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There was a time, briefly, when women ruled the world. Well, their world, anyway. In the late nineteen-seventies, several thousand women in North America decided not to concern themselves with equal pay for equal work, or getting their husbands to do the dishes, or convincing their boyfriends that there was such a thing as a clitoris. Why capitulate, why compromise, when you could separate, live in a world of your own invention? On the fringes, utopian separatists have been part of the American story since at least the early eighteenth century—the Shakers, in New England; the millennial Rappites, in Pennsylvania; the Oneida Perfectionists, in upstate New York—and these women decided to turn away from a world in which female inferiority was enforced by culture and law. Better to establish their own farms and towns, better to live only among women. This required dispensing with heterosexuality, but many of these women were gay, and, for the rest, it seemed like a reasonable price to pay for real independence.
The lesbian separatists of a generation ago created a shadow society devoted to living in an alternate, penisless reality. There were many factions: the Gutter Dykes, in Berkeley; the Gorgons, in Seattle; several hundred Radicalesbians, in New York City, along with the smaller CLIT Collective; the Furies, in Washington, D.C.; and the Separatists Enraged Proud and Strong (SEPS), in San Francisco. There were outposts of Women's Land all over the United States and Canada—places owned by women where all women, and only women, were welcome. "Only women on the land" was the catchphrase used by separatists to indicate that men, even male children, were banned from Women's Land (and they often spelled it "wimmin" or "womyn," in an attempt to keep men out of their words as well as their worlds). Separatists were aiming for complete autonomy, and to that end there were separatist food co-ops—such as the memorably named New York Lesbian Food Conspiracy—separatist publishing houses, and separatist credit unions. "We will soon be able to integrate the pieces of our lives and stop this schizophrenic existence of a straight job by day and radical political work at night," Nancy Groschwitz wrote in a 1979 treatise called "Practical Economics for a Women's Community." Perhaps the most successful separatist venture was the women's-music-festival circuit, with its offshoot, Olivia Records, started in 1973. (Since the early nineteen-nineties, Olivia has concentrated on the lesbian cruise and resort business.)
"The template for this idea of separatism is black separatism," Todd Gitlin, a sociology professor at Columbia University and the author of "The Sixties: Years of Hope, Days of Rage," said. "The coverage of the Nation of Islam gained enormous traction with Malcolm X. Via him, separatism was in the air. Run a few years ahead and more people were estranged from normalcy––and normalcy was looking crazier because of the Vietnam War. The appeal of separatism is compounded. You have all kinds of versions of this; various forms of unplugging."
There is no reliable record of how many women were calling themselves lesbian separatists at the height of the movement. "I think it's quite impossible to say, other than thousands," Lillian Faderman, the author of six books on lesbian history, said. Different groups had different definitions of separatism, ranging from a refusal to associate with men to a refusal to associate with straight women to a refusal to associate with gay women who weren't separatists.
The most colorful separatists, although they were neither the most influential nor the most ideologically stalwart, were the Van Dykes, a roving band of van-driving vegans who shaved their heads, avoided speaking to men unless they were waiters or mechanics, and lived on the highways of North America for several years, stopping only on Women's Land. The Van Dykes had determined that the world was suffering from "testosterone poisoning," and they were on a quest: to locate dyke heaven.
They were kind of serious about this, but they were kind of kidding. Or they were completely serious, but they knew it was funny. (They were radical but silly.) When the founding Van Dykes, Heather Elizabeth and Ange Spalding, first hit the road, in 1977, they wrote a recruitment song to the tune of "Mr. Sandman":
Would-be Van Dykes
bring us your dreams
make them the clearest that they've ever been
give us a sign, like nickels and dollars
and tell us that it's just a matter of hours
till we find our
land in the sun
with killer dykes there, all having real fun
plantin' grains and hoeing beans
please turn on and cook up some schemes!
It was ironic that Heather Elizabeth was singing about the joys of agriculture when, actually, she had just abandoned that life and a previous girlfriend, a woman named Chris Fox. In 1976, Heather, Chris, and another lesbian couple had bought a crumbling farm seventy miles outside Toronto, imagining that they'd create a thriving patch of Women's Land where they could live by their own principles and grow their own vegetables. They had fantasies of gardening naked in the sunshine. Instead, the snow was so high it reached the windowsills. The snowplow passed only once every three days. They had intermittent electricity and meagre insulation. Life was icy and miserable. On a trip into Toronto for supplies in the early spring, Heather ran into Ange Spalding, who was glowing and tan after almost a year of living out of her van in warm places. Ange talked about the anonymity and freedom of life on the road. In Mexico, she said, you could live off the fruit you picked along the roadside. Within a few hours, Heather decided to leave Chris and their freezing, female-only farm behind.
Heather Elizabeth and Ange Spalding became the first two Van Dykes. Ange would be Brook Van Dyke, because she was loquacious: a babbling Brook. Heather took the last name she has to this day. By the time she was twenty-nine, Heather had changed her surname three times, once for each of her ex-husbands. She didn't want any of their names anymore, and she didn't want her father's name, either. Like her contemporaries Malcolm X and Muhammad Ali, Heather wanted a name that reflected her emancipation, not a reminder of a past as chattel.
Van Dyke was perfect. Not only was it accurate—they were, after all, dykes who lived in a van—but it had grand potential. Perhaps they could persuade every lesbian in America, in Canada, in the entire world, to cast off the slave name she'd been given at birth or taken at the altar in favor of this tough-sounding moniker that proclaimed, "Your eyes do not deceive you: I am a real live lesbian." They had a fantasy that a maître d' somewhere would one day call out, "Van Dyke, party of four?" and dozens of lesbians would stand up, to the horror of the assembled heterosexuals.
Anything seemed possible. This was 1977, less than a decade after the Stonewall riots, in New York, which had marked the rise of the gay-rights movement in America. Any sense of gay life as normal life was relatively new and still flimsy. Until 1961, there were sodomy laws in every state, which made gay sex illegal. The American Psychiatric Association did not remove homosexuality from its list of mental disorders until 1973. (Previously, despite Freud's belief that homosexuality could not be "cured," there had been a robust industry in the treatment of lesbianism as an ailment. According to a psychoanalyst quoted in Time in 1956, ninety per cent of homosexuals could be healed—and should be, because there were no "healthy homosexuals.")
But now lesbianism had been transformed from a criminal activity practiced by the mentally ill into a radical political gesture embraced by the women's movement. In her book "In Our Time: Memoir of a Revolution," the feminist Susan Brownmiller describes a "coming-out fervor akin to a tidal wave": "I was bewildered by the overnight conversions and sudden switches in overt orientation by many of the activists I knew." Many feminists who weren't even particularly attracted to women were drawn to lesbianism, convinced that it was "not a matter of sexual preference, but rather one of political choice which every woman must make if she is to become woman-identified and thereby end male supremacy," according to the début issue of The Furies, a publication put out by the separatist collective of the same name.
The feminist Ti-Grace Atkinson went so far as to claim that her brand of celibate "political lesbianism" was morally superior to the sexually active version practiced in her midst. Atkinson was not alone in this martyred line of reasoning; a 1975 essay by the separatist Barbara Lipschutz entitled "Nobody Needs to Get Fucked" urged women to "free the libido from the tyranny of orgasm-seeking. Sometimes hugging is nicer." This argument was never particularly compelling to the lesbians in the movement who were actually gay.
Lesbianism—or the pretense of lesbianism—became so pervasive that Betty Friedan notoriously labelled it the "lavender menace." In a 1973 article in the Times Magazine, she suggested that the C.I.A. had sent female homosexuals to infiltrate the women's movement as part of a plot to discredit it. Friedan was right in one way: the Van Dykes and their separatist comrades had ideas that made those of the National Organization for Women look like an appeasement policy.
Lesbianism in the seventies promised its practitioners a life of radical rebellion and feminist empowerment. Separatism was supposed to be an antidote to all the altruism that women had been afflicted with since time immemorial. Now, when the phrase "lesbian mom" is a commonplace, it's hard to imagine a time when female homosexuality was imbued with a countercultural connotation so potent that women were drawn to it by ideology rather than by desire. Similarly, if you are a young gay woman today, it can be difficult to understand the idea of organizing your entire existence around your sexual preference.
The first time I laid eyes on the last of the Van Dykes, I knew it was her before we exchanged a word. She looked like Johnny Cash but bigger, tougher, sitting in a leather jacket at the back of a bookstore in Seattle, where she has lived since she pulled into town in her van in 1980, fed up with driving, non-monogamy, communal assets, radical feminism, and the name Heather. As a child, she used to say, "I'm Hedy Lamarr, the movie star!," over and over, because she'd heard the name somewhere and liked the sound of it. She told that story to a woman named Bear when she first got to town, and Bear said, "Your name is Lamar." She has been Lamar Van Dyke ever since.
Van Dyke is an unusually large woman. People often stare at her on the street. She isn't fat, but she's built broad and stands six feet tall. She has an imposing presence. "If you look at me, there's no question about it: I'm a dyke. I am gay," she said. "If you don't think so, there is something really wrong with you." She has short, dark hair and tattoos winding up and down both arms, some of which she made herself during the eighteen years she owned and ran a tattoo parlor. I was nervous when I met her.
If I weren't female and gay, I doubt very much that she would have spoken to me. "Your generation wants to fit in," she said. "That's your deal: I want to be just like you. The last thing I want to be is just like you." Nevertheless, Van Dyke took me back to her house, which has a metal placard that says "LADIES" on the front door and is decorated with neon tubing, bowling balls, paintings she made of bird-people, Chinese lanterns, an old-fashioned barber's chair, a large purple crystal geode with a crown on top, and a huge sculpture of a kimono that she fashioned out of scrap metal after she envisioned it in a dream. "One time, my mom looked at me and said, 'I just don't understand how you ended up the way you ended up—you're just so flamboyant!' " Van Dyke said, sitting on a leopard-print couch in her living room. "I said, 'Mom! Who dressed me up when I was three years old and gave me a Tonette and had me sing little songs for her friends at her parties? Who wanted me to be Shirley Temple? Who took me to tap-dancing classes? What do you mean, you don't understand? What's wrong with you?' And she just started laughing."
Lamar Van Dyke was born Heather Elizabeth Nelson in Canada in 1947, and grew up in Buffalo, New York. Her mother was a homemaker and her stepfather, a pipe fitter, "was a very staunch, German, patriarchal guy who said, 'You will not do this, you will not do that, you will not leave the house.' We were totally at war the whole time I was a teen-ager. It was some kind of Freudian thing: I grew breasts and he lost his mind."
At nineteen, she left home. She got pregnant after a one-night stand with a Black Panther named Arnell, and went to San Francisco, where the weather was warmer and the culture was looser, to have her baby—a girl, whom she put up for adoption. "I didn't really have a lot of qualms about that," Van Dyke said. "I'd helped my sister raise her kids, so I knew what was involved and I knew I couldn't do that. It's like, no: this child's going to have a good life and she's got to have it someplace else."
Heather got married three times in the six years after she gave birth. She met husband No. 1 while she was still in the maternity ward, where he had come to visit another woman. But Heather decided, "I'll have him, I'll take him." He was a psychiatrist running a halfway house for ex-convicts, and Heather stayed there with him for about six months. On a visit home to Buffalo, she met up with husband No. 2, a biker named Skip Broome, who was a member of a gang called the Road Vultures. She showed me a faded newspaper clipping from 1968, picturing her with long brown hair, standing with Broome and his motorcycle, both of them looking gleeful and wild. (Broome was eventually imprisoned for selling pot and ended up in Attica during the riots.) In those early relationships, Van Dyke said, "It was about the thrill of catching them. It was the thrill of 'Hey, you look good. I wonder if I can get you.' Well, yeah. That'd be yeah. I mean, men'll stick it in central vacuuming."
Husband No. 3, Bruce Beyer, was a draft resister and a member of the Buffalo Nine, a group of antiwar protesters who were arrested when thirty-two F.B.I. agents and U.S. marshals stormed their demonstration at a Unitarian church. Beyer was facing serious jail time, so he and Heather fled to Stockholm, where they were married in 1972. "No. 3 was about the adventure and hiding out from the F.B.I. and running around the world using fake names and crossing borders," Van Dyke said. "I was up for that. I thought that was really good."
That spring, a young woman from New Mexico who looked like Faye Dunaway in "Bonnie and Clyde" came to stay with the Beyers in Stockholm; she was there to attend an international women's conference. Heather decided to go along. She was exhilarated by the brand of radical feminism espoused by the women at the conference, and one idea in particular appealed to her: that you didn't need a man. That you could be the protagonist in your life, the adventurer at the center of the story. According to these feminists, the ultimate enactment of this new kind of power was to have sex with other women. Heather and her house guest left the conference eager to try. Bruce Beyer gamely suggested that he might play a role in their experiment, but the proposal was unpopular. "I said, 'Uh-uh. She's sleeping with me. You're on the couch,' " Van Dyke said. She has a big, mad, raucous laugh. " 'For the rest of our lives, you are on the couch!' "
Beyer, who is now a carpenter living in Buffalo, told me, "I remember being in the other room going, Um, I'm not so sure I like this. Getting up and walking around and around this park at four in the morning." For his wife, lesbian sex was a revelation—her new favorite thing about being alive. A few nights later, Heather brought home a pack of "man-hating dykes from England," as she put it, and it dawned on Beyer that his wife had new priorities. "But at that time in history the mandate in the antiwar movement was to support women who were trying to find their voice," he said. "I don't mean to sound heroic about it, but that's the way it went down." He added, "I always thought of Heather as the Merry Prankster of the women's movement—she brought a levity to everything. I really had my heart broken."
Heather made her way to Toronto, where she'd heard that there were lots of lesbians, and quickly moved in with a couple who were publishing a women's newspaper and experimenting with separatism and "smashing monogamy." Promiscuity "was our final act of war resistance," Van Dyke said, laughing. "We just wanted to not accept anything as fact and to establish what was real for our own selves about absolutely everything. We want to have relationships where we expand! And everything is wonderful! So we're just going to let anybody do whatever they want to do whenever they want to do it, and, you know, there's a certain freedom to that. And there's quite a bit of drama. When the Van Dykes were running around, everybody was sleeping with everybody. It was chaos."
As divorced from men and the heterosexual counterculture as separatists considered themselves to be, they did share certain generational tendencies. "It's so weird that people talk about feminism being anti-sex—as if. As if !" said Chris Fox, who once owned that frost-bound farm with Heather and is now pursuing a doctorate in English at the University of Victoria. "People were fucking their brains out."
Heather Van Dyke, for example, had a knack for getting women to fall in love with her. Almost as impressive, she usually managed to keep them as her friends and sometime lovers even after she had moved on. Some of this loyalty had to do with Heather's seductive personal power. She expresses ideas that are technically insane with so much vigor that you find yourself thinking, Well, maybe. . . . She was a model as a teen-ager, and, with her shaved head in her nineteen-seventies incarnation, was stunning in an otherworldly way. But she also shared with her girlfriends a sense that liberated women did not limit themselves when it came to love.
In 1978, after a year on the road with Ange Spalding, Heather returned to Canada to sell her share of the farm. On this trip, she found a new girlfriend, Judith. But what Heather really wanted was to be on the road—not so much with a partner as with a pack. The dramatic potential of a van gang appealed to Judith, and she enlisted her friend Nancy, a woman who was just getting out of a bad marriage. Nancy wanted to share the spoils of her divorce with other women and experiment with a new way of life. She quickly transformed from Nancy, a heterosexual with children, into Sky Van Dyke, a lesbian separatist with a van.
The Van Dykes decided that they would meet in Texas and then head to Mexico. Heather was convinced that they would be able to figure out how to locate or create dyke heaven if they would just contemplate the matter on top of some pyramids. Heather would take Judith, Sky would go on her own, and they would send gas money to Chris Fox and Ange Spalding, who agreed to drive together, even though Chris had been hurt by Heather's departure from the farm, she says, "when Ange showed up with a tan, smoking cigarettes in her sexy way." Chris and Ange did not think of themselves as jilted lovers following their ex-girlfriend on a road trip. They were convinced that their shared struggle to dispense with the straight world outweighed their bruised egos and broken hearts. "Ange and I melded a little over Heather not being with either of us," Chris Fox says. (Chris changed her name to Thorn Van Dyke, because she was prickly.) "I packed up my carpenter tools and I was ready to head off with Ange, not as her lover but as a friend. As a Van Dyke, as it were."
Several months later, Heather Van Dyke sat on the steps of the San Antonio city hall with her new girlfriend (Judith Van Dyke) and watched in awe as her two previous lovers, Thorn Van Dyke and Brook Van Dyke, rolled into town followed by their benefactress, Sky Van Dyke, and a woman she'd picked up along the way—Birch Van Dyke. There were no cell phones then, and no e-mail. It was remarkable that they'd all materialized— "An Affair to Remember" with radical lesbians.
On New Year's Day, 1979, six Van Dykes drove four vans across the Mexican border and headed south, toward the Yucátan Peninsula. When they got to Chichén Itzá, the women climbed a crumbling ziggurat, took one look at the stone altar on top with its charred marks, and became convinced that they had happened upon a site where women had once been sacrificed. "They were clearly burning women," Lamar Van Dyke says. The Van Dykes ran down the steps, got in their vans, and drove away.
Technically, the Van Dykes weren't high, but they were living off the fruit they found in the trees, so there was a general light-headedness in the group. Occasionally, they would camp out in a park and boil a pot of soybeans down to a little piece of tofu or fry up some soysage as a vegan treat. Even thirty years later, the woman who was once Heather refuses to call herself the Van Dykes' leader—hierarchy was considered patriarchal—but she did have a catalytic effect on the group. "I had slept with them all except for Sky, so, if things were going to happen, they would somehow come at me," Van Dyke said. "You know how you can say things to somebody you've slept with in a way you can't say things to somebody else? Well, I could do that with most of them. They had relationships with each other, but they weren't as intimate." And, in this world of women, intimacy was currency.
In Cozumel, the Van Dykes found themselves adopted by a local woman named Paloma, who ran a jewelry store and had a closeted lover in Mexico City. Paloma had a big house with a thatched roof on the edge of town, steps from the ocean. The Van Dykes thought that maybe they had found their ideal destination, and camped out there for weeks. "We taught ourselves very important phrases, like Los hombres son puercos," Van Dyke recalls. "We didn't want to call anybody a motherfucker, because that would of course be wishing something horrible on a woman, so we decided the thing to say would be 'Go fuck your father.' I think it's Chinga su padre—it's not a phrase that they use."
One morning, the Van Dykes woke at six to find themselves surrounded by Mexican police. The charges were unclear, but the Van Dykes were escorted to the station, where they waited for hours. "Finally, the police said it had come to their attention that we were acting in ways they didn't really welcome," Van Dyke said. "We're not good for their environment."
There was an intra-Van Dyke battle when Brook attempted to steer the group to Belize, but Heather prevailed, as usual, and the Van Dykes wound their way back through the United States. "We were everywhere," Van Dyke says. "We found Women's Land in North Carolina, Florida, Texas, Arkansas, New Mexico, Arizona, a lot of Women's Land in California and Oregon. You could actually go all around the country from Women's Land to Women's Land and you met all these other women who were doing the same thing. You would run into people in New Mexico that you had seen in Texas. . . . It was a whole world." It was the Lesbian Nation.
During yet another fight among the Van Dykes over who was sleeping with whom, Heather recalls, Judith left in a huff and caught a ride to San Francisco. There she met the sex radicals Pat Califia and Gayle Rubin, who had started a lesbian sadomasochist group that they called Samois, for the house of torture in "The Story of O." "She hooked up with those women and when she came back she said, 'You're going to love this,' " Van Dyke remembers. Judith was not mistaken: tofu quickly gave way to leather in the vans. The Van Dykes loved the drama of sadomasochism, the way it gave them license to play power games—which, really, they had been engaged in all along. For Heather Van Dyke, who had been a kind of lesbian Joseph Smith, driving around the continent looking for the promised land with a band of wives and ex-wives and future wives in tow, the idea of being explicitly dominant—a top, in the parlance of sadomasochism—was particularly appealing.
Characteristically, what was going on among the Van Dykes was indicative of what was going on in the women's movement at large. In "In Our Time," Susan Brownmiller writes about a phone call that she received in 1981 from the German feminist Alice Schwarzer:
She seemed to be saying that someone named Pat Califia, a pornography writer in California, was launching an important new feminist movement. . . .
"What's the new movement?" I inquired with interest.
"Lesbian sadomasochism," Schwarzer replied. I thought I misheard her. "Lesbian sadomasochism!" she shouted into the receiver. "It is sweeping your movement. You do not know?"
Lesbianism in the seventies had been configured as a loving sisterhood in which sex was less important than consciousness-raising. For many gay women, sadomasochism was an antidote to this tepid formulation. It was permission to focus on what turned them on, rather than what was politically correct, a way of appropriating the lust and power hunger that feminist doctrine had deemed male. "We'd been being egalitarian," Lamar Van Dyke told me. "And suddenly we were over it."
Fights about S & M overlapped with fights about pornography within the women's movement, and the issue became wildly divisive. Feminists "insisted that lesbians should permit themselves only those sexual interests that reflect superior female ideals," Lillian Faderman writes in "Odd Girls and Twilight Lovers: A History of Lesbian Life in Twentieth Century America." "They feared that the lesbian sexual radicals were not only making a big deal out of sexuality, which should be incidental to lesbianism, but were also deluding themselves and other women into believing that male images, fantasies, and habits were desirable for women too." And there was something to that—Van Dyke calls this period her "Hugh Hefner and dinner jackets" phase.
The Van Dykes put on the first S & M "workshop" at the 1979 Michigan Womyn's Music Festival, to the horror of many attendees. "Festivals offer safe spaces for women in recovery from violence," Bonnie J. Morris writes in "Eden Built by Eves: The Culture of Women's Music Festivals." "Whips and chains or dog collars in public space don't suit this goal." Other festivals subsequently adopted a "pro-healing policy," banning public displays of sadomasochism which could cause "psychic damage," in the words of the New England Women's Music Retreat.
All this whipping and spanking seemed to promote an explosiveness among the Van Dykes: mad fits of pettiness became the norm. One night, Heather became jealous when she heard that Brook and Judith planned to go out dancing without her, so she hid Judith's dancing shoes. When, later, Judith found her shoes among Heather's possessions, she retaliated by setting Heather's van on fire. At least, that's how Heather remembers it.
"Lamar would say it was the introduction of S & M that sent me off into a much more straight, marital situation," Chris Fox says. "But I don't think that's true. We went on that trip with the idea that we would save the money and come back and start a community that would be self-sustaining and involve other people and do good things for the world. What that trip taught me was that, in the end, people will act more on their personalities than on their politics."
As Lamar Van Dyke sees it, "I felt like I had been in trouble my whole life for being too big, too loud, too demanding, too bossy, too everything that I am. When I discovered this S & M thing, it was actually a place where people loved me for those things. It was very liberating and quite a treat."
After Heather Van Dyke moved to Seattle, in 1980, and became Lamar, tattoos and leather became the focus of her life. She was a kingpin in the local S & M scene and, once again, had her own devoted following of women. One afternoon in 1994, the phone rang at Tattoo You, Van Dyke's shop, in the Capitol Hill neighborhood. A young-sounding woman asked to speak to Heather Nelson, which completely unnerved Lamar Van Dyke. "There was no reason on earth for anybody to call that tattoo shop and ask for that person—there was no connection," Van Dyke said. "I just went ballistic. I said, 'Who is this? What do you want?' I thought it was the F.B.I. and I hung up."
At her office in Oakland, California, Traci Lewis, the daughter that Van Dyke had given up for adoption after her fling with a Black Panther, twenty-six years earlier, hung up, too. She had spent a month trying to find her birth mother. "She was so evil when I called," Lewis told me. Lewis was raised in an African-American community in Oakland and is very close with her adoptive family. But she always yearned to know the woman who had given birth to her. "I imagined her skinny—in a skintight suit," Lewis said. "Like she was this uptight businesswoman married to some guy named Bob, and I'm just going to bust in there one day and I'm her little black secret." A few days later, Lewis called Tattoo You again, but this time she left a message using the name that she had been given by her mother at birth: Cherise Michelle.
"The top of my head just blew off," Van Dyke said. "It was so emotional I couldn't do anything. I was in here running back and forth, going from the hallway to the kitchen, holding on to my head saying, 'Oh, my God! Oh, my God!' I called my friend J.C. and said, 'You've got to help me. You've got to call her!' Oh, I was crazed. J.C. said, 'Pour yourself some Jack Daniel's and get in the bathtub and I'll call you back.' "
J.C. telephoned Traci Lewis and asked her to state her date of birth and to provide other identifying details. Lewis thought that perhaps her mother was in a witness-protection program.
"Finally, J.C. called back," Van Dyke recalls. "She said, 'O.K., this is the scoop. It's really your daughter. Not only that, but you're a grandmother! Ha!' Well, I lasted about thirty seconds. I just called her and said, 'Hi.' " Van Dyke's voice dropped to a whisper. "We talked on the phone for five hours every night for the next five or six nights."
A few weeks after that phone call, Van Dyke flew to Oakland to meet her daughter's family. Lewis's adoptive mother, Paula, threw a barbecue on her back deck, and Traci's friends and relatives came to celebrate the meeting. "They were just so excited," Lewis said. " 'Traci's found her birth mother! We have to get tattoos!' " The next time that Van Dyke came to visit, she brought along her tattooing equipment: Traci had got a fish tattoo on her ankle; most of her friends requested stars or flowers. It was a relief and a delight, Lewis said, to find out where she came from. "Growing up, I had my own agenda," she told me. "You know how most kids care if they get in trouble? I just marched to the beat of my own drum. I did whatever the hell I felt like."
Lewis, who is forty-two, has never met her biological father. She hopes to find him someday. In 1994, she attended the Black Panthers' thirtieth-anniversary gathering, in Oakland, where she passed out cards with her story, hoping that someone would be able to help. Nobody remembered the man who called himself Arnell, and it's possible, of course, that he wasn't really a Panther.
Van Dyke has pictures all over her house of Lewis, who is as tall as she is, and her two grandchildren: Monique, who is eighteen, and Royce, who is eight. Monique is a freshman at the University of California, Riverside, and Van Dyke keeps a photograph on top of her piano of Monique at a prom, wearing a teal dress and holding her boyfriend's hand, standing in front of a trompe-l'oeil backdrop of a Paris street scene. Traci, Paula, Monique, Royce, and Lamar Van Dyke have been spending the holidays together and going on family vacations for the past fourteen years.
Brook Van Dyke died, of colon cancer, in 1990. Nobody is quite sure what became of Sky. Judith cut off all communication with her rolling sorority after a fight over a T-shirt business that the Van Dykes had. (The shirts said "Killer Dyke" above Heather's drawing of Patty Hearst holding a machine gun, and they were a hot item for a while on the women's-festival circuit.) Thorn Van Dyke went back to being Chris Fox when she settled in Canada after several years on the road. "Now my life is very conventional," Fox, who is fifty-eight, said. "When I returned from my travels"—in 1980—"within seconds of turning thirty, I started the relationship with the woman I'm still living with and got a job at city hall." She also resumed speaking to males, as her new partner had two sons.
On a bright afternoon last April, I went to visit the last of the Van Dykes in downtown Seattle, at Speakeasy, an Internet-service provider where she has worked for five years. It is by far the most mainstream employment that Lamar Van Dyke has ever had. It was a few weeks before her sixty-first birthday, and she had just bought the first new car of her life, a black VW bug. Van Dyke also owns her house, but she doesn't use credit cards. That would cross some kind of line. "I don't want to be a capitalist pig," she explained.
She drove me to the Wild Rose, a lesbian bar next door to the former site of Tattoo You, and inside there were fifteen or so women drinking and several children running between the tables. A woman with short hair and waxed eyebrows who appeared to be about fifty came over and tried to get Van Dyke to look at photographs of her grandchildren; Van Dyke had gone on a date with her once, a few months earlier. But Van Dyke was unmoved and the woman walked away. "I don't want a wife," she told me. "I want somebody that I can run around with . . . like Batman and Robin, you know?"
Van Dyke works with men now, and even speaks to them. She talks about menopause and her grandchildren and her garden, but she is still wild, a big pirate of a woman. Regardless of the different people of different genders she has chosen over the years as her comrades, Van Dyke's primary loyalty has always been to her own adventure. A woman in her sixties who has been resolutely doing as she pleases for as long as she can remember is not easy to come by, in movies or in books, or in life.
"Your generation wants to fit in," she told me, for the second time. "Gays in the military and gay marriage? This is what you guys have come up with?" There was no contempt in her voice; it was something else—an almost incredulous maternal disappointment. "We didn't sit around looking at our phone or looking at our computer or looking at the television—we didn't sit around looking at screens," she said. "We didn't wait for a screen to give us a signal to do something. We were off doing whatever we wanted." ♦
Correction: An earlier version of this piece misspelled Ange Spalding's name. It also incorrectly stated the year that Brook Van Dyke died.


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Educator Professional Development
PAMM offers FREE educator workshops throughout the academic year teaching strategies that encourage critical thinking and arts-integration for K-12 teachers of all subject areas.
Participate in dynamic discussions about contemporary art and hands-on art-making. No prior art experience is necessary. All materials are provided. Each teacher receives a flash drive with Heckscher Digital Education resources for classroom use.
Miami-Dade County Public School educators should register through the M-DCPS portal, and are eligible to receive Master Plan Points. Educators that do not work for Miami-Dade Schools should email firstname.lastname@example.com to register for workshops.
2018-19 Educator Workshop Schedule
Join PAMM staff for workshops especially designed for K-12 Educators. Together, we will explore ways to connect classroom curriculum with the art and artists of our time. These workshops include art-making, gallery discussions, and opportunities to share classroom strategies with colleagues. All materials are provided. M-DCPS educators receive M-DCPS credits. Please register through the Miami-Dade professional development website.
For more information on upcoming Educator Workshops contact firstname.lastname@example.com
Saturday, October 13 2018 10am - 5pm
That's So Miami: The Surrounded Islands of Christo and Jeanne-Claude. An inspiration of environment, civic engagement and public art.
Join us for a special weekend educator workshop that celebrates the lasting legacy and history of the site-specific 1983 public art installation Surrounded Islands by Christo and Jeanne-Claude. This unique convergence of art, environment, and civic engagement will be explored in a two-part day.
Part 1, 10am-2pm | Join our inquiry-based tours through PAMM's Surrounded Islands documentary exhibition, while exploring the process and conceptualization of public art in the urban tropics.
Part 2, 2-5pm | Further explore the cultural phenomenon of Surrounded Islands by diving into the Vasari Project Archive/Miami Dade Public Library System's complementary exhibition, Christo and Jeanne‑Claude in Miami | The Library and the Surrounded Islands Project. Participate in a hands-on art-making experience sure to inspire more interdisciplinary integration and inquiry-based learning into your classroom. Also attend Process and Participation, Surrounded Islands Project, an experimental social sculpture and panel discussion moderated by Veronica Fazzio with artists Kerry Ware, David Bricker, and Veronica Fazzio. Learn how Miami participated in Christo and Jeanne-Claude's Surrounded Islands project and how the city was temporarily and forever transformed.
Open to traditional and non-traditional K-12 and college educators of all subject areas.
M-DCPS PD Credits: 7
Tuesday, November 6, 2018 9am – 2pm
STEAMY! A Science, Art and Technology mash-up
This workshop will explore the intersections of science, technology and art as tools to inspire students across subject areas. Join PAMM Educators as they engage participants in hands-on activities designed to show connections in how scientists, tech-innovators and artists approach problem solving and critical thinking in various fields of study and work. Learn new techniques to connect learning across a spectrum of topics to promote life-long learning in your classroom.
Open to K-12 educators – all subject areas. Maximum Participants: 25
M-DCPS PD Credits: 5
Friday, April 19, 2019 10am – 4pm
The Future is Bright: Relevant Issues and Ideas – by Teens for Educators
In this special workshop the PAMM Teen Arts Council members will lead a dynamic daylong workshop designed especially for middle and high school students and educators. Participants will discuss and explore issues relevant to teen audiences and how these issues impact their classroom learning and teaching experiences. This workshop will provide participants with the opportunity to view the learning environment from a new perspective while exchanging ideas and participating in hands-on art-making – all inspired by modern and contemporary art!
Open to Middle and High School teens and educators – all subject areas.
Maximum Participants: 45
M-DCPS PD Credits: 7

subset: commoncrawl


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Hotel Packages
Several Chicago-area hotels are offering special VIP packages that include tickets to see Vodou: Sacred Powers of Haiti, showing only at The Field Museum from October 24, 2014, through April 26, 2015.
With convenient locations, these hotels offer wonderful amenities and a range of options to suit every budget. Call each hotel for the details of specific packages, which may also include such benefits as complimentary breakfast, fitness center privileges, in-room treats, and valet parking.
To offer you maximum flexibility during your stay, VIP Hotel Guest Tickets to see Vodou: Sacred Powers of Haiti, which is a timed-entry exhibition, can be used on any day of your visit without having to call ahead. For a list of participating hotels, please view our Hotel Packages.


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Round Up Giving: An Easy and Powerful Way to Give!
Round ups let you donate your electronic "spare change" to support:
Just make a credit or debit card purchase and we'll automatically round up to the nearest dollar and donate the difference. Buy a cup of coffee for $2.49 and donate $.51!
It's simple, safe and you have full control over your donations.
Sign up to start rounding up for your charity today!
We make it easy to donate your spare change… starting today.
Sign up is quick and easy. Your round ups will begin to accumulate throughout the month.
Select your favorite charity from over 1.5 million non-profit organizations. Search and select your favorite!
Your giving options: Round ups or Fixed amount each month and with your choice of a maximum amount.
Easily and securely link to your banking account or credit cards for round ups and month-end donations.
Here is a summary of common questions – If you do not find your answer,
Round-Ups? In a $2.49 charge, $.51 is the roundup.
With your permission, we'll access the banking transactions for the credit or debit card that you've selected. When you make a purchase, we'll "round up the change" to the next whole dollar (for a $2.49 charge, $.51 is the round up.) . These will be totaled, then once a month a donation will be made to your charity. Donations will be made when the total is $8 or more.
Which Charities? I.5 Million US Charities.
All US charities (501C3) are eligible for donations. We Micro Give's partners ensure that the charity is current on its tax status at the federal and state level.
Which Banks and Accounts? All major US Banks.
Donors have access to all major banking institutions in the United States. On selecting their bank, donors can choose an account to use for round ups and then select the account from which they will make their donations.
Donation Limit? Set your own over $8.
Options are available to limit the amount of donations with $8 being the minimum. In addition, "whole dollar" round-ups (i.e. the transaction ends in $.00) can either be rounded up to a $1.00 or ignored. Also, donors can choose to add an extra fixed amount to their round-ups or simply set a fixed amount each month.
Reporting? Your giving dashboard.
Donors can access their "dashboard" that contains their round up activity for the current month and a summary of all of their donation history. Donors can update their giving options, select a new charity (with this charity used for that month's donation), or change donor's banking accounts.
Charity Contribution? Up to 92% of the round ups.
Donors receive a 100% tax deduction for donations to their charity. The charity receives up to 92% (from donor checking) or 87% (from donor credit cards) of the contribution based on the donor's payment selection. We Micro Give collects a 5% administration fee with the balance of fees collected by financial and donation processing services. Additional information is in our Terms and Conditions.
Security? No bank access information is stored.
We Micro Give does not access or hold any financial login data.
We use advanced 2048 signatures and 256 bit Secure Socket Layer (SSL) encryption. In real language: your financial transactions are secure through institutions that process billions of transactions per month. Additional details are in our Privacy Statement.
Charity Programs Here's how we can help.
Marketing programs are available to accelerate your charity's online giving campaigns. Please contact at us at firstname.lastname@example.com.


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Up front, this is not an "official" announcement but I'm putting this post in The Flow to help generate awareness for Cy Curnin's fundraising page for Vail Rocks II at Love Hope Strength:
There was a tweet sent recently about this that I caught at another page, where I think Cy is admitting that he is getting whipped by LHS peers for fundraising. Admittedly I don't tweet, and for those who don't or don't visit The Fixx Facebook page may be unaware of this ongoing effort. I admit ignorance so I'm ensuring Love Hope Strength details are getting to you here at least. Folks may not realize that each time Cy goes into an LHS event you can donate money in his name for the cause.
This is something to consider: Cy is not just representing himself, but as advertised - he is representing the band. It's always a good thing to bolster up Cy for these events, as it is then a reflection of the band's faithful following and underlying fanbase and marketing strength (i.e. we want Cy proud of his participation in terms of the fan/monetary support, always!).
Vail Rocks II goes June 14-15, 2013 and donations as small as $5 can be made at the link (average donation appears to be $25).


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Tutorial: Replicating Data with Mobile Clients
Replication is a good solution to the problem of moving data between a central server and mobile clients that are only occasionally connected. Using replication's wizards, you can easily configure and administer a replication topology. This tutorial shows you how to configure a replication topology for mobile clients.
What You Will Learn
In this tutorial you will use merge replication to publish data from a central database to one or more mobile users so that each user gets a uniquely filtered subset of the data. The first lesson shows how to use SQL Server Management Studio to create a publication. Later lessons show how to create and synchronize a subscription.
This tutorial is intended for users familiar with fundamental database operations, but who have limited experience with replication. Before you start this tutorial, you must complete Tutorial: Preparing the Server for Replication.
To use this tutorial, your system must have the following components installed:
At the Publisher server (source):
Any edition of SQL Server 2008, except for Express (SQL Server Express) or SQL Server Compact 3.5 SP1. These editions cannot be a replication Publisher.
The AdventureWorks sample database. To enhance security, the sample databases are not installed by default. For information about how to install the sample databases, see Considerations for Installing SQL Server Samples and Sample Databases.
Subscriber server (destination):
- Any edition of SQL Server 2008, except for SQL Server Compact 3.5 SP1. SQL Server Compact 3.5 SP1 is not supported by the publication created in this tutorial.
Replication is not installed by default on SQL Server Express.
In SQL Server Management Studio, you must connect to the Publisher and Subscriber using a login that is a member of the sysadmin fixed server role.
Estimated time to complete this tutorial: 30 minutes.
Lessons in This Tutorial
For reviewing tutorials we recommend that you add Next and Previous buttons to the document viewer toolbar. For more information, see Adding Next and Previous Buttons to Help.
See Also


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Dude the wheels and tyres are just awesome and hope they perform as good as they look and that black wing will set it off mankeep us updated with this build its sick rag..........peace
Famous last words...watch this!!!!
About 2 hrs with a plate of 2mm fiberglass, my 7$ harbor freight roto tool and a wing and wing mount from a helion dominus:
I was at HTUSA picking up the rims and tires above, and found that this wing mount and wing were the perfect scale. All the 1/8 wing mounts were too large to mount within the shock tower webbing. The plastic is nice and flexible. The wing is thick and durable... and black spennipoos...
Best of all, the smallish footprint of the wing mount itself(1st pic) will let me cut a relatively small hole in the bed of the bulldog body to thread the wing mount through, and leave the entire rear of the body intact. I am very happy with how this turned out...
Ya can't polish fertilizer...
It's looking good Rag - I cannot wait to see it finished!
Do you guys think orange, or yellow rpm arms would go better ???
Ya can't polish fertilizer...
My vote is for orange!
Make that Two thumbs up for orange dude it will go well with the body work and add more detail to the truck......peace
Famous last words...watch this!!!!
I have not read the whole thread, but I would say orange, especially if it goes with your body. Also just wanted to say you're looking good so far!
You ain't bashin unless your crashin!!
Orange arms, and paint the springs yellow... I think its a plan.
Ya can't polish fertilizer...
Yeah orange ...definitely. For what ever reason my kid too loves that colour and now wants a VXL body to be painted orange and black foe his pede.
Live life to the fullest
Yeah dude yellow springs will look boss with the orange a-arms rag cant wait to see the finished project ......peace
Famous last words...watch this!!!!
Now that's a sick looking truck rag and colour combo is popping dude how long do you think it will be before its first trip out.........peace
Famous last words...watch this!!!!
way too long. at least a month or could be as long as winter, but asap...
Ya can't polish fertilizer...
Well all good things come to those who wait dude.......peace
Famous last words...watch this!!!!
Hey rag, your truck looks awesome so far. I love the color scheme you have on the body and my vote would also be orange for the a-arms. My question is what did you come up with for body mounts? I see you are using pro-line's mounts but did you make any modifications to fit them with the truggy style body? Thanks
Anza Slash VXL
Rustler VXL
Now on the front... The ft mount piece that proline provides is a direct fit for the slash 4x4 not the pede 4x4. On a stock body it is not a problem. Just drill some new holes further forward on the hood. On the bulldog body, it cant work as that lip in the front fender is in the way for the caps. It just wont work. So, I just used the stock pede ft mount and screwed the proline studs directly in, and it fit just right. The front of the body sits a little lower than the rear. I like it so far, but if I want to raise it up to make it level, I can put some sort of spacer under the pede ft mount to do so.
One thing if you do decide to go that route, is that the studs are screwed into thin plastic and not supported well at all. I need to find nuts that will fit the studs and support them from underneath. If not, they could pull out of the thin plastic easily. I have about 100 nuts in my nut pile and none fit those threads. I must source some.
Next round of pics I will show what I did.
I threw the tires on, and man I love how it looks:
...Traxxas muggy???
Last edited by rag6; 08-24-2013 at 05:20 AM.
Ya can't polish fertilizer...
Nice Build. You should also get stronger drive shafts at the rear. I got my MIPs yesterday. Like them very much. Really heavy duty stuff
Well rag the wheel and tyre combo is the icing on the cake dude I love it.........peace
Famous last words...watch this!!!!
Thanks for the nice comments Spencer. I took it with me so it could hang out with the other trucks at the bash park today. He had fun 8)
Ya can't polish fertilizer...
Nice dude I am so happy with my pede howit is running at the mo and tomorrow I am going to start my 1950s chevy old school shell so when its done you can see my not so handy work lol...........peace
Famous last words...watch this!!!!


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I was sniped in the new forums for speaking things that actually happened which created a very negative view of the support team (they censored a hell of a lot of posts trying to cover their mistake) but this one's still good to go.
So how is this forum? How are things?


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YouTube may make a lousy place to hold a class, but that doesn't mean that the YouTube experience isn't shaping the expectations of students, especially those engaged in online learning. Those expectations are not being met by universities, where most online student support systems have a rigid, hierarchal structure modeled on the university itself. According to an essay by a professor at the Open University in the UK (OU-UK), this mismatch between expectations and reality create a challenge for the university system, one that it may be poorly equipped to meet.
Martin Weller is Professor of Educational Technology at OU-UK, and was instrumental in developing its first e-learning initiatives. He blogs at The Ed Techie, but his essay was part of a special edition of the education journal On the Horizon. Authors contributing to the special edition (which isn't yet available) were asked to contribute a blog post describing their articles in a condensed form; Weller's post appeared at the editor's blog.
Presumably, the full article elaborates some of his points, but the essay gives a good overview of his basic thesis. He argues that part of the learning experience provided by universities goes beyond simple classroom instruction. The reason that schools attempt to attract an interested and diverse student body is because a student's classmates play a critical role in influencing the learning process by directing classroom discussion and aiding each other outside the classroom. From this perspective, universities act as aggregators: they form collections of students with similar interests, and put them in contact with relevant material and experts.
Weller argues that the online communities fostered under the Web 2.0 umbrella perform a largely parallel function, in that they foster groups with common interest and link them to relevant materials. They don't fully replace the university experience, as these communities tend to have experts that are self-appointed, but Weller argues that the parallels between the two can't help but influence the expectations of students that have been raised in a Web 2.0 world.
Those expectations are nowhere close to being met by the education community. Weller notes that the software systems that many universities deploy have strict permissions limits that leave the posting of materials and launching of discussions strictly in the hands of the professors. "Why will they [students] accept standardized, unintuitive, clumsy and out of date tools in formal education they are paying for?" he asks. If the students can't meet their expectations through these systems, the students will just ignore them and start their own Facebook community; Weller paints a picture of university systems with "digital tumbleweed blowing down their forums."
The essay realizes there are limits to the extrapolations being made, in that students are well acquainted with being provided with limited approximations of the real world—Weller cites student housing as one obvious example. What doesn't seem to be recognized is the expectation, at least in the US, that universities will act as surrogate parents during the students' time there, caring for and protecting the students from the real world. Many Web 2.0 sites have no clear limits on expression; universities have to police content on their servers or lawsuits are inevitable. Outside of the few Ivy League schools that could afford to hire content cops, it's simply easier to limit what can be put on the servers in the first place.
Regardless of the accuracy of the assessment, Weller has been putting his time where his mouth is, working on the social learn project, which is intended to be a more open replacement for the systems currently deployed by universities. It's designed to be extensible, and will have a documented API for doing so; long term, the group hopes to make the whole package open source. Ready or not, Web 2.0 may be an option for the academic world.


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Click on an icon to see full details of that listing, or scroll down to view all listings.
1 Island View, Harbour Road, Howth, Co. Dublin
Okra opened its doors in 2009 on Howth harbor and redefined what fine dining was all about. Today, Okra means different things to different people - a restaurant with just the right ambiance, a place to be seen at or, more importantly, the best place
Read more about Okra Green Howth | View Map of Area | Photos


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by AiR
When wisdom overtakes our ignorance, then we realize the truth of who we are and why we are here.
Click here to post comments
Join in and write your own page! It's easy to do. How? Simply click here to return to Confidence Quotes.
Oct 26, 19 06:11 PM
The ignorant one WRITES God is 'Nowhere'...The Realized one WRITES God is 'NOW HERE'.
Read More
Oct 25, 19 09:58 AM
What is the difference between what we Believe and what we Know? We Believe that the sky is blue, but we Know that the mountains have snow!
Oct 24, 19 07:35 PM
If there is Garbage in your Mind, and it's full of junk, it's time to Tame your 'Monkey Mind', and make it into a Monk!
Oct 09, 19 11:40 AM
It is not I who will die, it is ME who will not be.
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Getting yanked upwards way more than sideways 4 examples I know of/witnessed - all involved the turbulent wind in front of high objects such as sand dunes /cliffs - we don't really have many beaches where riders kite near buildings that could cause this turbulence. (from the database many other countries seem to though).
1. nzs own eric event - close to dune - dragged up it then travelled over tree (60ft high+) car park, road and then into golf course flew down to safety stayed in control.
2.Launched near sand dune, was on older kite - updraghts dragged up up in air reall fast - decided to eject 20-30ft up ats felt liek was about to get lifted up over dune into trees 1-200 foot away. very soft sand saved their ass injuries not too bad
3. Launching close to a cliff face got yanked upwards and dislocated shoulder on impact /way down.
4.got dragged out of water then back in control a bit, then while on beach kite hindenberged for a second, then lit up sideways lifting them in air - throwing them 40ft, then tried to gain control and over compensated and flew with a kiteloop another 30 -40 ft at least through fence, into park onto head - spilt head open, ankle like a balloon - off to hospital. This was due to being right next to cliff face and also was quite unstable wind also - being not so far from cliff was reason I think it happened - reason for hindenberg then sudden gust powering up kite sideways very hard.
The meridian hotel where PRKA takes place in New Caledonia is a classic example - you hook a jump near it and you know all about extra uplift of wind/ the effects of turbulence.
The last example was a classic example of why I don't think you can assume someone can release easily at point between consecutive draggings/throwing even with a second or 2 and a good quick release, but I agree that during lessons you need to teach good reaction to a releasing the kite at any time, not just show student how QR works without kite in air. I always taught this. I tell them I will randomly ask them to release - only had one student release without hesitation - many are super hesitant, they do it until they got it down. Kiteschools generally don't do this because they worry about their bottom $ - ie kite damage kite when releasing (i asked a few) - have never damaged kite teaching this myself.


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About VER
VER is a leading, global provider of production equipment and engineering support. With the world's largest inventory of rental equipment, VER supplies the most advanced technology to a broad array of clients in the TV, cinema, live events, broadcast and corporate markets. Clients rely on VER's depth of experience in Broadcast, Audio, Video, Lighting, LED, Cameras, Rigging, Media Servers, Fiber and more. With a network of branch offices, equipment hubs and specialty camera prep facilities across North America, 24/7 support, and unparalleled expertise, VER can support any live or taped production anywhere in the world.


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These questions are just the beginning. Buying a home is one of the largest financial transactions in one's lifetime, yet most people know very little about it. When embarking on the path to home ownership here are two very important points to remember:
If you plan from the beginning to approach the homebuying process intelligently and with confidence, you are much more likely to buy the home you've always wanted, and have the confidence that the best decisions were made.


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|Everyone join me tonight and light a red candle today at 6 pm with a moment of silence vigual
|Patriotic Cake
(Bloggers every year bake something patriotic to respect and remember everyone who lost their lives)
September 11th, 2011 at 3:00 pm, my sons Chad and Curt lost their father to Cancer. A day no one could ever forget in our family. My heart goes out to all the family that lost a loved one on this day.


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Science Friday® is produced by the Science Friday Initiative, a 501(c)(3) nonprofit organization.
Science Friday® and SciFri® are registered service marks of Science Friday, Inc. Site design by Pentagram; engineering by Mediapolis.
Robot is a relative newcomer to the English language. It was the brainchild of the Czech playwright, novelist and journalist Karel Čapek, who introduced it in his 1920 hit play, R.U.R., or Rossum's Universal Robots. Science historian Howard Markel discusses how Čapek thought up the word.


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EVANSVILLE, Ind. – The Lipscomb cross country teams showed tremendous talent even without their top runners at the Evansville Invitational, Saturday. The women's team finished fifth out of 11 squads, while the men finished 11th out of 12 squads.
Senior Louisa Van Batavia finished 12th overall out of 111 competitors in the women's 5K with an 18:46.64s run.
Freshman Kaitlyn Llewellyn also earned a top-20 mark, finishing 19th with an 18:58.43s run.
Sophomore Miranda Klein posted her season's best run of 19:24.15s, finishing 26th.
Sophomore Katie Bunker (37th, 19:43.21s) and junior Priya Pappu (40th, 19:48.06s) rounded out the scoring for the women's squad. The Lady Bisons finished 93 points behind winner and Atlantic Sun foe Belmont.
The men were led by freshman Tate Honaker, who finished the 8K race 63rd with a 27:45.78s mark.
Freshman Cliff Long set a personal-best in the race, finishing 71st with a 28:04.86s mark.
Finishing the Bisons scoring were freshmen Ben Ashley (86th, 28:33.44s)and Zak Vruwink (87th, 28:36.84s) and senior Aaron Todd (97th, 29:43.53s).
The cross country teams will take next weekend off to rest up for the 2011 A-Sun Cross Country Championships, Oct. 29 on the Vaughn's Gap Course at Percy Warner Park.
Check lipscombsports.com for all the Lipscomb cross country and track and field news, and be sure to like us on Facebook (Lipscomb University: Track & Field).


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Adrian Beltre had a tiebreaking sacrifice fly in the ninth inning after Texas blew a late four-run lead and the Rangers beat the Boston Red Sox 10-9 Wednesday.
Josh Hamilton had three hits, a homer and four RBIs for Texas, which couldn't hold a 9-5 edge before pulling out its sixth win in eight games.
Mitch Moreland, Nelson Cruz and Geovany Soto also homered for the Rangers. It was Soto's first with Texas since being acquired from the Cubs in a non-waiver deadline deal last week.
The AL West-leading Rangers took two of three from Boston, closing their road trip at 4-2.
Alexi Ogando (2-0) worked two perfect innings of relief for the win. Joe Nathan pitched the ninth for his 23rd save, striking out the last two batters with a runner on second.
Clayton Mortensen (1-1) took the loss.


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Lobster Timbales II 2 lb. live lobster
2 eggs 1/4 cup stale bread crumbs
Sherry wine 1/2 cup heavy cream
Split lobster, remove intestinal vein, liver, and stomach. Crack claw shells with mallet, then remove all meat, scraping as close to shell as possible to obtain the color desired. Force meat through a sieve, add bread crumbs, cream, eggs slightly beaten, and salt, pepper, and Sherry wine to taste. Fill small timbale moulds two-thirds full, place in iron frying-pan, and pour in boiling water to two-thirds the depths of the moulds. Place over moulds buttered paper and cook on the range until firm, keeping water below the boiling-point. Remove from moulds and serve with Hot Mayonnaise .
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This article was published more than 5 years ago. Some information in it may no longer be current.
Find your bookmarks by selecting your profile name.
Spotted is Globe Drive writer Peter Cheney's weekly feature that takes you behind the scenes of his life as a vehicle and engineering journalist. In coming weeks, we'll also highlight the best of your original photos and short video clips (10 seconds or less), which you should send with a short explanation. E-mail firstname.lastname@example.com, find him on Twitter @cheneydrive (#spotted), or join him on Facebook (no login required). All photos by Peter Cheney unless otherwise noted.
The Do-It-Yourselfer
The Duct Tape Special
The shots I posted of rolling wrecks on I-75 last week seem to have resonated with readers who have sent me their own finds. Here's one from Christopher Wood, who spotted this duct-taped ride in Toronto, near Lawrence Avenue East and the Don Valley Parkway. The duct tape gives it a certain lived-in look.
Backyard Engineering At Its Finest
Reader Lorne Koop spotted this on I-98 near Pensacola, Florida. Looks like the driver taped in a solid sheet of Plexiglas to replace his broken window, then rigged a flip-up vent so he can let in fresh air, pay tolls or flip out cigarette butts. Way cheaper than Speedy Auto Glass!
And If You've Got More Than One Roll of Tape…..
Since we're looking at duct tape repairs, I had to pull this one out of my files. I shot this a couple of summers ago while driving back from Manhattan with my wife and some friends. We followed this guy for a while, mesmerized by the flapping and billowing of the plastic sheeting, wondering if the tape would hold. Against all odds, it did.
The Silence of the Lambos
My friend and editor Danielle Boudreau noticed these Lamborghinis on Spadina Ave. in Toronto. They looked great. Unfortunately, the one in the back stalled when the light turned green, ruining the effect.
The Italian Job
My friend Piero Manzini always has something different. This is his Fiat Coupe, a car that was produced between 1993 and 2000.) With scalloped sides, double-bubble headlights and an interior that conjures up a leather-lined discotheque, the Coupe is definitely cool, in an oddball way. The Coupe was designed at Pininfarina by Chris Bangle (who would later create the controversial "Bangle Butt" for BMW.)
Lost in Translation
"Fiat Lancia Unlimited" sounds great until you convert it into an acronym and realize that you're joining the FLU club. Oh well. The cars are cool. (This decal is on the window of Piero's Fiat Coupe.)
You Know You're a Gearhead When….
Reader Stu Wilson of Calgary sent along some pictures of his excellent garage and car collection, which runs heavily toward the Mopar (a.k.a. Chrysler) end of the scale. Stu is an engineer in the oil and gas industry, and as you can see, he's a meticulous guy. Great garage setup.
The Sleeper
A sleeper is a car that looks ordinary, but has a surprisingly big engine jammed under the hood (bootleggers used them to carry illegal liquor and outrun the police). For example: reader Stu Wilson's 1962 Dodge Dart. The Dart was a ubiquitous family ride from the JFK era. Stu's has sombre paint, plain steel wheels, and a 440-cubic-inch V8.
Muscle Car Redux
Stu Wilson also sent me this nice photo of his 1970 Plymouth 'Cuda convertible. This is one of the cars that defined the Detroit muscle car era, and it still has real presence.
European Marketing Is Different
I spotted this rent-a-car advertising display at the Frankfurt airport, but failed to understand why it might make me want to rent a car. It probably helps them sell the upgraded insurance option, though.
Breaker, Breaker, Good Buddy
For some reason, I thought CB radios died with the 1970s (an era that was partially defined by C.W. McCall's radio hit song Convoy.) But when I saw this display of new radios at a 401 truck stop, I realized that truckers are still on the airwaves, watching for Smokeys and Seat-Covers (look it up.)
Limited Headroom
I saw this cut-down trailer on Highway 401. It looks like it's designed to reduce aerodynamic drag so it can be towed behind a small car. I couldn't tell whether the top pops up when you stop, or whether you need to be really short to use it.
A Ferrari That Can Carry a Load of Plywood
My friend Ernie Black (@TheF1Poet) noticed this and sent it along. You were expecting a gun rack or fishing rods in the back window of an F-150 pickup, right? Have a glass of Chablis and think again.
What Jeeps Are Really Meant To Do
My photos of driving off road in my friend's Jeep last week reminded Alberta reader Greg Veilleux of a trip he took with his brother – they drove a Jeep up the Baru volcano in Panama to scout a site for a transmission tower. It took them four and half hours to go 13 kilometres.
You Can Bolt on Whatever You Want
Like me, Greg Veilleux was amazed at what the Jeep could do off road. His looks like it was outfitted with axles from a larger vehicle – off-road Jeep builders are known for their creativity!
Feel Free to Put Your Feet on the Dash
There's nothing more liberating than a well-worn car. This is the Jeep that Greg and his brother took up the volcano in Panama. It has a certain patina.
When Business Names Go Wrong
I spotted this truck during trip through Pennsylvania a while back. Until I read the third line, I wasn't sure what business they were in. Hard to know what impact the company name has on the bottom line.
The Road Warrior
My wife and I noticed this Nissan in Chattanooga. Looks like the owner decided to tear off the damaged rear fascia, then bolted the license plate onto the aluminum impact beam underneath. Very Mad Maxish.


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Several of United's elite frequent flyers say the airline isn't doing enough to fight climate change.
United sued to fight Europe's law requiring airlines pay for carbon emissions.
Investment manager and California Proposition 39 author Tom Steyer says now several of the airline's executives are involved in efforts to dismantle the state's low carbon fuel standard.
"I want the airline to succeed and I want to remain a loyal customer," says Steyer. "But I also think that no company can succeed or deserves to succeed while denying the critical importance of climate change."
The United executives are part of "Fueling California" which lobbies on behalf of the fuel industry.
United Airlines did not respond to an interview request.
But just last week it announced its intent to buy biofuels for use on flights departing from Los Angeles beginning next year.


text: TV / VideoTruTV Taps Fresh Reality Slate for Upfront'Impractical Jokers' get offbeat integrationBy Sam Thielman|April 30, 2012 ShareBy Sam Thielman|April 30, 2012 Share TruTV is headed into its upfront season with a new slate of reality programs and a new mandate: define "reality." These days, said executive vp and COO Marc Juris, the discussion of reality programming isn't nearly nuanced enough. "It's like going to Smith & Wollensky and ordering a plate of meat," Juris told Adweek in his Time Warner Center office last week. The network will team up with Nielsen to create an easier-to-read classification system for reality content in a way that distinguishes content that has more in common with Ken Burns' The Civil War from the next big Housewives franchise wannabe. This year, the network is pumping Impractical Jokers, a recently renewed series about four guys who play increasingly embarrassing pranks on each other à la Jackass. Juris said the network is looking to create more "snackable" content and to make it as multiscreen as possible. There's much on the TruTV slate that sounds familiar—Container Wars (not to be confused with Storage Wars), a show where contestants participate in auctions of abandoned storage units; and Hardcore Pawn: Fort Bragg, which takes the network's pawnbroker franchise to North Carolina. But there are also some extremely original programs coming up this year, including Killer Karaoke, a game show in which contestants must continue to sing regardless of what indignity Jackass alum Steve-O decides to inflict on them. Juris is obviously proud of the series—it occupies a significant chunk of his ad buyer presentation—and while the network is doing a road show instead of a big New York event this year, it's hard not to imagine the spectacle getting laughs in the boardroom too. There's also Guinness World Records Gone Wild, featuring dangerous stunts like a man wearing very little protective gear backflipping over an oncoming car. Three times in a row. Joe Hogan, who sells TruTV for parent company Turner, said that even reality shows as offbeat as these offer sponsorship opportunities—frequently precisely because they're so silly. Hogan gives as an example a recent integration Tru did with Kellogg's. The "jokers" from the network's flagship show staged a giveaway in which two of the show's stars (who look deceptively normal) were told to hand out free boxes of the cereal but to obey orders they heard over earpieces from the off-camera pair. One stunt requires a "joker" to crush his body repeatedly against a hapless, cereal-wanting man as his friend chuckles. "In the cut, you have the impractical jokers hugging a consumer saying 'It's bursting with flavor,'" said Hogan. Yes. Hugging. Regardless, the brand ends up in the show and a lot of people come away associating it with laughs. "It's just one of those shows that lends itself to a bunch of different categories," said Hogan. For Killer Karaoke, Hogan said the possibilities are similarly various. The clip shown from the upcoming show features a woman, who's had to reach into several boxes containing things like pigeons and striker snakes, half-laughing, half-sobbing, still singing as she reaches, terrified, into a box containing a teddy bear. "You could replace a teddy bear with a lot of fun different products," mused Hogan. May we suggest a bottle of Purell? Sharehttp://adweek.it/2jNQtNB copy Adweek Adweek


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Copyright © 2004 - 2019 GroceryThai.com


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Coverage of architecture in the media has grown, but through the noise it is difficult to find anything that communicates intelligibly, says Stephen Games
I failed. When I started writing about architecture for The Guardian in 1979, architectural criticism had little public presence. Writers on architectural journals kept to their patch. Journalists on other beats occasionally strayed into architecture, but the only regular coverage came from Tony Aldous at The Times, the architect Stephen Gardiner, who wrote a weekly column for The Observer, and Colin Amery, who had also just started at The Financial Times. That was it; so there seemed to be a job to do.
The urgency of that job – helping the public understand new architecture and moving public policy forwards – was as great then as it had been 50 years earlier, when John Betjeman was banging on the BBC's door, begging to give talks to raise the profile of the profession and help architects win commissions from government. The door stayed closed for as long as Betjeman pursued the goals of The Architectural Review, where he was assistant editor until 1935. 'What is all this bilge?' wrote a producer after reading one of his more hysterical pleas. 'We had a whole thumping series on architecture a year ago and it bored listeners excessively.'
As a culture we lack the mechanisms of public discourse
The need to explain architecture continues. In spite of the sophistication of our media in Britain, as a culture we lack the mechanisms of public discourse. Americans discuss quite complicated abstractions with more agility, commonly taking rhetoric and logic courses at high school. Ideas get boiled down to trite slogans – 'Second Amendment rights', 'Church and state', 'Three strikes and you're out' – but these slogans carry meanings that Americans are skilled at unpacking.
Not so in the UK, where abstract argument remains insecure. Political dialogue, as experienced by the public, invariably takes the form of confrontation – not that confrontation, as practised by Jeremy Paxman on BBC2's Newsnight and John Humphrys on Radio 4's Today, doesn't sometimes elicit results – but the default manner is one of accusation, not engagement.
We notice this less in the context of politics, where we'd all like to have a go at our elected representatives, but it is very evident when the same techniques are used elsewhere. One egregious example was the recent grilling of Renzo Piano by Sarah Montague (one of the anchors with Humphrys on the Today programme) on the BBC World Service programme HARDtalk. Their subject was the Shard.
HARDtalk is a classic example of TV as accusation, a lightweight attempt to make the BBC look heavyweight before a global audience – something it already is, without needing such posturing. True to format, Montague spent the programme parading complaints trawled by the programme's researchers from other sources. Why was the Shard so tall, she demanded, so hard to live in, so out of proportion, so anarchic (Simon Jenkins), so underlet, such a monument to wealth and power (Owen Hatherley), so lacking in any personal style, so unlikely to survive changes of taste and such an energy-guzzler (Prince of Wales). When Piano doubted the Prince's judgement in all matters, she seemed so astonished that she had to ask him twice whether he'd really meant what he'd said. Her challenges implied there was a serious case to answer, without stating what that case was. High buildings may indeed be 'bad' or 'inappropriate', but it is not a foregone conclusion, and no neutral party should even be hinting at guilt without a little substantiation.
Piano absorbed the onslaught, explaining, gently and genially that architecture involves many more issues, and rather more complexity, than were dreamed of in Montague's philosophy. Inwardly, he must have marvelled that a news anchor, used to interviewing people from every walk of life on a daily basis, so lacked a route into architectural discussion. Hard questions needed to be asked about the Shard, and about Piano's responsibility for it, but they were not evident from the broadcast. Whatever Piano deserved to be called to account over, it wasn't occupancy rates or the cost of admission to the Shard's viewing platform.
The standard Media Studies explanation for this type of incapacity is that it's the fault of our post-literate society, but this is lazy ideology. The truth is that architecture is indeed less urgent than money, law and the NHS. As such, its modes of thought are less rehearsed and less tested, and this flabbiness becomes self-perpetuating.
Architecture only gets noticed if it plays by the enemy's rules
Design takes too long to explain; news has a faster payback and so news values dominate. Architecture only gets noticed if it plays by the enemy's rules. That's why we now have armies of marketing people and awards organisers: they're there to turn architecture into an event. But this is like giving seawater to the shipwrecked: it compounds the thirst – and then kills.
Architecture did once figure in the national discourse on its own terms. Its leader was Nikolaus Pevsner, and his forum was the BBC's Third Programme from the mid-1940s to the mid-1970s. Others were also able to expand public understanding – the architectural historian John Summerson, the architect Jim Cadbury-Brown, the poet Geoffrey Grigson – but Pevsner was the master, able always to place architecture in its cultural context in a way that made sense and seemed necessary.
Pevsner was possible because of an intellectually receptive cohort of producers who commissioned programmes because they deserved commissioning, not just because schedules had to be filled. The network aimed for brilliance and took failure in its stride. 'Let it make mistakes,' challenged William Haley, the fearless director-general under whom the Third was born.
We'd never say that today (although Channel 4 tried to at its birth). Funding is tight, deadlines are short, contributors have to be dependable: there's no time for the indulgences of time that made the Third possible. That's not to say that good talk doesn't happen any more, only that it has no presence. Where's today's Pevsner, today's Reyner Banham? A century and a half ago, John Ruskin was as popular as JK Rowling today.And today, in the ocean of writings that our academics generate annually to protect their departments' research budgets, there's barely a book that's worth reading, let alone capable of being read by any normal brain.
It's disappointing. Pevsner was an hyperactive academic, massively in demand, but still able to find the time to communicate intelligibly to an appreciative public. Today, we have a proliferation of PhDs dedicated to architecture, monopolising its teaching, jetting to conferences, publishing papers – and saying nothing.
By the time I moved from The Guardian to the BBC in the mid-1980s, architecture was starting to be noticed, but for all the wrong reasons. The rise of heritage and Postmodernism made architecture easier to talk about, but didn't raise the quality of conversation. Defeated, I went AWOL; writers with more stamina hunkered down. Thanks to them, coverage has grown – but I see no great gain. Architecture has joined the lifestyle magazine stable: an easy read, something to pass the time and drive adverts. It's the deal of the devil: the media buy into architecture but only on their own terms. It looks like there's still a job to do: I'm reporting for duty again.
Stephen Games' (edited) encyclopedia, Pevsner: The Complete Broadcast Talks (Ashgate), will be published later this year. A companion volume, Pevsner: The BBC Years, is due to follow in 2014
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When writer Paul Gregutt recently wrote a series on his blog about Washington's five essential varieties, the grape he started with was Riesling. This was far from a random choice. While red grapes varieties often get more press, Riesling has been somewhat of a signature grape for Washington. It is the state's most produced grape (Chardonnay edged it out in 2009, but Riesling growers swear they will be back), and the variety grows particularly well here. Washington also produces a lot of wine from the resulting grapes. Woodinville's Chateau Ste. Michelle is the largest Riesling producer in the country.
According to the International Riesling Foundation (IRF), a non-profit association created to increase awareness, understanding, and appreciation for the grape, Riesling is on the rise in the U.S. It is the fastest growing white wine in terms of sales. This would seem to present Washington with an opportunity to brand itself nationally and increase consumer awareness of its wines more generally.
Unfortunately, Riesling has long presented several problems to wine consumers in Washington and elsewhere. The first is the misperception that the wine is always sweet (styles range from bone dry to sweet). The second is that, even if a consumer knows Riesling is not always a sweet wine, he or she often has no idea what to expect from a bottle. I enjoy Riesling in its many flavors. What I do not enjoy is a sweet Riesling when I am expecting or wanting a dry one and a dry Riesling when I am expecting or wanting a sweet one. Wines are infrequently labeled as dry, off-dry, or sweet (Chateau Ste. Michelle should be commended for doing so I might add). Unless a consumer has tried a wine or read about it, the only way to know – outside of searching on-line for a technical sheet – is to try it and find out.
It is therefore with delight that I read about the IRF's Riesling Taste Profile. Of the profile, the IRF writes:
"To help consumers predict the taste in a particular bottle of Riesling, the IRF created a Riesling Taste Profile which Riesling producers may use on their back labels, merchandising materials and elsewhere. The winery may choose…where the arrow should go based on a set of technical guidelines and their own judgment."
The set of guidelines to assist winemakers include a chart of the technical parameters involved in the perception of sweetness, such as sugar, acid, and pH.
Some wineries began labeling wines with the profile in the 2008 vintage. Considerably more are doing so for the 2009 vintage. Not surprisingly, Chateau Ste. Michelle announced plans last year to label their bottles with the profile. Many other Washington wineries are following suit.
This is good news for consumers and good news for wineries. Consumers will be better able to find wines in a style they are looking for and will also hopefully experiment with other styles. Wineries can use it as an educational opportunity in the tasting room and at events. They can also be assured that if they are not there to speak for the wine, consumers are less likely to be taken off guard by a style they are not expecting.
The Riesling Taste Profile seems likely to continue Riesling's rise in Washington and the U.S. Now if we could just do something about rosé…
Riesling Taste Profile Good for Consumers, Good for Wineries
When writer Paul Gregutt recently wrote a series on his blog about Washington's five essential varieties, the grape he started with was Riesling. This was far from a random choice. While red grapes varieties often get more press, Riesling has been somewhat of a signature grape for Washington. It is the state's most produced grape (Chardonnay edged it out in 2009, but Riesling growers swear they will be back), and the variety grows particularly well here. Washington also produces a lot of wine from the resulting grapes. Woodinville's Chateau Ste. Michelle is the largest Riesling producer in the country.
7 comments
- DN - Says:
Riesling is a wine I started with, then moved away from when my taste in wine became drier. A few years ago I was introduced to dry Reisling from the Finger Lakes and I was amazed. The Riesling profile is a great thing. Some producers previously listed residual sugar, which is a great guide -- but too few. The terms "semi-dry" and "semi-sweet" in the past have provided no true guidance whatsoever.
This is a good step for Washington and the wine world.
Nicolas Says:
Sear Sean,
Just wanted to correct you regarding first adopter of the scale. pacific Rim was the first winery to label its wine with the scale. All our 2008 production had the scale on the label.
Craig Says:
This scale is great for consumers and producers. The great thing is that it takes into account balance (sugar and acid), not just the sugar concentration. It is great that producers like Pacific Rim and Ste Michelle are using it. This will build consumer awareness, which helps us little guys out too. We want to get it on our 2009 label which is being bottled soon. Not sure if we'll be able to make the changes in time.
PaulG Says:
Sean, like you I am pleased that this scale is being tried out. I am still a bit skeptical about it's ultimate utility. I've had many rieslings with residual sugar up around 1.5 or even 2 percent that tasted dry, while others below 1 percent were more in the off-dry perception range. Two other indicators that are useful in assessing sweetness are whether or not the riesling is labeled "dry" - if it is, it darn well better taste dry. And where's the alcohol? If it's over 13%, odds are you have a wine that tastes dry.
RiesGuy Says:
Tiny Pey-Marin Vineyards in Marin County CA started using a very similar scale beginning in 2005. Their "Shell Mound" Riesling is DRY at zero point three percent (yes zero point three percent - not 3%) with delightfully bracing acidity.
Sandihurst Winery, here in New Zealand, has adopted the scale. Its not perfect perhaps in that slightly sweeter range where the acid is also in beautiful balance but its a start - surely Pinot Gris would also benefit from it
Sean P. Sullivan Says:
DN, I think this is exactly what the IRF is hoping for - to bring consumers who may have been turned off by the confusion back to the wine.
Nicolas, didn't mean to imply that Chateau Ste. Michelle was the first in WA to use the labels, just the biggest. Thanks for passing on the information on Pacific Rim.
Craig, glad to hear that you will be using it. Hope you can get it on the 2009s.
Paul, I share the skepticism about how it will play out in the ensuing years. With the IRF providing some guidance on perceived sweetness based on sugar, acid, and alcohol, hopefully wineries will label the wines appropriately (and hopefully the IRF got it right). However, the labeling is ultimately the winery's decision, whether they use it and use it appropriately. I can see some being reluctant to label a wine as sweet unless they really intended it to be so.
RiesGuy, thanks for passing along the information about Pey-Marin. Will be interested to hear how their experience has been with it.
Kirk, very good idea for Pinot Gris. I had one recently that could have been a dessert wine and was not expecting it. Once bitten twice shy.
Thanks for the comments all!


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libcsv is a small, simple and fast CSV library written in pure ANSI C89 that
can read and write CSV data. It provides a straight-forward interface using
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Maintained by: Tarantino Antonino
Keywords: csv,text,lib
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Download SlackBuild:
libcsv.tar.gz.asc (FAQ)
(the SlackBuild does not include the source)
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© 2006-2019 SlackBuilds.org Project. All rights reserved.
Slackware® is a registered trademark of Patrick Volkerding
Linux® is a registered trademark of Linus Torvalds
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Markets Healing, But Much Work Needed
There's reason to believe the markets are showing signs of recovery, but much needs to happen before a full rebound can begin to take effect, an array of experts said Tuesday.
Coordinated action from the world's central banks, tightening in credit spreads and more work towards addressing the many ills in the housing market will be required, panelists said in a series of CNBC interviews.
There was some feeling that Monday's steep drop could be followed by an aggressive rebound, all happening while credit spreads were tightening. That provided some optimism.
U.S. & World
The day's top national and international news.
"I want to feel better and importantly I want it to last so that it's not just a one-day event. It's still too early to say the feeling-better mode is going to continue for a long time," said Pimco co-CEO Mohamed El-Erian. "We need to see more on the policy side and on the technical side."
Among the moves bond giant Pimco is backing are a further cut in interest rates by the Federal Reserve as well as some type of action from central banks around the world.
"I think you're going to see a significant global move," El-Erian said. "Whether it's coordinated or correlated doesn't really matter as long as it is simultaneous across many jurisdictions."
El-Erian said that since earlier this year Pimco was hoping for some strong action before housing problems infected the rest of the market. With it being too late for that, he's looking for some significant remediation moves.
"Everybody now understands that the pipes are clogged, so the wakeup call is there. You've got to address housing," he said. "That's why it's a little bit too early to feel better. There are some signs of improvement but it's too early to say they're going to be sustained."
Too Much Selling
Investors have been looking for a bottoming point in the market for months, and Marc Faber, the so-called Dr. Doom, has joined the search party.
"The market has become extremely oversold," said the author of the Gloom Boom & Doom Report. "I think we're at one of the most oversold conditions ever, maybe not quite as oversold" as during the Black Monday period of Oct. 19, 1987.
Faber sees a rebound beginning in early 2009, and advised investors to look to emerging markets stocks as the catalyst.
"If you're playing for a recovery in the global economy whenever that comes, I think you will have to position yourself in emerging economies' stock markets," he said.
He also favors investing in gold on the belief that global central banks will loosen monetary policy and drive down the value of their currencies.
Getting Bullish on Oil
Energy's wild ride lower is about to end, said Dennis Gartman, author of The Gartman Letter, an investing guide focused on commodities.
Crude oil has tumbled off its summertime high of $147 a barrel, but Gartman said there's not much room left on the downside.
"It's very hard to be short of crude oil now. It's plummeted," he said. "Now the market's gone to a backwardation, and when the markets go to a backwardation and they tell you demand is strong, it's time to start being bullish on crude oil again."
Gartman predicted crude would fall no lower than $85 a barrel before heading higher.
"I think at $85 that will be cheap," he said. "We may get there. I doubt that we shall, and erring upon the side of ownership is probably better than erring on the side of being short."
Gartman, though, warned against commodity-related stocks because of strong crop harvests and volatile prices in metals.
Credit Looks (a Little) Better
Wall Street has adjusted its gaze in recent weeks away from taking its cues from stock market barometers and instead is focusing on a hodgepodge of rarely discussed terms like Libor, credit default swaps and Ted spreads.
Despite everything else falling apart Monday, the credit watchers were among the few to get good news.
"While everyone was focused on a major equity decline it was the best improvement in credit quality that we've seen in eight weeks across the board," said Kevin Ferry, of Cronus Futures Management. "All measures of both liquidity and systemic risk improved yesterday."
Ferry said the Fed has done its part, and now the markets will have to follow suit.
"The Fed's done everything that you should do to get to this point," he said. "We have to give it a chance to execute that plan now."For more stories from CNBC, go to cnbc.com.