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Are the aliens here and working in the White House?
Take a look at Tommy Vietor. He started out as a van driver for Obama while he was running for Senate in Chicago and then presto! he becomes The National Security Council Spokesman for the Obama Administration. He is now retired and starting his own political consulting firm in Washington D.C., but the real question is...What is wrong with his eyeballs? What planet is he from?
Photos by : Jennifer Estrada
Yesterday morning Jenny played a song from a play called "Into the Woods". It had pretty funny lyrics about going into the woods and it reminded me of when I was growing up in Dearborn back in the Forties.
The Rouge Parks Woods was about as far in the woods as we would go and that was pretty far out because it was near Outer Drive so that was the end of civilization as far as we were concerned. But John Cone and I, now remember that you could get a driver's license when you were fourteen back then, were in his 1939 Mercury Car and he had his license. So we decided that what we were trying to do was to find a place in the woods where we could take some girls and could do "it". Now I'm not going to tell you what "it" was, but you have an idea of two teenage boys horny with visions of Vargas Girls dancing in their heads.
So we took the car and started driving it around in Rouge Park and we came off onto what was a dirt road and we thought that this could be the place. This is where we could do "it". And then we got stuck! We got stuck in the mud! We couldn't get the car out. The wheels were turning and turning and I was pushing and John was trying to put it into first it. We were rocking the car back and forth trying to get out, but there was nothing that we could do. So we hopped out onto Warren Ave. and there was a gas station with a tow truck there and we convinced the guy that we would give him $3.00, the cost of a tow back then, and he brought his truck into the woods and he said, "What were you guys doing back here in the woods?" and we said, "Well, we were just driving through." And he said, "You were probably trying to find a place to do "it" right?". So much for secret "it" places.
It's amazing how many boys know about woods and "it"! Anyway, life in The Rouge Park Woods and trying to do "it".
O.k. I have had it! You can take your damn computers and shove it! Isn't that the name of a song or something? But anyway, I am tired of people wanting me to do everything on the internet with e-mails and text messages. I'm an old fashioned guy! I like a phone. I like to be able to grab the phone, dial up a number, and actually talk to somebody. The computer is very impersonal. You don't get the whole tone of what is going on. And when I am mad I want you to hear me being MAD! I don't know how you do that in print either, except that you make the print big like I just did.
Anyway, there are those of us who are tired of all these computers and all of the web-sites ect. ect. ect. And let's get back to putting telephone numbers on things and making it easy to call a company or a government office or whatever. People are hiding behind their computers. Yeah that's what I said. They are hiding!
Keep smiling!
-russ gibb
Mark Levin is probably one of the best radio talk show host/teacher on the air today. I listen to Mark on WJR Radio here in Michigan. He is incredible. He is also one of the most egotistical radio personalities that I have ever heard. He makes his callers pay homage and kiss his ring before he lets them say anything, but he is great and an amazing fount of information. I love the fact that Mark Levin is not afraid to call Obama a dictator and use the 'I' word for impeachment. He is a lawyer by profession and a character by birth. Tune him in, Mark LevinShow. You will enjoy what he has to say.
Wake up! I don't know about you, but I am getting a little tired of our main-stream media. They lie by omission. Do you know what that means? They don't tell you all the stories that they should be talking about. They have political agendas that they are all pushing. And that goes for every network! ABC, NBC, CBS, even Fox has a Conservative Agenda, even though they make an attempt to be more fair compared to the others.
When are we going to wake up to the fact that our media lies to us and that the major media is in cahoots with President Obama and the Democratic Party? This Benghazi thing is not going to go away. Too much has been coming out. Four American Men died and yet Obama's Press Secretary Jay Carney and Hillary Clinton both are saying that it's not important and that it happened several months ago, let's move on.
What kind of B.S. is this? The truth is and what's not B.S. is that the mainstream media is aligned politically with The Democratic Party! The media ought to be jumping up and down. They got rid of Nixon because he had a two-bit break in at The Watergate Hotel and lied about it! Obama is one BIG lie! Now WAKE UP! The media is not covering the stories!
Four Americans were killed and we still don't know about Benghazi. And then all of a sudden one the government officials release pictures of the suspects. Now why did they just release them? I'll tell you why, things are starting to get hot for them and they are trying to cover-up the story because at the time Obama wanted to win the election. Benghazi happened ten weeks before the Presidential Election and Obama had said that he had solved the terrorist problem in America. Well, he hadn't! Obama is a liar! Sorry to say it. I never thought that I would say that about a President, but I am saying It now.
Well, what do you think? I don't care what you think. How about that? Just like the main-stream media.
Never mind waking up little Susie, wake up America! You are being conned!
Wow! The other week a writer named Emily Bingham from Found Michigan came to my house and interviewed me about The Grande Ballroom. Wow! Probably one of the best tales that I have ever had told about me. I'm not sure if it is all true, but it sure made me feel good. Thanks Emily!
My Son, The Promoter
By Emily Bingham | April 18, 2013
Ask Detroiters of a certain age where they first saw Led Zeppelin, Cream, The Who, Janis Joplin—and just about every other major rock act of the 1960s—and they'll probably tell you, "The Grande Ballroom." They might even have a story or two about how they got to stand two inches from the stage, or even hung out with Eric Clapton after a show. And there would also probably be a nostalgic word or two thrown in about how those were better days for rock 'n' roll—all of which would be true. But none of it would have happened without a Dearborn high school teacher who for six years—the right six years—lit the fuse for Detroit's rock scene and just as quickly walked away.
Russ Gibb does a lot of interviews. Every few months, a new round of visitors makes the pilgrimage to his Dearborn home to talk about Detroit's golden age of rock 'n' roll. Most recently it was the BBC. And before that, it was a woman who works for Levi's, apparently researching a new clothing line inspired by the gritty 1960s Detroit music scene. A snow-haired 82-year-old, slowed down by multiple back surgeries, Russ doesn't exactly look like a guy who'd be the keeper of that legend. For today's early-morning interview, he descends from the second floor via a motorized stair lift to get to his living room, which is filled with fresh flowers, framed photos of family and friends, and portraits of successive generations of his black Labrador retrievers. He's dressed in pajamas and a bathrobe, and apologizes for not having shaved. By the fireplace, he sits like the grandfather who loves telling you all of his best stories from his glory days. Which is essentially what's about to happen. Except that, unlike your grandfather's stories, some of Russ's best gems are about things like how he was once roommates with Eric Clapton.
He mentions how he always liked Cat Stevens' music, even before they became good friends. And then there was the time he wanted to live overseas, so he rented Mick Jagger's 400-year-old Stargroves estate and had Mick's brother, Chris, as his chauffeur. Or how he arranged his first meeting with David Bowie on the mistaken presumption that he was meeting a mime. ("I thought, 'Oh, I'll bring a pantomimist to Detroit, that'll be interesting for the kids,'" he says.) Russ' life, it seems, has been lived inside a rock documentary. People ask him how he got it all so right. How he made it so big. How he, without ever picking up an instrument or microphone, essentially lit the fuse for the rock revolution in Detroit.
Russ's answer? Great timing.
It was 1966 when Russ, then a twenty-something Dearborn social studies teacher and AM radio DJ, decided to drive his brand-new Ford Thunderbird from Detroit to California to visit his childhood friend Jim. One of their first stops together was San Francisco's Fillmore Auditorium, a then-up-and-coming (now legendary) hub for the psychedelic rock music scene that was emerging on the coasts. Beyond the Fillmore's doors lay a universe foreign to Detroiters like Russ at the time: light shows, loud music, projectors casting trippy amoeba-like designs on the walls, and long-haired, bell-bottom-wearing kids dancing to live bands. There was even something Fillmore promoter Bill Graham called a "strobe light"—one of the first of its kind anywhere—that a college kid had built specifically for the Fillmore's tripped-out rock shows. After only one night at the Fillmore, Russ wanted it all back in Detroit.
Back home, things had always been a little bit more wholesome. The closest that young folks often got to popular music was a weekend record hop—events where DJs would spin Top 20 hits on vinyl at rented VFW halls. If a musician happened to be in town to promote a record, he or she might be invited to perform—but only to lip sync to the album, not to sing live. Having hosted a number of record hops himself, Russ knew a thing or two about promoting, but nothing about what it took to pull off something like he had witnessed at the Fillmore. So he scheduled a sit-down with Bill Graham. "I asked Bill, 'How do you do this, how do you get the bands?' And the first thing he wanted to know was how far Detroit was from San Francisco. He didn't want me to be competition,'" Russ says. "When I told him it was about 1,800 miles, he said, 'OK, I'll tell you what you want to know.'"
Armed with ideas—plus the phone number and address of the strobe light kid—Russ headed home and immediately set out to find a space for his Midwest version of the Fillmore. He settled on a building over on Detroit's west side, a vacant old dance hall called the Grande Ballroom (pronounced "GRAN-dee"). A relic of the Roaring '20s, the Grande's ornate second-floor auditorium had room for about 1,500 people, plus a huge dance floor surrounded by decorative columns. Over the years it had been home to everything from jitterbugging jazz shows to a rollerskating rink. When Russ happened on it, it had been serving as a mattress storage facility and was still filled with inventory. On paper, it was in a terrible location: miles from Detroit's downtown entertainment district, in what many people considered a bad neighborhood. To Russ, that was the clincher.
"If you tell young people, 'Mother said don't go down there, it's too dangerous,' they want to go down there. So we had that going for us," he jokes.
The Grande's neighborhood scared away any potential investors, though, and Russ ultimately had to go it alone. When it came time to sign the lease, he was still $300 shy of the $1,000 down payment, but he managed to sweet talk the Grande's owner into handing over the keys anyway. All that he needed now were some bands, and through a series of introductions, he found the MC5, an up-and-coming rock group out of Lincoln Park. ("Of course, back then, they looked more like the Beatles than the rock band remembered today," Russ says.) He booked them for the Grande's opening night alongside another local band, The Chosen Few, and had a psychedelic poster made, promoting the show as "a dance concert in the San Francisco style." Not that kids in Detroit would have known what the hell that meant.
On the Grande's opening night—October 7, 1966—$2.50 granted you entrance into Russ's own slice of San Francisco. A winding staircase led you up to the ballroom, at the back of which was the stage, recessed into an alcove in the wall. Behind the stage, floating blobs of color danced on a projection screen. All around the room were toys—miniature bicycles, bouncy balls, sandboxes—that Russ had bought on a last-minute whim from the toy store down the street. The music was loud, but the crowd was not—only about 160 people showed up that first night, and Russ went home without a dime. But then, the next night, there were 200 people. And the following weekend, there were even more. Within five weeks, the Grande was jammed.
In those early days, the Grande became an incubator for Detroit's own music. Part of this was necessity—local bands were all Russ could afford. But it was also because Russ yearned for a scene where bands could cut their creative teeth and do more than just play covers of tunes by the Beatles or Rolling Stones. For years, the MC5, who had helped him kick things off in October 1966, anchored the scene as the Grande's house band. Hundreds of Detroit musicians got their start at the Grande. Some, like local boys Ted Nugent and Iggy Pop, even used the Grande's stage as a stepping stone to stardom.
One of the best parts of the Grande was how close it put you to the musicians. Kids flocked to the place because they knew they could sit just inches from the stage. "I let them do what they wanted to," Russ says. "They wanted to be close to the stage, so I said, 'Don't put guards on the stage. They want to crawl on the stage? Let them crawl on the stage—who cares?'" Once word spread, and nightly profits grew, Russ began reaching out to book bigger acts. The Grande's lineup was always eclectic, from British Invasion groups to African-American blues musicians—something that was still considered revolutionary for a "white" nightclub. To the bands, he sold Detroit as the perfect cross-country stop-over between gigs on the East and West Coasts. He says his first big score was The Fugs, an experimental rock group out of New York who came to the Grande for a three-night run. The Fugs were soon followed by other big names of the era: Vanilla Fudge, The Byrds, James Gang, the Grateful Dead.
Both the bands and the fans raved about the Grande's incredible acoustics—compliments of the building's original plaster artist whose personal touch was plastering horsehair into the walls so they'd reverberate without crumbling. And since Russ was still an AM radio DJ, he got into the habit of playing records by the bands he had booked as a way to promote the Grande's shows. The result was the audience could often sing along with a group's entire set—which was nothing short of mind-blowing for young touring bands, many of whom were British outfits who had never been to America before, much less Detroit. The Who, in particular, became smitten with the Grande, and began using the place as their Midwestern homebase during American tours—even premiering their rock opera Tommy there to a sweaty Detroit crowd in May 1969.
By this time, all the friends who had turned Russ down on investing were now calling him up. But by then, he didn't need their money anymore.
"My father and mother had always been very proud I was a teacher. That was a step up in our community. So it had always been: 'My son, the teacher.' Well, the first night I hosted Cream at the Grande, it was about four in the morning, and I brought home all this money," Russ remembers. "I was living with my parents at the time. I put the money on the kitchen table and one of my employees was there, and we were counting, and there were thousands of dollars. Thousands of dollars. My father woke up, heard the commotion, came in and looked at all this money—bags of money—and said, 'Oh my God, what'd you do, rob a bank?' And I said, 'No, this is my profit.' I had made $25,000 that night. After that, to my parents, it was: 'My son, the promoter.'"
There were a lot of nights like that for Russ Gibb. But as the calendar rolled over into the 1970s, all the elements that had brought Russ such quick success—inexpensive acts, low overhead, lack of competition—were starting to evaporate. The rock scene of the early '70s was a lot different than the one Russ had helped jump-start in 1966. Bands that Russ had played as underground acts on his AM radio show in the '60s were now playing arena-sized venues. On the Detroit leg of their 1971 tour, The Who, who had been among the Grande's early darlings, opted to play Cobo Hall instead. Gone were the days of bands cruising into town in their own vans and crashing on couches—or, in the Grande's case, backstage mattresses left over from one of the building's previous lives. The industry was entering the era of tour busses, VIP seating, backstage passes and six-figure contracts. And, with new rock venues popping up around Detroit, the Grande was no longer the only place in town with a strobe light.
Fleetwood Mac at the Grande in 1968. (Photo by Tom Weschler)
For Russ, this new high-maintenance version of the rock scene ran counter to everything he'd fallen in love with in San Francisco in 1966. And whether it was because he'd always had a rebellious streak, or because all this time he'd never abandoned his teaching job, he actually began thinking about getting out of the business.
"It was greed," Russ says, exasperation still lingering in his voice some 40 years later. "When we started out, the contracts for bands were one sheet. Now, they were 22 pages. You had to have certain kinds of beer, certain kinds of hotel rooms. I had booked the Rolling Stones to play for me one time, and I had to give them $100,000 seven months in advance. That was a lot of money. I ended up having to pay for their advertising, their equipment, all their expenses. So that's when I said, 'I don't want to be in this anymore. This business is being corrupted.'"
By 1972, Russ's heart was simply no longer in it. And almost as quickly as he'd lit the fire for Detroit's now-thriving rock scene, he decided to extinguish his own role within it. On New Year's Eve, 1972, the MC5 took the Grande's stage for what ended up being the band's final show. It was the Grande's final show as well. Detroit's most epic rock palace was history.
Forty years later, the Grande still occupies a special place in Detroit's rock legacy. Ask Detroiters of a certain age about the Grande, and they'll gladly wax poetic about the time they went out for pizza with Eric Clapton after his show. Or got sweat on by Pete Townshend on a night when temperatures in the Grande topped 100 degrees. Or sat on the stage two feet from Roger Waters the first time Pink Floyd came to town. It was the place a lot of Detroiters saw their first rock show—when rock 'n' roll was still counterculture, and Detroit Rock City was still earning its name. But mainly, people love thinking about the Grande because it takes them back to the days before metal fences and 20 rows of VIP floor seating began separating the real fans from the people who were making the music.
Of course, the guy with the most memories to share is still Russ Gibb. Ask him his favorite one, and a wry smile sneaks across his face: That night when it was The Who drummer Keith Moon's birthday, he remembers, and a whole group of us started flinging off our clothes and put on roller skates—left over from the days when the Grande was a roller rink—and skated around the dance floor until 3 or 4 a.m. A birthday party in our birthday suits. Like so many of the Grande's fans, Russ is saddened, too, when he talks about the ballroom's current state. Essentially unused since that final show in 1972, the ballroom stands today as another terribly deteriorated Detroit landmark, neglected by its owners, plundered by scrappers, and pretty much just waiting for the wrecking ball.
As today's particular interview wears on, the conversation eventually veers to Russ' other passions: politics, God, and of course, teaching. He talks about the book he wrote in the 1970s—a treatise on all that was wrong with the American education system—titled School Makes You Want to Quit. He likens his teaching style to the way he ran the Grande: with a long leash and great faith in people's creativity. He mentions the time he insisted that an outside door be installed on his school's A/V production room so that his students could access the tools there whenever they were feeling inspired. "I wanted them to be able to go in there 24 hours a day; none of this 'You can't go in there, the school's closed.' You can't tell creative people when they can be creative. That's like telling a painter when they can paint. Bullshit."
Obviously, at 82, the fire to create hasn't gone out in Russ Gibb either. But after awhile, he rubs his eyes and abruptly announces that he's tired. "Are we done?" he gently asks. For now, apparently, he is. As the keeper of these stories, he's still the one calling the shots. But it's only a matter of a time before the next reporter comes knocking.
Emily Bingham is co-founder of Found Michigan.
This is a true story.
When I first started to teach in Romulus Michigan the first family to invite me into their home for dinner, and that was a custom back then, was Brenda Craighead. She had invited me over for Sunday Dinner at her home in Romulus Michigan with her family. And I remember asking my father, "She's a black girl. Should I go there?". And he said, "What are you talking about? Of course!", because he had worked with black men. He was a factory worker and he understood that people are people. So I went there and to be honest I didn't know what to expect. But I got there. And what did we have for dinner? Chicken, fried chicken! And I thought oh but then after dinner she sat at the piano and the whole family gathered around her and they sang. Beautiful, it was beautiful. Brenda Craighead.
If there is anyone out there who has graduated from Romulus High School and know of a Brenda Craighead from back in the 50's, please let her know that Russ Gibb still enjoys the kindness that she and her family had shown me when I was just a new teacher in Romulus Michigan years and years ago.
I was watching Kid Rock On an interview show on television the other night. Amazing! Do you know what he is planning? A new concert tour where he has made it that no ticket costs more than $20 plus beer is only $4. That is amazing! They ought to erect a statue towards him because he makes so much common sense.
One of the reasons that I got out of the Rock 'n' Roll business was because the prices were getting outrageous. Back then I was getting nailed by the hippie papers for charging $5 to see The Who. But the bottom line is that this guy makes so much common sense and he is still going to make plenty of money at $20 a ticket. I have a friend who recently paid $200 a ticket to see Eric Clapton play at The Royal Albert Hall in London. Outrageous! Outrageous! Now I think that Clapton is a great guy, but the amount of money that these guys who run the concerts are raking in on this stuff is immoral and I am glad that Kid Rock has finally stood up and said "No! Enough!". What can I say? This guy's rap is superb! Let's hear it for Kid Rock! Yay, Kid Rock!
Oh! And also if any of you know of Kid Rock's E-mail or Twitter accounts send this to him will ya?
-russ gibb
OK, I tried. I tried real hard. I tried to watch the John Stewart show. I am sorry. He doesn't do it for me.
Bo-ooo-ring and rather silly for an old man. Also, if you haven't figured out that the laughter is on cue and their reaction is on cue. I'm sure that they have a guy with big signs that light up and say "laugh", "applaud", and "hoot & holler", because if ever I heard guys Hooting and hollering about things that aren't funny it was certainly on the John Stewart Show.
He's tried to pretend that he is a cross between a Conservative and a Liberal, but he's just an unfunny man in my opinion. If you like him that's your problem not mine. I will never watch him again! Bo-ooo-ring!!!
Accusations: John Brennan (right) has been nominated as the new Director of the CIA by President Barack Obama
Wow! What do you think about this comment? Where is ABC, NBC,& CNN News on this story?
(Courtesy of the Daily Mail)
Barack Obama's choice for CIA chief 'converted to Islam' former FBI agent claims:
The incoming head of the CIA converted to Islam while working as a station chief in Saudi Arabia in the 1990s, a former FBI agent has claimed.
John Guandolo, who retired from the FBI in 2008, said in a radio interview that John Brennan - who has been nominated by Barack Obama as the new director of the CIA - visited the Islamic holy cities of Mecca and Medina accompanied by Saudi officials who may have persuaded him to convert.
Mr Guandolo's tale echoes elements of the plot of hit show Homeland, in which U.S. Marine Nick Brody converts to Islam while being held prisoner by al-Qaeda, only to begin working for the CIA after his release.
Mr Guandolo told the Trento Radio Show via Skype that Mr Brennan visited the holy sites during the Hajj season - in sees hundreds of thousands of Muslims converge on the cities to perform a series of rituals - while serving as CIA station chief in Riyadh between 1996 and 1999, a report on Al Arabiya News said.
Non-Muslims are prohibited from entering Mecca, and are not permitted to enter the city centre, or sacred core, of Medina.
The ex-FBI agent told the radio station Mr Brennan was 'unfit' to take charge of the CIA, and claimed U.S. government officials based in Saudi Arabia during that period 'were direct witnesses to his growing relationships with individuals who work with the Saudi government and they witnessed his conversion to Islam'.
Mr Brennan, 57, has spent more than three decades working in intelligence.
He was nominated as the new head of the CIA on January 7 by President Obama, after predecessor General David Petraeus was forced to resign amid a scandal surrounding an affair with his biographer.
In the critically-acclaimed series Homeland Lieutenant Nick Brody was 'turned' by his captors during an eight year stint as a prisoner of war.
Upon his release he is welcomed back to the U.S. as a war hero and soon attracts the interest of high-level politicians who encourage him to run for Congress. But the newly devout Muslim is secretly working for terrorist Abu Nazir.
The second season of Homeland sees Brody forced to begin covertly helping the CIA in its hunt for Nazir after his cover is blown by agent Carrie Mathison.
The CIA is yet to respond to the MailOnline regarding Mr Guandolo's claims.


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Road Crews Say Additional State Funds Only A Fraction Of Cost To Fix Roads
Updated: Tuesday, April 22 2014, 12:20 AM CDT
Millions of dollars is heading to highway departments for infrastructure repairs. Governor Quinn has announced $100 million in funding for highway departments across the state.
This past winter is still proving costly for many road crews. Potholes remain a huge problem and funds seem to be running dry. As we told you last week, highway departments are hopeful for increased funding.
Officials say the latest help from the state doesn't seem to be enough.
Potholes are still getting in the way of a smooth ride for drivers. Weeks after spring has sprung, the state is trying to patch things up. Governor Quinn is giving $100 million to highway departments to help with costly road repairs.
"Every penny helps. A half million dollars we are very fortunate to get it, receive it, we put it in to MFT. It goes very quickly with all the demands that we have," said Director of Springfield Public Works, Mark Mahoney.
The MFT, or Motor Fuel Tax Fund, is used for maintenance work, but the more than $500,000 Springfield Public Works is getting will barely make a dent in patching up all of those potholes that riddle our roadways.
Still, so many roads need major upgrades.
"We know there are roads out there that need modernization There are still roads on the east side of town that are oil and chip roads, or your country roads. They need to be expanded and put storm sewers in certain areas," said Mahoney.
To help fund large projects cities like Springfield often apply for grants.
"The city was actually one of very few people across the country to receive a TIGER grant of about $14 million for the Carpenter Street and 10th Street relocation project," said Mahoney.
But for smaller departments, like Clear Lake Township, grants are nearly unheard of.
"We have done some small grants like the lighting system we have in the garage now, we did a small grant, but that was through Ameren," said Road Commissioner, Alex Lyons.
Lyons admits the size of the Clear Lake Road Department puts him at a disadvantage. His crew maintains about 60 miles of roadways, that means they qualify for fewer state funds. The state provided the department with just over $13,000 for road repairs.
"It will help a little bit, but in the main scheme of things it's a drop in the bucket," said Lyons.
In fact, upstate highway departments near Chicago took home $60 million of Quinn's $100 million. Lyons hopes one day some of that money will be heading this way.
"I know we don't have the miles of road that they do, but we are taxpayers just like Chicago," said Lyons.
Road Commissioner Alex Lyons says it's unexpected problems, like water main breaks, that hurt his departments budget the most.
This past winter was also no help since they used a near record amount of salt.
Small highway departments say there is little they can do to increase revenue, other than raising taxes. With increased costs and less revenue, some road repairs have been put on hold.


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ShareTweet I'm so excited to share this news with you guys that H&M will finally be opening here in San Antonio. I've been waiting for this day for a while now. I didn't think it would happen before we moved, but luckily it did and I'm here for it. H&M is by far one of my favorite stores simply because they are so affordable. I was super excited when they launched their online shopping last year and even more excited {Read More}
Meet My Not-So-Everyday Hero, My Spouse {#ChevySalutes}
ShareTweet Compensation for this post was provided by Chevrolet via MSB New Media, All opinions expressed in this piece are my own. My husband joined the military right out of high school. He was around 19 when he left for basic training in 1999. In the beginning he wasn't so sure that he would make the military his career or not. He started out in the Army Reserves and shortly after he completed both basic training and AIT (Advanced Individual Training) he decided to {Read More}
Jockey Skimmies® Slipshorts: A Wardrobe Essential {#SkimmiesPromo}
ShareTweet The newest underwear in the Jockey® collection is the Skimmies®. It is a new silhouette in underwear. They are described as a slipshort which looks pretty similar to shorts yet functions like a slip while it smooths and provides a seamless look under your outfit.As a curvy girl I'm here to tell you that thigh rub is no joke so when Jockey® thought of this collection I thank them for keeping us curvy girls in mind. The Jockey Skimmies® are {Read More}
Military Appreciation Month with #ChevySalutes
ShareTweet Compensation for this post was provided by Chevrolet via MSB New Media, All opinions expressed in this piece are my own. Many of my family members have served or are serving in the military. Two of my mom's younger brothers both served in the military. My youngest uncle served in the U.S. Navy for about 6 years and my other uncle served in the U.S. Army for 14 years before he was medically retired so I'm very well aware of the challenges that they {Read More}
Child Hunger Ends Here with Congra Foods & H-E-B (#childhunger)
ShareTweet It's sad and unfortunate to know that so many children go without food or when they will eat their next meal. More than one in five children, including more than one in four Latino children, in the U.S. may not know where their next meal is coming from. That's nearly 16 million children, a number that could fill 8,000 playgrounds.Children who experience even intermittent struggles with hunger may suffer serious, long-term consequences to their health, well-being and educational achievement. What's more, being hungry robs kids of the promise {Read More}


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Candy Cane Cookies
Community Recipe from
- 1 cup(s) butter softned
- 1/2 cup(s) powdered sugar
- 1 teaspoon(s) vanilla
- 2 1/2 cup(s) flour
- 1/2 cup(s) nuts.
- 1/2 cup(s) peppermint candy crushed
- 1/2 cup(s) powdered sugar
- 2 tablespoon(s) cream cheese softned
- 1/2 cup(s) powdered sugar
- 1 teaspoon(s) milk
- 1 drop(s) red food coloring
- Cream butter & add remaining ingredients in mixture #1- chill dough. Cream cheese & milk from #3 until soft than add 3 T. of #2 & food coloring. With mixture #1 roll into a ball & make a hole in center (looks like a bird nest). Fill with #3 & close hole. Bake 350 for 12-15 min. While still warm roll in mixture #2.
January 2012
This recipe is a personal recipe added by kasiha and has not been tested or endorsed by MyRecipes.
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- CUISINE: American - Traditional
- COOKING METHOD: Bake
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T. OkayamaDiscuss0
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T. Okayama was a Starfleet officer in the 24th century. In 2372, on stardate 49339, T. Okayama was assigned by Vice Admiral Leyton to a position working at Strategic Operations. Prior to reassignment, this officer had served under Leyton. This officer's name was listed in the personnel assignment log that was displayed on a screen in Benjamin Sisko's temporary office in Starfleet Headquarters. (DS9: "Paradise Lost", okudagram)


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"The County recognized that parcel mapping data is a public record, but was supported by the Court in refusing to provide the data in its normal database format," says Bruce Joffe, GIS consultant and founder of the Open Data Consortium project, who participated in a similar, but successful, suit against Santa Clara County brought by the California First Amendment Coalition (CFAC) in 2007. "Using the PRA software exemption to block distribution of the County's database is as if the Judge ruled that a Microsoft Word file was software because it was part of a word processing system."
Sierra Club attorney Theresa Labriola, of the firm Venskus & Associates, indicated that the Club was likely to appeal. "CFAC won a virtually identical case in the Court of Appeal. We believe that the Santa Clara decision is binding precedent in this case. Orange County successfully argued that the software exception wasn't addressed by the Santa Clara appeals court, but we think it was. We'll appeal, we will win, and we'll put this argument to rest once and for all."
Although the PRA says the public has a right to government information in the same electronic format that the government uses, the Court supported the County's claim for the software exemption. The Sierra Club believes that the exemption for "computer mapping systems" in the law pertains only to software and not to the database that holds the County's data. The County convinced the Court that its "Landbase" database is a GIS database and that GIS databases are part of "computer mapping systems" as included in the PRA software exemption. Nowhere in the PRA text is "computer mapping system" actually defined. At the time the exemption was written (1988), "computer mapping system" typically meant a set of software modules used for producing map graphics; the phrase did not mean the underlying data and database.
According to a study undertaken by Joffe and his colleagues, 48 out of the 57 California counties that maintain their parcel map data in electronic form provide it to the public for the cost of reproduction, as required by the PRA. Of the non PRA-compliant counties, Orange County is by far the most egregious offender, asking $375,000 for its mapping data that includes approximately 640,000 parcels of land. The main reason Orange County refuses to provide its parcel mapping data to the public under the terms of the PRA may be that the County would lose revenue from data users that currently pay hefty fees for the data. Documents filed in the case show that Orange County has received an average of $183,530 in annual licensing revenue from its "O.C. Landbase" database over the last five years. "These high fees create two levels of access to public records," says Dean Wallraff, Vice Chair of the Sierra Club Angeles Chapter's Legal Committee. "Title companies, real-estate companies and large developers can buy this data, while non-profit environmental organizations cannot afford the cost. What's galling is that we've already paid for the Landbase through our taxes. The public owns this data. Why should we have to pay again for what is already ours?"
GIS Consultant Joffe states that the reason for the Public Records Act is to enable any citizen to oversee our government's activities. "Transparency leads to accountability, and transparency is only possible if the public has access to the same data, in the same format, that the County uses."
The Sierra Club needs parcel data to prepare maps for its conservation campaigns in Orange County. The Club is currently fighting to preserve open space from development at Banning Ranch, Coyote Hills, Orange Hills, and Hobo Aliso. Lore Pekrul, current Chair of the Sierra Club Angeles Chapter GIS Committee states, "we're at a disadvantage relative to the big developers when we prepare maps showing land being targeted for development in Orange County. They can afford parcel data, which lets them accurately depict the various land boundaries, and we can't afford it." Wallraff added, "If we have to use our limited funds to buy data rather than purchase open space, the Sierra Club will not be able to be as effective as our donors expect us to be."
In 2004 the California voters passed Prop. 59, which created a new civil right by adding language to the California Constitution stating that "The people have the right of access to information concerning the conduct of the people's business," and that statutes should be narrowly construed if they limit the rights of access. "The Court didn't follow the California Constitution," says Sierra Club Attorney Labriola. "The Constitution required it to interpret the PRA's definition of software narrowly, since the definition limits access to information. Both the California Attorney General, in his official 2005 opinion on the subject, and the Santa Clara trial court said that parcel map data wasn't software under the definition in the PRA. But this court opted for a broad interpretation of the definition so that it includes all GIS data."
According to Wallraff, the most troublesome thing about the Court's reasoning is that it could easily be expanded. He worries that "this rationale could be used to justify withholding all computer data from public scrutiny. Even though the PRA expressly provides that computer data consisting of public-record information must be disclosed, the software definition is an exception that could eat the rule. If this court can decide that GIS data is software, another court could decide that accounting data is software, or that word processing documents are software. We expect that the Court of Appeal will interpret the statute the same way we do: that 'software' means software, not data."


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Omaha Tribe declares emergency due to propane shortage
The Omaha Tribe of Nebraska is calling on the state legislature to allocate additional funds to the Low Income Home Energy Assistance Program.
The tribal council on Wednesday declared a state of emergency on the reservation, which sits mostly in Thurston County.
The tribe said Congress anticipated an increased demand in propane and nearly doubled federally allocated money to the assistance program, but a national shortage has resulted in a price spike.
Earlier this week, Nebraska Attorney General Jon Bruning said his office has been monitoring the increased prices as part of a multi-state effort.
Copyright 2014 by KETV.com All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


text: WWMT - wwmt.com - Search Results The following is an archived video story. The text content of that video story is available below for reference. The original video has been deleted and is no longer available. Norton Shores police advise caution in two scamsNORTON SHORES, Mich. (NEWSCHANNEL 3) - Phone call scams are making the rounds in Muskegon County, and Norton Shores police want you to be on alert for two in particular.In one, a person calls claiming they are with Microsoft and need information.The second scam asks for remote access of your computer.The caller claims the computer has been compromised through Windows operating system.Police remind everyone to be wary of anyone asking for any type of personal information from you over the phone or online, and urge you to report all suspicious activity to the police.


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This mailing list is meant to discuss aspects of the DOM *specification*. Questions about specific implementations should be sent elsewhere. For Xerces-J the right list is xerces-j-dev. See http://xml.apache.org/mail -- Arnaud Le Hors - IBM Cupertino, XML Technology GroupReceived on Wednesday, 22 November 2000 15:10:21 GMT
This archive was generated by hypermail 2.2.0+W3C-0.50 : Friday, 22 June 2012 06:13:48 GMT


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dolly99 41-45, F 17 Answers 3 Dec 6, 2012 in Parenting & Family
A **** ton
Best Answer
little bit
Best Answer
honestly i can swear maybe, 120 times in a day (18 hour day) so that's 840 times a week.. wow that sound's very bad... gosh
Best Answer
It doesn't matter.

When I need to/When I'm frustrated.
Best Answer
Best Answer
Countless times daily but always for emphasis :P
Best Answer
too many. cussing is a terrible habit i inherited from my foul mouthed step father, its very hard to break because nothing relieves my anger like a good long string of the worst cuss words i can think of. i hate the anger they taught me.
Best Answer
I haven't said one in a long time...

How about you?
Best Answer
A week? I'm screwed.
Best Answer
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Cut board, quite poorly, I might add, drilled holes, inserted screws. Done. No more worries about the kids catching thier toes in the gap I had left. :) 3 years ago
10 years after introducing 43 Things to the world, we have decided we have met our last goal: completing the incredible experience that has been 43 Things. Please join us in giving one last cheer to all the folks who have shared their goals with the world, as well as all the people who have worked at The Robot Co-op to build this incredible website. We won a Webby Award, published a book, and brought happiness to a lot of people.
Starting today, 43 Things users can export their goals and entries from the site. Starting August 15, we will make the site "read only". 43 Things users will still be able to view the site and export their content, but we won't be taking any new content from users. We hope to leave the site up for folks to see and download their content until the end of the year. Ending on New Year's Eve takes us full circle.
It has been a long ride (one of our original goals was to "build a company that lasts at least 2 years" - we beat that one!) While we wish the site could live on, it has suffered from a number of challenges - changes in how people use the site, the advertising industry, and how search engines view the site. We wish the outcome was different – but we've always been realistic about when our goals are met and when they aren't.
As of today, you will be able to download your goals and entries. See more about that on the FAQ page. Thanks for 10 great years of goal-setting and achieving.
- The Robots.
Cut board, quite poorly, I might add, drilled holes, inserted screws. Done. No more worries about the kids catching thier toes in the gap I had left. :) 3 years ago
I've put this off so long already! This week maybe? I bought a multicolour pack of sharpies so the kids could decorate the steps soon as they're complete. 3 years ago


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Gear Review
Light and Cool Colors
Natalie Ramon
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This harness is truly light, but like every other Arc'teryx item, it is put together very well. Sturdy gear loops, non-adjustable legs which I love and a very flattering fit for any woman. Had mine for 2 1/2 years now and still like brand new!
View More Details on Arc'teryx R280 Rock Climbing Harness - Women's


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Downtown Shelving SystemPrice: $1,312.00
Design by Oiva Toikka, 2011.
Made in Italy by Magis.
The Downtown Shelving System offers skyscraper style storage. Reminiscent of building blocks, this square shelving unit features five upwardly decreasing sized tiers, smooth slanted transitions from one tier to the next, a pointed top roof, and legs to raise it off the floor. Recessed squares indicate the windows along three sides of the unit, while the fourth side is wide open for easy access. Proudly display favored toys, or camouflage the contents by angling the shelf to show the "windowed" sides. The Downtown Shelving System is created from rotational molded polyethylene and is suitable for outdoor use.
Inspired by his granddaughter's propensity for drawing and a lack of appropriate children's desks, Eugenio Perazza conceived the Me Too Collection. Instead of scaling down adult-sized furniture to smaller proportions, he went in search of a design team in and outside of Magis that could think from the perspective of a kid. The resulting Me Too Collection speaks to a child's voice demanding something of their own. Designed for children between two and six years old, the Me Too Collection offers objects that correspond to their own world, not only in dimensions but in values as well.
Suitable for outdoor use.
Includes Free Threshold Delivery service
Material(s): Polyethylene
Dimensions: 21.3" W X 20.1" D X 72" H
Designer: Oiva Toikka
Born in Karelia, 1931. Oiva Toikka is renowned for his glassware designs for Iittala, the Finnish design company. Originally trained in ceramics, he took up glass design later in life and is best known for his glass birds series. Toikka has also enjoyed success in a number of other creative outlets. He has worked as a stage and costume designer, generally working with Finnish director Lisbeth Landefort, although, in recent years he has also been associated with productions by the Finnish National Opera. Through the years, he has also contributed textile designs to the Marimekko collections.
Professor Oiva Toikka's surprising and bold glass art deviates from the streamlined aesthetic of Nordic design. He has won numerous awards in recognition of his consummate artistry, among them Lunning Prize, Pro Finlandia Medal, World Glass Now 85 Award, Kaj Franck Design Prize and the Prince Eugen Medal.View other products by Oiva Toikka
Manufacturer: Magis
Founded in 1976, Italian designer Eugenio Perazza began the first steps towards building an international design laboratory. In Latin, Magis means "more than" and that is exactly what Magis delivers while focusing on using less materials and energy. Always perched on the cutting edge, Perazza was named as "one of ten who will change the way we live."
In 1984, Magis experienced enormous success with their product Step. This ladder was snubbed upon initial release because it was not an item considered "worthy" of the furniture store circuit. However, the product met with tremendous success, especially in furniture stores, and Magis' fire was lit.
In 2004, Magis introduced their venture into the realm of children. Inspired by his granddaughter's propensity for drawing and a lack of appropriate children's desks, Eugenio Perazza conceived the Me Too Collection. He began by searching out designers who could think like a child and all the products in the collection earned Perazza's granddaugter's approval before going into production. The Me Too Collection features bright and innovative pieces that stimulate and engage children's perceptions. Me Too is about: "I'm here too and I deserve my place in the world."
By embracing the creativity of leading global designers and incorporating leading technology into the mass production of unique objects and furniture, Magis has garnered many awards and their Bottle project has earned a place in the permanent collections of many contemporary art museums.View other products from Magis


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|I have received 3 requests for Harry Potter scarves! My nephews are ages 6, 8 & 9. First of all I would make them smaller than the 55" long. My question is, on the "atypically" site, she made the scarves in the round. I would like to have both sides look the same, so I guess that's the only way to get it, right? What do you all think of doing the scarves in the round? Have you ever done it? Are they too thick or heavy?
Follow-Up Postings:
|Lion Brand has a pattern for the scarf so I would check that first. I generally only crochet since my knitting skills are limited but unless you use sport weight working in the round would be (I think) too heavy for a child.
Here is a link that might be useful: Lion Brand - Harry Potter scarf
|Thanks profsusan. I guess I have to use that pattern from Lion Brand. Just wanted both sides the same, so the pearl side with yarn addition wouldn't show.
|I know this won't be the traditional HP scarf, but can't you just do a garter stitch for the whole thing? No border? that way both sides would look closer to the same. Or would your nephews know the difference and care -- I don't know. Look at some publicity shots for the movies to get a feel for where you want the stripes, and then just knit away! The stripes in the Lion Brand scarf don't look right to me but I've only seen one movie so I'm not an expert. :)
If you don't like knitting in the round, you can always knit it flat and then stitch the seams together. I don't think it would be too heavy, depending on yarn... the finished ones I've seen vary a lot in width so you can always make them a bit on the narrow side, too.
I'm including another link just FYI. When I googled for the scarf, I found tons of links and images, but it does look like most of them are knit in the round.
Just some thoughts. I'm strictly a novice so my expertise is limited! Whatever you do, have fun!
Here is a link that might be useful: another HP scarf
- Posted by craftfetish (My Page) on Fri, Jul 27, 07 at 11:01
|The alternative would be to knit two flat pieces and seam them up, but I think that is worse that knitting in the round.
The ones I have seen, they are not too thick when made in the round - the down side is that you have to use a lighter weight yarn than if you were knitting a single layer scarf, so it takes even longer.
I'm a big HP fan and I'd love one for myself, but I don't have the patience to actually knit one. All that mind-numbingly dull stockinette!
You are an amazing aunt if you make 3 of these.
Have you seen the book Charmed Knits? I might check it out of the library and show your nephews. You might be able to sell them on socks in their house colors, or a Hermione hat or Dobby socks or something that might be a bit more fun for you.
(They also have the scarf pattern - actually I think they may have both the stripe pattern from the first film and the current design)
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Refers to the naturally occuring fingernail (as opposed to nail enhancements).
nail anatomy
natural nail care
Consider these gel safety products designed to ease concerns about the application process.
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March 15, 2007
James Salter: Light Years
Before now, James Salter was known to me only as the author of the slim novel A Sport and a Pastime which, in one of those odd cross-pollinations, came to my attention through being praised by a character in a John Irving novel (maybe A Son of the Circus). A Sport and a Pastime had the reputation of being 'erotic,' and if erotic comprises memorable phrases such as "he comes like a bull," then it had that. But I recall not much more of it, and it was less Salter's reputation than my feeble addiction to Penguin Modern Classics that made me pick up his 1975 novel Light Years when it was reissued this month.
Midway through the book the female lead, Nedra, who reads biographies of great achievers, reflects that "the power to change one's life comes from a paragraph, a lone remark."
The lines that penetrate us are slender, like the flukes that live in river water and enter the bodies of swimmers. She was excited, filled with strength. The polished sentences had arrived, it seemed, like so many other things, at just the right time. How can we imagine what our lives should be without the illumination of the lives of others?
And while reading Light Years may not be a life-changing event (but then again), illumination of the lives of others is precisely its achievement. The light of the title is present everywhere, and few chapters open without a reference to the light: of Rome, of New York, of Paris ("In the morning the light came in silence" … "The room filled with light" … "the river is spilling light"). And Salter illuminates the lives of his characters, the happily-unhappily married Viri and Nedra, with astonishing stylistic brilliance.
Viri and Nedra, prosperous and envied, are not faithful to one another, and their move from marital bliss to domestic blitz and beyond carries echoes of Yates (and has his ultimate tragedy), with prose less plain than his but equally unflinching and honest. The characters are not always sympathetic but when an author can set them wriggling on a pin like this, who cares? So relentlessly seductive is Light Years that each time I returned to it I felt like a teenage suitor: giggling, nervous, hot-faced with intimidation.
Salter's ability to despatch a character in a few lines is extraordinary. Here he is (through Nedra's biographies again) on Barcelona's celebrated architect Gaudi, "who lived to that old age which is sainthood":
In the end he was struck by a streetcar and left unattended. In the bareness and odor of the charity ward amid the children and poor relations a single eccentric life was ending, a life that was more clamorous than the sea, an everlasting life, a life which was easy to abandon since it was only a husk; it had already metamorphosed, escaped into buildings, cathedrals, legend.
Elsewhere, the writing put me in mind of Updike or Bellow without that restless density which can make their stuff a chore at times. However beautiful Salter's flexuous prose (and it pretty much always is), the story remains open and fluent, full of air – and light. The narrative proceeds in jumps, impressionistically: a scene here, a set piece there, covering twenty years. Salter seems keen to show what he can do, demonstrating his wit early on with an exchange between Viri and a bespoke shirtmaker, then switching to reflective mood, social satire, and making some scenes impressively erotic without being explicit (particularly in Viri's horribly realistic obsession with his sometime mistress, Kaya Doutreau).
Most impressive of all, perhaps, is a scene where a character's father dies in a wrenching and arduous two-page stretch. It puts the tin hat on any questions about Salter's ability and virtuosic brilliance, or about this being my book of the year so far. It begins like this.
It took a long time, it took forever; days and nights, the smell of antiseptic, the hush of rubber wheels. This frail engine, we think, and yet what murder is needed to take it down. The heart is in darkness, unknowing, like those animals in mines that have never seen the day. It has no loyalties, no hopes; it has its task.
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[…] in Salter James at 12:41 pm by John Self After devouring his masterpiece Light Years so greedily, I was bound to seek out more James Salter soon. Picador have recently reissued his […]
"It is an article of faith among readers of fiction that James Salter writes American sentences better than anybody writing today." This is the opening line of Richard Ford's great essay which forewords the Penguin Classic edition. Ford's complement contains an implicit problem: if we are to read above the atomic level of the sentence, which the author obviously wishes us to do, then the reader of Salter must surmount the happy challenge of not arresting several times on a page to admire in wonder one brilliant ordering of words after another. Salter said in an interview that "a page should seem effortless … as if the page wrote itself". Reading Salter's pages, I felt at times I was staring at the sun, dazzled by his descriptions, stopping to gawp and blink, then forcing myself to look away and continue the page. Every review I have read (of an author who until a month was unknown to me) has quotation marks sprinkled throughout. It feels like an obligation: "In bed, he lay like a man in a prison, dreaming of life."; "She had hungers only an orphan could know." One could make displays of these plucked jewels, enter competitions for your top three James Salter sentences, evangelically shout them in Piccadilly Circus even if the passers-by could only lip read. That would be to do Salter a disservice to his craft.
Ford admires in his essay, rather pompously, "…Salter's sovereignty over the materiels of his vocation – his word choices, his exquisite phrasings, his resorts to imagery – his genius with his means, by which he projects the inner lives and outward behaviour of these specimen humans and follows out their consequence to points of clarity." To extract this part-sentence is to do Ford's essay a disservice, touché. Ford shows how easy it is to step out of the flow and admire. Yet, it is Salter's "genius with his means" which exalts him to greatness. While the narrative momentum is chronological, the construction of the frail, recognisably complex lives of Nedra and Viri is sequential, consequential and fragmented, perhaps as if their lives were presented in connected short stories. That is not to imply that Light Years is an aggregation of discrete set pieces. It is Salter's control of the connectedness of his characters' lives and selves, their intermittances as Proust would have it (and I, pompously), the small kaleidoscopic universe he creates for them, that underpins the deserved superlatives. And within Salter's subtle torque there is all the room the characters require to damn themselves fully.
"There is no complete life. There are only fragments. We are born to have nothing, to have it pour though our hands. And yet this pouring, this flood of encounters, struggles, dreams … one must be unthinking, like a tortoise. One must be resolute, blind. For whatever we do, even whatever we do not do prevents us from doing the opposite. Acts demolish their alternatives, that is the paradox. So that life is a matter of choices, each one final and of little consequence."
Ford summarises accurately when he says that "Salter will allow us no patented, superior line on them". It is evidence of Salter's skill as a writer that amongst the disequilibrium of Nedra's and Viri's lives he tests our equivocation and inconstancy as they turn away from the mirrors of their mortality. And tests us all the way to that last ambiguous line. He allows the reader little indeed.
There are several points in the book where Salter the author joins us briefly in the flow. At the beginning of Section Four, two startling sentences: "They were divorced in the fall. I wish it could have been otherwise." (p.203). Earlier in the book in the second chapter where we are introduced to Nedra, the main force of the book, there is: "I am going to describe her life from the inside outward, from its core…." (p.7). But it is the "We" of the opening pages that I found the most enigmatic authorial intrusion (The book's opening sentence: "We dash the black river, its flats smooth as stone" (p.3); and then on the following page: "We strolled in the garden, eating the small bitter apples…… A car comes up the driveway, back from the city.") Amongst the many pleasures of the Light Years is the question of the distance of the author himself: is he there sitting at a distant desk, turning over the same pages as you; or is he on your shoulder tapping it when he knows you won't expect it ?
As I gradually recovered from finishing Light Years (in the case of great books, joy tempered by the sadness of knowing we will never come anew to them), which involved a dazed walk and then a re-reading of Ford's essay, I wanted to re-read it. I thought perhaps the next time I could wear wrap-round sunglasses to deal with sentence-glare (although my (new) book is so underlined, annotated and dog-eared that these new distractions may help).
In the way that Yates' bandwagon deservedly grew in recent years I hope that Salter receives the recognition he merits, if only to accompany being one of the few living authors to be re-issued under Penguin's Modern Classics imprimatur. Light Years is a book I am pressing into the hands of friends, like a mad prophet. It is a supreme work of elegiac beauty.
In Radio 3's interview on Night Waves (with the irritatingly interrupting gas bag, Philip Dodds) Salter wondered if his was a style (in Light Years in contrast to the spare style of Last Night) that had had its day. An interesting question and who can say if there is a fashion of style. I would comment for my own part that I found that Salter's style is uncommon, that it is noticeable in its adjectival sentences of description only, its switch of narrative line within paragraphs, its jolting sentences in chapter openings. I often wonder about writers, good writers, being described as a "great stylist" and what that label is actually saying – is it simply lit-speak for the distinctive voice that all great writers have ?
Between the two books Light Years and Last Night Salter has, markedly, changed his "style" but the intelligence is all there, like newspaper print rubbing off on your hand. The ten stories of Last Night are intricate contour maps showing us the way to life's fuckedupness (to translate the wonderfully accurate Afrikaans word "opbefocked").
"He had done everything wrong, he realized, in the wrong order. He had scuttled his life.
– Anyway there's one thing I can say truthfully. I'd do it all over again if I had the chance."
Comet, p.10
And the feature which Salter circles around in many of the stories is infidelity: explicit (Comet, Platinum), foreplayed (Eyes of the Stars), rejected (Such Fun, Bangkok), regretted (Palm Court), suspected (Give), anthropomorphised (My Lord You) and shatteringly discovered in the title story (Last Night).
He was clear in the R3 interview that his change in style was deliberate, that he had chipped and chiselled until he had unpicked the jewels from the pages. It is, as it always is, not about the carats, but about the quality of the writing and the writing technique. Salter's writing in this collection is subtle and, at times, mesmeric.
Salter challenges short story point of view approaches. In Such Fun, he switches in the last paragraph from the main character Jane to the taxi-driver who appears only in that paragraph; in Platinum the POV moves, again in the last paragraph, to Tahar, the boyfriend of the main character's girlfriend (yes, it does sound confusing); and in My Lord You, the POV switches between the wife and the husband. I saw that in the Acknowledgments to the collection Salter expresses gratitude to Rust Hills, the long-time fiction editor of Esquire magazine. Rust Hills (as if from an Amis novel) has written a book called Writing in General and the Short Story in Particular. In this book, Hills is strongly, almost obsessively, of the view that a short story works only if the main character "moves", or "shows movement". Applying this test to a number of the Salter short stories, I am uncertain, if not unconvinced, that Hills would approve of the Old Master's work.
Technicalities, misunderstandings and misreadings aside, I thought that Last Night was a powerful collection of short stories. Sparingly told, Salter does not flinch from our capacity for unhappiness, from our delusion that life can be one of consequencelessness. Salter, however, does give us a glimpse of redemption: in Bangkok, when the past intrudes and is trying to steal a life's future, the story ends with the character rejecting the opportunity of infidelity and returning, grateful, to his work. "It was not a pretend life."
[…] and stays longer afterward. His novels are either about men and women – A Sport and a Pastime, Light Years – or about men and themselves – Cassada, Solo Faces. The Hunters, his debut from 1957, is in this […]
[…] James Salter: Light Years. "So relentlessly seductive … that each time I returned to it I felt like a teenage […]
Had never read Salter, but bought Light Years and Dusk in a used book store in Johannesburg a few weeks ago. Started Light Years on Saturday morning and had hungrily devoured both by midday on Sunday. A fighter pilot! A fellow American! How could he have existed in this world without me being aware? How many other treasures are out there? It fills me with hope!
[…] at 8:19 am by John Self When I belatedly discovered James Salter last year, I adored his novel Light Years so much that I knew not only that I would have to read everything he's written, but that I […]
It's great to discover such erudite Salter enthusiasts. I'm still puzzled why he's relatively unknown–despite the praise by such a heavyweight as Richard Ford and cavorting with the New York literati.
I initially discovered Salter through Dusk and then Last Night, and although I knew he wrote novels, I just couldn't quite imagine it because his impressionistic prose lends itself to short works more than long ones. Then I read a few reviews praising Light Years (which I'm about to read) as a classic, and I just finished A Sport and a Pastime, which despite being satisfying on a certain sentence level akin to Ford's comment, and being great as an erotic novel (it would have to be given Salter's worship of women, his love of surfaces), it essentially read as a series of images, scenes, more than as a story.
I wrote about Sport and Burning the Days on my blog, Lit Matters, and want to add commentary on his other books to the list. I included a good clip of Salter talking with Charlie Rose about Burning the Days that you might be interested in.
At 82, I hope he lives and writes a lot longer. Last Night was one of his best books–again, the short story being the form he was born for. I think he still has a lot of stories to tell, and despite whatever faults he has, he tells a story in a singular way, and even when he's off, there's something absolutely compelling about his sensibility.
[…] narrative. This is a tool I immediately warm to – James Salter used the same technique in Light Years – but it can interfere with the book's strength in presenting everything from the point of […]
[…] In the end I felt this fluid approach was justified, as James Salter wrote of his magnificent Light Years: The only things that are important in life are those you remember. … It was to be a book of […]
[…] taste in fiction, as we know from his introductions to UK editions of James Salter's Light Years and Richard Yates's Revolutionary Road. He also enjoys greatness by association with his old […]
[…] at 8:00 am by John Self James Salter was my biggest revelation of last year, when I read his novel Light Years in March and immediately knew that nothing else would touch it for the next nine months (a […]
[…] James Salter's novel Light Years comes: "I love you as I love the earth, white buildings, photographs, noons … I adore […]
[…] phrase "London light" throughout the text seems tacked on, and recalls Salter's Light Years, a comparison from which Szalay inevitably does not emerge well (but who would?). Occasionally, […]
[…] to be terrific. Maybe. It could be." For those of us who loved The Hunters and practically worshipped Light Years, this was heady news, even if we didn't necessarily expect to see it (well, you know what I […]


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Night & Day
I took the night shots in Dover and the day shots in Deal.This photo was shot on film. Taken by fisher-price with a Lomo LC-A+ Russia Day (available in our Online Shop) loaded with diy redscale film in Deal, United Kingdom. These tags describe this photo: ebs, exposing both sides, redscale, dover, deal, night, day, double, double exposure, sea, coast, beach, multiple exposure, lc-a, lc-a+ russia day, 35mm, lomo, lomography, mx, double tap, and multiple. Date: 2012-08-26. This photo can also be found in the album Night & Day.
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Tulip Fest 2011 Is On Its Way!
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