text:
Norman Akers
Date Note
birth date October 25, 1958
artistic collaboration
Artist's work represented in the online Masterworks Arts and Artists Series of the Heard Museum.
Akers, Norman
Artist's work is represented in the object collection of the Heard Museum
Stories from the Land: Indigenous Voices Connecting Within the Great Plains. Birger Sandzén Memorial Gallery and the Mingenback Art Gallery. Lindsborg, Kansas. February 11, 2019 – March 15, 2019. Note: co-curated by Jean Merz Edwards and America Meredith; cohosted by the Birger Sandzén Memorial Gallery and First American Art Magazine. Participating artists include Norman Akers, Matthew Bearden, Kelly Church, Chase Kahwinhut Earles, Michael Elizondo Jr., Anita Fields, Sharron Ahtone Harjo, April Holder, Matt Jarvis, Linda Eben Jones, Linda Lomahaftewa, Chris Pappan, Melissa Melero-Moose, Tony Tiger, Jodi Webster, and Micah Wesley.
Art for a New Understanding: Native Voices, 1950s to Now. Crystal Bridges Museum of American Art. Bentonville, Arkansas. October 6, 2018 - January 7, 2019. Note: accompanied by an exhibition catalog.
Personal Journeys: American Indian Landscapes. Heard Museum. Phoenix, AZ. (02/28/2016)
An Evening Redness in the West. Museum of Contemporary Native Arts. Santa Fe, New Mexico. (08/21/2015 - 12/31/2015)
Heartland Reverberations. Spencer Museum of Art. University of Kansas. Lawrence, KS. (10/15/2011 - 01/15/2012)
Personal Journeys: American Indian Landscapes. Heard Museum North. Scottsdale, AZ. (10/22/2009 - 03/14/2010)
Into the Now, From Then. Chiaroscuro Contemporary Art. Santa Fe, NM. (08/14/2009 - 09/12/2009)
Without Limits. Chiaroscuro Contemporary Art. Santa Fe, NM. (08/15/2008 - 09/13/2008)
Paintings by Norman Akers. Lawrence Arts Center. Lawrence, KS. (09/07/2007 - 09/09/2007)
Walk in Beauty: Discovering American Indian Art. Herbert F. Johnson Museum of Art. Cornell University. Ithaca, NY. (03/31/2007 - 07/08/2007)
Unlimited Boundaries: Dichotomy of Place in Contemporary Native American Art. The Albuquerque Museum. Albuquerque, NM. (01/28/2007 - 04/15/2007)
Berlin Gallery. Heard Museum. Phoenix, AZ. (01/05/2007)
Diversions. Gary Farmer Gallery of Contemporary Art. Santa Fe, NM. (11/09/2006 - 12/31/2006)
Miner's Canary. The Center for Contemporary Arts. Santa Fe, NM. (08/18/2005 - 10/01/2005)
Visual Power: 21st Century Native American Artists/Intellectuals. Cultural Programs Division, United States Department of the State. 2005. Note: travelling exhibition curated by Phoebe Farris; exhibit was designed in a poster format with each poster featuring the individual artist, one example of their work, and an artist statement. Featured artists include Nadema Agard, Norman Akers, George Longfish, Gail Tremblay, Duane Slick, Edgar Heap of Birds, Joe Fedderson, Rose Powhatan, Jaune Quick-to-See Smith, Kay WalkingStick, Carm Little Turtle, and Phoebe Farris.
Native Views: Influences of Modern Culture. Artrain USA. Traveling exhibit. (2004 - 2007)
The Art of Community: IAIA Faculty and Staff Exhibition. Institute of American Indian Art. Santa Fe, NM. (02/14/2003 - 05/26/2003)
So Fine! Masterworks of Fine Art from the Heard Museum. Heard Museum. Phoenix, AZ. (11/02/2002 - 03/09/2003)
Art in 2 Worlds: The Native American Fine Art Invitational 1983-1997. Sam Noble Oklahoma Museum of Natural History. Norman, OK. (09/23/2002 - 01/26/2003)
Rewritings: New Paintings from Native America. Artfit Exhibition Space. Phoenix, AZ. (02/15/2002 - 04/06/2002)
Native American Artists/Scholars: Speaking for Ourselves in the 21st Century. American Indian Comunity House Gallery. New York, New York. January 10, 2002 - February 22, 2003. Note: guest curated by Phoebe Farris; featured artists include Nadema Agard, Norman Akers, George Longfish, Gail Tremblay, Duane Slick and Edgar Heap of Birds.
Norman Akers: Elk, Butterflies, and Trees. Carl Gorman Museum. University of California, Davis. Davis, CA. (01/12/2001 - 02/16/2001)
Who Stole the Tee Pee? George Gustav Heye Center, National Museum of the American Indian. New York, New York. October 1, 2000 - January 21, 2001. Note: accompanied by an exhibition catalog.
Allegory + Process. Helix Fine Arts. Santa Fe, NM. (08/18/2000 - 08/31/2000)
The Element Show. Helix Fine Arts. Santa Fe, NM. (2000)
Paintings. The Gallery. East Central University. Ada, OK. (2000)
Norman Akers: Paintings. Gardiner Art Gallery. Oklahoma State University. Stillwater, OK. (08/16/1999 - 09/15/1999)
Art in 2 Worlds: The Native American Fine Arts Invitational 1983-1997. Heard Museum. Phoenix, AZ. (01/23/1999 - 10/31/1999)
Oklahoma Painting and Drawing Biennial V. City Arts Center. Oklahoma City, OK. (1999)
Link: 22 Painters. Jan Cicero Gallery. Chicago, IL. (08/22/1998)
From the Earth XIII. American Indian Contemporary Arts. San Francisco, CA. (1997)
New Art from Native America. Center Gallery, Bucknell University. Lewisburg, PA. (01/11/1997 - 02/23/1997)
Flora and Fauna. Jan Cicero Gallery. Chicago, IL. (1997)
Oklahoma Indian Art Competition. Philbrook Art Museum. Tulsa, OK. (1997)
Beyond the 95th Meridian: Indian Territory. Alexander Hogue Gallery. University of Tulsa. Tulsa, OK. (1996)
Native Streams. (1996) Traveling exhibit planned for the following venues:
Turman Art Gallery, Indiana State University, Terre Haute, IN, 1996;
Jan Cicero Gallery, Chicago, IL, 1/12-2/24/1996.
Gilcrease Native American Invitational and Masters Exhibition. Gilcrease Museum. Tulsa, OK. (10/18/1995 - 01/02/1996)
Contemporary Native American Prints. Goshen College Art Gallery. Goshen, IN. (02/19/1995 - 03/31/1995)
Contrasts. Jan Cicero Gallery. Chicago, IL. (02/17/1995 - 03/18/1995)
From the Red Earth. IAIA Oklahoma Alumni. Institute of American Indian Arts Museum. Santa Fe, NM. (1995)
1994 Eiteljorg Invitational: New Art of the West 4. Eiteljorg Museum of American Indians and Western Art. Indianapolis, IN. (11/19/1994 - 01/08/1995)
6th Native American Fine Arts Invitational. Heard Museum. Phoenix, AZ. (09/24/1994 - 10/01/1995)
Summer Group Show. Jan Cicero Gallery. Chicago, IL. (1994)
The Roots. American Indian Community House Gallery. New York, NY. (1994)
Pathology of Symbols. (1993) Traveling exhibit planned for the following venues:
I Space, Chicago, IL, 2/19-3/20/1993;
Living Arts of Tulsa, Myers Gallery, Tulsa, OK, 1/14-2/17/1994.
Without Boundaries. (1992) Traveling exhibit planned for the following venues:
Steensland Art Museum, St. Olaf College, Northfield, MN, 1992;
Midwest Museum of American Art, Elkhart, IN, (02/19/1992 - 02/17/1994).
68th Annual Faculty Exhibition. Krannert Art Museum. University of Illinois. Chicago, IL. (1992)
Norman Akers: Paintings and Glass. Thesis Exhibition. Gallery Nine. Urbana, IL. (08/04/1991 - 08/10/1991)
67th Annual Faculty Exhibition. Krannert Art Museum. Champaign-Urbana, IL. (1991)
Local Aesthetic 3: Champaign-Urbana. University Galleries. Illinois State University. Bloomington-Normal, IL. (1991)
MFA Exhibition. Krannert Art Museum. Champaign-Urbana, IL. 1991
Mending the Circle. Beacon Street Gallery. Chicago, IL. 1991
Native American Art Exhibit. College of Veterinarian Medicine. Champaign-Urbana, IL. 1991
Spiritual Visions: A Liturgical Exhibition. Northern Indiana Arts Association. Munster, IN. 1990
Perception of the Other. Peace Museum. Maurice Spertus Museum of Judaica. Chicago, IL. 1990
Big Ten: Painting at the Graduate Level. Milwaukee Institute of Art and Design. Milwaukee, WI. 1990
Red Cloud Indian Art Show. Heritage Center. Pine Ridge, SD. 1988
Impressions of the Southwest. Tribal Gallery. Los Angeles, CA. 1988
First Quadrennial Indian Students and Alumni Fine Arts Exhibit. University of New Mexico. Albuquerque, NM. 1988
New West. Pensacola Museum of Fine Arts. Pensacola, FL. 1988
Art Works 1987. Holland Hall Middle School. Tulsa, Oklahoma. 1987
Scottsdale Indian Arts and Crafts Exhibition. Scottsdale, AZ. 1987
Paintings by Norman Akers, Ceramics by Randall Chitto. Southern Plains Indian Museum and Crafts Center. Anadarko, OK. 1986 (10/05/1986 - 12/03/1986)
Third Annual Arts Competition. Oklahoma Arts Workshop. Tulsa, OK. 1986
Contemporary Native American Artists. Governor's Gallery. State Capitol. Santa Fe, NM. 1986
Lubbock Arts Festival. Lubbock, TX. 1986
Artist of the Month. Gentle Tsi Zhu American Art Gallery. Pawhuska, OK. 1986
Native American Invitational. C. G. Rein Galleries. Santa Fe, NM. 1985 (07/15/1985 - 09/15/1985)
San Juan College Selects. San Juan College. Farmington, NM. 1985
Quest of a New Generation. Oklahomans for Indian Opportunity. Norman, OK. 1985
Institute of American Indian Arts. Governor's Gallery. State Capitol. Santa Fe, NM. 1985
Inter-Tribal Art Exhibit. Pembroke State University. Pembroke, NC. 1985
Inaugural Exhibit. PO AE PI Emergence Place for the Arts. Santa Fe, NM. 1984
III Contemporary Native Americans. Armory for the Arts. Santa Fe, NM. 1984
Selections from the Permanent Collection. Institute of American Indian Arts Museum. Santa Fe, NM. 1984
Works by Norman Akers. Institute of American Indian Arts Museum. Santa Fe, NM. 1984
Visions of the Earth. Native American Rights Fund Benefit Art Show. Boulder, CO. 1983
Works from the Institute of American Indian Arts Museum. Stables Art Center. Taos, NM. 1983
Graduation Exhibit. Charlotte Crosby Kemper Gallery. Kansas City Art Institute. Kansas City, MO. 1982
Heard Markets
2001 Heard Museum Guild Indian Market & Fair. Heard Museum. Phoenix, Arizona. March 3-4, 2001.
1988 Santa Fe Indian Market. Southwestern Association on Indian Affairs. Santa Fe, New Mexico. August 1988.
Joan Mitchell Foundation. New York, NY. Painter-Sculptor Grant. (1999)
Oklahoma Painting and Drawing Biennial V. Oklahoma Visual Arts Coalition. Oklahoma City, OK. Merit Award. (1999)
University of Illinois. Champaign-Urbana, IL. Graduate Fellowship Award 1988-1989. (1988)
1988 Santa Fe Indian Market, Classification III - Paintings, drawings and prints (hand pulled), Division C - Paintings, any style, Category 1701- Oils: Third Place. Southwestern Association on Indian Affairs. Santa Fe, New Mexico. August 1988.
Scottsdale Indian Arts and Crafts Exhibition. Scottsdale, AZ. First Place. (04/1987)
1987 Santa Fe Indian Market, Classification III - Paintings, drawings and prints (hand pulled): Second Place. Third Place. Southwestern Association on Indian Affairs. Santa Fe, New Mexico. August 1987.
1985 Santa Fe Indian Market, Classification III - Paintings, drawings and prints (hand pulled): First Place. Third Place. Southwestern Association on Indian Affairs. Santa Fe, New Mexico. August 1985.
1984 Santa Fe Indian Market, Classification III - Paintings, drawings and prints (hand pulled), Division B - Prints (hand pulled), Category 1604 - Other: First Place. Southwestern Association on Indian Affairs. Santa Fe, New Mexico. August 1984.
Found 37 record(s)
. "Art More Than Indian". Art-Talk, August-September 1985. 1985. 35 1985 Newspaper article.
. "The 6th Native American Fine Arts Invitational". Summer, 1994. Phoenix: Earthsong. unpaginated
. "Third Thursday-Visiting Artists Presentations with Norman Akers and Paul Anthony Smith". March 29, 2012. gardneredge.com. unpaginated View
. Contemporary Native American Prints: Feb. 19-March 31, 1995. Goshen, Ind.: Goshen College. 1995. 4-5, 9, 22 1995 Catalog of an exhibition
. Land/Art New Mexico. Santa Fe: Radius Books. 2009. unknown 2009
. Native Streams. Terre Haute, Ind.: Indiana State University. 1996. unknown 1996 Catalog of an exhibition
. Native Views: Influences of Modern Culture. Ann Arbor, Mich.: Artrain USA. 2004. 35, 72 2004 Catalog of an exhibition
. New Art of the West 4. Indianapolis: Eiteljorg Museum of the American Indians and Western Art. 1995. 14, 16-17, 60 1995 Catalog of an exhibition
. New Native Art Criticism: Manifestations. Santa Fe, N.M.: Museum of Contemporary Native Arts. 2011. 76-77 2011
. Paintings by Norman Akers, Ceramics by Randall Chitto: An Exhibition October 5-December 3, 1986. Anadarko, Okla.: Southern Plains Indian Museum and Crafts Center. 1986. unpaginated 1986 Brochure for an exhibition
. The Art of Community: IAIA Faculty & Staff Exhibition 2003. Santa Fe, N.M.: Institute of American Indian Arts Museum. 2003. 3 2003 Catalog of an exhibition
. Unlimited Boundaries: Dichotomy of Place in Contemporary Native American Art. Albuquerque: The Albuquerque Museum. 2007. 9-15, 74 2007 Catalog of an exhibition
. Walk in Beauty: Discovering American Indian Art: American Indian Paintings from the Collection of Malcolm and Karen Whyte. Ithaca, N.Y.: Herbert F. Johnson Museum of Art. 2007. 40, 43, 52 2007 Catalog of an exhibition
Akers, Norman. Norman Akers. URL: http://normanakers.com/home.html. 2016. 2016 Norman Aker's website (viewed June 5, 2016) View
Archuleta, Margaret. "Art in 2 Worlds: the Native American Fine Art Invitational, 1983-1997". American Indian Art Magazine, vol. 24, no. 2 (spring 1999). 1999 . 34 1999 Presents an overview of the Native American fine art invitational shows that have been held at the Heard Museum, Phoenix, over the last 15 years, suggesting that these shows have been important not only to the artists involved but in defining Native art to the wider public.
Archuleta, Margaret (author, curator) and Craig Smith (photographer). ~Art in 2 Worlds: the Native American Fine Art Invitational 1983-1997. Phoenix, Arizona: Heard Museum. 1999. 10 1999 Catalog of an exhibition. Documents the 15 year history of a series of juried, fine art exhibits at the Heard Museum; during the period 1983-1999, the exhibits have appeared under various names, Innovations: New Expressions in Native American Art ([1st]: 1983), Biennial Native American Fine Arts Invitational (2nd-5th: 1985-1992), and Native American Fine Arts Invitational (6th: 1994-1995), and Native Fine Art Invitational (7th: 1997-1998).
Archuleta, Margaret (curator). 6th Native American Fine Arts Invitational: September 24,1994-October 1, 1995. Phoenix, Arizona: Heard Museum. 1994. front cover, 4, 6-7, 18, 24 1994 Catalog of an exhibition
Arnold, John. "Governor's Gallery Goes American Indian". Sunday, July 28, 1985. Albuquerque Journal. unknown Newspaper article. Arts section.
Atterberry, Gisele. "Gallery Nine Exhibit Offers Frenetic Art". Sunday, August 4, 1991. Urbana, Ill.: The News-Gazette. unknown Newspaper article
Barker, Elizabeth. "Honoring the Osage". School Arts, vol. 122, no. 3 (November 2022). 2022. 11 2022
Bell, David. "Quality Marks Exhibition of Indian Artist's Work". Thursday, August 14, 1986. Albuquerque, N.M.: Journal North. 1986. unknown 1986 Newspaper article
Besaw, Mindy N., Candice Hopkins, and Manuela Well-Off-Man. Art for a New Understanding: Native Voices, 1950s to Now. Fayetteville, Arkansas: University of Arkansas Press. 2018. 21, 136-137, 188, 192 2018 Catalog of an exhibition held at Crystal Bridges Museum of American Art, Bentonville, Arkansas, October 6, 2018-January 7, 2019. Includes works in the exhibition and index.
Birger Sandzén Memorial Gallery and First American Art Magazine (hosts). "[Exhibition advertisement] 'Stories from the Land: Indigenous Voices Connecting within the Great Plains'". First American Art Magazine, issue no. 22 (spring 2019). 2019. 104 2019 Includes half-page color reproduction of Norman Akers' 2018 lithograph "Little House Effect". | Exhibition held through March 15, 2019 at two locations: Birger Sandzén Memorial Gallery and the Mingenback Art Gallery, Lindsborg, Kansas. Features the work of Norman Akers, Matthew Bearden, Kelly Church, Chase Kahwinhut Earles, Michael Elizondo Jr., Anita Fields, Sharron Ahtone Harjo, April Holder, Matt Jarvis, Linda Eben Jones, Linda Lomahaftewa, Chris Pappan, Melissa Melero-Moose, Tony Tiger, Jodi Webster, and Micah Wesley.
Coe, Ralph T., Irene Gordon (editor) and Bobby Hansson (photographer). Lost and Found Traditions: Native American Art 1965-1985. Seattle, Washington: University of Washington Press. 1986. 25, 33 1986 Co-published by: New York, New York: American Federation of Arts. "AFA exhibition 83-41, circulated June 1986-December 1988."
Farris, Phoebe. "Visual Power: 21st Century Native American Artists/Intellectuals". American Studies, vol. 46, no. 3-4 (fall/winter 2005). 2005. 251, 257 2005 Article simultaneously appears in the continuation, Indigenous Studies Today: an International Journal, for issue 1 (fall 2005/spring 2006); and in the monograph Indigeneity at the Crossroads of American Studies as a contribution to an edited work. Includes bibliographical references.
Lebow, Edward. "Running Against the Heard: Contemporary Indian Art is a Bust at Museum Shows". New Times (Phoenix, Arizona), April 15-21, 1999. 1999. 67 1999 Newspaper article.
Lester, Patrick D. ~The Biographical Directory of Native American Painters. Tulsa, Oklahoma: SIR Publications. 1995. 8 1995 Includes tribal index and bibliographical references.
Lockyer, Jon. "Norman Akers, Shuvinai Ashoona, Naomi Bebo, Andrea Carlson, Death Convention Singers, Jeffrey Gibson, Duane Linklater, Scott E. Jones, Virgil Ortiz & Rose Simpson, and Joseph Tisiga: an 'Evening Redness in the West,' Museum of Contemporary Native Arts, Santa Fe, New Mexico, Aug. 21-Dec. 31, 2015". C Magazine, 128 (winter 2016). 2016. 57-58 2016
Matuz, Roger (editor). ~St. James Guide to Native North American Artists. Detroit, Michigan: St. James Press. 1997. 6-8 1997
Nahwooksy, Fred and Richard Hill, Sr. (editors). Who Stole the Tee Pee?. Phoenix, Arizona: Atlatl. 2000. 60, 82 2000 Catalog of an exhibition, held at the George Gustav Heye Center, National Museum of the American Indian, New York, New York, October 1, 2000-January 21, 2001; includes list of artists, contributing writers, and exhibition object list.
Paget, Mindie. "Painter Pushes Boundaries of Native Art". Thursday, September 6, 2007. LJWorld.com. unpaginated www2.ljworld.com/news/2007/sep/06/painter_pushes_boundaries_native_art/ View
Revard, Carter. An Eagle Nation. Tucson: University of Arizona Press. 1993. front cover 1993
Roth, Michael. "Artist Says Painting is a Performance". August 15, 1985. Santa Fe: The New Mexican. unknown Newspaper article. In Artist of the Sun section.
Rozzi, Jennifer C. "Rice Krispies to Mixed Media: American Indian Artists Showcase Heritage". October 5, 1994. Indian Country Today. B6
WalkingStick, Kay and Ann E. Marshall. So Fine! Masterworks of Fine Art from the Heard Museum. Phoenix, Arizona: Heard Museum. 2001. 20-21 2001 Catalog of an exhibition
Warrior, Robert A. "Warriors Around the Fire". v. 4, Fall, 1990. Native Peoples. 52
Wyckoff, Lydia (editor). ~Visions and Voices: Native American Painting from the Philbrook Museum of Art. Tulsa, Oklahoma: Philbrook Museum of Art. 1996. 49 1996 Preface by Marcia Y. Manhart; foreword by Jeanne Snodgrass King; contributions by Ruthe Blalock Jones, Marla Redcorn, and Andrea Rogers-Henry. Includes bibliographical references and index.


This week on the show, I talk about how Mt. Gox found some of the missing Bitcoins, which isn't as unbelievable as it may seem, how the California DMV might have compromised your credit cards, and a 1,000 mph car. This among the academic exercise of Netflix as a P2P distribution model, and my attempt to wane reporting on the NSA and information spying.


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There were a bunch of us coming over and crowding around this grasshopper and it was a bit apprehensive but appeared to be transfixed by the flower. Later I was told by another macro photographer that by the time she got around to it, the grasshopper had a petal when in its grasp and chomping away.
It is a colourful and attractive critter, Ayush.
Ayush Basu: Thank you very much, Ray. I was a bit lucky with spotting this or else I would have walked past.
Ayush Basu: Thank you very much, Peter. I bet his mouth watered in a grasshopper suitable way.
Such a beautiful and proud critter Ayush! Wonderfully shot.
Ayush Basu: I do have some more shots lined up from this trip, Chris.
Ayush Basu: I am very pleased and flattered to hear that Bill, thank you.
It seems to be enjoying the audience Ayush, what a show off.
Ayush Basu: It obliged a lot of us photographers, Chad. And in return, it got a good brunch.
This is a wonderful shot. I don't think you could get a better one.
Ayush Basu: Thank you very much, Mary. That was a very generous comment.
This REALLY appeals to me, Ayush!
What amazing detail and colours Ayush. You have captured this so well.
Ayush Basu: You are very kind, Suzanne.
Very good picture Ayush, it is a fine looking character.
Fantastic vivid colour, great against the dark background.
I think he's saddled in and ready for a good, long ride, Ayush. Lucky for you!
A grasshopper on a steed named Lily.


Here is a collection of the all-time best famous Hands On poems. This is a select list of the best famous Hands On poetry. Reading, writing, and enjoying famous Hands On poetry (as well as classical and contemporary poems) is a great past time. These top poems are the best examples of hands on poems.
Search and read the best famous Hands On poems, articles about Hands On poems, poetry blogs, or anything else Hands On poem related using the PoetrySoup search engine at the top of the page.
He did a lazy sway .
And put ma troubles on the shelf.
And I wish that I had died.
Soundly asleep in your state room, full sail for the Goodwin Sands!
When the lifeboat puts out from Ramsgate, and the buggers put out from Deal!
A gun from the lightship! – a rocket! – a cry of, "Turn out, me lad!"
"Ship on the Sands!" they're shouting, and a rush of the oilskin-clad.
When they stood all night in the blackness by the wreck of the Indian Chief!
Twenty-six hours in midwinter! That was the lifeboat's crew.
And her tug was mostly buried; but these were common things, these.
And these things they do for nothing, and those fishermen say, "Oh! it's nowt!"
Lies the hidden rock, or the iceberg, within the horizon dip.
But we strike, and the fool survivors sail on to strike again.
The officers call for assistance, a Swede or a Norse is there.
And he kisses her once on the forehead, and he drops her into the boat.
Or be true to his love and courage.
But that's how brave men die.
No British sailor and captain would stoop to such cant as that.
In one of the rescue parties an Olsen or Hans goes down.
The butcher with cleaver and pistols, and the notary with his pike.
And the clerk with what he laid hands on; but all were ready to strike.
The shopman has struck full often with his "cheating yard-wand" home!
Starved and crippled and murdered by the land they are fighting for.
Throttled by army contractors, and strangled bv old red-tape.
Sacrificed for the Syndicates, and a monarch "in" with the Jews.
Send Your cackling, lying women back to the old Home Life.
Make Federation perfect, as sooner or later you must.
Give your brave sons of the future the ghost of a White Man's show.
The engineer, the deck-hand on the great lakes, or on the Mississippi, or St.
apparatus of her garter belt.
at something under your car.


text:
Setanta Book Store/ Special Edition Books / Angel City West 3 - Special Edition
Angel City West 3 - Special Edition
by Mark Steinmetz
Angel City West 3 - Special Edition by Mark Steinmetz. Special edition. Large format hardback in new condition. The special edition comes in a clamshell box. Signed by Mark Steinmetz. Also, includes a signed and numbered (17/25) original Gelatin silver print. Edition of 25. Size of print - 28cm x 36cm. No markings. This is a new book. Please see pictures. PayPal accepted, any questions please get in touch.
About Angel City West 3
Angel City West is the third volume of a three volume set of Steinmetz's early images from Los Angeles, taken in the 1980's. Angel City West offers a touching, highly personal look at Los Angeles through the eyes of Mark Steinmetz. In his preface to the work, Steinmetz describes living in a studio apartment in the Miracle Mile district. Complete with a futon surrounded by a dozen roach motels and a makeshift darkroom set up in a tiny nook off of the bathroom. It didn't take long before he ran into Garry Winogrand. He enabled Winogrand to photograph through the car window while Steinmetz navigated the streets of his new home town. Viewed together in book form, the 58 photographs presented in Angel City West document Steinmetz finding his own voice as an artist. In light of the later projects for which he has become so well known, this early series of street photographs, informal portraits and landscapes foreshadows the sometimes humorous, oftentimes sad, and always poignant mood that runs through Mark Steinmetz's work.
Books by Mark Steinmetz
Books from our large collection of the NZ Library books
nazraeli press

redpajama_set_name: RedPajamaCommonCrawl


text:
The Trouble with a Hot Summer: A Novel of Sun, Sand, and Murder
Camilla T. Crespi, Author HarperCollins Publishers $23 (288p) ISBN 978-0-06-017662-4
The Trouble with a Bad Fit: A Novel of Food, Fashion, and Mystery
The Breakfast Club Murder
The Trouble with a Small Raise
The death of artist Jackson Pollock lends dark undertones to the latest adventure of amateur detective Simona Griffo (seen last in The Trouble with a Bad Fit, 1996). While vacationing in the Hamptons, Simona befriends well-known advertising executive Bud Warren, who hires Simona and her Russian partner, Dmitri K, to investigate the year-old drowning death of his ex-wife, Polly. Bud is sure Polly, a wealthy landowner, was murdered, even though her death has been ruled a suicide. Bud's house, near the Jackson Pollock farmhouse, is set on fire; then Bud's drowned body is found in the bay. His death also suggests suicide to many, but not to his daughter, Laurie, who retains Simona and Dmitri to find her father's murderer. They discover that, as an aspiring artist in the 1950s, Bud had followed Pollock and Lee Krasner and moved to the Hamptons with fellow artist and lover Rebecca Barnes. Suspects for both murders include Rebecca, whom Bud deserted to marry Polly; Polly's former lover, an eccentric alcoholic architect; Laurie, who inherits everything; her boyfriend, whose father was cheated in a land deal with Polly; and some of Bud's business partners. Crespi softens the dark edges of her mystery with deft humor, allowing Simona to enjoy the Hamptons' hot spots, rub elbow with celebs and entertain a mild flirtation with the owner of a trendy restaurant. The mix of breezy vacation fun and somber matters of death, passion and art provides the tension needed to make this a sultry summer read. (Aug.)
Mass Market Paperbound - 355 pages - 978-0-06-104464-9


text:
Road Trip Music
"Son, you're gonna drive me to drinkin' if you don't stop drivin' that
Hot Rod Lincoln!"
Clearly, the greatest road trip song of all time. But even as great as Charlie Ryan's (who sadly passed away this past February at the age of 92) anthem to the hot rod is, you can't listen to it more than five of six times on a road trip without the danger of rebellion from the shotgun seat. So what other songs are essential on a road trip? Is, in fact, music even a necessary component to a road trip? If you drive a TR3 with Brooklands windscreens that make it impossible to hear (like we do), I'm guessing no. If your idea of a road trip involves anything that is red, Italian, and has 12 cylinders, you've got all the music you need from the tailpipes. If the V8 rumble and blower whine make you shout to be heard, probably not. But still, in most instances, music and road trip generally go together like Guinness and mussels in cream sauce.
Now it used to be, before the advent of satellite radio, that half the fun of a road trip was finding a radio station. Any radio station! In the bad ol' days of AM only radio, when there were three whole stations that were deemed acceptable to teens in LA (quick, for 50 points and a free trip to Pacoima, NAME THOSE STATIONS!) if you were off in the boonies, you might be able to catch a skip off the ionosphere (or what ever sphere it is, science isn't my strong suit) and pick up Wolfman Jack, broadcasting from his secret lair somewhere around (so it was rumored) Waco, Texas. If you were unlucky, you got Grand Ol' Opry. I got the opportunity to demonstrate this lost art to my daughter as we were driving her newly acquired '62 Mercury Comet home from Hemet. We were cresting the Beaumont Pass and trying the radio. It only took 5 minutes for the tubes (Yes, TUBES!) to warm up, then with that old familiar: "WEEEEEOOOOOOOOWWWEEEEUUUUUUUOOOOO" we managed to pick up something. A traffic report. For Salt Lake City! Needless to say, my daughter was impressed! But now we have multiple disc CD players, or iPods that can carry all the music of the Western World. What do you load in for that multi-day, cross country trek?
Obviously, personal tastes play the most important role, but still, music that is maybe a bit out of your comfort zone can enhance a road trip in ways unimaginable. Time of day is also a factor. So is weather. So is the road. So is the car. The only types not allowed in my cars are Disco and Hip hop/Rap. I'm boycotting K-EARTH now that they've started to play the BeeGees as "Oldies." Puh! Overall though, the more eclectic your play list, the better the experience. So here's some of our favorites. Its far from a complete list. That would take enough space to fill several books, and ACE won't devote an entire issue to one topic.
For just plain cruisin', even if its a day long drive, proper Rock and Roll is just the ticket. After all, that's how we all got started. Whether it was up and down Colorado in Pasadena or Whittier Blvd, or where ever, we all cruised to Rock and Roll. Windows down, arm hanging out, Just Cruisin'. Some of the best collections can be had from a local DJ everyone around here knows as LeRoy, the Milkman. You've probably seen and heard him at various car shows around SoCal. He puts together some amazing CDs. My favorite is called LeRoy's Car Tunes. It's got almost every great car song ever, including of course, "Hot Rod Lincoln." There's "Little Deuce Coupe." "409," "Mustang Sally," and "Fun, Fun, Fun." Pretty much what HAS to be there is there (I can't figure out why "Dead Man's Curve: is missing, though), but he's included other, more obscure stuff as well: "Pink Cadillac," "Rocket 88," and "Bucket T," for starters. My next favorite of his is "Surf Tunes." A whole CD of the greatest surfer music ever. "Miserlou," "Wipe Out," "Telstar Surf!" It doesn't get much better than that! He also has several Doo-Wop CDs available, nice for the late night cruise, when you want to dial things back a bit on a warm summer night.
My next Rock and Roll selection is a truly varied compilation. I bought it at the Rose Bowl Swap meet, but I've seen the guy at other events. Its a four CD set put out by Invicta Music, Ltd., up in Quebec, Canada (of all places!). Who, knows, these may not yet be "Oldies" up there in the Great White North! Anyway, this set has 103 songs. Its at least three hours of music. Volume One begins with Willie Nelson and "On the road Again", proceeds through Freddy Fender ("Before the Next Tear Drop Falls"), Creedence (Bad Moon Rising"), and The Diamonds ("Little Darlin'"), before hitting Duane Eddy, Jan and Dean, and Three Dog Night. It just gets better with Volume Two. Janis Joplin and "Bobby McGee" gives way to "Sixteen Tons" and Tennessee Ernie Ford. Bo Diddley, WAR, Chuck Berry and the Eagles also show up. Three and Four are equally as mixed up. Meatloaf, The Troggs, The Boss, Foghat, and the Vogues mix it up with Howlin' Wolf, the Doobie Brothers, and ZZ Top. Whew, makes me tired just listing the stuff. I have to tell you too, all the cuts on these CDs aren't in my comfort zone. Neil Diamond and Glen Campbell usually get bypassed, but that's just me.
Now so far, we've stayed in an area that I'm betting is safe for most of you. Good Ol' Rock and Roll. Let's push the boundaries. Late at night, on a long lonely road, maybe with enough rain to need the wipers on real slow, try Jazz. Smooth, Cool, Jazz. Dave Brubeck, Wes Montgomery, Antonio Carlos Jobin. Spice it up a bit if you are really adventurous with some John Coltrain, or Miles Davis. There is something about 2 AM, an Open Road, and Jazz.
OK, now let's REALLY push the limits. Let's go all out beyond what most people can deal with. It may surprise you. Opera. Yes, Opera. That-Thing-Foreigners-Do-Until-Your-Head-Hurts. In the words of Luciano Paverotti, "Controlled Screaming." I'm telling you, there is nothing like flying down a back road with that same Paverotti belting "Vin-cher-a, Vin-cher-AA, vin-CHHEERR--ah!" at the end of "Nesun Dorma" or carving up Highway One in the fog with Maria Callas doing the Mad Scene from "Lucia di Lammermoor." Its bloody MAGIC! Vocal Classical a bit too much for you? Fine, try some instrumental stuff. Mozart symphonies are great stuff. Not too heavy, actually hum-able, yet very satisfying. I'd suggest Ravel's "Bolero," but that's not driving music, that's parking music!
The last genre I advise you to look into for variety is traditional Irish Music. Not "When Irish Eyes are Smiling," or "Danny Boy," but the REAL stuff. Try the Chieftains, especially their early albums. Its easy to tell which ones they are, they're numbered. As in "Chieftains 1", "Chieftains 2," and so on. Numbers 4, 5 and 8 are my personal favorites. Other groups like Dervish, Bothy Band, or Planxty are good bets. I'm telling ya, a good fast, hard reel has just the right rhythm for slamming up a mountain road.
Since a good sound system seems necessary for a good ride, find some good music to play on it. That's the beauty of modern technology, you can burn your own mixes at the 'puter. Van Morrison, Simon and Garfunkle, the Doors, some Motown. Throw in Cat Stevens and the Beatles and the Stones with Mozart and Puccini, a touch of Cannonball Adderly, a soupcon of Charlie Parker and you've got the right idea. Mix it up, and keep people guessing as they try to figure you out. And like they say, if its too loud, YOU'RE too old!
Posted by stivmac at 12:21 PM
Route 66, The TV Show
I thought I'd make a bit of a departure at this point, and do more of a review than a road trip. I found myself a Christmas present at Autobooks a couple of years ago. Its an obvious choice for something for me to review: Volume One, Season One of the ultimate Road Trip Show--Yes folks, the TV series "ROUTE 66." I saw it and of course had to have it. Since it's the ultimate Road Trip Show, maybe it will give you the feeling of how it was "back then."
This is one of those shows that a lot of people refer to, but I'm betting probably never saw. At best, it's been so long that the reality of the show has faded. To the best of my knowledge, it's never been picked up as a retro-rerun. TV Land, Nick-at Night, et. al. are too busy showing garbage from the 1970s and 80s (but what can we expect when K-EARTH is now playing--shudder--disco as "oldies!") to pay attention to the really great TV that was available in the 50s and 60s. "Route 66" is one of those forgotten gems.
The premise, to remind everyone, is that Tod Stiles ( played by a very freckle faced Martin Milner, later of "Adam-12" fame) is the educated, privileged guy who had to leave Yale after his father died, leaving him penniless. The only thing he has left is his 1961 Corvette (actually, in the first episode, possibly the pilot, the car is a '60) and a need to roam. His odd-couple buddy is Buz Murdock (George Maharis), a tough guy from Hell's Kitchen who was raised in an orphanage. Together they roam the country, working odd jobs, getting their kicks, and along the way, changing people's lives. The show also show cased a number of future stars such as Suzanne Pleshette, Leslie Nielson, Lee Marvin, Harvey Korman, Jack Lord, DeForest Kelly (!!) and Joey Heatherton, several getting the "Introducing" tag in the credits. There were some well known people as well, such as E.G. Marshall and Jack Warden. The cast lists were really impressive.
Now to be honest, I was a whole ten years old when the first season aired--1960 (OK, go ahead do the math), and don't really remember much of the show. I doubt that my folks watched the show that much, and back then, only the insanely rich had more than one TV. It was probably shown later than my bed time anyway. I do remember seeing a few episodes later on, but I can't say I really have much more than a vague memory of it. Seeing the first few episodes were a revelation. Its hard to remember when TV drama was so, well, Dramatic. This feeling is enhanced by the fact that each episode has a Title, shown in the opening credits. Titles like "The Lance of Straw," or "Man on the Monkey Board" seem a bit over the top today, but they give us the feel that each show is its own play. The three central characters are the same (Tod, Buzz, and the Road), and (unusual for the day) there is a continuity from one week to the next, following up on previous adventures. Each show, however, stands alone in its own right. Shot in glorious, high contrast black and white, the show had tons of close-ups on faces that showed Character, and acting that was done by performers who started on the live stage, rather than in commercials. The feel is more like "Twilight Zone" or "Combat." This is not a show spotlighting the light hearted hi-jinx of two dudes having a great old time, which is what we'd see today. Each episode is alive with situations that require our two heros to show far more maturity than would be expected in today's Life-Lite society. Sure, they're attracted to some pretty girls, but not in the openly sexual way of today's shows. They really are young gentlemen. Of course, the TV codes of the day insured that kind of respectful yearning.
There is also the theme and musical score by Nelson Riddle. The title track is of course famous (it is not however the song "Get Your Kicks on Route 66"), and its meant to have the feel of wheels (knock-off wire wheels, in this case--gotta be one of the few 'Vettes with that option!) spinning down the road, the feel of wanderlust. Which is of course the whole premise of the show.
The real stars to me are the settings. This show was shot almost entirely on location. It's a postcard from the past that shows an America of small towns and big dreams. It's a less crowded America that still has a pre-Vietnam War enthusiasm. Although most of the road shots seem like they are done on minor back roads, in reality, this is pre-interstate America. Main roads could be just two lanes of blacktop. Although the shots are generally composed so the real names of the towns are obscured, some locations aren't too hard to figure out. Bourbon Street in New Orleans, shrimp boats in the gulf, Grant's Pass in Oregon. All these places figure in the plot and form the backdrop for the drama. It's as if the show's creator, Sydney Silliphant scouted the location and wrote the story to fit.
Now about this time, you may have noticed that Louisiana and Oregon aren't on Route 66. Yeah. In fact, about the only time they are actually on Route 66 is in the third episode. The "Mother Road" was more of a metaphor for the wide expanse of the country. Each region of the US was still distinct in 1960, the commercial homogenization of America was only in its infancy, and the Highway connected far flung places that were rarely visited. It reminds me of the trips from LA to Sacramento up old Highway 99 to see my grandparents. There was distance between towns. Each town was distinct. The highway was the main street back then so we'd look for landmarks along the way that told us how far we'd come. "Water, Wealth. Contentment, Health" proclaimed the arching sign entering Modesto. The smell of olives in Lindsay, the Big Orange stands, Burma Shave signs with the punch line missing. My dad convinced that truck drivers knew the "good" places to eat. My sister, brother and I wedged firmly into our spots (well, nests) with favorite toys in reach to keep us busy. Who needed seat belts or airbags? They had to physically extract us and then rebury us at each potty stop. The hours long road games, like the geography game. (name a town, country, physical place anywhere in the world, no street names. The next person has to start theirs with the last letter of the last place, no repeats. Think that's easy? Wait till some joker says, "Essex"). These treks ended when we crept past an accident in the tule fog. Christmas presents were scattered around an overturned 1955 Buick.
The show has this feeling of searching, of striving, of needing answers to life that perhaps are not really there. This is years before hippies and "do your own thing." These are two guys who were too young for WWII or Korea, but will be too old for Vietnam. They are button-down collar and dress slacks, not James Dean jeans and t-shirt guys. They are rebels of the heart, not of fashion. They are not Brando ("What are you rebelling against?"--"I don't know, what have you got?") guys, they are searchers. They are knights errant on a powder blue steed, tilting at life's windmills, but keeping to a code of honor that is their own.
Get yourself a copy and go back in time. You'll be ready to seek out those back roads and long shuttered main streets and try to peel back the layers of plastic and fast food that hide the America of our youth. After all, a bit of maudlin, nostalgic yearning is good for you,
Posted by stivmac at 9:08 AM


Matisse died in 1954; he was 84. The following quote is attributed to Matisse, and as he dreamt of being palatable to a diverse audience, he succeeded in winning over the hearts of many.
What I dream of is an art of balance, of purity and serenity, devoid of troubling or depressing subject-matter, an art which could be for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.
First trained in law and later a student of art, already during his lifetime Matisse proved to be popular in different circles and demographics. His works were sold by Paul Rosenberg and Daniel-Henry Kahnweile, famous Parisian dealers. He enjoyed patronage of the who's who among the major art collectors of the twentieth century, including Alfred Barnes and Sergei Shchukin. Indeed, he was a prolific artist with a long career, and thus those who wished to have a Matisse — private collectors, institutions, auction houses, hoarders, thief's and forgers — could enjoy fruits of the new master's imagination and labor.
Over the last couple of years, Venezuela has been in the news mostly due to political unrest, economic crisis and violence against street protestors. Serving as some positive news for a change, earlier this month numerous media sources heralded the return of the 1925 Henri Matisse painting "Odalisque in Red Pants" to Venezuela. The painting, first acquired from a New York gallery in 1981 by the Caracas Museum of Contemporary Art in Caracas, disappeared from the museum sometime around 2002. Its loss was discovered only after the original "Odalisque in Red Pants" was offered for sale in Florida, meaning that the one on display in Caracas was a skillful forgery. (The story of the Caracas Matisse has been documented by Marianela Balbi). In 2012, the United States government seized the original painting in a sting operation in Miami. Almost two years later to the day, on 7 July 2014, the painting was finally returned to Venezuela.
Also in 2012, Bavarian authorities seized an extensive collection of works of art on paper and oil paintings from a private residence in Munich. One of these works that became a poster child for the Schwabing Art Fund, aka the Gurlitt Trove, was Matisse's 1921 portrait of a seated woman "Femme Assise/Sitzende Frau." The discovery of the Fund/Trove containing works by famous artists, as well as the glacial pace of investigating the origins of these artworks following the discovery captured the imagination of provenance researchers, art lawyers, potential heirs and others.
We have reported already that the Task Force appointed to investigate the trove has little time to work through hundreds of oils and works of art on paper. However, they already concluded that "Femme Assise" was looted during World War II.
In a Press Release from 11 June 2014, the Head of the Task Force, Dr. Ingeborg Berggreen-Merkel, indicated that while the Task Force could not establish exactly under what circumstances and when the painting came into Gurlitt's possession. Nevertheless, it was illegally taken from the collection of a Jewish French art dealer Paul Rosenberg. The decision as to whether the painting will be returned to the Rosenberg's heirs or not by Gurlitt's appointed heir "unrestricted and unfettered," the Bern Art Museum in Switzerland has not been announced yet.
Next Next post: Attention all Art Buyers – Caveat Emptor and then Emptor some more!


RIPS is a new instrument constructed in collaboration with Jeffrey Baumgardner and Luke Moore at the Center for Space Physics. The instrument was designed around the concept of lucky imaging--using high cadence video rate EMCCD imaging to freeze out atmospheric seeing by luck, when the atmospheric turblence happens to be still just for an instant. However, RIPS functions as a "lucky spectrograph," by recording a spectral channel on the EMCCD detector concurrent with the imaging channel. RIPS uses an echelle grating to give high-dispersion 1.25 km/s/pixel and R~97,000 spectra, but uses internal sorting filters to isolate single orders that contain emissions of interest. It further employs an optional pre-filter of ~45A bandpass to reject off-band light before it ever enters the instrument.
Obtaining a good signal to noise spectrum at a high resolving power requires both a very bright target object and a high throughput optical path. However, true lucky imaging has a limit due to the characteristic size scales of atmospheric turbulence. This is typically half a meter or less in the visible wavelengths, making "lucky" techniques mostly a small telescope trick favored by the best amateur astronomers. However, there are lots of caveats and things like wind and tracking errors still afford some benefits for high cadence imaging techniques. Tim Staley's PhD thesis makes a nice read for those interested. Mercury is right in the sweet spot for lucky imaging techniques: the wind and seeing are generally awful and it's really really bright. It's a prime candidate for lucky spectroscopy, and as far as we know RIPS is the first application of this niche technique.


Today is the day. Josef Newgarden's deadline to act on the offer from Ed Carpenter Racing is today. What he decides determines many things. Where will Juan Pablo Montoya be next year? Will he bump Tony Kanaan out of Ganssi? I have heard he has talked to Carpenter. I honestly don't see that as a fit at all. I would think Fuzzy's would want a more personable driver for their car.
Another factor is Carlin.Will they make the jump to IndyCar? Will they partner with KV/KVSH or just buy them outright? Will Max Chilton go there creating an opening at Ganassi?
A.J. Foyt Racing will have at least one opening. It could be Kanaan, if he leaves Ganassi.
Coyne apparently has signed Sebastian Bourdais. Conor Daly is rumored to be under contract for next year as well.
My suggestion- If you're not going to the season opener at St. Pete, have a friend who is mail you a spotter's guide. That will give you plenty of time to learn names and car numbers before the 101st Indianapolis 500.
The aerokit packages are frozen for next year and a new universal kit will be on the cars for 2018. This means that unless Honda can develop a stronger engine package, Chevrolet will again dominate in 2017. I'm all for the new universal kit, but for next year I think the teams should be given leeway to work on the kits themselves.
I hope the 2018 aero package makes Indycars look more like Indy cars and less like single seat sportscars.
Double points, like interleague play in baseball, is played out and needs to be eliminated. Yes the 500 is the most important race, but it still counts as one race in the standings. The final race of the season should not count as double points, especially on a road course. Let the championship be decided as it happens. if someone clinches the title with two races to go, so be it. Very few World series have ended with a game-winning home run. Not every series goes seven games.
Qualifying points at Indy- There are way too many points awarded for qualifying. I can understand the need to award points in the current format, which I wrote about in May, but I don't think the pole winner should get more than 25 points. Then each position after that receives one less point. Positions 25-33 get one point each.
Race points- I still mainly like the point system, but I don't believe every driver in a race should get points. I liked the old CART/USAC system of awarding points to the top twelve spots only. I also would like to do away with a bonus point for leading a lap. This would tighten up the points battle and eliminate the need for double points races.
I think I've fixed Indycar enough for one day. I need to take the rest of the day off. I'm going to the Red Bull Air Races Sunday. I'll have a report on that next week. Have a great weekend.


Countermeasures Encyclopedia hands you training, know-how, techniques and equipment reviews on the very latest techniques for performing countermeasures sweep services. You develop the latest techniques to detect bugs and wiretaps as well as plug up information security leaks. Countermeasures services are booming but you need to make sure that you are using the right equipment, offer the right kind of services and have the latest knowledge which this interactive training program on CD-Rom hands you. It's a virtual encyclopedia on the subject of countermeasures. Aside from the massive digital training manual built right into the training material, you are taken on an actual interactive countermeasures job using high tech equipment. The very latest equipment and techniques are shown in full color as soft music plays in the background. This CD also rewards you with tons of internet aids that leads you to other links and forums you can join dealing with the subject of conducting countermeasures.


1. The links include an extra slash in the URL. The result is that, if you click on a second page or later in the unit, you will actually be taken to the first page instead of going to the page that you clicked on.
2. The required time is misaligned from the page. It seems to be offset below the page itself.
I'm not seeing this on my own site, but I might be looking at the wrong place entirely.
Could you post a URL to the page where this happens so I can see & possibly a couple of screenshots so I know what to look for exactly.
Yes, first you need to be logged in as a user who is enrolled in a course. I've granted support access at grapevine.education and you should be able to see this in thinkministry.grapevine.education.
When logged in as one of those users, go to the URL above and you will see the Unit and Page structure in the Course Structure section.
From there, try clicking on Software Basics - Part 2. You will see that it actually takes you to Software Basics - Part 1.
Look between "software-basics" and "page" in the URL.
If I remove the second slash from that page and try to go to Software Basics - Part 2, it takes me there directly.
The second issue appears to be a formatting problem. I've attached a first screenshot of what a user sees when logged in. You'll see that the time is on the next row down. This contrasts with what you see when not logged in which is the second screenshot that I'm attaching. In that case, the time is displayed on the same row, which I think should be the correct display.
Unfortunately I still can't find the cause of the issue but still looking for it. May I ask if this is a live site or still on development? Thanks.
Put this code to your active theme's "style.css" to align the time. Navigate to /wp-content/themes/your-current-theme/ using your preferred ftp software.
Calvin, thanks for looking into this. Yes, these sites are all still in development, although we are quickly moving toward live production use.
I will give the styling suggestion a try. Thanks!
It seems the support staff access is revoked on your site so could you please grant it again so that we can troubleshoot your first problem?
Vinod, I have now enabled support access on our site.
I can't replicate this on your site, I created a test user and enrolled and the units work fine, no double slash.
Can I have permission to change the password on one of those users you mentioned above so I can login with their account and check? Though I can't think of a reason it happens with those users but not with others.
Vaughan, we've continued to experience this problem and have continued to see the double-slash in the URL. Below is a screenshot that I took today with this problem.
Can this be removed in the core plugin so we don't see this issue any further?


text:
ANTI-BULLY SPEAKER IS A BULLY (ASSHOLE) TO CHRISTIAN STUDENTS
As I've mentioned before, the so-called Anti-Bully Movement is nothing but a political crusade to set new politically-correct standards for INTOLERANCE... Anti-Bully crusaders characterize themselves as VICTIMS, but they are, in fact, the VERY ASSHOLES who victimize others.
Check out this news story of prominent Anti-Bully speaker Dan Savage (who advocates on behalf of gay teens, usually), who attacked Christian teens to such a degree that the kids got up and walked out of Savage's stupid, bigoted address...
Anti-Bully Speaker Dan Savage Curses and Insults Christian Teens
As many as 100 high school students walked out of a national journalism conference after an anti-bullying speaker began cursing, attacked the Bible and reportedly called those who refused to listen to his rant "pansy assed."
The speaker was Dan Savage, founder of the "It Gets Better" project, an anti-bullying campaign that has reached more than 40 million viewers with contributors ranging from President Obama to Hollywood stars. Savage also writes a gay sex advice column called "Savage Love."
Savage was supposed to be delivering a speech about anti-bullying at the National High School Journalism Conference sponsored by the Journalism Education Association and the National Scholastic Press Association. But it turned into an episode of Christian-bashing.
Rick Tuttle, the journalism advisor for Sutter Union High School in California, was among several thousand people in the audience. He said they thought the speech was one thing – but it turned into something else.
"I thought this would be about anti-bullying," said Tuttle. "It turned into a pointed attack on Christian beliefs."
Tuttle said the speech was laced with vulgarities and "sexual innuendo not appropriate for this age group." At one point, he said Savage told the teenagers about how good his male partner looked in a Speedo.
As the teenagers were walking out, Tuttle said that Savage heckled them and called them pansy-assed.
Dan Savage is a bigoted, intolerant scumbag who is WORSE than the "bullies" he pretends to despise.
This is exactly the sort of thinly-veiled bigotry that I've cited before, no better than the disgusting, racist lynchmob in Sanford, Florida, demanding "justice" for Trayvon Martin, while circulating "WANTED DEAD OR ALIVE" flyers for George Zimmerman and making death threats against Zimmerman.
Yeah, there IS an analogy to be drawn between these "anti-bully" ASSHOLES and the Left-wing lynchmob RACISTS who are given a pass from this sickening Socialist society.
No, you DON'T deserve lynchmob justice, and you DON'T deserve a soapbox from which to spew your hateful, seething, bigoted rhetoric.
You deserve a BOOT in your ASS, if there's enough room in there, Dan Savage.
Posted by Zesko at 11:40 AM No comments:
HERE WE GO: EVIDENCE IS GOING TO EXONERATE GEORGE ZIMMERMAN
As I've said for weeks, the documented evidence in the Zimmerman/Martin case is hard-core going to exonerate George Zimmerman; in fact, the judge may very well dismiss this case before jury selection.
Make no mistake, this is a cut-and-dried self defense case with a MOUNTAIN of corroborating evidence.
The prosecution knew this going in, but Special Prosecutor Angela Corey buckled under public pressure and TRIED to serve this up as Second-Degree Murder, just to satisfy the lynchmob in Sanford, Florida.
The one piece of evidence that is going to bat this thing out of the park is a photo of the back of George Zimmerman's head. Zimmerman said that Trayvon Martin was pounding his head into the pavement, which is why Zimmerman shot his assailant.
The bloody photo, taken about three minutes after George Zimmerman drilled Trayvon Martin, is solid proof that Zimmerman's life was in danger. There are two distinct lacerations and a significant contusion on Zimmerman's scalp, distinctly visible in the photo.
Zimmerman's Head Bloody, Bruised & Battered
ABC News has released a new photo of the back of George Zimmerman's head, taken just "three minutes after he shot and killed Trayvon Martin." His head is brutally bloodied. As the image above shows, there's blood all over his head, at least two gashes, and a large bruise forming at the top of his head.
Zimmerman's contention all along has been that Martin was bashing his head against the pavement, which is why he was forced to shoot him. The media – especially ABC News -- initially attempted to discount that story completely, releasing video of his booking at the Sanford police station that were not well-pixellated, and thus did not show the gashes on the back of his head.
It took several days for ABC News to release an enhanced version of the video that showed that there were gashes on Zimmerman's head. In the meantime, the media had a field day reporting that Zimmerman had shot Martin essentially in cold blood; Martin's family claimed that Zimmerman was not injured; members of Congress, without any evidence, attempted to pass a resolution labeling the killing a racially-motivated crime.
ABC News reports that the source of the new photo was a witness to the aftermath of the event, and that Zimmerman asked the source to call his wife for him after the shooting.
Martin's family attorney, Benjamin Crump, suggested that the photo didn't mean anything because Zimmerman wasn't brought to a hospital for stitches. "How bad could it have been if they didn't take him to the hospital [and] didn't stitch him up," he asked. But that statement, of course, if Zimmerman's head was being bashed against the ground, he had no legal obligation to wait until his injuries required immediate hospital attention.
I like that asinine statement from attorney Benjamin Crump: "How bad could it have been if they didn't take him to the hospital and didn't stitch him up?"
Well, of course, Ben, when somebody is hammering your head into the pavement, you don't WAIT until your brains are spilling out before you defend yourself. In fact, you defend yourself so that your brains remain inside your skull.
No, Trayvon didn't even need to spill Zimmerman's blood. When Trayvon first ATTACKED George Zimmerman, he was posing a life-threatening danger — it was Trayvon's INTENT to commit bodily harm.
Under the law, Zimmerman could have drawn and pulled the trigger before Trayvon pounded his head into the pavement. I mean, when a guy mugs you, the attack begins with the rush. It's the INTENT of the assailant unleashed, okay? Trayvon INTENDED to commit bodily harm. If Zimmerman had seen it coming, he could've legally dropped Trayvon when the kid rushed him.
But he didn't.
You know, they teach you in concealed carry training to maintain a good distance from a potentially threatening subject. Seven yards, seven big steps, about 21 feet is a good distance. That's because 21 feet is the distance a motivated human being can traverse in one second.
One second. A guy with a knife or a screwdriver or a baseball bat or any given weapon can cross 21 feet of space and be ON YOUR ASS in one second.
One second is also how long it takes for an alert individual to draw and present a handgun. On average.
Your personal space is only as secure as your ability to defend it. Your personal space, I'm telling you, is about 21 foot radius when you are armed with a handgun. If somebody rushes you, rushes your personal space, you have one second to defend it.
Now, we know that George Zimmerman attended concealed-carry training because he has a concealed-carry permit. Additionally, he is studying criminal justice. So, I'm thinking that Zimmerman HAD to be thinking in terms of LAW when he followed and accosted Trayvon.
He asked Trayvon WTF, right? What are you doing in this neighborhood?
Trayvon, who is a 17-year-old, 6'2" football player, cops a confrontational teenage attitude and probably told George to go fuck himself.
George Zimmerman retreated to his SUV, probably warning Trayvon that the police were on the way.
Trayvon, who is a 17-year-old teenager, and who IS confrontational by all accounts, lashes out at this little 5'7" neighborhood watch captain.
You know, if you think a 17-year-old male doesn't LOOK for trouble, you're living in a fantasy. A 17-year-old boy is having these epiphanies on the threshold of adulthood, he THINKS he knows it all, and he IS going to confront people. Confrontation driven by anger.
Because his wiring is not finished, right? You KNOW I'm right.
Trayvon Martin's death is a case of Natural Selection, my friends. Death by Misadventure.
Now, here comes Law Professor Alan Dershowitz, who I do not particularly respect because of his slippery and elastic way with the Law, but who SLAM DUNKS the Zimmerman/Martin case...
PROSECUTION IS NOT ONLY IMMORAL, BUT STUPID
With ABC News' release of the George Zimmerman photo showing blood flowing freely from his head, the question becomes whether Angela Corey, the prosecutor in the case, had access to the photo before charging Zimmerman with second-degree murder.
The arrest affidavit did not mention the photograph, or the bleeding, gashes, and bruises on Zimmermans' head. Professor Alan Dershowitz of Harvard Law School stated upon release of the arrest affidavit that it was "so thin that it won't make it past a judge on a second degree murder charge … everything in the affidavit is completely consistent with a defense of self-defense."
After the release of the photo, however, Dershowitz went much further, telling Breitbart News that if the prosecutors did have the photo and didn't mention it in the affidavit, that would constitute a "grave ethical violation," since affidavits are supposed to contain "all relevant information."
Dershowitz continued, "An affidavit that willfully misstates undisputed evidence known to the prosecution is not only unethical but borders on perjury because an affiant swears to tell not only the truth, but the whole truth, and suppressing an important part of the whole truth is a lie."
When asked if it made a difference whether the prosecution had the bloody photograph at the time they charged Zimmerman, Dershowitz responded, "We do know that there were earlier photographs before the affidavit was done that strongly suggested blood on the back of the head, and we know the police had first access to him, so if there was blood they [the prosecution] would know about it …
"I've had cases in Florida against prosecutors," Dershowitz said, "and this is not the first time they have willfully omitted exculpatory evidence. It's a continuing problem. Here, it's not only immoral, but stupid. The whole country is watching. What do they benefit from having half-truths in an affidavit?"
Dershowitz added, "I'm not taking sides, but I'm insisting that both sides play by the rules, and so far the prosecution is not playing by the rules."
That means it's cut-and-dried self-defense. Zimmerman walks. Probably no trial.
I hope this experience has provided the seething, screaming jackals of lynchmob Justice in Sanford, Florida with at least a GLIMPSE of how REAL Justice works in America.
Posted by Zesko at 3:25 AM No comments:
TED NUGENT, DEFENDER OF AMERICAN LIBERTY, UNDER ATTACK FROM OBAMA ADMINISTRATION
This is sweet. Look at this decidedly biased news story about the NRA's recent convention in Washington, DC...
Secret Service Investigating Ted Nugent's Violent Anti-Obama Rant
WASHINGTON - The U.S. Secret Service is reportedly investigating faded '70s rock star Ted Nugent for his recent insistence he'll be "dead or in jail" in a year's time if President Barack Obama is re-elected in November.
At a convention of the National Rifle Association over the weekend, the longtime gun advocate compared Obama and the Democrats to a coyote who should be shot.
"It isn't the enemy that ruined America," he said as he reaffirmed his endorsement of Republican front-runner Mitt Romney.
"It's good people who bent over and let the enemy in. If the coyote's in your living room pissing on your couch, it's not the coyote's fault. It's your fault for not shooting him."
He accused the Obama administration of being "evil" and "America-hating."
"If Barack Obama becomes the president in November again, I will either be dead or in jail by this time next year," he said angrily. "We need to ride into that battlefield and chop their heads off in November."
He then told his audience of proud gun-owners that if they failed to "clean house in this vile, evil, America-hating administration, I don't even know what you're made out of."
The Secret Service says it's aware of the weekend remarks and is looking into them.
"Threatening violence — or whatever it is that Nugent's threatening — is clearly beyond the pale, but Nugent's not the one running for president," said DNC chairwoman Debbie Wasserman Schultz.
Yeah, Debbie, what IS Ted threatening? You don't even know. You don't even know if it IS a threat. You have no idea, and neither does the Obama Administration.
You just know that it scares you in your position of power, anytime the citizenry exercises its Right to Free Speech.
I would say it's not a threat at all. I think that Ted is saying the EXACT SAME THING that he's said for DECADES about a corrupt Central Government — that we should CUT THE GUTS OUT of the government, by any and all means at our disposal.
Regardless of what you think of Ted Nugent's contributions to Rock & Roll, and regardless of your opinion of his political leaning (which is decidedly conservative), there is no disputing the fact that Nugent has consistently exercised his Right to Free Speech in defense of our American Liberty.
I've known Nugent's political stand since the 1980s, when my brother was taking Ted on guided bow hunts in Southeast Texas. I can tell you that Nugent was a very serious and responsible hunter...when the cameras weren't rolling.
As soon as the video started to roll, however, Ted would go into performance mode, and the guy knows how to play to an audience, there's no denying it.
He produced a whole series of the most outlandish hunting videos in the 80s, which were more comedy than anything else — it was just another stage for his outgoing personality.
But personally, Ted Nugent had (and has) a deep and abiding respect for America, the country that has smiled on him in abundance. Ted LOVES this country, he loves American Liberty and the Freedom born of Liberty.
Moreover, Nugent is well educated in Constitutional law.
He knows the essence of the Second Amendment, for example, in a way that transcends all the Leftist attempts to subvert it over the decades. He knows that the Second Amendment MAKES A HARD DISTINCTION between a Citizen Militia and the Central Government. He knows that it is the DUTY of American citizens to keep and bear arms to ENSURE the security of our FREE STATE.
Ultimately, that means taking up arms AGAINST our Central Government when that government is corrupted and oppressive. There's no debate about that. The Founders knew EXACTLY what they were doing when they drafted the Second Amendment.
The Founders knew that an armed populace is a giant monkey-wrench in the mechanism of a corrupted government. That's why the Second Amendment specifically states that our right to keep and bear arms SHALL NOT BE INFRINGED.
Yeah. Our Liberty is so precious that the Founders INTENDED for the American people to DEFEND IT, even if that meant staging ANOTHER Revolution against the Central Government.
If you're an American born and raised in a climate of Freedom unrivaled anywhere else in the world, you may take your Liberty for granted. Indeed, those Americans who have travelled extensively and lived overseas — e.g. our inestimable military personnel — can tell you, unequivocally, that America is the freest society in the world.
Unfortunately, and thanks to our revisionist education system under an increasingly Socialist Central Government, such a drastic change of geographic and social perspective is often necessary to open our eyes to the wonder of American Liberty.
Before I go any further, let's pause for a moment and explore the difference between Liberty and Freedom.
First of all, Liberty and Freedom ARE NOT synonymous.
Liberty is, by far, the most precious of our RIGHTS — Liberty is the RIGHT to make our own decisions. Liberty is not granted to us by the Constitution, by the way; it is bestowed upon us by a MUCH HIGHER authority, namely The Creator. That's what our Founding documents acknowledge.
I don't give a damn if you're an atheist and you don't believe in God or Allah or Christ or Mohammad or Buddha or Shiva and Vishnu — when the Founders said that The Creator granted us certain unalienable [sic] Rights, they were making a DISTINCTION between our HUMAN RIGHTS and the Laws of Man.
They were EMPHASIZING that NO Law of Man should EVER infringe on the Rights to Life, Liberty, and the Pursuit of Happiness, among others. They were placing those Rights on such a high shelf that NO MAN and NO GOVERNMENT could reach and displace them, okay?
So even an atheist can enjoy those Rights, free from the fear of an oppressive and intrusive government.
Given the Right to make your own decisions, you can CHOOSE Freedom, or you can CHOOSE enslavement. But, if you choose enslavement, you've surrendered your Liberty and may never recover it.
Freedom, therefore, is just ONE RESULT of Liberty. Liberty, ambiguous as it is, is far more important than Freedom. Liberty MUST BE DEFENDED at all costs, even at the cost of thousands or millions of lives.
The Founders acknowledged this sobering fact on many occasions, as when Thomas Jefferson wrote, "The Tree of Liberty must be refreshed from time to time with the blood of Patriots and Tyrants. It is its natural manure." That's Jefferson's actual quote, often misquoted.
Liberty is such a rare and precious Right, it has never survived for long in the history of Humanity — until the U.S. Constitution came along, that is.
God knows that the Liberal Leftists in America have NO appreciation for American Liberty, inasmuch as they are constantly striving to undermine the very Constitution that enables them to voice their seething, hate-filled, divisive and decidedly racist rhetoric.
They learn this anti-American shit in the mandatory free education system, of course, wherein the Central Government creates and enforces the curricula, frequently rewriting history texts to demonize the Founders of this country.
Posted by Zesko at 9:11 PM No comments:
ANTI-BULLY FILM A SENTIMENTAL ATTEMPT TO LEGISLATE HUMAN BEHAVIOR
Oh, boy... Here we go with the cinematic version of the Anti-Bully crusade, a film entitled Bully (with the international "NO" symbol very noticeably backwards), that pretends to be a sympathetic exploration of pain and healing and all that other Liberal claptrap, but that is actually just a propaganda flick for a purely political movement intended to create a whole new class of outlaws in the American (and global) population...
New Anti-Bully Film Tugs Heartstrings, But Ultimately It's About Making Human Nature Illegal
Directed by Sundance and Emmy-award winning filmmaker, Lee Hirsch, Bully is a beautifully cinematic, character-driven documentary. At its heart are those with huge stakes in this issue whose stories each represent a different facet of America's bullying crisis. Bully follows five kids and families over the course of a school year. Stories include two families who have lost children to suicide and a mother awaiting the fate of her 14-year-old daughter who has been incarcerated after bringing a gun on her school bus. With an intimate glimpse into homes, classrooms, cafeterias and principals' offices, the film offers insight into the often cruel world of the lives of bullied children.
America's bullying crisis...??? It's a crisis?
Although Bully is described on the movie showcase site Rotten Tomatoes as "hard-hitting and gracefully filmed," and sentimentally depicts kids and families attempting to deal in their own ineffectual ways with human nature, there's no disguising the fact that this is all about LEGISLATING "social change" through new and more draconian Hate Crime Laws, which is absurd on the face of it.
Take a look here at what the Anti-Bully Movement is REALLY all about...
The Anti-Bully Movement: Where Do We Go From Here?
Across the United States and around the world, the anti-bullying movement has become a rallying force. From celebrities telling gay teens that "It Gets Better" to the world-wide attention paid to a bullying incident in Australia captured on video, the problem of bullying in schools has garnered heightened media attention and is being tackled with increasingly stronger laws by communities.
There are anti-bullying laws of varying strength in at least 40 states. Last week (September 1, 2011), New Jersey enacted the Anti-Bullying Bill of Rights, the nation's toughest anti-bullying state law yet; it received both cheers and criticism. The law includes a requirement that teachers and administrators report incidents of bullying to the police, and has raised questions about who should be held accountable for protecting students. It has also sparked debate around the potential implications of criminalizing bullying, as well as how schools are going to pay for anti-bullying programs, given already-slashed budgets and overworked teachers.
But schools and communities agree on the critical nature of the problem. Studies have shown that bullying leads to increased incidence of mental health issues later in life and lower achievement levels, especially for minority students.
"We should call bullying what it actually is — social violence," said Erin Weed, founder of Girls Fight Back, an organization that provides empowerment and self-defense workshops at schools and college campuses around the country.
The need to end peer harassment is clear. But it isn't clear how much change is actually happening. Are laws that vigilantly punish bullies like the Anti-bullying Bill of Rights exactly what we need — or putting us down the wrong path? Resolving a case of bullying will take more than just a hotline. It will take squadrons of counselors, legal teams, and school administrators. So what are the most effective ways to spend school districts' already-limited resources?
This is sweet: "The law includes a requirement that teachers and administrators report incidents of bullying to the police, and has raised questions about who should be held accountable for protecting students."
WHO should be accountable for protecting students?
Ummmm... How about the students themselves? How about students beating the shit out of those who bully them, the way we did when I was in school? How about students learning how to defend themselves in school, just as they must defend themselves all throughout their lives?
How about students showing some backbone, rather than running to the protective skirts of the Nanny State, eh?
Don't get me wrong, I'm not saying that ALL the victims of bullying are necessarily spineless; but I am saying that spineless parents raise spineless children, almost invariably.
No. You don't stop bullying by MAKING IT ILLEGAL, for Godsake.
You don't OUTLAW human behavior that is millions of years old.
Rather, you TEACH YOUR KIDS TO FIGHT, to DEFEND themselves. It'll make them better people, much better than if they are surrounded by an impenetrable wall of Socialist feel-good-about-yourself LAWS designed to turn OTHER citizens into OUTLAWS.
About 40 years ago, when I was fresh out of grade school, I entered the entirely new and unexpected social environment of junior high school. I say "entirely new and unexpected" because nobody EVER told me about Physical Education in the higher grade levels, wherein you are introduced to the horrifying experience of stripping naked in front of complete strangers and donning these ridiculously primitive and ill-fitting gym shorts, okay, which is all you wore for the next hour and a half, indoors and out.
This experience was distressing in that we frequently confronted and jogged past the girls' P.E. class out on the ball field; and several guys, predictably, decided to show off in front of the girls. This showing off usually manifested as bullying the other guys around them.
Well, bullying the guys that COULD be bullied, that is.
I think it was the second week of 7th Grade — when I had finally acclimatized to the routine — that this buck-toothed redneck named Kelly Donaldson decided to try his hand at bullying me. This was an unfortunate decision for him, I can assure you.
To make a long story somewhat shorter, I took an aluminum baseball bat and smacked the stupid hillbilly bastard in the mouth with it, which knocked out three of his permanent front teeth and left him bleeding and blubbering in the red dust of the baseball field.
I'm sure it changed his life for the better. Well, except for having to wear false teeth from a very early age.
It never occurred to me until that moment that I would have to defend myself in such a manner on public school property. However, if Kelly Donaldson had taken the trouble to research the data on his intended victim (always advisable), he would have known that I had a childhood history of seeing red and hammering guys much larger and much older than myself.
That runs in our family, by the way. I think it's scientifically termed the berserker gene.
Point is, the very first time Kelly tried his Level One Assault on me, I came back on him with a Level 10 Response. As a result, nobody EVER tried to bully me for the remainder of junior high or high school.
Oh, sure, there were a few scuffles, including one fight in which I stomped two guys simultaneously for stealing my hat; but there were never any other cases of bullying in my public school experience.
It's like going to prison, you know? Not that I've ever been to prison, but I know people who have done some time. If you demonstrate from Day One that you're a hard target in prison, the guys in the rest home respect that, and you won't end up as somebody's bitch.
And it's like that all throughout your life, as well.
Lemmy tell you something, if you allow somebody to push you around ONCE, they'll do it again. More than that, if you allow somebody to push you around in public, the public won't respect you.
Hey, that's human nature, millions of years in the making.
Now, there is NO CASE on record of humankind LEGISLATING barbarism into obsolescence. Barbarism is here to stay, for as long as we're human beings. It's what MAKES US human beings, it's what DEFINES our civilization.
I mean, what is civilization except a cumulative response to barbarism?
We're not going to CHANGE human nature in a few generations or even a few centuries through Hate Crime Laws. All we're going to do is establish a new class of outlaws who will revel in their barbarity, as the victims whine from within the cage of Socialist lawmaking they have wrought.
The only way to answer bullying is with a fearsome self-defense, one that sends the bully reeling. That's what bullies respect.
Defensive response is common sense, and it's the first thing that springs to mind.
But, then, you may ask, where is the compassion, where is the Christianity and all that turn thy cheek mentality? Look, I know people often cite Christ's eternal patience, his infinite tolerance for abuse with a citation from the New Testament: Luke 6:29, "And unto him that smiteth thee on the one cheek offer also the other; and him that taketh away thy cloke forbid not to take thy coat also."
Yeah, just keep poking and prodding me and punching me, and keep stealing my property and I'm okay with all that, right?
NOT. An examination of the original extended scripture reveals that Jesus was admonishing people to SETTLE OUT OF COURT.
People who try to characterize Jesus as eternally tolerant are sorely mistaken. Christ had his limits. I mean, in John 18:23, one of Caiaphas' officers smacked Jesus, who exclaimed "Why smitest thou me?"
Christ said, "Why'd you hit me, man?" That's NOT turning the other cheek. That's called confrontation. We're talking about God in the flesh here, right? He could've turned Caiaphas and his entourage into frogs at a glance.
Christ walked the walk. He was all about confrontation.
Christ didn't strike back, but he definitely confronted his assailant. And THAT is what these victims-in-training SHOULD be doing in the Anti-Bully Movement, rather than pursuing national and global legislation to build a wall around their kids to protect them from LIFE.
Posted by Zesko at 11:11 PM No comments:
Toxic Reign: Reclaim Our Future (on Amazon)
Zesko Whirligan Knows
Zesko
ANTI-BULLY SPEAKER IS A BULLY (ASSHOLE) TO CHRISTI...
HERE WE GO: EVIDENCE IS GOING TO EXONERATE GEORGE ...
TED NUGENT, DEFENDER OF AMERICAN LIBERTY, UNDER AT...
ANTI-BULLY FILM A SENTIMENTAL ATTEMPT TO LEGISLATE...
AMERICAN JUSTICE SYSTEM BENDS OVER BACKWARDS TO PL...
THEY ALWAYS ANNOUNCE IT ON FRIDAY
OBAMA'S NEIGHBORHOOD WATCH PROGRAM IS COMMUNIST PA...
TRAYVON MARTIN CASE: GET READY FOR VIOLENCE IN SAN...
GET READY FOR THE GALE OF ANTI-GUN RHETORIC
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"One of several new blocks of student flats being built on the site of the Former Richardson Road flats. The new buildings make use of prefabricated bedroom units, the exterior of the building remains to be clad." Photo by Graham Robson, 2018.


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End Software Patents
About ESP
ESP Australia
EU unitary patent
Please read ESP's call for donations
Wiki (en.swpat.org)
Navigate the wiki
News (news.swpat.org)
About Bilski
2008 State of softpatents
For everybody
For computer scientists
For economists
A litany of lawsuits
The Patent Reform Act
What practitioners are saying
"There is no authority that we know of which permits software per se to be considered statutory [patentable subject matter]." —-Patent Office board of administrative judges, October 2007 (source PDF)
Portion of patents granted every year by the Patent Office that are software patents: 15% (Bessen and Hunt, 2004)
Websites that may be violating a software patent as of January 2007: 155,583,825 (Netcraft)
"If people had understood how patents would be granted when most of today's ideas were invented, and had taken out patents, the industry would be at a complete standstill today." —Bill Gates, CEO of Microsoft (cited in this New York Times op-ed.)
Estimated annual cost in legal fees incurred by software patents: $11.2 billion. (2008 State of softpatents)
Estimated economic benefit from software patents, as calculated by several pro-software patent economists: $0. (See the list of null results on the resources for economists page.)
This report provides an overview of the recent history of software patents from an economic and legal perspective.
Download the full report (PDF).
On the economic front, there continue to be billions of dollars in litigation over software patents every year, and such suits are increasingly against companies in the general economy who have software patent liability simply because they have a web site. Several pro-software patent academics have searched the existing data for evidence that software patents foster innovation, and failed to find any.
On the legal front, the courts have begun to take notice, and from the Patent Office to the Supreme Court, judges have begun to indicate a desire to revise the current policy that everything is patentable subject matter. Expect to see the restoration of many important limits on what may be patented.
© 2008, End Software Patents
Verbatim copying and distribution of this entire article are permitted worldwide, without royalty, in any medium, provided this notice is preserved.


The events in the book of Exodus stand as a pivotal moment in the Old Testament. Alastair Roberts and Andrew Wilson join the podcast to discuss the recurring theme of the exodus, salvation, and restoration throughout Scripture.
Alastair Roberts completed doctoral studies at the University of Durham. He participates in the Mere Fidelity podcast and is a contributing editor for Political Theology Today.
Andrew Wilson is teaching pastor at King's Church London. He is a columnist for Christianity Today.


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USA vs Canada To Play In Muskegon, Michigan PRESS RELEASE
Men's Arena
MUSKEGON RISERS TO HOST INTERNATIONAL ARENA SOCCER FRIENDLY IN MICHIGAN | USA-Canada exhibition Saturday May 5th, 2018 at LC Walker Arena
(Muskegon, MI) — The American Association of Soccer 567 (AAS567) today announced that the United States National Arena Soccer Team (USNAST) will host the Canadian National Arena Soccer Team in a friendly game at LC Walker Arena in Muskegon, Michigan on Saturday May 5th, 2018. This game will be co-hosted with the Muskegon Risers.
"USA vs Canada in Michigan? It doesn't get any better than that." USNAST General Manager Bernie Lilavois said. "It's a great opportunity to continue to showcase our arena soccer product, especially in Muskegon after a successful season that the Muskegon Risers just completed in the Major Arena Soccer League 2. This game gives fans of all ages a great matchup to come watch and enjoy some fast paced, high scoring and non-stop action of arena soccer."
"The Muskegon Risers organization was founded to create a positive impact on our community through soccer, and presenting a USA vs Canada game in Muskegon's historic LC Walker Arena is the embodiment of that mission." said Risers President, Matt Schmitt. "We expect this game to attract people from across the state and region. Our local businesses and organizations are thrilled by the opportunity to showcase Muskegon through this monumental event."
Tickets for the game will go on sale later this week at the LC Walker Arena box office located at 955 Fourth Street, Muskegon, MI 49440 or online at StarTickets.com A full roster of the players scheduled to participate will be announced soon.
## AAS567 ##
ABOUT THE AMERICAN ASSOCIATION OF SOCCER 567
The American Association of Soccer 567 (AAS567) was founded to support and oversee all soccer with 5, 6 or 7 players a side. It serves as the governing body and is responsible for promoting and directly supervising the sport of Minifootball in the United States. The AAS567 is a proud member of the Pan-American Minifootball Federation (PAMF) and World Minifootball Federation (WMF). For more information visit USNAST.com or email AmericanSoccer567@gmail.com
ABOUT THE MUSKEGON RISERS
Muskegon Risers SC was founded to help facilitate positive social and economic change along the Muskegon Lakeshore through the game of soccer. A Riser is someone who understands our community's potential and who pushes themselves and others to realize that potential. Our 'Risers' name was inspired by the 'Muskegon, Together Rising' sculpture that stands in the heart of downtown Muskegon. Risers are not limited to an era, industry or ethnicity. Muskegon Risers SC strives to represent the spirit of our area's people in past, present and future tense. For more information visit MuskegonRisers.com
Muskegon Risers Continue Growth, Join Major Arena Soccer League II (M2)


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Konga (1961) -****½
The same year that Great Britain got its own Godzilla in the form of Gorgo, it also got something like its own King Kong in this completely shameless little film. I say "something like" because Konga spends more time being Murders in the Rue Morgue than it does being King Kong, but much of its third act is full-on big rubber monster action at its finest (well, maybe not finest...). This is also a movie that does not believe in dicking around. While Gorgo spends easily 45 minutes puttering around on a tiny island off the Irish coast and hanging out backstage at Dorkin's Circus, Konga has laid all the cards on the table within the first quarter of an hour.
How's this for pacing? The first shot is of a small airplane, seen from the ground over a dense jungle. The plane's engine is sputtering, and in no more than two minutes, it falls out of the sky. Instantly, we cut to a news telecast, in which the anchorman announces the disappearance of renowned botanist Charles Decker (Michael Gough, from Dr. Terror's House of Horrors and The Crimson Cult), who is believed to have died when his plane crashed in the jungles of Uganda. And then the next thing we know, it's a whole year later, and we're looking at the front page of a newspaper, its headline heralding Decker's return to civilization. Had this been an American flick of its time, this chain of events would have consumed at least twenty minutes; in Konga, it uses up about five. We then see Dr. Decker give a press conference, at which he answers questions about his year in the jungle and hints at amazing scientific discoveries he made while he was stranded in Uganda. In particular, he alludes to work he did with a rare species of insectivorous plant, the implications of which suggest that "a lot of textbooks will have to be rewritten." Decker is accompanied at this conference by his chimpanzee, Konga, whom he brought back with him from Africa.
Next, we meet Decker's assistant/housekeeper/live-in non-girlfriend, Margaret (Margo Johns). She never gave up believing that Decker was alive, and she spent the whole year that he was away keeping his home and laboratory exactly as he left it. She feels a bit snubbed by Decker's apparent lack of gratitude, but he swears he means her no insult, and feeds her some 50's-style bullshit about the lack of sentimentality that characterizes all scientists. We're maybe ten minutes into the movie, and already Decker's dropping subtle hints that he may be a budding evil genius. He goes to the greenhouse, where he viciously uproots all of the flowers that Margaret had so faithfully maintained all those months-- he needs to make room for the exotic plants he brought home from the jungle, and the flowers have "outlived their usefulness." Face it, only evil geniuses ever use that expression. In the next scene, we see that those plants have positively thriven in Decker's greenhouse, and again, we are faced with weighty evidence of evil genius-hood-- all the plants have mouths, and many of them have fangs! And they're goddamned huge, to boot. At about twelve minutes, Decker is feeding raw steak to his Venus man-traps, and saying worrisome things about how he has "changed their fundamental nature from insectivorous to carnivorous." And finally, the kicker-- Decker shoots his fucking cat when it sneaks into his lab and starts licking the experiments! At last, fifteen minutes into the film, Decker conducts the experiment for which everything else has been setting the stage. He fills a syringe with green fluid distilled from his monster pitcher plants and spiked with the seeds of an African zombie-making herb, and injects Konga with it. The chimp (which has thus far been an infant) instantly grows to full adulthood, and Margaret, who had been doubting Decker, gushes about how she sees at last the genius of her boss's work.
Dean Foster (Austin Trevor, from Horrors of the Black Museum and The Day the Earth Caught Fire), at whose university Decker teaches, is rather less impressed. When Decker comes to him with stories of African plants that bear close biochemical relation to animals, whose extracts can be used to control minds and kick ontogenic and phylogenic development into high gear, the dean basically calls him a madman, and forbids him to talk about his research in any public setting. This doesn't sit well with Decker, and after a brief shouting match, he goes home and injects Konga with some more of his jungle juice. This time, the ape grows from a full-sized chimp into a six-foot man in a gorilla suit. (Let's take a moment to discuss this gorilla suit. The thing has amazingly expressive facial features, so it almost has to have been created expressly for use in this movie, rather than being an off-the-rack costume that was hired out to save money. This being the case, why the hell didn't the filmmakers order the special effects department to make them a chimpanzee suit? Hello?! Konga's supposed to be a chimp, right?! Believe me, I know the difference between the two species, and this suit definitely represents a gorilla.) Decker then hypnotizes the new and improved Konga, and sends him to kill Dean Foster.
During this middle section of the movie, Decker repeatedly uses Konga to get rid of his enemies and rivals. After Dean Foster, he has Konga take out an Indian (or perhaps Pakistani) scientist (George Pastel, of The Stranglers of Bombay and The Mummy) who is conducting research that closely resembles his own. Then he orders a hit on one of his students, the jealous boyfriend of a pretty, intelligent girl named Sandra (Sex Farm's Claire Gordon), for whom Decker has developed a letch. And the astonishing thing is that Margaret knows what's up the whole time. In fact, she uses her knowledge of Decker's crimes to leverage him into promising to marry her-- do you believe that shit?! I certainly didn't. But Margaret doesn't know about Decker's unhealthy crush, and she finds out in the worst possible way. After the "mysterious" murder of Sandra's boyfriend, Decker invites her over to his house for dinner-- he pitches the idea to Margaret as a way to throw the police off the scent, to present himself in the guise of the compassionate mentor. After dinner, Margaret catches Decker and Sandra in the greenhouse, just as Decker is putting the moves on the girl, telling her that Margaret has "outlived her usefulness as an assistant" and that he needs a "young, fresh mind" to help him with his future work. Margaret turns away when Decker begins kissing and groping the girl (Sandra doesn't like it any more than Margaret does), and runs back to the house, where she shoots up Konga with more jungle juice and re-hypnotizes him to obey her commands. One small problem: the injection makes Konga start growing again, first to about ten feet in height, then to at least 25 feet, and finally to something like King Kong-size. Naturally, Decker's house was never intended to contain a 50- or even 25-foot ape, and Konga's rapid expansion completely destroys the building, taking Margaret with it. The ape then goes for the greenhouse, and after he smashes in the roof, he gives Decker the old Fay Wray treatment (while Sandra gets her arm bitten off by one of the carnivorous plants, just for the hell of it). Konga goes downtown, carrying Decker (note that no matter how big Konga gets relative to the scenery, he never gets any bigger relative to the scientist), and does a fair amount of panic-inducing (but very little city-smashing) before his inevitable confrontation with a company of heavily armed soldiers. And for once, the army doesn't come out of a monster movie looking like a bunch of fools.
On the whole, Konga makes a surprisingly good model for how to do this sort of thing. Conspicuously absent is the drab, stultifying, documentary-style direction that ruined so many monster movies during the 50's. At no point does the film get bogged down in lengthy scenes of military officers conferring before a large-scale map or arguing around a chart table. The action is wisely spread throughout the story, rather than concentrated in one vast blow-out during the final half hour-- a commonly made mistake that usually proved fatal to all but the shortest of monster movies. The dialogue is appropriately overwrought, the "science" is suitably muddle-headed and absurd, and every member of the small cast rises admirably to the occasion, playing out their roles to preposterous excess. And best of all, there's no annoying little kid to be found anywhere! This is how such disappointing movies as Gorgo and The Gorgon ought to have been handled, and Konga proves at last that there are at least a few Brits who know how to make a monster movie (as opposed to a horror movie, which is not necessarily the same thing).