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The 6 Ballsiest Sports Cheats of All Time
Rudy Watch: 'Borat 2' Star Giuliani Faces Consequences of His Actions, Trump's Wrath
Ryan J. ·
Evan V. Symon ·
For as long as there have been sports, there have been shady athletes who will stop at nothing to gain an unfair competitive advantage. We call these people cheaters (unless they're never caught, in which case we just call them great). But then there are the ones who cheat with such audacity and creativity that you kind of want to just give them the victory for their effort.
Winning a Marathon by Hitching a Ride
It's a pretty safe bet that if the person who crosses the finish line first during a marathon doesn't look like a marathon runner, that person probably cheated. Marathon running isn't like baseball; you can't be successful at it and be fat at the same time. With that in mind, just imagine the crowd's surprise when the winner of the 1904 Olympic Marathon also happened to be a professional bricklayer who hadn't done any running in months. That man was Fred Lorz.
Via Legendsrevealed.com
And that thing he's holding is an early 20th century Porta-John.
Lorz likely started the race with honest intentions, considering the fact that he ran the first nine miles clean, leaving him exhausted to the point of near collapse. So, naturally, his manager pulled up alongside the defeated runner and asked him if he needed a ride. He probably meant a ride to the hospital, but to Lorz, it meant he now had a real shot at winning the race.
Because cars in 1904 were about as reliable as AT&T reception in big cities, the pair only made it 11 miles before the car broke down. But that was all the rest Lorz needed. He hopped out of the car and ran the last few miles of the race, winning easily. To his credit, moments later, his conscience got the best of him and Lorz admitted that his win may have been aided by the use of automotive technology. He was banned for a year and apparently used the time off to actually get in shape, because he won the Boston Marathon the very next year.
Via Historiasdeldxt
You can see how overcome with joy he is in this photo.
But 75 years later, another suspect winner won the Boston Marathon, and she wasn't nearly as conflicted about claiming victory. The winner in the women's group of the 1980 Boston Marathon was Rosie Ruiz, fresh off her New York City Marathon 11th place women's finish only six months before. After onlookers at the finish line noticed that Ruiz wasn't even sweating despite looking way too flabby to run 26 miles without dying, they questioned whether her winning (and record-breaking) run might have been the result of cheating.
Race officials in Boston and New York checked up on Ruiz, and what they found was hilarious. For starters, the other runners didn't even remember seeing her come up from behind, or even in the race at all, until the last few miles. Oh, and there were also several eyewitnesses who noticed Ruiz boarding the New York subway at a point near the race, in full track gear, and getting off at another point further down the line.
"Why yes, my sweat does smell remarkably like watered-down Powerade. It's ... a glandular thing."
For some reason, race officials viewed riding the subway for a majority of the race to be an unfair competitive advantage and stripped Ruiz of her medals.
Boston Runner Completes A Marathon And Ends Up With A Typo
A Baseball Player Crawls Through a Ventilation Shaft to Retrieve a Doctored Bat
For baseball players looking to get a steroidlike power boost without the raisin-sized shriveled testicles that normally come with it, the only way to go is to use a corked bat. Basically, players drill a hole in the barrel of their bat, fill it with cork and then seal the top. The cork is sometimes replaced with little bits and pieces of super bounce ball, which should give you some idea of what kind of effect a corked bat has on a baseball.
Normally, the only way a player gets caught using a corked bat is when the bat inevitably shatters and the evidence reveals itself to everyone on the field (as famously happened to disgraced former home run machine Sammy Sosa). For the Cleveland Indians' Albert Belle, though, it wasn't a broken bat that sealed his fate during a game against the Chicago White Sox in 1994. White Sox manager Gene Lamont, who is apparently equipped with X-ray vision, somehow just figured out that Belle was using a corked bat and asked the umpires to examine it.
Via MLB
"Can we get a hacksaw or something? My fingernail isn't doing it."
Because the only real alternative was to just smash the bat against the hardest available surface until it shattered, the umpires locked the bat in their office with plans to examine it after the game. Knowing that Lamont was right about the bat and fearful of having their star player suspended, the Cleveland Indians quickly hatched one of the most absurd plans in sports cheating history. Indians manager Mike Hargrove called up one of his relief pitchers, Jason Grimsley, and sent him on a mission to get the bat back. And to do this, he had to crawl through the stadium's ventilation system to get to the umpires' office.
After shifting a few ceiling tiles around, Grimsley was able to get into the bat's prison to liberate it. He replaced the illicit bat with an undoctored one belonging to one of his teammates, Paul Sorrento. The problem with that plan is that it required someone to completely ignore or be totally unaware of the fact that said teammate's name was engraved on the bat.
"Wait, this can't be Albert Belle's bat because this bat doesn't smell like a volatile piece of shit."
Grimsley made his way back to the bullpen and probably figured he had pulled off the perfect crime. He had not. During the sixth inning, a janitor noticed a broken ceiling tile and assorted ceiling debris on the floor of the umpires' office. Needless to say, the Indians had some questions to answer.
They pleaded ignorance when asked why Albert Belle's name had taken on such a radical new spelling on the bat. So, figuring that law enforcement agents have nothing better to do on the South Side of Chicago, the umps eventually contacted Chicago police and FBI agents. Fingerprints were taken and things were investigated and, finally, Albert Belle was charged and suspended.
Future bats were cut after the games and presented to reporters to show their legitimacy. No, that's not a joke.
5 Amazing Things People Managed Right After Being Left For Dead
Painting a Race Horse to Drive Up the Odds
Having a name as wimpy as Fine Cotton is not a fate we would wish on anyone, much less a horse. But being saddled with that moniker was the least of this Australian gelding's problems. Among the bigger problems was that, despite being a race horse, Fine Cotton was horrible at racing.
Via Perthnow.com
But never has a horse been better at Russian roulette.
So what do you do if you're the owner of a race horse that's all but guaranteed to lose any race in which it competes? The obvious answer is to buy a stronger horse and just race with that one. That's exactly what Fine Cotton's owners did, but only after taking the less traditional step of claiming that the new horse was Fine Cotton. If that sounds stupid, understand that the ploy meant that they could use a stronger horse while still collecting on the long betting odds placed on the original shitty horse. If the plan worked, they would cash in nicely.
And it almost did work, except that the horse they wanted to use got injured. Rather than accepting the clear signs that God wanted them to fail, the syndicate simply found another horse to buy. Unfortunately, the new horse looked nothing like Fine Cotton and was even a completely different color. Game over, right? No, not even close. Rather than let a little "Hey, that's a completely different horse" get in the way, the conspirators doused Bold Personality in Clairol hair dye to try to lighten his coat, a ploy that worked about as well as you'd expect -- which is to say, not at all.
Via Theage.com
That's the Fine Cotton impostor winning the race. And smelling like a freshly painted hair salon.
On the day of the actual race, the incompetence of the plotters reached Wile E. Coyote levels. When they realized that no one had remembered to change the color of Bold Personality's leg hair, they literally painted the poor beast's legs and figured nobody would notice. Then, as bets began flowing in on Fine Cotton, the odds changed dramatically, from a 33-1 long shot to a 7-2 favorite. This caught the attention of bookmakers, and authorities began to suspect cheating. When the race was held and the previously inept Fine Cotton emerged victorious, suspicions were raised even further. The white paint visibly running down "Fine Cotton"'s legs probably played some part in fueling those suspicions.
When track officials tried to talk to Fine Cotton's trainer and get the horse's registration documents, they found that the trainer had fled and taken the papers with him. By this point, the jig was up, and Fine Cotton was disqualified. The trainer was discovered hiding out in South Australia a few weeks later and tossed in prison, and the other members of the conspiracy were banned from horse racing. We're guessing Fine Cotton lived in relative happiness for the rest of his days before finally being made into glue.
Via Smh.com
Bold Personality eventually grew to enjoy its natural hair color.
The 6 Most Terrifying Historical Car Races
Faking a Rugby Injury (With Fake Blood)
In 2009, the English professional rugby team the Harlequins were facing off in a tournament game against an Irish team called Leinster that was expected to make it to the finals. That, of course, would mean that the Harlequins would not make the finals. Knowing that the time when tons of practice and hard work could be a viable solution to this dilemma had long since passed, something more drastic was going to need to be done. And as everyone knows, when your natural talent and athletic ability have failed you, the next best thing you can do is bring a bunch of blood capsules onto the field and use them to fake injuries.
"Oohhh, my leg. Mouth! I meant my mouth."
Fine, maybe that last sentence requires some explanation. See, rugby teams are allowed a minimal number of substitutions per game. When you can't substitute freely, players tend to get worn down and therefore less able to perform. But those limits on substitutions don't apply to injured players. The Harlequins' plan was to use the blood capsules to simulate injuries, thus allowing them to keep a steady supply of well rested players on the field.
"He must have ruptured your lungs. We need to get you to a hospital -- right after this game."
The plan worked at first, but shockingly, the sight of several players literally spouting blood one minute and then returning to action without even a scratch on them the next made officials suspicious. In an absurdly bold commitment to seeing a stupid plan through, the Harlequins tried to prove that the injuries were real by having the team doctor cut open one of the player's lips. But injuring their own players was not enough, and it was soon uncovered that the Harlequins were using the fake blood packets not only in the semifinal game, but in several earlier games as well.
The team director, the team doctor and several Harlequins players were hit with a litany of bans and fines. They just narrowly avoided having the entire team being banned from playing in Europe.
"Sir, I'll have you know that all of our players are direct descendants of Wolverine."
Note: This infamous game is now referred to by the metal-as-hell nickname of "Bloodgate."
The 5 Most Horrifying Sports Injuries of All Time
Getting on a Pro Team With a Prank Phone Call
In 1996, the English soccer team Southampton was shocked to get a call from soccer great George Weah telling them that his cousin in Senegal was tearing it up for another pro team and now wanted in at Southampton. Well, no need to double check! Southampton immediately signed the player to the squad. The player's name was Ali Dia.
Via Loopytactics
He turned out to be an incredible player, and that's the end of that story.
Shortly after he was signed, at the 32-minute mark of a game against Leeds United, it was finally Dia's time to shine. What happened for the next 53 minutes turned out to be one of the absolute worst performances by a soccer player at the top level ever. Instead of keeping up with the team, Dia ran around the field, going after the soccer ball like a possessed 5-year-old at the playground. Simple passes and kicks on goal were missed, as if doing so enough times would somehow lead to points being awarded just for trying so hard. Mercifully, he was soon taken out, with fans, players and coaches alike thinking the exact same thing: "What the hell just happened?"
Via Live4liverpool.com
"Drugs! I was on all the drugs. And now I retire!"
When Dia was confronted about this, he broke down and admitted that his contract was secured using what amounted to a prank phone call. Dia was in fact a soccer player, but not a very good one, and basically bounced around some of the lowest level soccer leagues in Europe. He was kicked out of all them for being awful. Deciding that a lack of ability shouldn't hold him back from achieving his dreams of playing professional soccer, Dia had one of his classmates call up the local big-league team while pretending to be Weah. And somehow, that dumb shit worked.
"Ha! That's too funn- wait, he said I recommended him to who?"
Try as hard as you'd like to deny it, but if you managed to talk a major league team into letting you play for money, you'd probably give it a shot, too. On a hilarious side note, Ali Dia is now famous in England, and his jersey is the top seller for Southampton to this day. All for cheating his way onto a major league team.
Stop Calling Swatting 'Pranks,' Media
The Fake Horse in the Fake Race at the Fake Track
The London of 1898 was a hotbed of illegal gambling. Because the money in betting on what prostitute would be disemboweled by Jack the Ripper next had dried up 10 years earlier, horse racing was the main gambling attraction at the time. The annual August bank holiday was an extremely popular day for races, and the major papers scrambled to print the results of as many races as possible from all over England.
"Four hours of looking, and I still can't find -- oh, here we are. 'Race canceled.' Motherfucker."
So when the editors of The Sportsman received an exclusive request to cover an upcoming event in Trodmore, they were happy to oblige, especially since it gave them an edge against their major competitor, The Sporting Life. However, due to the remote location of the race, the paper would not be able to send anyone to cover it. But that was OK: The clerk of the racecourse, "Mr. Martin," promised to wire them the results of the Trodmore races in time to make the morning papers the next day.
The Sportsman dutifully announced the event, and bets started flowing in to the underground bookies scattered across London. In particular, there was a lot of action on a 5-1 shot awesomely named Reaper who was running in the fourth of the six races being held at Trodmore that day. That evening, the newspaper received the results, revealing that Reaper had won his race. When The Sportsman appeared the next day, the bettors began collecting their winnings. Some bookies complained, arguing that since the results had only appeared in one of the two major sports journals, the odds could have been printed incorrectly.
"And gambling is immoral and illegal. I couldn't possibly give you the money in good conscience."
The truth was quite a bit stupider than that. It wasn't long before people noticed something fishy about the Trodmore races. Not only was Reaper not a real horse, but also the race itself never occurred and, in fact, Trodmore wasn't even a real goddamned place. By the time the journals printed retractions, "Mr. Martin" and his unknown associates had vanished into thin air with their winnings.
By the way, the fraud was only discovered because of a printer's error (another paper printed the wrong odds, which is what prompted someone to look into it), which raises an obvious question: How many times had they pulled this off before without anyone noticing?
Probably enough to need some help moving.
Scamming an entire town out of horse race bet winnings -- it's just one more thing the Internet has made impossible for the rest of us.
Ryan can be found rambling aimlessly on Tumblr. Evan V. Symon can be found on Facebook.
Be sure to check out the originals in The 7 Ballsiest Sports Cheats Ever. Or discover the 7 Great Sports Moments (That Might Have Been Fixed).
5 Iconic Photos From History (That Are Totally Fake)


Australian mines (ASX:AUZ) has changed the location of its corporate headquarters to Brisbane in Queensland.
The company says this shows its commitment to developing its 100 per cent owned Sconi Cobalt-Nickel-Scandium Project located near Greenvale in North Queensland.
They also plan on opening an office in the Townsville area over the next year.
They expect to operate its Perth-based processing plant over the next two years.
Shares in Australian mines (ASX:AUZ) trading 1.14 per cent higher at $0.04.


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Super-Hero Comics and Reader Textualization:
Participation and Narrative Construction
by Tim Bavlnka | in Articles | Thu, 11 August 2011
This is a piece that explores the idea of textualization in super-hero comics and how these stories are constructed. More than that, it is an introduction to exploring purpose — why are super-heroes so engaging after all these years? What is the purpose of super-hero comics on a cultural level? This is also a bit of a set-up for future explorations, as it serves as a framework for comic analysis. One can look at comics and determine the ways that they pull in the reader into their world beyond just a compelling narrative.
Textualization, as defined by Jon Thiem, professor emeritus of English and Comparative Literature at Colorado State University "takes place when the world of a text literally intrudes into the extratextual or reader's world" (Thiem 339). The process of being "lost" in a story is very real, and he furthers it as resulting from a truly immersive text in which a reader is completely absorbed. Thiem describes this concept in relation to magical realist literary style, whose metaphorical nature compares well to the visual narrative construction of the comic book. Like these stories, the world of most comics are filled with fantastical plots and super beings that defy the laws of physics and have impossible powers, but are taken on face value as simply existing in that world. Within the pages, the fantasy is banal and a part of daily life. Thiem supports his ideas discussing the English language phrases used to describe this process and effect, as readers often say that they are "lost in a book" or "totally absorbed," and notes that other languages have similar expressions (Thiem 341). The narratives of magical realism allow this to happen, often through implementing nameless protagonists and dreamlike stories, similar to the abstract identities of a super-hero and the plots within a comic – we project ourselves onto super-heroes because of their masks allow for a blankness in identity and they have nonspecific heroic titles.
Further, there is vast psychological pleasure associated with reading, and the process of reading can have profound emotional effects. Victor Nell's study, Lost in a Book: The Psychology of Reading for Pleasure, uses a cognitive science approach to look at this psychological connection to reading. Nell describes this "absorbed" reading process as a "trance," which he sees as being remarkably similar to a dreamlike state, a process he refers to as "ludic reading" (Nell 73). Nell states that, "like dreaming, reading performs the prodigious task of carrying us off to other worlds," and attributes this mostly, but not exclusively, to fictional work due to its association with pleasurable reading (Nell 2). Nell describes the reading process, beginning with visual perception and working into more complex areas of comprehension and states that "consciousness is a processing bottleneck, and it is the readily comprehended messages that fully engage the receiver's conscious attention" (Nell 77).
Nell notes that less complex literary works make this process more complete, stating that "the richness of the structure that the ludic reader creates in his head may be inversely proportional to the literary [level] and originality of the reading matter" (Nell 77). The reader's comprehension is more complete when the text is less literarily and cognitively complex. Nell summarizes this idea by stating that, "the processing demands made by James Joyce may require frequent pauses and regressions, whereas the even pace of Wilbur Smith, and the well-practiced ease with which the reader can imagine his stereotyped characters and settings, may impose a heavier continuous load of attention" (Nell 77).
If the process of ludic reading is greater when the text is simple, does this process increase even more in the case of a visual narrative? Nell argues that when the brain does not have to struggle for comprehension, it is more able to enter the trance of ludic reading and that visual comprehension is the first step in this process. Thiem would probably argue that this creates an easier process of textualization. If readers do not need to put increased effort into understanding characters, settings, plots, or even the structures of sentences, then they are able to immerse themselves more fully. The comic's visual narratives allow this process to continue to a greater potential, as images replace description and plot and allow for even greater comprehension through the reader's understanding of the illustrated world. One does not need to read about the character leaving a room, or a snow covered mountain, if one can see it visually represented.
Researchers Peter Coppin and Stephen Hockema from the University of Toronto's Department of Information theorize on the possibility of images to hold information beyond basic visual comprehension. Beyond the evolution of the human brain's visual comprehension abilities, they theorize that "illustrations and visualizations may evolve to augment our cognition in an era that seems to be growing increasingly interconnected" (Coppin, Hockema 2). They further support this by emphasizing that, "illustrations may be increasingly called upon to help translate complex (often invisible) interconnections into visible form" (Coppin, Hockema 2). Though this may suggest the role of the artist as being more valuable to comic narrative, one should note that famous comic scribe Grant Morrison did start his comic career working as an illustrator (Salisbury 206). During the process of scriptwriting, he often visualizes elements of the story, and adds accompanying sketches to his scripts for artists to follow (Meaney). Morrison's writing process is at least partially visual, a fact which may make it easier for artists to translate his ideas on to the page and perhaps allows for a writer to more completely picture the realities of the world one he or she creates. The textual and visual narrative creation process are not mutally exclusive to Morrison's work, and he is able to include extradiegetic narrative information into his comics. But, as future articles will explore, Morrison uses textualization quite often, and his comics have a participatory nature to them, allowing for the reader to be an acknowledged part of the reading process. The theory of comic reading, and the cognitive research associated with it suggest, as Coppin and Hockema state, that one should consider "comics and illustrations as physical phenomena that interact with people, thus causing effects in people" (Coppin, Hockema 3).
Scott McCloud's Understanding Comics: The Invisible Art discusses how comprehension of a visual narrative becomes increasingly cognitively automatic, through a process known as closure, "observing the parts but perceiving the whole" (McCloud 63). He describes this process as the brain completing narrative illustrations through visual comprehension, which allows effortless understanding of the greater idea of the image, and in the instance of comics, the overall story and world in the book. Comic panels are generally physically separated on each page, but while we read, we perceive them as a single narrative flow. The space between panels, what McCloud refers to as "the gutter," allows the "human imagination [to] take two separate images and transform them into a single idea" (McCloud 66). McCloud argues that the basic nature of comics and the process of reading them represent an absolute form of his idea of closure. If the process of narrative comprehension becomes increasingly effortless because of the images-as-narrative and the brain's ability to perceive the whole from fragments, then the idea of ludic reading trances, or being lost in a book, would naturally increase because of the very nature of this medium and the process of reading comics. The nature of the medium allows textualization to happen more naturally, due in part to its visual narratives.
Pascal Lefèvre expands on this idea in his essay "The Construction of Space in Comics" in which he describes how the idea of three dimensional space and narrative reality are interpreted by the audience through the ideas of diegetic and extradiegetic space (Lefèvre 157). The diegetic space of a comic may refer to the layout of a character's home, or their direct environment, while the extradiegetic space refers to the ways that a panel and page are constructed in relation to the narrative of the overall story. This extradiegetic space can vary from the ideas of panel order on a particular page to the style of the artist, as Lefèvre states:
Consequently the form of the drawing does influence the manner the reader will experience and interpret the image: the viewer cannot look at the object-in-picture from another point of view than the one the picture offers; he is invited to share the maker's mode of seeing, not only in the literal, but also the figurative sense. (Lefèvre 159)
This refers to visual narratives as being able to hold narrative power in their images outside of depth cues and visual representations of people, objects and space. The images, their construction, style and layout on the page hold a narrative power that is inseperable from the ideas of the story, characters and dialogue of traditional text-based narratives. This can be extended outside the images, and be included in the page itself, as Lefèvre states, "[the reader] is conscious of the unseen but virtual space outside the panel borders and to link the fragments together, the reader is looking for overlaps" (Lefèvre 159). This idea clearly overlaps with McCloud's idea of "the gutter," and the way the reader links static images into fluid action and story. The panels and the abstracted space outside of the panels are all narratively important. In a super-hero comic, the diegetic and extradiegetic space is allowed to be more fantastical, its entirely fictional world is accepted because "if a comic pretends to be a realisitic depiction of our world, the reader will expect a sufficient degree of consistency" (Lefèvre 160).
Super-hero comics are therefore allowed to break away from the notions of realistic narrative storytelling, in terms of both text and visual narrative. Therefore, the comic medium and super-hero genre allow someone like Grant Morrison to include his (often hard to believe) ideas of magic in the visual narrative of a comic, and for it to be interpreted with a sense of concrete reality by the reader. It may not necessarily be real to the world of the reader, but it is real to the world of the character, and therefore the medium allows for that reality to be accepted without argument. The narrative space is as visually malleable as it is in terms of creating a fictional universe, and the reader is able to cope with this difference and derive meaning from reading.
Coppin, Peter, and Stephen Hockema. "Research Methods to Understand Comics and the Human Mind." Toronto, May 11, 2008.
Grant Morrison: Talking With Gods. Directed by Patrick Meaney. Produced by Sequart Research & Literacy Organization and Respect! Films. 2010.
Lefèvre, Pascal. "The Construction of Space in Comics." In A Comics Studies Reader, edited by Jeet Heer and Kent Worcester, 157-162. Jackson: University Press of Mississippi, 2009.
McCloud, Scott. Understanding Comics: The Invisible Art. New York: Harper Perennial, 1994.
Nell, Victor. Lost in a Book: The Psychology of Reading for Pleasure. New Haven and London: Yale, 1988.
Salisbury, Mark. Writers on Comic Scriptwriting. London: Titan, 1999.
Thiem, Jon. "The Textualization of the Reader." In Essentials of the Theory of Fiction, edited by Michael J Hoffman and Patrick D. Murphy, 113-120. Durham and London: Duke University Press, 2005.
Tagged comics mechanics, Grant Morrison, Scott McCloud, Understanding Comics. Bookmark the permalink.
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Tim Bavlnka has a Master's degree in Popular Culture at Bowling Green State University. He recently completed his thesis analyzing the works of Grant Morrison, titled Superheroes and Shamanism: Magic and Participation in the Comics of Grant Morrison and discusses how Morrison implements magic into narrative construction. His research interests include comics, digetic and extradiegetic narrative relationships, American black metal, contemporary forms of occult creativity, 4chan, and other internet communities. Tim currently lives in Madison, WI and occasionally writes on his blog PopCultureBomb.com.
See more, including free online content, on Tim Bavlnka's author page.
David Balan says:
But if the more information given increases the ease of textualization and viewer involvement, would not that mean that film would be the most easily involved medium of all? You don't have to imagine or read how the dialogue sounds, it just plays – you don't have to use closure to imagine the image in the gutter, it just plays for you. (Although it's worth noting that at scene cuts you use some degree of closure.)
And yet, for my part, I often find books and comics more engaging -because- they are more demanding. Not that I want something unclear or difficult to follow, but the more that my thoughts fill in the experience, the more I might feel that the world is part of my own – which seems to not jive with your thoughts on textualization.
Tim Bavlnka says:
Thanks for the comment. However, I think engagement and textualization are two different (somewhat related) experiences. There is a difference between being excited about the content and feeling like you are a part of it. Hopefully this will become clear as I explore the topic applied to particular stories and comics.
The statement about film is possibly accurate – We've all seen kids leaving the theater imitating what they've just seen or have personally wanted to save the day much like John McClain. Even enjoying a movie while watching it, and several days later realizing how crummy it was might suggest that it was able to keep you absorbed more. I'm no film scholar, though. They may have their own term for it. I think why it works with text or text/visuals is because of the fact that it is so far separated from filmed media and forces more interpretation.


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Our Featured Artist of the Week – Joni Diskint
Joni Diskint is fortunate to be a full-time artist – not a luxury afforded by many. She has set up her home in Chatham, New Jersey as a gallery – Joni Diskint Fine Art – specifically designed to showcase her work.
Her history probably dictated that she would set out on an artistic path. As a child, she was extremely creative, writing stories and making illustrations at a very young age. In fact, she nearly published a book when she was in the fifth grade.
But she only fully entertained the idea of being an artist when she was in college. She flourished in color and painting classes, received great feedback from professors, and decided to spend a year in London pursing her craft.
Things started to happen for her rather quickly. While living and painting in Colorado she began to show her work at local shows. At 25, she had her first show in Soho, NY, which marked the beginning of a yearly occurrence – she would show at a different gallery in Soho every year. At the time, she lived in the Berkshires, where she owned a gallery and would exhibit her work as well as that of other emerging artists.
At 30, she moved to the east side of NYC. "There was too much going on in the city not to be here", she says. Soon her work started selling in earnest, especially once she started offering prints of her pieces.
The landscape is her inspiration – the colors and the light, as well as its never ending, constantly changing nature. In most of her pieces the sky plays an important role because it is forever moving and always conveying a unique type of light.
Take "Lonesome Valley," a very evocative and challenging piece that conveys a dramatic, dark sky contrasting against the white snow. The piece is very deep and intense and is made from a very dark color palette. The ominous sky takes the viewer into a depth, to a different place.
The "Oil Lamps" are equally evocative in their portrayal of light. She bought the lamps in India and uses them for meditation, mostly at night when they cast a very solemn glow. Her idea was to capture the dark, that is to paint the light within the dark, and her aim was to go as dark as possible. She had studied Vermeer and other masters who so artfully conveyed light, and so she felt the need to do so as well.
"Reflected Light" is another play on light, this time using the reflection of the sun against the trees at sunset. These trees are actually in her backyard and she worked endlessly to evoke the light to come through to the canvas.
Joni sells through her home as well as through a variety of charity shows. She also has a separate studio attached to the house where she teaches painting classes. We invite you to view the work of our featured artist and to "see the light" in her varied works.
To view more of Joni Diskint's work, click here.
Filed in Featured Artists ·Tags: artist, artists, dark, fine art, landscape, light, nature, sky, sun, sunset, Vermeer
Georgia O'Keefe: A Life of Color and Abstraction
If you love color and abstraction, you won't want to miss the Georgia O'Keefe exhibit currently on display at the Whitney Museum in NY. By now you've read multiple reviews, but it can honestly be said that this is one show you have to see in order to "experience".
While it is true that Georgia O'Keefe's flowers and landscapes made her one of the most celebrated figures of twentieth-century art, the radical abstractions she created throughout her career are much less well known. Yet they are equally spectacular. In fact, it is her abstract work that ultimately led to her creation of landscapes and florals, and not the other way around.
For O'Keefe, abstraction offered a medium in which she could portray the "unknown" – the many intense thoughts and ideas she could not express in words. Her work conveys emotional response to people and places, as well as the rhythms of nature and the experience of being enveloped by its mystery and beauty.
The exhibit also chronicles the life saga of an extremely prolific artist, allowing us to feel her emotions as she went through different stages of elation and agony. At times her pieces explode with color, at other more distressful times, color becomes somewhat subdued.
In 1916, O'Keefe burst onto the New York scene with her charcoal abstracts – some of the most radical works ever produced in the US in the twentieth century. Renowned photographer Alfred Steiglitz, who would shortly become her personal and professional partner, gave her a show in 1917, exhibiting her work for the first time at his "291" gallery.
Witness "Early Abstraction" from 1915 – a linear work that takes on the form of a piece of sculpture.
"Early Abstraction," 1915
Vibrant Oils
She first introduced oils at the Anderson Galleries in 1923, marking the public's first view of her work since 1917 at "291." It was a jubilant time for O'Keefe, both artistically and personally, and the vibrant colors she uses – fiery reds, lush greens, erotic greens and yellow – convey her exhilaration. Favorites of ours include "Pink and Green," 1922, "Corn Dark," 1924, "Red Canna," 1925-1928, and "White Sweet Peas," 1926 (you'll have to see these for yourself in person).
"Abstraction," 1926
"Grey, Blue & Black-Pink Circle," 1929
"Flower Abstraction," 1924
"Abstraction White Rose," 1927
There is one particularly darker piece from this time period, a work that portrays her experience of undergoing anesthesia before an operation to remove a benign breast cyst – "Black Abstraction," 1927.
O'Keefe married Steiglitz in 1924 and they spent winters in NYC and summers at his home on Lake George. Many of the colorful lake series were produced during the peaceful times spent there.
O'Keefe first started to travel to New Mexico in 1929. Steiglitz was having an affair with a younger woman and she felt the need to escape. In 1932 she suffered a nervous breakdown and stopped painting altogether until 1934. For the next ten years abstraction figured very little into her work until the Black Place Series, which were based on an area in New Mexico 150 miles west of her home at Ghost Ranch.
Paving the way
After Steiglitz's death in 1946, O'Keefe moved permanently to New Mexico, at which time she began to introduce flat geometric planes of color, a factor that would play a central role in the art of the 1960's. A great example is "Black Door with Red" from 1954.
A personal favorite is the opening work to the exhibit – "Above the Clouds" – an absolute masterpiece, which was created in the early 1960's.
Although the exhibit stops around this time period, O'Keefe would go on to expand and evolve through her painting. She died in 1986 – at the ripe old age of 98 – having left an indelible mark on the world of abstract art.
"Black Door with Red," 1954
"Above the Clouds," 1962-63
Filed in Reviews ·Tags: abstraction, Alfred Steiglitz, anderson galleries, art, artist, artists, ArtistsinAuction, black place series, color, expression, fine art, floral, flower, lake george, landscape, nature, new mexico
Icons of the Desert: Early Aboriginal Paintings at the Grey Gallery
Unpredictable, quirky, innovative and quite varied – some of the adjectives to describe the latest Icons of the Desert: Early Aboriginal Paintings from Papunya exhibition at NYU's Grey gallery. I would also add dreamy, hypnotic and spiritual to the list
In 1971, schoolteacher Geoffrey Bardon provided a select group of men in Papunya, a community 160 miles west of Alice Springs in Australia, with acrylics and boards. Before these boards were made available, most artistic renderings had been in the fleeting form of body decoration, ceremonial objects and temporary ground paintings.
The new pieces established an artistic permanence as well as a striking new visual language, featuring dream motifs, ceremony, storytelling, song and the ancient tradition of mark making that dates back more than 10,000 years.
These Papunya boards, of which fewer than 600 remain, formed the genesis of the Western Desert Art Movement. Approximately fifty of these exhilarating pieces are on exhibit by notables such as Clifford Possum Tjapaltjarri, Shorty Lungkarta Tjungurrayi, Johnny Warangkula, and Mick Namararri Tjapaltjarri.
I urge you to go and experience the sweat, tears and love that has been poured into each individual piece. The intensity is real, the vitality is powerful. Do not miss this one-of-a-kind exhibit which runs through December 5th.
Filed in Reviews ·Tags: aboriginal, aborigine, and Mick Namararri Tjapaltjarri, art, artist, artists, australia, bardon, ceremony, Clifford Possum Tjapaltjarri, dream motif, dreaming, geoffrey bardon, horty Lungkarta Tjungurrayi, Johnny Warangkula, mark making, nature, papunya, storytelling, western desert art movement
Our Featured Artist of the Week – Mary Sonya Conti
Evening Light
"Until you apply things with love you cannot start living," says artist, Mary Sonya Conti. And there is no question that she thoroughly loves what she does. You can just hear it in her voice as she explains her unique techniques. But even more so, you can see the love she puts into every single piece of her art.
"Sonya" is a self taught artist that learned her craft at a very young age – long ago when her mom started craft night for she and her six siblings. Each kid had to create a different project from things collected outside the house. It was a great form of entertainment and a great way to expand the imagination, something she fears has gotten lost these days. Sonya clearly remembers collecting river rocks and tiling the bathroom floor at seven years old – a technique that has, ironically, become really popular today.
Much of Sonya's work is based on tactile objects found in her garden – hosta and maple leaves, gravel, moss, and even dirt. She explains that the idea is to stay connected to what is around her so as to elicit a feeling and a mood- a defined focus from the many textured elements she uses. She admits she can even produce a fragrance from certain textures. If she does her job well the viewer will connect with the piece and further spark the imagination.
Unique techniques
One popular technique Sonya uses is with gauze. Concentrated watercolors are poured over the material, which is then draped to bring texture and lines. Once the piece has dried and the material is peeled back (sometimes she leaves the material in the work), the piece conveys the feel and texture of linen, and the colors are all blended naturally. Images are built slowly in this way. She then finishes the entire work by sealing the gauze with a glaze so it won't deteriorate. As you can imagine, it's a very time consuming process.
Five years ago, Sonya started teaching workshops in which she teaches her "laying" techniques, specifically, the laying of elements into color and certain pouring methods.
Her Work
"Through a Child's Eye," was created by highlighting the veining of hosta leaves. Acrylic inks were poured over and the "bones" were revealed once the leaves were peeled off. Then detailing began – pen and ink, as well as diluted watercolors were used to build up a glazing effect. Originally Sonya set out to create a peacock, but an excited child changed her mind in mid-creation and she just let the piece be what it was.
Through A Child's Eyes
"Giving Tree" is part of a series in the ArtistChallenge.com. Artists are selected and invited to create based on a chosen theme. This one was based on the story about the giving tree, a tree that had supported a man all throughout his life. The group showcases their work in two monthly local galleries.
"Riviera" was a commission for the Dayton Philharmonic Opera House. It was actually housed in the ladies bathroom – greatly admired by all the women who saw it. "You have to start somewhere," says Conti.
Home Comfort on the Riviera
Mary Sonya Conti has two upcoming local shows in September, and she is up for selection as a mural artist for the city of Dayton, Ohio. We wish her much success.
To view more of Mary Sonya Conti's work, click here.
Filed in Featured Artists ·Tags: ArtistsinAuction, fine art, nature, pouring methods, technique, texture, workshop
Our Featured Artist of the Week: Billy Newman
ArtistsinAuction recently caught up with one of our newest contributors, nature photographer, Billy Newman, while he was hanging out at home with his wife in Newnan, Georgia. Billy works in both black & white and color, and he produces some of the most gorgeous images of nature and florals we have ever seen.
Unlike photographers who create a scene around a concept, Billy goes out and explores with his camera. Nothing is set up beforehand, and there is no preconceived plan of what he will be shooting. This makes a big difference because his work becomes a true form of self-expression. As Billy says, "When we create art we try and show a mirror of ourselves."
While he definitely prefers color, his black & white images are equally stunning. We discovered that his black & white's are actually tritonal – similar to the process of adding a duotone in Photoshop, he adds a tritone in order to add a little mystique to the image. It's kind of like a painter using dark green, dark red and dark blue to create black instead of actually using black, which often flattens the work.
Billy has always been a fan of Monet's Water Lilies, which is evident when you look at his color images. Witness pieces like Around, and Arise (in our gallery of images) and you'll see what we mean.
AstraA by Billy Newman
Up until 6 months ago, Billy used conventional lenses and film, which he later scanned into digital images. He switched to digital, and now prefers it because he gains greater control over tone and color. His images are then printed through an archival inkjet process.
Billy, a prolific photographer, has previously sold his work through dealers into private corporation art collections. We are thrilled to have him participate in our upcoming auction, giving our buyers and collectors the chance to purchase exquisite works of nature photography at auction prices. Make sure to check out his collection of work offered at the Gallery section of http://www.artistsinauction.com!
There is no question that Kieran McGonnell is a prolific and disciplined artist. He has been painting constantly for many years, currently in his upstairs studio, and works with galleries and dealers both in New York and Chicago, where he currently resides. He also shows once a year in Ireland. He says this has been the toughest year to date –no small statement from a talented artist such as he.
To view more of Billy Newman's work, click here.
DawnA by Billy Newman
Filed in Featured Artists ·Tags: art, artist, camera, digital, floral, nature, photography, tritonal


W. Bair, J. R. Cavanaugh, M. A. Smith, J. A. Movshon; Switching between off and on in the macaque visual system. Journal of Vision 2001;1(3):202. doi: 10.1167/1.3.202.
At multiple stages in the visual system, neurons can be driven rapidly from near minimum to near maximum firing rate (turned on) or from near maximum to near minimum rate (turned off). We measured the timing of single neuron responses to on-off and off-on transitions in the LGN, V1, and area MT of the anesthetized macaque monkey in order to understand how signals which support the on and off states interact at the transition boundaries and how the interactions differ across visual areas and classes of neurons. Our stimuli were random binary sequences in which either a preferred stimulus (P, which drove the cell maximally) or an anti-preferred stimulus (A, giving minimal response) was shown on each video frame at 100Hz. We also used ternary random sequences which included a neutral stimulus (N). Typically, P was an optimized sine grating, A was counterphase (LGN and V1) or orthogonal to P (V1), and N was mean gray. For direction selective (DS) cells, P moved in the preferred direction, A moved in the opposite direction, and N was static. We tested the center and surround in LGN, the classical receptive field and surround in V1, and DS cells in V1 and MT. Overall, turning on (from off) took longer than turning off (from on). Specifically, the decrease in firing rate for P-A transitions began sooner than the rate increase for A-P transitions, and the delay for the A-P response was often less when A was present longer. With ternary stimuli, the N-P and N-A responses showed little or no timing difference for the LGN and for DS cells in V1 and MT. However, for orientation selectivity in V1, the timing asymmetry persisted for N-P and N-A responses. Our results are consistent with the notion that A stimuli place neurons in a hyperpolarized state, delaying the response when P is applied. The delay depended on both the duration of A and on the strength of P. However, several variations in the typical behavior point to differences in mechanisms across classes of neurons.


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the female lead in the new harry potter movie is…
hold onto your sorting hats
by harry charlesworth
We could not have been more thrilled when we heard that British heartthrob Eddie Redmayne was cast as the male lead, curious magizoologist Newt Scamander, in J.K. Rowling's Fantastic Beasts and Where to Find Them, the newest addition to the Harry Potter cinematic universe. And we've been on the edge of our broomsticks since learning that beauties like Saoirse Ronan, Dakota Fanning, and Kate Upton were being considered for the roles of Queenie and Tina. Now finally it has been revealed that Inherent Vice actress Katherine Waterston will play the film's female lead.
Waterston will take on the role of Porpentina (a.k.a. Tina, for short). What we know is that Tina is a witch who "operates" in the U.S. Newt will encounter Tina somewhere along his journey of finding and documenting mythical creatures. J.K. revealed some interesting facts about wizarding school in the U.S., so hopefully this spell we will get to see some new visions of Rowling's magical universe. Happy to hear that things are bubbling and brewing over at Warner Brothers because we could not be more excited to revisit the wizarding world of HP!
Photo by Frazer Harrison / Getty Images
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Future Mayor/Senator John E. Flynn is fourth from the left.
The event was held on October 3, 1954.
The photograph was taken April 21, 1963.
This photo is of a "Yonkers Week" celebration featuring 1010 Winds broadcaster Stan Z. Burns . The party was held on April 21, 1963.
Mayor Flynn is the third person on the bottom row kneeling. Frank Kendrick is to his right.
The Grinton I. Will Library (originally know as the Grassy Sprain Library) opened in November of 1962.
Mayor John E. Flynn is holding the scissors. Grinton I. Will is to his right.


Texas may not see ice and snow very often in winter, but when it does, it can be disastrous. Since many Texans aren't exposed to the winter elements, they often aren't prepared to drive on slick roadways. Fortunately, we here at Hyundai of Longview have a few tips on how to prepare your car for a Texas winter.
Preparing your car is just as much about preparing yourself for what the upcoming season holds in store. Winter driving in Longview is only dangerous if slick roads come as a surprise. One of the best ways to avoid going in blind, so to speak, is to check the local weather prior to getting behind the wheel. Planning ahead, whether that means giving yourself more time or not going out all, can help prevent a potential accident from occurring at all.
Gas prices aren't the cheapest they've ever been, but a full tank is a small price to pay if it means functioning fuel lines. If a gas tank is left below half full, moisture can collect and freeze in the fuel lines, effectively preventing the vehicle from starting. That's a problem no Longview resident wants to run into!
Cold weather means the battery has to work harder to start the car. Weak batteries may not have enough charge to do so, leaving you with a major problem on your hands, especially if you're in a remote area. As a general rules, batteries should be replaced every three years, depending on how the vehicle is maintained and housed.


Lightly grease and flour 12 regular muffin tins. In a large bowl stir together the flour, baking powder and salt; set aside. Whisk together the egg, buttermilk and oil in a small bowl. Stir in the ham and cheese. Using a rubber spatula, stir the egg mixture into the dry ingredients just until combined. Do not overmix.
Spoon into each of the prepared muffin tins approximately 3/4 full. Bake until golden brown, about 20 minutes. Remove from muffin tin and let cool.


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"Seriously deficient"
In a post on Tuesday, Scoop's Gordon Campbell hooks into the Fijian Court of Appeal's judgement [PDF] in Qarase vs. Bainimarama:
Apparently, under that latest reading of the 1997 Constitution, there was no prerogative power held by the Fijian President, no matter what breakdown in good governance or civil society had occurred. At the very least, this reading would seem to render the 1997 Constitution seriously deficient.
Hardly. Instead, what's "seriously deficient" is Campbell's unspoken assumption that such breakdowns must be dealt with by the prerogative power of the President. Because while the Court found that there was no prerogative power to deal with emergencies, it found such because that power had been explicitly assigned to the elected government under the direct and immediate supervision of Parliament by sections 187 - 189 of the Fijian Constitution:
In our opinion, the existence of s. 187 is as clear an indication as there can be that national security matters were not matters which were left to the prerogative. The existence of an implied right in the President arising from the prerogative, acting otherwise than on the advice of the Prime Minister to dismiss the government, to dissolve the Parliament and establish an Interim Government in the face of an emergency, is inconsistent with that provision.
Under the constitution, Fiji's President can only declare a state of emergency and suspend certain human rights on the advice of the Prime Minister and Cabinet, and then only if it is confirmed by Parliament within a very short space of time (and if there is no Parliament - e.g. they are in the middle of an election campaign - it is immediately recalled). Doing things that way - rather than on the whim of one man - is not a "deficiency". it is a strength. Unless, of course, you have some fundamental problems with democracy...
The court also found that there was no prerogative power to dismiss the Prime Minister, that having been (very firmly) nailed down by sections 98, 108 and 109. while the British monarch once had the power to dismiss "their" Prime Minister and appoint whomsoever they chose to advise them, any residue of that power which had survived William IV's unsuccessful dismissal of Melbourne (the last gasp of absolute monarchy) had been thoroughly eliminated by the Fijian Constitution's explicit codification. But beyond that, they also asked:
[W]hy does a matter of national security call for the dismissal of a Prime Minister and his Ministers and the dissolution of Parliament? Under the Fiji Constitution it is he and his Cabinet who have the responsibility to lead the country through a crisis, and to advise the President in relation thereto. It is entirely unclear to us why the first thing called for in a time of national emergency is the dismissal of the Prime Minister and his government.
It's a question the supporters of Fiji's despotism like Campbell and Trotter might want to ask themselves. Because as the court noted, once you ask that, it exposes what has really occurred: "a military coup or an unlawful usurpation of power".
(Oh, and in response to Campbell's latest, I have just one question to ask: if an election conducted under a system which, while imperfect, is still found to be "free and fair" by both international (Commonwealth, EU) and domestic observers (USP - sadly, the report does not seem to be online) is not "an over-riding litmus test of political legitimacy", then what the hell is? I knew Chris Trotter had problems with democracy; I had expected better from Campbell...)
Labels: Democracy, Fiji
Climate change: the latest inventory
Labour steps up on the Maori seats
Rudd sides with the bigots
Fiji: great news if its true
Select committee supports medical THC
Reminder: Drinking Liberally Auckland tomorrow
Legislating for equality in the UK
This is what racism looks like
Extremely weak
A project of national significance
Stupid as well as wrong
Iceland settles the score with neoliberalism
Geeking on electricity
Goff backs a referendum
A competitive by-election II
Anything but Sweden!
South Africa votes
The ugly face of bigotry
"A very big terrorist plot"
An alternative to cutting spending
Aucklanders deserve a referendum
Conserving our natural heritage
The consequences of three strikes
Reminder: Drinking Liberally Wellington
Foreshore and seabed: Labour admits it was wrong
No freedom of speech in Kuwait
Failed already
A way to go yet
A giant gay storm
Deepening the recession
Calling National on its "centrism"
Taito on trial
Damian Green cleared
Obama protects torturers
"Consultation"
Afghans stone women protesting against rape-law
Definitely not OK
The world's biggest election
Unite wins again!
Help for the rich but not the poor
Climate change: the cost of abandoning biofuels
Climate change: the net position
Simply wrong
New kiwi non-blog
Who's buying our cabinet ministers?
Fiji latest
A competitive by-election
Back to their old tricks
Media censorship in Fiji
Fiji: the other shoe drops
Fiji: the judgement
Asset forefeiture: passed
Fiji: Democracy wins?
An empirical argument for the left
Reminder: Drinking Liberally tonight in Wellington
Spewing ink
Equality wins in Vermont
A narrow slice of common ground
No privatisation of Auckland water
Privatising Auckland's water
Entrenching the democratic defecit
First Clark, now Cullen
This is what climate change looks like
Drowning local government in the bathtub
The joke is over
A victory for the environment
Equality wins in Iowa
Perpetuating privilege
Arbitrary, retrospective... and unnecessary
Less than an hour
Climate change: a policy of genocide
A referendum on the supercity


An Albuquerque company has officially launched its interactive dining experience in the heart of downtown. Located next to Duel Brewery, 610 Central Ave. is the new home to StoryLab Interactive's latest project – a dining experience that was truly out of this world.
The five course meal was not only delicious and thoughtfully presented but even the menu contained plenty of clever "space" puns and wordplay for each item (a "Rocket Salad" arugula dish and a "Starfruit Halo Halo" dessert, just to name a few). The dinner was presented and served by Savor and with each course, a perfectly paired wine was served as well.
Service was impeccable as each dish was explained before we "dug in".
Space-guided voices and different galactic scenarios continued as the remaining courses were served. At one point, guests were even presented with a squash bisque in what looked very similar to a "space bag" before using it as an exquisite sauce for the salmon and short ribs course.
The immersive dining experience provided a spotlight for where your plate sat and the lights responded to your moving hands – which made it impossible to NOT interact and appreciate what was happening with those around you.
The homegrown startup company will continue these dinners every Friday and Saturday night at 610 Central Ave. and tickets are required so be sure to grab tickets in advance.
Overall, the entire experience was unlike anything that this city has offered before. Sure, there have been interactive art exhibits but StoryLab Interactive has taken that to the next level by appealing to all senses with this unique dining experience.
Laidback Luke hit town for a crazy show at The Stage on September 20, 2017. You can hear more from this Dutch DJ, producer and martial artist on his Soundcloud page. Enjoy two galleries of images.
Gallery 2 – Laidback Luke hit town for a crazy show at The Stage on September 20, 2017. You can hear more from this Dutch DJ, producer and martial artist on his Soundcloud page. Enjoy two galleries of images.
This may be the hardest break up yet.. Disney has decided to end it's relationship with Netflix and start it's own direct to consumer streaming service. Stop. Take a deep, everything will be ok. Nothing will happen over night, but expect some of your favorite Disney titles as well as Pixar titles to go missing towards the end of 2018.
The upside? The new platform will be the hub for all Disney movies coming up, beginning with big names such "Toy Story 4", "Frozen 2" and the upcoming live action "Lion King".
What's more? The company is also set to launch it's own ESPN video streaming service in early 2018. The new platform from Disney will feature over 10,000 sporting events each year from MLB, MLS and NHL to both collegiate sorts and tennis Grand Slam tournaments.
How does the Disney Company, one of the world's leading producers and providers of entertainment and information, plan to do all this?
In short the answer is BAM! Well more specifically BAM Tech, for which Disney now owns a majority ownership worth $1.58 billion. The new acquisition, "represents a big strategic shift for the company..having control of a platform we've been very impressed with.. would give us control of our destiny," said Disney CEO Bob Iger in an interview with CNBC's Julia Boorstin.
Netflix stock dropped more than 5 percent after the announcement from Disney.
ABQ-Live covered the annual Albuquerque Wine Festival. Enjoy photos from three days of wine, entertainment, and fun!


text:
HOME ABOUT SCHEDULE/RESULTS ROSTER NEWS STORE CONTACT
Wisconsin Volleyball Conference Record: 7-2
Midwest Ten Conference Record: 5-2
DATE TIME OPPONENT RESULT RECORD
2/6 6:30pm UW-Oshkosh II* Won 25-18, 25-14, 25-16 1-0
2/9 Spring 2019 UW Madison Classic @ UW-Madison
2/9 UW-Madison II Won 25-16, 25-17 2-0
2/9 UW-Milwaukee Won 25-13, 25-20 3-0
2/9 Northwestern University Won 25-19, 25-21 4-0
2/9 UW-Milwaukee II Won 25-11, 25-13 5-0
2/16-17 Hoosier-Illini Classic @ Indiana University
2/16 Western Michigan University Won 25-14, 25-22 6-0
2/16 Miami University (Ohio) Won 20-25, 25-20, 15-6 7-0
2/16 University of Notre Dame Won 25-13, 22-25, 15-9 8-0
2/16 #12 University of Illinois Won 25-20, 22-25, 18-16 9-0
2/17 #21 University of Missouri Won 25-20, 25-15 10-0
2/17 Marquette University Won 25-19, 25-22 11-0
2/17 #12 University of Illinois Won 22-25, 25-16, 16-14 12-0
2/21 6:00pm UW-Whitewater* Lost 24-26, 25-19, 25-23, 23-25, 12-15 12-1
2/23-24 Midwest Ten Championship @ Iowa State University
2/23 Marquette University** Lost 19-25, 15-25 12-2
2/23 Ball State University** Won 25-19, 25-18 13-2
2/23 Northern Illinois University** Won 25-16, 25-17 14-2
2/23 Iowa State University** Won 25-18, 25-22 15-2
2/23 Illinois State University** Won 25-22, 25-18 16-2
2/23 DePaul University** Lost 23-25, 25-23, 11-15 16-3
2/24 University of Notre Dame** Won 25-21, 26-24 17-3
2/24 Ball State University Won 25-23, 25-9 18-3
2/24 DePaul University Won 21-25, 25-12, 15-9 19-3
3/2 WVC Playdate @ UW-La Crosse
3/2 Marquette University* Won 25-21, 25-14 20-4
3/2 (#4 DII) UW-La Crosse* Won 25-21, 25-14 21-4
3/2 (#8 DII) UW-Eau Claire* Won 25-23, 30-28 22-4
3/2 UW-Whitewater* Lost 26-24, 24-26, 16-18 22-5
3/8 6:30pm (#10 DIII) UW-Oshkosh II* Won 25-19, 25-18, 25-21 23-5
3/16 12:00pm (#8 DII) UW-Eau Claire* Won 25-16, 25-19, 25-19 24-5
3/17 4:00pm Marquette University* Won 25-0, 25-0, 25-0 25-5
3/17 12:00pm (#8 DII) UW-Eau Claire Won 25-23, 26-24 26-5
4/6-7 MIVA Championship @ Northern Illinois University
4/6 DePaul University Won 20-25, 25-23, 15-12 27-5
4/6 University of Kentucky Won 25-18, 25-14 28-5
4/6 #12 UW-Madison Lost 20-25, 20-25 28-6
4/7 University of Minnesota Won 25-15, 25-19 29-6
4/7 #19 Indiana University Won 25-21, 24-26, 15-12 30-6
4/7 #23 Marquette University Lost 25-19, 22-25, 13-15 30-7
4/18-20 NCVF National Championship (Denver, CO)
4/18 9:00am Boston College Won 25-17, 25-17 31-7
4/18 11:00am University of California - Los Angeles Won 25-23, 25-13 32-7
4/18 1:00pm #19 Texas A&M University Won 28-26, 25-19 33-7
4/19 #25 University of Maryland Won 22-25, 25-18, 15-9 34-7
4/19 #10 University of Central Florida Lost 20-25, 23-25 34-8
4/20 11:30am #5 University of Florida Won 25-18, 22-25, 19-17 35-8
4/20 3:15pm University of Arizona Won 25-23, 26-24 36-8
4/20 7:00pm #8 Cal Poly SLO Lost 15-25, 14-25 36-9
BOLD denotes home games.
* = WVC Conference Match
** = Midwest 10 Conference Match
MIVA Conference Record: 7-3
1/26-27 MIVA Playdate @ Indiana University
1/28 Purdue University II** Lost 21-25, 19-25 0-1
1/27 Ohio State University II** Lost 20-25, 23-25 0-2
1/26 Iowa State University II** Won 25-16, 23-25, 15-10 1-2
1/26 University of Dayton II** Won 25-22, 25-27, 15-7 2-2
1/27 University of Kentucky II** Won 25-21, 25-20 3-2
1/27 Michigan State University II* Won 25-19, 25-17 4-2
2/6 6:30pm UW-Oshkosh* Lost 18-25, 14-25, 16-25 4-3
2/9 #3 UW-Madison Lost 24-26, 23-25 4-4
2/9 UW-Madison II Lost 16-25, 25-19, 15-12 5-5
2/23 MIVA Playdate @ University of Illinois
2/23 (#2 DIII) Marquette University II** Lost 22-25, 25-22, 11-15 5-6
2/23 (#8 DIII) Purdue University II** Won 21-25, 25-16, 15-9 6-6
2/23 University of Illinois III** Won 25-19, 25-19 7-6
2/23 UW-Madison II** Won 16-25, 25-19, 15-12 8-6
2/27 6:00pm UW-Whitewater* Lost 24-26, 23-25, 20-25 8-7
3/2 UW-Whitewater* Lost 17-25, 27-29 8-8
3/2 (#8 DII) UW-Eau Claire* Won 28-26, 25-20 9-8
3/2 (#4 DII) UW-La Crosse* Lost 22-25, 14-25 10-9
3/8 6:30pm #4 UW-Oshkosh* Lost 19-25, 18-25, 21-25 10-10
3/16 2:30pm (#8 DII) UW-Eau Claire* Lost 20-25, 24-26, 23-25 10-11
3/17 12:00pm Marquette University* Won 25-0, 25-0, 25-0 11-11
3/16 2:00pm (#8 DII) UW-Eau Claire Lost 20-25, 23-25 11-12
3/30-31 MIVA Championship @ Ohio State University
3/30 (#5 DIII) Indiana University II Lost 22-25, 25-18, 12-15 11-13
3/30 (#8 DIII) University of Illinois II Lost 20-25, 23-25 11-14
3/30 Illinois State University II Won 25-20, 30-28 12-14
3/30 University of Illinois III Won 25-0, 25-0 13-14
3/31 University of Michigan II Won 26-24, 25-18 14-14
3/31 (#3 DIII) Marquette University II Lost 20-25, 18-25 14-15
4/5-6 WVC Championship @ Milwaukee Sting Center
4/5 #13 UW-Whitewater Lost 25-19, 19-25, 18-25, 23-25 14-16
4/5 7:30pm (DII #5) UW-La Crosse Lost 23-25, 14-25, 25-17, 19-25 14-17
4/6 8:30am (DII #8) UW-Eau Claire Lost 20-25, 17-25, 24-26 14-18
4/6 (DII #5) UW-La Crosse Won 25-21, 25-17 15-19
4/18 5:00pm Western Michigan University - "B" Won 25-10, 25-12 16-19
4/18 7:00pm James Madison University "B" Won 25-15, 25-14 17-19
4/18 9:00pm (#18 DIII) University of Connecticut "B" Won 25-16, 25-15 18-19
4/19 6:00pm University of Central Florida "B" Won 20-25, 25-21, 15-11 19-19
4/19 8:00pm (#14 DIII) University of Maryland "B" Won 25-14, 25-21 20-19
4/20 9:00am (#24 DIII) University of Dayton "B" Lost 22-25, 20-25 20-20
** = MIVA Conference Match
© 2020 Oshkosh Volleyball. All Rights Reserved. | Built by: Thinksite®


text:
Archive | Stickers On Instruments
Elvis Presley's "Kenpo Karate" Stickers On His Gibson Ebony Dove & J200 Guitars
By raul on February 20, 2010 in Elvis, Guitars & Gear, Stickers On Instruments
From November 5, 1971 through September 3, 1973 Elvis Presley performed in concert with this customized Gibson Dove acoustic guitar with an Ebony finish and Elvis Presley inlaid in script on the rosewood fret board. When Elvis began his tour on March 1, 1974 in Tulsa, Oklahoma he performed onstage for the first time with this Ebony 1968 Gibson J200 guitar with the same sticker.
Johnny Depp Gave Noel Gallagher His White Rickenbacker 330 Guitar With The P Sticker (Update: Paul Weller Gave It To Him)
By raul on February 11, 2010 in Guitars & Gear, Oasis, Stickers On Instruments
Johnny Depp has starred in a string of critically acclaimed blockbusters, but his personal career high was playing slide guitar on the song Fade In-Out Oasis album "Be Here Now." Depp even gave Noel Gallagher a guitar during the recording session, which he often plays at concerts now.
Radiohead's Thom Yorke Had Apple Stickers On His Guitars Long Before Apple Music
By raul on February 5, 2010 in Radiohead, Stickers On Instruments
With the launch of the Apple Music streaming service, Radiohead's "In Rainbows" as well as Yorke's solo albums and with Atoms for Peace are available, despite being pulled elsewhere. Why Apple??? A quick look at a few of his guitars will tell you Yorke has supported Mac for years???
Liam Gallagher's John Lennon Sticker On His Gibson Guitar
By raul on December 31, 2009 in John Lennon, Oasis, Stickers On Instruments, The Beatles
Here's what we can gather about it so far….The photo of John Lennon is from the May 19th 1967 record release party at manager Brian Epstein house in his home at 24 Chappel Street, London.
Ryan Adams Acoustic Guitar With Owsley Sticker
By raul on November 30, 2009 in Quick Tidbit, Stickers On Instruments
Another feelnumb.com post about stickers on instruments….This time it's Ryan Adams who played this Gibson Acoustic with sticker with letters spelling out OWSLEY. We have not found the reason for the sticker so I can only assume that it is for Owsley Stanley.
Eddie Vedder's Vintage Martin Acoustic With Sticker
By raul on November 23, 2009 in Guitars & Gear, Pearl Jam, Stickers On Instruments
Looks like Pearl Jam's Eddie Vedder at some point had a sticker on his vintage Brown Martin 0-18 acoustic guitar. I haven't seen it on there recently as this picture was taken around 2004. Don't quite know what it is but it looks like a variation of The United States Presidential Seal or The Ramones […]
Pete Townshend's Numbered Gibson Les Paul Guitars #1-#9
By raul on October 22, 2009 in Guitars & Gear, Stickers On Instruments, The Who
The Who's Pete Townshend has had numerous Gibson Les Paul Deluxe guitars. The most famous of those were numbered from #1 to #9 based on the tuning requirements of various songs.
Noel Gallagher's Gibson J-200 With The Adidas Sticker
By raul on October 19, 2009 in Guitars & Gear, Oasis, Stickers On Instruments
I've always loved Noel Gallagher's Gibson J-200 with the colorful retro Adidas sticker right above the fret board. Why would Noel put an Adidas sticker on his guitar?
Paul McCartney's "BASSMAN" Sticker On His Hofner Violin Bass
By raul on October 17, 2009 in Guitars & Gear, John Lennon, Paul McCartney, Stickers On Instruments, The Beatles
If you watch The Beatles "Let it Be" movie you will see that Paul McCartney's 1962 Höfner 500/1Violin bass has a BASSMAN sticker on it.
Kurt Cobain "Nixon Now" Sticker On His 1961 Epiphone Texan Guitar
By raul on October 14, 2009 in Guitars & Gear, Kurt Cobain, Nirvana, Stickers On Instruments
Kurt Cobain purchased this 1961 Epiphone "Texan" acoustic guitar with the "Nixon Now" sticker as a replacement for his Stella acoustic from a Los Angeles guitar shop after completing the "In Utero" album.
Arctic Monkeys 0114 Drumkit Meaning
Noel Gallagher's Gibson J-200 With The Adidas Sticker
Jeff Ament's Basses With Buffalo Bills & New Orleans Saints Stickers
Dave Grohl's Signature Model Gibson DG-355 Guitar Nicknamed "Lou"
Kurt Cobain "Nixon Now" Sticker On His 1961 Epiphone Texan Guitar
Liam Gallagher's John Lennon Sticker On His Gibson Guitar
Beck's '62 Danelectro Silvertone Guitar With Rush 2112 Sticker
Billy Corgan's "I Love My Mom" '74 Fender Stratocaster Guitar
Live Abbey Road Crossing Camera
Reliving The Chris Cornell vs Trent Reznor Rivalry of 2009
Oasis Album "Standing On The Shoulder Of Giants" Name Was Taken From £2 Coin
Led Zeppelin DVD Cover Photo Location
R. Kelly Igniton (Remix) Cover By Meg & Dia
George Harrison Wearing a Tom Scott "New York Connection" Shirt
Oasis' Liam Gallagher "Hello" Vocals Only Track
Tattoo Cover Up: Foo Fighter Taylor Hawkins "Hawk" Tattoo


SIWYDenim.com is a leading designer and manufacturer of women's denim fashion. They designs and manufactures women's jeans, short shorts, skirts, jackets, overalls, dresses and tops. Their collections are vintage inspired, modern tailored and technologically infused with curve flattering fit.


There are many Colorado hcg weight-loss plans in the market today in Brush Colorado. Are you looking to find out where in Brush to buy hcg drops in Brush, CO? A few of them are actually quite effective and may help you reduce fat in a very short amount of time. Brush HCG dietary weight reduction plan drops are becoming very beloved because they are quite good in Brush at helping people in Colorado reduce fat. They are not dangerous either as HCG is a hormone that is developed in Brush by the body naturally in Brush pregnant women. Unlike most weight-loss remedies, HCG drops can actually help you reset in Brush your metabolism. That will not only help you reduce fat but will also help you maintain your figure as well in Brush. No need to wonder where to buy hcg dietary weight reduction plan in Brush CO and longer as we have the very best right here in Brush.
Most extra heavy people in Brush CO don't usually look good. All their features are distorted due to excess body fat. Most extra heavy people in Colorado don't realize that in Brush they can look twice as good in Brush if they keep their weight in control with the Brush hcg dietary weight reduction plan. Fortunately, you can reduce fat within a few weeks with the use of this Brush Hcg diet plan. We offer special hcg diet kits with our Colorado HCG weight reduction plan diet drops to help you reduce fat dramatically.
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text:
Q: C# compiler complains about misusing local variable before when there are none Am I blind?  Where is the local variable?
1>d:\path\Start.cs(99,11,99,20): error CS0844: Cannot use local variable '_mainAssy' before it is declared. The declaration of the local variable hides the field
Also same error lines 100, 102, 105.
private AssyFile _mainAssy = null;
private AssyFile MainAssy()
{
  if (_mainAssy != null) // this is line 99.
     return _mainAssy;
  try
  {
    _mainAssy = new AssyFile(Application.ActiveDocument as AssemblyDocument);
  }
  catch
  {
    _mainAssy = documents.CreateAssy();
  }

  returrn _mainAssy;
}

EDIT: added missing try and catch statements.  (Before removed to try to resolve bug.
Current question is:  Why does mispelling 'return' cause this compiler message?

A: The problem is here:
returrn _mainAssy;

Because you misspelled return, the compiler doesn't recognize the keyword. So it thinks returrn is a type, and returrn _mainAssy is the declaration for a variable _mainAssy of type returrn...

redpajama_set_name: RedPajamaStackExchange


http://www.jobaroo.com/post-a-job.php Jobaroo - Post a Job - Australian jobs in engineering, town planning and construction for job seekers from Australia, New Zealand and South Africa. Let us help you gain employment with information on working visas, bank accounts, tax, travel & transportation, where to live, and health.
I purchased these same skies from this same vendor... Through their website directly (not amazon) as they were running a 10% off sale at the time. Not only were the bindings attached, they set them to the specified length of my ski boot! Additionally, both by phone and email, they were helpful and responsive to my questions about proper length of ski to purchase for my height, current weight, and experience. To be safe, it is recommended that you should always have new bindings tested at a shop for release and proper setting of Din number. That said, I would highly recommend this vendor! Can't comment on the skis them-self, as I haven't used them yet. They certainly are ascetically beautiful skis. Will update review after use.
Be sure to check out "All My Reviews". It appears that all the 5 star ratings are from reviewers that have ONLY reviewed this product. In other words, shills.
Not sure if I received a damage product. I got another brand for my husband and keep the ice and cold water for over 24 hours, no issues. With Yeti, the ice didn't last 8 hours in 72 degrees weather, when I hold the cup in my hands it was super cold and sweaty not like my husband cheaper cup. Returned and purchased the cheaper brand.


Vital earth minerals liquid super multi supplement is a high potency, plant based supplement containing a powerful blend of vitamins, fulvic minerals, amino acids, phytonutrients, antioxidants and whole food concentrates and extracts. Every 32 fl. Oz. Bottle of super multi liquid is free of hormones, msg, gmos and gluten and is 100% vegetarian. Please read all product usage and warning labels, including allergen information, before using.


text:
Solidão is a city  in the state of Pernambuco, Brazil. The population in 2020 was 6,021 inhabitants according to the IBGE, and the total area is .

Geography

 State - Pernambuco
 Region - Sertão Pernambucano
 Boundaries - Paraiba state (North and West);  Afogados da Ingazeira and Carnaíba (South);  Tabira (East).
 Area -
 Elevation -
 Hydrography - Pajeú River
 Vegetation - Caatinga  hiperxerófila
 Climate - semi arid - (Sertão) hot
 Annual average temperature -
 Distance to Recife -

Economy

The main economic activities in Solidão are based in agribusiness, especially creation of goats, cattle, chickens; and plantations of corn and beans.

Economic Indicators

Economy by Sector
2006

Health Indicators

References

Municipalities in Pernambuco

redpajama_set_name: RedPajamaWikipedia


text:
Friends of Park City Wine Festival
Rita Di Lello
Vice President of National Account
J. Lohr Vineyards & Wines
As the Vice President of National Accounts, On-Premise for J. Lohr Vineyards & Wines, Rita Di Lello guides a world-class restaurant program that includes more than 200 elite accounts throughout the United States. With 20+ years of focused wine industry sales experience, Rita has established a reputation as a creative, detail-oriented, on-premise specialist known for building collaborative, successful relationships with her accounts.
Rita was born and raised in Utah, and attended Weber State University, where she received a Bachelor of Science degree in Technical Sales. While working as the corporate retail buyer for Mirage Resorts in Nevada, Rita also attended the University of Nevada Las Vegas, where she earned an MBA with a focus in Sales and Marketing. While studying for her MBA, Rita joined the UNLV Wine Club and quickly fell in love with wine. Following her newfound passion, Rita travelled to numerous wine regions and received her introductory level certification from the Court of Master Sommeliers.
In 2000, Rita joined the team at J. Lohr as West Coast National Accounts, On-Premise Manager and Nevada State Manager; she quickly built a robust list of prestigious casino and luxury restaurant accounts. Eager to gain a broader perspective of the industry, Rita went on to work for Banfi Vintners in 2003, where she ultimately became National Accounts Manager—West. Rita has also held positions as the Southern California and Nevada Regional Manager for 585 Wine Partners, and as the Western US National Accounts, On-Premise and Retail Chains Manager for Foley Family Wines.
In 2016, Rita rejoined the team at J. Lohr as VP National Accounts, On-Premise. In this role, Rita develops and nurtures relationships with key national and regional accounts, attains sales, distribution & profitability goals, coordinates national pricing, and educates key accounts on the unique stories of J. Lohr wines. In addition to her certification through the Court of Master Sommeliers, Rita was a member of the first graduating class to earn Certified Wine Professional accreditation from the Culinary Institute of America. She is also involved in the Society of Wine Educators, earning a Certified Specialist of Wine (CSW) title from that organization in 2017.
Away from work, Rita enjoys road cycling, hiking, skiing and snowboarding. She is also actively involved as an ambassador for Children of Restaurant Employees (CORE) – a charitable organization dedicated to providing support for the children and families of food and beverage employees who are navigating life-altering circumstances or conditions.
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