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2013 Denver Post Underground Music Showcase
Shenandoah Davis
Gary Lee's Motor Club and Grub
176 S Broadway
Denver, CO, 80209
This event is 21 and over
Shenandoah Davis
Growing up studying classical piano, Shenandoah Davis cites influences such as Claude Debussy and Irving Berlin right alongside her more contemporary counterparts such as Kate Bush, Owen Pallett, and Van Dyke Parks. Her songs have been branded everything from parlour music to new folk to orchestral pop.
Shenandoah has taken her music all over the country, as well as to Japan, New Zealand, the UK, Germany, Portugal and Italy. She has shared stages with Laura Marling, Zoe Keating, Martha Wainwright, Mirah, Dark Dark Dark, Shearwater, Damien Jurado, and many many more.
Upcoming Events
Gary Lee's Motor Club and Grub
- Sorry, there are currently no upcoming events.


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Cheap taco seasoning here I come!
Right now you can print a coupon for $.50/1 Old El Paso Product. I found it under zip code 77380 (click on "local coupons" and change the zip code. Then go back to the main page and it will pop up.)
Check out directions if you need to know how to change your zip code in coupons.com.
If you have already printed it look for the $.60/3 coupon. It's not as good of a deal but it's still a great discount if you have a store that doubles!
Remember you should be able to print two per computer.
And if you live near a Harris Teeter you can grab it free:
Old El Paso Seasoning $1.00
Use $.50/1 Old El Paso Product Coupon (zip code 77477)
Final Price: FREE
With all my ground beef from Zaycon I love having taco seasoning around!

subset: commoncrawl


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pessimism does have its downside and this crops up mostly in negative thinkers' relationships with others — personal and professional. In general, pessimism can annoy and even repulse others. Negativity often attracts more negativity. So it's best to share your misgivings only when truly necessary, especially in professional settings. Even then, try to position your view as strategic (packaged with a just-in-case solution), not emotional. Here are some other tips to help you manage your pessimism:
- Prioritize. Not every worry is worth your time. Try to stay focused on what truly matters.
- Respect Others. Remain open, even to the optimist's point of view.
- Know When to Move On. Devoting anxious energy to what could go wrong is strategic. Wallowing over what's already gone wrong is wasteful. If you can't fix it, let it go.
As for that age-old glass question, Lloyd D. Ward, CEO of the U.S. Olympic Committee, offers this view: "Is the glass half full or half empty? It's both, and it's the wrong way to ask the question. We have to ask ourselves, how large is the glass, and how full can I make it?"
Ward is the ultimate optimist, but that's a defensive pessimist's way of thinking!


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This year's Atlantic hurricane season fell far short of its potentially "very active" forecast expectations, as no major storms formed for the first time in nearly two decades, the National Oceanic and Atmospheric Administration said Monday.
As of early August there had been a 70 percent chance for a total of 13 to 19 named storms, including six to nine hurricanes, of which three to five could be Category 3 or higher, said an update to a May report, both of them from the Climate Prediction Center.
But the season will probably end up "the sixth-least-active" since 1950, "in terms of the collective strength and duration of named storms and hurricanes," NOAA said. For the first time since 1994, no major hurricanes -- Category 3 or above -- formed in the Atlantic basin, with two such strong storms considered average, NOAA said.
For Long Island, it was "a major plus" that the region could continue to recover this year from superstorm Sandy, without having to deal with "compounding storms," said Meghan McPherson, program manager for Adelphi University's emergency management graduate programs.
However, she said, "extreme weather is still happening," pointing to out-of-season tornadoes in the Midwest and the powerful typhoon in the Philippines.
Her concern with this year's reprieve is that "you run the major risk of people becoming complacent" while "stronger and more devastating storms are going to be more the norm as time goes on."
This season, which started June 1 and officially ends Saturday, saw just two hurricanes -- Ingrid and Humberto -- compared to the six that are considered average for a season. Ingrid and Humberto did not make landfall or reach beyond Category 1 intensity, NOAA said.
There were 13 named storms, with only the first, Tropical Storm Andrea, making U.S. landfall, affecting parts of Florida, eastern Georgia and eastern South Carolina, NOAA said.
"This unexpectedly low activity is linked to an unpredictable atmospheric pattern that prevented the growth of storms by producing exceptionally dry, sinking air and strong vertical wind shear in much of the main hurricane formation region, which spans the tropical Atlantic Ocean and Caribbean Sea," said Gerry Bell, lead seasonal hurricane forecaster at NOAA's Climate Prediction Center. "Also detrimental to some tropical cyclones this year were several strong outbreaks of dry and stable air that originated over Africa."


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With winter turning to spring, it's time to hit the golf course. And a number of area organizations have planned fundraising golf tournaments.
- The Lake Elsinore Valley Chamber of Commerce 12th annual golf tournament will be April 6 at Menifee Lakes Country Club.
The putting contests starts at 11 a.m. and the tournament at noon. The cost is $125 per player or $450 for a foursome. Contests will include closest to the pin and longest drive. Raffle prizes and awards will be presented at the banquet after the tournament. The cost for the banquet only is $25.
For information, call 245-8848 or visit www.lakeelsinorechamber.com.
- The Boys & Girls Clubs of Southwest County will hold its seventh annual Kids Cup Golf Tournament April 9 at Bear Creek Golf Club.
The 18-hole tournament will follow the triple six format, which includes scramble, alternate shot and best ball segments. The tournament will also feature a putting contest and a $1 million hole-in-one contest. Participants can register as twosomes or be paired up at the tournament.
The cost is $200 per player. A banquet will follow the tournament. Last year's event grossed more than $80,000, which helped the club provide after-school and day camp programs as well as financial scholarships.
For information or registration, call Kim Webb at 699-1526.
- "Let's Play Around" is the theme for the eighth annual Temecula Theater Foundation Golf Invitational in Las Vegas May 27-29.
Participants will play on two world-class golf courses and receive accommodations for two at the JW Marriott Resort & Spa, a welcome cocktail reception, dinner and live and silent auctions.
The Invitational kicks off May 27 with a pairings party. The next day, golfers will play at the Tournament Players Club at The Canyons. On May 29, the tournament continues at Bear's Best Las Vegas.
Activities have been planned for those who wish to attend, but do not wish to play golf.
Package prices begin at $1,000. Proceeds benefit the Temecula Theater Foundation, which is dedicated to creating opportunities to develop and enhance quality performing arts in the Temecula Valley.
For information, call Lisa Ferguson at 541-2588 or visit www.TemeculaTheaterFoundation.org.


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The weather is heavy in Suzanne McClelland's new paintings, where paint surges, lines whip and skid, and fragmentary letters and numbers collapse, inflate and slam into each other, hard. Words have a longstanding place in McClelland's work, often formed in a way that links their visible shape to their voiced sound, and to their origin in breath and body. Recently, the artist has shifted her attention from the link between spoken and written language to the juncture between letters and numbers. But as before, multitudes of ideas race through these images at speed. The works' range of social and cultural observation is matched by an extravagantly free dispersal of mediums across a variety of supports. Painting, pouring, dripping, splattering, writing and drawing, McClelland produces surfaces that are variously rococo, catastrophic, sparkly and black as dried blood.
Included in her show at Team Gallery this fall were three examples from a new series of paintings titled "Ideal Proportions" (2013), all incorporating lists of measurements, in inches. As sketchily painted words indicate, they are the circumferences of arms, chest, waist, thighs and calves—specifically, though this is not spelled out in the paintings, those of professional bodybuilders. The 7-by-12-foot diptych Phil "The Gift" and Jay "Cuts," for example, features statistics for the current competitors Phil Heath and Jay Cutler. In the left panel, a column of numbers in flaming pink soars up toward the right, the names of body parts they measure unfurling alongside like a banner. To the left is a congealed pool of queasily colorless polymer medium; McClelland is partial to off-label uses of paint's components. In this diptych's opposing panel, a list of numbers, in black, drops down a gully of marbled jade-green; above it is a cheery burst of small painted gold bubbles. For these works, McClelland has used portrait linen, its fine thread and tight weave producing a hard, smooth surface on which fluids tend to float and dry pigments scatter; among the other mediums in play are gesso, oil paint and charcoal.
In Frank "The Chemist," what looks like a spray of coal dust appears below a tumble of numbers, these the measurements of bodybuilder Frank Zane. A handful of small, irregular, black-rimmed circles that evoke bullet holes are scattered here and there, discreetly sinister. More benign are faint numerals seemingly scratched into a puddle of polymer medium, an evocation of finger painting that brings the term "digital artwork" to mind. Reading puns into this work is, in fact, welcomed by McClelland, who acknowledges that the "Ideal Proportions" series constitutes a form of figure drawing, with "figure" meant to be read at least two ways.1 She points out, too, that in bodybuilding competitions—which involve flexing limbs and striking poses, not lifting weights—contestants are judged by their graceful transitions from one position to the next, and, notably, by their muscles' definition and form, the latter criteria also applicable to traditional figure painting (which McClelland studied as an undergraduate, at the University of Michigan).
At the same time, it interests McClelland that bodybuilders' proportions are judged to within a fraction of an inch, the competitors held to standards even more exacting than those once applied to beauty pageant contestants, who were routinely evaluated by their hip, waist and bust measurements. In a culture ever more awash in information, McClelland points out, immeasurable things are increasingly quantified, compared and broadcast, submerging personal specifications in a sea of public data. That the overlapping fields of self-improvement, athletics and popular entertainment have also long since merged with political theater is at issue in Arnold "The Body," a 7-foot-high, screamingly loud canvas in which the list of measurements starts in silvery metallic paint and then proceeds to heavy black numerals shadowed by electric blue. The arm, chest, waist and thigh circumferences are those of bodybuilding's most famous contestant, later turned actor, and then governor of California.
It is a commonplace that the digital age has rearranged the relations between words and numbers, in the sense that all electronic text can be reduced to a series of ones and zeros. McClelland's current work turns the process around, finding narrative and visual power in integers, and thereby reframing the question of how images address viewers. We often say that pictures speak to us, just as their physical presence offers a tactile invitation. When numbers are substituted for letters, the metaphor shifts to the suggestion that paintings might size us up, a bit of symbolic play bolstered by the regime of digital data sharing (including, we've recently learned, state scrutiny). And the problem of identifying falsehood, as when photographs are understood to represent lies, gets interestingly complicated when math is telling the story. Is it possible to create compelling fiction with numbers? Just how uninhibited by logic are the irrational ones? Are numbers more abstract than letters or more embodied, arising as they do from a language first counted out on fingers?
McClelland explores these questions in another series sampled at Team called "Solutions for Polke" (2013). All are homages to a single 1967 canvas by Sigmar Polke that presents nine patently false equations: 2+3=6, 4+4=5, and so on, painted primly in tidy rows. McClelland's "Solutions" range from pale, Twombly-esque fields of cloudy white in which digits are drawn hesitantly, as if by a child (1+1=3, a good guess for a beginning mathematician), to others in which bolder, blockier numbers declare similar mathematical impossibilities (6+6=5; not even close). Numbers get sucked into churning whirlpools that spit out little silvery stars or get dropped into expanses of paint that evoke dirty snow. Some are defaced with what look like wads of chewing gum, others nearly washed away with quick swipes of a broad brush. Ciphers slide sideways, pile up in corners and join forces with black and gray circles that resemble abacus beads or perhaps enlarged decimal points.
Polke was a famously heterodox painter whose experiments included a series of "Lens Paintings" (2006-08), in which ridged surfaces of polymer gel promised (falsely) the kind of commercial lenticular image that produces two different readings when viewed from one side or another. McClelland's numbers actually do read forward and backward, and also flip back and forth between legible and indecipherable. Lawrence Weiner long ago implored viewers to "learn to read art"; in the face of McClelland's arithmetic, the effort can make the gears in your head creak. Weiner's own quasi-mathematical formulations are knottily poetic, and most of the artists to whom his injunction referred favored words. But even the math-friendly Conceptualists—Hanne Darboven, On Kawara, Bernar Venet—deploy numbers in fixed sequences that are distinctly at odds with McClelland's moody "Solutions." Closer in spirit are cosmology-minded numerologists like Alfred Jensen; a kinship can also be seen with Charles Demuth's ecstatic dream of the figure five in gold. Still, McClelland's turbulent compositions undeniably couple oddly with number problems. On the other hand, they make a comfortable transitive equation to math through the metric beat of music, which has propelled a great deal of her work. She has often cited musicians in her paintings' titles and painted words, and honored them in her brushwork's driving rhythm—a force she considers fundamental to all forms of expression. As McClelland puts it, the link between rhythm and the irrepressible human desire for connection is so strong you can see it in babies throwing a ball back and forth, communicating without a single word.
But she is interested, too, in the languages of solitude. In the painting series "Internal Sensations" (2013), also shown at Team, words for inner states, such as "brood" and "yearn," are buried in moody fields of white and gray. In some of these, the support is not portrait linen but a coarser canvas whose weave provides visible texture, creating what looks like a dot screen that patterns the paint brushed over it. These works are particularly cryptic, and link McClelland with such hybridizers of word and image as Bruce Pearson, in whose psychedelically patterned relief paintings words can be puzzled out only with great difficulty. Similarly, the experiences named in the "Internal Sensations" paintings, by nature covert and often deliberately suppressed, are mostly seen to guard their privacy.
There has been speculation, McClelland says, that writing began with footprints in the sand. "Furtive Gesture_CEDEpart2," her substantial exhibition last fall at the art museum of the State University of New York at Albany, made that notion manifest, constructing reading as a peripatetic experience. Circling the big gallery at eye level was a wide band of chalkboard paint, 240 feet long, that served as the ground line for hundreds of original drawings and Internet-sourced photographs spread out and pinned up, with copper tacks, like the contents of a ransacked library. Called Furtive Gesture, this installation included words (among them "stalker," repeatedly) and word fragments, the inscriptions made in ink (sumi, tusche) and paint, some of it metallic. There were collages on silk that paired photographs of rocket launchings at Cape Canaveral with reproductions of paintings of figures pointing (John the Baptist, Leif Ericson), and also tracings in ink, graphite and ballpoint of the space between Gabriel and the Virgin in representations of the Annunciation, taken from postcards and small reproductions of Italian and Northern Renaissance paintings. From a 2011 series called "Mergers and Acquisitions," there were superimposed photographs of paired public figures, making soul mates of the likes of Mahmoud Ahmadinejad and Michele Bachmann, Silvio Berlusconi and Rupert Murdoch.
Also present in Albany in large numbers were inkjet prints of photos found on the Internet following searches under the terms "handshakes," "furtive gestures" and "fleeing." Among the encounters thus documented were handclasps between Donald Rumsfeld and Saddam Hussein, Nixon and Castro, Gorbachev and Reagan. There were ceremonial hugs, kisses and other forms of what McClelland calls "sign language" as well. Images of furtive gestures were harder to find on the Internet, and harder still for McClelland to identify or confirm. Illicit or poorly defined forms of contact, and postures or gestures indicating risk, interest McClelland; they are also newsworthy. The question of how body language is determined to be threatening or suspiciously covert—"furtive"—is tied to Florida's "Stand Your Ground" legislation, and New York City's "Stop and Frisk" police tactic; in both, such judgments have had fairly grave ramifications. Indeed the New York Times front page bearing the headline "Zimmerman Is Acquitted In Trayvon Martin Killing" was among the material pinned to the chalkboard band. (These concerns also shadow the "Ideal Proportions" series: the big but faint letters "SK," last traces, perhaps, of the phrase Stop and Frisk, lurk in the painting Frank. A ghostly inscription of the word "grope" haunts Arnold.)
For the most part, civilians in daily life distinguish innocent forms of physical contact from malevolent ones in an instant, and with logic that is more emotional than legal. The kind of perception involved is the psychic equivalent of peripheral vision, which is where McClelland's attention is often drawn. She is after the things you can't quite see—postures of threat, or of suspicious flight—and tries to freeze them at the moment where you think you know what's going on, and then realize the sense of comprehension is illusory. A handshake can be an example of that, too: of concordance that is in fact often staged, its falsity betrayed by the principals' glances, or by unidentified onlookers whose expressions give their game away.
As she did in "STrAY: Found Poems from a Lost Time," a 2013 solo exhibition at the Fralin Museum of Art at the University of Virginia in Charlottesville, McClelland included in the SUNY Albany show blind contour drawings she'd made at a Charlottesville pawn shop (where guns feature prominently), along with drawings of weapons by her 11-year-old son Lucas. Blind Contours at Tobey's Pawn Shop (2012) was among several videos presented in Albany, in a room separate from the chalkboard-strip installation. The longest, Carry On (2011; nearly 9 minutes), combines footage from a music video by the rap group Bytches With Problems; elements of Hans Namuth and Paul Falkenberg's famous film of Jackson Pollock painting; and material from the 1962 Italian cult classic documentary Mondo Cane (A Dog's World). The video BWP Swipe (2011) is one of two riffs on popular television shows of the 1960s and '70s, this one assembled from clips of Wonder Woman before she transforms into a super-heroine. (BWP Swipe also pays respect to Dara Birnbaum's widely beloved Technology/Transformation of 1978-79, which focuses on Wonder Woman in full blaze.) Erase You (2011) samples TV shows in which female stars magically make people disappear. (The protagonist of "Bewitched," most famously, could do so by wiggling her nose.)
These videos were originally shown in a 2011 exhibition at New York's Sue Scott Gallery, in which McClelland augmented paintings presented in the usual way—on stretched canvas—with painted sections of Sheetrock leaning against the wall that could be shifted like sliding doors. The Fralin exhibition included work first shown at New York's David Krut Projects in 2007; in both cases, poetry (about the Civil War, written by McClelland's uncle George Garrett), typed and handwritten, as well as original and reproduced imagery, was hung in a great wall-to-ceiling profusion; in Virginia, there were also artworks from the museum's collection, ranging from Dürer and Goya to Larry Clark and Nancy Burson. Both exhibitions resulted in artist's books; CEDE, the publication created in Virginia, was on view in Albany. A preference for excess, and for spillage—between mediums, disciplines, one project and the next—is an essential part of McClelland's sensibility.
Born in Florida in 1959, McClelland arrived in New York in 1981 and completed an MFA there at the School of Visual Arts in 1989. By the time she graduated, she was doing photography, documenting events at the Storefront for Art and Architecture as a day job and, by night, making rubbings of Chinatown streets with canvases, buckets of color and a roller. Recalling this work ruefully, she said it connected her to aspects of Color Field painting, which she understood as a "rejection of drawing and of language"2 —that is, a rejection of precisely the things in which she was most interested, even then. But the rogue character of the Chinatown work, its headlong pursuit of imagery and meaning just emerging, still wet, from the turbid waters of urban life, has been sustained ever since. The sense of velocity her work produces has less to do with hasty execution than with the expression of a state that can feel like onrushing music; it can also feel like barely controlled chaos.
In his new book 24/7, art historian Jonathan Crary sounds an urgent alarm concerning our unresisting submission to the nonstop, never sleeping world of digital technology, a corporate world that has made us its subjects. "In spite of the omnipresent proclamations of the compatibility, even harmonization, between human time and the temporalities of networked systems," Crary writes, "the lived realities of this relationship are disjunctions, fractures and continual disequilibrium"—or, worse, a false sense of perfect comfort.3 McClelland shares this (widespread) wariness of life lived nonstop at the speed—and even the behest—of digital connectivity. But there is nothing in her work to suggest she believes, as Crary does, that human experience is on the verge of irremediable degradation. Slaloming through Internet sites, careening among mediums and producing disastrous pileups of imagery, McClelland works, by choice, at the cusp of resolution. There is real anxiety in working this way, and anxiety is one of the sensations—again, all too real—that the work delivers. But it delivers exhilaration, too, in abundance.
"STrAY: Found Poems from a Lost Time," Fralin Museum of Art, University of Virginia, Charlottesville, Jan. 25-May 26, 2013; "Every Inch of My Love," Team Gallery, New York, Oct. 10-Nov. 17, 2013; "Furtive Gesture_CEDEpart2," University Art Museum, State University of New York at Albany, Oct. 18-Dec. 14, 2013.
CURRENTLY ON VIEW Work by McClelland in the Whitney Biennial, Whitney Museum of American Art, New York, through May 25.
NANCY PRINCENTHAL is a writer based in New York.


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Friday, June 29, 2012
Beauty and the BEAT!
Randomness on the Interwebs.
1 comment:
- Ms. KrumchinJuly 2, 2012 at 10:56 AM
I'm in the library cause no electricity at home. I almost choked trying to hold back my laughter while I was watching this. 7 thumbs up. This was pure gold. Thank you Loopy Rocket!ReplyDelete
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This, the first collaboration of Gilbert and Sullivan, was conceived as a Christmas entertainment for John Hollingshead's Gaiety Theatre where it received its first performance on 26 December 1871 and ran for 63 performances. Although it has often been described as a failure, it outlasted most of the Chistmas entertainments that season.
The Gods on Mount Olympus are old and tired, so decide to leave Mount Olympus and take a holiday. Meanwhile a troupe of travelling actors take their place.
Most of the original music for this opera has been lost, so performances today either adapt music from other Sullivan scores, or use a score by one of the several composers who has written a replacement for the lost music.
Thespis in rehearsal at the Gaiety Theatre, December 1871. Gilbert can be seen
behind the gas 'T-piece'.
Pen and ink drawing by Alfred Bryan.
Page modified
7 September 2015
Copyright © 2014-5 The Gilbert and Sullivan Archive All Rights Reserved.


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Photos: Jonathan Meets Ijebu Ode Monarchs At Awujale Of Ijebuland Palace In Ogun State
March 12, 2015 – Pictures: Jonathan Meets Ijebu Monarchs At Awujale Of Ijebuland Palace In Ogun State Today
Your President was in Ijebu Ode in Ogun state today for his political campaign.
GEJ and Muazu met with Oba Sikiru Adetona and some community leaders in the city .
To crown his effort, he was presented with a white regalia meant for monarchs as gift.
And from the look on his face, he's well pleased that this will convince Yoruba people to rush to the poll for him come March 28, 2015.
GEJ is working, Nigeria is peaceful…. Oya make we rush to the poll o #Ishhhhhh


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Clinton Police are investigating a reported armed robbery on Sunday night.
Police report that at about 8:30 on Sunday night the Clinton Police and Fire Departments responded to 3242 McKinley to a report of a robbery.
Police describe the case as 20 year old Patricia Anderson of the 3242 McKinley address reported that four or five armed males entered the residence and put a gun to her head. During the incident, police reports state- 61 year old Harrison Guy of the same address heard the disturbance, armed himself and attempted to aid Anderson. Police report he was assaulted and his handgun was taken.
The intruders fled the scene and police were called. Guy was transported by ambulance to Mercy Medical Center for treatment of injuries he sustained during the assault.
The case remains under investigation by the Clinton Police Department. Anyone with information is encouraged to call the Clinton Police Department at 563-243-1458 or Clinton County Crimestoppers at 1-888-883-8015.


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Monday, April 26, 2010
Prince Vs. Michael Jackson
44 comments:
- Pretty Little World said...
Neither is really my favorite, but I have to say Michael Jackson wins this one by a long shot - as odd as he was, he was really disciplined when it came to music, and managed to do things that no one else was doing.
- April 26, 2010 at 9:22 AM
- Tia said...
MJ, fo sho. Like no contest. I like Prince and all, When Dove's Cry rocks my world, but Michael is the freakin KING of pop. So, if Michael is the king, and Prince is a prince...you can't fight the logic on this one.
- April 26, 2010 at 9:27 AM
- Felicia said...
I can't even read the other comments for fear that I would murder someone over it. I love both, but Prince is my God. Anyone who has anything bad to say about him will be struck dead.
- April 26, 2010 at 9:41 AM
- Caroline said...
I love both. But they are totally different. Love MJ for his brilliant moves. But I love Prince for that damn raw sexuality...
- April 26, 2010 at 9:46 AM
- Hanako66 said...
Thriller is like my favorite thing ever. A handful of MJ's songs are ridiculously good and he danced like no other. That said, Prince all the way.
- April 26, 2010 at 9:53 AM
- bananas. said...
I gotta give it to jacko. Love me some prince but wacko jacko has always been a part of my life. As a kid, I even performed a kick ass jazz dance at the local zucchini festival to MJ's i'm bad. How's that for devotion?
Prince is still cool. Kiss, little red corvette, party like its 1999 and doves cry are the shit!
- April 26, 2010 at 9:58 AM
- Brown Girl said...
I'm going to go with Michael Jackson, only because according to my mom, he's her friend.
- April 26, 2010 at 10:00 AM
- Raina Cox said...
Prince still makes my bits tingle nearly 30 years on.
I'm an Old.
- April 26, 2010 at 10:02 AM
- Brooke said...
Both are creepy, but I'll go with MJ.
- April 26, 2010 at 10:07 AM
- Alisa said...
I love both, but if I had to choose it would be Michael. But Prince is fantastic! I am lucky enough to say I saw both in concert and Prince was really entertaining and a bit bizarre. He sat in a bathtub that was high up on a post and sang. I don't remember how he got down. Fun in the 80s!
- April 26, 2010 at 10:22 AM
- Farah said...
Its MJ for me babes! He may look like a freak and be a so called child molester, but the man is a genius! xoxo
- April 26, 2010 at 10:24 AM
- Iva said...
ohhh I love a good throwdown!!! I have a bad feeling I'll be on team-not-drollgirl on this one. oiy. I have to with M to the J here. While Price is fab...I can jam to any Michael Jackson all day long on repeat! WEEEEH off to find some good youtubes lol hahahhaha. Thank you for starting my Monday out FABULOUSLY :)
hope you have a super one!
- April 26, 2010 at 10:31 AM
- God's Favorite Shoes! said...
LOL! at Brooke saying that they are both creepy!
I'm gonna have to go with MJ after more consideration. Like a solid answer...MJ. If I hear the beat line for Wanna Be Starting Something...I gets all kinds of ignorant and happy and started twirling around...no matter where I am.
My "man friend" freaks out on Prince though...All things Prince...even the songs that suck.
- April 26, 2010 at 10:32 AM
- blueviolet said...
I have to go with Prince. Michael frightens me.
- April 26, 2010 at 10:45 AM
- Dancing Branflake said...
Michael Jackson! He was my first idol as a kid. Okay, I was more like a toddler. I love him!
- April 26, 2010 at 10:46 AM
- ~KS said...
Felicia's comment has me shaking in my boots... well, that might not be true.
So I'm going to be brave (and risk death) and say that MJ kicks some formerally-known ass! The man was a god of music. May he rest in peace and sing little boys to sleep in music heaven to his heart's content without breaking any laws cuz I'm pretty sure anything goes in Heaven and all is forgiven :)
- April 26, 2010 at 10:47 AM
- Cheryl said...
I like them both but in the end I prefer Michael only because nearly all his songs bring me onto the dance floor. His music is happy music. But it's interesting to hear how Prince has changed over the years through his music.
- April 26, 2010 at 10:54 AM
- Char said...
ohhhhhhhhhhhhhh, wow - good debate.
i would say MJ early years and then he totally lost his mojo. Prince as a complete catalog.
- April 26, 2010 at 11:16 AM
- God's Favorite Shoes! said...
My "ManFrined"...(boyfriend sounds so childish lol)...refused to comment on this post but sent this reply to the debate. I have his permission to copy and paste his response (I don't really but whatever, I've got that "good good":)
Here is what he says:
I will say this and you can agree or not……
We're out at a party, club, social setting, or just in your car, when do you want to hear Thriller, Beat It, I'm Bad or Billie Jean? I'll give you Rock with You, PYT, Don't Stop til You Get Enough. What mood do you have to be in other than a, "Damn, I feel like listening to some Michael Jackson" mood?
In addition, how often does the radio play ANY of his songs with the exception of the last 4 mentioned and Working Day and Night or Remember the time?
No, on the other hand. You don't really have to be in the mood to want to hear Little Red Corvette or Raspberry Beret. When it comes on, you just start jamming. Same with Kiss, When Doves Cry, 1999, I Would Die for You, etc.
In addition, can you make love to ANYTHING that Michael Jackson ever made? Seriously? I can go hard for 2 hours STRAIGHT to Prince. (NO SMART REMARKS) Case in point, every now and again, the radio station will dedicate the quiet storm to just Prince music!
Do Me, Insatiable, International Lover, Scandalous, and the greatest song ever written…..Adore. 'nuff said. I rest my case……unless I am not just in my analysis and you feel the need to challenge it. I HAVE SPOKEN!
Album sales and fans, MJ has Prince beat by a wide margin but on musicianship…..please. (BTW, Prince plays 9 different instruments and produces his own music) I'm just saying.
...and he is dead serious people...lol!
- April 26, 2010 at 11:25 AM
- Claire Kiefer said...
It's a tough one. I think MJ wins cause he's just in a whole different league, but Prince might be able to trump just about anyone but MJ.
- April 26, 2010 at 11:35 AM
- ♥Aubrey said...
"King of Pop"...end of discussion!!!
- April 26, 2010 at 11:37 AM
- SabinePsynopsis said...
Sure, Michael Jackson had more hits, but I recently listened to some Prince songs again, just to realize (again) what an amazing composer he was (is?). He also wrote quite a lot of songs/hits for other artists. So it would be the man before he was a symbol for me.
But please tell us which is your favourite?
- April 26, 2010 at 11:47 AM
- ...love Maegan said...
{although I love Prince too really} BUT MJ ALL THE WAY
- April 26, 2010 at 1:59 PM
- adrienzgirl said...
Ok...I'm going to vote for Prince. I love him and still listen to his music all. the. time.
Although, I will say this. I have been to many a concert in my day. MANY, all genres. And probably to the day I die will say the best concert of my life was in 5th grade when I went to see Michael Jackson.
- April 26, 2010 at 2:36 PM
- Karisa Tells All said...
Michael Jackson would win hands down even if he were a one hit wonder (assuming that one hit were Thriller). On top of that, he's amazing at everything else too (except he's a molester, so...)
- April 26, 2010 at 2:37 PM
- Trixie said...
I never liked either. Don't tell anyone but I didn't buy an album of either of theirs ever (or Madonna's)
- April 26, 2010 at 2:48 PM
- programas didacticos said...
I will be of nohelp here. I tried to imagine if I had to only listen to one and never to the other, and just can't. It's both or neither for me.
- April 26, 2010 at 2:49 PM
- Midtown Girl said...
I love Prince, but MJ has sooo many classics that are my favs - MJ wins!
- April 26, 2010 at 3:01 PM
- shari @ little blue deer said...
Yeah, gotta say MJ. I actually love Prince's music more, but MJ now, he's the King! Your comment on my post cracked me up, too, if you could see my purse, it's so ghetto, like, lipstick opened up and got on all my other makeup. Also, I brought my lunch to work today in a plastic bag from The Dollar Tree. It was a ham sandwich.
- April 26, 2010 at 3:16 PM
- Phoenix said...
Michael Jackson was such a fantastic entertainer. That man knew how to make music videos, albums, pop singles, and did a concert right.
I really can't think of a single Prince song I really like. Sorry.
- April 26, 2010 at 3:45 PM
- Emelie Stanfield said...
MJ. But more importantly; how is the poor cat?
- April 26, 2010 at 3:52 PM
- E said...
Team Prince ALL the way!!! Purple Rain, um, HELLO!!
- April 26, 2010 at 3:55 PM
- melissa said...
Prince. Purple Rain is the best album of the 80s, hands down.
- April 26, 2010 at 6:25 PM
- Laura Trevey said...
Ooooohhhh... I love this debate!! MJ all the way ~~
xoxo Laura
- April 26, 2010 at 6:25 PM
- Asylum Dolly said...
Hmmm, I'm not a HUGE fan of either, but i would have to say MJ gets my vote here! i know Prince (or whatever he calls himself these days)can apparantly play heaps of different instruments and stuff, but his music never did anything for me whatsoever!
- April 26, 2010 at 9:05 PM
- Kathryn said...
I never thought either of the was "hot" but they both have danceable tunes.
I'm going to vote Prince not because of his talent, but because of his strong-willed determination to make in the music business. I remember reading an article after he first became famous of a time when he was booed off stage and had garbage thrown at him only do return the next night to face it all over again because he believed in himself and wanted success bad enough to face that sort of rejection.
While Michael Jackson is a better dancer, more commercially successful and a decent singer, it was a path that was chosen for him and laid out by his father and he never had a chance at a normal life.
- April 26, 2010 at 9:39 PM
- Chic 'n Cheap Living said...
I'm with you lady. But I will give it up to both men who were different kinds of musical geniuses in their own right.
- April 27, 2010 at 12:37 AM
- Jennifer DeDonato said...
Not really crazy about either one but I would SOOO much rather look at Prince hands down...so I vote for him (and the fact he likes the ladies)
- April 27, 2010 at 10:25 PM
- Chessa! said...
OMG....they are both so awesome. I love Prince but prefer MJ anyday....like if I had to choose between two and my life depended on it. how can you not dance when you hear "Shake your body down to the ground!"? I mean....amazing.
- April 28, 2010 at 6:03 AM
- Jill said...
Prince hands down! Our song is "Do Me Baby".
The Main Man is quite the romantic.
- April 28, 2010 at 8:37 AM
- Heather Taylor said...
This is a very difficult decision, but I will always love Michael Jackson's songs. So many good times are associated with them that I just can't not love him.
And Prince, I love him too, but in a different way. Is it weird that I have always been extremely attracted to Prince, as in I find him very hot? I've just always thought he was incredibly handsome...wow, forgot about that old crush :)
- April 28, 2010 at 1:36 PM
- sealaura said...
I love both of their music but I have to say MJ is pretty amazing. his songs always transport me back in time. Prince does too but it is just not the same.
I think about this stuff all the time, I am glad I am not along. I work with stuffy academics and they aren't game for a little game of hot or not, so glad I can always count on you darling!
- April 28, 2010 at 8:50 PM
- executive training said...
I thing they are both unbelievably good artists and their music will live for centuries. Prince has always been a little bit annoying to me with this eccentric look but his voice is so beautiful
- May 14, 2010 at 2:02 AM
- January 3, 2012 at 2:38 AM


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BILOXI — Delays are over and the Biloxi Commercial Harbor has re-opened in time for the 2013 shrimp season.
WLOX TV reports that shrimpers are glad the harbor is back in business.
The harbor has 55 slips, along with concrete piers and new pilings. It's also deeper than before.
The harbor was badly damaged by Hurricane Katrina in 2005. The recent restoration project started in early 2012, but work was delayed amid disagreements over the length of pilings, which pilings should be replaced, and what to do with the dredge spoils.
Shrimpers spent Memorial Day at the harbor preparing for the blessing of the fleet and the upcoming season.
"We're redoing the whole boat, painting here, working there, scraping this," said Miral Nelson.
Nelson is one of 20 shrimpers who have returned to the newly-restored harbor.
"It helps a lot because when we first got here, we didn't have no power. If we had to get water, it's all the way at the end of the pier. Now, we got power, water, nice big pier. It's nice," said Nelson.
During the construction, some boats had to dock temporarily at the Point Cadet Marina, while others moved to the Small Craft Harbor.
"About time I have a place to park. Before, I park everywhere around. Now they fix it up, let me in, and it looks good," said Biloxi shrimper Ran Bui.


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Look! Up in the sky! It's a bird. ... It's a plane. ... It's Santa Claus?!"
Technically speaking, no.
But don't try telling that to the thousands of motorists who'll risk fender benders, stiff necks and sunburned tonsils while cruising past the intersection of Central Avenue and Clarendon over the next few weeks.
The big attraction? A seasonal assemblage of tubular steel, plastic garland, electric lights and high-tension cables strung between two high-rise office buildings in the Phoenix City Square complex. Now celebrating its 18th Christmas aloft, the Central Corridor landmark is widely regarded as the city's most famous Christmas decoration.
"Everyone really seems to love our Santa," says Phoenix City Square spokeswoman Paula Rifley. "Over the years, it's become something of a Phoenix tradition."
Built at a cost of $12,000 in 1977, the high-flying fat man has become so much a part of the Valley's holiday landscape that he's regularly featured as background art during December newscasts on local TV. And, if past years are any indication, Rifley can expect to field several dozen phone calls and letters about the beloved antigravity elf during his six-week holding pattern over the midtown business plaza.
Predictably, many of those communiques ask how in heck Santa gets off the ground each year.
"It's quite a production," answered Phoenix City Square chief engineer Jim Rich, as a team of four professional riggers and 12 building engineers prepared Santa and his reindeer for blastoff one Friday morning nearly two weeks ago. "Whenever you start stringing cable across any distance at all, you're going to run into sag."
Actual preparation had begun several weeks earlier, when the six individual components--Santa and five reindeer--were removed from storage and gussied up for this year's flight.
The pieces--each averaging six and a half feet tall, with an aggregate weight of several hundred pounds--were transferred to the roof of a one-story shopping arcade between the two high-rises, then clamped to a half-inch-thick steel cable. Both ends of that cable would eventually be attached to shackles on two lines lowered from each tower, then cranked back up in synchronization by crew members using manual winches.
"It's just like deep-sea fishing," says one crew member of the arduous project, "except there's no fish on the end."
Guy wires minimize horizontal sway during winter gusts.
In practice, the process is not as simple as it may sound--especially when viewed from the dizzying vantage point of the eastern tower's roof, where wind speeds of up to 45mph have been recorded. In fact, to the uninitiated, the scenario seems to have a lot more in common with Apollo 13 and Vertigo than a Yuletide episode of Home Improvement.
Then again, most people don't make their livings stringing Santas from 17-story buildings, either.
"This job isn't any more dangerous than anything else we do," explains rigger Connie Morrell, whose E&M Rigging company provides similar acts of high-altitude derring-do for motion pictures, commercials, concerts and other events. "Sure, there's risk in any job. You just have to be careful about what you're doing."
Hopping onto a ledge, Morrell uses a walkie-talkie to receive a progress report from workers on the 20-story office building to the west.
Give or take a few gaffes--a reindeer loses a clump of garland when it's dragged across the roof, a rigger almost loses a hank of shoulder-length hair in a spooling mishap--Operation Santa goes off without a hitch.
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At 10:13 a.m., three hours after the project got under way, Santa and company finally rise off the arcade roof and into the smoggy ozone.
Yet despite the Mission Control ambiance (to say nothing of the $2,000-plus annual launch fee), there's still something downright homey about Phoenix City Square's yearly Santa sendoff.
For as Santa was cranked into fixed orbit between the two towers, one crew member monitored the operation from the roof of a third high-rise across the street. And, in the grand tradition of kibitzing during a family tree-decorating ceremony, he added his two cents worth via walkie-talkie.
"Now, move Rudolph a little to the right.


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After I had my daughter in the summer of 2014, my free time dramatically decreased (as it does when you have a newborn), and I faced a choice: I either found a way to make my blog more financially solvent, or I stopped blogging. I no longer had freedom to devote the amount of time I was spending on my blog each week to something that was barely bring in any income. So I began to research how I could make more money from my blog, and I started reporting that revenue on my blog each month in income reports.
Due to some contractual obligations, the income report posts have been put on hold temporarily while I figure out a way to report on my progress, without revealing confidential client information. For now, check out the reports from the first five months of the income project:


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Rays gain game on AL East leaders behind Price
Rays gain game on AL East leaders behind Price
Lately, that line has pointed toward the Rays.
Tampa Bay's ace lefty outdueled New York's yet again on Friday at Yankee Stadium, as the Rays pulled out a much-needed 6-4 win to gain a game in the playoff picture.
It was the eighth time the two aces have squared off (third this season) in their stellar careers, and Tampa Bay has won seven of the meetings. The Rays, who have won six of their last eight overall against the Yankees, are three games behind New York and Baltimore in the American League East and for the second AL Wild Card.
"Yankees, this ballpark, everything that was at stake -- he's done it before and he's done it versus Sabathia before," Rays manager Joe Maddon said of Price. "All of those things have to count. They have to count for us and they have to count when you evaluate him over the course of the season."
Price's victory was his AL-leading 18th of the season and came after the Cy Young candidate skipped his last start due to shoulder soreness. But he was sharp when the Rays needed him most, striking out six while scattering five hits and two earned runs over seven innings. He ended his night with emphasis, striking out two of the three batters he faced in the seventh before giving way to the Rays' pen.
"It felt good," Price said of his first start since Sept. 2. "My body felt good, my arm, my back, my legs, they all felt pretty strong."
With the victory, the Rays avoided matching a season-high four-game losing streak. New York, which entered having won its last pair, has not won three straight since Aug. 13-15. It was only Tampa Bay's fourth win in its last 17 one-run games.
"It was huge," said catcher Chris Gimenez, who doubled twice Friday night after entering the game with just one extra-base hit this season. "Coming off [being swept by the Orioles this week], we needed to take a couple out of here. Just for, mentally, our sake, it's big to have a couple wins here. All you can do is put yourself in the situation -- we know we can take care of our business now and hopefully we don't have to do anything crazy later."
New York got on the board in the second, when Russell Martin singled to lead off the inning and scored on a two-out single from Steve Pearce. But Tampa Bay made its hay in the fifth, when Gimenez got the hit parade started with a leadoff double. The following four hitters reached base against Sabathia as Gimenez, Carlos Pena and Elliot Johnson all scored to make it 3-1.
"Today should have been a day when I went out and dominated," Sabathia said. "I had good stuff. I was throwing the ball in well, my changeup was good. I just can't go 0-2 on a guy like Gimenez and give up a double and walk Carlos Pena. Stuff like that kills you during the game. No matter whether it's April, September, October, World Series, it kills you."
After Curtis Granderson hit his 38th homer of the season in the fifth to cut the lead to 3-2, Johnson added a run when he reached on a fielder's choice, stole second and scored on a Ben Zobrist single. Maddon appreciated the aggressive play in those situations, which haven't presented themselves often lately for the slumping Rays offense.
"Our guys under those circumstances, I don't want them to ever be afraid of making a mistake," he said. "Go, that's who we are, that's how we played. If they throw you out, so what? I want our guys to be bold."
That would also be it for Sabathia, who gave up six hits and four runs (all earned) in 6 2/3 innings. The two teams exchanged homers in the eighth, as B.J. Upton hit a solo shot of Cody Eppley and Alex Rodriguez hit a two-run bomb against Joel Peralta. Desmond Jennings scored one more Tampa Bay run in the ninth on an error by Eduardo Nunez.
Fernando Rodney came on for the five-out save, which was his Major League-best 43rd of the year and made him the all-time leader in saves in a single season against the Yankees (seven).
"We had two Cy Young candidates pitch tonight for us," Maddon said. "I thought they did an outstanding job, both what David did and how about what Fernando did? Two guys at the top of their game. It was really fun to watch."
Joey Nowak is a reporter for MLB.com. Follow him on Twitter at @joeynowak. This story was not subject to the approval of Major League Baseball or its clubs.


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Why South Forward?
It's no secret that the Democratic Party and progressives are reeling in the South. The Tea Party is ascendant and Republicans have supermajorities in many state legislatures. Public education, labor, women's health and the very right to vote are under concerted – and often successful – attack.
This must change.
South Forward brings an integrated, multi-faceted approach to revitalizing and growing the Democratic South. While winning elections is the real goal, our early focus will be on "building the bench" and building capacity for state parties and others.
South Forward consists of a 501(c)(4) non-profit, a Federal independent expenditure PAC, and a Federal candidate PAC (which allows direct contributions to candidates and state party organizations). In due time and in accordance with election/campaign finance law in each state, we will form state-level PACs, as well.
Our focus includes:
- Direct candidate support for down-ballot races with an emphasis on municipal, legislative, targeted statewide and congressional races;
- Independent expenditures on behalf of municipal, legislative, targeted statewide and congressional races.
- Development of a candidate and campaign management training/mentoring program that will focus specifically on women, African-American and Latino candidates and campaign managers and staff.
Meet our Leadership


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Current account deficit may fall to zero in July-Sept quarter
There is even an outside chance of a current account surplus in the July-September quarter, a senior finance ministry official told HT. Official data is due to be released at the end of December.business Updated: Nov 06, 2013 02:23 IST
Helped by gold control measures, second quarter numbers for India's current account deficit — the difference between inflows and outflows of foreign exchange in a period — could well show a level close to zero after it touched a worrying 4.9% in the April-June quarter, sending the rupee plunging.
There is even an outside chance of a current account surplus in the July-September quarter, a senior finance ministry official told HT. Official data is due to be released at the end of December.
Confirming this thinking, finance minister P Chidambaram told CNBC Awaaz in an interview that the rupee may strengthen further.
"We think that with more money coming in, the rupee should even go below 61...between 60 and 61 — that is a good sign," he said. The rupee closed at 61.62 to the US dollar on Tuesday.
Internal research from the State Bank of India confirmed the zero deficit expectation. A research note from India's largest commercial bank said a $20.5-billion cushion from a narrower trade deficit in July-September and estimated "invisibles" — a reference to remittances and earnings from tourism – in the quarter of about $30 billion will also strengthen the CAD position.
"We can expect some good news and the CAD which had become an issue until sometime back looks to be well within the limit and in the second quarter it could even touch a positive zone," said Soumya Kanti Ghosh, chief economic adviser, SBI.
The rupee recovered from all-time lows this year on the back of the CAD widening to $88.2 billion — a record 4.8% of the GDP — in 2012/13.
"We think we can peg it (CAD) at 60 billion or below. I am confident that we can do even slightly better than 60 billion (in 2013/14)," the minister said.
A finance ministry official said gold imports were critical. "The curbs on imports will be critical to meet the deficit (CAD) target and we are monitoring the situation very closely," the official said.
Officials said the CAD for 2013/14 could be as low as $55 billion, or 3.1% of the GDP, if imports are contained.


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A laid-back noncompetitive showing of classic cars, fun events, good food and shopping in historic Florence, Colorado on May 20, 2018 from 9 am – 3 pm.
Come to historic downtown Florence, Colorado to celebrate the 17th anniversary of one of southern Colorado's favorite car, truck and hotrod shows!
The show started with only eleven cars in 2002 and has grown to over 200 in the past few years.
With 3 blocks of Main St. (Colo. Hwy, #115) closed off, the local businesses host over 200 cars for the one day event. Enjoy the day looking at antique, classic and custom vehicles, touring the many antique stores and art galleries with several eateries mixed in.
Admission is free to the public. A $25.00 registration fee for vehicles is required.
There will be drawings for door prizes and cash.
For information contact Matt @ (719) 671-8168 or email: firstname.lastname@example.com


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Qassam Strikes Western Negev After Four-week Lull
Rocket lands in open field in Sdot Negev area; No injuries or damages reported in incident.
A Qassam fired from the Gaza Strip struck the western Negev on Saturday, after four weeks without a rocket strike from the coastal territory.
No casualties or damages were reported in the incident.
The last rocket strike lightly wounded an 18-year-old man in the yard of his house in Sderot. Two women were treated for shock after the incident.
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PARKER - Libertarian presidential candidate Gary Johnson stopped into the South Denver metro area on Monday and spent a healthy portion of his time defending his recent "Aleppo moment" to reporters.
In a recent appearance on MSNBC, Johnson was unable to name a current world leader that he admires and sheepishly explained that he may be having another moment like the one in which he responded to a question on the crisis in Syria by asking "what is Aleppo?"
WATCH: Gary Johnson shocks MSNBC host when he asks "What is Aleppo?" https://t.co/crRb0J1NmY pic.twitter.com/qQKFon6bpa— The Hill (@thehill) September 8, 2016
Johnson cast the gaffe as a case of a question to which he honestly had no answer.
"Four days later, I cannot name for you a world leader that I categorically admire and could defend for whatever would come along," Johnson told 9NEWS.
Gary Johnson had trouble naming a foreign leader he respects. "I guess I'm having an Aleppo moment." 😬 https://t.co/hikKVlQQQc— BuzzFeed News (@BuzzFeedNews) September 29, 2016
Johnson packed a 1,200-person auditorium at the University of Colorado South Denver facility and delivered a passionate speech to supporters.
Supporters of Hillary Clinton and Donald Trump would cast Johnson as a spoiler. While he has almost no chance of winning Colorado's nine electoral votes, Johnson is commanding a significant bloc of the state's voters.
He earns 8.6 percent of voters in the average of polls from realclearpolitics.com and some individual polls put his numbers as high as 13 percent in the state—support that Trump and Clinton would very much like to win over.
That seems unlikely with some of Johnson's most ardent supporters. Some showed up in T-shirts that read "everybody sucks '16… except Gary Johnson."
On stage, Johnson called for less military spending, a more open border with Mexico, and said (while standing in a public university building) that "government should get out of the education business completely."
The former governor of New Mexico says he's trying to appeal to independent voters—the largest category of voters in Colorado—with a message about thrifty government and protection of personal liberties, including same-sex marriage and legalized marijuana.
"Colorado, you rock," Johnson said to earn one of his biggest applause of the night. "You legalized marijuana."
Johnson openly admits to marijuana use, but says he stopped smoking pot for the campaign and has vowed not to use the drug while in the White House.
When asked what kind of message that sends about the relative safety of using pot, Johnson said it was about earning the confidence of voters.
"I haven't had a drink of alcohol in 30 years," Johnson told 9NEWS. "And as President of the United States, I would like people to be assured that if the missiles are incoming and there's 12 minutes to deal with it, that it will be somebody that's not under the influence of anything."
Copyright 2016 KUSA


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DC RETROACTIVE: JUSTICE LEAGUE OF AMERICA – THE '70s #1 Artists Andy Smith and Gordon Purcell come together with writer Cary Bates to tell how Kanjar Ro will try to wipe out the civilization of Earth-Prime. It'll be up to the Justice League, Adam Strange and a very special DC legend to stop his ruthless plans. ONE-SHOT • On sale JULY 27 • 56 pg, FC, $4.99 US • RATED T
Please note that this art is style guide art and is not artwork from the actual issue.


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Gene Wilder, star of 'Willy Wonka,' dead at 83
FOX 32 / AP - Gene Wilder, the frizzy-haired actor who brought his deft comedic touch to such unforgettable roles as the neurotic accountant in "The Producers" and the mad scientist of "Young Frankenstein," has died. He was 83.
Wilder's nephew said Monday that the actor and writer died late Sunday at his home in Stamford, Connecticut, of complications from Alzheimer's disease. No funeral arrangements have been announced.
Jordan Walker-Pearlman said in a statement that Wilder was diagnosed with the disease three years ago, but kept the condition private so as not to disappoint fans.
Wilder started his acting career on the stage, but millions knew him from his work in the movies, especially his collaborations with Mel Brooks on "The Producers," ''Blazing Saddles" and "Young Frankenstein." The last film — with Wilder playing a California-born descendant of the mad scientist, insisting that his name is pronounced "Frahn-ken-SHTEEN" — was co-written by Brooks and Wilder and earned the pair an Oscar nomination for adapted screenplay.
"Gene Wilder, one of the truly great talents of our time, is gone," Brooks wrote in a statement Monday. "He blessed every film we did together with his special magic and he blessed my life with his friendship. He will be so missed."
With his unkempt hair and big, buggy eyes, Wilder was a master at playing panicked characters caught up in schemes that only a madman such as Brooks could devise, whether reviving a monster in "Young Frankenstein" or bilking Broadway in "The Producers." Brooks would call him "God's perfect prey, the victim in all of us."
But he also knew how to keep it cool as the boozing gunslinger in "Blazing Saddles" or the charming candy man in the children's favorite "Willy Wonka and the Chocolate Factory." His craziest role: the therapist having an affair with a sheep in Woody Allen's "Everything You Wanted to Know About Sex."
Tweeted Jim Carrey: "Gene Wilder was one of the funniest and sweetest energies ever to take a human form. If there's a heaven he has a Golden Ticket."
Cloris Leachman, Wilder's "Young Frankenstein" co-star, tweeted, "Oh, Gene, it's too soon!"
Wilder was close friends with Richard Pryor and their contrasting personas — Wilder uptight, Pryor loose — were ideal for comedy. They co-starred in four films: "Silver Streak," ''Stir Crazy," ''See No Evil, Hear No Evil" and "Another You." And they created several memorable scenes, particularly when Pryor provided Wilder with directions on how to "act black" as they tried to avoid police in "Silver Streak."
But Wilder would insist he was no comedian. He told Robert Osborne in a 2013 interview that it was the biggest misconception about him.
"What a comic, what a funny guy, all that stuff! And I'm not. I'm really not. Except in a comedy in films," Wilder said. "But I make my wife laugh once or twice in the house, but nothing special. But when people see me in a movie and it's funny then they stop and say things to me about 'how funny you were.' But I don't think I'm that funny. I think I can be in the movies."
A Milwaukee native, Wilder was born Jerome Silberman on June 11, 1933. When he was 6, his mother suffered a heart attack that left her a semi-invalid. He soon began improvising comedy skits to entertain her, the first indication of his future career.
He started taking acting classes at age 12. In 1961, he became a member of Lee Strasberg's prestigious Actor's Studio in Manhattan.
That same year, he made both his off-Broadway and Broadway debuts using the stage name Gene Wilder. He won the Clarence Derwent Award, given to promising newcomers, for the Broadway work in Graham Greene's comedy "The Complaisant Lover."
A key break came in 1963 when he co-starred with Anne Bancroft in Bertolt Brecht's "Mother Courage," and met Brooks, her future husband.
Brooks cast Wilder in "The Producers" as Leo Bloom, an accountant who discovers the liberating joys of greed and corruption as he and Max Bialystock (Zero Mostel) conceive a Broadway flop titled "Springtime For Hitler" and plan to flee with the money raised for the show's production. Wilder's performance received a supporting actor Oscar nod.
Before starring in "The Producers," he had a small role as the hostage of gangsters in the 1967 classic "Bonnie and Clyde." He peaked in the mid-1970s with the twin Brooks hits "Blazing Saddles" and "Young Frankenstein."
Wilder went on to write several screenplays and direct five features, including "The Woman in Red" and "Haunted Honeymoon," in which he co-starred with his third wife, Gilda Radner. The two met while making the 1982 film "Hanky-Panky" and married in 1984.
After Radner died of ovarian cancer in 1989, Wilder spent much of his time after promoting cancer research and opened a support facility for cancer patients.
"He committed himself to honoring Gilda's desire that no one should face cancer alone," said LauraJane Hyde of Gilda's Club Chicago.
Wilder worked to co-found the first Gilda's Club, so that no one would have to go through what she did alone.
"Without Gene Wilder, there would be no Gilda's Club," Hyde said.
The Chicago club opened in 1998, and it continues to help cancer patients, their caretakers and children figure out how to navigate a cancer diagnosis.
It was Wilder's love for Gilda that led to an organization that still helps others in her honor, today.
In 1991, Wilder testified before Congress about the need for increased testing for cancer. That same year, he appeared in his final film role: "Another You" with Pryor.
Wilder worked mostly in television in recent years, including appearances on "Will & Grace" — one of which earned him an Emmy Award for outstanding guest actor — and a starring role in the short-lived sitcom "Something Wilder." In 2015, he was among the voices in the animated "The Yo Gabba Gabba! Movie 2."
As for why he stopped appearing on the big screen, Wilder said in 2013 he was turned off by the noise and foul language in modern movies.
"I didn't want to do the kind of junk I was seeing," he said in an interview. "I didn't want to do 3D for instance. I didn't want to do ones where there's just bombing and loud and swearing, so much swearing... can't they just stop and talk instead of swearing?"
Wilder is survived by his wife, Karen, whom he married in 1991, and his daughter from a previous marriage, Katherine, from whom he was estranged.
"Gene Wilder, one of the truly great talents of our time, is gone. He blessed every film we did together with his special magic and he blessed my life with his friendship. He will be so missed." --- Director Mel Brooks in a statement
"Goodbye, Gene Wilder. You were one of the great screen comedians. Original and surprising every time." ---Steve Martin on Twitter
"#GeneWilder Au revoir to a gifted actor whose films I suggest you re-visit if you want to be thoroughly entertained." ---Carl Reiner on Twitter
"Gene Wilder was a giant of comedy. His legacy of films is inspiring. A true genius." ---Billy Crystal on Twitter
"Gene Wilder was one of the funniest and sweetest energies ever to take a human form. If there's a heaven he has a Golden Ticket." ---Actor Jim Carrey on Twitter
"RIP to the legend Gene Wilder, keep it classy." ---Comedian Will Ferrell on Twitter
"A moment of silence for the master of the comedic pause. Gene Wilder: funny doing something & funny doing nothing." --- Director Edgar Wright on Twitter
"'Good Day Sir!' RIP Gene Wilder" ---Comedian Ricky Gervais on Twitter
"Thank you Gene Wilder for all that you've given us. You'll be missed." ---The Academy of Motion Picture Arts and Sciences on Twitter
"R.I.P. Gene Wilder. Please hug Gilda for me."---Producer and writer Alan Zweibel on Facebook
"A man who lit up the world with his joy and genius. I can't say what it meant to act with him and get to know his heart." ---Actress Debra Messing on Twitter
"Gene Wilder touched my life, my heart and my funny bone with his unique and genius work. May he rest with peace and joy." ---Actor Jason Alexander on Twitter
"I saw Blazing Saddles 7 times at the cinema with my school friends. George St. Cows outside. Gene Wilder you were a genius."--- Actor Russell Crowe on Twitter
"Bless you for all these years of laughter and love, such warmth and humanity. Thank you, thank you, thank you #GeneWilder" ---Film Critic Leonard Maltin on Twitter
"GENE WILDER, the face of childhood joy for many a generation, has passed. Farewell, sweet genius. Gilda awaits you." ---Director Kevin Smith on Twitter
"Gene Wilder acted at a different frequency than any other. He was always a moment away from tenderness or hysteria. What an original." ---Actor Alan Tudyk on Twitter
"Thank you Gene Wilder for the wonderful, the weird, the pure imagination. One of my greatest heroes." ---Singer Josh Groban on Twitter
"Gene Wilder as one of my earliest heroes. Blazing Saddles, Willy Wonka, are CLINICS on comic acting. Sad to hear of his passing." ---Actor Rob Lowe on Twitter
"The genius, the talent, the actor, the original, the artist, the storyteller, the creative, the iconic, the great, great, great Gene Wilder." ---Actress Uzo Aduba on Twitter


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Apple Coffeecake
Total Time:
Level: Easy
Serves: 16
- ½ c. plus 2 tsp safflower or mild olive oil
- 1 c. plus 2 Tbsp granulated sugar
- 1½ c. all-purpose flour
- 1½ c. white whole wheat flour
- 1 tsp. baking soda
- 1 tsp. salt
- 1 tsp. cinnamon
- ½ c. low-fat plain Greek yogurt
- ½ c. no-sugar-added applesauce
- 3 large eggs, at room temperature
- 1 tsp. vanilla extract
- 2 Rome or Granny Smith apples, peeled, cored, and thickly sliced (about 3 cups)
- 1 c. chopped walnuts
- Heat the oven to 350°F. Lightly coat a tube pan with 2 tsp oil and dust with 2 Tbsp sugar. Set aside.
- Whisk the flours, baking soda, salt, and cinnamon together in a medium bowl.
- Using an electric mixer, beat ½ cup oil with 1 cup sugar, yogurt, and applesauce until thoroughly combined.
- Add eggs, one at a time, scraping down the sides of the bowl as necessary. Stir in the flour mixture and then the vanilla, apples, and walnuts. Mix until just combined.
- Transfer to the prepared pan and bake until a toothpick inserted in the center comes out clean, 45 to 50 minutes.
- Run a butter knife around the cake to loosen it, cool the cake in the pan for 15 minutes, then turn it out onto a wire rack to cool completely.
280 cal, 13 g fat (1 g saturated), 6 g protein, 35 g carb, 18 g sugar, 2 g fiber, 241 mg sodium, 35 mg cholesterol per serving
Make Muffins Instead!
Follow the same recipe except roughly chop the apples instead of slicing them, and pour the batter into muffin tins lined with foil muffin cups. Evenly sprinkle with 1 Tbsp sugar. Bake for 30 to 35 minutes or until a toothpick comes out clean. Makes about 20 muffins.
This recipe originally appeared in the October/November 2014 issue of Dr. Oz The Good Life.
More From Dessert


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Livingstone Daisy, Livingston Daisy, Ice Plant
Dorotheanthus bellidiformis
|Aizoaceae (ay-zoh-AY-see-ee) (Info)
|Dorotheanthus (dor-uh-thee-AN-thus) (Info)
|bellidiformis (bel-id-EE-for-miss) (Info)
|Dorotheanthus criniflorus
|Mesembryanthemum bellidiforme
|Mesembryanthemum criniflorum
Foliage Color:
Bloom Characteristics:
Water Requirements:
Average Water Needs; Water regularly; do not overwater
Where to Grow:
under 6 in. (15 cm)
9-12 in. (22-30 cm)
Not Applicable
Sun Exposure:
Full Sun
Bloom Color:
Fuchsia (Red-Purple)
Bright Yellow
White/Near White
Bloom Time:
Blooms repeatedly
Other details:
Soil pH requirements:
6.1 to 6.5 (mildly acidic)
6.6 to 7.5 (neutral)
Patent Information:
Propagation Methods:
From seed; sow indoors before last frost
Seed Collecting:
Allow pods to dry on plant; break open to collect seeds
This plant has been said to grow in the following regions:
Anchor Point, Alaska
Anchorage, Alaska
Palmer, Alaska
Wasilla, Alaska
Sacramento, California
Fort Collins, Colorado
Kissimmee, Florida
Baton Rouge, Louisiana
Henderson, Nevada
Averill Park, New York
Carmel, New York
Independence, Oregon
Lebanon, Oregon
Salem, Oregon
Port Matilda, Pennsylvania
Houston, Texas
Logan, Utah
Ogden, Utah
Kalama, Washington
Spangle, Washingtonshow all
Gardeners' Notes:
On Mar 20, 2015, lljames from Burbank, CA wrote:
This species of daisy is popular in colder temperate climbs, however, I live in a drought area of southern California and our Springs can be temperate weather. Thus, I get away with growing these flowers for up to 4 months.
On Jun 15, 2013, pworden from Port Matilda, PA wrote:
My plants wilt in the sun. I'm not sure but it's possible that I transplanted them too deeply; that the base roots may be too close to the bottom of the containers. They are in long railing-type containers. They're quite happy in the cool morning but if I put them out where they get afternoon sun they wilt so badly they look nearly dead. They've just started to bloom and I wish I could give them sun but they wilt each time and it takes them quite awhile to recover. The soil is loamy, not clay - nice potting soil. Containers are the self-watering type but have no standing water. Any tips appreciated!
On Aug 19, 2009, Ian01 from Rio de Janeiro,
Light affects germination negatively: the seeds germinate, but the radicle don't develop (sow in darkness OR cover the seeds with a fine layer of soil is far, far better). Need a very free draining mix. Definitely mature plants dislike root disturbance.
On May 2, 2009, LJeske from Spangle, WA wrote:
Here in Spangle, WA (zone 5a/b) I have successfuly started seeds in my unheated greenhouse. Outside, the weather has been hovering around 30-33 degrees at night, so the greenhouse is sitting right around 35-40 inside. Daytime temperatures inside the greenhouse range from 55-75 depending on the amount of sun during the day. I'm really looking forward to these flowers. I purchased a plant last year and it wasn't as daily like. It appeared more like a moss rose than the daisy-like photos I see here. I'm hoping for the daisy look. Will keep site posted as plants progress.
On Dec 20, 2008, buggycrazy from spokane valley, WA (Zone 5a) wrote:
These are wonderful in hanging pots or planter edges for hot, sunny sites, try them mixed with portulaca too!
On Apr 15, 2008, debi_z from Springfield, MA (Zone 6a) wrote:
another name for this plant is "go to bed" flower. why? because it opens with the sun and closes when it leaves.
On Mar 10, 2008, jrtinker from Palmer, AK (Zone 3b) wrote:
This is a great front of the border plant, and does especially well along sunny pavement edges or trailing over rock walls. It is drought tolerant, and loves the edges of sidewalks. It is impossible to have too many.
On Feb 4, 2005, cacti_lover from Henderson, NV (Zone 9b) wrote:
These are fun to grow. I treat them like wild flowers by sowing them randomly where ever I like to see some colors. I do need to give them some watering for them to grow well. Mine had pink, orange, yellow and some are bi-color. Mine died after it goes to seed.
On Mar 29, 2004, germinator from Palmer, AK wrote:
Palmer, Alaska: Unfortunately, got off to a late start with seeds. Grew quite well, even in bad soil. Bloomed beautiful peach and neon pink colors. Had many blooms waiting to open in late August when moose came into the yard and ate every one of them to the ground. (By the way, the moose didn't touch my geraniums, nastursium, pansies, etc.)
On Jul 28, 2003, Gramax from Independence, OR (Zone 9b) wrote:
Mine has only neon fuchsia blooms, growing in a dense clump. Has overwintered one mild winter. Starts easily from cuttings; I haven't tried collecting seeds. Foliage resembles portulaca, but it's more dense.
On May 22, 2003, Oberon46 from (Mary) Anchorage, AK (Zone 4b) wrote:
Fairbanks, Alaska: I have grown these in the hot summer months with wonderful success. Gorgeous bright neon colors --- when there is sun. No sun --- no flowers (or rather they don't open. Still and all, a favorite with Portulaca nearby.
On Aug 30, 2002, Weezingreens from Seward, AK (Zone 3b) wrote:
Livingston Daisies are a welcome spot of color in Seward, Alaska gardens in August. The riot of color is reminiscent of the Mexican crepe paper pans I can recall from youth... oranges, reds, hot pink, peach, yellow. The stems of this plant seem tenuous at best, but they manage to support the bulbous, hairy foliage and large blooms. The Livingstons are well suited to borders, rock gardens, and planters.


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Rangers shut out Angels
Derek Holland pitched a complete-game shutout, allowing only three hits with eight strikeouts Sunday, as the Texas Rangers defeated the Los Angeles Angels 7-0.
The Rangers were a +175 underdog in the game and the seven runs scored fell UNDER the posted over/under total (9.5).
Marlon Byrd was 3-4 with a home run and three RBI for Texas, while Taylor Teagarden hit a two-run homer.
John Lackey took the loss for the Angels after giving up four runs in eight hits in 6 2-3 innings.


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That's one of the most fascinating things about it, really; rather than leaning on its gimmick as a crutch, The Toolbox Murders is at its sleaziest and most depraved when the killing spree is over and done with. There's not all that much of a hint early on that there's going to be a story bobbing somewhere around in here. Pretty much the entire first half-hour has a killer with an off-axis ski mask barging into some chick's apartment, struggling with her for a minute or two, fishing something out of the toolbox, and plop plop fizz fizz dead. Not only does it not seem as if there's anything more to the plot than that, but unless you count stuff like "Aaaaaagh! No! Please!", there's barely even any dialogue. These kills are pretty nasty, but they haven't aged all that well. The editing can be really choppy in these stretches, the lingering closeups of the corpses afterwards are more gruesome than the actual death blows, and even with the toolbox gimmick, the murders all seem pretty straightforward these days. Veering away from the usual slasher formula, The Toolbox Murders doesn't take a stab at
One of the biggest advantages The Toolbox Murders has is that it just barely predates the slasher craze of the '80s, so it doesn't know it's supposed to settle into those same sorts of clichés. It basically transforms into a completely different movie once it crosses the half-hour mark. The killing spree is over and done with, the police investigation is more or less in the rear view mirror too, and now we're palling around with a few characters that hung around the sidelines early on. The rest of the movie is split up into two running storylines. For a while there, the blander of the two is Joey goofing around with Kent (Wesley Eure), a jack-of-all-trades who works as a handyman in his uncle's apartment complex. Kent not only offers to toss Joey a little spending money by having him help clean up what's left of these crime scenes, but they use that as an excuse to launch their own investigation.
Skulking around some horror message boards, a lot of people gripe that The Toolbox Murders falls off the rails twentysomething minutes in, but for me, that's when the movie really gets started. For one, the most tense sequences come when the killing spree is out of the way. Most of the early kills are pretty clumsily staged and don't get the blood rushing (y'know, figuratively or whatever), and...well, having devoured so many of the slasher flicks that'd be churned out a few years after this, I've seen all that before. On the other hand, the unmasked killer belting out "Sometimes I Feel Like a Motherless Child" to a girl he's tied up with lace and ribbon in his dead daughter's old bedroom...? A deliriously rambling monologue -- complete with a musical number? -- delivered with a lollipop in hand? Even though these scenes aren't sopping with blood, they're entrancingly bizarre. I'd really like to give a nod to the actor behind the most unhinged, batshit deranged performance this side of Mal Arnold in Blood Feast, but I'll play nice with spoilers instead. As cacklingly sleazy and demented as so much of the second half of the movie is, it only gets stickier and more depraved in its final few minutes. It's also worth noting that the spotty acting early on fades away, and the performances throughout the last half-hour are actually pretty damned effective.
Yeah, there's all the gratuitous nudity, splatter, and red herrings you'd expect out of a vintage slasher, but The Toolbox Murders quickly hops out of that mold to make for one of the sleaziest, most demented exploitation flicks of the 1970s. As bleak and mean-spirited as the movie can be, The Toolbox Murders is so far out there that it's disturbingly fun at the same time, and it really does live up to all the notoriety it's scored over the years and then some. I guess I could've made this review a lot shorter by saying that if you're thinking you need to buy a movie with a title like The Toolbox Murders, you're probably right. Recommended.
C'mon, it's Blue Underground: just because that's The Toolbox Murders unspooling on-screen doesn't mean it'd be lavished with any less care and attention than Criterion would heap onto something with Bergman or Kurosawa's name on the bill. Their remastering work is as accomplished as ever. The 1080p video isn't dragged down by any trace of speckling or wear, and though that tight sheen of film grain is too unintrusive to ever distract, it also shows no signs of being overzealously smeared away either. Steering clear of any edge enhancement or excessive digital noise reduction, The Toolbox Murders looks consistently natural and filmic throughout. Black levels are generally deep and inky, and its palette -- those distinctively garish '70s colors and all -- packs more of a wallop here than I'd expect it to on DVD. Detail, clarity, and especially texture are also much improved over anything DVD could hope to deliver. The Toolbox Murders isn't as eyepopping as Blue Underground's best, such as The New York Ripper, but that looks to be a limitation of the original photography rather than any hiccups in putting this Blu-ray disc together. Ditto for that glow in the far left of the frame whenever the lights are dialed down. Anyway, The Toolbox Murders lives up to the ridiculously high expectations I set for anything with Blue Underground's logo plastered on the cover, and that's always a plus.
The Toolbox Murders is pillarboxed to preserve its original aspect ratio of 1.66:1, and its AVC encode fits comfortably on this BD-25 disc.
There's really not all that much to rattle off about this 7.1, 16-bit DTS-HD Master Audio soundtrack. It's exactly what I waltzed in expecting, but if, for some reason, you're holding out hope that a 1978 slasher flick shot on the cheap is going to push your overpriced home theater rig to the breaking point, you might want to dial all that back a bit. Like pretty much everything out of Blue Underground, this is a respectful remix that doesn't take all that many liberties with the original monaural audio. There aren't any forced, gimmicky split-surround effects or awkward pans. Especially once you get past the choppy memories of a car wreck early on, this multichannel remix is used to belt out atmosphere like chirping crickets and sloshed barflies more than anything else. The score also spreads out to fill the soundscape really nicely, and the clinking bells in particular grabbed my attention. The audio stems are thin and dated, so don't hold your breath for shimmering, crystalline highs or any bass at all. Even though this is about as far from a full-bodied mix as it gets, there's still a pretty solid sense of distinctness; the different elements don't sound muddled together the way lesser vintage soundtracks frequently can. No hiss, pops, or noise reduction artifacts of note ever creep in either. The Toolbox Murders isn't some kind of aural spectacle or anything, but this low-budget exploitation flick sounds exactly the way I expected it to on Blu-ray, so I won't pretend to be disappointed.
This Blu-ray disc also serves up a Dolby Digital 5.1 EX track as well as its original monaural audio. Subtitles are offered in English (SDH), French, and Spanish.
The Final Word
The first half-hour is pretty much what you'd expect out of a '70s exploitation flick called The Toolbox Murders: a few (mostly) nubile young women being hacked to bits with stuff pulled out of an oversized toolbox. From there, though, the movie gets a whole helluva lot more demented than just another slasher-with-a-gimmick. The body count peters off from there, and you pretty much lose the whole toolbox thing, sure, but...well, there's a reason why The Toolbox Murders has that reputation as one of the sleaziest flicks ever made. Essential viewing for the cult cinema crowd. Recommended.


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Does anybody know the name of a place like that in Garnett, KS. I am in the area and would like to find it or a place like it. Thanks. Teresa
Welcome to the Quilting Board!
Does anybody know the name of a place like that in Garnett, KS. I am in the area and would like to find it or a place like it. Thanks. Teresa
A quick search found "Country Fabrics" at 108 E 5th Ave, Garnett, KS. The listing doesn't say they have discount fabric though.Originally Posted by jswalleye
Yes, I found that too. Love searching. I will call them and also hope to hear back from the gal who answered me back about places around De Soto, KS which is where I am. Any other good places to go? Went to Sarah's in Lawrence, KS twice already. Prices are premium, but if you like contemporary fabric and designers, it is paradise!! Really big too. Thanks. Teresa
The only place in Kansas that may have discount fabric is Alden but it's in the middle of the state. You'll probably find sale fabric at most quilt stores. I know the store in Scott City has a whole rack of fabric at 3.50 a yard or 3.00 if you buy the whole bolt.Originally Posted by jswalleye
It is on the south side of the square in Garnett. I live south of there (30 miles) and I told them in the store that the address on the internet isn't correct. Hope you found it. Her fat quarters are $1.25, lots of bolts and flat folds.
Yes, I found it yesterday. Told her about finding it from the Quilting Board. She was impressed. Glad I got there when I did, in the next couple of weeks they are going to start selling on the internet. I spent $100 and got lots off goodies!!
On Wed thru Sat there is a great place just south of Garnett
about 15 minutes, call Prices Fabrics. Not listed online I do
not think. But very very good prices, even better than
Garnet which is great! Prices is in there home, which is a
set up for the shop. He repairs machines and specializes
in Featherweights. They have been in business for over
20 years.
Also there is Heavenly Kneads & Threads in Humboldt, Ks
which is probably 30 miles from Garnett. Very nice LQS
located on the square.
Love both places and Garnett to, but I live in the area!
Thanks, I'll remember those for the next time we come. It was quite a drive from where we are (De Soto) to Garnett yesterday - about 1 hour and 15 minutes, but I did enjoy Country Fabrics, and next time I will maybe check out the other 2. Teresa