LOS ANGELES (LALATE) – Aaron Hernandez girlfriend Shayanna Jenkins lashed out at the news media this week. But it remains unknown if Shayanna Jenkins also attended a special media event this Monday for the Patriots, featuring Aaron Hernandez ironically on the invitation.
Shayanna Jenkins has refused comment since her initial questioning after the Odin Lloyd murder. But this week, Aaron Hernandez's girlfriend had problem expressing herself to the news media as she entered and exited court. Jenkins has yet to comment in public about the case since Hernandez's arrest. Her sister, Odin Lloyd's girlfriend, has not appeared in public. And Shayanna has yet to comfort Odin Lloyd's family while in court.
Local news reports that girlfriend Shayanna Jenkins walked swiftly passed Lloyd's parents this week with no comment or acknowledgment of their court presence. Jenkins is accused by police of falsely telling them that Lloyd was a dealer, an allegation since disputed as false by local news. So when asked for comment by local news this week, Jenkins was furious, lashing out at the news media. "Get away from us. We're not talking."
Ironically, just as she was appearing in court, the Patriots were holding a season ticket event Monday. And the central person depicted on the invitation's image (above) was Aaron Hernandez.
Meantime the Florida Gators this month removed Aaron Hernandez's brick. They did not return the brick to Jenkins or Hernandez. Julie Quittner tweeted "contractor was told to take it back to their plant in Lake City".
Aaron Hernandez GF Pictures Set 1
Aaron Hernandez GF Photo 1
Aaron Hernandez GF Photo 2
Aaron Hernandez GF Photo 3
Aaron Hernandez GF Photo 4
In a news statement, the University Athletic Association said "We didn't feel it was appropriate to celebrate Aaron Hernandez. We put together an immediate plan after the initial news broke to remove his likeness and name in various private and public areas in the facility, such as the South Endzone team area, locker room, football offices, Heavener Complex Kornblau Lobby and the brick display entrance to the football facility."
Aaron Hernandez GF Pictures Set 2
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Aaron Hernandez GF Photo 8
They added "We are able to implement some of the changes immediately and this (brick removal) was a more complex process to complete with our vendors. The plan was to have everything completed before the end of July."
Aaron Hernandez Surveillance Video, Pictures
Surveillance Photo 1
Surveillance Photo 2
Surveillance Photo 3
Surveillance Photo 4
EA Sports has also removed Hernandez from their August 2013 Madden NFL 25 release and recent release of NCAA Football 14. "We made a decision to remove Aaron Hernandez from Madden NFL 25 and NCAA Football 14. Because NCAA Football 14 was finalized prior to our decision, Hernandez' image still appears in the Nike Skills Trainer," the spokesperson said. "However, he is not in the game, and anyone who unlocks that particular Nike Skills Trainer reward will receive an Alex Smith Ultimate Team player item instead. The image of Hernandez will be removed via a Title Update in the near future."


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Dene Ward Olney, 86, of Tyrone, Oklahoma passed away February 3, 2012 at Southwest Medical Center in Liberal, Kansas.
Dene was born the son of Edward Marion and Reba Mae Daniels Olney on May 18, 1925 at Hooker, Oklahoma.
He was a WWII Veteran serving in the United States Navy as Gunners Mate 3rd Class on the USS Woodworth (DD460) in the Pacific. Dene was honored with the American Area Service Metal, Victory Medal, Asiatic Pacific Camp Medal (2 stars) and the Philippines Liberation Ribbon before receiving an Honorable Discharge on December 16, 1945. He was a lifetime member of the VFW Post 3166 in Liberal, Kansas.
He married Dora May Lowe on July 14, 1946 in Cimarron, Kansas.
Dene worked several years in the farming, oilfield and casing industries. In 1949 he was employed by Blakemore Brothers Warehouse which eventually became Nash Finch Warehouse and retired in 1987 after 40 years of service as the shipping and warehouse manager.
He was a most giving, devoted and loving family man. He enjoyed spending time outdoors and the company of his many friends.
Dene was preceded in death by his parents; three brothers (Alfred, Chester and Neal); son Marvin Eugene Olney; and two grandchildren (David Dene Wanzer and Stacey L. Long).
Survivors include his wife, Dora May of the home; one son, Richard Olney of Tyrone, Oklahoma; three daughters, Beverley Olney and husband Steve Armstrong of Tyrone, Oklahoma, Marva Jean Olney of Enid Oklahoma and Danita Olney Anderson and husband Darwin Anderson of Mascotte, Florida; one brother, Boyd Olney and wife Claretta of Tyrone, Oklahoma; 5 grand children and 17 great grandchildren.
Graveside services will be at 10:30 a.m. on Tuesday, February 7, 2012 at the Hooker Cemetery with Rev. Jack Jacobs officiating. Military services will also be conducted under the direction of Roberts Brothers Funeral Home, Inc. of Hooker, Oklahoma.
Condolences may be left at www.robertsbrothersfuneralhome.com
©2016 Seward County Broadcasting Company, Inc.
1410 N. Western Ave. Liberal, KS 67901