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|"Thunderbolts: Reason in Madness" one-shot on sale in May
The Thunderboltsâ masters in the U.S. Commission on Superhuman activities know the truth. The Thunderbolts arenât heroes. Theyâre monsters, but theyâre very useful monsters. Thatâs why they keep them on such a tight leash. So what happens when someone comes along and offers one of these monsters a way to cut their leash? And what happens when things get so bad that youâre left with no choice but to unleash your monsters?
Writer Christos Gage will explore these questions and more in two separate Thunderbolts projects. In the May one-shot âThunderbolts: Reason in Madness,â Gage turns the spotlight on T-bolts members Venom and Norman Osborn. Then in July, with âThunderboltsâ #122, Gage takes over the title from outgoing writer Warren Ellis for a four-part arc that ties into âSecret Invasionâ and pits them against the Skrulls attacking Earth.
âReason in Madnessâ isnât the first time Gage has tackled the Thunderbolts. His first Thunderbolts one-shot âBreaking Point,â was released in November 2007, and his second, âInternational Incident,â hit stores in February. âI've always loved writing villains and flawed characters, you can get away with more, and there are so many directions in which you can take them,â Gage told CBR News. âSome of the Thunderbolts, like Songbird, are actively trying to find redemption, but the past has a way of dragging you back just when you think you've escaped. Others are in it for the money, while still others are completely insane. Some are sympathetic; some are nuts, and some you love to hate. Put simply, it's fun to write them--the wrong kind of fun that you feel guilty about afterward, but go right back to doing as soon as you have the chance.â
|Pages from "Thunderbolts: Reason in Madness"
The stars of âReason in Madness,â Thunderbolts director Norman Osborn and team member Venom, are both mentally unhinged -- hence the title-- but they also share a common history as Spider-Man foes. âThat history will come into play in our story,â Gage said. âWithout mentioning any names, Venom is approached by some old partners in crime who make him the proverbial offer he can't refuse--in exchange for betraying Norman. One way or another, you know this can't end well. You'll see Norman Osborn really cut loose--and we'll illustrate quite clearly why he's the man in charge.â
|Pages from "Thunderbolts: Reason in Madness"
âReason in Madnessâ and Gageâs other one-shots are helping to relieve some of the pressure the writer feels from taking over âThunderboltsâ from superstar writer Warren Ellis, whose run on the book ends with Juneâs issue #121. âHaving written those makes me feel like I have a handle on the characters, so there's a certain comfort level,â Gage stated. âOf course, Warren is the ultimate tough act to follow, but I can only do my best and hope people like it. I feel the same pressure on everything I do--I want to deliver the best work I can and give the readers their money's worth.â
In Ellisâ current âCaged Angelsâ arc, the Thunderbolts are attacking each other and on the verge of implosion, but when Gageâs run begins, the team is still together. âWell, the team is together physically, but mentally and emotionally it might be a very different story,â Gage warned. âIn âCaged Angels,â they are all being mentally manipulated by telepaths. When we pick things up, they'll still be feeling the effects of that. More, I can't say.â
|Page from "Thunderbolts: Reason in Madness"
Readers might be wondering why Captain Marvel is picking a fight with the Thunderbolts in the first place. In the âCaptain Marvelâ #5, it was revealed the seemingly resurrected Captain Marvel was actually a Skrull agent who had bonded his DNA with that of the real Captain Marvel. Despite his nature as a Skrull agent, it appeared he wanted to honor the original Captain Marvelâs legacy by fighting against the Skrulls attacking Earth. âIs Captain Marvel acting as an agent of the Skrulls, or is he attacking a team of individuals he knows to be villains, in spite of their legal status?â Gage remarked. Captain Skrull-Marvelâs motives will be explored in âSecret Invasion: Who Do You Trust,â in a Brian Reed-penned story that bridges the gap between âSecret Invasionâ and the âCaptain Marvelâ miniseries.
âThis is a âSecret Invasionâ story, so there will be much fighting of Skrulls,â Gage explained. âI can't reveal a lot about the plot except that the Thunderbolts are called upon to move past their mandate of bringing in unregistered superhumans and actually defend the Earth. But if these guys are our last hope, we might be better off with the Skrulls.â
|Christos Gage's four-issue run begins in July's "Thunderbolts" #122
âAnd the âWho Do You Trustâ psychological warfare doesn't affect them, because they don't trust each other anyway. But the greatest enemy could be within; as that distrust might boil over in combat--it would be easy for one team member to kill another one in a ânot-so-friendly fireâ incident.
âOf course, while this is in many ways a war story, we will still manage to find time for the twisted psychological machinations that have become a hallmark of this team. There's a scene with Swordsman in the first issue that, while quiet, I think is one of the creepier moments we've had yet.â
Artist Fernando Blanco will bring Gageâs âThunderboltsâ arc to life. âThus far I've only seen his layouts, but I was very impressed with them,â Gage said. âHe has an excellent grasp of the characters and is able to convey a lot through their body language. The shots of Venom are especially impressive! He is one scary dude, and Fernando knows it, and he really brings that to life.â
Gage has had a fantastic time writing the Thunderbolts and hopes readers enjoy his issues but couldnât reveal if he would be staying on the book past his four-issue âSecret Invasionâ arc. âAfter that, it's a mystery,â he said. âWill the Thunderbolts even exist after Secret Invasion?â
Now discuss this story in CBRâs Marvel Comics forum.


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The Last Supper (La ultima cena)
|No Rating
|Release Date:
|January 1, 1976
|Running time:
|100 minutes
|Mario Acea, Mario Balmaseda, Francisco Borroto, Samuel Claxton, Andrés Cortina
|Tomas Gutierrez Alea
Description: As indicated by the title, the Cuban The Last Supper (La Ultima Cena) has pronounced religious overtones--but not necessarily reverent ones. Based on a purportedly true incident, the film stars Nelson Allegra as an 18th century Cuban landowner. Allegra sees nothing wrong or unusual about keeping slaves, but he does worry about his status in The Next World. To this end, Allegra begins instructing his slaves in the edicts of Christianity, inviting a dozen of them to restage the Last Supper. Not even at the end does the hypocrisy of religiosity combined with forced servitude become obvious to the well-meaning Allegra.~ Hal Erickson, All Movie Guide
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subset: commoncrawl


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An Interview with Artist Steven Husby
April 27, 2013 · Print This Article
Guest Post by Robert Burnier
After seeing Steven Husby's exhibition, BRUTE FORCe, at 65GRAND, I had the opportunity to catch up with him and ask if we could dig a little deeper into his process. There were several aspects of my earlier writing on his show that I wanted to hear more about from him, but it seemed to me that certain activities of his outside the studio and gallery were also of interest. In response, he very generously took great care in his answers, giving us substantial insight into his motivations, ideas and ways of approaching a studio practice.
Robert Burnier: When would you say you first began to explore the notions that led to the kind of work you're doing today?
Steven Husby: I would say that I've flirted with pictorial recursivity, deductive structure, and something like absolute opacity for years. The house–painterly way I work really started in undergrad as something to aspire to and something to work against. A kind of pop–inflected formalism was in the air – and I was young and impressionable. Over time I've generally found it to be worthwhile to give myself over to the more excessively restrained aspects of my practice, probably because I'm not a particularly neat, linear, or orderly person, but I like what happens when I try to behave as though I were. I think I was first attracted to limits both as things to provide traction and as things to be subverted in some way. I found as soon as I practiced these things, the force generated through restraint was greater than I could ever achieve without it. The channeling, focusing, and projecting of force – whether from inside or out – is absolutely key to the whole project.
RB: How do you feel about the use of concepts from science or mathematics in a work of art? Are they intrinsically important to you in some way or do they act more as metaphors on which to hang other concerns?
SH: Well on the one hand I sympathize somewhat with Joseph Kosuth's early position on these things – on the face of it these concerns are external to whatever the 'art' concerns may be. But from that standpoint so is form, beauty, and meaning – critical or otherwise. And though I sort of love the perverse absolutism of that, I wouldn't want to go so far as to say that these seemingly external concerns are not relevant – they are; however, I think you're correct to key in to them as metaphors. I'm not a scientist or a mathematician, and I have no formal training in anything like those fields. If anything – I would say that although I've had a 'crush' on math and science from an aesthetic standpoint for so long that I can hardly remember not being intrigued by the imaginative possibilities they suggest to the laity, I have almost no innate aptitude for the practice of either. I'd say I'm passably adequate with numbers, and although my studio practice entails some small degree of discipline and rigor, it pales in comparison to that required by even the most rudimentary scientific method. I think what has allowed me to move forward in my practice has been remaining open to the possibility that potentially nothing is external to it.
I think at first I thought that I was only ever interested in these strict pictorial procedures as perverse, radically artificial things in stark juxtaposition to everything else, and in the expressive potential of choosing that sort of perverse limitation as a resonant gesture. But I've also always really loved designing things and making and looking at objects. I believe in the work as this weirdly sincere gesture that somehow enfolds a healthy amount of skepticism. I've often been too proud to spell out my intentions, so as a consequence the work can be read as purely formalist or procedural, or in some way simply 'about' structure or something like that. And I believe that it is not really my place to say that it's not. Sentence meaning takes precedence over speaker meaning. But then why painting? It's a very specific choice. I'm getting bolder about putting forward my own rather more emotionally loaded interpretations of my work as I've gotten more comfortable seeing more kinds of things as internal to it.
RB: What things were most important to you as you prepared to arrange and install the work for BRUTE FORCe? And what got you onto the idea of making those posters instead of the usual show card?
SH: I knew that I wanted to show the big red painting, and the rest of the decisions proceeded from that one. I had begun work on the black and white paintings when the show was first proposed several months ago, but I hadn't originally intended to show any of them until I had completed all sixty-four in the set. My original idea was to show the big red painting, and a group of small collages on the wall that is now occupied by the black and white paintings, but that idea fell by the wayside fairly quickly, as I realized that the collages just weren't going to hold that wall, and the idea of presenting the first eight of the sixty four paintings I began working on towards the end of last year just made more sense as something that could actually hold their own across from the red painting. I had recently completed the second four, so when the opportunity presented itself I couldn't resist the temptation to exhibit them earlier than I had originally planned. Progress continues on the remaining fifty-six, which I will show in partial groupings as I complete them.
This leaves the inkjet on canvas, which extends my investment in photographic imagery which began in 2009 when I began taking photos in the course of my daily life like a lot of people do, and experimenting with ways of bringing that kind of imagery into my exhibition practice. I've always liked how the really opaque geometric paintings looked in rooms – what they do to the space around them as these relatively unmodulated pictorial objects breaking up the contingency of real space. And I've always liked how the paintings looked paired with other people's photographs – so at some point the idea of "sampling†the real in that way just made a lot of sense to me – so that's where that decision comes from. The poster is just a natural extension of that process of sampling, formatting, and juxtaposition, in this case of graphic with more atmospheric sorts of visuality. The title also came pretty early on – though originally it was going to be something like Brute Force: Coming Attractions. The text on the back – "This Is Not a Blog†– is one I wrote over the course of a couple of years for my website not long after I began maintaining one – also in 2009. I think that process of maintaining a website – the initial excitement, and eventual ambivalence I began to feel about its implicit demands and limitations – led me to where I am now with respect to my attitudes towards contemporary image culture, and the pressure that that exerts on our perception of paintings as objects which occupy a peculiar site of intersection between ourselves as embodied physical beings and ourselves as beings looking, passively watching, seeing into and through everything, comparing images to images.
RB: When you move from paint to, say, inkjet, what kinds of issues are raised for you in the use of those differing methods? In both cases the surfaces are just immaculate and consistent, but is there something fundamentally questioned here or do these questions reside on a level other than craft?
SH: That's a surprisingly difficult question to answer. With both I feel I've been engaged in a kind of pantomime of external limitation. Compared to many other painting practices I'm aware of, mine has consistently been much more seemingly de-subjectivized in many respects. And yet I'm not really interested in renouncing subjectivity at all – far from it. I've never thought of myself as a pure formalist. My work has been placed in those contexts, and I've never felt like it was appropriate for me to say no to that aspect of how it reads. But nonetheless, I often find myself articulating my concerns in weirdly formal ways when what's called for is some kind of subjective or objective narrative, and in weirdly narrative and anecdotal ways when what's expected is greater tact I suppose. As much as I seek out limits for their expressive potential, I'm never not chomping at the bit. I suppose that's what it means to seek limits for their expressive potential.
I think my work is full of all sorts of 'tells' that it's not just a matter of beauty, taste, decoration, or craft. I'm very much of my generation – between the super restrained anti subjective artists who emerged in the nineties under the influence of the pictures generation, and the super–subjective, affect heavy painters emerging now. I started using opaque color and hard edges when that was what the painters I respected seemed to be doing. It made more sense to me than trying to be a gestural painter, and I wasn't alone in that. But I have to emphasize that I always loved ab-ex, and even more the really unfashionable stuff that came later like color field – specifically Louis. But then around '98 or so, when I was nearing the end of my undergraduate education, right around the time I started seriously diving into more ambitious literature around contemporary art, painters like Ingrid Calame and Monique Prieto were getting a lot of positive attention. And a painter friend of mine turned me on to the work of Gary Hume, and it just made sense to try something like that…to try on some kind of obviously artificial restraint, rather than just keep layering imagery and processes relating to everything I was thinking about and responding to all the time into a finite number of surfaces. What I was doing before I 'discovered' opacity was something like a clumsy, handmade version of Raygun Magazine. It had it's moments…but what I found by limiting my methods and imitating what I was capable of imitating at the time was something that felt much more mine in a way I could actually stand behind without feeling totally feeble and awkward. I feel like what's been happening in my work the past couple of years is that I'm finally finding ways to slowly find a place in the system for all the impulses I had to restrain in order to find the system in the first place. This process of opening and diversifying also happens to coincide with my introduction to teaching (not coincidentally.) So I've been giving myself permission to think like a student. To try things…to try on things which I don't necessarily 'own,' the same way that I didn't 'own' flat color when I began using it in the late nineties. I don't own inkjet on canvas, or half tone images. That stuffs just in the air, and if I think I can do something interesting with it I'll try. The same goes for writing, making posters, blogging.
But to get back to your question – what the inkjets and my earlier adopted approaches to painting share is a certain degree of apparent impersonality – which I don't so much attempt to shatter or disrupt as find myself inevitably doing in a weirdly personal way, which is what I think makes it interesting and confusing to take in, and really hard to narrativize succinctly.
RB: How and to what degree would you say you incorporate chance into your working process?
SH: The answer to that question hinges on whether or not one believes in chance. On the one hand, randomness is real. On the other – it is only part of what feeds into the stream of what we call 'chance,' which is where genuine randomness and selection bias intersect. I believe in keeping my options open, following my impulses – allowing them to act as a lens or a filter. I don't believe that the act of arbitration is necessarily an act of self–expression, and to the extent that it is I've found it more helpful not to try not to be overly censorious of it. But editing is still very important to me. I see recursivity everywhere these days, but that doesn't mean that it's always visible. I think for some of us, our task as artists entails keeping an eye out for it, and sharing it when it shows itself to us from our vantage point.
RB: For the red painting, do those shapes come from somewhere in particular, or is that pattern the result of interlocking circles?
SH: I arrived at this more or less ubiquitous pattern – which I later learned is called Seigaiha – through a process of simplification of previous, more idiosyncratic drawings. The drawings I paint from are always virtual, which permits me to work fast and loose with structure without loosing sight of the whole, and allows for global changes (inverting values, distorting the entire drawing in a consistent way, etc) without losing anything I might find a use for. The way I begin drawing is almost always the same. I build a very simple pattern – usually a stripe gradient – alter it's structure in some way – then cut and past fragments of the altered pattern back onto itself, crop and repeat. Sometimes I'll come back to an older drawing and change something simple about it, and a new body of work will spring from that. In the case of the wave pattern – I was working with perspectival gradients distorted to form parabolas converging on a single point – like Saturn rings. I was cutting and pasting these patterns onto themselves – mirroring them, etc. The patterns that emerged from that suggested much simpler patterns, so I thought I'd see what would happen if I just drew those, using interlocking circles, as you suggest. I was curious what would remain if I stripped away some of the more sophisticated topologies the computer enables me to access. I was also looking for ways to try out more fallible kinds of marks, and these simpler patterns suggested themselves as appropriate vehicles for that.
RB: You seem to have an alternate practice of developing multiple tumblr blogs that are linked to your website. They don't appear to behave as continuous logs as much as they resemble carefully chosen artist's notes. Do these relate to specific bodies of work or perhaps mark plateaus in your thinking? How would you see us experiencing them in relation to the objects in your studio or in a show?
SH: I started playing around on tumblr about a year ago. I haven't been able to devote as much time to it recently as I did in the beginning – but this seems pretty consistent with many people's experience of maintaining a blog, so I'm not overly concerned about my temporary neglect of it. My step dad recently asked me how I manage to follow through with time consuming studio projects – and an artist friend asked me a similar question with regards to the big red painting in the show at 65GRAND. My answer to both of them was that I find that it's really helpful to maintain several projects at different speeds and different timbres simultaneously so that each can act as a relief from the others, enabling me to follow through on each one in due time. This is true to what I learned in graduate school, which for me was process of pulling things apart and allowing them to stand by themselves without having to be all up on top of each other in one piece. This is still how I like to work. Tumblr's really great as far as that's concerned, because it's something I can literally do while I'm waiting for paint to dry. But on a more serious level, which I've attempted to address elsewhere – on my blog "a little less democracy,†– the tumblrs are a way for me to gather and collect, circulate and redirect things that are floating around our culture. I try to be savvy about how I use it, not simply passively participating – but it's not always easy to tell the difference. In part I think I'm using it to teach myself how to be as savvy as I can about images. I've found it a lot harder to shoot photos – "from scratch†let's say – since I started using it. You get a lot more picky. And it's easy to get a lot more interested in playing with the relationships between what's already 'out there' than with adding more images to the pile. It's all so seductive and yet so ephemeral and insubstantial. The relationship between that insubstantial current – a kind of dreamtime – on the one hand – and the resistant density of paintings and objects and bodies in space on the other – is pretty interesting to me. I'm no expert – but when I give myself over to it (tumblr) it feels like I'm learning something – though what that is exactly is pretty hard to define. I think it has something to do with creating – or generating meaning passively through a kind of visual aikido – rechanneling the others' force, which ties it back to my more strictly painterly pursuits.
RB: Given the sorts of wide-reaching ideas you like to think about, to what extent do you focus on histories – personal, artistic, cultural – as being ruled by extra-historical forces? Is there a link between these notions and, say, a blog title such as "a little less democracy� In that case, I don't see you as so much making a political point as just wondering aloud whether everything is in merely a matter of fluctuating opinion; that some things, if not universal and transcendent, at least move at much slower rate.
SH:  For sure. I'm definitely in tune with the notion that politics as it's discussed in the mainstream, and practiced in the voting booth is epiphenomenal. I've always liked Ecclesiastes, and identified (perhaps a bit too much) with the spectator position. The older I get, the more I see that there is no spectator position, yet I also feel like I see how in the big picture our individual agency amounts to very little – we're all spectators of a great deal of the structures which determine how we will spend our time on this planet. Things get done collectively. Masses move and are moved. Demographic biases are real limits in the world – real forces moving through bodies that have to be accommodated. In that regard it seems nothing short of miraculous to me how much more progressive people have been persuaded to say they are on things like gay rights recently. This is a hard won and incredible step forward in many respects. At the same time, it's deeply disappointing that masses of people must be persuaded to accept what ought to be self–evident. This is sort of where the title of my primary blog comes from – I'm a little suspicious of the "democratic impulse†if there is such a thing. It seems like a con. And of course the defenders of democracy are absolutely correct – it's the worst form of government –except for all the other ones that have been tried. At least it's less obviously sadistic than outright dictatorship. But still…I'm an artist, so I'm predisposed to be suspicious of community. It's been very important for me personally, and as an artist, as a child of the Midwest, to learn to not anticipate and accommodate my natural opponents before I consider how things seem to me from my own vantage point. It's an ongoing process.
This interview was conducted via e-mail in April, 2013.
Steven Husby's exhibition, BRUTE FORCe at 65GRAND, continues through May 11.
ROBERT BURNIER is an artist and writer who lives and works in Chicago. He is an MFA candidate in Painting and Drawing at The School of the Art Institute of Chicago and holds a B.S. in Computer Science from Shippensburg University of Pennsylvania. Recent exhibitions include The Horseless Carriage at Andrew Rafacz Gallery, Salon Zurcher at Galerie Zurcher, New York, the Evanston and Vicinity Biennial, curated by Shannon Stratton, and Some Dialogue, curated by Sarah Krepp and Doug Stapleton, at the Illinois State Museum, Chicago.
Steven Husby: BRUTE FORCe at 65GRAND
April 25, 2013 · Print This Article
Guest Post by Robert Burnier
Normally when you think of covering all your bases it's a way of being non-committal, of hedging your bets. But in Steven Husby's case, it is precisely the opposite: showing different sides in order to invite you into a world and a mindset that can't be contained in one object. In this way he takes a leap of faith beyond becoming enamored of any one approach to his work. Even the title of the show – BRUTE FORCe – seems meant in this inverted sense. It refers less to a domineering position than to exhaustively being open to a wide range of possibilities, to traverse as many combinations as one can.
This, then, seems to be both the form of the show and its central investigation. On view are the different worlds that can emerge when even a single aspect of each has been changed, and when we look in toward the building blocks of a certain "fact" of existence. We see what could have happened, and find the minute aspects of our situation in altering the path our universe can take.
For example, a set of eight meticulously crafted canvases of shaded triangles installed in a grid on one wall offers relationships where something in one is not like the other. We can determine that they are related somehow, and if we keep going, it is possible to suss out the entire potential set – exhaustively, as it were. But it could be otherwise, so a closed system like this also stands, in a way, for infinite alternatives. The surfaces are exquisite, displaying a minimal sense of touch. Brush strokes are sumptuous but also absolutely registered directionally to one side of each triangle, in a fusion of organic movement and idea.
Another canvas of interlocking red semicircles seems to be totally defined except for the notion that it could go on forever beyond our comprehension and that the color has a subtle, airy modulation which is actually quite unpredictable. Color here conveys other senses of openness. Speaking with the artist at his opening, he said he took care not to wear a favorite yellow shirt so as to avoid "fast food restaurant" associations. So clearly, the subjectivity inherent in this aspect of the work isn't lost on him.
An inkjet print of a severely blown-up, half toned image rounds out the show. Ostensibly, this could have been the most distant of the works given its totally mechanical origins, but I found it to be as luscious as any color field. The discrete dots seem to gain more character as they are enlarged, and whatever image they represent dissolves into a sort of mock-expressionism. The practical uses for the half-tone seem subverted, giving us access to their blunt reality while allowing us to wander freely across the gorgeous, delicate, matte surface they generate.
Husby's work is a studied exercise in emergence and the way that severe restrictions can somewhat paradoxically throw subtle expression and gesture into great relief. Having a foot in the minimalist tradition, there is an emphasis on the presence of the object in front of us, but not to convey any absolutes about this or that thing, self-contained, so much as to be a platform to experience a more expansive potential outside of what is there.
(For an in-depth interview I conducted with Steven Husby about the work for this exhibition and his practice, check back with Bad at Sports this coming Saturday, April 27th!) Steven Husby's exhibit, BRUTE FORCe, is on view at 65 Grand until May 11th.
ROBERT BURNIER is an artist and writer who lives and works in Chicago. He is an MFA candidate in Painting and Drawing at The School of the Art Institute of Chicago and holds a B.S. in Computer Science from Shippensburg University of Pennsylvania. Recent exhibitions include The Horseless Carriage at Andrew Rafacz Gallery, Salon Zurcher at Galerie Zurcher, New York, the Evanston and Vicinity Biennial, curated by Shannon Stratton, and Some Dialogue, curated by Sarah Krepp and Doug Stapleton, at the Illinois State Museum, Chicago. He also serves as a museum departmental specialist at The Art Institute of Chicago.
Guest Post by Jamie Kazay
April 22, 2013 · Print This Article
Barbie and La Nouvelle Vague (part 1)
It is my interest in what Jean Luc Godard thought about Barbie, if he ever thought about Barbie, which leads me here. Pick out any one of his films as a point of reference and watch for the female protagonist. She has the essence—the je ne sais quoi. And, her hair is elegant, neatly coiffed, falling in place like the snow on all of Chicago and sliding against my window. It's 2p.m., but it looks more like 7p.m. outside. I love her. I hate her. Barbie shaped my social consciousness. This afternoon "Barbie, Barbie, Barbie†is my constant mantra. She represents the essential feminist that I want to be and the sexual icon so many love to hate. Perhaps this is why Godard used Barbie's essence as a point of reference when casting his female characters. Consider Patricia Franchini, played by Jean Seberg, in "À bout de souffle†("Breathlessâ€) and Camille Javal, played by Brigitte Bardot in "Le Mépris†("Contemptâ€), these protagonists are much like Barbie as they appear ambivalently sexy, intelligent, stylishly dressed, and all the while aloof.
It's also at this point that I must note that Barbie helped to close the "racial divide†of my childhood. A year after I was born (1980), Mattel embraced the "changing times.†The company began to produce "multicultural†Barbie(s). So, when I played with Barbie I never had to worry about being "black†or "white.†She was "politically correct,†especially since Midge (Barbie) was introduced to represent "mixed†girls and "family†life. Midge and the other "multicultural†Barbie(s) meant well, but overall they reinforced "stereotypes.†Nonetheless, I remember playing with Midge and Barbie. The focus shifted to how "pretty†they were, how "thin†they were, and how the blue of Barbie's eyes reminded me of my grandmother. It's so "cliché†to say that I wanted to dress like Barbie. I thought, at 8, that I was a doll. My mother called, and still calls, me "JamieDoll.†Perhaps a defense of my close connection is necessary as I realize that people like Dr. Kamy Cunningham say that Barbie is the "anti-clone for every woman who wishes to be more than surface deep, she is the alter ego ideal for American m[e]n [—the] virgin/whore she makes men out of little boys†(Barbie Doll Culture and the American Wasteland). It's not easy being Barbie.
And, it must be understood that I see Barbie's anatomical faults. Laurell K. Hamilton wonders, "Did you know that if Barbie was a real woman with those proportions, she'd have to carry her kidneys in her purse†(The Killing Dance). I marvel, as Barbie's body is a scientific feat and her eyes are those of Bambi's if ever reincarnated. But, I digress. I'm not a woman that wants Barbie's measurements. I'm a woman that, on a recent trip home to California, hugged my mother only to feel her unruly scarf the color of Barbie pink. The unmistakable pink used to market Barbie's uncomplicated, uncluttered life. I saw Barbie's independence in every strand of my mother's scarf. I find a defense for Barbie at every corner.
The notion behind my mantra was reinforced as I watched Ann Romney take the stage during the Republican National Convention (RNC). Would Godard have cast Romney to play one of his protagonists? She certainly looked the part with her perfectly coiffed blonde hair falling on her shoulders, red lipstick, red silk-taffeta dress, with cuffed sleeves and small V-neck, and black leather heels. The je ne sais quoi of Romney's ensemble was its shade of red. It vacillated from fire-engine red to cerise to "Jolly Rancher red†(New York Times). Romney was reminiscent of Angela Récamier, played by Anna Karina in "Une femme est une femme†("A Woman is a Womanâ€) as she mirrored Angela's gentle pursuit and spoke with phrases full of spunk.  Now, I'm pacing in my office, spooning through a jar of peanut butter—the natural kind, the kind with water on the rim. Barbie posters are stacked on the desk and Midge (Barbie) is back in her box. I wonder if Barbie likes peanut butter?
Jamie Kazay teaches in the English Department at Columbia College. A California native, she holds a BA in English from California State University, Northridge and an MFA in Creative Writing, Poetry from Columbia College. She co-curates the Revolving Door Reading Series and is currently reading of a lot of Camus, Derrida, and Dorothy Allison. Her collection, Small Hollering, was published by Dancing Girl Press in 2011.
When The World Is Mud-luscious
April 21, 2013 · Print This Article
Spring always makes me anxious for that magical transition eulogized in William Carlos Williams' The Botticellian Trees:
The alphabet of
the trees
is fading in the
song of the leaves
Unfortunately, right now e.e. cummings' in Just – may be a more accurate depiction of this midwestern spring:
in Just –
spring  when the world is mud-
And so, over the course of the soggy last two weeks, I've been burying myself in books and hoping that at some point I'll look up and it'll be sunny May already… or June. Here are a few of the books that have been going on dreary bus rides with me.
The Virginia Woolf Poems
by Jackson Mac Low
   When one of my favorite writers uses another of my favorite writer's work as source material, good things are bound to happen. Jackson Mac Low, a student of John Cage, was a writer and performance artist who developed systematic writing processes to compose his poetry and performance scores. One system he developed and used often was the diastic or "spelling through†method which he applied here to Woolf's novels The Waves and Night and Day. This book was published by Burning Deck in 1986 and has a killer cover designed by Keith Waldrop (Sorry for the poor image quality – I already returned my copy to the library and this sad image is all the internet had to offer me).
The Blond Notebook
Michael Slosek
   The book has been floating around my apartment since I got it last weekend. Its always a good sign when books don't go straight onto the shelf; it means I want to live with it a bit while reading it – and maybe before and after, too. The Blond Notebook is Michael Slosek's most recent book of poetry and the latest release from the Chicago based small press arrow as aarow, makers of beautiful, hand bound chapbooks with hand printed covers.
Invisible Cities
Italo Calvino
   Invisible Cities is a collection of short vignettes in which Marco Polo offers descriptions of far away cities to Kublai Khan and it is pure magic.  This was my third or fourth time reading it and it continues to seduce me and inform a lot of my own work.
Patrick Durgin
   Another recent Chicago small press release – this time from Kenning Editions. I'm about two thirds of the way through at this point, but I will say that reading it while I was working the circulation desk at the library where I work gave me in an unnervingly participatory perspective. I kept shifting between Durgin's hallucinatory cultural investigation/poet's script and surveilling a room full of readers from behind a sound proof glass wall and an array of security camera feeds.
Bailey Romaine is a print maker and bibliophile currently living in Chicago.
Aris Georgiades
April 16, 2013 · Print This Article
by Richard Holland
I went to law school and pursued my MA/MFA at the same time. From the academic institution/professorial perspective I suspect this made me a first class pain-in-the-ass. Pity my art professors. I hear they have all recovered well, although I don't know how much treatment or scotch it took.
Both BAS NYC chief Amanda Browder and I were lucky to work with three professors in particular (Michelle Grabner was at UW at the time, and was a shining beacon of smarts) who were exceedingly smart, kind, and when necessary not going to put up with any of my pushy-lawyery bullshit.
This was refreshing as I found a number of professors who weren't particularly interested in dialoging about their ideas, exploring the theory and practice of where the field is going, and embracing the intellectual joy in the complexity in contemporary art.
Aristotle (Aris) Georidiades and his wife Gail Simpson are clearly two of my favorite people; I admire their work ethic, commitment to educating artist as they begin their careers, I enjoy their work, and appreciate(d) their mentorship. They truly were the highlights of my MFA experience and are great assets to the University of Wisconsin art department. Fanboy gushing aside I know and enjoy their work. Aris has a solo show at Carl Hammer and will be present at the reception this Friday (Carl Hammer Gallery, 740 Wells Street in Chicago this Friday April 19th from 5:30-8:00). This show looks like an evolution and maybe a departure from the work I've seen in the past and I am looking forward to seeing the show. Upon reading the press release, I wanted to ask some questions, emailed Aris and he kindly agreed to do an interview.
RH: You new show is focused more on the idea of re-use and repurposing than your prior work, which also has used lots of materials that are construction type, non-precious materials. How does using "found†materials fit into this work? What do you mean by re-purposed sculpture? Are you reusing old work?
AG: Most of the work for this show is made of materials that I have collected that are generally related to buildings built prior to the 1960s.  I also continue to use objects that might be considered obsolete or on the verge of being obsolete. I think that by using these materials and objects in my sculpture,  notions of our current condition are brought to mind. Of course there are some typical motivations underlying this work. Typical in that I am a "maker†who appreciates materials and I notice the way the world around us is made. Materials and the methods of manipulating the materials can and should carry and covey meaning.  Visual artists know this don't they?
I should also add that I continue to believe in the power of objects. As an artist I find it very challenging to try to create compelling objects in a world filled with objects whether we call them art or not. I am not really repurposing old work although at times I do reuse materials from an old piece.
RH: You are one of the few artists I know who have pursued a career in doing public sculpture in your work as "Actual Size Artwork†with Gail Simpson, and also have pursued their own gallery career. How does that work in terms of ideas, do you have a set of Actual Size ideas and a set of ideas for your own practice? Both bodies of work have similar senses of humor.
AG: The gallery work and the work I do with Actual Size are usually pretty separate, although I don't spend a lot of time thinking about it.  They have different goals. Actual Size developed organically with Gail Simpson since we were partners working in shared studio space etc. That collaboration allows us to create primarily large scale temporary and permanent public artworks. The permanent projects usually are commission pieces that I consider more like design-build projects. There are a lot of factors that we take into consideration during the entire process, not the least of which is that it is going to exist in the public domain. Many artists can't or won't deal with many of the issues involved. We actually enjoy much of the work especially dealing a wide range of professionals outside of the art world. The whole thing ultimately makes me feel much more a part of our economy.  The temporary projects on the other hand do allow for more flexibility and freedom of "artistic†expression†than do the permanent projects. It is inevitable that some of what each of us does in the studio carries over into the public works. I would say certain shared values, a sense of humor and other formal considerations.
RH: You are a professor at the University of Wisconsin, you run a public art company, and you make your own work, that is three full time jobs? How do you manage to do all three?
AG: Frankly, I don't think I do a great job managing all three jobs. Fortunately the work of Actual Size Artworks is shared with my wife Gail Simpson.
RH: You are based out of Madison Wisconsin, which is one of the countries major public research institutions, but does not necessarily have the links to the "contemporary art world†whatever that means, you obviously have a gallery career and a collector base, how have you managed to promote your work outside of one of the major centers of art commerce? Has that had an effect on how you promote your work?
AG: Yes, living outside of a major urban area is really difficult for visual artists to maintain any kind of career. I would not be in this area if it were not for this great job that allows me a certain degree of freedom to pursue a career as a visual artist.
I am terrible at promoting my work, especially when juggling different career aspects. In general I believe artists need to do a lot of things to maintain and build a practice. Certainly there are a number of artists that have developed a collector base or some type of funding source that allows them to focus solely on the artwork they want to do, when they want to do it. A long time ago I heard a comment by an internationally known artist giving a talk at SAIC say that she knew of no successful artists in New York that did not have a trust fund. She was completely serious. I am not part of that, for better or worse. New York is still the center of the art world but most people who have been in the art business for any length of time know that there are good artists all over the place. Obviously there isn't a system to support them so major urban areas become the places where artists can be noticed. Of course in the past couple decades the concentration of power and markets in the art world has become even more concentrated in fewer and fewer places.
I can see that this could turn into a rant and I would rather discuss this in person some time. But…
Just as a side note since I think you might be interested in knowing that Wisconsin's senator Ron Johnson, soon after being elected, was quoted as saying that he did not understand why they teach the Humanities in higher education. I also understand that the governor of Florida is talking about raising tuition on students studying humanities since they do not contribute to the economy. These are really tough battles to fight, don't you think?
RH: Can you tell us about some of your public art projects people can see.Â
AG: The only permanent piece we have up in Chicago at the moment is at Maxwell Street Market. It is the signage that acts as a backdrop between the Market and the highway The signs are references to the long history of the melting pot of cultures that have driven the market over the years. We also have a temporary sculpture still on view at Morton Arboretum.Â
RH: What projects do you have on the horizon?
AG: We are currently under consideration for a couple of public art projects at the moment, in Chicago and out west. We are almost always on the lookout for interesting opportunities for projects to do.
RH: Thank you for taking my questions
AG: My pleasure!


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May Obama Be Protected on All Sides
From a wonderfully cool and clouded Wednesday in our sunny South Africa, I greet all my friends in the U.S.A. -- and those elsewhere who may be interested. You have a new President-elect!
I woke up this morning, my throat dry from singing and yelling in the streets last night. I woke up with an unbridled joy, and though I'd only fallen asleep five hours earlier, I was more awake than I've felt in a long time. My first urge was to run back to the street, to continue dancing with strangers, hugging the person closest to me.
The only word that comes to mind is "magical." After watching the early election returns with friends and observing a hushed moment of unbelieving silence at 10 p.m. when ABC called the election for Barack Obama, I did what has been in the back of my mind to do since Obama got the nomination.


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text:
Thai lawmakers on Wednesday started discussing a controversial amnesty bill proposed by the ruling Pheu Thai Party amid tight security.
The discussion, which began in the afternoon, is expected to last until midnight.
In the morning, lawmakers of the opposition Democrat Party led about 1,000 supporters to the parliament and asked permission from police to enter the area near the parliament, but the request was rejected.
The Democrat Party leader, former Prime Minister Abhisit Vejjajiva, said that his party opposed the amnesty bill because it aims to help people who committed crimes during mass protests in 2010, when his party was in power. He said granting amnesty was not acceptable to him and his party, as well as to relatives of those killed during the mass protests.
"Why do we have to pardon those who committed crimes by using weapons against authorities, burning the city and committing violence? We don't care who they are, Thaksin or anyone, they do not deserve pardons," he said, referring to ousted Prime Minister Thaksin Shinawatra.
Abhisit reiterated that he and other members of his party who are accused of involvement in the 2010 incidents are ready to prove their innocence in court, and that the 2010 protesters should do the same.
Meanwhile, antigovernment protesters not affiliated with the Democrat Party decided not to march to the parliament, saying that they are worried about safety and that their number was not big enough to apply pressure on the authorities.
However, at least three protesters were arrested after some of them entered the restricted area near the parliament and tried to break the police line.
The Thai government last week decided to impose the Internal Security Act -- a security law implemented in 2008 to control demonstrators -- in three Bangkok districts over 10 days from Aug. 1 to tighten security around the parliament compound during the parliamentary session.
Around 4,000 police have been deployed around the parliament to control the protesters.
Under the draft bill, people who joined political rallies from 2006 to 2011 and committed crimes in the course of the protests will be pardoned, saying those people were exercising their democratic rights.
Antigovernment groups and the main opposition party have, however, criticized the draft, saying it would protect the protest leaders, including Thaksin, whom they accuse of organizing the mass protests under the United Front for Democracy against Dictatorship (UDD). UDD protesters, who are Thaksin's supporters, were accused of committing violence against the authorities during Abhisit's government.
A total of 91 people, including soldiers, were killed during the violence from mass protests and crackdowns in Bangkok in 2010.


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About this Business
- Cuisine
- Tapas, Spanish, European, Mexican, Pub Food
- Meals
- Breakfast, Lunch, Dinner
From Our Editors
The flavors of Spain stretch from the mountains to the Mediterranean, but they all seem to converge at Barcelona Tapas & Bar. Filet mignon cutlets in a red-wine reduction and flame-grilled lamb chops demonstrate the land's offerings, while steamed clams and mussels broadcast the sea's bounty. So it's a good thing executive chef Edgar Montes De Oca deals out the flavors with shareable tapas plates. That way his guest have the opportunity to try more than one creation.
Ever since cooking his first pot of rice at the age of eight, there has been a method and passion behind chef Edgar's style. Diners who'd like to learn more about it can analyze his Euro-Spanish croquets or simply participate in one of his chef's table experiences. During each, chef Edgar dishes out his wisdom so that diners don't have to follow him home in hopes of finding his diary.


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Walking Meditator
Sep 19th
This site aims to combine the gift of chanting with exercise.
Juliana's Animal Sanctuary
Jan 18th
This no-kill animal sanctuary cares for 68 rescued animals and is the only one of its kind in all of South America. www.julianasfarm.org
Latest Version
Earlier Version
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Mar 19th


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Click for Help
Small businesses need to have a vibrant Web presence. Plenty of other enterprises are more than happy to assist.
Albert DiPadova is facing a population explosion.
Mr. DiPadova is a co-owner of Due Maternity, a San Francisco purveyor of hip clothes for pregnant women. In the past six months, he has seen 24 new competitors emerge on the Web -- which makes it harder for his store to stand out in search-engine results and has driven up the price of ads on Yahoo and Google.
The Journal Report
Low-budget reality-TV shows have given small businesses a shot at prime time. Plus, the challenges of starting your own business after retirement.
- See the complete Small Business report.
So Mr. DiPadova decided on a new strategy to distinguish his business. He would supplement his online ads with a site makeover.
His Web developer used do-it-yourself design tools from Yahoo Inc., YHOO -0.72 % which hosts Due Maternity's site, to give the online store an assortment of features for expectant mothers. Among them: a baby-name finder, photo-sharing service and "Jiggy-O-Matic" calculator that helps women figure out the date they conceived. The centerpiece -- and money maker -- was a wish list that women could share with friends and family.
"You have to give something more back" to customers to get them to return, says Mr. DiPadova, who also owns five brick-and-mortar Due Maternity outlets with his wife, Shannon.
As conventional online marketing gets tougher, many small businesses are coming to the same conclusion as Mr. DiPadova: They have to get more creative with their sites to attract and retain customers. But most small businesses can't afford to hire their own Web developers and marketers to add new features to their sites or increase their online exposure. Even companies that do have on-staff help want easy-to-use tools that keep the job simple and inexpensive. So many entrepreneurs are looking outside their walls for help.
Some, like Mr. DiPadova, are using services that let small businesses create and manage sites themselves despite minimal technical expertise. Others are turning to full-service design houses that not only create sites for them but also manage their marketing campaigns -- everything from buying online ads to customizing the sites so that they attract the attention of search engines.
In Mr. DiPadova's case, the efforts have paid off. Since Due Maternity added the new features in January, about 50,000 people have registered with the site, and traffic and sales are up. He expects his company to reach $5 million in sales this year -- two-thirds of it online -- up from less than $1 million in 2003, Due Maternity's first year in business.
Extending Your Reach
How a small business can get more out of its Web site
- ACT LOCAL Increasingly, shoppers are looking for information on businesses in their town through search engines and online listing services. Exposure can be had for little or no cost on Yahoo Local, Google Maps and yellow-pages sites.
- BUILD BUZZ Invite regular customers to write a review of your business in their favorite online city guide or on sites like Yahoo Local, Citysearch and Yelp, where local consumers share recommendations.
- MAKE AND MARKET Don't blow your whole budget on a flashy site. You also need a presence on search engines to draw traffic in the first place.
- HAPPY LANDINGS Online ads shouldn't always send visitors to your home page. Choose "landing pages" that are more relevant to prospective customers' needs.
- MONITOR YOUR RESULTS Make sure your marketing efforts are working. Many hosting services help track where your online traffic and sales are coming from and offer tips for getting better results from your ads.
Source: WSJ reporting
The push to get more sophisticated online reveals just how vital the Internet has become to small businesses. According to Yankee Group, a Boston consulting firm, 66% of the 5.5 million U.S. businesses with two to 499 employees have a Web site of some kind. The Web has opened up huge new markets for entrepreneurs, giving even the smallest companies a global reach. In addition, the Web is often the first place that potential customers turn for information about companies.
With the stakes increasingly high, businesses are finding that it's no longer enough to have a simple home page. Customers expect a professional, efficient, engaging and secure site -- and they expect to be able to find it easily using a search engine. "If they're going to survive, [small businesses] have to get on to this" idea of improving their site design, says Sanjeev Aggarwal, an analyst at research firm AMI Partners Inc., of New York. "They need a more professional presence."
Basic Mistakes
Indeed, many companies make very basic mistakes with their sites, says Justin Kitch, chief executive of Homestead Technologies Inc., which designs sites for small businesses and provides do-it-yourself tools for entrepreneurs. Sometimes the phone number on the site is wrong, a link doesn't work or the design looks sloppy, he says.
Those kinds of mistakes can ruin a company's marketing efforts, he argues. Online advertising is "very important only once you have a site that's worth marketing," he says. It is "useless otherwise."
Helping companies create polished sites is becoming a big business. Yankee Group predicts the U.S. market for Web services for small and medium-size companies will grow 7% a year to $4.1 billion in 2010 from $2.9 billion in 2005.
These services fall into two broad categories. First, there are do-it-yourself packages. You pay a third party to host your company's Web site, email and other services, but you put together the site yourself, selecting a template and then adding options.
One of the biggest names in the field is Yahoo, which has more than a million small-business customers and hosts 40,000 e-commerce sites. Its do-it-yourself packages start at $11.95 a month for a basic site; Mr. DiPadova uses the top-tier offering at $299.95 a month, which carries a $50 set-up fee and 0.75% transaction fee per sale.
Using Yahoo, people with no Web expertise can create a site from scratch or customize one of 380 templates. They can, for instance, drag and drop images onto the page and move around elements such as the site's headline. Likewise, users can adjust color schemes, fonts and button styles, and add extras such as tables, maps, multimedia content and customer forms. Yahoo also offers templates to help merchants set up online catalogs.
A slew of other hosting companies, such as Homestead, of Menlo Park, Calif., and Web.com Inc. of Atlanta, Ga., provide similar template-based services. Packages range from $9.95 a month for a simple brochure-type site to $49.95 a month for a full-fledged e-commerce site.
High-End Help
Even with these customizable offerings, many entrepreneurs find they lack the time, expertise or staff resources to build their own site. So they hire Web professionals to create and market a site for them. A custom site can cost anywhere from a couple of hundred dollars to many thousands, depending on individual needs, plus hosting fees. Most of the hosting companies that offer do-it-yourself templates also offer soup-to-nuts service.
"It's incredibly painful to build a Web site," says Greg Sterling of Sterling Market Intelligence, a Web research and consulting firm in Oakland, Calif. "There's a lot of stuff going on, and it's very messy. It's wheels within wheels, and your head starts to hurt."
For Shane Gallagher, going with a design team was an easy call. Mr. Gallagher, a 27-year-old surfer, founded Fringe Clothing LLC in Santa Cruz, Calif., with his father, Paul, a year ago. The younger Mr. Gallagher says it was clear that he had to have a site -- and a cool one.
Most of Fringe's products, athletic clothes for extreme sports, are sold in retail stores. Even so, the clothing buyers at stores and the kids who wear Fringe's gear needed "a face to the company," to reassure them that it was an established operation, Mr. Gallagher says, and they would look for that face on the Web. But Mr. Gallagher, who professes a "hate" for computers, didn't want to handle the site himself.
So he hired Affinity Internet Inc. of Fort Lauderdale, Fla., to create his site, where customers can order items directly or find out which dealers carry Fringe's clothes. The design features stylized midflight images of skateboarders, motorcyclists and snowboarders; customers can also read a surfer's tale of near death in the underwater grip of a 20-foot wave.
Now Mr. Gallagher plans to work with Affinity to set up a MySpace page. Many companies that market to young people set up pages on the popular social-networking site to build buzz. And Affinity is developing ads for Fringe on the surfing portal surfline.com.
Indeed, another big appeal of the soup-to-nuts plans is that they usually offer online marketing as well. Many small companies are overwhelmed by the job, and are only too happy to turn it over to a professional. Affinity, for instance, manages a modest $100-a-month search campaign for Fringe.
What's so complicated about online marketing? With so much competition, it's getting harder for online businesses to maintain high placement in search results. And it's becoming more expensive to buy ads tied to search terms. Prices for these ads are set in online auctions and can jump on big bids from novices who don't know the going rates, as well as large competitors who can afford to drop lots of cash. Indeed, larger companies have for the most part cornered the market for the general keywords -- such as "clothing" -- that are most popular with searchers.
Choose Your Words
Many small businesses say Web-services companies bolster their chances by carefully choosing which keywords belong in an ad campaign and managing bidding to balance cost, ad ranking and results in Web visits and sales. Traffic to Deborah Williamson's six-month-old online store, ChinaGlassAndMore.com, based in Gillette, Wyo., rose to as high as 70 clicks a day on weekends from almost zero after Homestead began buying ads for her on Google. The ads are tied to keywords such as "china gravy boat" and "collectible dishware."
Ms. Williamson pays Homestead $49.99 a month for a guaranteed 400 clicks a year, or about 33 a month. She is now generating about $600 a month in sales.
Pros can also design a site that attracts search engines and boosts their ranking in the so-called natural results, where ranking is determined by relevance only. For example, the Web site for Pizza John's, a pizza restaurant in Essex, Md., gets the top ranking on Google or Yahoo for searches on "pizza johns." Crucially, it beats out the similarly named national chain Papa John's, which has many stores in the surrounding area. It also ranks at the top for searches on "pizza Essex Maryland."
Web.com credits this high placement to a few key elements. The site has a clear, descriptive domain name, pizzajohns.com. The site's design also avoids certain types of graphics and frames that can be troublesome to search-engine "spiders," the automated programs that scour the Web analyzing sites and help engines determine relevance, and therefore ranking.
And the site repeats keywords such as "pizza" and "pasta," as well as the restaurant's name and location. Spiders like to see consistency and redundancy in the text on a site. That's where a small business, focused on one area or product, can gain a big advantage over a larger one. A big business's site often must emphasize the company's breadth of operations and services, leading to less redundancy in the text.
Similarly, when Affinity designed an online dating site for Matchmaking Moms Inc., the company made sure to repeat lots of keywords and use "metatags," invisible text that gives search engines information about the contents of a page. Affinity also included a special Google site-map file that gives the search engine more information about the site, which lets moms set up their sons and daughters with potential mates.
That design may have helped the San Francisco-based site get its big break. A producer for NBC's "Today" show spotted Matchmaking Moms while doing a Web search, and featured it on the show on Aug. 9. The publicity sent 350,000 visitors to the site that day, says founder Dawn Miller, and netted about 200 memberships, which are free for now. Since then, she has been averaging 20 to 30 new members a day.
—Ms. Richmond is a staff reporter for Dow Jones Newswires in Jersey City, N.J.
Write to Riva Richmond at email@example.com


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Capitol Hill Critics Second-Guess Agencies Using...
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Co-Sourcing Improves Pharmaceutical Laboratory Productivity
Reader Contributions Are Encouraged So We...
Beckman Coulter has established Beckman Coulter Genomics, which combines Agencourt Bioscience and the newly acquired Cogenics. It offers researchers a single genomic services resource with expanded global capabilities.
Beckman Coulter Genomics' team has expertise and experience on a wide range of genomic technology platforms and is dedicated to delivering the highest-quality results, the firm points out. Services currently available through Beckman Coulter Genomics include sequencing, sample preparation, genotyping, gene expression, biological efficiency, and safety testing, with support for all levels of regulatory compliance including CLIA.
In addition, Beckman Coulter Genomics offers all three commercially available next-generation sequencing platforms: Roche 454 Genome Sequencer FLX with Titanium, Applied Biosystems SOLiD, and Illumina Genome Analyzer.
"We understand that each customer, each sample, and each study is unique and extremely important," says Susan Evans, Ph.D., general manager of Beckman Coulter Genomics. "That is why we strive to create a partnership with each customer through a consistent and personalized approach. Our experienced team has the energy and resolve needed to deliver high-quality results scientists can trust, on time and on budget."
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MDMA (commonly known as the empathogen "ecstasy") is classified as a Schedule 1 drug, which is reserved for compounds with no accepted medical use and a high abuse potential. Two researchers from Stanford, however, call for a rigorous scientific exploration of MDMA's effects to identify precisely how the drug works, the data from which could be used to develop therapeutic compounds.Do you agree that ecstasy should be studied for its potential therapeutic benefits?
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Kentucky Derby
Kentucky Derby hats are all about the big, bold and over-embellished. Pastels, patterns, feathers and bows pay tribute to the long-standing tradition of betting in your Sunday best. Whether you've got front row tickets at Churchill Downs or are looking for a great topper for your derby party outfit, our overflowing assortment of women's Kentucky Derby hats is sure to include the perfect statement piece for you.
The Classic Derby Style
Typically, derby hats feature a dramatic, surrounding brim with rounded crowns and lightweight straw bodies. Because the derby occurs in early May, spectators' hats should be cool, breathable and done in spring colors. But what makes a ladies' derby hat so special is, of course, its accessories. Piled high with sweet silk flowers, elaborate ribbon embellishments and brightly colored peacock feathers, there's really no way to overdo a women's Kentucky Derby hat.
Your Favorite Embellished Looks
At Hats in the Belfry, we aren't afraid to go for those truly fun and embellished looks. Our collection of women's derby hats for sale includes a wide variety of options when it comes to bright styles, bold colors and big embellishments. You can truly stand out in a crowd when wearing any of these unique and highly detailed Kentucky derby hats.
For those ladies with more restrained tastes, we also have some simpler derby hats that will make you feel comfortable. These women's hats can also double as special occasion attire for church services, wedding ceremonies and other important events, so don't discount the idea of going for a subtle look on Derby Day. Find the perfect fit for your tastes and your attire by browsing our full collection of derby hats at Hats in the Belfry.
Belfry Lydiacolor:
Sized Panama Cloche
Regular Price: $129.00
Special Price: $72.00
Belfry Genevacolor:
Lightweight Shantung Straw Dress Hat
Regular Price: $179.00
Special Price: $133.00
Belfry Giannacolor:
Genuine Panama Big Brim
Regular Price: $199.00
Special Price: $112.00
Giovannio Makena
Taffeta Downturn Dress HatPrice: $129.00
Giovannio Kaiacolor:
Sinamay Big Brim HatinatorPrice: $169.00


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• The Las Vegas National Wildlife Refuge will be open to mourning dove hunting from Sept. 1 through Sept. 30. The refuge will start selling mourning dove permits on Aug. 22. For more information, call Lori Casados at 425-3581 x203.
Submit your calendar items and notices to email@example.com
• Habitat for Humanity in Las Vegas is about to start a new house. They build affordable homes for low-income families. If you are interested in helping with the next house (or in some other way), contact them at 454-4434 or habitatlv @gmail.com. They are looking for volunteers of any skill level.
Perhaps the editorial cartoon on the right is indicative of the differences between city life in the eastern reaches of the U.S. and country life out here in the West. For New Mexicans, a bear is a bear, but back East, it's nothing but a slumping market.
No wonder our salsas are so different.
David Cargo, the former Republican governor, was honored last week in the state Roundhouse with the unveiling of a bronze bust in his likeness. The crowd that gathered for the ceremony included Gov. Susana Martinez, out of respect for one of her predecessors, and a host of friends and relatives out of loyalty to this man and the mark he made on New Mexico.
Interestingly, Cargo observed that there were probably more Democrats in the audience than Republicans, which illustrates a sad reality to politics today.
After the history-making season she had in 2010, there's little wonder why New Mexico Highlands University's Julissa Rodriguez has been selected the Rocky Mountain Athletic Conference's Preseason Player of the Year in women's soccer.
Rodriguez's honor was announced this past Wednesday as the RMAC released the preseason coaches' poll in the sport. NMHU, which made its first-ever NCAA regional appearance in women's soccer last season, is picked to finish fifth in the 11-team league.
Saturday, Aug. 27: NMHU Alumni game, 5 p.m., Perkins Stadium
Saturday, Sept. 3: College of St. Rose, 7 p.m., Perkins Stadium
Monday, Sept. 5: Sioux Falls, noon, Perkins Stadium
Sunday, Sept. 11: West Texas A&M, 2 p.m., Perkins Stadium
Friday, Sept. 16: at Colorado Christian, 1 p.m., Lakewood, Colo.
Sunday, Sept. 18: at Metro State, noon, Denver
Wednesday, Sept. 21: Adams State, 7 p.m., Perkins Stadium
Monday, Aug. 29: Robertson girls' soccer at Monte del Sol, 4 p.m., Santa Fe
Tuesday, Aug. 30: Robertson boys' soccer at Roswell (A,B), 4 p.m., Roswell
Thursday, Sept. 1: Robertson boys' soccer vs. Ruidoso, 3 p.m., RHS field; Robertson girls' soccer at Goddard (A,B), 3 p.m., Roswell
Saturday, Sept. 3: Robertson girls' soccer vs. Clovis (A,B), 3 p.m., RHS field
Copyright © 2016
The Las Vegas Optic is your source for local news, sports, events, and information in San Miguel County and Las Vegas, NM, and the surrounding area.


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User:Daiti Tamaru
From OpenWetWare
I am a new member of OpenWetWare!
Contact Info
- Daichi Tamaru
- University of Tokyo
- Address 1
- Address 2
- Chiba, Kashiwa, Japan etc.
- Email me through OpenWetWare
I work in the [Ueda Lab] at Tokyo University. I learned about OpenWetWare from From my iGEM team members, and I've joined because To join an iGEM team.
- 2008, BS, Institute
Research interests
- Ribosome
- Self-replication, Self-Assembly
- Cell
- Goldbeter A and Koshland DE Jr. . pmid:6947258.
- JACOB F and MONOD J. . pmid:13718526.
leave a comment about a paper here
- Mark Ptashne. A genetic switch. Cold Spring Harbor, N.Y.: Cold Spring Harbor Laboratory Press, 2004. isbn:0879697164.


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Peanut Butter & Jelly, Fred & Ginger, Mac & Cheese... Famous pairings. We have a new one that I'm sure you're going to fall in love with as well!Silhouette & BB Frösch Chalk Paint Powder!If you love to create in any way shape or form, you need to learn how these two play so well … [Read more...]
Simple Kid Friendly DIY Christmas Village
Who's looking for something fun & simple to do this Christmas? Something even the kiddos will love! This year, I'm looking to simplify. I want to simplify everything, the gift giving, the message, the decor. I want the Holidays to be more about the family and the true meaning of Christmas. … [Read more...]
Silhouette Black Friday 2015
It's the best time of the creative year!! It's the Silhouette Black Friday Event! If you entered this weeks CAMEO Giveaway, you learned once again how much I LOVE my CAMEO. There are so many options out on the market for this type of creating and hands-down... I pick Silhouette. I've drawn the … [Read more...]
Mistletoe Christmas Sign + Silhouette CAMEO GIVEAWAY
+ This Silhouette CAMEO GIVEAWAY brought to you by Silhouette + Let's get real... Christmas is right around the corner and we ALL want something nice in our stockings this year! Frankly, I'm a gadgets girl. I love all kinds of tools that make my life easier or more creative. My ALL-TIME … [Read more...]
Rosie the Riveter Costume
+ This Rosie the Riveter Costume Post brought to you my Michaels Craft Stores + You guys, I'm so excited... Halloween is right around the corner!! I have a love/hate relationship with Halloween. I'm not a fan of the macabre scene, full of blood and gore, but I do love all of the fun creative … [Read more...]
The Silhouette Curio is HERE
Guys... The new Silhouette Curio is HERE!! I have a special discount just for you guys at the end of this post!! Back in May, I had the chance to travel to Hawaii for the Silhouette Summit where they announced a TON of new products. Linda from Craftaholics Anonymous and I with the CEO of … [Read more...]
Silhouette Black Friday
It's the BEST day of the year... First it's Thanksgiving AND It's the start of the best Silhouette BLACK FRIDAY Sale! While you're waiting for the turkey to roast... you can cash in on all of the great sales on Silhouette CAMEO (NEW and improved!) Silhouette Portrait and all of the consumable … [Read more...]
Thanksgiving Pie Stencils
When it comes to Thanksgiving... I'm the pie girl. I LOVE making pie. I even have the PERFECT pie crust recipe. However, I do understand that pies can sometimes be intimidating. Whether you're baking your own pies or bringing store bought pies to your Thanksgiving celebration... I have a fun little … [Read more...]
My Favorite Crafting Tool + Silhouette Portrait GIVEAWAY
+ Silhouette Portrait GIVEAWAY brought to you by Silhouette America + It is no secret that my favorite crafting tool is my Silhouette cutting machine. Each and every time I start planning a project, 9 times out of 10 I will turn to my Silhouette for help in some fashion. I've decorated whole … [Read more...]
DIY Black and White Wall Art
DIY Black and White Wall Art // I have always been a huge fan of black & white. I love the stunning contrast and knew that when I was ready to dress up our front room in our new house I wanted a strong black & white theme. I also LOVE typography wall art and adore the hand painted typography … [Read more...]


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I have created a simple reusable workflow using designer and deployed its solution on the server. I have done it using Powershell. Now I wanted to know; how can I attach this workflow to a list or a Library?
below script works fine for a list and all content type:


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Leading until the final 100m, Alberto Contador (Saxo Bank) seemed to have the mountain top finish in the bag before being jumped by Valverde (Movistar) and Rodriguez (Katusha) just before the line.
Chris Froome (Sky) had to settle for fourth position, 15 seconds down on the stage winner who remains in the leader's red jersey with a 33 second advantage over his Sky rival.
Stage eight saw the peloton travel from the Spanish town of Llieda over the border into Andorra and up to the Pyreneean mountain top finish at Collada de la Gallina. The route gradually rose into the mountains before climbing the category two ascent of the Alto de la Comella 20km from the finish line before a technical descent to the foot of the punishing Collada de la Gallina, on which the stage was decided.
From the off, attacks were constant but with an average speed of 52.6km/h for the first hour of racing, it's not surprising that nothing stuck. When a break did eventually get away just before the 100km mark it consisted of Cameron Meyer (Green Edge), Javier Ramirez (Anadalucia), Amaël Moinard (BMC), Mickaël Buffaz (Cofidis), Javier Aramendia (Caja Rural) and Martijn Keizer (Vacansoleil).
This group were allowed to forge ahead and at one point had a lead of over nine and a half minutes. The six riders contested both of the intermediate sprints from which Buffaz took maximum points. He was followed across the line by Keizer in second and Aramendia in the first sprint at La Seu d'Urgell and by Meyer in second and Ramirez in third at Andorra la Vella.
But while this group battled it out for sprint points, behind them Sky had taken control and from a nine minute gap at 45km to go, the lead was whittled down to just five and a half minutes as the two climbs of the day approached.
On the climb of the Alto de la Comella, Sky drove hard and fast on the front and it seemed that the other favourites were happy to let them continue to do the work. Up front the six breakaway riders became four as Keizer and Aramendia dropped off, but the gap continued to tumble and following the descent of the category two climb, there was under two minutes between the leaders and the chasing pack.
The Collada de la Gallina, a category one climb of 7.5km with ramps of between 15 and 21% was made for a showdown between the favourites and that is exactly what we got. Four kilometres from the top and the escapees began to attack each other. Cameron Meyer came out on top and was free to take a solo run for home.
With only 45 seconds of an advantage, he never looked like he would make it the whole way and was indeed passed by the leaders inside the last two kilometers. He battled hard to eventually finish just 1: 51 down at the finish line but the real race had passed him out.
With just three kilometres remaining, Valverde attacked for home. Fellow Spaniard Javier Ramirez, who was fading from the breakaway, provided a brief tow as Valverde seemed to be opening a gap on his rivals, but no sooner had he attempted to get away, as he was reeled back in by Froome, Rodriguez, Daniel Moreno (Katusha) and Contador.
The race was now down to five riders and as Froome and Rodriguez attacked on after another, Contador seemed content to follow. Inside the final kilometre and the Sky man gave it one final dig, sprinting to try and shake off the others, but without any success.
It was here that Contador went for home. The Spaniard dug deep and with gritted teeth seemed to have victory sewn up. As he passed the 250m, 200m, and then 150m mark he seemed home and dry. And then, just as he turned the final bend, as if resurrected from the dead, Valverde appeared with Rodriguez in his wheel.
The pair stole the march on Contador and not only did he not win the stage, but he lost out on the time bonuses that would have made such a difference to his challenge for the overall victory.
In the end it was a brave effort from Sky, but Froome didn't seem to have the legs or the tactical mind to outfox Contador, while El Pistolero himself was out done by the guts and determination of Valverde and Rodriguez.
- Alberto Contador
- Cameron Meyer


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4 posts tagged with films and politics.
Displaying 1 through 4 of 4. Subscribe:
THR & The Blacklist
After 65 Years The Hollywood Reporter addresses its role in the hollywood blacklist, including an apology from W.R. Wilkerson III, son of THR founder Billy Wilkerson whose "A Vote For Joe Stalin" editorial named writers such as Dalton Trumbo, Lester Cole, Howard Koch and John Howard Lawson as communist sympathisers.
The Miscreants of Taliwood
The Miscreants of Taliwood is probably one of the best documentaries I have ever seen. And it defies all types of film making (in a good way). The subject? The Talibanization of a certain part of Pakistan and the assault on art, entertainment, and humanity. But it's not quite a documentary. It is a surreal trip through the fiction and the nonfiction of Peshawar, NWFP and FATA. It is fake, it is real, it is unbelievable. Basically, it is Pakistan. [more inside]
Big Screen Version
Big Screen Version [.mov, 9.5MB - 3 min.] is the title of a short film described as "Split-screen talking heads and flying graphics collide in a musical homage to the self-righteous rhetoric of Fox News." made by film and videographer Aaron Valdez. Other gems of his include Politics, Any Way You Slice It, and his regularly updated vlog.
Fahrenheit 9/11
Fahrenheit 9/11 tops box office If it's posted on Drudgereport, it must be official; This, despite an all out effort from the Vast Right Wing Conspirators to keep if from being shown...
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text: Energy Transfer Equity Content on this page requires a newer version of Adobe Flash Player. Energy Transfer Equity ( ETE) owns and operates a diversified portfolio of energy assets in the natural gas, natural gas liquids, and propane sectors in the U.S. This stock is trading up 1.9% at $45.54 in recent trading. Today's Volume: 786,000 Average Volume: 569,337 Volume % Change: 144% >>5 Stocks Insiders Love Right Now From a technical perspective, ETE is bouncing modestly to the upside here right above its 50-day moving average of $43.78 with above-average volume. This move is quickly pushing ETE within range of triggering a near-term breakout trade. That trade will hit once ETE manages to take out some near-term overhead resistance at $46.07 with high volume. Traders should now look for long-biased trades in ETE as long as its trending above its 50-day, and then once it sustains a move or close above $46.07 with volume that hits near or above 569,337 shares. If that breakout triggers soon, then look for ETE to tag $50 to $55 in the near future. Prev 4 of 9 Next


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Friends, I'm a WP and UNIX newbie - and I've read all the permalink docs and 70-80 forum posts - and I am really confused by this error message:
If your .htaccess file were writable, we could do this automatically, but it isn't so these are the mod_rewrite rules you should have in your .htaccess file. Click in the field and press CTRL + a to select all.
Is this an erroneous error message - or is there something I'm missing?
My pages and posts all seem to have permalinks (check out http://www.garybclayton.com and /leadership/blog) that work from any browser on all machines to which I have access. I have links from posts to pages and they work just fine.
I'm running 2.7 installed in my html directory with leadership/ as my home-page home and the nominal .htaccess file installed in the html directory. It seems to work, yet WP tells me I should change the .htaccess file to:
<IfModule mod_rewrite.c>
RewriteEngine On
RewriteBase /leadership/
RewriteCond %{REQUEST_FILENAME} !-f
RewriteCond %{REQUEST_FILENAME} !-d
RewriteRule . /leadership/index.php [L]
So, I've learned to change permissions, access the .htaccess file and change the contents as directed. End result: no access to anything but my home-page. I walked through all this with godaddy and they tell me I did all the mechanics correctly.
What am I missing? Do I really have a permalink error - or is there a WP>Settings>Permalink error?
Is there another way I can test my permalinks to identify whether I have a real error?
[my goal is to spend less time on technical setup and more time building my site, I hope someone can help clear this issue up]


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Fracture (2007)
Photos with Anthony Hopkins
Photo 8 of 50 Show all
15 March 2005
Photo by Sam Emerson - © 2007 Warner Home Video. All rights Reserved.
Titles: Fracture
Names: Anthony Hopkins
Anthony Hopkins (429)
Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!IMDb Mobile site
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This artist has 53 artworks in the database. Add more!
Top owners of works by this artist
|Private collection
|8 artworks
|Museo Nacional del Prado
|(Spain - Madrid)
|7 artworks
|The State Hermitage Museum - St Petersburg
|(Russian Federation - St. Petersburg)
|5 artworks
|Palacio Real - Madrid
|(Spain - Madrid)
|4 artworks
|Uknown owner
|3 artworks
|Dunham Massey - National Trust
|(United Kingdom - Altrincham)
|2 artworks
|Wellington Collection at Apsley House (English Heritage) - London
|(United Kingdom - London)
|2 artworks
|Mount Stewart - National Trust
|(United Kingdom - Newtownards, Greater Belfast)
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Discussion forms will be added in the future, most likely Autumn of 2013.
Creative works made by this person are in the PUBLIC DOMAIN (not copyrighted).
This person died over 70 years ago (in 1779).


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An overview is presented of the use of a single-domain model for developing an understanding of the switching of two coupled magnetic free layers for toggle MRAM (magnetic random access memory). The model includes the effects of length, width, thickness, magnetization, thickness asymmetry, intrinsic anisotropy, exchange coupling, dipole coupling, and applied magnetic field. First, a simple perturbative approach is used to understand the basic phenomena at low fields, including the critical switching curve and activation energy. Then the more general model is applied in order to understand the effects of saturation at large field, and thickness asymmetry. The major results are that toggle MRAM should have a larger margin for half-select and full-select switching fields than Stoner–Wohlfarth MRAM, and that the activation energy should increase upon half-select, thus eliminating the half-select activated-error problem.
Note: The Institute of Electrical and Electronics Engineers, Incorporated is distributing this Article with permission of the International Business Machines Corporation (IBM) who is the exclusive owner. The recipient of this Article may not assign, sublicense, lease, rent or otherwise transfer, reproduce, prepare derivative works, publicly display or perform, or distribute the Article.


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Alternative Titles
Synonyms: The Sign, Delivery, My Love, Monopolistic, Chiryou, Amanojaku, To Become Your Number One, Brave Face, Nekojita, Shoudoku, Otetsudai, Rebellious Age?, Sawa-chan's Lie, Try it Out
Japanese: おひさまの匂いのする少女。
Type: Manga
Volumes: 1
Chapters: 15
Status: Finished
Published: Aug 10, 2010
Genres: Hentai
Authors: Sasahara, Yuuki (Story & Art)
Serialization: Comic LO
Score: 6.801 (scored by 51 users)
1 indicates a weighted score
Ranked: N/A2
2 based on the top manga page. Please note that 'R18+' titles are excluded.
Popularity: #18265
Members: 118
Favorites: 0
Summary Stats
Reading: 12
Completed: 70
On-Hold: 6
Dropped: 3
Plan to Read: 27
Total: 118
Score Stats
All MembersRecently Updated By


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New London - It's been nearly four months since Lawrence + Memorial Hospital completed a new 225-space parking lot off Ocean Avenue and not a single car has parked there yet.
But a hospital spokesman said the employee lot is expected to open by the middle of this month.
"All the plans for modifications have been accepted and approved,'' Mike O'Farrell said. "Our team is working on bonding issues and some pricing on how much the remaining work is going to cost. ... In a couple weeks we expect to be open."
The lot, which will be open 6 a.m. to 6 p.m., is on land off Ocean Avenue behind a small strip mall that includes the Recovery Room restaurant and a Dunkin Donuts.
The hospital received approval for the lot last year but ran into drainage issues as the lot was being built. According to minutes of city Planning and Zoning Commission meetings, the hospital altered the original plans without returning to the commission for approval. Adam Kuhn, project manager for the hospital, said he made the decision to do the additional work because waiting would have caused further erosion problems.
On Feb. 7, the commission approved the modifications, which also included the hospital submitting revised plans that included landscaping and the proposed location of nine trees. A request to extend the hours of the parking lot to midnight was denied.
During the commission meeting, several residents of Dell and Evergreen avenues and Ray Street complained about the bright lights and expressed concern over increased traffic.
The parking lot will be used by hospital workers, freeing up space on the main campus for visitors, O'Farrell said. Employees will also be encouraged to park in the lot and not on residential streets that surround the hospital, he said.
The hospital may re-apply at a later date for permission to keep the lot open later than 6 p.m., he said.
Analysis: Get ready for the nastiest, most unpredictable prsidential campaign you can imagine
Based in Rhode Island, the country's newest tall ship set to train students
New Sandy Hook school opens nearly four years after massacre
Groton Elks to hand out safety materials, snacks for Kid Safety Day


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The co-founder of a Northeast Kansas concert festival remains in jail Thursday after a judge denied his request for a bond reduction.
51-year-old Randy Long is charged with 18 felony counts of giving worthless checks and one count of misdemeanor criminal damage to property.
Long organizes "Dogstock" held in Melvern to promote a dog rescue foundation. He allegedly wrote several bad checks to vendors for the event totaling a loss of more than $48 thousand dollars.
Long has a preliminary hearing June 20th.


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Singapore Stopover (ebook)
Butterflies, Birds & Exotic Plants
by by Donna Racheal
A photographic essay in 2 parts - one exploring the nature trial at Changi Airport, the other exploring Jurong Bird Park
Category: Travel
About the Creator
New Zealand born, I have always held a passion for animals from an early age. After moving to Melbourne in the late '80's, I began to pursue my photographic career. To date I have self-published a series of books on Australian Wildlife, as well as children's stories. I currently run my own business, producing natural health care products for pets. I am fortunate to have set up permanent home in Victoria amongst the breath-taking beauty that is the Yarra Valley with my beloved animals.


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Frank Rich on Maddow: Romney's Generalized Foreign Policy
Rich said Romney's foreign policy is  "kind of an undifferentiated, generalized truculence."

How does one position himself next to the guy who ordered the killing of Osama bin Laden? That's part of Mitt Romney's struggle to distinguish himself from President Obama, a Democrat who seems strong on foreign policy and national defense, New York's Frank Rich told Rachel Maddow Wednesday night. Describing what seems to be the Romney foreign policy, Rich said, "It's kind of an undifferentiated, generalized truculence. Russia is still the biggest enemy we have. He wants to have a trade war with China, apparently." Rich added, "He wants to have war with Iran, it seems, even though the Obama policy is proving to be quite successful in terms of tough sanctions. It's almost like he's embracing the truculence Cheney represents without any real intellectual framework."


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Vilmart Grand Cellier Premiere Cru Brut (NV)
|France » Champagne » Montagne de Reims
|Pinot Noir , Chardonnay
|Sparkling Wines
We don't have much information about this winery.
Why not add an image, write a description, or add some contact information?
|France » Champagne » Montagne de Reims
|Pinot Noir , Chardonnay
|Sparkling Wines
A very "Rich Style" champagne. Not very earthy. Very food friendly. Biodynamic producer too.
"With so voluptuous a perfume, so sweet an edge, they make the blood run hot," Joel Fleischman, wine columnist at Van...
British wine writer and critic, Jancis Robinson, once noted that throughout the 80's and 90's in the United States, C...
Be the first follower of this winery and get updates on your profile.
Page 1 of 3Vilmart on Snooth
October 2015
This is a report I adapted from my recap on WB. Unfortunately a few guests fell ... fell ... started with a Vilmart & Cie Cuvée Rubis that was lovely if not a touch sweet. Great way to kick off the evening. That was followed by 2010 Bedrock Compagni Portis sporting stone fruits flowers and lovely acidity. Alan was running a little late and w... Read More
August 2014
Try something like Krug Grande Cuvee in comparison to another tete de cuvee ... at least when I tasted it. Vilmart is another option with oak fermentation. Their Grand Cellier NV is not cheap and not super easy to find, but it's a lovely wine.I'm a fan of wines fermented in oak, but I admit that not every producer has an equally deft hand when... Read More
August 2014
Hola!Following a recent trip to Epernay and the Mercier House where they have the worlds largest oak barrel I was wondering how different champagne would have been before the introduction of stainless steel or concrete vats? I am assuming that the wines were pressed and stored in oak (or wood of some sort) which would presumably had a fairly sig... Read More
February 2014
I've tasted an entry level Turgy product and really liked it for the money. ... ... ChiquetEgly-OurietVilmart (often considered among the pantheon of farmer fizz)Gimonnet (also often considered among the pantheon of farmer fizz)AgrapartGoutorbe (love the rose with its lovely blood orange note)For the best non-Champagne but still French sparkle... Read More
February 2014
Hi everyone!I am looking for some nice vintage champagne! In primio march i will (hopefully) become sommelier Level 2. But i am still very young, so i would like you to give me your best shot about the best champagne you've ever tasted! :) Thank you so much! (: Read More
April 2013
Hey all, I'm really just getting started with wine but i've been drinking/tasting seriously for about a year now. I will be graduating in a couple of weeks and I figure it is a good opportunity to buy my first batch expensive bottles since normally i dont exceed $25 in my tasting.Since it is my graduation, excessive drinking is likely to take p... Read More
December 2012
No written review
September 2012
I noticed that OutThere purchased seven bottles of a particular wine at $14 and it occurred to me that it was a $100 purchase, and enough to last about a week. So I got curious, and mentioned in the thread that it would be interesting to know how much per week people spent. Well, Emark has better records and more time on his hands than I do, a... Read More
May 2012
Hello fellow Snooth-ers!My name is Caroline Henry and I am a #winelover and wine professional. I am a certified Sommelier by the Court of Master Sommeliers, passed the advanced WSET certificate with distinction and am now studying for my diploma. I live in Hautvillers in Champagne and work as a wine broker and social media consultant and wine ed... Read More
December 2011
That's what i'm going to uncork tomorrow. • Marguet - Champagne Blanc de Noir (100% pinot noir) Brut s.a.• Tocai 1994 - Kabaj Morel (Slovenia)• Calabrone 2007 - Bastianich (yes it's Joe Bastianich winery, just 10 miles from home) blend of Refosco 70%, Schippettino/Pignolo/Merlot 10%• Moscato d'Autunno 2010 - Saracco (Piedmont) What's yours?Happy... Read More
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