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Howard threw two incomplete passes at the end of Riverside's first drive of the night, which ended with 9:47 left in the first quarter and resulted in a Tiger punt. But he connected on all 15 passes he threw after that, including a 15-yard touchdown toss to Kenny Torrence with 4:56 left that broke a 17-all tie and came moments after Taylor intercepted a pass from Golden West quarterback Chris d'Entremont and returned it to the Rustler 10 yard-line.
It was an extremely physical battle that saw each team lose several players to injury and have others helped from the field to return, and came down to the game's final 5 minutes. The key sequence began when Riverside (10-1) managed to down an Anthony Johnston punt at the Golden West 4. Three plays later, d'Entremont threw a pass over the middle that Taylor intercepted, setting up the winning score.
Golden West (9-2) still had plenty of time to answer, but was only able to gain 1 yard in three plays and had to punt. Then Riverside drove to the Golden West 10 yard-line, and Mike Canahai booted a 29-yard field goal with 1:41 left to make it 27-17 and clinch the win for the Tigers.
Until that, the game was played on basically even terms. Riverside scored the game' first touchdown late in the first quarter on a 13-yard touchdown pass from Howard to Anthony Knight that capped a 7-play drive. Golden West tied the score midway through the second quarter when d'Entremont threw a 13-yard touchdown pass to Marcus Sanchez.
Golden West got a field goal from Peter Marquez early in the third quarter to take a 10-7 lead. That sequence actually began after the final play of the first half when Riverside was assessed a personal foul penalty. As a result, the Tigers kicked off from the 20 to start the second half, and Kyrel Brown returned the short kick to the Riverside 42, leading to the field goal.
Riverside answered quickly, however, going ahead when Howard threw a 25-yard touchdown pass to Torrence to cap a 6-play drive midway through the third quarter. And the Tigers received a bit of good fortune when game officials lost track of the down - there was a play negated by a penalty, the third quarter ended and the chain gang put the sticks on the wrong yard-line to start the fourth quarter, and in the confusion Riverside was awarded an extra down. On what was actually 5th down, Canahai kicked a 31-yard field goal to give the Tigers a 17-10 lead with 13:32 left.
But Golden West overcame all that to tie the score midway through the fourth quarter. D'Entremont, who briefly left the game in the second quarter with an apparent knee injury, but returned to start the third quarter, threw a 27-yard touchdown pass to Brown to tie the score with 7:01 left. And the Rustlers got the ball back 1:36 later when the defense forced a Riverside punt. However, that punt went to the 4 yard-line, and ended up leading to Taylor's interception.
For Riverside, Howard was named Most Valuable Player for his 17-for-19 performance passing, including completing his last 15 passes, for 196 yards, no interceptions and 3 touchdowns. Torrence had 5 catches for 97 yards and 2 touchdowns and was named Riverside Player of the Game. Knight rushed 19 times for a game-high 83 yards, and also caught 6 passes for 47 yards. Defensive lineman John Taylor led the defense, registering 2 of the Tigers' 7 quarterback sacks, and of course Darique Taylor had the key interception. Canahai, substituting for injured Luke Voss, connected on both of his field goal tries and made all 3 extra point attempts.
For Golden West, d'Entremont was 27 for 46 passing for 281 yards, 2 touchdowns and 1 interception in a courageous performance battling the injury. He rushed 16 times for 27 yards (9 carries for 61 yards if sacks are subtracted out) despite appearing noticeably hobbled after the injury. Kyrel Brown led all receivers with 8 catches for 111 yards and a touchdown. Dylan Hall had 7 catches for 76 yards.
With the win, Riverside earns a berth in the Southern California championship game next Saturday against Fullerton at Yorba Linda HS. These teams met in October, with Fullerton pulling out a 38-36 win after a touchdown with 26 seconds remaining. Kickoff is 1 pm and JCFootball.com will be there.
Riverside Tigers 27, Golden West Rustlers 17
Saturday, November 23, 2013 - 6 pm - Wheelock Stadium, Riverside
Southern California Bowl - Southern California Semifinal #2
1st Quarter:
R - Knight 13 yd pass from Howard (Canahai kick) 1:56 (7-0)
2nd Quarter:
GW - Sanchez 13 yd pass from d'Entremont (Marquez kick) 7:58 (7-7)
3rd Quarter:
GW - FG Marquez 31 yds 9:04 (7-10)
R - Torrence 25 yd pass from Howard (Canahai kick) 6:44 (14-10)
4th Quarter:
R - FG Canahai 31 yds 13:32 (17-10)
GW - K.Brown 27 yd pass from d'Entremont (Marquez kick) 7:01 (17-17)
R - Torrence 15 yd pass from Howard (Canahai kick) 4:56 (24-17)
R - FG Canahai 29 yds 1:41 (27-17)
Team Statistics:
First Downs: Riverside 16 (6 rush, 9 pass, 1 penalty), Golden West 20 (5 rush, 15 pass)
Rushes-Yds: Riverside 42-151, Golden West 32-50
Passing Yds: Riverside 196, Golden West 281
Comp-Att-Int: Riverside 17-19-0, Golden West 27-47-1
Return Yds: Riverside 92, Golden West 69
Sacks-Yds: Riverside 7-49, Golden West 1-3
Fumbles-Lost: Riverside 2-1, Golden West 4-1
Penalties-Yds: Riverside 8-75, Golden West 6-40
Time of Possession: Riverside 27:27, Golden West 32:33
Individual Statistics:
Rushing: R 28-Knight 19-83, 29-Yarbrough 12-46, 6-Howard 11-22; GW 2-d'Entremont 16-27, 32-Cruz 6-19, 21-A.Brown 2-7, 7-Hays 1-2, 1-Salazar 1-2, 23-Hunley 3-2, 20-Ferraro 1-1, team 2-(-10)
Passing: R 6-Howard 17-19-0-196, 3 TDs; GW 2-d'Entremont 26-46-1-281, 2 TDs; 1-Salazar 0-1-0-0
Receiving: R 28-Knight 6-47, 10-Torrence 5-97, 13-Shreve 4-40, 9-Moore 1-7, 18-Thompson 1-5; GW 11-K.Brown 8-111, 83-Hall 7-76, 82-Pastell 3-23, 12-Little 3-21, 19-Sanchez 2-27, 21-A.Brown 2-4, 20-Ferraro 1-20, 32-Cruz 1-(-1)
Interceptions-Ret Yds: R 4-Taylor 1-14; GW none
Fumble Rec-Ret Yds: R 98-Fa'imalo 1-0; GW 37-Haley 1-0
Sacks-Yds: R 92-Taylor 2-16, 99-Mitchell 1-14, 56-Colbert 1-11, 43-Moi 1-4, 93-Zuniga 1-3, 95-Wilson 1-1; GW 99-Steele 1-3
Punters: R 16-Johnston 5-37.2 avg; GW 47-Beighton 4-36.3 avg
Kick Returns: R 10-Torrence 2-34, 18-Thompson 1-25, 17-Biggers 1-11; GW 11-K.Brown 4-71
Punt Returns: R 17-Biggers 3-8; GW team 1-(-2)
Game Notes : MVP: Skylar Howard, Riverside. RCC Player of the Game: Kenny Torrence. GW Player of the Game: LB Anthony McNichols. Riverside entered as the #2 seed, ranked #5 in the nation and improves to 10-1; Golden West was the #3 seed, ranked #15 in the nation and finishes 9-2. Howard threw 2 incomplete passes at the end of RCC's 1st drive that ended with 9:47 left in the 1st quarter; he completed all 15 of his pass attempts after that. Game officials appeared to get confused over the 3rd/4th quarters and there was a penalty on 2nd down, but the RCC FG came on 5th down. Taylor returned his interception to the GW 10 with 5:02 left and that set up the winning TD.


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Bright 2-3 br Apartment in the Centre
Спальные места4
Ванные комнаты2
Площадь106 м²
Этаж №2(с лифтом)
- Интернет
- Кухня
- Стиральная машина/сушилка
- Бассейн
- Джакузи
- Полотенца
- Посудомоечная машина
|Fredrikinkatu, 00120 Helsinki, Финляндия
|Тип жилья
|ID жилья
The sunny master bedroom has a comfortable double bed, while the equally bright 2nd bedroom has 2 single beds. An additional single bed is available upon request and can be set up in the library.
Enjoy a view of the street through a bay window in the living room as you relax upon plush seating. A fitted kitchen with a dining table is also present.
One of the most popular tourist attractions in the city, Market Square is only a 15-minute walk away. The Port of Helsinki can be reached in the same distance.
The apartment is close to many restaurants, and there is a famous bakery just around the corner. Various train, tram and bus lines stop nearby.
No pets.
No drugs.
Shoes should not be worn indoors.
Guests should leave the apartment in the same state it was upon check-in.
Guest should take out the trash before check-out.
The common swimming pool is available from 7:00 am to 12:00 am every day. Sauna is available on Tuesday from 18:00 to 19:00 pm. Sauna and pool are closed for annual service in July.
Keep noise to a minimum after 10:00 pm.
|Цена за неделю
|95948 руб.
|Цена за месяц
|335817 руб.
|Заезд после
|Заселение до
|По договоренности
|Отъезд до
|Политика Отмены Брони
very nice flat in the center of helsinki, everything in a walking distance, jarmo introduced us to his flat and gave us helpful advices for where to go for...shopping, dinner...he was tel. reachable and we felt warmely welcome;
we will come agiain...
This is a lovely spacious apartment which had everything we could have needed. The beds were very comfortable, there was an excellent shower and access to a swimming pol and sauna. Jarmo was very friendly, welcoming and helpful. The location was excellent. There was no photograph on the website of the second bedroom which we were slightly concerned about before we arrived but it was a lovely bright and spacious room as were all the rooms. We chose to have a bed in the library, again another bright and spacious room. We were staying in Helsinki for our son's wedding. It was so nice to have a 'home from home' where we could stay together as a family. We would highly recommend this apartment.
- Гарантировать качество жилья
- Проверить каждого принимающиего Вас хозяина по телефону
- Обеспечить безопасную оплату через шифрование на базе SSL

subset: commoncrawl


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Suzanne Bachner
10 diverse characters—gay, straight and bi—are linked through a daisy chain of sexual contact, hooking up in Starbucks, an S&M dungeon, a bedroom, a kitchen and cyberspace, as they strive for a deeper connection with one another.
Set in the heart of Chelsea, 8 eccentrics—a vampire, a hustler, a redneck, an angel, a loner, a bimbo, a goddess and an actor—randomly intersect during one unforgettable day in New York City.
Award-winning playwright Suzanne Bachner's true story of the search for her birth parents in the face of New York State's sealed records - once she opens Pandora's Box, can she find a way to integrate her dual identities and still remain the Good Adoptee?
A dynamic, kaleidoscopic 10-actor ensemble piece that tells the story of a young woman's victory through adoption, bipolar disorder, sexual abuse, a broken marriage and the ambivalent search for her birth parents.
Suzanne's award-winning play, Circle, ran for five months Off Broadway, was performed nationally, optioned for production in Australia and called "ingenious" by The New York Times. She wrote and directed two long-running original cult hits in NYC: the irreverent Icons & Outcasts and the choose-your-own adventure comedy, BITE, as well as her celebrated kaleidoscopic memoir play, We Call Her Benny, which BroadwayWorld.com called "the future of theatre". Other plays include Screwdrivers & Sunday Brunch, Don't Let Destiny Push You Around, Jump Start, Alice Through the Looking Glass, Icons Y2K, Temptation, Sex Ed, Twin Studies, Flirting with Reality and Alexandra Triptych. Her plays have been seen at PS NBC@HERE, The Duplex, The National Arts Club, The Samuel French Short Play Festival, The Michael Weller Theatre, The Raw Space, Pulse Ensemble Theatre, Zeitgeist Stage Company, Mercury Players Theatre, Arena Stage in Portland, OR and 20th Century Fox at the Coronet Theater in LA, among others.
She is thrilled to be the director and developer of Bob Brader's internationally acclaimed, multi-award-winning solo show, Spitting In The Face Of The Devil. Directing credits also include Frank D. Gilroy's The Subject Was Roses at The Celebration Theatre in Los Angeles and the short film, Jennifer Monroe, P.I., a finalist in Flicks on 66.
Suzanne studied playwriting with Romulus Linney and Adrienne Kennedy and holds an MFA from The Actors Studio Drama School at The New School. She is a four-time OOBR Award-winner, a Resident Artist Emeritus at The Actors Institute and Horse Trade and a member of The Dramatists Guild. As Artistic Director of the John Montgomery Theatre Company, Suzanne has produced over 50 shows in New York and one in LA. She is a native New Yorker and loves actors (one in particular!).
More About Suzanne Bachner
My new play, THE GOOD ADOPTEE, Performed by Anna Bridgforth at Theatre Row as part of the United Solo Theatre Festival [November 3, 2015]
The true story of award-winning playwright Suzanne Bachner's lifelong search for the truth of her origins. Once she opens Pandora's Box, can she find a way to integrate her dual identities and still remain The Good Adoptee? Performed by Anna Bridgforth, Dramaturged by Bob Brader, Directed by Suzanne Bachner, Lighting Design by Katie Chai and Graphic Design by Michael Koch.


text:
Brampton, ONCanada
Hometown: Warsaw, Poland
November 22, 2012
Highly recommended, great experience, and meet fabulous people
Welcome to our Qigong, Meditation, Zen, Energy Work & Healing Community!
Enter the gateway to a fast growing community of warm, like-minded people, where you can explore the healing power of Pon Klie (Bad Stress Out) Zen Qigong & P.K. teachings on Restoring Inner Balance & Harmony. We also teach the deeper wisdom of Experiential Zen, Inner Freedom, Energy Work and much more... Join our friendship community gatherings and classes to aid you on the path. Share your experiences and reconnect with wonderful like-minded people. Our authentic Zen lineage is over 1,600 years old. Our Inner Peace Qigong is over 5,000 years old.
All Are Welcome! Come find out what we are about ***FIRST CLASS IS BY DONATION... Free Social Events (Restaurant Prices Vary) & By Donation Meditation Classes.
This Meetup and the Lotus-Zen Community is a Gateway to give you deeper insights and practical tools for optimizing health and wellness on many levels. As a community, we are also passionate about exploring our spirituality, meeting other open-hearted people, and serving humanity and the planet. Our events have a very social aspect to meet one another and share. Whatever your beliefs are, you are welcome here.Whether you are brand new to Qigong, Meditation, Zen, Energy Work and the teachings of Mind & Consciousness or a seasoned explorer, you are welcome here.
"IT IS ALSO A GREAT Meetup to meet warm and wonderful new friends and share your experiences. There are lots of wonderful people to meet and socialize with.
If at any time you have any questions on the classes please feel free to contact us. We are here to provide assistance. We look forward to meeting you soon!
Contact Support
Hae Kwang Sunim: email@example.com
Join us, and allow us to join you on your path. It's time to make a difference, to bring happiness and joy ito our own lives and be the change for others to find their own love, strength and inner power.
Energy Healing, Meditation and Pon Klie Zen Qigong Classes (which include Qigong, Meditation, Zen, Energy Work & Healing) are held in Brampton, Oakville, Richmond Hill and Toronto.
"When the mind is trained, quieted, then room is created for our brightness, our True Self to shine through. The nature of True Self IS positive, loving, witnessing, unmoved in the moving. No positive affirmation can deliver the depth of contentment, of joy that already exists, that comes forward from True Self. The more we connect with it, the more it grows through us. In such an environment, the body has comfort, hurry sickness and chasing to 'fix' what we 'thought' we were collapses. The nervous system can finally rest - Stillness. From this place, the body will not easily fall prey to disease." - Hae Kwang Robert
Members Feedback:
" I found PK Zen Qigong classes with Hae Kwang Robert very helpful, easy to do, always give you peace of mind, good mood and strong wish to come back again " — Tania Vasilyeva on Apr 23,
" I always wanted to practice Qigong and this group is what I was looking for; something much needed in my life, learning more about Zen and everything this groups offers. Great experience on my first meet up. "
— graciela on Apr 19,
" Very useful and empowering. " — Liane Harris on Mar 24,
" After attending "Awakening: A Return to Your Original Nature" I can now say that I'm not seeking to become anything! LOL :) All is within and I'm thrilled that Hae Kwang is sharing his wisdom and aiding in my awakening. The Qigong and meditations alone are worth coming out to any meeting for and the energy work well is just simply amazing! " — Emily on Mar 19,
" This was my first meeting. I was comfortable from the moment I entered the space. I shared the energy healing session of the evening with three wonderfully amazing women. With their kindness and awareness I intrinsically felt the energy that was offered to me. Inner release occurred in a number of ways and levels. I will attend again! Thank you Hae Kwang for your expertise and energy in making this happen in a safe and welcoming environment. " — Judith Robuliak on Mar 16,
" I would suggest this class to everyone who wants to rid themselves of the weekday stress and recharge for the week ahead. " — Deb on Mar 11,
"Well for my first time class everything talked about I sure was ready for. The tools were simple to remember, thank goodness, even after only one sitting. Blessings " — Sheilagh Mercer on Jan 17,
" Qigong, Meditation, Zen, Energy Work and Healing is perhaps exactly what I was looking for and as it will enhance my knowledge, experience and way of life. Being able to learn, practice and apply all that is learned in this group will most definitely improve my life and the life of others around me. " — Abdul on Dec 20,
" I believe Qigong, Meditation, Zen, Energy Work & Healing is a wonderful way of healing oneself and others, becoming one with the Universe and understanding our purpose here. " — Gail on Nov 13,
"Mastering Zen Qigong - Step by Step" was my first introduction to Qigong and it was a great start to this healing art. Welcoming and warm group greatly enhanced the learning. Thank you and looking forward to attending future classes when possible."— Arun on Apr 20,
" In each of my three meetings with this group I was surprised to realize that I feel immediately part of the group regardless who are the other persons like me - in search of learning and practicing Qigong. I believe that this feeling is shared by all other persons I met in my last three meetings at Unity Meetups, as it is carefully guided by this Group Leadership team. " — MIHAELA SAVU on Oct 13,
" It is a life saver ;o))) " — Dae Bosal Anna on May 10,
" Today was my first visit and I truly enjoyed the class. The people there are so nice and welcoming. The moves that Robert showed were easy to follow. I love the music, Qigong, the meditation, stretching, the experiences were amazing! My favourite part was when we were playing with the energy ball, I could actually felt the magnetic feeling in my hands. Also the part when we used our fingers to pull out bad energies and I could feel the tingling on my legs as I move my fingers up my body, that's awesome! The class is so relaxing, the group discussion in the end was a nice touch, like a story telling, or sharing experiences with each other. I will be back for more. Thank you so much, Robert, you are a great instructor!"— Kim on Mar 26,
" Went to my first Qigong, Meditation, Zen, Energy Work & Healing Meetup and it was great .... positive energy and the Q & A afterwards gives you insight into what you are going wrong and what you can do try and change. " — Amanda R on Mar 26,
" Thoroughly enjoyed myself last night....Loved the flow, energy and softness of the class Robert. This is just what my body & mind needs...I experienced my own Qi and it felt like I was an instrument of much grace & love moving through the air... Just Wonderful...I so look forward to attending future classes...BTW~~ Feeling pretty AWESOME today!! Many thanks also to Marie for the ride over to bus stop.. Namaste, Lisa "
— Lisa Waldegrave on Mar 3,
" Love it " — Gloria Brock on Jan 20,
" wonderful and peaceful " — Sunil Vidyarthi on Jan 13,
" great people great energy worth looking into for anyone wondering whether to go or not. "— Billy Watterson on Oct 28,
" I need to be in a calm soothing atmosphere so this is very good for me." — Lotus Bynight on Oct 24,
" I love the calm, positive, healing energy radiating from Hae Kwang Robert - great stress release and wonderful feeling after the session. Thanks! " — surin on Aug 6,
" I'm glad that I join this meet up group. Wonderful teacher, Great energy! Love meditation and healing message at the end. " — Chida Pan on Jul 21,
" Excellent meetup group. I highly recommend to those who wish to learn other modalities of healing. Robert has a unique video library and has handouts. He shares information not only in person but also by email. "
— Kath R. on Jul 19,
" Great class. Good relaxation. Interesting information received from our teacher Robert. This is a very good class for everyone who is interested into meditation, energy work or a stress reducing activity. " — Mirela M. on Jul 12,
" Excellent... this is what I'm looking for. " — Lissie Kitchin on Jul 5,
Additional resources:
Hae Kwang Sunim invites you to go further and train in the advancing levels of Zen Mindfulness, Qigong and the deepest natural healing practices of the East.
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text:
They make browsers and email clients. That were made by laided off AOL workers
Yes you are using something made by ex aol employess
viết bởi Mike H 08 Tháng một, 2005
Quite possibly the most shittacular browser you may find on this fair interweb. Mozilla Firefox is a slightly better than a kick in the teeth. But only very slightly mind you. For all the woes that firefox may cause, one may try the highly effective, highly sexy Opera browser.
Jim: Oh noes! I can't download any porn and game demos with my shitty mozilla browser.
Russ: Might I suggest the Opera browser? Relatively speaking, it owns firefoxe's ass.
Jim: True dat
Russ: Fuck yeah!
Russ: Might I suggest the Opera browser? Relatively speaking, it owns firefoxe's ass.
Jim: True dat
Russ: Fuck yeah!
viết bởi Daniel MacFarlane 20 Tháng sáu, 2006
Mozilla was Netscape Communication's nickname for Navigator, its first Web browser, and the name of an open source public collaboration created to develop Navigator. AOL acquired Netscape in 1998 and stopped supporting the browser in 2008. The ongoing Mozilla Foundation's main focus is the Firefox browser.
Download Mozilla Firefox, a free Web browser. Firefox is created by a global non-profit dedicated to putting individuals in control online. Get Firefox today!
viết bởi ninjaghost319 24 Tháng mười hai, 2015


text:
Skip to comments.White House Hopefuls Name Worst Jobs
Posted on 12/05/2007 11:55:03 AM PST by Responsibility2nd
The Associated Press asked major presidential candidates a series of questions about their personal tastes, traits and backgrounds. Today's questionfirst in a seriesand their answers: What was your worst job?
New York Sen. Hillary Rodham Clinton: "Sliming fish in a fish cannery in Valdez, Alaska."
Former North Carolina Sen. John Edwards: Textile mill. "I cleaned out overhead in the weave room, which is where all the crap goes. And I'd be up there climbing around, knocking the stuff down. And it would go down on the looms. The weavers would be, uh, not happy with me for that."
Illinois Sen. Barack Obama: Scooping ice cream at a Baskin-Robbins and eating too much of it.
New Mexico Gov. Bill Richardson: Landscaping, while playing baseball on Cape Cod in 1967. "The pay was terrible. I remember it was backbreaking work."
Former Arkansas Gov. Mike Huckabee: "Washing windows at JCPenney's and stocking shelves when I was 14 years old. ... It was a great job and it was a great company but they worked me hard. Just as I'd get all the fingerprints wiped off the door, somebody would come and they'd put their hands all over the glass. To this day, I'm still very sensitive about never touching the glass, but touching the handles because I had to wipe those windows so many times."
Arizona Sen. John McCain: "I've never really had a bad job."
Former Massachusetts Gov. Mitt Romney: "Worst job was probably spending about a week sawing a sewer pipe at the ranch in Idaho I worked at. And getting down in the sewer and sawing through a sewer pipe that still had active sewage occasionally passing through it."
Former Tennessee Sen. Fred Thompson: "I've worked in a factory, I was a bouncer at my uncle's drag strip, I worked at the post office, I sold children's shoes, I sold ladies', I sold men's clothing, I was a night clerk at a motel. I can't think of a job that I had that I wasn't thankful for at the time."
Former New York Mayor Rudy Giuliani: Declined to answer.
B.Hussein dipped ice cream? (poor baby!)
McCain: "I've never really had a bad job." I guess being a POW was a GOOD job???
And Fred sold shoes. HAHAHAHAHA...
So many possibilities.
I'll just leave it alone.
Good answer.
The difference and it is not so subtle, is that Thompson was the only one to be thankful. So those slimers, textile workers and ice cream scoopers can take heed that they are working jobs that are bad according to the dems. That would make me want to vote for them. For the common person my A@#
Was he working for Mitt? ;-)
Sliming fish? Does she mean washing the gurry off? Big deal.
When did Hillary live in Alaska?
Now THAT'S great experience for dealing with Congress.
Ooooooohhh,...even I have to feel badly for Mitt for having had THAT job. Sawing pipes in which sewage was still occasionally making its way through...Yuck!
Candidates' current worst job: RUNNING FOR OFFICE
"Former Tennessee Sen. Fred Thompson: "I've worked in a factory, I was a bouncer at my uncle's drag strip, I worked at the post office, I sold children's shoes, I sold ladies', I sold men's clothing, I was a night clerk at a motel. I can't think of a job that I had that I wasn't thankful for at the time."
Fred gets it!
I worked road construction as an asst. to the IDOT engineer. It was hotter than hell, I (being a redhead) was sunburnt all summer long (probably set me up for skin cancer in a few years), and since I had to grab asphalt samples every day, the smell really got to me. To this day, if there's any road construction going on anywhere around me that involves asphalt, my nose picks it up immediately.
I've pulled weeds from a soybean field. Truly back-breaking, and I was a young teenager at the time.
I've worked the night shift in a fast food joint.
And I still feel like Fred Thompson. Greatful for the jobs when I had them.
When she was sliming fish, Silly. ;-)
Fred may have sold ladies clothes.
Rudy - however - went one better.
He wore them.
What is the over/under that this is a complete and udder LIE!
According to The Washington Times, Hillary once told David Letterman her favorite summer job was sliming fish in Alaska. And note, she claims to have worn hip boots and an apron! Hahahahaha
What was worse, he was forced to drive an AMC Matador.
Fred's answer was best.
That was during her frigid days.
No, wait...
Well, there's a lie somewhere. This time she claims it was her worst job and she once told Letterman it was her best summer job.
See post #22 for a link.
I liked Fred's answer. What are some Freepers worst jobs?
I worked in construction a couple times and while I did not particuarly like it, I would have to say the worst job I ever had was as a pump jockey at a gas station in Chula Vista, Ca. It wasn't hard but the customers treated you like crap.
A drag strip needs a bouncer?
I guess I've never been to a down-home Tennessee back-woods drag-strip.
Must be some purty tuff 'ol boys back in them woods.
I've done that. You even get used to the smell after a couple of hours....you never stop dreading somebody flushing though! I uttered some impressive "blue" language during that job(had a Vietnamese family in the building that wouldn't answer the door so we could ask them to avoid flushing to toilet while we were working...ick!)
It's where Bill and her went on their honeymoon.
Former Tennessee Sen. Fred Thompson: "I've worked in a factory, I was a bouncer at my uncle's drag strip, I worked at the post office, I sold children's shoes, I sold ladies', I sold men's clothing, I was a night clerk at a motel.
I can't think of a job that I had that I wasn't thankful for at the time."
Who is the real common-sense conservative in this race?
My question exactly.
Notice which one of them has had the most "real" jobs like us peons have?
Yup. It was FRED. Fred is the only candidate who has, in his lifetime, really been "one of us."
"Freds answer was best."
Without a doubt. Fred knows that jobs involve work, and it wouldn't be called work if it was fun!
*snicker* - Romney joke
*snicker again* - Mexican joke
Naw, I did it a couple of months ago. After you've done it once (and didn't have to call a plumber) it's not so bad.
did anyone list being Bill's 'cigar holder' ?
Was all-you-can-eat part of his compensation package, or was he embezzling from his employer?
Illinois Sen. Barack Obama: Scooping ice cream at a Baskin-Robbins and eating too much of it.
I give McCain credit for not bringing up the POW thing. He's pretty classy about all that. Contrast that with John "Reporting for Duty!" Kerry.
Fred should have said "Being Republican Watergate counsel and bringing up the information about the taping system in the Nixon White House." Whoops.
I pumped gas during the Oil Crisis in the '70s. Man, did I take some abuse. I was only 13.
Hauling hay is a tough job, but a lucrative one for a teenager. Worked on a well pump repair truck, painted houses, worked in grocery stores (had to clean the meat shop every night).
Apparently this is considered a "bad" job because he didn't get to work at Blue Bell Ice Cream. Isn't their slogan "We eat all we can and sell the rest"?
glad you enjoyed the jokes, sometimes they just write themselves.
Presdiential Candidates: Doing the jobs Americans won't do.
New York Sen. Hillary Rodham Clinton: "Sliming fish in a fish cannery in Valdez, Alaska."
Can anyone verify this? Sounds like another one of her lies.
"Serving my country on foreign soil as a prisoner of war while traitors like Jane Fonda gave aid and comfort to the enemy."
What a bunch of wusses. Mike Rowe for President!
AMC Matador....better than an AMC Pacer
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text:
Jason and Shirley: Loving incantation of a state we all can identify with, the state of Jason
July 13, 2015
After seeing Jason and Shirley (Stephen Winter, 2015) this weekend at Outfest, I am moved to respond here to Milestone Film & Video's recent and scathing critique of the film Jason and Shirley," The Cruelty and Irresponsibility of Satire" (re-printed on Indiewire on June 23 by Sydney Levine). In their take-down, the authors (who are distributors of many of Shirley Clarke's films, and more critically the producers of "Project Shirley" an "ongoing commitment to learn everything about Clarke as a director, an artist and a person") pillory Winter's film for two main reasons: the "film's inaccurate and simplistic portrayals of a brilliant filmmaker and her charismatic subject." Here, I would like to express another reading of Jason and Shirley, a remarkable, complex and important film, while also addressing what I see as Milestone's misplaced (if perhaps also sometimes true) ire and criticism. I also invite Milestone, and others who are devoted to Clarke's work and legacy, to reconsider the important contribution this new film makes towards this worthy end.
Before I commence, let me express that I am not only one of these supporters of Shirley Clarke, but also a fan and a scholar of Milestone's and Winter's work (and also that of Sarah Schulman and Jack Waters, who co-wrote and star in Jason and Shirley). Perhaps most critically, I am a fan and scholar of Portrait of Jason, as well as the cinematic traditions in which it sits (documentary film, women's and feminist cinema, queer film, and black queer cinema). For example, I joyously and with great appreciation went to the West Coast Restoration Premiere of Portrait of Jason where evidence of Milestone's Amy Heller and Dennis Doros' invaluable work on Project Shirley was applauded by an audience of cineastes, most of whom I'd warrant knew little of the work of Clarke or her masterpiece, Jason, given that this serious study of power, documentary, identity, and cruelty was made by a woman and featured a black gay man. I commend and support Milestone's project of unearthing and sharing materials for scholars, teachers, and fans of Clarke, and also acknowledge and salute their under-sung role as distributors of avant-garde, experimental, and independent cinema, including the work of female film directors, like Clarke and others whose voices and vision would otherwise fall outside the scope of accessible media culture.
At the same time, I am also a supporter of Stephen Winter's work. I first became familiar with his brilliant and irreverent artistry when I saw his important and also under-sung contribution to independent queer cinema, Chocolate Babies (1997). As myself a scholar and maker of AIDS media, and the producer of The Watermelon Woman (Cheryl Dunye 1996), the first African-American lesbian feature film, I knew about the glaring and damaging under-representation of black queer Americans, about the obstacles to entry for films about and from this perspective, and perhaps as critically, the haunting burden for most artists in such a terrain to make and share "positive images" of their under-represented community. I learned from and supported Chocolate Babies (and The Watermelon Woman, for that matter), because these feature films, made with almost no institutional support and certainly less cultural sanction, dared to imagine that the lived experience of black queer Americans was complex, riddled with contradiction, full of delight, pain, community, love and loss, and was thus the perfect subject for serious, artful, complex cinema. Just as was true for Portrait of Jason (made by one of America's great women filmmakers who also refused to bow to the "positive image paradigm") and for her brave and creative documentary subject, Jason Holliday (née Aaron Payne).
I mark the similarities between these film oeuvres and the careers of their makers and the needs of their audiences because this post speaks most centrally as an attempt for reconciliation across what has currently been created as "camps" by the Milestone team. In a cinematic landscape where a small number of us make, support, appreciate and need serious artistry that represents the "marginal" experiences of our society from a sophisticated, complex, and nuanced perspective, a landscape where such work is under-funded, under-seen, and under-valued, it serves none of us well to use our very limited cultural resources against, rather than in support of each other, even if, and perhaps because our work dares to imagine life on the outskirts of American society as itself complicated, multiple, and sometimes in internal debate about the very values of the oppressed, marginal, radical, political and creative people who co-populate it (see my earlier post "Against Gamification," in that case about the pitting of the the black-lesbian artistic sub-culture against itself in the name of a funding "game").
Shirley and Jason is a complicated, sometimes messy, meditation on what I just described: the circulation of power, honesty, cruelty, love, debate, and creativity that defines artistic community and radical culture. Shirley and Jason also marks, honors, and challenges the role that cinematic evidence (in this case documentary) plays in the psychic, political, and cultural lives of culturally marginalized people, which is to say that as women, people of color, and queers until quite recently we had little to no access to records of our past struggles, ideas, daily practices, or visions of artistry because much too little was made, and what was made was almost never saved. This is one of the prime subjects of The Watermelon Woman, where we had to fake an archive of images of what was once true (the lives of African American lesbians) so that the main character, Cheryl, could learn and grow from her hidden, absent, but true legacy.
In his case, one might say that Winter was lucky, he had footage of Jason, an out black gay man, due to the perspicacity of Clarke and Holiday. Portrait of Jason is the first and continues to be one of the only films, in cinema's history, to document as central the "struggles, ideas, daily practices and visions of artistry" of a black gay man. But anyone who loves this documentary as do I, as does Milestone film, and does Winter and his entire team, realizes that Portrait of Jason is nothing like a simple documentary record of anything. Using this film "footage" as a starting point for cultural recovery, community empowerment, or even the "truth" of African-American gay male experience or history pre-Stonewall is basically an impossibility given that, in my interpretation at least, a "truthful" rendering of any of these subjects was never the intent of this brilliant film or its equally brilliant filmmaker. Rather, Shirley Clarke intellectually and creatively wrangles with Jason for control over the power of cinema to save any of us: emotionally, historically, creatively. She asks us to consider whether documentary truth is possible, and she chooses Jason Holliday as her worthy interlocutor, subject, and collaborator, given how well he struggles at, and sometimes succeeds, at never giving her this "truth," perhaps not his to give, and certainly not hers to take. In this way, not a salvage project, or even a portrait per se, I see Jason (and Jason) as the cinema's finest study and criticism of the ethics, possibility, and veracity of documentary power as it is connected to its ongoing interest in "truth," especially as embodied by disenfranchised subjects, doubly disempowered as they must be by the documentary project itself.
The film, radically for its time, and for documentary more generally, is made from the position that many of us share—we the usual documentary-subject: the weak, the woman, the other. As a rare, empowered, powerful woman behind her documentary camera and film (Clarke is one of a tiny handful of women who directed cinema before the movements for social justice of the late 60s and early 70s began a slow, but still unfulfilled sea-change), Clarke asks us to see (by hearing) the brutality, love, empathy, and control that organizes the documentary encounter. With clarity, bravery, calculation, and intelligence she plays the role of the one who needs to know and show and own another; with clarity, bravery, calculation and intelligence she leaves in her voice and other cinematic indications of her hand and her control. She is strong enough to show us the brutality of this desire to know, and save, through cinema (usually masked as it is as a project of sentimental salvation). Of course, she comes to this encounter both empowered by her brilliant mind, inestimable film chops, and also economic privilege, while also saddled by her gender and ethnicity in 1960s America. She controls the camera, the image, the editing, and the organizing vision of the encounter that follows. And, perhaps unsurprisingly, she chooses as her collaborator an almost-equal (who is lower than a white, Jewish woman in the 1960s America? not many, but certainly a black gay man might be). But Jason Holliday is no dupe. No chump. No simple documentary subject. Like every subject of the documentary camera before him (we women, and queers, and people of color, we ethnics and natives; all we others) he has his wits, his self, and his performance to empower him and he is better at this then most in his position. He can and does dodge, dazzle, hide, reveal, provoke, wow, and fall apart, it seems, at will (although Clarke's overt and thematic use of drugs and alcohol to phase him becomes part of the film's dark current of abuse). For those of us who study and admire this work not solely as the rare depiction it is of black gay life, one artistic and powerful women's drive and vision, avant-garde New York in the sixties, cross-racial and cross-gender interaction and community within bohemian counter-culture, but also as one of cinema's outstanding studies of the power and cruelty of documentary cinema itself, I suggest Winter and his collaborative team weren't so much "lucky" to have this as his sole piece of documentary evidence, as perhaps provoked, or perplexed, or maybe just aroused albeit in pain (Aaron Payne).
And here's where Milestone's critique should indeed simply become a celebration or at least a more serious consideration. Winter et. al., continue Clarke's radical, seminal documentary project by "re-imagining" the shooting of her radical, experimental film from the point of view Jason. Not a documentary, never needing to stand up to documentary's ethical or truth imperatives, their "re-imagination" of one of documentary cinema's great studies of power and privilege does so from the vantage of Clarke's strong, beautiful, imaginative contender who by definition had less power in the constituent and complex dynamic that ever unrolls between documentary filmmaker and subject. Given that no documentary subject, even one as mighty as Jason, can ultimately usurp the documentary-maker, who cuts the final film, who organizes its every frame, one place for the empowerment of the structurally disenfranchised is in fiction filmmaking. And here, Winter's vision both soars and digs very low (as did the original Jason). In musical numbers and other dream sequences we are offered Jason's interiority (always invisible to the documentary-maker, to our chagrin). Here Winter, and the magnificent, talented, sensitive Waters, playing Jason, show us Jason's version and vision of the unleashing of brutal, if always loving and self-aware power (so much like Shirley's) as we see his encounters with one of the white women for whom he whored, one of the white boys whom he loved, with his Mother who loved him, and his dealer who takes painful control of him. We see his unadulterated talent and crushingly unrealized desires. We see how race, sexuality, drugs, and self-loathing hamper Jason. We see the world from the position of the empowered, suffering, loving, living outsider.
Milestone condemns Winter for a "lack of integrity" in his depiction of Shirley Clarke, as well as a lack of "understanding of humanity, and love for cinema." They call him out for not researching properly, not interviewing living participants of the original film shoot, not being kind to Shirley or her daughter Wendy (herself a brilliant and under-sung Los Angeles artist whose work plays a central role in the history of feminist, activist video; her amazing "Love Tapes" are a must-see for all interested in video art). I imagine these criticisms might all be true, especially if you knew and loved Shirley; especially if you are invested in finding, making, and sharing documentary evidence of Clarke's career and life. Shirley and Jason is not particularly kind to Clarke (but I never thought the original was either, as I've indicated above). And it's not so nice to Jason either. Neither films are a kindness project: "truth," pain, power, love … sure.
However, I hope I have established that such criticisms are incidental to the mightier and divergent aims of Shirley and Jason: to unflinchingly account for the pain, beauty and power of being forced to take the role of the (documentary) victim regardless of ones beauty, strength, creativity or intellect. The "genuine" "inner truth" represented in this complex and masterful fiction film does not revolve around the accuracy of the "facts" of Shirley and Jason's lives and works (although I do hope Winter will correct some of the inter-titles which Milestone has established as incorrect, most critically to my mind, that Clarke's lover and collaborator Carl Lee died of AIDS not a heroine overdose). Instead Winter and his teams' film should be appreciated for its subtle, painful, knowing and loving incantation of a state we all can identify with at times, the state of Jason.
I use my contribution to the debate to invite Heller, Doros, and all fans, friends, and lovers of Clarke (and experimental documentary) to receive this contemporary theatrical fiction film, Jason and Shirley, as a new and necessary contribution to a conversation about women's artistic possibility, documentary ethics and power, and their relations to cinematic form and style, from the point of black gay men who are our allies. In their "pretending to know what happened," Winter et. al. do create "their own 'Shirley Clarke,' 'Carl Lee,' and 'Jason Holliday'" (as did the "real" Shirley, Carl and Jason so many years before!) as Milestone censures. But rather than seeing this as a disrespectful and dishonest creation, I ask viewers to attempt to understand the profound integrity of these new portraits and how they assist us in a worthy project allowed by the best of cinema: less one of facts and more one of feelings, less one of honesty and more one of the uses and abuses of honesty, in the name of art, that have both hindered and set free the Jason in us all.
AIDS Reruns: Becoming 'Normal'?
August 18, 2014
Ted Kerr (formally of Visual AIDS) and I continue our conversation about recent AIDS media on the Indiewire blog, /Bent. In our discussion about The Normal Heart and other recent work, we bemoan the paucity of women as well as the feminist pro-sex politics that defined our early AIDS media activism.
I begin the article saying: "I too was reluctant to watch the Normal Heart, so our anticipated conversation about it also forced my hand. I was worried that the mainstreamification of my own history would be upsetting, and I was right. In 1986, I arrived in NYC, fresh-faced and political (I was a feminist and also active in the nascent gay/lesbian rights movements), to attend grad school in Cinema Studies at NYU. I volunteered at (Kramer's) GMHC soon thereafter, and found myself in 1987 working in the fledgling Audio-Visual Department, which at that time was the incredible Jean Carlomusto who was single-handedly producing a cable access show called "The Living With AIDS Show."[8] With few real skills of my own, but a lot of chutzpah and real conviction, I suggested to Jean that I produce a segment for the show about women and AIDS. Feminist, anti-racist and anti-poverty activists in NY were just mobilizing around a shared raising awareness about the certain affliction that women (and children) would face in large numbers if the government, public health, non-profits, the media, and activists did not think logically (and politically) and realize, and act, on the imminent threat that HIV posed to communities outside the gay white men who had first organized GMHC (and hemophiliacs, Haitians and heroin addicts, the other known "risk groups" at that time)."
Hope you'll read it through!
Queer Feminist Media Praxis @Ada
July 10, 2014
In the conclusion of my conclusion to Ada's Special Issue on Queer Feminist Media Praxis, "It's Our Collective, Principled Making that Matter Most," I write:
AIDS activist video and New Queer Cinema are celebrating, respectively, their twenty-five and twenty year anniversaries, and I am connected, as a media maker and theorist to both traditions. As someone who participated in these earlier instances of feminist/queer media praxis (if not revolution), I first affirm that they were each deeply technological; we were always abetted by media, even if this was not yet digital in nature. And, in the living and doing—just as defines our work today—these "movements" (which were, at the time, something closer to linked moments of making; a movement tends to be found retrospectively), felt (as did the Sixties in its living and doing?) enormously small, fleeting, difficult, complex, impossible to render and realize and utterly wonderful and productive.
In my experience, the making and living of alternative, counter or radical culture, through media praxis, does not feel fully revolutionary in its own time because each act of making is too small, unstable, marginal, and precarious; the dominant culture, and its media praxis, looms large, solid, and powerful. And yet, each of these risky acts makes not just media that lasts for future study (and sometimes consolidation as a movement) but small, beautiful, fleeting instants of potential—"revolutionary-instants"—that we recognize and celebrate mostly in their doing and living, and of course, mourn in their immediate passing (only then, sometimes, to also reify in their later study and consolidation).
And, when I make feminist queer media praxis with others today (like this issue here and this writing in this issue), just as was true in the recent past, my work continues to feel incredibly small, local, marginal, frustrating, incidental and sometimes or even often emancipatory in the instants that are the instances of its more radical, collective, visionary doing and making. Brown continues about times better for feminist revolution:
When poetry becomes political, when politics becomes erotic, when thinking is de-commodified and comes to feel as essential to life as food and shelter, not only do ordinary fields of activity become libidinally charged, but this desublimated condition itself betokens (however illusorily) an emancipated world to come.[5]
I know that there have been moments, and actions, and movements in the past where that feeling of revolution feels closer to hand and body than it can today with both technology and capitalism standing between us and nearly everything that we might want or imagine. But instances of essential, libidinal emancipation can be lived, felt, and practiced in our (digital) world structured as it is ever more deeply by capital, in the sparks of political and intellectual attraction, action, and energy we can read (about) here, in instants of ethical interaction that first built what you read here, and in your potential to produce ethical interactions through your own digital engagement with this material. A revolution; not in the least! But queer feminist media praxis that marks that there are alternatives through our collective, principled making, without doubt.
See what I'm talking about here: essays by Aristea Fotopoulou, Kate O'Riordan, Tully Barnett, Megan Bigelow, Dayna McLeod, Jasmine Rault, T.L. Cowan, Karin Hansson, Rachel Alpha, Johnston Hurst, Olu Jenzen, Irmi Karl, Susana Loza, Lusike Lynete Mukhongo, Darnell Moore, Monica J. Casper, Michelle Moravec, Lindsey O'Connor, Noopur Raval, Roxanne Samer, Jenny Sundén, and Joanna Zylinska.
Please see my conversation with Ted Kerr, Programs Manager at Visual AIDS, recently published at Cineaste. Initially asked to discuss Dallas Buyer's Club we felt we needed to take a lengthier look at the much broader phenomenon of retrospective looking at AIDS fueled by home movie images of the crisis, often shot by AIDS video activists like myself. In the piece we suggest that "the past, signified by the home movies of AIDS, in particular, has many cultural functions, and just as many cultural formations. We begin with Matthew McConaughey's butt (where else!), and use it as our entry into a lengthy discussion of Dallas Buyers Club, as well as nearly a score of past and present alternative AIDS videos that also broker in activist made home-movie-like images of a crisis past—Like a Prayer (DIVA TV, 1989), Keep Your Laws Off My Body (Catherine Saalfield, Zoe Leonard, 1990), Rock Hudson's Home Movies (Mark Rappaport, 1992), Philadelphia (Jonathan Demme, 1993), Silverlake Life (Peter Friedman, Tom Joslin, 1993), Video Remains (Alexandra Juhasz, 2005), Sex Positive (Daryl Wein, 2008), How to Survive a Plague (2012), Heart Breaks Open (William Maria Rain, 2011), Liberaceón (Chris Vargas, 2011), Sex in an Epidemic (Jean Carlomusto, 2011), We Were Here (David Weissman, 2011), When Did you Figure Out You had AIDS (Vincent Chevalier, 2011), United in Anger (Jim Hubbard, 2012), Untitled (Jim Hodges, Carlos Marques da Cruz, Encke King, 2012), Bumming Cigarettes (Tiona McClodden, 2012), he said (Irwin Swirnoff, 2013), and the poster campaign Your Nostalgia is Killing Me (Vincent Chevalier with Ian Bradley-Perrin, 2013). With Philomena (Stephen Frears, 2013), we return our conversation to more conventional fare before concluding our thoughts upon so many home video returns."
"Your Nostalgia Is Killing Me" (2013), a poster designed for posterVIRUS by Vincent Chevalier and Ian Bradley-Perrin
Signification Survival: Jump Cut 55
November 22, 2013
The new issue of Jump Cut (55, Fall 2013) is hot off the presses, and as always, it is bursting with great scholarly work on any number of issues near and dear to my heart: labor, third cinema, new queer cinema (by my compatriot, Roxanne Samer), feminist porn (by the delightful, Erica Rand), independent and experimental media (with an essay on Amateur Media by the always-on-the-money Patricia Zimmerman), and a statement on "The War on/in Higher Education" by the journal's luminary editors (that thoughtfully addresses MOOCs, and other issues, a theme I will attend to in my upcoming post on my recent participation at the MWHEC meetings on this very topic.)
And that's just my tip of the iceberg; there's thirty or more essays to find and enjoy there!
Of course, while you're checking it out, I do hope you'll also spend some time with the special section I co-authored with Marty Fink, David Oscar Harvey and Bishnu Gosh on contemporary HIV/AIDS Activist Media. Our shared effort looks to links and disturbances across time, generation, place, region, and activist representational practices and media over the lengthy and always changing history of AIDS activist media. My piece, "Acts of Signification Survival," focuses on both the spate of recent documentaries by my peers about AIDS activism's past, and what their online life tells us more generally about activist media within digital culture. I write: "it is my belief that digital media brings in new concerns and different cycles. For one, in regards to the documentaries under consideration, the digital allows for what might seem an over-abundance of digital discourse and debate about what also can be perceived as a torrent of images and discourse that have as their subject our past fights for visibility. This produces a particularly clumsy incongruity: these many instances of visibility (the docs and their digital discussion) sit precariously near the constant specter of a diminishment of perceptibility."
Tarek and John are Free: It's not Your Daughter's Facebook
October 6, 2013
Tarek Loubani and John Greyson were freed, last night, from prison in Cairo after spending 51 days in dire circumstances although never being officially charged with anything.
No matter how you count it, a lot of people contributed to this daunting, humbling, and ultimately victorious effort (and are now sharing the above-depicted relief and joy): hundreds of thousands of people helped (149,702 signed the Change.org petition), multitudes marched, protested, made buttons and artwork, hundreds worked tirelessly behind the scenes to locate or create press …
I could go on and on. And there's good reason to do so: change occurs when people make it, piece by piece, little and big, and it's not just crucial to name this to thank them (although that is important, and I'm doing a bit of that here), but to understand how successful organizing works. Here's my friend and comrade, Matias Viegener, on our local TV station. It took many of us many days to get this small, and almost silly end result. (At the time, we wondered if it was worth it; my sister, Antonia, contributed a lot towards what ended up being seen as only this one segment)
It truly was a family, and also a community affair. A core group of Canadians (the Canadian "A team," led by friend and fellow professor, Justin Podur, sister Cecelia Greyson, other family members and close friends, like Elle Flanders) was joined by scores of Canadian and international friends, colleagues, activists, and comrades. Very few of us had ever worked on a political campaign of this sort—life and death, international intrigue (although one of the behind the scenes projects was to get in contact with people who had; many of us contacted friends, and friends of friends, who worked at the State Department, consulates around the world, Amnesty International; man, you wouldn't imagine the kinds of conversations film critic, B. Ruby Rich was having off the record). However, most of us who lent a hand, big or small, knew of either John or Tarek through earlier shared projects of activism and cultural politics (John programmed my first AIDS activist video into his seminal collection, Video Against AIDS, made in 1989 for Video Data Bank). With hind sight (given that it worked), it was stunning, and deeply moving, and just plain awe-inspiring, really, each day to see the collective knowledge, skills, and power of this diverse, eclectic, and ragamuffin group go at it, wherever we were, however we could:
But to be honest, there was also something deeply painful, knowing each day, and after every act by which we used all of our highly dispersed and cunningly eccentric cultural capital (and its associated real-world political power) that there were so many others in that very prison, or elsewhere in another prison, who do not and will not ever have such powerful, connected, capable friends and allies; their crimes no more real, their imprisonment no less unjust …
Their less heard stories, and unknown humiliations, will always haunt my memories of these many days and actions.
After much celebration, and its associated sadness, fear, and introspection, I'll also continue to think about how both my queer/ documentary/activist/scholarly film community and our use of social media played an impotant, complex, and contributing role to this highly successful effort, given that this is something I study, engage in, and often criticize. This is where my subtitle comes in. In the last days of the effort, I was working closely with Jonathan Kahana, Shannon Kelley (from the UCLA Film Archive), and many other film profs, curators, programmers (like Jenni Olson and KP Pepe), to organize a Day of International Screenings for John and Tarek. We decided to organize on Facebook (because it was there, and easy, and so many of us had met on it, even though I have quite recently written about the most progressive act being LEAVING Facebook and other corporate-owned platforms that we get for free but that limit our abilities in their very structures). Within a day of setting up a Group we had over 100 members, and Matt Soar, Communications Prof. at Concordia College (who I met in real-time during this effort online) had designed the poster below for our effort (Chris Durrant, Out Twin Cities Film Festival Director, made the first effort within just a few short hours of the group's formation):
I felt both really humbled and really frustrated working on this effort via Facebook. Online, via Facebook, we moved this idea so quickly, so many people came on board, the poster got made in what felt like minutes, and yet, this self-same platform has written into its core structures, and accepted uses, that some significant majority of the people who joined did so to "like" the group. Hear me, these friends were doing nothing wrong by joining; they were following Facebook's logic of seeing, spreading, liking, and knowing. But this made me prickle because I found it harder to use Facebook towards the deeper, harder, more intense and labor-intensive norms of the very social justice organizing that had brought me and others to John, Tarek, and each other, and that were what was most needed for the effort I was working on. To make global screenings occur within about 10 days, what we most needed was for people to DO THINGS IN THE WORLD (find a room, get a copy of a film by John, invite a speaker, get bodies to that room). Just as was true for the Arab Spring, social media connected us, spread the word, and gave us an instantaneous and satisfying feeling of support and community, but good old fashioned community built from deep relationships formed and cemented in real places and over long term efforts was what finally supplied the muscle, the meaning, and the deep, take away truth of this awesome effort: Tarek and John are free because we (like they) can make the change we need by working with each other every day, in the places we live, and work, and love. How we can sustain this work, how we can again make local connections move nations, how we can use dominant/corporate social media forms as well as our own networks and technologies to make the world we want, these will be the questions I will continue to ask after this much-deserved party ends.
We're all (hello, Sussex), now, everywhere here (on the Internet), aren't we? Undoubtedly, scholars made lots of words before now, but they couldn't show it all to you like a purge; they couldn't cart it around, showing it again and again; it didn't return, quite like this, to either bite you in the ass, or say it better than one ever could, even though of course, oddly, it was oneself who has said it once before.
By moving these words to video and text, never to be on paper, not to be linear, and also always available on the Internet, I establish, in form, one answer to how the affordances of both the digital and the room, the staying and the going, affect our feminist and queer possibilities. For, of course, I've flown to England; there's something we want, or prefer, or need from the body, even as she also sits, and writes, and speaks, and shares so abundantly at home in the digital. Thus, I return and loop back to the leaving and the staying, the making, taking, foresaking and staking. Situated and floating, flying even, I will answer your three questions in long form (but only in person), but here first in short:
- How does imagining queer & feminist lives and futures link with social media and other digital media practices? … Badly
- How can we understand the interconnections between radical art practices and cyberfeminisms? We must leave and ever more deeply embed.
- What is the role of science and technology more widely in the ways social practices and cultural identities are shaping today?
We must engage in Techno feminism, a collaborative, goal-oriented, placed, critical self-expression online, and also in Presumptive feminism, one that always assumes that feminism counts and that feminists speak. (these are from a longer list of online feminisms from my article on the Online Feminist Cyber-closet).
I suggest that we must strive to make a concerted effort to remember something quickly becoming lost: that is, to dare to think just past the digital, to engage ever so slightly beyond representation, and to struggle to look to and reoccupy our bodies and lived spaces. So: hello Sussex! Not to fear, I will be asking you to move online soon enough …


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"When I walked through the doors here, I knew this was the place to get started. I've enjoyed it here ever since. Being Hispanic I appreciate the diversity at Anoka-Ramsey. I have met people from all over the world. It's fun to have them share their cultures with me, and to see they have the same interests as I do."


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December 3, 2015 Guest Chef Series with Rick Moonen at Made LV
Made LV at Tivoli Village, Chef Series is BACK!! Join us on December 3, 2015 at 6:30pm for a culinary experience of a lifetime hosted by Chef Rick Moonen of RM Seafood and RX Boiler Room. This is the last Chef Series of 2015. Get your tickets! Purchase Tickets Here0
Highlights from Top Chef Masters Dinner 2015 with Rick Moonen & friends
What a great event with great food, cocktails, and friends! Thank you to Susan Feniger, Mary Sue Milliken, Hugh Acheson, and the Modern Mixologist Tony Abou-Ganim for a night of cooking and great conversation! It was a pleasure meeting the fans and we thank you for coming! http://www.thebigtomproject.com/Professional/Border-Grill/Top-Chef-Masters-Reunion/0
Newport Beach Wine & Food Festival 2015
Join Us for an Extraordinary Epicurean Weekend! Following the success of the inaugural event, the Newport Beach Wine & Food Festival returns to Newport Beach, CA October 2-4, 2015. The Festival begins on the evening of Friday, October 2, with the official Launch Party & Charity Event at Oak Grill and Aqua Lounge, one […]0
Top Chef Masters Reunion Dinner
Join chef/owners Mary Sue Milliken and Susan Feniger on Wednesday, August 19 at Border Grill Mandalay Bay for an intimate dine around event with guest chefs Hugh Acheson (Five & Ten, The National, Empire State South, and The Florence) and Rick Moonen (RxBoilerRoom and RM Seafood), cocktails created by The Modern Mixologist Tony Abou-Ganim, and […]0
Inaugural Beer Pairing Dinner
Join Chef Rick Moonen for a night to remember as he teams up with CraftHaus Brewery to host a special four-course collaboration dinner at Rx Boiler Room. Guests are invited to celebrate the launch of Moonen's first-ever brewery collab Gone with the Wit. Other highlights include CraftHaus' flagship Evocation Saison, Resinate IPA and Seasonal Comrade […]0


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How To Seduce An Ostrich: A Step By Step Guide
Oudtshoorn, South Africa
Have you ever wanted to know how to seduce the largest bird in the world? Today I will teach you the ancient & mysterious secrets of wild ostrich love.
Everyone gets a little lonely sometimes. Instead of looking for love in all the same places, why not visit a farm? There are plenty of farm animals out there who would be happy to receive your affections.
If you happen to be traveling in South Africa, you're in luck. Everyone knows that the hottest farm animal in the world is the ostrich, and you'll find many available birds in South Africa.
The following guide will teach you how to seduce and conquer this wild beast on just the first date!
Step 1: Find a Sexy Ostrich
Obviously this won't be too difficult, as most ostriches are extremely attractive. The best ones will have long, skinny legs and big doe eyes with long lashes.
But everyone has different tastes, so maybe you'll want a big fat one instead.
Whatever your pleasure, the best place to find them is at an ostrich farm, like the Cango Ostrich Farm located in Oudtshoorn South Africa. They'll help you find the perfect match depending on your personal requirements.
Step 2: Wine & Dine Her
Now you can't just make your move right away, she'll want to play hard-to-get first. So you'll need to take her out to eat. Fortunately this won't be expensive, because her favorite foods are alfalfa pellets, rocks, and twigs.
Because ostriches don't have teeth, they eat all sorts of random things to help break up the food in their stomachs. Rocks and twigs are usually free. This means she'll be a cheap date.
You should even be able to afford paying for her friends too, and everyone knows you are far more likely to succeed in your quest if you win her friends over first.
And if her friends are attractive and willing, well – you just never know how your night could turn out…
Step 3: The First Kiss
By now you should have built her trust up enough that you can attempt a passionate make-out session. When you go in to make your move, don't be startled if her eyes suddenly go opaque.
Ostriches have two different eyelids on each eye, and to make the kiss more romantic, she may close the interior ones.
It's also important to note that she might be an aggressive kisser… A little pinching and biting is very common.
This shouldn't be a problem though, especially if you're into that kind of thing.
Step 4: Mount Up & Take Her for a Ride
This is the moment that you've been waiting for! Now she'll be putty in your hands, ready & willing to do anything you want. Don't let her over-think it too much though, or she may change her mind.
Ostriches can be a little shy sometimes, and they'll relax more if you blindfold them before climbing on top. Once you've mounted her, wrap your legs around tight and grab ahold of her wings.
Ready for some action?
Then take off her blindfold, lean back, and let the fun begin!
If it's your first time, don't be embarrassed if you only last a few seconds. ★
Watch Video: Seducing An Ostrich
(Click to watch Seducing an Ostrich in South Africa on YouTube)
More Information
Location: Oudtshoorn, South Africa [Map]
Company: Cango Ostrich Farm
Cost: $8 US
Useful Notes: Don't fall in love!
Would you ever kiss an ostrich? Any other animals? Share with us in the comments below!
#VisitSouthAfrica is made possible in partnership with South African Tourism. As always, the content & opinions expressed here are entirely my own.
Comments & Questions
19 Comments
Clelia MattanaMay 27, 2014
Why I missed this article? why?! I was looking for funny stories around the web to create a top 10 list, (already published months ago)… I might add this as an extra "bonus" :) just hilarious!
AmberJanuary 5, 2014
Perfect tips! I hope to ride an ostrich one day, and I will be sure to look for a sexy one!
Sam DJune 27, 2013
Oh my gosh Matt! I love your posts, you are always so funny!
Riding an Ostrich would be awesome!!
Nigel CliffordMay 3, 2013
WOW! That looks like so much fun! Adding this to ever increasing bucket list.
Any advice on what to do if you get a second date ;)
JenniferFebruary 19, 2013
This is hilarious! I've totally wanted to ride an ostrich since watching ostrich races at the race track!
NishaMarch 29, 2012
I've also met/seen many Ostriches but dating or kissing them never occurred to me. Wasted opportunities. :(
Next time, it's gonna be the one. ;)
Hats off to you, Matt.
Matthew KarstenJuly 14, 2012
One should never pass up an opportunity for a kissing session. :D
AkilaJanuary 20, 2012
Ummm . . . I've done some crazy things in my life — but kissing an ostrich is not high on my list. Very impressed, Matt.
Matthew KarstenFebruary 6, 2012
So Akila, you're admitting it is ON your list? ;)
Stephanie - The Travel ChicaJanuary 19, 2012
Well, you are not exactly a small guy. You need a girlfriend with a little meat on her bones.
Stephanie - The Travel ChicaJanuary 19, 2012
These photos are hilarious! I knew they were big, but seeing you mounting one shows just how freaking big they really are!
Matthew KarstenJanuary 19, 2012
Are you calling my new girlfriend big??? :D
ErrichJanuary 19, 2012
I hope I can find an ostrich too…This looks awesome!! LOL
ShellieJanuary 17, 2012
I love the first kiss!!
Matthew KarstenJuly 14, 2012
Don't tell anyone Shellie, but I enjoyed it as well. ;)
Christy @ TechnosyncraticJanuary 17, 2012
I'm speechless. Can't believe you let it kiss you! I'd be worried about losing an eyeball. :)
Matthew KarstenJanuary 17, 2012
I can't deny that I was a bit nervous, so that's why I let her kiss Earl first! While she almost broke his teeth, his eyes were still intact. :)
The claws on them are giant! I was actually more worried about those…
@Shigeo4January 14, 2012
Amanda Williams (@DangerousBiz)January 14, 2012
Haha, love it.


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Provide Post-Award administrative guidance in the administration of complex research grants and contracts. Develop and maintain faculty and sponsor contacts. Assist in training presentations.
Communicate with principal investigators and advise them relative to federal, state, university and award rules, regulations and procedures. Prepare NCEs and prior approval requests including assuring appropriate justification documentation. Serve as primary resource for post-award grant questions; communicate with and provide detailed advice and instruction to faculty and staff regarding post-award administration; request corrections and resolve discrepancies; interpret rules, regulations and compliance issues with respect to sponsored awards. Provide timely, quality customer service. Maintain contact with public and private agencies that are sources of faculty research support. Participate in and oversee post-award administration activities such as preparing NCEs and prior approval requests, assuring appropriate justification documentation. Assists in the compilation of complex data and preparation of monthly, quarterly, and annual reports. Obtain requested reports from the principal investigators. Oversee ECRT function and ensure data accuracy including cost share information. Review and negotiate continuing grants and cooperative agreements and incoming and outgoing subawards. Track grant and contract subaward status and reporting requirements. Know and understand sponsor and University policies and procedures. Act as a liaison to grant and contract accounting department. Participates in professional development training seminars/ conferences in related area.
Special projects and other duties as required.
Bachelor's degree in business, public administration, social sciences, or a related field. 2 years experience in the preparation and processing of research grants and-or contract proposals and in their administration, including 1 year of experience as a Grants and Contracts Specialist I or equivalent. Applicants must include in their online resume the following information: 1) Employment history: name of company, period employed (from month/year to month/year), job title, summary of job duties and 2) Education: college or college degree, list school name, degree type, major, graduated or not, and hours completed if not graduated. Equivalent combination of relevant education and experience may be substituted as appropriate.
Peoplesoft and ECRT experience preferred. Excellent communication skills preferred.
May work around standard office conditions Repetitive use of a keyboard at a workstation Exacting accuracy in all phases of work. May required occasional travel. Security sensitive, and thereby subject to the provisions of Section 51.215 Texas Education Code. Criminal Background Check conducted.


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Happy Halloween. I've been digging Casey Veggies lately.
School's in session.
My found sonds to kick off the summer. Lots of mixtapes. ThemPeople, D Dand, and Silasisdead I sadly could not get to Mac Miller's or ProbCause's tapes. Here are the links to them. They are definitely worth checking out. I may get to them the next time I DJ. Mac Miller aka Larry Fisherman - Faces ProbCause - Waves
Part 1 of Sun Ra program
Memorial broadcast for DJ Rashad. Features interviews from Cornelius Ferguson (Traxman) and Kavain Space (RP Boo).
Recent Playlists:
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As Brad Garrett offers a tour of his modern, glass-walled Malibu beach home, it is evident that he's all about his kids. Besides the pet lizards, dogs, birds and hamsters in residence, there's the screening room for movie night, the craft room—"nothing but glitter!" he quips—and a massive kitchen where the 6'8" actor dedicates himself to furthering peanut butter and jelly cuisine. He does PB&J on bagels, on wheat, on sourdough. Don't the kids ever tire of it? "Never!" says daughter Hope, 8. "On sourdough is the best."
A recent Saturday finds him cheering on Hope at a horse show and son Max, 9, at Little League. Besides that, the unattached, divorced dad is wide open. "My social life is like my film career—I'm picky, and I'm not in demand," jokes Garrett, 48, who is, in fact, a much-in-demand TV star who gracefully navigated from playing the put-upon brother Robert on Everybody Loves Raymond to the put-upon husband on the FOX comedy 'Til Death. (Season 2 returns April 24.) He tapes the show for five days, and "weekends are committed to my children." He and their mom, Jill Diven, a homemaker, split in April 2006 and now share custody. "I was a child of divorce, and the toughest thing kids deal with is feeling they have to choose," he says. "My ex-wife is a great gal, and we put the kids first. I'm proud of our situation."
Only lately has he thought of adding romance to the picture. "Four months ago, I would have said I'm better off alone. But I have to be honest—" and here, rather than get too emotional, Garrett breaks into faked sobs and a little comic business—"I'm so [expletive] lonely! It's me! I'm a complicated guy. I wouldn't want to be my own waiter, let alone my own wife!"
But seriously. "Love's out there, and it's a wonderful thing," he says. So for the right woman, there is a very tall, very funny, slightly "neurotic" (his word) single dad who can't cook. Anything else? "He used to have a huge Afro!" Max says, and proves it with a disco-era photo of his dad, swiped from the grand piano. As the boy exits the room, father and son exchange easygoing I love yous. Says Garrett: "I'm a lucky camper."
Living Large
updated 04/28/2008 AT 01:00 AM EDT
•originally published 04/28/2008 AT 01:00 AM EDT


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Rent American Art and Architecture 1st edition today, or search our site for other textbooks by Michael Lewis. Every textbook comes with a 21-day "Any Reason" guarantee. Published by Thames & Hudson.
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Blockbuster Movie Showdown: Release Date Madness
Which studio will blink first?
'Transformers: Age of Extinction' vs. 'Tammy'
Release dates: June 27, 2014 and July 2, 2014
Longview Winner: "Transformers: Age of Extinction"
Longview Loser: Neither. Maybe.
Should either film move off the date: Neither will.
Lowdown: This is the battle for this year's July 4th box office frame. Warner Bros. is hoping Melissa McCarthy (who has had one hit after another since "Bridesmaids") can duplicate the surprise July 4th success she had with "The Heat" last year. On the other hand, Paramount has opened every "Transformers" movie around this time frame and is pretty confident it will at least hit the $300 million mark domestically (even without Shia LaBeouf in the fold). Last July, "The Heat" had little competition from the underperforming "White House Down," which helped it dominate the Fourth of July frame. Can "Tammy" survive the onslaught of a Mark Wahlberg "Transformers" movie? WB is certainly betting on it.


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Wednesday, December 9
24-hour Quiet Hours begin at 7 pm
Saturday, December 12–Friday, December 18
Finals Week
Friday, December 18
Quarterly parking permit renewal deadline
Saturday, December 19, 12 noon
Residence halls close for Winter Break
Sunday, January 3
Residence halls open for winter quarter at 8 am
Monday, January 4
Winter quarter classes begin
If you are returning to the residence halls for winter quarter, it is not necessary to check out with your Resident Adviser (RA) or the front desk. Your belongings may remain in your room during the break.
Exciting News!
We are upgrading the Husky TV service during winter break. This will significantly increase the number of HD channels offered, from 16 to 88. The channel listing will be updated before the change is implemented.
For this upgrade to take effect, you will need to complete a channel scan when you return from winter break. If you need assistance, please refer to the HuskyTV website or call 855-377-4158.
If you will be on campus during the transition, you may experience some service interruptions. We expect service will be down from December 18 through December 20, and service will be intermittent during the week of December 21.
We apologize for any inconvenience this may cause.
The Haggett Hall and McMahon Hall front desks will be closed for the entirety of Winter Break.
Dec. 13
10 am–5 pm
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If you are living in Lander Hall, Mercer Court or Stevens Court and are locked out of your room, you may borrow a key from the front desk during desk hours. When the front desk is closed, contact an RA by calling 206-543-1000.
The front desk will be open limited hours for west campus resident service during the break:
Dec. 21
8 am–5 pm
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8 am–5 pm
Dec. 28
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Dining hours will be adjusted during finals week and there will be limited services during Winter Break.
Fitness Center West will remain open with limited hours during Winter Break.
Regular Hours
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12 pm–5 pm
Regular Hours
Area 01 will be closed from Friday, December 18 through Saturday, January 2. Regular hours will resume on Sunday, January 3.


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