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The Metropolitan Museum of Art shows what its seigneurial former director, Philippe de Montebello, liked to call "every category of art in every known medium from every part of the world during every epoch of recorded time." Some categories there are more prominent than others, of course, and until quite recently the art of clothing design, which arrived with the formation of the Costume Institute, in 1946, had ranked rather low in the curatorial hierarchy. For three decades, housed in a ground-floor space under the Egyptian galleries, the Costume Institute served mainly as a resource to other departments, and its exhibitions attracted a core audience of society matrons and the Seventh Avenue retailers who had agreed to raise the money for the institute's operating costs. Things changed dramatically in 1972, when Diana Vreeland took over. Her exhibitions of "Romantic and Glamorous Hollywood Design," "The Glory of Russian Costume," and other pizzazz-generating subjects drew big crowds, and the Costume Institute's annual benefit began living up to its hopeful title as the "Party of the Year." Vreeland's successors, Richard Martin and Harold Koda, took a more scholarly approach. Their rigorously focussed exhibitions were admired both inside and outside the museum, leading curators in other departments to view the Costume Institute in a more collegial light. (Before that, Koda says, "we were like a benign tumor.") For a diminishing number of aesthetic purists, though, questions lingered: Was clothing design really art? Did the department's close connections to the fashion trade undermine its curatorial integrity, and, if so, did it belong at the Met?
The questions were put to rest in 2011 by an astonishing exhibition called "Alexander McQueen: Savage Beauty." For three months, as the Internet word-of-pixel spread and the waiting lines grew longer and longer, viewers marvelled at the theatre of cruelty, surrealist romanticism, and virtuoso craftsmanship bequeathed by a young British designer who had committed suicide the year before, at age forty. The McQueen show drew 661,509 visitors, making it one of the most highly attended exhibitions in the Met's history. (Some of Vreeland's extravaganzas had higher attendance totals, but they were up for nine months or longer; the McQueen show, like other temporary exhibitions, had a three-month run.) Thomas Campbell, who succeeded de Montebello as the Met's director in 2009, describes the McQueen phenomenon as "absolutely groundbreaking for us, because it was so immersive an experience." The show was widely reviewed, and not just by the fashion press. Holland Cotter, the Times art critic, described it as "ethereal and gross, graceful and utterly manipulative, and poised on a line where fashion turns into something else."
Andrew Bolton, the Met curator who conceived and organized the exhibition, found the public response thrilling, and a little tragic. "Every time I went past that long queue," he told me, "it broke my heart, because I knew McQueen would have been so happy to see it." For Bolton, a forty-six-year-old British-born curator who joined the Met a little more than ten years ago, McQueen had become an obsession. They had met only twice, but Bolton had worked intensively with McQueen's closest associates in preparing the exhibition, and he had read everything he could find on the man. "His voice was so consistent, so brave and honest and frank, that I lost a lot of objectivity," he told me. Cotter, in his highly positive Times review, had taken issue with the McQueen show's catalogue, which he found lacking in curatorial rigor. "If you're going to deal with fashion as art, treat it as art, bring to it the distanced evaluative thinking . . . that scholars routinely apply to art," he had written. "I think the criticism is valid," Bolton said, when I asked him about this. "But the show was never meant to be a retrospective. It was important for me to engage with him as a man, who had so many lives and so many demons, and whose work was always very autobiographical. If that meant I wasn't distant and objective, then that was the price I was willing to pay. I wanted people to experience my show as an audience would experience a McQueen runway show, and I think we achieved that." On the show's final day, the museum stayed open until midnight. Around 9 P.M., the line outside the building still stretched down Fifth Avenue beyond Seventy-ninth Street.
The Costume Institute is committed to doing a major show every year, and what Bolton and Koda came up with in 2012 was "Schiaparelli and Prada: Impossible Conversations," a clever pairing of highly influential Italian designers from different periods, past and present. The show was intelligent and well attended—a palate cleanser after a feast. Last June, Bolton went to work on something much riskier. The title of his new exhibition, which opens to the public on May 9th, is "Punk: Chaos to Couture," and its subject is the revolutionary and continuing influence on fashion designers of a youth-culture movement that some of us (me, for example) could have sworn was safely in its grave. It's amazing how little some of us know. In the world of haute couture, punk is the undead.
Bolton had been thinking about a punk show for several years, he told me one day last December. We were having coffee in the Patrons Lounge at the Met, at a midmorning hour when nobody else was there. Bolton looks like the perennial English schoolboy. He is reed-thin, with neatly parted brown hair, and he was dressed that day in a narrow-cut gray suit, a white button-down shirt with the collar points unbuttoned, no socks, and trousers that stopped well above the ankle. His shoes had taps on the toes and heels, which clattered irreverently against the museum's marble floor. Open, friendly, alert, and quick to laugh, Bolton speaks in a surprisingly resonant baritone. "Punk was the first subculture that I engaged with personally, when I was a kid," he said. "I was nine or younger, growing up in a small village in Lancashire, in the north of England—too young to experience it, but I was aware of the music, the Sex Pistols and the Clash, and I'd follow the fashions through the music magazines and also style magazines from London. In small towns like Blackburn, where I lived, punk was very much about customization, going to thrift stores and army-surplus stores and mixing things together."
Born in 1966, the youngest of three children in a middle-class Catholic family, Bolton harbored no punk-like grudges against the world. His father worked for a newspaper, "on the production side"; his mother was a housewife. He had a sister who was good at art and a brother who cared deeply about sports. "We all had our comfort zones, and mine was school and the academic side. I went through a punky stage where I would spike my hair, but I was too clean-cut to pull it off. Whatever I did, I looked preppy. Eventually, I just embraced that style. In England you called them Sloaney clothes, after Sloane Rangers—tweed jacket with cords, the Young Fogey look. I don't like standing out. I'd much rather blend in with the crowd."
He majored in anthropology at the University of East Anglia, in Norwich. "What interested me was the similarity between cultures, how people from different cultures had similar behavior patterns," he said. After getting his undergraduate degree, in 1987, he spent his savings and most of the next year travelling in the Far East—Thailand, Indonesia—and in Australia, and this made him decide to get a master's degree in non-Western art. He went back to the University of East Anglia, on a full scholarship. When he graduated, a year later, there was a job waiting for him at the Museum of Archaeology and Anthropology at Cambridge, which he left after six months to become a curatorial assistant at the Victoria and Albert, in London, the world's largest museum of decorative arts and design. Bolton spent eight years in the V. & A.'s East Asian department. He had always been fascinated with clothes and the psychology of clothes—what they reveal about human evolution and social behavior—and he managed to bring in clothes by Anna Sui, Vivienne Tam, and other Chinese-American contemporary designers. The V. & A. has a very large costume collection, and when an opening came up in 1999 for a research associate in contemporary fashion, he applied for and got it. In his new position, he was able to do exhibitions. He put on a number of the "Fashion in Motion" shows that had become very popular at the museum, including one by the New York designer Yeohlee Teng, whose live models paraded through the galleries preceded by a flutist and a drummer. Bolton loved the democracy of fashion. "People are not afraid of fashion, I think, because it's so accessible," he said. "Haute couture is an ideal, but fashion itself is democratic. We all wear it." In another exhibition, called "Men in Skirts," he demonstrated that the Western world was unique in restricting such a sensible garment almost exclusively to women. The subject was so well received that he returned to it for one of his early shows at the Metropolitan Museum of Art.
Bolton's move to the Met, in 2002, happened quite suddenly. He was in New York on a visit, having dinner with Yeohlee. "She mentioned that she was having lunch the next day with Harold Koda, and I said, 'Gosh, I'd really like to meet him.' Yeohlee arranged for the three of us to have lunch on my next visit. I don't think I said a word the whole time, I was so shy and so intimidated. The Met was the Holy Grail to me, and Harold and Richard Martin, the former curator in charge, had shaped my approach to fashion. They were among the first costume curators who used the present to enliven the past, and the past to inform the present. Anyway, Harold called me a couple of weeks later, and said he was looking for an associate curator, and was I interested? I remember thinking that this was my dream job, but it's come too soon—do I have enough experience? Am I ready for it?" (He was thirty-five at the time.) "But, of course, I didn't think twice, it was such an amazing opportunity."
The Costume Institute's comprehensive inventory of clothes, from the seventeenth century to the present, is the largest of its kind anywhere. When Bolton arrived, the department was just emerging from a leadership crisis. Harold Koda had left in 1997, to study landscape architecture at Harvard, and two years later Richard Martin died, of cancer, at the age of fifty-two. Koda came back in 2000, as curator in charge, but he needed help, and he wanted somebody who didn't think the way he did. "Since there are only two curators in the department, I felt it was important for us to have different approaches," Koda told me. He was impressed by Bolton's ethnographic background, openness, and understated intelligence—apparently, he had not been totally inarticulate at that first meeting. Koda, who can be alarmingly frank, said, "If I'm really honest, I am someone who is very much a dilettante, who likes a superficial engagement with things. I don't like to go deep. Andrew is a scholar, and he loves getting in deep. What I bring to the Costume Institute is a real interest in how to put exhibitions together. As a young intern, I'd worked on exhibitions with Diana Vreeland, who had this idea that if you've devoted so much time and money and labor to the effort you'd better get people to come and see it. That part Andrew got very quickly. What I think he didn't understand at first is that we have a different audience from the one he had in Europe. There, people stand around reading labels; here, if there's someone in the way, they move on. Andrew had to get used to this."
Koda immediately put him in charge of an exhibition called "Blithe Spirit," about the elegant and extravagant clothes worn by the Duke and Duchess of Windsor and their set in the nineteen-thirties. What struck Bolton was that the clothes of that period were so out of step with the times. "Fashion in the thirties was historicist, romantic, and fantastical—surrealist," he said. "It was a complete negation of what was going on in the world. I began the show with the Windsors on the Riviera, and the sybaritic life style of that era, and ended it with footage of the war, and Churchill's great speech, and the Nazis on the Champs-Élysées." He was learning to think more visually about exhibitions. At the V. & A., he said, "fashion is seen as something social and political, while here at the Met the emphasis is more aesthetic and intellectual. Working with Harold taught me to be more rigorous in terms of one object's relationship to another."
He did twelve shows in ten years, some in collaboration with Koda. They worked together on the highly popular "Dangerous Liaisons," in 2004, the Costume Institute's first exhibition in recent times in the galleries of another department; male and female mannequins in eighteenth-century dress were brought into the French period rooms of the Wrightsman Galleries, where inlaid Sèvres porcelain furniture and delicate boiseries became settings for a variety of erotic tableaux. Two years later, without Koda, Bolton attempted a similar but bolder experiment in the English period rooms, called "AngloMania: Tradition and Transgression in British Fashion." This one took on a number of social and historical issues, mashing together two hundred years of significant and undeniably British dress styles, from Beau Brummell's understated elegance to punks in ripped jeans and T-shirts climbing drunkenly over Chippendale furniture. The show got a lot of attention, some of it highly critical. The Times' art critic Roberta Smith found it "light-years ahead of . . . 'Dangerous Liaisons,' " but also "a fabulous confusing romp" with "more ideas than it knows what to do with." Costume Institute exhibitions were now being reviewed regularly by art critics, as well as by fashion and feature writers.
The year before, Koda and Bolton's big "Chanel" exhibition had been heavily criticized. The main complaint was about the inclusion of clothes by Karl Lagerfeld, Coco Chanel's successor. The Met almost never does retrospectives of living dress designers, and a previously scheduled Chanel exhibition, five years earlier, had been cancelled after a public dispute between Lagerfeld and Philippe de Montebello, the director at the time, over curatorial control. Some people assumed that Lagerfeld had prevailed this time around, pushing his way into the mix and depriving Chanel of the full-dress retrospective that her work and her colossal influence deserved. But that, according to Koda and Bolton, was definitely not the case. "We wanted the show to be about the House of Chanel," Bolton said, "and we wanted to compare Chanel's modernity with Lagerfeld's post-modernity. Karl is always about the here and now and the future, and he made the house relevant to a younger audience. The biggest obstacle at first was persuading him to be included." Both curators told me that Lagerfeld's here-and-now ambitions made him reluctant to have his own work in what he sometimes calls the "Necropolitan" museum of art, and that, once he agreed to be in the show, he had no interest in being consulted about the clothes they selected.
The main funding for the Costume Institute exhibitions has always come from the fashion industry, and Koda and Bolton have had to deal with the perception in some quarters that the sponsor must be calling at least some of the shots. They are both acutely aware of the criticism that engulfed the Guggenheim Museum in 1999, when it was announced that Giorgio Armani, who had pledged a reported fifteen-million-dollar gift to the institution, would be given a retrospective exhibition there. "In the years I've been at the Met," Bolton said, "it's been absolutely clear that the sponsor cannot have any curatorial voice. But the problem is that people see fashion as a commercial enterprise, not an art form." This perception may be changing. A complete renovation of the Costume Institute's ground-floor space is under way. Scheduled for completion next year, the space will provide a forty-two-hundred-square-foot gallery for rotating exhibitions (funded by a gift from Lizzie and Jonathan Tisch), as well as a new conservation center, a library, and expanded storage facilities. All the Costume Institute's annual exhibitions now take place in the museum's special-exhibition galleries upstairs, and the question of sponsor influence rarely comes up anymore. It was never raised about the McQueen show, which was funded mainly by the firm of Alexander McQueen.
On an unseasonably warm day last December, Bolton showed me the scale model for "Punk: Chaos to Couture," which was scheduled to open in less than five months. The model was on a table in a large, cluttered room in the temporary quarters that the Costume Institute is currently using during the renovation. File cabinets lined two walls, along with boxes and crates and paraphernalia of all sorts, including a life-size mannequin of the late Diana Vreeland, peering out sardonically from behind a stepladder. The Styrofoam mockup was divided into seven spaces, where miniature images of mannequins in authentic punk clothing—torn T-shirts and jeans held together with safety pins, bondage-wear, deconstructed garments accessorized with chains, zippers, spiked collars, razor blades, and Dr. Martens boots—were juxtaposed with riffs on them by Zandra Rhodes, Gianni Versace, John Galliano, Rei Kawakubo, Karl Lagerfeld, and other paladins of advanced couture.
A few days earlier, Bolton had presented the model and discussed his plans for the show with Thomas Campbell, the museum's director, and Jennifer Russell, the associate director for exhibitions. He had also shown it to Anna Wintour, the editor-in-chief of Vogue, who is a trustee of the Metropolitan Museum, and who, as co-chair and prime mover of the Costume Institute's Party of the Year benefit, has seen its annual take rise from $1.3 million in 1995, when she took over, to last year's record of more than $11.5 million. " 'Dangerous Liaisons' really changed the way people looked at Costume Institute exhibitions," Wintour told me. "Once we got upstairs and started to involve the museum more, and to put clothes into a context, the exhibitions became more popular and got much more recognition. I think a lot of that had to do with Andrew. What's interesting is that museums all over the world now want to do fashion shows. They all see this as a way to bring in the audience, and to make money."
The meeting with Campbell and Russell had gone well, according to Bolton. "They loved the concept and they loved—well, most of the design. Tom was worried about visitor circulation. They're expecting the show to draw a lot of people, who might get confused about where to go." I asked about Wintour's reaction. " 'Another black, another black,' " he said, channelling Wintour's concise diction. "She likes color. But she had a smile on her face, which is a good sign." According to Koda, "Anna wants to know what we're doing, so she can integrate the party with the show. She tells people that she makes my life and Andrew's life a living hell, but she doesn't. Anna can be our most important sounding board. We don't necessarily take her direction, but we always take note. And very often she is spot-on."
The first three galleries in Bolton's exhibition tell the story of punk's dual origins, in New York and in London. Malcolm McLaren, a London-born clothes designer and would-be entrepreneur, spent the winter of 1974-75 in New York, and saw something new emerging in youth culture. The word "punk," long associated with prostitutes, petty criminals, and prison inmates singled out for homosexual rape, had been applied to a few garage-rock bands in the sixties. In the mid-seventies, it attached itself to an eruption of aggressively rebellious tendencies in music, dress, and social behavior on the downtown New York scene. Disgusted by rock music's decline into sentimentality (singer-songwriters like Billy Joel) and overblown bombast (bands like Jethro Tull, Yes, and Pink Floyd), young, urban malcontents responded immediately to the stripped-down, speeded-up sound of the Ramones, a young group from Forest Hills, Queens, who played their first gig at CBGB, the red-hot music club on the Bowery, on August 16, 1974.
"In the first gallery here," Bolton pointed out, "we'll try to evoke CBGB, with loudspeakers blasting the Ramones. Some of punk's visual codes originated in New York—the swastika armbands, the safety pins, the torn shirts. The absolute basic line for punk clothes, as established by the Ramones, is a biker jacket, a shrunken T-shirt with an infantile image on the front, skinny jeans with a tear in the knee, and sneakers." Richard Hell, born Richard Meyers, who was a member of the proto-punk band Television and went on to form Richard Hell and the Voidoids, is credited with being the first to tear his T-shirts and close the rents with safety pins; one of his shirts was interestingly stencilled "PLEASE KILL ME." "Without a doubt, though, the single most influential thing I've done was my haircut," Hell now says. Reacting against the long-haired androgyny of the despised hippie generation, he adopted a ragged, patchy crewcut that "was something you had to do yourself."
McLaren took elements of all this back to London, where he and his partner, the dress designer Vivienne Westwood, had a clothing shop on the King's Road. The designers made and sold clothes that echoed Richard Hell's ripped-clothes look, as well as loosely woven string and mohair sweaters, bondage suits, leather pants, rubber garments adapted from the gear in S. & M. outlets, and studded boots. McLaren slapped together a band called the Sex Pistols, which took the look and the sound to a louder, angrier, and much more confrontational level. Other bands, both male and female (the Clash, Buzzcocks, Siouxsie and the Banshees, the Slits), picked up on the fast tempo and the obscene, anti-establishment lyrics, which were shouted rather than sung. In remarkably short order, punk music, punk clothes, punk haircuts (spiky, multicolored), and punk attitudes caught on and spread like a virus to France, Australia, and many cities in the United States beyond New York, as well as to English towns like Blackburn, where Andrew Bolton was growing up. "Punk in London was music-based, but it quickly became a political, class-conscious thing," Bolton said. "It was a very depressed time in London, and working-class kids were acting out the realities of being on the dole. The battle cry of the Sex Pistols was 'No future—no future for you and no future for me.' "
Johnny Rotten, the Pistols' lead shouter (his civilian name is John Lydon), rode the wave of youthful discontent like a born-again surfer. When a series of strikes by London trash collectors left towering piles of garbage on street corners, Lydon started wearing the trash bags. "That was a perfect, perfect item of clothing," he now recalls. "You'd just cut a hole for your head and your arms and put a belt on, and you looked stunning." Lydon and Sid Vicious, later the band's bassist and its most strident provocateur, aroused and insulted their audiences with a fury that overrode their musical shortcomings. When the Pistols were at the height of their infamy, in 1976, Bolton said, "the performers and the audience just sort of merged. They were goading each other—yelling obscenities, spitting, and breaking glasses. There was something dangerous and violent about it all."
The violence, the anger, and the infamy didn't last long. The Sex Pistols broke up in 1978, and Sid Vicious died of a heroin overdose in 1979—the same year that Margaret Thatcher took office as Prime Minister. Bolton makes a connection between Thatcher's ascendancy and the dwindling of punk's vital energies. Punk had made a ruling principle out of do-it-yourself—the discovery that you could design your own clothes, start your own band, publish your own magazine, and generate your own publicity. "Thatcher redefined D.I.Y. as a social virtue, a form of individualism," Bolton said. "But a lot of people think it was Zandra Rhodes who really put the nail in punk's coffin. She was the first couture designer to take up punk. She did a collection in 1977 with safety pins and black jersey and tears, which she called Conceptual Chic." Rei Kawakubo experimented with punk hardware and deconstruction in the early nineteen-eighties, incorporating rips and tears and the deliberate ruination of perfectly nice garments. Then, in the mid-nineties, Gianni Versace did a much talked-about line of safety-pin dresses, and before you knew it other designers were tearing and deconstructing their clothes, sewing on the straps and buckles associated with bondage-wear, using studs and chains and zippers instead of sequins or beading, and showing a punk-like avidity for throwaway materials. John Galliano, Dior's guiding genius until his recent anti-Semitic rants cast him into fashion purgatory, achieved a post-punk apotheosis in 2006 when he made a gown with an eighteen-foot train of black aluminum foil. Bolton was planning to give this "garbage-bag dress" a central place in his show, if it still existed, and if Dior would lend it.
"Mick Jones, of the Clash, said that punk in its pure form lasted a hundred days," Bolton said. After that, the clothes and the attitudes went public. By the late nineteen-seventies in London, torn and dirty jeans and T-shirts had given way to flamboyant, increasingly colorful outfits pieced together from junk shops, trash bins, and shops like the McLaren-Westwood boutique, where for a time the wares were called Clothes for Heroes. English punk style was more colorful and much more eclectic than the New York version, which favored funereal black. British punks borrowed from earlier street stylists, including Teddy Boys and skinheads, and from their childhood closets—plaid pants and school blazers, accessorized with toilet chains, razor blades, tampons, slogans, and anything else they found lying around. They fetishized the Mohawk, a stiffened crest of stand-up hair, dyed toxic colors, that would have made Chingachgook run for cover. Punks on the King's Road became a tourist attraction, like London taxis or telephone boxes. Bolton was determined, in his thinking about the show, to avoid the movement's later, cliché aspects. "I don't want this to be a trip down memory lane," he said. "I know the show is going to be very controversial among people who lived through the period." Adverse reactions were already coming in. Three months before the show was set to open, the widow of Malcolm McLaren (who died in 2010) told the London Observer that there were misattributions in the Metropolitan's collection of punk garments, and that she had written to tell them that "pretty much everything in there is wrong." The late Pat Buckley, who ran the Costume Institute's Party of the Year before Anna Wintour took over, could easily have felt the same way. I asked her son Christopher, the writer, what she would have made of "Punk: Chaos to Couture," and he said, "My guess is: 'It should have stayed in chaos.' "
For the next few weeks, Bolton focussed on the clothes he wanted to borrow for the punk show. The Costume Institute owned some classic punk garments, acquired in 2006 when Bolton persuaded the Met's trustees to buy the collection of an English post-punk rocker known as Adam Ant. (Part of his and Koda's job is to study auction catalogues and go to the collections, looking for things they believe the Met should acquire.) Bolton's wish list now stood at about a hundred and thirty objects, which would be narrowed down further before the final selection. Among the more famous items already secured were Zandra Rhodes's 1977 black rayon dress with beaded safety pins; Gianni Versace's 1994 dress (worn by Elizabeth Hurley to the première of the film "Four Weddings and a Funeral") in which slashed openings on both sides were accented by gold-and-silver-toned safety pins; Lagerfeld's suit for Chanel's spring-summer 2011 collection with dozens of carefully crafted holes; a red parachute ensemble (canvas, with straps front and back and a metal ring in the middle) by Westwood and McLaren; and several Westwood-McLaren annotated T-shirts, including one, called "God Save the Queen," which showed Queen Elizabeth II with a safety pin through her lips. Not one of the classic punk items had to be re-made for the show, Bolton told me. The Met had bought one or two items at auction, but the rest came from private clients, from Westwood, and from the Adam Ant collection. Both Westwood and Ant had preserved and archived pieces with great care, never doubting their historical value. "Ideally, I'd like to show a hundred garments, and have the show last a hundred days," Bolton said, referring to Mick Jones's comment about the life span of "pure" punk. The final tally, as of this writing, includes a few more than a hundred garments, but the show will be up for exactly a hundred days, from May 7th to August 11th.
The next time we talked, Bolton said he was still waiting to hear from Dior about Galliano's trash-bag dress. He also reported that they might have to lose a forty-foot-long, Styrofoam statue of Vivienne Westwood, which he and his creative consultant, Nick Knight, had planned to fabricate and install in one of their four large galleries. The idea had been to have her lying on a distressed mattress, where visitors would be able to project graffiti on her nude body by using their cell phones and the Internet. Knight, a British photographer and media artist, had worked out the technology three years earlier, with a twenty-five-foot-tall statue of the supermodel Naomi Campbell that he installed at Somerset House in London: people were encouraged to project images on her electronically, and they did so with great enthusiasm. "To my mind," Knight said, "this is a good way of getting chaos into the exhibition. Punk was essentially a movement that came from the street, so I'm trying to allow the world to participate." Both Thomas Campbell and Anna Wintour felt that the statue would take up too much exhibition space, though, and be a needless distraction—"punk lite," Campbell called it. (Campbell has revealed that he, too, as an English schoolboy, had dyed his hair platinum and "tried to make it spiky for parties.") A lot of Knight's ideas were dependent on the budget, Bolton said, and it looked as though this one might not survive.
Bolton's working hours were getting longer. He arrived at the Met by 10 A.M., riding his bicycle uptown from his apartment on West Twenty-fourth Street, and he rarely left before ten at night. Early-morning workouts at a gym helped to keep him energized. He had wanted me to meet his friend Thom Browne, who had recently achieved fashion nirvana by designing the coat and dress that Michelle Obama wore to her husband's inauguration, but there never seemed to be time to do that. He had been following Browne's work for a decade, and about six months ago they had become romantically involved. They wanted to rent a weekend place out of town—they were thinking about Tuxedo Park—but because Bolton spent every weekend working at the museum they never got around to that, either. "Seeing Thom's menswear show in Paris a year ago crystallized my thinking about punk," Bolton told me. "His clothes had that really narrow silhouette, tight jackets with high armholes, and they reminded me of films I'd seen of punks walking down the King's Road in very tight trousers and tight T-shirts. The connection between haute couture and punk really became clear to me when I saw Thom's show." He had adopted the Thom Browne narrow silhouette for his own use, I realized, along with shortened pants and no socks. After all those years as a Young Fogey, he had graduated to a punk-inspired high style.
The deadline for the exhibition catalogue was bearing down. Bolton started writing his own essay in January, but he still hadn't solved the Richard Hell–Johnny Rotten problem. Hell had been ambivalent from the start about writing an essay for the catalogue. "I didn't know if I wanted to even implicitly endorse a show about rich people's expensive status symbols," he said. He was also concerned about seeming competitive with Lydon, if they both wrote essays. In the end, though, "I decided, Fuck it, it was an interesting challenge, and I can hold my own with any of those people." Both Lydon and Hell agreed to write for the catalogue, but Bolton didn't know that until late January. He had hoped to get an audio recording of Patti Smith reading a poem by Arthur Rimbaud, the teen-age ur-punk, but she was off on tour and didn't have the time. (New York punk was more literary than the British brand; "the new house god was not a rock star but Arthur Rimbaud," as Jon Savage, the author of punk's elegy, "England's Dreaming," writes in the show's catalogue.) Patti Smith had been the patron saint of New York punk, the oracle who once said that everything important happened in the toilet at CBGB; Robert Mapplethorpe's photograph of her for the cover of "Horses," her first album, wearing a man's white shirt and a skinny black ribbon at the neck, was one of the enduring punk images. "I remember my sister wearing that white shirt and black tie," Bolton said. David Byrne, who also performed at CBGB, with his band Talking Heads, in the mid-nineteen-seventies, said recently that punk, to him, "didn't connote a fashion style or even a musical style as much as a sense of empowerment and experimentation," but that, unfortunately, "it became codified in both sound and dress, and much of that was left by the wayside."
Just before Christmas, Bolton reported that the statue of Vivienne Westwood was definitely out. "I understand the reasons," he said. "We were trying to show how the D.I.Y. aesthetic was being used today, through the Internet, but I was worried about losing all that space for showing clothes, too. If it hadn't been for that, I would have argued harder." In mid-January, he heard from Dior that the Galliano trash-bag dress was not available, but he already had alternatives in mind. He said that the young, avant-garde British designer Gareth Pugh was working on a new line of skirts, dresses, and capes made from trash bags that had been shredded and then knitted back together so they looked like fur. (The trash-bag line appeared on the runway in Pugh's recent show in Paris.) "I'm going to use two or three of Gareth's pieces," Bolton said. "He's taking the idea of trash to the heights of luxury." Another possible implication, Bolton agreed, was that fashion is trash.
The punk exhibition's main sponsor is Moda Operandi, a three-year-old retail fashion outlet that describes itself as "the world's premier online luxury retailer." I asked Bolton if he'd had any contact with the two young women who run it. He said that the Met's marketing department had made a preliminary presentation of the show to them, and that was it—they signed on. Punk's appeal to the luxury trade was not only undead but irresistible.
At eight-thirty on a Monday morning in mid-February, in the Great Hall of the Metropolitan Museum, Thomas Campbell introduced Bolton at a press conference for "Punk: Chaos to Couture." Standing on a low platform, flanked by five mannequins in original punk garments by Westwood and McLaren and nine more wearing high-fashion punk couture by Comme des Garçons, Chanel, Moschino, Versace, Givenchy, Zandra Rhodes, Dior, Rodarte, and McQueen, Bolton spoke for ten minutes, in a firm, confident voice, although, as he confided later, he was just getting over a bad cold and he was so nervous that his knees kept shaking the whole time. He identified each of the outfits on view, all of which would be in the show. The early ones included Westwood and McLaren's "Anarchy in the U.K." shirt, with the image of a torn Union Jack, and their other, equally famous T-shirt featuring two pant-less cowboys with dangling penises. Bolton discussed these and other garments in terms that would not have been out of place in the upstairs galleries of European painting. With regard to punk's D.I.Y. legacy, he said, "In a bizarre twist of fate, their ethos of do-it-yourself has become the future of 'no future.' "
A day or so earlier, we had talked about punk's amazingly long afterlife. (At Fendi's Milan show later that month, all the models were wearing faux Mohawks.) Much of what I'd been hearing about the movement's origins and early manifestations sounded so puerile—an extended post-adolescent tantrum—and I wondered what had induced the fashion world to co-opt this, and then to go on feeding off it for more than three decades. "You're right, a lot of it was puerile," Bolton had said, laughing, "especially in England. The notion of cool was very much part of the New York punk scene, coming down from Warhol, but in London it was never as self-consciously cool. There was desperation, and for many people punk came as a great release. I think a lot of it was really quite infantile, about an unwillingness to grow up, or to be mediocre and unoriginal. And, of course, the irony was that punk became a uniform. In the end, everything punk tried not to be, it was. But in fashion it changed so much, and in that sense I think it was a noble movement, like dandyism. Beau Brummell, the original dandy, was defying previous sartorial codes, all that male plumage. He was the grandfather of punk, although he insisted that he wanted to be invisible." Dandyism, in other words, could be ascetic as well as ornate—Brummell and Oscar Wilde. I asked Bolton if he knew Albert Camus's comment on dandyism: "The dandy is, by occupation, always in opposition. He can only exist by defiance." Bolton said that it reminded him of the "Incroyables" in France after the Revolution's Reign of Terror, the people who rejected proletarian forms of dress. "They became incredibly flamboyant, wearing very tight pantaloons and high-waisted jackets with big lapels," he said. "That was a political gesture. It was very much about aristocracy and nobility.
"The psychology of clothes is so fascinating," Bolton went on. "There's nothing so immediate as fashion, in terms of an expression of one's values and one's state of mind. Even the negation of fashion is a statement. But high fashion is usually seen as an expression of femininity, which is why a lot of people don't take it seriously, or see it as an art form. It's not just that fashion can't be an art form because it's functional, but because it's feminine." Punk, in its original, rough-beast form, was both gender-neutral and transgender. Bolton talked about the girl known as Jordan, born Pamela Rooke, who grew up in a council estate in Sussex, commuted to London from Seaford, worked for McLaren and Westwood at their shop, wore their clothes, and turned herself into a living embodiment of the punk spirit. "There's a really nice quote by Jordan in a documentary called 'Punk: The Early Years,' where she says this was going to go down as the most boring decade in history, but punk had saved it. Hearing that gave me goose bumps. She was absolutely right. Punk was about making something ugly beautiful." ♦


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Follow RFF News on your cell phone. Text follow rff to 40404 you will receive txt messages with RFF News
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Hello Mr. Cameraman!Looks like Ethan has a Fern!
There was a LOT edited out of that task. Each racer had to FIRST get a phone card...so your choices were figure out to go buy one down the road at a (tobacco?) shop or convince a local to help you and lend/give you one. I hate to think how much Liz used. SO YAY for FERNS being back!And nice cap...wonder if it is one of our guys?
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I have a pleasure to welcome you in this great place, which I am the initiator. With the help of a design support I homesteaded, hopefully a welcoming and useful 'area' of the internet - I hope you will enjoy your visit.
The impulse to create this 'corner' may seem somewhat prosaic, because as the saying goes "if you cannot have what you love, you love what you have" - you import it. Love for natural cosmetics made, that I started to look for all kinds of eco-brands. It turned out that many precious pearls comes from the country of my origin. Poles have created the fantastic natural cosmetics. However, products that were potentially desired by many were unreachable where we live now - in UK. We would like to share with you the good coming from the green warehouses.
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Lukasz Pason - design, build and ongoing technical support of the store.
The EcoEuphoria brand was born from the merging of dreams, passion and love for (mainly) natural cosmetics. Our motivation was a desire to improve the quality of our life in general. Starting from the diet, through exercising the body and mind to care for the environment, good relationships with people and care for the body and soul in the end. We are not entirely all over it, but the desire to experience our short road of life on earth – at the highest level possible – is pushing us towards new, fresh solutions. We believe that you want give what is the best for you, your family and friends. Therefore, no matter if we start from the diet, or cosmetics, it's important that we want to make changes, we are trying and testing if the nature is good for us. We are here to help you in these tests and evoke a smile on your face - even for a moment. We try to give you what is the best, healthy and safe (also for our environment) and to encourage you to "taste" but the choice is always in your hands.


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Topic: Fan-Fic
Told you Iwould try it,and here it is.
"...it is my distint pleasure to welcome back to this chamber a woman who has been more at home here than anyone else inthe Senate's history.I present to you Leia Organa Solo,envoy from Dubrillion." The hunter,farther down below the senetors,smirked behind her helmet.Way to butter it up, Fey'lya,the hunter thought. Her eyes finally gazed upon the sesator begining to speak.She began to lean forward,but cuaght herself in mid-lean;she regained control over her body and fell back into the shadows.
The hunter wore her armor,although,she rarely took it off during a"mission."The senator seemed to also send a messageof toughness.Leia Organa Solo had chosento wear black boots and slacks,and a cerulean tunic.She wore her hair up in a simple tail.No make-up,the hunter admired that,few women dared to go without it.
"...wish I inform you of a grave crisis in the Outer Rim.A previously unknown species has launched serious attacks in the Rim.They wiped out the ExGal-4 station on Belkadan,attacked the world of Dubrillion,destroyed the New Republic Rejuvenator at Helska,and annihilated theworld of Sernpidal by crashing it's moon into it.We managed to locate the alien base at Helska4 and destroy it,but this does not end the threat,"the senator paused in scanned the others,the hunter melted into the shawdows.Clearing her throat the senator continued,"On Belkadan Luke Skywalker foundevidence ofan ecological disaster that radically altered the atmospheric composition of the world.This disaster hasbeen traced to an alien agent who was present on the world and slain there after he attacked Mara Jade Skywalker and my brother.The evidence seems to suggest that the aliens wre preparing the world to be used as a base of invasion."
A senator that the hunter did not recognize interrupted,"If it would please the senate,I would like to ask the speaker if she is the same Leia Organa Solo who undertook to mediate the Rhommamool-Osarian dispute?"
Organa Solo put on a sabacc face,"SEnator Wynl is well aware that I am the same person whowent to try to broker peace in that conflict."
"And was it not the action of a rash Jedi Knight thatforced the Osarians to launch theattack that embroliod the system in war,killing Nom Anor,the Rhommamolian leader,in the process?"
Leia raised both hands ,"With all due respect Senator,the Rhommamolian -Osarian conflict has little or nothing to do with the invasion I'm talking about."
The hunter saw Fey'lya turn to face the senator,who was at his left,"Little or nothing?this would suggest there might be some sort of connection."
Uneasily Leia nodded,"When the invader attacked Mara,he first tried to destroy Artoo-the astromech droid my brother uses.The alien was shouting the same sort of anti-droid rhetoric that the Red-Knights of Life on Rhommamool used in their crusades."
"So you are saying that these Red-Knights are behind the posioning of Belkadan,destuction of Serinpidal,and the attackon Dubrillion?And they had weapons sufficient to dragamoon out of it's orbit, yet were not able to protect their leaders from attack by the Osarians?Am I understanding you correctly?"
" No, I do not believe you are,Cheif Fey'lya,"the hunters trained earseasily picked up on the iciness in Leia's vocie,"I don't belive that the alien on Belkadan was influenced by the Red Knights,but it is possible of a covert plot to disrupt the New Republic."
A Rodian stood,"You would have us believe,Envoy,that your effort failed because of a conspiricy born from outside the galaxy."
"That is not what I am saying."
The senator from Sullest also rose to his feet,"I do not believe it is ,either.I believe you are trying to deflect us from the threat the Jedi present to the New Republic.It was a Jedi who raised the tension level of the Osarians,triggering the war.You tellus Jedi reported to you about the alien and what he said.I amnot so stupid that I cannot see the effort of a Jedi to turn us away from the troubletheir order has spawned."
Thehunter scrowled and he face darkened,she did not like the way this meeting was going.Not that she cared about Organa Solo or the Senate,but she had a mission to complete.The hunter just did not looked forward to completing phase 2.She had no love of extinguishing the lives of the men she served next to.It would take all of her wiil-power to walk into the Senator's office.
"And who would more want to have the errors of his disciples forgotten?"
Leia forced herself to relax,"I am well aware of the controversy surronding the Jedi,but I ask you in all good conscience,to focus beyond that debate and concentrate on what Iam telling you.An invasion has been launched from outside this galaxy,and it will destroy the New Republic if you do not act to stop it now."
The hunter scanned the crowed of senators and saw what Organa Solo would soon relize.Leia would get no back-up from them.She sighed heavely and began to head toward the Senator's office.
* * *
Leia was shocked when she walked into her office.She saw figure standing with their hands clasped behind theirback and was standing ina rammod posture."Call off your Noghri,Leia.I do not wish to kill them just becuse they strike first,"came a mechanicized voice.
Leia walked behind her desk andnearly fell over backward.The warrior wore a type of armor Leia hadn't seen for years.Silently,Leia tried to enter the mind ofthe warrior,but only recieved a faint trace of the Force;and with came a sense that the warrior ad been trained to resist it."Yes, it is the same kind Fett wore many years ago,and do not try to probe my mind.You will come to no avail and perhaps harm,I am not known for my patience.Now,Leia,call of your Noghri , I will not ask again. Do you understand?"
The Senator nodded and said shakily,"S-st-stand down."
The novice,the hunterassumed,lashed outward,toward her neck.The hunter easily grabbed it,and without much difficultly,twisted it back until several pops and cracks had been heard,"It is dislocated,"the hunter said finally'"and is broken in several places .I would recommend that you goto the medic ward quickly."The elder Noghri snarled but both complied,leaving the Leia and the hunter alone.
"What do you want?,"aked Leia sittingdown,and regaining her composure."Tocomplete the task I have be given." "And that is?"The hunter cocked an eybrow,thiswas going to be easierthan shethought.
"I will not minced words,SEnator.Mandalore offers his services;we only wishto know if you will accept.Oh,and what is said in this office,will stay here,"the hunter wanted to make sure that the message got across.
Organa Solo nodded serenly,"And what service exactly does your Mandalore offer?"
The hunter reached intoan ammopack attached to her belt,and pulled out a slim holo-chip;slowly she made it dance between her gloved fingers,until she was sure it had fully captuered the Jedi's attention.With one finger she slid it acroos the table.and whispered,"I am Atin Vod;member of the Dar'jetii clan.And myMandalore told me to tell you one word'Troops'.


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Friday, December 17, 2010
The Rose Blogger Award
Lucie has two excellent blogs at Lucie's Legacy and at Acadian and French Canadian Ancestral Home. Please check out her research and storytelling. Both of her blogs are among my favorites. Lucie also runs three other websites: Acadian Gen Web, Acadian & French Canadian Ancestral Home website, and the Acadian-French Canadian Rootsweb Mailing List. There is a nice biography of Lucie LeBlanc Consentino at http://www.fawi.net/ezine/vol4no1/page4/page38/page38.html
Copyright 2010 Heather Wilkinson Rojo
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Paleontological Research Institution, its Museum of the Earth, and the Cayuga Nature Center need your help!
Our volunteers are integral to our overall organization. Become part of our diverse and dynamic group and expand your knowledge about paleontology, geology, evolution, sustainability, environment, climate change, and nature issues. Your volunteer efforts will help others discover the exciting world which they inhabit.
Where else can you:
- Help a Museum visitor identify a found fossil or a Nature Center visitor discover a leaf or butterfly
- Teach a school group about the northern right whale, mastodons, or New York's native animals
- Curate specimens from PRI's world-renowned fossil collection
- Help care for the Nature Center's live animal collection
- Play a role in producing the annual Gala
- Assist with special events and other marketing needs
- Prepare a fossil specimen in the Museum's Prep Lab
- Assist in PRI's library and possibly contribute to one of our publications
- Participate in building an exhibit
- Be a trail or butterfly guide
- Help with youth camps throughout the year
- Or just be part of the many and varied happenings here.
Share your passion for the natural world!
The following departments have volunteer positions:
- Camp programs
- Collections – Fossils and Specimens
- Collections – Animals
- Collections – Art (under Exhibitions)
- Development and Fundraising
- Education Outreach
- Exhibitions
- Library and Publications
- Marketing
- Membership
- Museum or Nature Center Education and Operations
- Prep Lab
For more information, please contact:Patrick Branigan
Volunteer Coordinator
Paleontological Research Institution
1259 Trumansburg Road
Ithaca, NY 14850
607-273-6260 x221
For current Museum of the Earth volunteer opportunities, please click here and for Cayuga Nature Center opportunities, please click here and you will be taken to our partner, the United Way of Tompkins County's Get Connected website—our partner in volunteer opportunities.
You can download our application forms at the links below. Return the applications to our Volunteer Coordinator via email or postal mail.
Volunteer Application for PRI and its Museum of the Earth
Volunteer Application for Cayuga Nature Center
Internship Opportunities
PRI, its Museum of the Earth, and the Cayuga Nature Center also offer opportunities for internships, whether you're looking for something during the semester or over a break. In the past, we have worked with students from several local colleges and universities including Cornell University, Ithaca College, SUNY Cortland, and TC3. Although our internships are unpaid, they provide a great way for students to gain experience in a unique environment, while contributing a great deal to the mission of our organization. These internships are also a wonderful resume builder for you. We work with school administrators and instructors to secure college credit when applicable. For available internships, browse our Volunteer Opportunities section. We can also design an individual project for you to fulfill specific requirements of your program.


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Nevertheless, it has been decided to keep this tutorial available until such time as it has been either updated or re-written. In the meantime, if you wish to take the tutorial, then it is recommended that you change the mysql-extension code to use mysqli or PDO. (If you do this successfully then perhaps you might consider submitting a revised tutorial, contributing to dream.in.code and earning some Kudos!)
Online text based games are becoming increasingly popular amongst developers. These online games are what drove me to become a developer myself, I started developing in php five years ago when i was 12 and the reason i did was because of a text based game i played and i wanted to make one just like it. Over the years i have made over 5 different game scripts, Now i am just about an expert in php and looking back, the one thing that drove me crazy was there wasn't enough help when it came to text based games, i mean the structure of how to develop a game was there for you but the features you needed was not thought to you. You have to learn php and get yours working yourself. Now i am experienced and i have had my fun i am teaching my work to other developers who want to learn, in this 10 part tutorials i will be teaching you how to build a basic working text based game with PvP (Player versus Player) interaction.
I know there are other tutorials out there that has information on what you need to make a text based game but mine is different because it is a step by step guide in making a text based game.
BEFORE YOU START!!!. Make sure you have a good idea read THIS It is a good starting point
What you need to Know.
You need to know basic commands in PHP, HTML ,Mysql and CSS. Please refer to other tutorials in order to do so. You don't have to be an expert in-order to do these tutorials. Click here to learn the basic Html , php and css. that you will be needing.
Programmers you need
For this to work well you need a good HTML/PHP/CSS editor. I recommend Adobe Dreamwaver. I have being using dreamwaver ever since it was under micromedia.
You need a very good host that support both php and mysql. if you are serious about doing this and hoping to get something back from it, pay for a host instead of using a free one. (Click here for a cheap host.) if you are looking.
Lets Begin
Ok at this point i am assuming that you know the basic php, html, and css and you have your host set up with a mysql database. if not please do so be for continuing because you will not understand what i am talking about until you do.
Step One - Connection to database.
I am using PHPMyAdmin on my host and i will be using it in this tutorial when i am showing screen shots.
Create a page called connect.php
// this is going to contain information that will connect the database to your site.
Fill out the connection page using the information on your host.
<? $mysql_server = "localhost"; // localhost is common on most hosts. $mysql_user = "Denis1_DIC"; // this is the name of your username of the server. $mysql_password = "DICgame"; // the password connected to the username. MAKE IT COMPLEX. $mysql_database = "Denis1_DIC_Game"; // the database name of where to connect to and where the information will be help. $connection = mysql_connect("$mysql_server","$mysql_user","$mysql_password") or die ("Unable to establish a DB connection"); $db = mysql_select_db("$mysql_database") or die ("Unable to establish a DB connection"); ?>
Step two - Setting up the database.
We need to set up the database to store information. This is the main IMPORTANT part of the whole game, Without information being saved you got no game. players wont be saved it will just be a php scripts with lots of errors. also we will check if the connection worked.
In the database you have created add a this table.
# # Table structure for table `users` # CREATE TABLE users( id int(11) NOT NULL auto_increment, userip varchar(50) NOT NULL default '', signup_ip varchar(255) NOT NULL, login_count varchar(10) NOT NULL default '0', login_ip text NOT NULL, name varchar(50) NOT NULL default '', account_type char(1) NOT NULL default '1', password varchar(50) NOT NULL default '', sitestate char(1) NOT NULL default '0', signup varchar(255) NOT NULL default '', money varchar(20) NOT NULL default '1500', exp varchar(20) NOT NULL default '0', rank char(2) default '0', health char(3) NOT NULL default '100', points varchar(10) NOT NULL default '0', PRIMARY KEY (id) ) ENGINE=MyISAM AUTO_INCREMENT=3023 DEFAULT CHARSET=latin1; # --------------------------------------------------------.
The code above contain all the information we need to create a base account for the game. You can add more if you see fit. Again please make sure you know the basic of mysql before trying to add / deleting tables.
The numbers in the ' ' at the end of every line are the values, like for money it is '1500' this mean that every data added will be assigned 1500 which means that the player will automatically start of with say £1500 (or what every currency you choose). You can see most defaults are '0' or '1' this is because we will use it later and we will change it and increase it values. Like for account type and exp(experience) etc etc.
Testing if the connection worked.
To test if the connection worked we are going to add data to the database and try to echo out some data. DONT WORRY AND DONT GET CONFUSED. THIS BIT HAS NOTHING TO DO WITH YOUR GAME. IT IS JUST TO CHECK AND SEE IF EVERYTHING UP TO THIS POINT IS CORRECTLY DONE.
Create a page call test.php
We are going to create a simple form that will add database to the table we have already created.
In the body part of the html on test.php add
<form id="form1" name="form1" method="post" action="">
  ENTER NAME
 <input type="text" name="name" id="name" />
 <input type="submit" name="Submit" id="Submit" value="Submit" />
 </form>
this is just a simple html form that we are going to use to add data to the table.
i really wont be explaining the html bits because it is basic and i am assuming you know and understand html, if you dont back up and learn html.
Just above the html you have just added, add this
<? if (isset($_POST['Submit'])) { $sql = "INSERT INTO users SET id = '', name = '".$_POST['name']."'"; $res = mysql_query($sql); echo "".$_POST['name']." ADDED"; } ?>
This is the php code. this code will work when the Submit button is hit. Its add a new field and the fills out the name. the rest of the other fields will be fill with defaults.
For the connection to work you need to add this line above any html on test.php.
<?php include_once("connect.php"); ?>
that line includes the connect.php we made.
At this point test.php should look like this.
<?php include_once("connect.php"); ?>   <title>Test</title>   <? if (isset($_POST['Submit'])) { $sql = "INSERT INTO users SET id = '', name = '".$_POST['name']."'"; $res = mysql_query($sql); echo "".$_POST['name']." ADDED"; } ?> <form id="form1" name="form1" method="post" action="">
  ENTER NAME
 <input type="text" name="name" id="name" />
 <input type="submit" name="Submit" id="Submit" value="Submit" />
 </form>
Ok now if everything is done as described above you can now add data to the table "users", In-order to add data run the test.php in the browser and fill out the name bit and click submit the data will then be added to the table. See the screen shots below
Step Three - Updating and displaying data.
If all the above steps worked, it is now time to update some data and display them on our screen.
The following is a bit complex if you are just a beginner and if you only know the basic, But dont worry we will be going over this again soon in later parts and it will be fully explained
Replace the whole of test.php with this.
<?php include_once("connect.php"); ?>   <title>Test</title>   <? if (isset($_POST['Submit'])) { $sql = "INSERT INTO users SET id = '', name = '".$_POST['name']."'"; $res = mysql_query($sql); echo "".$_POST['name']." ADDED"; } // This is the bit that is new .The line below is just selecting data from users table and adding it to result $result = mysql_query("SELECT name,id,money FROM users ORDER BY id DESC") or die(mysql_error()); // this is assingint som html for the drop down menu along with the some php and the data from result $member_list = ""; while($row = mysql_fetch_array( $result )) { if($row['name'] == $_POST['Name_list']){ $member_list .= "<option selected=\"selected\" value=\"".$row['name']."\">".$row['name']."</option>"; }else{ $member_list .= "<option value=\"".$row['name']."\">".$row['name']."</option>"; } } // the following below happend when you hit search and what it does is select data on the name you clicked on from the menu. if(isset($_POST['Select']) or isset($_POST['update'])){ $sql = "SELECT * FROM users WHERE name='".mysql_real_escape_string($_POST['Name_list'])."'"; $query = mysql_query($sql) or die(mysql_error()); $row = mysql_fetch_object($query); $select_money = htmlspecialchars($row->money); } // Updating the database with the information entered. if(isset($_POST['update'])){ $result = mysql_query("UPDATE users SET money='".mysql_real_escape_string($_POST['money'])."' WHERE name='" .mysql_real_escape_string($_POST['Name_list']). "'") or die(mysql_error()); echo "".$_POST['Name_list']."'s money have been changed."; } ?> <form method="post" >

ENTER NAME
 <input type="text" name="name" id="name" />
 <input type="submit" name="Submit" id="Submit" value="Submit" />

  Select a Name <select name="Name_list" class="textbox" id="Name_list"> <option value="<?php echo htmlspecialchars($_GET['user']);?>">Select.</option> <?php echo $member_list; ?> </select>  <input type="submit" name="Select" id="Select" onfocus="if(this.blur)this.blur()" value="Select">
 Change the Money <input type="text" name="money" id="money" value="<?php echo $select_money; ?>">
 <input type="submit" name="update" id="update" value="Update">

 Users Information

 ID	 Name	 Money
 <? $result = mysql_query("SELECT * FROM users") or die(mysql_error()); // keeps getting the next row until there are no more to get while($row = mysql_fetch_array( $result )) { // Print out the contents of each row into a table?>
 <label for="<?php echo $row['id']; ?>"><?php $name2=$row['id']; echo "$name2"; ?> 	 <? echo $row['name'] ?>	 <? echo $row['money'] ?>
 <?php }// while loop ?>

 </form>
I have added every thing in tables and i have add the forms we will be needing in-order to update the database and display data back. In-order for the data to be displayed on our screen you can php within the html.
I have added comments within the php to help explain what is going on.
With all that done you should be able to run your scripts and you should be able to select A name from the drop down menu and edit and update the money. you should then see the money displayed at the bottom in the table.
Thats about it for the first step. You now have the basics database connections and setup you need.
If you see any improvements, mistakes and grammar error in my codes please post it below i too want to learn new ways of doing things
In part 2 we are going to set up a really basic registration , login and a forgot password page.
Click Here for part 2
Mod: the code can be found here:
This post has been edited by andrewsw: 30 January 2015 - 02:06 PM


text:
CAIRO, Nov 25 (Reuters) - The Egyptian presidency said on Sunday it was committed to engaging "all political forces" to reach common ground on the constitution and stressed the "temporary nature" of a decree expanding President Mohamed Mursi's powers.
"This declaration is deemed necessary in order to hold accountable those responsible for the corruption as well as other crimes during the previous regime and the transitional period," the presidency said in a statement.
Facing a storm of protest from judges and political opponents who accuse Mursi of turning into a new dictator, the presidency said the decree was "not meant to concentrate powers", but to devolve them. It aimed to avoid the politicisation of the judiciary, the statement said.
It also aimed to "abort any attempt" to dissolve either the body writing Egypt's constitution or the upper house of parliament, both of them dominated by Islamists allied to Mursi, the statement added.
"The presidency stresses its firm commitment to engage all political forces in the inclusive democratic dialogue to reach a common ground and bridge the gap in order to reach a national consensus on the constitution," it added.


text:
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text:
Перевод песни Grandmaster Flash – Gold
Работает на технологии Яндекс.Переводчика
I have no idea what I'm doing I have no idea what I'm doing, but Everybody get up, sit up Christopher They're miserable without you, Superman is a- -live and he's flowing like the Mystic River Girl dont act like you never been kissed before One, two, three, four, five, six, this a Rhyme is about to hit you right in the kisser How did anybody ever find me, I disap- -peared I was hiding in Freeway's beard, just a Hop skip and a jump from my skin, gushing Nails into my face that I been pushing Hellraiser, my face is my pincushion It's like when I'm on the mic, I can squish a Sucker like a vice-grip, my pen put ya In the slaughterhouse cause ya styles been butchered I'll spin chainsaw, take off like the blades on My brain's on hyperdrive someone put the brakes on Here's a smidget admitted to get your digits, Bridget Don't try to fidget with it, err ribbit, ribbit I got ya slippin on my swag juice, my swag juice I got ya slippin on my swag juice, my swag juice I got it figure out now nigga See, my minds on my money right here And no one stopping how getting it In hindsight, I never should have left where I was living And probably wouldn't be getting pressed by all these women And then again, I wouldn't rap the ones I was diggin' So annihilate the looking, and talking alot about the hood; Kim'n, Kim'n Uh, so, Serena Williams, just like my dad talks about more John Dick'n This girl talkin' how she pregrent, she crazy, so later I crushed that ho, and left baby And never trust her, no shit! Even she specialize in massaging on my testicles And I never trust her, a whole lot, even on the first date, she basically get her mouth rimmed And turn around and ask me for a kiss, no bitch I'm straight And I never really get concerned how my own dick tastes I think I'm about to slip on my swag juice I think I'm about to slip on your swag juice (Oh, no! No! Don't slip on your swag juice) Ye, ye! I think I'm about to slip on my swag juice Slim is in the house, simmer down there sister Bound to get you dizzy cause he gets as busy as a Bee, baby you can throw a frizbee in a blizzard He'll catch it in his teeth, what is he? He's a wizard Standing in the disco with a disco biscuit And I'm pretty sure it isn't Bisquick, is it? Now baby don't forget to bring your lipstick with ya I want a kiss 'fore I blow this bitch to smithe- -reens, get the guillotines, this is a situ- -ation that's critical as Dre spins his, uh Turntables and he cuts a record like a scissor Cheka chicka, checka chicka, cheka-cheka chicka Who wreck it in a second tell me what the heck is sicker Wait a minute, I just dropped my necklace in the liquor Now baby just to make a little breakfast and it's six o- -clock in the morning 'less you want to get some dessert


text: When Boom Blox didn't explode at retail during its first month on the market — selling some 60,000 copies in the United States in May — it was written off by some as a "dud." And by "some," I mean, me. At least I didn't say they were paltry! Turns out that 60K sales figure only accounted for a week's worth of sales and that the Steven Spielberg collaboration is doing just fine. "Boom Blox from EA Casual continues to sell well," EA CEO John Riccitiello said in today's quarterly earnings conference call, adding that the Wii game "is judged by many to be one of the best Wii titles this year." Since launch, Boom Blox has sold over 450,000 copies, meeting EA's expectations, according to CFO Eric Brown, keeping Spielberg in fresh baseball caps. EA execs didn't specify whether those figures were worldwide or not, but we'll assume they are for now.


text:
Vayadhammā sañkhārā, Appamādena sampādetha.
''All conditioned things are transitory. That which is created will be destroyed. (Practicing Vipassana meditation) Experience this truth yourself (within yourself) by being mindful.''
Sri Satya Narayan Goenka, Global Acharya of Vipassana Meditation, has passed away peacefully at the ripe age of 90 at his residence on Sunday, 29th September, 2013 at 10:40 PM.
On behalf of friends, students and supporters I would like to pay very sincere tributes to Global Acharya of Vipassana for his great contribution for the development of Vipassana Tradition in the world as well as revival in India, the land of its origin.
Pravin Bhalesain
Founder President
Bahujan Improvement Trust's
Indian Institute of Buddhist Studies
Survey No. 17/4, Suyog, Mangal Magar,
Wakad Road, Thergaon, Pune - 411033
Phone: +91-9822350013
Email: firstname.lastname@example.com
Web: www.iibs.edn.net.in


text:
Mexican teams received the nod from CONCACAF on Wednesday to continue their participation in South America's Copa Libertadores.
Major League Soccer, however, says it is not yet ready to consider a similar push.
"The most important competition that any club can be involved in is their domestic one," MLS Executive Vice President Nelson Rodriguez said. "Having said that, the CONCACAF Champions League has to be the next most important competition for us.
"We have unfortunately not fared well in the CONCACAF Champions League," Rodriguez added. "And I think it would be unwise for us to consider other events and other tournaments, particularly those outside our confederation, until such time as we do well on a regular basis in the one tournament that should mean so much to us."
MLS clubs did not advance past the quarterfinal stage in the current edition of the Champions League. The Los Angeles Galaxy were the last MLS team to win the CONCACAF Champions Cup (or Champions League as it has been known since 2008) when they captured the trophy in 2001.
Meanwhile, Mexican clubs have competed on dual fronts since 1998, when they first gained entry to the Copa Libertadores. Despite never winning the South American tournament, Mexican teams have fared well and have regularly advanced deep into the competition. During that same span, teams from Mexico also captured seven CONCACAF titles.
"We've talked for years about MLS in Libertadores," Rodriguez said. "A lot of that talk has subsided since CONCACAF has created the Champions League and repositioned that tournament. So our focus remains on CONCACAF and the Champions League and that's appropriate for where we are today."


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text:
SEWANEE, Tenn.—Led by senior Elizabeth Bromirski with 19 points and a career-high 15 rebounds, the Birmingham-Southern women's basketball team defeated Sewanee, 56-37, Friday evening on the road. BSC moves to 6-6 overall and 2-0 in the Southern Athletic Association; Sewanee falls to 6-6 overall and 0-2 in the SAA.
The Tigers opened the game with a three-pointer in the first minute of play after which BSC scored 11 straight points. Sewanee hit another three at the 12:49 mark, the second of the Tigers' two field goals of the entire period. Sewanee cut it to 13-9 at the 8:07 mark, and BSC responded with a 14-0 run to go up 27-9 with 24 seconds left in the half. The Tigers hit two more free throws before halftime, and the Panthers took a 27-11 lead into the locker room at the half.
BSC continued to build on its lead in the second half, steadily building up to lead by as much as 24, twice, before eventually winning by 19, 56-37.
Bromirski led all players with her 19 points and a career-high 15 rebounds; sophomore Jane Romano also posted a career-high 10 rebounds, and sophomore Kelsey Brown led with four assists.
The Panthers shot 33.9 percent (19-56) from the field, 17.6 percent (3-17) from three-point range, and 88.2 percent (15-17) from the free throw line. The Tigers struggled offensively, hitting 17 percent (9-53) from the field, 17.2 percent (5-29) from beyond the arc, and 70 percent (14-20) at the line. BSC out-rebounded Sewanee 50-37, but both teams turned the ball over plenty—Sewanee had 18 turnovers and BSC had 19.
The Panthers stay on the road to face Centre this Sunday, Jan. 12, at 1 p.m. Eastern in Danville, Ky.


text: Main Content Act 88 of 1961 friendly link Printer Friendly bills affecting index and updates Search within this Statute for RECIPROCAL RETIREMENT ACTAct 88 of 1961AN ACT to provide for the preservation and continuity of retirement system service credits for public employees who transfer their employment between units of government. History: 1961, Act 88, Eff. Sept. 8, 1961 © 2017 Legislative Council, State of MichiganThe People of the State of Michigan enact: DocumentTypeDescription Section 38.1101SectionReciprocal retirement act; short title. Section 38.1102SectionReciprocal retirement act; definitions. Section 38.1102aSectionCompliance with applicable requirements of protecting local government retirement and benefits act. Section 38.1103SectionReciprocal retirement act; adoption by municipal or state unit; certification, force and effect. Section 38.1104SectionReciprocal retirement system; eligibility for retirement allowance; conditions; commencement of retirement allowance. Section 38.1105SectionCredited service generally. Section 38.1106SectionTransfer of credited service; agreement between preceding reciprocal unit and succeeding reciprocal unit; resolution; financial consideration; actuarial present value of retirement allowance; written policy.


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