text:
I am at my parents' house in New Jersey. I am spending time with my family. I don't have enough time to blog today so I am posting an essay by Frederic Jameson, which I remember liking. It is called 'End of Art' or 'End of History'? It's a part of a collection of his essays called The Cultural Turn: Selected Writings on the Postmodern 1983-1998 (Verso, London 1998). I am reading things like this a lot and other things that are not like this. Maybe this is something that will be of interest to some of you.
The format is left from the copy paste which might look weird but it might make it easier to read on smartphones in this format. I'm not sure. If it is not, sorry. There are some copy glitches too, sorry.
Enjoy, talk to you next week. Spend time with your families if you like them.
'End of Art' or 'End of History' ?
The debate about the 'end of history', assuming it is still on,
seems to have driven out the very memory of its predecessor,
the debate about the 'end of art', which was hotly pursued in
the sixties, now some thirty years ago, it is strange to think.
Both of these debates derive from Hegel and reproduce a
characteristic turn in his thinking about history, or in the form
of his historical narrative, if you prefer: I trust we are by now
far enough 'along in our consciousness of the narrative structure
of historicity that we can forget about hoary old chestnuts about
the evils of totalization or teleology. At any rate, the excitement
about the Fukuyamal Kojeve contribution - welcomed fully as
much by a certain Left as by a certain Right - shows that Hegel
may not be as old-fashioned as people used to say and think.
Here I want to compare these two highly suggestive and
symptomatic debates and try to determine what that comparison
has to tell us about the historical conjuncture in which we
find ourselves. I have consistently argued, over the last few
years, that that conjuncture is marked by a dedifferentiation of
fields, such that economics has come to overlap with culture:
that everything, including commodity production and high and
speculative finance, has become cultural; and culture has equally
become profoundly economic or commodity oriented. Thus it
will not surprise you to learn that conjectures about our current
situation can be taken as statements about late capitalism or
about the politics of globalization. But maybe that is to get a
little ahead of ourselves here.
So let's close our eyes, and by a powerful trance-like effort of
the imagination try to think our way back into the halcyon era
of the 1 960s when the world was still young. The simplest way
of approaching the 'end of art' debate can be discerned via a
recollection of one of the hottest fashions or crazes of those
bygone years, namely the emergence of the so-called happenings,
discussed by everyone from Marcuse to the Sunday supplements.
I never thought much of happenings myself, and
would tend to recontextualize them in the large movement of
theatrical innovation generally: for what we call the sixties -
which may be said to have begun (slowly) in 1 963, with the
Beatles and the Vietnam War, and to have ended dramatically
somewhere around 1 973 -75 with the Nixon shock and the oil
crisis, and also with what is again derisively known as the 'loss'
of Saigon - was amongst other things an extraordinarily rich
moment, the richest since the 1 920s, in the invention of new
kinds of performances and staging of all the canonical playbooks
inherited from the cultural past of world literature
generally: it suffices to mention the Hallischer Vfer, let alone
Schiffbauer Damm, Peter Brook or Grotowski, the Theatre du
soleil, the TNP or Olivier's National Theatre, and the off Broadway
theatre of the New York stage, let alone the production
of Beckett and so-called anti-theatre, to conjure back a
whole universe of playacting and representational excitement in
which, clearly enough, the so-called happenings necessarily take
their place.
I hope it will not be misunderstood if I follow a number of
historians of the period in suggesting that it was an era of great
performances and creative mise en scene, rather than one of an
original composition and production of new dramas (despite
the prestige of the few genuine playwrights like Beckett whose
names stud the rosters of the era): new stagings of Shakespeare
around the globe, in other words, rather than new and unimaginable
Shakespeares on all kinds of unlikely stages of the
world-theatre ( but let's not waste our time in the amusing
exercise of thinking of the names of the exceptions, like Soyenka
or Fugard) . All I wanted to suggest at this point was that
theatrical practice in this period stands at a certain minimal
distance from the texts it presupposes as its pretexts and
conditions of possibility: happenings would then push this
situation to its extreme limit, by claiming to do away with the
pretext of the text altogether and offering a spectacle of the
sheerest performance as such, which also paradoxically seeks to
abolish the boundary and the distinction between fiction and
fact, or art and life.
At this point, I must also remind you of what everyone in our
kind of society today tries to forget: namely that this was a
passionately political period, and that innovations in the arts,
and in particular innovations in the theatre, even those of the
most aestheticizing and least politically aware performers and
directors, were always driven by the firm conviction that
theatrical performance was also a form of praxis, and that
changes in the theatre, however minimal, were also contributions
to a general change in life itself, and in the world and the
society of which the theatre was both a part and a mirror. In
particular, I think it would scarcely be an exaggeration to
suggest that the politics of the sixties, all over the world and
specifically including the 'wars of national liberation', was
defined and constituted as an opposition to the American war
in Vietnam, in other words, as a world-wide protest. Theatrical
innovation then also staged itself as the symbolic gesture of
aesthetic protest, as formal innovation grasped in terms of social
and political protest as such, above and beyond the specifically
aesthetic and theatrical terms in which the innovation was
Meanwhile, in a narrower sense as well, the .very deployment
of the theory of the 'end of art' was also political, insofar as it
was meant to suggest or to register the profound complicity of
the cultural institutions and canons, of the museums and the
university system, the state prestige of all the high arts, in the
Vietnam War as a defence of Western values: somethIng that
also presu,pposes a high level of investment in official culture
and an influential status in society of high culture as an
extension of state power. On my view, this is truer today, when
nobody cares any more, than it was in those days, particularly
in an exceedingly anti-intellectual United States. Hans Haacke
is then perhaps a more fitting emblem of that view of things
than most of the artists of that period; but the political reminder
is at least useful to the degree to which it identifies a left-wing
provenance for the theory of the 'end of art', in contrast with
the markedly right-wing spirit of the current 'end of history' .
What did Hegel himself mean by the 'end of art' - a phrase
he is unlikely to have used himself in quite that sloganeering
fashion ? The notion of an immanent 'end of art' is in Hegel
something like a deduction from the premises of several conceptual
schemes or models which are superimposed one upon the
other. Indeed, the richness of Hegel's thought - as with any
interesting thinker - stems not from the ingenuity or the
pertinence or any particular individual concept, but rather from
the way in which, in the thinker in question, several distinct
systems of concepts coexist and fail to coincide. Imagine models
floating above each other as in distinct dimensions: it is not
their homologies that prove suggestive or fruitful, but rather the
infinitesimal divergences, the imperceptible lack of fit between
the levels - extrapolated out into a continuum whose stages
range from the pre-choate and the quizzical gap, to the nagging
tension and the sharpness of contradiction itself - genuine
thinking always taking place within empty places, these voids
that suddenly appear between the most powerful conceptual
schemes. Thinking is thus not the concept, but the breakdown
in the relationships between the individual concepts, isolated in
their splendour like so many galactic systems, drifting apart in
the empty mind of the world.
Characteristically, Hegel's models or subsystems are all compulsively
tidied up into those triplications which the contemporary
reader needs to disregard - as a kind of weird and obsessive
numerological superstition - in order to make this densely
tortuous text1 interesting for herself. Relevant for us at this
point are but two of the famous triadic progressions: that of
absolute spirit - or rather the movement towards that absolute
of 'objective spirit', as it passes through the three stages of
religion, art and philosophy; and that of art itself, as it passes
more modestly through the three more local stages of the
symbolic, the classical and the romantic . . . towards what?
Towards the end of art, of course, and the abolition of the
aesthetic by itself and under its own internal momentum, the
self-transcendence of the aesthetic towards something else,
something supposedly better than its own darkened and figural
mirror - the splendour and transparency of Hegel's utopian
notion of philosophy itself, the historical self-consciousness of
an absolute present (which will also turn out to be that selfsame
allegedly prophetic notion of the so-called 'end of history' )
- in short, the shaping power o f the human collectivity over its
own destiny, at which point it founders (for us here and now)
into an incomprehensible, unimaginable, utopian temporality
beyond what thought can reach.
No doubt other subsystems in Hegel's immense dictee - the
compulsive graphomanic lifelong transcription of what some
daimon of the absolute muttered to him day-in day-out at the
very limits of syntax and language itself - could be profitably
added to the mix of these superscriptions. But it will be enough
today to convince ourselves of the secret and productive discrepancies
between these two, that otherwise seem to have so much
in common: marching as they do from the only obscurely and
unconsciously figural, through the assumption of the sheer
autopoiesis of the play of figuration as such, towards the sheer
transparency of an end of figuration in the philosophical and
the historically self-conscious, in a situation in which thought
has expunged the last remnants of figures and tropes from the
fading and luminous categories of abstraction itself.
I believe that it is the peculiar emergence of the 'sublime' in
the wrong place in these various schemes and progressions that
gives us the deeper clue to Hegel's thinking. Let's try to work
through them In . a flat-footed and deliberately literal, oversimplified
and unimaginative fashion. In that case, the first moment
of history - religion, pre-Christian religion, or better still, nonWestern
religion as such - is one in which humanity thinks and
is collectively conscious without genuine self-consciousness: or
rather, to be a little more precise, since consciousness without
self-consciousness is a kind of contradiction in terms - in which
humanity is collectively conscious but only unconsciously selfconscious:
in short, in which it thinks in images and figures; in
which it makes external forms and shapes, the mass and variety
of matter as such, think for itself and rear up, deliriously selffashion
itself into the fetish-logic of the great classical religions,
very much in the later sense and spirit of Feuerbach and Marx
himself. I wish we had time to examine Hegel's remarkably
resourceful evocations of Indian ornament and Egyptian hieroglyph,
which return over and over again like leitmotiven in
Hegel's lifework, and offer the ultimate clues as to his own
conception of the figural and figuration as such.
The more familiar version of all this, however, the one you
know already from so many carefully controlled contemporary
approaches to a single local zone of Hegel's system, is our old
friend the pyramid: the mass of matter in which somewhere a
little spark of living spirit dwells; that monumental outer shape
whose very form - too vast to articulate the differentiations of
concrete thinking as such - nonetheless designates, as over some
immense distance, the indwelling presence of the form of
consciousness itself. Body and spirit no doubt; matter and mind;
except that it would be better to say that these barren conceptual
oppositions and dual isms ultimately derive from the deadend
of religious figuration, than that, the other way around,
Hegel's notion of the problematical structure of religion replicates
and reproduces the most banal inherited philosophical
stereotype of the tradition.
What happens now, however, is unexpected: instead of the
logical and predictable outcome - that matter would simply
transcend itself in spirit, that figuration would disengage itself
from its material trappings and at once into abstract thought as
such - the next step is one in which figuration is as it were
distracted in its ultimate mission and destiny and mired even
more dangerously within matter and the body itself. It is the
moment of the Greeks - of classical art - which scandalously
erupts and disrupts the teleology of human history and the
movement from Asia to Western Europe, from the great Other
of the Eastern religions and empires to the masterful centred
self of Western philosophy and capitalist industrial production.
The Romans fit that scheme, but not the Greeks, who offer a
dangerous and tantalizing, misleading vision of the new and
ultimate human age: of a world in which only human measure
obtains and the human body itself constitutes the very source
and fountainhead of political philosophy; a kind of corporeal
humanism in which the secret Pythagorean harmonies of the
golden mean suggest a rationality of the human body itself and
its proportions, and for the briefest of instants delude us into
thinking that the final form of a truly human world and of an
achieved philosophy has been reached.
Hegel must denounce the idolatry of this outcome, in order
to get history moving again; he must throw a sop to the classical
passions of his contemporaries, while gently prodding them to
move on, and quietly but insistently reminding them that
Christianity still remains on the agenda, along with Tacitus's
Germania, and breathes a peremptory authority capable of
surmounting and overriding all such lingering classical
As for Christianity itself, and the now dominant Germanic
fact of Western Europe, it is important to remember that for
Hegel and his contemporaries, it is scarcely even to be thought
of as a religion any longer: its triadic obsessions and trinitarian
logics pass via the Reformation over into the abstractions of
German classical philosophy, of the objective idealism of
Hegel's own generation, sufficiently trained in dead theological
categories and their immanent dialectical movement, to defiguralize
all that faint persistent sacred decoration at the speed
of the Cartesian coup de pouce into the henceforth secular
profundities of Fichte, Schelling and Hegel himself. It is the
tortured individual body of Christ2 that will serve as the
decompression chamber through which a generation obsessed
with Greek bodies disintoxicates itself and passes over into the
rather different pleasures and satisfactions of abstraction as
such, and what these Germans call the Absolute: the individual
body was not really meaningful after all, but rather the human
collectivity, with whose apotheosis Marx will complete the
Hegelian system, stalled on its way to the end of history by the
unexpected regression of the ultramodern Prussian state into
despotic and fanatical reaction.
Thus, ChristIanity seems to dissolve fairly effortlessly into
classical German philosophy, j ust as the Germanic tribal tradition
seems to lead directly into modernity itself: if you place
Luther and Protestantism squarely in the middle of this historical
development, the idea may seem less parochial, let alone
chauvinistic. But there is clearly a problem with the final stage
of Hegel's tripartite scheme: what he calls the Romantic form
of art. It is a formal problem: to begin with, he needs this stage
to constitute a dialectical climax to the Aesthetics. Whatever
kind of historical narrative the dialectic may have been - and it
was certainly as fresh and stunningly paradoxical in its day as
the competing historical narratives of Derridean supplementarity
or Freudian Nachtraglichkeit in our own - it clearly required
the third stage in some satisfying sense as fully to realize the
preceding ones as to dissolve them and pass on into something
Christianity, again, will provide the hinge on which an
unconvincing solution is arranged: for medieval art can now
stand as the strong content of the Romantic form, as the most
original raw material of this aesthetic modernity; while the
medieval nostalgia of the contemporary German Romantics -
the Schlegels, whom Hegel hated, the converts who confused
Italy with Roman Catholicism, the Nazarene painters and the
various exiles southward of the Alps - these weak survivals of a
medieval Roman Catholic culture that was genuinely 'Romantic'
( or modern, in the broader sense of Hegel's world history)
help prove the point by fastening art helplessly to an inescapable
medieval and Christian mission, while testifying to the debility
of such nostalgic revivals in the present day (let's say 1 820 or
so) and thereby demonstrating the urgency of a transition into
some dialectically new and different era, and the claims of
philosophy to replace this sorry aesthetic floundering with
something more vigorous and decisive. The ambiguity extends
into Hegel's very use of the word Romantic, not generally a
positive epithet under his pen: those for whom the German
Romantics, and in particular Friedrich Schlegel again, have
today come to be seen as precursors of peculiarly contemporary
practices and thoughts of our own, will have no great trouble
maliciously diagnosing Hegel's distaste for the Romantics as the
anxiety of competition and the prescient sense of the dangers
offered by Romantic irony and self-consciousness to the sway
and claims posed by the dialectic itself.
In any case, whatever reading one chooses to make of Hegel's
final stage of art, few historical prognoses have been so disastrously
wrong. Whatever the validity of Hegel's feelings about
Romanticism, those currents which led on into what has come
to be called modernism are thereby surely to be identified with
one of the most remarkable flourishings of the arts in all of
human history. Whatever the 'end of art' may mean for us,
therefore, it was emphatically not on the agenda in Hegel's own
time. And, as far as the other part of the prophecy was
concerned, the supersession of art by philosophy, he could not
have chosen a worse historical moment for this pronouncement
either; indeed, if we follow the practice of Hegel and his
contemporaries in identifying philosophy with system as such,
then few will wish to deny that in that sense, far from being a
forerunner of a truly philosophical age, Hegel was rather the
last philosopher in the tradition: and this in two senses, by being
utterly subsumed and transfigured in and by Marxism as a kind
of post-philosophy, and also by having occupied this philosophical
terrain so completely as to leave all later purely philosophical
efforts (which in our own time have come rather to be
identified as theory) to constitute so many local guerrilla raids
and anti-philosophical therapies, from Nietzsche to pragmatism,
from Wittgenstein to deconstruction.
Yet there is another sense in which Hegel was right and truly
prophetic bout all this, and it is this secret truth, this moment
of truth in the utterly aberrant and seemingly misguided, that
we must now try to grasp. 'Philosophy,' said Adorno, in one of
his most famous aphorisms, 'philosophy, which once seemed
obsolete, lives on because the moment to realise it was missed'.
It is true that the 'end of philosophy' did not figure among our
official topics here, but Adorno's extraordinary remark offers a
richer picture of the 'end' of something than anything we have
hitherto confronted: an end which is a realization, which can be
missed, and whose omission results in little more than a sorry
afterlife and second-best, which is however still essential (the
other 'end' of philosophy, as far as Adorno was concerned, the
supersession of philosophy by positivism and anti-theory, is for
him so pernicious as to call forth 'critical theory' as a way of
keeping the negative alive in a period in which praxis, the unity
of the negative and the positive, itself seems suspended) .
All o f which i s to say that i t was History, rather than Hegel,
that was wrong: from this perspective the dissolution of art into
philosophy implies a different kind of 'end' of philosophy - its
diffusion and expansion into all the realms of social life in such
8 1
a way that it is no longer a separate discipline but the very air
we breathe and the very substance of the public sphere itself
and of the collectivity. It ends, in other words, not by becoming
nothing, but by becoming everything: the path not taken by
Perhaps in that case it is worth asking how, according to
Hegel, art itself should have ended in this triumph, which is also
another kind of end, of philosophy as such, and which did not
happen. 'Just as art', Hegel says,3 'has its " before " in nature
and the finite spheres of life, so too it has an " after" , i.e., a
region which in turn transcends art's way of apprehending and
representing the Absolute. For art still has a limit in itself and
thereby passes over into higher forms of consciousness. This
limitation determines, after all, the position which we are
accustomed to assign to art in our contemporary life. For us art
counts no longer as the highest mode in which truth fashions an
existence for itself '; and he goes on to evoke the Islamic and
Judaic ban on graven images, along with Plato's critique of art,
as the historical motive force for mistrust of figuration which
will fulfil itself in the 'end of art' . But Hegel's very language
warns us not to take this formulation too literally either, as
meaning the utter disappearance of art as such. Indeed, Peter
Burger has written much of interest, speculating on the types of
decorative artistic productions (Dutch still lifes, for example)
which Hegel thought would survive the 'end of art' and furnish
or embellish the lifeworld of a stage of realized philosophy.
Yet the crucial sentence suggests something rather different:
'For us art no longer counts as the highest mode in which truth
fashions an existence for itself [die hochste Weise, in welcher
die Wahrheit sich Existenz verschafft] ,. This is the sentence that
alerts us to a reversal of Hegel's judgment by History which is
as dramatic as the one Adorno's dictum underscored for philosophy
itself: for surely what has defined modernism in the arts
above all is that it laid peremptory claim to a unique mode 'of
apprehending and representing the Absolute' and that it was
indeed for us or at least wished to be for us par excellence 'the
highest mode in which truth claws its way into existence' (to
give a somewhat different rendering) . Modernism very precisely
found its authority in the relativization of the various philosoph-
ical codes and languages, in their humiliation by the development
of the natural sciences, and in the intensifying critiques of
abstraction and instrumental reason inspired by the experiences
of the industrial city.
But the ways in which the authority of philosophy was
weakened and undermined cannot be said to have simply
allowed art to develop and persist alongside it, as some alternative
path to an Absolute whose questionable authority remained
intact. In this sense Hegel was absolutely right: an event took
place, the event he planned to call 'the end of art'. And as a
constitutive feature of that event, in fact a certain art ended.
What did not conform to Hegel's prognosis was the supersession
of art by philosophy itself: rather, a new and different kind of
art suddenly appeared to take philosophy's place after the end
of the old one, and to usurp all of philosophy's claims to the
Absolute, to being the 'highest mode in which truth manages to
come into being'. This was the art we call modernism: and it
means that in order to account for Hegel's mistake, we need to
posit two kinds of art with wholly different functions and claims
on truth.
Or rather, we do not need to, because those two types of art
had already been theorized and codified in Hegel's day, and we
have already commented on the rather suspicious nature of his
dealings with the theory in question, which as you will already
have guessed is that of the distinction between the Beautiful and
the Sublime. I agree with any number of commentators - but
perhaps Philippe Lacoue-Labarthe has put it most strongly -
that what we call modernism is in the long run to be identified
with the Sublime itself. Modernism aspires to the Sublime as to
its very essence, which we may call trans-aesthetic, insofar as it
lays a claim to the Absolute, that is, it believes that in order to
be art at all, art must be something beyond art. Kant's account
- a peculiar afterthought and codicil to his more conventional
thoughts on Beauty - amounts to an extraordinary premonition
of modern art in a period in which little enough else foreshadowed
it, and might fruitfully be re-explored for its implications
for both the philosophical (he calls it 'moral') and the effective
dimensions of the modern generally. That is unfortunately not
something we can pursue any further here, where it is rather a
8 3
somewhat different consequence that must be underscored:
namely that the art whose 'end' Hegel foresaw is, in the light of
Kant, to be identified as Beauty. It is the Beautiful that comes to
an end in this significant event, but what takes its place is finally
not philosophy, as Hegel thought, but rather the Sublime itself,
or in other words the aesthetic of the modern or the transaesthetic
if you prefer. And of course, very much in the spirit of Peter
Biirger's suggestion, this supersession is accompanied by a lowlevel
persistence and reproduction of any number of secondary
forms of the Beautiful in all the traditional senses; the Beautiful
now as decoration, without any claim to truth or to a special
relationship with the Absolute.
But if you have been willing to go this far, perhaps you will
be prepared to take another step further, or rather a leap, into
our own time, or rather our own yesterday, of the 1 960s and
the happenings, and that particular contemporary 'end of art',
to which it is time to return. Now, however, I think that we are
in a better position to identify this particular 'end of something':
it can only be the end of the modern itself, or in other words
the end of the Sublime, the dissolution of art's vocation to reach
the Absolute. It should be clear, then, that whatever this
particular historical event is, it will scarcely present much
similarity to that older and earlier 'end of art' in which
philosophy failed to live up to its historic vocation, and in
which it was left to the Sublime to supplant the merely Beautiful.
The end of the modern, the gradual setting in place of postmodernity
over several decades, has been an epochal event in its
own right whose changing and shifting evaluations merit some
study in themselves.
I was going to say, for example, that this second 'end of art'
was scarcely to be imagined as having opened the way to the
final realm of philosophy any more than its very different
nineteenth-century equivalent had. But if you think of the
dissolution of the modern as a lengthy cultural process, which
began in the 1 960s, and whose 1 9 80s' unveiling as a new gilded
age does not perhaps give us its final word either, then other
conjectures and historical interpretations seem possible as well.
What for example of the emergence of Theory, as that seemed
to supplant traditional literature from the 1960s onwards, and
to extend across a broad range of disciplines, from philosophy
to anthropology, from linguistics to sociology, effacing their
boundaries in an immense dedifferentiation and inaugurating
that long-postponed moment as well in which a Marxism that
had established its credentials as an analysis of political economy
finally earned its right to new ones in the analysis of
superstructures, of culture and ideology? This grand moment of
Theory (which some claim now also to have ended) in fact
confirmed Hegel's premonitions by taking as its central theme
the dynamics of representation itself: one cannot imagine a
classical Hegelian supersession of art by philosophy otherwise
than by just such a return of consciousness (and self-consciousness)
back on the figuration and the figural dynamics that
constitute the aesthetic, in order to dissolve those into the broad
daylight and transparency of praxis itself. The 'end of art' of
this period, the waning of the modern, was not merely marked
by the slow disappearance of all the great auteurs who signed
modernism in its grandest period from 1 9 1 0 to 1 955; it was
also accompanied by the emergence of all those now equally
famous names from Levi-Strauss to Lacan, from Barthes to
Derrida and Baudrillard, that adorn the heroic age of Theory
itself. The transition was not characterized by an abrupt shifting
of gears, in which a preoccupation with the narrative sublime,
for example, suddenly gave way jarringly to a return to the
study of logical categories: rather Theory emerged from the
aesthetic itself, from the culture of the modern, and it is only in
the dreary light of, the old anti-intellectual distinction between
the critical and the creative that the movement from Mayakovsky
to Jakobson will seem a downward curve, or that from
Brecht to Barthes, or from Joyce to Eco, from Proust to Deleuze.
In these senses, then, and with the significant replacement of
the term philosophy by that of theory, perhaps it might be
argued, about this particular contemporary 'end of art', that
Hegel was not so terribly wrong after all; and that the event in
question could at least partially be grasped as a dissolution of
figuration at its most intense into a newer form of lucidity
which unlike the older philosophical system now attempted to
make a place for praxis itself.
If so, however, then the description is only partially correct,
and the setting in place of the postmodern also has another
dimension to which we have not yet done justice. For Hegel's
transitional schema involves the fate of several terms: the
function of the Sublime, the modern, of the one half of art, is
taken over by Theory; but this also leaves room for the survival
of art's other half, namely the Beautiful, which now invests the
cultural realm at the moment in which the production of the
modern has gradually dried up. This is the other face of
postmodernity, the return of Beauty and the decorative, in the
place of the older modern Sublime, the abandonment by art of
the quest for the Absolute or of truth claims and its redefinition
as a source of sheer pleasure and gratification (rather than, as in
the modern, of jouissance) . Both Theory and the Beautiful are
constituent elements of that 'end of art' which was the postmodern:
but they tend to block each other out in such a way that
the seventies appeared to be the age of Theory, where the
eighties revealed itself as the moment of garish cultural selfindulgence
and consumption (which began indeed to include
signed and commodified Theory itself in its lavish feasts) .
Art thus, in this new age, seems t o have sunk back t o the
older culinary status it enjoyed before the dominance of the
Sublime: yet we must remember that in those days, which are
still largely filled with the processes of secularization and with
the replacement of a feudal or cultic ancien regime culture with
a bourgeois one, the field of culture is still shared by even more
ancient forms of religious figuration, which have in our own
time utterly vanished as such. We must therefore add a significant
qualification to this identification to postmodernism with
Kant's and Burke's conception of the Beautiful: this has to do
with education, the public sphere, and the cybernetic or informational
age; and it requires us to underscore a remarkable
historic development in our own time, namely the immense
expansion of culture and commodification into all these fields -
politics and economics, for example - from which it was so
rightly differentiated in the daily life of the modern period. The
great movement of dedifferentiation of postmodernity has in
other words once again effaced these boundaries (and, as has
been said, makes the cultural economic at the same time that it
turns the economic into so many forms of culture) . This is why
8 6
it seems appropriate to evoke an immense acculturation of daily
life and the social generally in our own postmodern moment;
and also what justifies prophetic descriptions of our society as
the society of the spectacle or of the image - for I would want
to argue more generally that this acculturation has taken
essentially spatial forms which we tend, crudely and not
altogether accurately, to identify as visual. This is not the
position generally held, I think, by those who either deplore or
celebrate 'an end of art' identified with the end of literature, the
canon, or reading as such, and superseded by mass culture in
general - a non-Hegelian and moralizing position which generally
fails to describe the new moment in a systemic way. But the
return of the Beautiful in the postmodern must be seen as just
such a systemic dominant: a colonization of reality generally by
spatial and visual forms which is at one and the same time a
commodification of that same intensively colonized reality on a
world-wide scale. Whether the Sublime, and its successor
Theory, have that capacity hinted at by Kant, to restore the
philosophical component of such postmodernity, and to crack
open the comQ,lodification implicit in the Beautiful, is a question
I have not even begun to explore; but it is a question and a
problem which is, I hope, a little different from the alternative
we have thought we were faced with until now: namely whether,
if you prefer modernism, it is conceivable, let alone possible, to
go back to the modern as such, after its dissolution into full
postmodernity: And the new question is also a question about
Theory itself, and whether it can persist and flourish without
simply turning back into an older technical philosophy whose
limits and obsolescence were already visible in the nineteenth
But now we need to move on to an even more complicated
topic - one that turns, not merely on the end of art, but
seemingly, on the end of everything; namely the so-called 'end
of history' itself. We have unfortunately no time to retrace the
fascinating story of this motif: which originates in a certain
'epochality' in Hegel, his sense that a whole new unparalleled
era was beginning; which is then readapted by the Russian
emigre Alexandre Kojeve - an admirer of Stalin and later on an
architect of the European Common Market and the European
8 7
Economic Community, whose 1 930s lectures on Hegel are often
credited as the source for what came to be called 'existential
Marxism'; finally, the version of 'the idea with which [Francis]
Fukuyama startled the world's j ournalists in the summer of
19 89', as Perry Anderson puts it - in short, the notion that at
the end of the Cold War capitalism and the market could be
declared the final form of human history itself, a notion to
which piquancy was added by the position of Fukuyama in
George Bush's State Department. Fortunately, however, the
history of this concept has been written as definitively as anyone
might now wish, in Anderson's book A Zone of Engagement,4
so that we do not have to review the details here, as entertaining
as that might be.
Two features of the story need to be retained, however, and
both relate to historical materialism. Those conversant with a
materialist and dialectical interpretation of history will for one
thing not be likely to make the more naive objection to
Fukuyama, namely that, in spite of everything, history does go
on, there continue to be events and in particular wars, nothing
seems to have stopped, everything seems to be getting worse,
etc., etc. But insofar as Marx evoked his version of the end of
history at all, it was with two qualifications: first, he spoke not
of the end of history, but of the end of prehistory; that is to say,
of the arrival of a period in which the human collectivity is in
control of its own destiny, in which history is a form of
collective praxis, and no longer subject to the non-human
determinisms either of nature and scarcity, or of the market and
money. And, second, he imagined this end of prehistory not in
terms of events or individual actions but in terms of systems or
better still (his word) modes of production. (Nor did he teach
the inevitability of any particular outcome; a famous phrase
evokes the possibility of 'the mutual ruin of the contending
classes' - a rather different end of history, surely - while the
equally famous alternative of 'socialism or barbarism' obviously
includes a fateful warning and an appeal to human freedom.)
Still, the Marxist view, that of the supersession of one mode of
production by another, by insisting on radical difference
between that kind of systemic event and those events which are
more ordinary historical actions or happenings, makes it clear
8 8
how history would be expected to continue eventfully even after
the radical change of socio-economic systems or modes of
production themselves.
Oddly enough, however, neither Fukuyama nor Kojeve argue
for their ends of history in that historical-materialist or systemic
way: indeed for people accustomed to the more materialist
Hegel of the early Jena economic writings or of the Hegel taken
up into Marx himself, they serve as a useful reminder of another
basically idealist (if not necessarily conservative) side of Hegel
(and perhaps even of existential Marxism) , namely that which,
via the struggle between master and slave, insists on the motor
of history as a struggle for recognition. Kojeve's insistence on
the Hegelian motif of 'satisfaction' ( Befriedigung), his consequent
(almost Girardian) emphasis on the results of social
equality and the end of hierarchy, turn the triumph of capitalism
back into social psychology and existentialism rather than the
superiority of the mode of production itself. Later theorists
combine 'the two motifs that Kojeve had opposed as alternatives:
no longer a civilisation of either consumption or style, but
of their inten:hangeability - the dance of commodities as bal
masque of libidinal intensities' .5 But Fukuyama's identification
of democratic institutions and the market, scarcely an original
one even in itself, returns us to social psychology and may stand
as a challenge to contemporary or postmodern, late-capitalist
Marxism to work up a properly materialist analysis of commodity
consumption as well as of the group rivalries of the struggle
for recognition consumerism and ethnic civil wars - which
together characterize our own particular era. Marxist theory
needs to provide interpretations of all these things - of ideology
and class struggle, of culture and the operation of the superstructures
- on the vaster scale of contemporary globalization.
The spirit of the analyses will have a continuity with the older
ones, so triumphantly elaborated at the end of the modern
period: but the terms will necessarily be new and fresh, given
the novelties of the enlarged capitalist world market which they
are designed to explain.
I believe, however, that the historical significance of Fukuyama's
essay is not really to be found in Hegel or Kojeve, even
though I also think we have something to learn from them:
namely, a relationship to our own present which I will call
'epochality' and by way of which we defend the historical
meaning and significance of the present moment and the present
age against all claims of the past and the future. And this is all
the more significant a lesson given the splendours of the
preceding period of modernity against which we find it so
difficult to defend ourselves, preferring to ward off the
unpleasant feeling of being epigones by means of sheer historical
amnesia and the stifling of the sense of history itself. To work
out a relationship to the modern which neither amounts to a
nostalgic call to return to it nor an oedipal denunciation of its
repressive insufficiencies - this is a rich mission for our historicity,
and success in it might help us to recover some sense of the
future as well as of the possibilities of genuine change.
But the usefulness of Fukuyama does not lie in that particular
direction, I think: rather it is to be found by juxtaposition with
another influential American essay that appeared almost exactly
one hundred years earlier, in 1 8 93, and which equally spelled
out the end of something. This is to suggest that, despite the
appearances, Fukuyama's 'end of history' is not really about
Time at all, but rather about Space; and that the anxieties it so
powerfully invests and expresses, to which it gives such usable
figuration, are not unconscious worries about the future or
about Time: they express the feeling of the constriction of Space
in the new world system; they bespeak the closing of another
and more fundamental frontier in the new world market of
globalization and of the transnational corporations. Frederick
Jackson Turner's famous essay, 'The Frontier in American
History',6 is thus a better analogy; and the impossibility to
imagine a future to which Fukuyama's conception of the 'end
of history' gives voice is the result of new and more fundamental
spatial limits, not as a result of the end of the Cold War or of
the failure of socialism, as rather of the entrance of capitalism
into a new third stage and its consequent penetration of as yet
uncommodified parts of the world which make it difficult to
imagine any further enlargement of the system. As far as
socialism is concerned, a different Marx (that of the Grundrisse
rather than that of Capital ) always insisted that it would not be
on the agenda until the world market had reached its limits and
things and labour power became universally commodified. We
are today far closer to that situation than in the time of either
Marx or Lenin.
But the notion of the 'end of history' also expresses a blockage
of the historical imagination, and we need to see more clearly
how that is so, and how it ends up seeming to offer only this
particular concept as a viable alternative. It seems to me
particularly significant that the emergence of late capitalism (or
in other words of a third stage of capitalism) , along with the
consequent collapse of the communist systems in the East,
coincided with a generalized and planetary ecological disaster.
It is not particularly the rise of the ecological movements that I
have in mind here (despite the environmental excesses of Soviet
forced modernization, the measures demanded by any consequent
ecological movement could surely only be enforced by a
strong socialist government) ; rather, it is the end of a Promethean
conception of production that seems to me significant, in
the way in which it makes it difficult for people today to
continue to imagine development as a conquest of nature. At
the when the market suffuses the world, in other
words, and penetrates the hitherto uncommodified zones of
former colonies, further development becomes unthinkable on
account of a general ( and quite justified) turn away from the
older heroic forms of productivity and extraction. At the
moment, in other words, when the limits of the globe are
reached, notions of intensive development become impossible
to contemplate; the end of expansion and old-fashioned imperialism
is not accompanied by any viable alternative of internal
Meanwhile, the second feature of the new situation that
blocks our imagination of the future, lies in its sheer systematicity:
in the way in which, with the cybernetic and informational
revolutions and their consequences for marketing and finance,
the entire world is suddenly sewn up into a total system from
which no one can secede. It is enough to think of Samir Amin's
suggestive term 'delinking' - opting out of the world system -
to measure the resistance of our imaginations to this possibility.
These two blocks, then - the taboo on Prometheanism and
on the value of intensive development and industrialization; the
impossibility of imagining a secession from the new world
system and a political and social, as well as economic, delinking
from it - these spatial dilemmas are what immobilize our
imaginative picture of global space today, and conjure up as
their sequel the vision that Fukuyama calls the 'end of history',
and the final triumph of the market as such. Turner's pronouncement
about the closing of the frontier still offered the
possibility of an imperialist expansion beyond the borders of
the now saturated continental United States; Fukuyama 's prophecy
expresses the impossibility of imagining an equivalent for
that safety valve, nor even of an intensive turn back inside the
system either, and this is why it was so powerful an ideologeme,
an ideological expression and representation of our current
dilemmas. How the various 'ends of art' are now to be coordinated
philosophically and theoretically with this new 'closing'
of the global frontier of capitalism is our more fundamental
question, and the horizon of all literary and cultural study in
our time. This, with which I now have to end, is where we
ought to begin.


text:
A-list comedian Dave Chappelle just became the newest cast member of the latest remake of A Star Is Born. Bradley Cooper stars and makes his directorial debut in the third remake of the original 1937 classic, which tells the story of an aspiring young actress/singer who falls in love with an established star as their careers go in decidedly opposite directions. Lady Gaga will be the female lead as "Ally," a character known in previous versions as Esther.
Neither the 1954 remake starring Judy Garland nor the second 1976 retelling starring Barbara Streisand ultimately matched the legacy of William Wellman's 1937 original, which starred Janet Gaynor. But each of them offered slight updates for the era in which they were released, most strikingly in the '70s rock 'n' roll scene depicted in the Streisand-starring version. Cooper will portray a country music star named Jackson Maine (an update to "Norman Maine" in the original) in Warner Bros.' 2018 remake, which just made Chappelle a surprise addition to the cast.
THR reported on Friday that Chappelle will play a character named "Noodles" in the new remake of A Star Is Born, joining Cooper, Gaga (real name Stefani Germanotta), Sam Elliott, and Andrew Dice Clay as a confirmed cast member. According to the report, the character of Noodles will be Maine's old friend who came up with him through club shows when they were aspiring musicians.
Chappelle has made a major stand-up comedy comeback in recent years after being out of the spotlight for some time, releasing two recent Netflix specials and a third expected later this year. He's acted in one movie since 2002, Spike Lee's 2015 drama Chi-Raq, but carved out a sneakily prolific acting career in the '90s, well before he ever became a megastar with Chappelle's Show. His prior credits include Robin Hood: Men In Tights, The Nutty Professor, Con-Air, and his starring debut in 1997's Half-Baked.
A comic like Chappelle may seem like an unconventional name to be involved with a film like A Star Is Born, but his aforementioned filmography shows that he has plenty of experience under his belt. He's acted in comedies, dramas, and action movies, but it's likely that the role of Noodles will have at least somewhat of a comedic touch to it. As the oldest friend of the main character, Chappelle may not be in a minor role, either.
Despite the surprising casting, Chappelle is the least of Warner Bros.' concerns with the newest edition of A Star Is Born. As the fourth version of the story, it will need to do more than make the main character a country singer to bring a fresh twist to the tale. Lady Gaga may also have a hard time remotely approaching the iconic performances of Gaynor in the 1937 original and Judy Garland in the 1954 remake. Having Cooper in the director's chair for the first time also carries considerable risk. But Chappelle's addition to the cast of characters certainly makes the remake more intriguing.
Next: Lady Gaga's A Star is Born Begins Filming
Source: THR

subset: commoncrawl


text:
My name is Hattie Williams. I am a journalist, and this is my website.
I produced the site a few years ago in order to collect my published works into one convenient space – it is designed more or less as an archive, so articles have been listed chronologically with links to PDF copies and to websites where stories are available online. The reader can navigate their way through my work by date, publication or genre.
My latest articles can be found at www.churchtimes.co.uk or by clicking on the Church Times tab, on this website.
For more about me see Biography, above.
Enjoy, and thank you for visiting!


text:
Ego manufacturing group is located in Shanghai, a leading manufacturer in China. Ego offers high-collaborative services specially in project developing, and manufacturing custom products by plastic molding, investment casting, metal fabrication processes, etc.
Throughout our organization, we embrace lean manufacturing principles, state-of -the-art production equipment. Even more important, we help enhancing our customers' efficiency and improve their product competitiveness by working with them to reduce material waste, optimize manufacturing process and design from manufacturing perspective. In pursuing solutions to manufacturing and cost reduction challenges, we are well prepared to work side-by-side with your team or design & work independently on your behalf. (more…)
Ego has the machine shop which is the choice for many business both in China domestic and across...Read More
We analyze the initial CAD data or 3D file, determining areas for improvement based on your projects' needs...Read More
Ego industries is more than just a manufacturer focus on making production, we are a reliable partner who...Read More
1. Metal die construction To pursue of precision investment casting, a metal die/ master die is the first...Read More
Ego Manufacturing Group: Built From Start To Finish Ego manufacturing group provides custom metal fabrication for a variety...Read More
Secondary Services Companies that partner with EGO MFG receive so much more that just a custom vendor. Sure,...Read More
As complicated as plastic injection molding might sound to a consumer, it is a very common manufacturing...Read More
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Rotational moulding, also known as rotomoulding, is a plastics moulding technology which is ideal for making hollow...Read More
We are engrossed in manufacturing and supplying a wide collection of Metal Castings which are made available...Read More
The Investment Casting process is a superior casting method for complex shapes or fine detailed castings, giving...Read More
Ego-MFG Products offers sheet metal and structural metal fabrication capabilities for all types and sizes of materials...Read More
Ego-Mfg offers Custom Plastic Thermoforming Products for a variety of industries with expert assistance every step of the...Read More
Quick Details Material: stainless steel,aluminum,copper Size: can be design Color: white/black plating or customized Thickness: 0.3mm,0.5mm,0.7mm or customized Technique: stamping,bending...Read More
Quick Details Item: Aluminum sheet metal fabrication cnc punching laser cutting service Application: Industrial/Construction/etc Type: OEM Parts Certificate: ISO9001:2008 Service:...Read More
Quick Details Size: Customer's Requst Service: OEM Material: SPCC,SUS,AL,SECC Color: Black, White, Grey,etc.. Thickness: 0.5-25mm Surface treatment: Oxidation, Powder Coated...Read More


text: paper 1-896597-24-6 Among the younger generation of alternative comix artists, Doucet (best known for her comic book, Dirty Plotte) stands out for her engaging combination of a cartoonish style and frank realism; her postfeminist autobiographical tales are tough and self- effacing, bitchy and sweet, and all peopled with her rubbery characters with goofy oversized heads. This beautifully produced volume collects two short stories, both set in Doucet's native Montreal, and the long title piece, a tale of misbegotten bohemianism in latter-day Manhattan. "The First Time" records Doucet's unromantic deflowering, soon after graduating from convent school, by an aging hippie. The great backgrounds, full of visual jokes, also contribute to "Julie in Junior College," a hapless tale of her subsequent days in art school. The bulk of this b&w collection is made up of Doucet's episodic New York diary, a memoir of her year in the city that begins in romantic bliss, builds to a messy breakup, and ends with her escape to Seattle. Endpaper photographs prove Doucet's claim that her Washington Heights neighborhood is exceedingly grimy, not just in her deliberately messy drawings. If anything, her rich comedic style softens the scuzziness—the endless cockroaches and garbage-strewn sidewalks seem funny in her heavily littered frames. With her new beau, Julie guzzles beer by the case, begins to worry about work, and longs to move closer to the action on the Lower East Side. As her career takes off (there's a RAW party scene with a cameo by Art Spiegelman), her lover's career goes nowhere, and he grows increasingly angry and needy, a pattern that culminates in a particularly awful scene on the subway. All of Doucet's panels charm with their clutter and with her self-portrait as a sartorially challenged, scraggly haired waif (literally wide-eyed) who's not as weak as she first seems. The hand-lettering, with some misspellings (French is the artist's first language), adds to the overall effect: spunky and smart, Doucet is the true voice of grrrrl power.


text:
Shopping for a Halloween Costume right now is a great idea. If you get one now, you don't have to worry about picking from the "bottom of the barrel", plus you wouldn't have to worry about looking like everyone else! Pure Costumes has you covered!
.....But everyone knows that your costume isn't complete until you have your accessories. You might need a WIG...or a MASK!
Get with the program and add Pure Costumes to your Facebook or Twitter for all the latest updates & promotions!


text:
Friday, February 22, 2013
Watch these quadrocopters play catch with a pole
This is quite the aerobatic ballet, watch as two quadrocopters play catch with each other using an "inverted pendulum" not only catching, but elegantly tossing it to the other in mid flight.
From Robohub:
"To achieve this feat, Dario and his supervisors Markus Hehn and Raffaello D'Andrea started with a 2D mathematical model. The goal of the model was to understand what motion a quadrocopter would need to perform to throw the pendulum. In other words, what is required for the pendulum to lift off from the quadrocopter and become airborne?
This first step allowed to determine (theoretical) feasibility. In addition, it showed the ideal trajectory in terms of positions, speeds, and angles the quadrocopter needed to follow to throw a pendulum. And it offered an insight into the throwing process, including identification of its key design parameters."
quite fun to watch
more here
Subscribe to: Post Comments (Atom)


text:
Drupal can be a great alternative for a job board as well. Check out this page to find out awose themes and modules to build your career, recruitment and job application site easily.
JobBoard ThemeJobBoard is a Retina Responsive HTML5 & CSS3 Bootstrap based Drupal theme for Job Boards, Job Classifieds & Job Community Sites. It includes a lot of features you can easily setup to get your site 99% ready in just a few minutes. It includes a Premium Slider with +100 jQuery effects, a fully responsive layout (try resizing your browser) for iPhone and Smartphones in both portrait and landscape mode, iPad and tablet, desktop and wide screens, an infinite scroll job explorer, taxonomy based naviagion, Employer Role support, a wide social media integration and many more you can read on a detailed list. It also includes a wide set of blocks, views, docs, modules and features packaged with an easy 5 steps installation via the "Next, next ..." format. This theme was built containing a lot of SEO best practices. It uses, in every View & Content Page, semantically valid HTML code and CSS so search engines can index them easily. Headlines are where they should be (h1, h2, h3, h4, etc.) depending on the View hierarchy.
JobNow ThemeThe Drupal Job now theme is complete job board built in Drupal. This theme allows registered members to post jobs for freelance, full-time, and part-time positions. Applicants can then reply to any job posting made and also upload their resume and cover letter. The Job Now Drupal job board theme can be set up with Ubercart so that websites can charge for job postings or you can simply switch off the paid job posting feature and let people post jobs for free. The Job Now theme has a custom front page, comes with Captcha to catch spam submissions, and features banner advertisement positions to earn extra revenue from your Drupal job board.
CloudyA mobile-first, reponsive base theme for the Recruiter distribution based on Omega 4.x. Cloudy uses SASS/Compass mixins and the fluid, semantic, responsive Susy grid to provide a slick out-of-the-box experience on any device. Cloudy is geared towards the Recruiter distribution and its features: Recruiter cloudy includes tweaks for the theme as exported block classes and alter hook implementations. Recruiter menu positions the required blocks into the navigation region. Still, you can try the Cloudy theme with any other Drupal installation. You will want to make sure that blocks are positioned within the regions defined by the theme and apply block classes similar to those from Recruiter cloudy.
Views Job Board ModuleThis module can render table with job posts and group them by company, that's it.
Job Search ModuleThis module provides your sites visitors to browse and search jobs, or post their resumes for employers/recruiters to see. It also allows job seekers to apply for jobs. In effect, your site can be a mini monster.com or hotjobs.com.
Recruiter ModuleRecruiter is a Drupal distribution for building Drupal based e-recruitment platforms. Users can register either as recruiter and post job classifieds or they can register as applicants and fill out their resume. A faceted search helps users to find jobs and possible job candidates.
Drop Jobs ModuleDrop Jobs is a distribution aimed at creating an extensible, fully-functional and robust job search website using Drupal 7. It is somewhat similar to the Recruiter distribution in concept but has to fundamental architectural differences and aims to go much further as far as feature implementations and offering a more complete out-of-the box experience which more closely resembles current job search portals.


text:
Prepare to craft and innovate in rehearsal to shape the ideal stage sound for you with the 100W JVM410HTM. There are four independent channels, two master volumes and digital reverb so you can transform your sound palette and generate revolutionary sound combinations. The six-channel footswitch can store your favourite combinations and allows you to take your sound wherever you go, ready to perform with any JVM.
Use the six-way footswitch to programme any combinations of sound options and then use this with any JVM when on tour.
Flaunt your personality through twelve independent sound options using four channels and digital reverb, two master volumes, presence and resonance to apply to all of those.
For those more technically minded players you can use the JVM410H with any MIDI equipment.
Introduce your solo with the two master volumes.
The FX loop is mixable so you can control the amount of external FX without losing any signal quality.
Powered by Celestion Impulse Responses


text:
Student Council
The Academy's Lower School Student Council was established in 2015 by the initiative of a small group of 8th grade students. Based on the idea of the Academy's Hallmark 4, "We Commit Ourselves to Community Service," the students founded the Student Council with the vision of making a bigger impact on the community around them.
With the assistance of two faculty advisors, the Student Council program is open to students in grades 3 through 8, with each homeroom electing a member to the program. Students in grades 7 and 8 may serve as the Council's officers.
Throughout the year the Student Council organizes school-wide events to encourage friendship and student cooperation and works closely with the school's community service and honors program, the Beta Club. The biggest project the student council organizes includes the sale of candy grams several times throughout the year. The council prepares and sells candy and notes that classrooms can send to their classmates for small monetary amounts. The money is then donated to a local charity of the Council's choice.


text:
First outfit post! Playing with camera to figure out how I can take outfit shots. My lighting isn't as good as the inspiration photo. Will need to work on that. But photos seem reasonably clear. I have a big fun folder of ideas saved up in Pinterest.
Really want to get some pictures documented so when I'm having the "I have nothing to wear" moments I can look at a visual reference!
Chambray Shirt: Old Navy
Black tank – Old Navy
Floral Skirt: Loft
Shoes: Jessica Simpson
Necklace: F21
Belt: TJMaxx
Poses are hard. Some attempts were really unfortunate & awkward. And lets not even talk about my facial expression. But I'll keep practicing. (And chopping off my head.)
Funny note- I just looked at the inspiration photo's (9to5Chic's) list of clothing pieces:
Floral silk skirt – Dolce & Gabbana
Chambray tunic – H&M
Belt – J.Crew
Necklace – J.Crew
Heels – Emporio Armani
Purse – Chanel
Her outfit might have cost a few more dollars then mine.


text:
I can't sleep right now, all because of the weather. For one, it's unusually hot out today and my wife and I have already put the flannel sheets on the bed. However, the bigger reason why I can't sleep isn't the weather today, it's the weather in mid-November.
Three of our production days on Dig take place outdoors. Half the movie. We are now locked in to pretty much everything. Talent is flying out, equipment is being rented, permits are being issued. Everything I, as a director and producer, can control is being controlled. The one wild card, the only thing left, the one thing I can't control is the weather. I have no back up. And I just looked at the weather forecast for Palmdale over the next 10 days and every day is "Sunny" except for the last one, Friday, November 12th, which reads "Showers." I don't know if that continues, if it's a one day thing. It's unknown.
So you can understand why I have a tightness in my chest and feel like I'm having a nervous breakdown right now. Granted, November 12th is a good five days away from November 17th and a lot can happen and change, weather-wise, even in the course of the day and historically, California is known for its consistant sunshine but man I am feeling nervous right now. The only possibility I have, if it rains, is to hope it doesn't rain on 22nd - 25th and shoot the desert stuff that day and REALLY hope that everyone will go along with it.
This is a tough spot to be in. I'm not shooting a little short with my friends, where we can shoot anytime, and I'm not shooting a big feature with swing sets in case it rains. I need it to be sunny, or at least, not raining. I really do. I'm picturing that. 100% All I'm thinking about is sunshine. But I'm worried to. I know I shouldn't be, I know I should focused on the power of The Secret and make the clouds and weather bend to my will and good vibes but man, it's tough. (I also had two cups of coffee tonight while doing revisions on the script, which I'm sure isn't helping.)
But I've been in this situation before. I've had the threat of weather and never once have I been ruined by it. Though I've come close. That's all I can hold on to.
There's such an enormous amount of pressure when mounting a project like this, especially one with a significant budget being funded out of my own pocket. There's no second chances on something like this, without a huge added cost and that fact is not helping me sleep at night.
I've said before that so many things have to go right to get a short film like this off that ground that its amazing any get made at all. So many things have gone right so far, from casting, to production equipment, to crew, to getting a RED owner who OWNS the lenses we're looking for and is giving us a huge deal on the rental, to just small, spooky weird little coincidences and help. It's all very strange and odd to look at, seeing how things like this come together. But, whether you believe in The Secret or not, when you put it out there, when you focus your energy on something, it really can happen.
I really need to turn my thoughts around and focus on the weather being in our favor. That everything will be okay. I believe that there's no way, with everything that has gone right in this production so far, that the weather, a last minute day of thing, can spoil it. That's all I can hold on to right now. That's all I have.
So, I ask you, dear readers, to please help me out and focus your energy on the sun shining bright and hot on November 17 - 19 (and 20-21) in Palmdale, CA.


text:
Friday Results | Saturday Results | Sunday Results
Meet Information
23rd Annual Harold Anderson Invitational
Rhode Island vs. Assumption, Bryant, Holy Cross, Maine and Providence
Tootell Aquatic Center - Kingston, R.I.
How it Happened
For the first time in program history, Rhode Island extended its streak to 6-0 after winning the 23rd Annual Harold Anderson Invitational Sunday afternoon.
The Rams continued to dominate the relay events, as they have through the start of the season. The quartet of Kaitlyn Bansky, Nicole Petta, Caitlin Guccione and Eliza Anderson won the 400-yard medley relay, with the other two Rhody entries placing fourth and eighth.
Nicole Petta and Caitlin Guccione continued to rack up wins in the individual events. After winning the 100-yard breastroke during Saturday's racing, Petta claimed today's 200-yard breaststroke title. Guccione won yesterday's 100-yard butterfly event, as well as the 200-yard butterfly this afternoon.
Through 40 events, the Rams scored 843.50 points, besting the second-place team by a margin of over 100 points.
Standouts from the Pool
- Junior Mackenna Dunn earned a third place finish in the 200-yard freestyle event.
- Freshman Kaitlyn Bansky finished second in the 200-yard backstroke. Junior Emma Grace Pecha finished fourth.
- Junior Cassidy Fries had a third-place finish in the 200-yard breastroke, while sophomores Brooke Kelley and Rebecca Younts finished sixth and eighth, respectively.
- Senior Eliza Anderson finished fifth in the 50-yard freestyle event. Sophomore Kelly Blake finished eighth.
- The team of junior Mackenna Dunn, senior Grace Kneller, sophomore Kelly Blake and senior Eliza Anderson came in third in the 400-yard freestyle relay. Rhody's other entries finished ninth and eleventh.
- Junior Katy Evans led the Rhode Island divers with a third-place finish in the 3-meter dive. Junior Alyssa Campone finished sixth.
"I think overall this was our strongest Harold Anderson meet. Everyone had solid swims and it gave them all the confidence that they can swim fast and that their hard work is paying off. They've been very focused all season, so they deserve all of their great swims this weekend." - Assistant Coach Lilli Falconer Deering
What's Next
Rhody will have a month off before returning to the Tootell Aquatic Center to swim against Wagner on Sunday, Jan. 13. The meet is set to begin at 1 p.m.
Final Team Standings
1. Rhode Island - 843.50
2. Assumption College - 706
3. Providence - 630.5
4. Holy Cross - 582
5. Bryant University - 472
6. University of Maine - 386


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South Africa City and Wildlife Tour: Art, Food & Safari
Witness South Africa's reinvention as a country filled with emerging and painstakingly talented artists, chefs and explorers. Experience a country stretching her creative wings as you amble through vineyards, world cities and – of course – the African bush. Learn of efforts made to grow responsibly, protecting the breathtaking landscapes at every turn while still upholding the highest standard of luxury. See the side of South Africa that makes her truly unique, as you try not to fall madly in love with the country.


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Yesterday changed both my password and email and afterwards I couldn't login.
After some messing with the site I understood that I have to request a confirmation mail, but after doing this 5-6 times, I still get no confirmation mail.
The site tells me to contact moderator but there is no clue as to how to do this... so I registered a new account and I am posting here.
Can anyone help?


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Needless to say, the Republicans trounced the Democrats. The GOP took over control of the Senate, and made a bigger majority in the House. The Left lost several key state gubernatorial races and state legislatures. In all, the Red Tide done swamped the donkey party.
Here in South Carolina, we're so racist that we elected the only black Senator, something the Democrats seem unable to do. And because the Republican War On Women is such a big deal, here in South Carolina we re-elected our Governor, a woman whose parents came here from India.
|My Governor is not to be trifled with.
Speaking of the War on Women, I think we can finally stop beating that dead horse. The carcass has no more meat on the flayed bones.
Joni Ernst won a Senate seat from Iowa. She's a combat vet and her husband is a former Command Sergeant Major with the Army Rangers. She is the first woman ever elected to Congress from Iowa.
Mia Love of Utah became the first black Republican woman elected to Congress. Her parents are immigrants from Haiti.
Elise Stefanik became the youngest person ever elected to Congress at just 30 years of age. She represents the 21st District of New York. Yes, deeply blue New York. Renee Ellmers defeated Clay Aiken (yeah, that Clay Aiken) in North Carolina. Being a celebrity is no longer enough of a qualification to be in Congress.
In Arizona, the results are still too close to call, but Martha McSally, who was the Air Force's first female combat pilot, could win her district.
In West Virginia, Shelley Moore Capito became the first Republican Senator elected out of that state in nearly 55 years, also becoming the state's first female Senator. And also in West Virginia, an 18 year old college freshman and fiscal conservative, Saira Blair, was elected to the West Virginia Legislature and thus became the nation's youngest lawmaker. She trounced her Democrat opponent 63% to 30% after defeating the 66-year old Republican incumbent in the primary when she was just 17. Kickin' ass and takin' names.
Of course, the Left will still claim there's a war on women since many of their women were defeated. Wendy Davis went down in flames in Texas after a dirty, ugly, sickening gubernatorial campaign. It's likely that Mary Landrieu will also go down in flames in Louisiana's Senate race. Kay Hagan was tossed out of the Senate in North Carolina. Sandra Fluke was beaten like a drum, losing her bid for a seat in the California state Senate by 22 points, to a FELLOW| DEMOCRAT. Loser.....
Maryland, which has been deeply blue since I lived there as a kid for my first 14 years, elected a Republican Governor. Liberal Massachusetts elected a Republican Governor, as did Illinois. Yes, you read that right. Illinois. Seriously.
Arkansas, which gave us the Clintons, kicked out both Democrat Senators and the Democrat Governor and replaced them with Republicans. In Florida, Rick Scott was able to hold off a challenge from turncoat sleazebag Charlie"the Chameleon" Crist, who changes parties as the wind blows.
And the liberal leftist lapdog media? They lost their minds. PRICELESS...
So...now what? Lord Obeezy suffered an embarrassing Tuesday but still has two years left to continue destroying the nation.
Don't screw this up, GOP. Remember, WW2 went on another year after D-Day so the war ain't over just because we steamrolled the Donkey Brigade in the mid-terms.


text: X-ray to Find the Camera Capsule Posted on April 21, 2016May 16, 2016 by susan As I mentioned in my previous post, I went to the hospital for my capsule endoscopy. I swallowed the capsule and then I was instructed to return 8 hours later to have the monitor removed. Two days lat... Read More


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Today's the last day to enter my Shabby Apple giveaway!
Warning: you will probably be seeing a lot of this dress on the blog. I think it is my favorite purchase of the birthday money spending extravaganza (although allow me to change my mind when I put on my white blazer). It is so easy to wear, and I love how its look changes completely depending on the accessories I add to it.
Jean jacket: Gap (old); dress (now on sale!): Land's End Canvas; locket necklace: boutique in Boulder, CO; leaf necklace: Dean Harris for Target; belt: Old Navy; sneakers: Converse
With a jean jacket, Chuck Taylors and a bright belt, this dress does casual with the best of them. (I show off its slightly dressier side with wedges and pearls here.)
Well, the dress and I are off to go enjoy the longest day of the year!
Do you have a favorite recent purchase? What is it?


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SANTA PAULA, CA — August 2, 2011— The Princeton Review has released its annual guide, The Best 376 Colleges, in which it once again awards Thomas Aquinas College a 99 for academics, its highest possible rating. The college was also one of only 10 institutions in the country — and the only Catholic school — to receive the guide's highest possible rating for financial aid. The Princeton Review, which includes only the top 15 percent of colleges and universities in the United States, lists the College as one of the 121 "Best of the West."
"We're pleased to recommend Thomas Aquinas College to users of our site as one of the best schools to earn their undergrad degree. We chose it and the other terrific institutions … mainly for their excellent academic programs," explains Robert Franek, The Princeton Review's Senior VP / Publisher. "We winnowed our list based on institutional data we collected directly from the schools, our visits to schools over the years, and the opinions of our staff, plus college counselors and advisors whose recommendations we invite. We also take into account what students at the schools reported to us about their campus experiences at them on our 80-question student survey for this project."
Responses from student survey include:
- "Catholic/small-college setting creates an atmosphere of trust and faith that makes it easier to study, to live, and to grow at school."
- The college "takes learning seriously for its own sake, not just as preparation for a job"
- "strong Catholic identity"
- "rigorous curriculum"
- a "holistic education" that is "demanding on every level"
- students learn to "read and think critically."
In addition, The Princeton Review gives Thomas Aquinas College a "Quality of Life Rating" of 96, and placed in the "Top 20" of several categories, including:
- Class Discussions Encouraged
- No One Cheats
- Students Are Very Religious
- Low Cost of Living
- Very Little Drug Use
"We are pleased, as always, with The Princeton Review's rankings and those of the various college guides. We consider these a sign of the strength of our unique program of Catholic liberal education, which strives for both academic rigor and fidelity to the magisterium of the Church," says President Michael F. McLean. "Our students and faculty continue to demonstrate that a classical education, taught in the light of faith, can yield outstanding results by any reasonable measure."
About Thomas Aquinas College
Celebrating its 40th anniversary, Thomas Aquinas College is a four-year, Catholic liberal arts college with a fully integrated curriculum composed of the Great Books, the seminal works in the major disciplines by the great thinkers who have helped shape Western civilization. There are no textbooks, no lectures and no electives. Instead, under the guidance of faculty members and using only the Discussion Method in classes of no more than 20, students read and discuss the original works of authors such as Euclid, Dante, Galileo, Descartes, the American Founding Fathers, Adam Smith, Shakespeare, Copernicus, Kepler, Newton, Einstein, Aristotle, Plato, St. Augustine, and of course, St. Thomas Aquinas. Graduates consistently excel in the many world-class institutions at which they pursue graduate degrees in fields such as law, medicine, business, theology and education.They have distinguished themselves serving as lawyers, doctors, business owners, priests, military service men and women, educators, journalists and college presidents.
About The Princeton Review
The Princeton Review (Nasdaq: REVU) has been a pioneer and leader in helping students achieve their higher education goals for more than 28 years through college and graduate school test preparation and tutoring. With more than 165 print and digital publications and a free website, the Company provides students and their parents with the resources to research, apply to, prepare for, and learn how to pay for higher education. The Princeton Review also partners with schools and guidance counselors throughout the U.S. to assist in college readiness, test preparation and career planning services, helping more students pursue postsecondary education. The Company also owns and operates Penn Foster Education Group, a global leader in online education. Penn Foster provides career-focused degree and vocational programs in the fields of allied health, business, technology, education, and select trades through the Penn Foster High School and Penn Foster Career School, which are headquartered in Scranton, PA.
Certificate of recognition from The Princeton Review
"Thomas Aquinas College is one of the premiere liberal arts colleges in the country and the pride and joy of the Santa Barbara Pastoral Region."
– Most Rev. Robert E. Barron
Auxiliary Bishop of Los Angeles


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In 2015, the Securities and Exchange Commission (SEC) finalized new rules expanding opportunities for small businesses to raise capital through public offerings as mandated by Title IV of the Jumpstart Our Businesses Startups Act of 2012 ("JOBS Act"). The new rules, published on April 20, 2015, amend the already existing small business issue exemption of Section 3(b) of the Securities Act of 1933, commonly known as "Regulation A," and aim to revitalize this often neglected capitalization option for qualifying small businesses. Through these changes, collectively referred to as "Regulation A+," the SEC seeks to "provide an effective, workable path to raising capital" for small businesses, while "also provid[ing] strong investor protections" Regulation A+ will also extend broker-dealers' AML obligations to cover activities in these less-familiar securities. As a result, a thorough understanding of Regulation A+ offerings, and their resultant publicly traded markets, will be crucial to deploying an effective AML compliance program to meet the expectations of regulators.
In the paper Expanded SEC Rules Increase Funding Opportunities for Small Businesses and AML Liability for Broker-Dealers, Navigant expert Ryan Duvall explains Regulation A+'s new exemption thresholds. He also explains how these exemptions will provide certain businesses and industries with new avenues to seek funding and provide liquidity to investors. Duvall also discusses key AML considerations for broker-dealers in light of Regulation A+'s exemptions.


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Well, we finally got the tree up. Husband hung the stockings and outdoor lights last weekend, but we couldn't put up the tree because we didn't have room, what with the piano now occupying the corner where the tree used to go, and the tree too big to fit anywhere else in the room. Husband suggested foregoing the tree altogether and just having a Christmas Piano instead, the idea of which for some reason totally charmed The Boy.
But I am a traditionalist, and a stubborn sort, so Friday bought a new - skinnier - tree. I was tempted more than once to just get a live tree, but that way lies madness. OK, not madness, but lots of hacking and coughing and chesty rattling and misery. Then yesterday we had to buy new lights, because Husband used the old lights on the house. I bought three strings of 300 lights. It's possible 900 lights is too many for a skinny tree, but I somehow managed to miss a spot anyway. Fortunately, it's a spot that isn't really obvious.
So now, the halls are decked and things are much more festive around here.
Here are the stockings all hung by the chimney with care.
Here are my winterbears.
And one more, just because I like sparkly things.


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Ceramic Art by Artist Gordon Perry
If you're ready to place an order or have a question please email email@example.com or phone 212 475 3550. I know it's not as easy as clicking on a picture and paying but I promise you the extra effort is worth the art you will receive. This isn't a traditional Estore but rather a place for you to find my one of a kind ceramics, so I'll work with you to make it easy for you to obtain a piece that you like. When placing an order just indicate the item name referenced. The heights listed are for visualization purposes, they're close but not exact. The teapots are primarily to display and for all to enjoy, they all pour but some might need a drip catcher. If you're not sure which piece you want I can send more pictures and please contact me if you have any questions, talk to me about price. I'm here to help. And I welcome discussions on new ideas, designs and special pieces.
"The teapot arrived yesterday, in perfect condition. You do a great job with the photography for your website, it was just what I was expecting from the picture. We love it! Thanks so much." J.N.
(What I aim for… )
To Contact
The best way to contact me is by calling 212.475.3550, faxing 212.475.5724 or emailing firstname.lastname@example.com.
Methods of Payment
I accept PayPal or check, PayPal is preferred. If you want to pay by credit card I can send you a PayPal invoice payable by credit card. If you choose to make payment by check, payment must be received and cleared before the piece is shipped.
I ship most orders via UPS within 48 hours. The usual transit time is 3-7 business days depending on what part of the country you live in. Shipping and handling costs are free; express service can be arranged at cost. All shipped items will be insured. For Canada and other countries please contact me.
Return Policy
If you are not satisfied with the ceramic piece you have ordered, you may return or exchange it within 45 days. The ceramic items being sold are one of a kind and as such there are certain restrictions for returns.
- When returning an item, you must email or call first to let me know. Please do not ship anything back without my confirming the return first.
- Returns will incur a 15% fee.
- All returns and exchanges must be in their original condition. I cannot accept a return on any item that has been damaged.
- When returning an item to me, I recommend using UPS. Sorry, no COD's accepted. When returning an item it must be insured; I cannot accept a return on any item that has been damaged by the carrier unless it is insured properly.
Thank you.
Gordon's studio is located in Greenwich Village at 121 West 3rd Street. Suite E, New York, NY 10012.


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Discover How To Close More Deals While Drastically Reducing Marketing Costs And Increasing ROI
TTP Cold Calling Training
with Brent Daniels
TTP is an advanced online training that shows you:
- Getting In On the Ground Floor: Introduction and the Evolution of TTP
- The Machine: How to build the PERFECT system – Lexis Nexis, Skip Tracing, and Tracking Galore
- Who to call: Identifying and targeting your prospects like a sniper
- Digging Deep: Listsource, Rebogateway and the DNC List – What is it and why you need to know
- Making Those Calls: How to set-up and load your dialer and one "Mojo Bonus" you can't afford to miss
- Crushing Objections: Mastering the script – How to uncover motivation like a brain surgeon
- Building the Perfect Follow Up System: Your "Golden Pipeline"…and how to manage it with ease
- Knowing Your Numbers: How to keep your business on a steady path of explosive profits
- Time to Grow: Building your team as you grow your business – Who to hire, How to hire, train and hold people accountable
- Holding You Accountable: Taking MASSIVE action and GETTING $HIT DONE!
- BONUS: A Better Version of YOU: Being a Go-Giver, The Mindset Plunger
Are you getting enough quality leads, not making the money you know you can make from your wholesaling business or just want to take your business to the next level? Or do you simply have a small marketing budget but want big results?
My name is Brent Daniels and in 2017 my team and I generated $1,038,895.61 in the real estate wholesaling business using a simple, fully tested, high performing, step-by-step, easy to follow "Ninja" marketing system that not one in ten wholesalers are using or even know about.
What I'm talking about isn't placing newspaper ads, posting "we buy houses" signs all over town and simply wishing and hoping and waiting for the phone to ring. What I am talking about is a proven, step-by-step system to pick up the phone and call people ready and willing to sell their property now. I simply call it the Talk to People (TTP) program.
You may be wondering if cold calling people works and if it is really that simple…My Talk to People system does work and we make it super simple because we tell you exactly what to do and how to do it. After making 1.2 million phone calls to people and generating almost $2 million dollars in sales we know this system works like a charm because over the past four years we've continually refined and improved this complete system so that it's the very best there is. There's nothing for you to figure out. Just simply follow the steps we outline and you'll see your wholesaling business and deals explode faster than you thought possible.
When you sign up for our TTP program we'll show you:
- Where to find the very best lists of motivated sellers many of your competitors don't even know about yet
- How to cherry pick from those lists to make the most deals the fastest without wasting time on people who may not be the most profitable for you
- What to say and how to say it to people you talk to. We cover everything from the tone of voice to use, how to handle objections and questions and even how to make money from people you talk to who aren't interested in selling now. These scripts aren't just theory but proven to work time and time again.
We also give you the exact system to use to talk to the most people in the shortest period of time.
We leave nothing out to start making you more money right away. We'll even share with you a proven formula for exactly how much to offer to each property owner you talk to so that more motivated sellers will do business with you.
But that's not all…once you personally apply this system and when you have more business than you can handle we also show you how to hire and train others to make the calls so you will wholesale more properties. The sky's the limit when you scale this business using the tools and techniques we share with you.
If you'd like to learn more about how to make more money wholesaling in the fastest way possible, simply click "Book a call" for a free consultation. As soon as you learn more about our TTP program, you'll see how quick and easy it is to take your wholesaling business to the next level and stop wasting money on less effective postcards, advertising, signs and/or other marketing that doesn't work for you as well as our proven, more sales now TTP program.
Can you imagine how your wholesaling business will change when you stop hoping and waiting for motivated sellers to call you and instead simply pick up the phone and talk to people ready to sell their properties right now? Experience shows that having the right, accurate list of motivated sellers, knowing exactly what to say and how much to offer owners will make more sales for you faster while other wholesalers in your market will wonder how you are doing what you are doing.
Here is what other wholesalers have said about our TTP program and what it has done for their wholesaling business:
Just imagine what it would be like finding yourself closing more deals every single day in the future now looking back on what your business was like before you had the TTP program. As you sit there listening to me you're probably already beginning to feel excited about what's possible for your business as you take it to the next level.
Just think about how you'll feel each day when you pick up a list of motivated buyers ready to sell now and close deal after deal after deal. It will probably bring a smile to your face at the end of each week as you see more money pouring into your bank account. Finally you'll have all the money you need to do what you want to do, go where you want to go with no limits and do anything you want. And it will get even better when you hire others and have our system teach them to do exactly what you've already been successfully doing with the TPP program.
I'd like to encourage you to book a call with us now for a free, brief consultation where we'll share more about how you can close more deals faster and easier. Wouldn't you agree that learning more about the TTP program as a way to grow your business might make sense for you? Click the link and book a call with us today to see if you qualify for the TTP program. Because of the limited number of participants who will be invited into the program you owe it to yourself and your business to book a call now.
Eric Roth said "Our lives are defined by opportunities…even the ones we missed." Don't miss out on this opportunity to learn how you can quickly and easily grow your wholesaling business. Book your call today.
TJ from North Carolina
On his way to building a successful biz!
Gabe & Jaimie from Kansas
Joining TTP streamlined their business 100%!
Clay from Utah
TTP has changed our life and business
Chris from Arizona
Faithful, Available & Teachable!
Cameron from Florida
Instruction, community, so much info to learn the business!
Daniel, Richard and Will from Texas
From 1 deal a month to 5-10 CONSISTENTLY!
Corey from New Jersey
First check for $13K! TTP!
Jasper from North Carolina
2 deals closed from Talking To People for ONE month!
Immediate results from Talking To People!
Eli from Georgia
Eli has grown his business by Talking to People!
Bill from Oregon
Biggest deal closed for $30k! TTP Baby!
Stephen from North Carolina
4 months since joining TTP, GAME CHANGER!!
Cedric from Kansas
TTP has helped Cedric find his freedom!
Adrian from Florida
$10k from his first deal!
Michael from Texas
TTP has helped Michael become consistent with his business.
Jessie from Rhode Island
Implementing both WI & TTP took Jessie's business from part time to full time.
Terone in California
5 Closings in 60 days since adding TTP to their business.
Alfredo from Colorado
$72k in only TWO months!!
Tag from Tennessee
Tag has went from 60 leads per month to 600! TTP!!
David from Tennessee
David has done 20 Deals in 5 months, averaging 15k per deal!
Josh from Maryland
Josh's leads have skyrocketed, closing 15 deals since adding in the TTP course!
Jason from Colorado
Following Brent's instruction has lead Jason straight to success!
Elizoebeth from Colorado
Business has been BOOMING since joining the TTP Course!
Craig from Kentucky
In only two months Craig has built his cold calling business!
Wayne from Florida
Jumping into the TTP course has added value to Wayne's business.
Cristina from California
Joining the course has given Cristina the blueprint she needed to get consistent with her business.
Adonijah from New York
Adding TTP is taking Adonijah's business to the next level!
Abram from Louisiana
Abram started Talking To People and closed his first deal for 32K in only 3 months!
Drew from Utah
Drew has gained traction since adding the TTP course to his business!
Colin from Texas
Colin went through the course with Brent's guidance and closed his first deal for $25k!
Phillip from Texas
In less then two months Phillip was cashing his first check for $35k just from Talking to People!
Kyle from California
Kyle's business went from averaging 20k a month to 100k a month! Simply from TTP!!!
Chris from Texas
Getting started with the TTP Family has been a Game Changer for Chris' business!
Giovanni from Texas
Joining the Tribe helped Giovanni scale his business from 1 deal a month to 15 deals a month! BAM!!
Dan G. from Washington
Dan has been using the TTP system as his number one source to get leads.
Benjamin B. from Texas
Closing out the month at $48k and leaving his corporate job last week is just the beginning for Ben!
Brittany from Alabama
Brittany joined the TTP course to help expand her business and grow her deal size, in only 1 month she has had some Major results!
Justin from Texas
Eight deals in only 3 months averaging $14k per deal!
Sam from California
Sam is on the phone everyday Talking To People, he closes his first deal only two months after following Brent's instruction and taking Massive Action!
Stephanie from Arizona
Stephanie has been getting Massive results!
Matt from Indiana
Matt had TWO deals within two weeks of getting started with TTP, bringing in over 50k!!
Chris and Cyndi from Arizona
Right out the gate Chris and Cyndi closed three deals
Brent from Colorado
Brent's business has grown using the TTP course, and he is excited to see what the future brings!
Dane from Utah
Generated over $70,000 on ONE DEAL!
Solomon Oh
Solomons Goal for 2018 is to Break $200k Barrier!
Getting Deals at a Fraction of the Cost
Seth T
Doing $80k in one month!


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Going green: Formula E drivers power around Kremlin at 250km/h (VIDEO, PHOTOS)
They were taking part in the Formula E championship, with the Moscow leg the penultimate race in the season's calendar, before it moves to London for a double header, where the championship will be decided.
Fans packed alongside the Moscow River and the walls of the Kremlin to get a glimpse of the cars whizzing past. The organizers stated that over 10,000 fans came out to watch the event unfold in what it is hoped will become a regular fixture in the Formula E race calendar.
"This location is absolutely unique and I was absolutely amazed and proud that the organizers were able to hold the Formula E championship in 10 of the best cities in the world and Moscow was one of them," FIA President Jean Todt said, speaking to RT.
The electric cars can race at speeds of up to 250km/h, with the added bonus is that they are quiet and do not emit any harmful emissions. They might not be at the same level as Formula 1 cars at the moment, but Brazilian driver Lucas di Grassi, who finished second in the race, behind his fellow countryman, Nelson Piquet Jr., says he is impressed at how electric car racing is progressing.
"The car will gain speed and is becoming faster every year. For sure in five years' time we will have the same speed as Formula 1," Di Grassi said.
Russia's biggest motorsport event, the Sochi Formula 1 Grand Prix, will take place in October. Last year, the southern Russian city held its maiden championship race, which was won by Britain's Lewis Hamilton.
There had been rumors that the 2015 Sochi Grand Prix could be boycotted, with some critics unhappy about Russia's perceived role in the Ukraine conflict. However, Todt said there was no way the event would not go ahead.
"Who could organize a boycott of the Russian Grand Prix, how would this happen?" Todt told the Tass news agency. "Last year before the Sochi leg there were some discussions, but these were on the back of a political crisis. There were political appeals from a few people, which did not get anywhere."


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Amish Door Market
location on Google Maps.
in new tab.
on social media.
The Gateway to Amish Country -- Across the rolling farmland, you can hear the clip clop of a buggy passing by. This is authentic Amish Country, where the food is homemade and the pace of life is easy going. The Amish Door Village is a great escape and a great value with an award-winning restaurant, elegant Inn and Victorian B&B, shopping, dinner theater, bakery, conference / banquet center, nature trail, and more than 300 acres of the farm to explore. Enjoy our famous broasted chicken, home-baked bread and pies. Open for breakfast, lunch or dinner. Shop in our bulk foods market, bakery or gift shops. Laugh at wholesome, family-friendly dinner theater or sing along to gospel concerts. Stay in the luxurious Inn at Amish Door. Gather for weddings, meetings or any special occasion. Open all year. Restaurant & shops closed Sundays.