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Suddenly Bollywood Addict12:06 AM Tuesday, March 19, 2013
Or truth be told... Aamir Khan fanatic?
I don't even know how or when it started, but I think I first got interested in the now defunct show, Outsourced, amused because it was about the call center industry (which is something Filipinos can relate with) but set in a culture that was alien to me. And I loved the show!
Hubs then accidentally discovered a gem of a movie in 3 Idiots... and that was something we enthusiastically shared with family and friends. We just really loved the movie and it resonated so well with me as I pursued Waldorf habits and parenting.
I thought that was the end of it, just a glimpse into Bollywood... until hubs discovered Ghajini and kept me awake one night telling me about the movie. I wasn't interested and I think I missed him saying that it starred the same actor (Aamir Khan).
And then he found Taare Zameen Par (released as Every Child is Special in some countries). I had the movie file for over half a year before I thought of watching it. And I watched it because friends in an internet group were heavily discussing kids with special needs.
And I cried buckets and buckets over Ishaan there... with my heart heavy, thinking of struggling kids because they were misunderstood and their different needs unmet, I decided to watch 3 Idiots again. To be cheered up.
I watched it 3 consecutive times in as many days. As I watched, I kept Wiki-ing information and finally got curious about Ghajini so I finally asked for the copy... and I fell in love with the love story and Aamir Khan all the more.
Last night, I watched Raja Hindustani just to compare kissing scenes between the two sisters (Kareesma and Kareena) with Aamir. The funny thing was, I had gotten used to not seeing kissing scenes and stuff in the movies I have been watching that I felt scandalized by Raja Hindustani. Nyahahaha. Plus, I felt the sensualization of Kareesma's character there was so blatant... and both actors couldn't kiss, so that loooong passionate exchange in the rain felt dirty, awful and inappropriate. Haha.
I loved the kiss between Pia and Rancho/Phunsukh in 3 Idiots... it was sweet, tasteful and light (and yes, I don't know how that could have required 14 takes).
Now... I am weighing whether I will watch Rang de Basanti (because I'm not into political stuff but 'Raju' is there!) or Talaash (but I don't like Aamir with moustache, haha, but Kareena is there) or Dhobi Ghat (Aamir's wife, Kiran Rao's directorial debut... but there is supposed to be a character that catches rats there.... soooo... haha).
Meanwhile... I have subjected my sons to 5 songs from 3 Idiots and Ghajini all afternoon... and am now soothing my soul with Isaan's theme.
And I have started backtracking gossip on the stars... Aamir being the most famous has the most dirt (I think I can believe that he didn't cheat on his first wife with his 2nd wife, but that he may have cheated... and is now trying to really keep clean). I also hope Darsheel (Isaan) will land roles that are perfect for him again (my gawsh, the expressions of joy and sorrow on his eyes!). I am also impressed that Asin (Kalpana in Ghajini) speaks 7 languages!
I can go on and on and on.
I have been thinking WHY I am this hooked... and I told hubs, I think it's because of the poetry I read in the subtitles' prose and the actors who really know how to act. Comparing their films with most of what we offer, it would be no contest. I love the expressions changing in their eyes... and the sideway bobbing of the head and the limitations (minimal sex, skin and what-have-you's).
And now I am starting to speak with a Hindi accent.
(I just remembered that I had planned on going to India last December for a Breastfeeding Conference... is this a coping mechanism? haha)


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- Publishers
- Drawn&Quarterly
- series: Dogs & Water
Comic book series : Dogs & Water
Dogs & Water
"Nilsen creates an epic landscape of desolation and doubt" --New City Chicago
"Nilsen's sparse, thinly rendered line work adds to the level of existential discomfort that the artist seems to excel at... 'Dogs and Water' stays with you a lot longer than most recent comics, easily marking it as one of the best of the year." --Harrisburg Patriot News
"Nilsen's art is filled with amazing white space showing a true sense of human loneliness. Above all else, the work echoes our need to be heard, even if only by ourselves." --Punk Planet
Dogs & Water chronicles a piece of a lonely journey, without origin or destination. A young man wandering a nameless path has only a stuffed bear as a companion, which inertly endures his desperation, anger and musings along the way. The landscape is cold and bleak with few landmarks, and offers only precarious encounters with animals and armed men. These interactions are rife with instinct, the drive for survival, and human ethics concerning the killed and injured. He finds acceptance with a pack of dogs, though their nature is wild and their potential threat is as unsettling as the sudden presence of a massive pipeline on the horizon. In a dreamlike state, the endless land becomes a vast body of water where his boat is destroyed and his body floats in a subconscious space. On land, the road disappears and only blind circumstance remains. All is uncertain and all can be lost, but he continues on regardless.
Dogs & Water received an Ignatz award for "Outstanding Story" and has been translated into several languages.
This hardcover edition features a few new pages and panels not included in the original saddle-stitched comic.

subset: commoncrawl


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By Lymph Notes and the National Institute of Health, March 30, 2014
Below are links to two different articles which describe how the lymphatic system functions. The first is from a very interesting website called "Lymph Notes," and the second is from the National Institute of Health. The NIH page is actually about the immune system, but shows how the lymph system works within it. Both are clear and straightforward. Here are the links:
National Institute of Health - Immune System
Not surprisingly, the National Institute of Health has an enormous database of health related information. It's a great place to find answers to just about any question regarding human physiology, fitness, diseases, nutrition, etc.
The "Lymph Notes" website, though comparatively small, is a terrific site for people with lymphedema or anyone interested in learning more about the subject. It's easy to read, informative, and has been put together by women who have either had lymphedema or have worked with lymphedema sufferers for many years. Their genuine concern for people with the disease is somehow evident throughout the site, and they offer a lot of information about treatments, research, and ways of coping with the illness. It's well worth a look.
Visit the Lymph Notes homepage here
We also have a tremendous resource on the benefits of rebounding for your lymphatic system!


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Philanthropy makes front page news with the announcement of large, transformational gifts. Think Bill Gates. Oprah Winfrey. Warren Buffet. With the news comes the question "What would it take for us to receive such a gift?" This three-part series seeks to provide insights that can help nonprofits begin a conversation that may itself be transformational.
We recently asked Barbara Pierce, founder of Transformative Giving, to share her experience working with donors who give transformational gifts. Pierce works with local and national nonprofits who want to grow their major gifts programs. She has experience soliciting gifts ranging from $10,000 up to $10 million. Her comments can stimulate conversation and an examination of how your institution or organization approaches fundraising, and those who can make transformational gifts.
We asked Pierce what guidance she would offer to an organization or institution who wants to secure transformational gifts, and she got right to the point. "You need to be able to answer, without hesitation, what you would do if a donor gave you a million dollar gift. It is harder to answer than you might first think. If you don't have a vision, don't expect visionary gifts," she said.
That's a strong message. And we totally agree with Pierce. Those who can give at the highest levels want to know your vision, how you would deploy a major investment. Pierce continued, "You also need to have the organizational capacity to take advantage of such a large gift. I use the word transformative because such a gift will transform an organization and if you aren't ready, it can take you off course, possibly in the wrong direction."
She also highlighted the need to have your financial house in order before focusing on transformational giving. "You have to be financially sustainable before you can take advantage of a transformational gift. This type of gift allows you to move beyond "we're surviving" to a point where you are thriving. As an organization, you have to demonstrate your capacity to steward a transformational gift. Nonprofits need to have the business knowledge of how to ramp up in terms of institutional capacity and implement a plan for the vision that the donor is funding."
Transformational donors look closely at your institution's leadership. "The first things to be satisfied before someone will consider a major investment in your group is a belief in the management of your organization. They want to know and trust your executive director or president and your board. These donors are people who have made smart decisions in earning and investing money. They want to know such a gift will make a lasting impact, and that means it will be well managed."
Next week: Part Two. Are you interested in donors or their money?
Visit Barbara Pierce at www.transformativegiving.com.
Copyright 2013 – Mel and Pearl Shaw
Mel and Pearl Shaw are the authors of "Prerequisites for Fundraising Success." They position nonprofits for fundraising success. Visit them at www.saadandshaw.com.


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One Year After GE Wheat Contamination, Wheat Farmers and Advocates Demand Immediate Action from USDA
May 29, 2014—On the one-year anniversary of the Department of Agriculture's announcement of finding an unapproved, genetically engineered (GE) wheat in an Oregon field, farmers and allies are demanding an end to the approval of GE traits until measures are adopted to protect non GE-farmers and their markets from contamination by GE crops. A 2013 FOIA request uncovered up to 483 total field trial violations, demonstrating the serious potential for future contamination episodes.
"We're still waiting for answers," says Clint Lindsey, an Oregon wheat grower whose shipments were put on hold last year after the unapproved wheat was found. "Crop genes move in the environment and cannot be fully contained, yet USDA continues to approve experimental wheat trials. We deserve assurances that our markets won't be halted again and put at risk."
Todd Leake, a North Dakota wheat grower and Dakota Resource Council member who farms more than 2,000 acres is concerned about ongoing experimental field trials in his state. "GE wheat field trials are underway in North Dakota, potentially covering more than 260 acres. Our export markets have zero tolerance for GE traits in wheat products – it's not a marketable commodity. If another contamination event surfaces, the consequences would be devastating. USDA must do its part to ensure that we don't lose our export markets to other countries."
After a decade of field trials, Monsanto dropped efforts to introduce GE wheat in 2004 in the face of intense opposition from consumers, farmers, wheat millers and food companies. However, after a six-year hiatus, Monsanto resumed extensive field-testing of GE wheat in 2011.
"USDA has continuously failed to protect the food supply from GE crop contamination," said Andrew Kimbrell, executive director for Center for Food Safety. "Our farmers and food supply are severely jeopardized by such contamination episodes, yet the biotech industry responsible faces no accountability and operates with little transparency. Swift action from USDA is desperately needed."
USDA records reveal that Monsanto has conducted 279 field tests of herbicide-resistant wheat on over 4,000 acres in 17 states since 1994. Records also reveal that 22 new GE wheat field trials have been approved since the department's announcement one year ago. These trials represent more than 960 acres spanning ten states. USDA is allowing Monsanto to conduct six of these trials, despite remaining questions as to how the company's product contaminated Oregon wheat last year.
"Contamination events happen far too frequently," says Kristina Hubbard of Organic Seed Alliance. She points to contaminated alfalfa identified in Washington State four months after the Oregon wheat contamination event. Soon after, China rejected a U.S. corn shipment containing a GE trait not approved for import. "Farmers, seed companies, and food processors are bearing the burden of contamination. Stronger regulations and oversight are long overdue to protect the integrity of seed – changes that must begin at the experimental field trial stage."
Opponents of GE wheat have long argued that it would contaminate conventional wheat, making it unsellable to many markets that reject GE products. A 2005 study estimated that the wheat industry could lose $94 to $272 million if GE wheat was introduced.
More than 150 farm organizations, food processors, millers, retail companies, bakeries, and seed businesses signed a letter last year calling for improvements in USDA's oversight of experimental trials of GE crops, including:
- USDA should halt all new approvals of GE wheat field trials and terminate existing trials.
- USDA should publish a final report before wheat harvests begin detailing the department's investigation into the Oregon wheat event, including sampling and testing methodologies.
- Before approving field trials, USDA must have the appropriate tools in hand to test for unapproved GE traits in cases of suspected and confirmed contamination events.
- USDA should mandate containment protocols for all GE crop field trials.
- USDA should fully implement the remaining recommendations made by investigative bodies and Congress that aim to improve field trial oversight.
Media contacts:
Abigail Seiler, Center for Food Safety, 443-854-4368, firstname.lastname@example.com
Kevin Dowling, Western Organization of Resource Councils, 406-252-9672, email@example.com
Kristina Hubbard, Organic Seed Alliance, 406-544-8946, email@example.com


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Add North Carolina to the list of states making monumental moves forward on school choice.
In the last two weeks, legislators in the Tarheel State have advanced two policies to expand educational options for the state's students. The first lifts the state's cap on charter schools, currently limited to100. The second puts into place a tax credit scholarship program to give special-needs students the opportunity to attend a private school of their choice. While the first bill has made it past the governor's desk, the second awaits final approval.
Support for lifting the charter caps is "a significant victory," asserts state Senator Richard Stevens (R), considering that "a year ago, charter advocates could not get a law adding six new schools." The new law will broaden educational options for students, a much-needed reform, as "the state's best charters have waiting lists" and "charter supporters…[report that] parents unhappy with traditional public schools are clamoring for more choices."
Perhaps even more notable is the new special-needs scholarship tax credit, which would be the state's first private school choice program. If enacted, parents of students with special needs could receive a non-refundable tax credit of up to $3,000 per semester ($6,000 per year) "for expenses related to private school tuition and other educational services." Between 120,000 and 140,000 students are estimated to be eligible for the program. The state estimates that the program will result in a savings of more than $8,000 per pupil, resulting in millions in lower costs for taxpayers.
North Carolina's tax credit program would be the 14th private school choice program and is similar to tax credit programs for special-needs students now operating in Arizona, Florida, Georgia, Louisiana, Ohio, Oklahoma, and Utah.
One Utah mother of a special-needs student said of the tax credit program in her state:
The Carson Smith Scholarship [for students with disabilities] enables my son to attend school where he can reach his full potential. I don't feel I exaggerate when I say that Carson Smith gave him back his life.
More and more legislators are coming to understand the importance of educational options and taking steps to advance private school choice, charter schools, virtual education, and education savings accounts. Now, North Carolina will be able to count itself as one of the reform-minded jurisdictions that are putting parents and students first.


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Earlier this month, the Transportation Security Administration announced a ban on all carry-on liquids for flights between the U.S. and Russia. The ban came in response to a warning from the Department of Homeland Security that terrorists may have been planning to smuggle explosives aboard planes in toothpaste tubes ahead of the Sochi Olympics. Now, Homeland Security is issuing a new warning: that recent intelligence has detected a new "shoe bomb" threat from overseas (while, at the same time, anonymous officials stress that there is "no specific threat"). Hold on to your loafers.
Absurd rules at the airport have become a fact of life at the post-9/11 security checkpoint — perhaps the central focus of the scorn and ridicule that is routinely leveled at the TSA. But while the public often directs its anger at the agents on the ground, they should really save their ire for the agents' bosses, both local and back in D.C.
(MORE: TSA Bans Carry-On Liquids on Flights to Russia)
When I came out from anonymity on a blog I'd been writing while employed by the TSA, much of the e-mail that I received from former co-workers expressed anger that I had given floor-level TSA employees a bad rap, while failing to take on TSA employees in higher pay grades. They may have had a point.
Most front-line TSA agents despise the absurd rules they are ordered to enforce just as much as the public whose items are confiscated due to the rules. Ask almost any TSA employee what his or her least favorite part about the job is, and the answer will usually include a long list of managers, federal security directors, and other higher-ups.
My six years at the TSA played out like a circus of absurd security regulations, presided over by a coterie of managers who, for the most part, made the Keystone Cops look competent.
There was the manager who was arrested for fleeing the police after being involved in a marijuana bust (and who was then back at work soon after, with barely a slap on the wrist). There was the manager who ordered all aluminum foil be confiscated from passengers due to the possibility of the boxes' serrated edges being used as weapons. There were the many managers who tried to have TSA employees terminated for gum-chewing — claiming that there were terrorists casing the airport, looking for gum-chewing screeners with their defenses down.
Of course, the managers themselves were mostly acting upon orders passed down from TSA headquarters. The directives that surface in TSA agents' morning briefings often draw groans from the officers just as loud as the groans of the public.
In 2010, improvised explosive devices were discovered inside printer cartridges on two cargo planes headed from Yemen to the U.S. Good old-fashioned police work had led investigators to the bombs, and the plot was foiled. But the TSA immediately banned toner and ink cartridges from passing through security. Many passengers on business trips with portable printers in their carry-ons had their ink cartridges confiscated in the ensuing weeks. I, along with many other officers, quietly disregarded the ban, refusing to confiscate the toner cartridge of a woman from Yonkers on account of a foiled plot in Yemen.
But in all my years at the TSA, the most absurd memo passed down from headquarters to front-line TSA employees — a memo that eventually took on legendary status among many screeners — came in 2012.
One morning at briefing, my supervisor at the time — an old, gruff, no-nonsense man with an irreverent sense of humor — told us to gather around, as there was something important to brief.
"This comes down from the folks up in D.C.," he said. "So listen up."
The memo advised the entire TSA workforce that terrorists were plotting to use solar powered improvised explosive devices in order to harm aviation interests. But not to worry: TSA headquarters was on the case. The memo continued to explain that new technology was being explored in order to detect solar powered IEDs.
The supervisor tore his reading glasses off his face — whether he crushed the memo in his fist, I cannot remember.
"What the hell are these idiots up in D.C. talking about?" he asked. "Why would anyone need a solar powered bomb indoors, on a plane?"
We never heard anything more about the terrorists who were looking to go green, although Wired.com ran an article revealing the same intelligence around the same time.
Ridiculous restrictions and the TSA have become nearly synonymous in the post-9/11 airport, and as new, improbable terrorist plots come to light, we will likely continue to be burdened with new, absurd rules. But our best bet is to take the frustration toward the TSA agent confiscating our over-sized liquids, and re-direct it to the people at TSA headquarters who are being paid the big bucks to make the rules — the ones who make the call as to whether our toothpaste is verboten and whether our shoes will need extra screening.
Jason Edward Harrington is a former TSA agent. Follow him on Twitter @Jas0nHarringt0n.
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text: The judge hearing Oracle's Java patent lawsuit against Google hopes to get the case wrapped up before the end of November, he said Wednesday, but it won't help his cause that the U.S. patent office has agreed to reexamine Oracle's patents in the case.Lawyers for Oracle and Google came before Judge William Alsup at the U.S. District Court in San Francisco on Wednesday for a so-called claims construction hearing, where the two sides argue over how language in the patents should be interpreted.Scott Weingaertner, an attorney for Google, told the judge towards the end of the hearing that the U.S. Patent and Trademark Office has agreed to reexamine Oracle's Java patents."The patent office has granted reexamine requests on all the patents in this case," Weingaertner said. Alsup asked when that happened. "It happened as recently as yesterday with one of them. It's been happening over the last few weeks," Weingaertner saidIt's not uncommon for defendants to ask for patents in a case to be reexamined. The patent office could potentially invalidate claims in the patents or narrow their scope, or it could choose to take no action at all. Seeking a reexamination is sometimes used simply as a delaying tactic.Neither Oracle nor Google asked Alsup to delay the case Wednesday, and he seemed reluctant to let anything slow down the proceedings. The judge said he would like the case to be over before the end of November, because that's when his law clerk is scheduled to finish her term with him.Law clerks are usually assigned to a judge for a year and help manage their case loads, doing research and drafting opinions for the judge to sign. The Oracle-Google case is a complex one and it would be "a real burden" to have to bring another law clerk up to speed, Alsup said. "You have the luxury of resources that I don't have," he told the lawyers.A jury trial is currently scheduled for Oct. 31, so the judge will need to keep the case on track if he wants it to finish that quickly. Oracle's trial against SAP this year took three weeks to complete, and the issues in that case were less complex.A spokeswoman for Oracle declined to comment on Wednesday's hearing and Google didn't immediately respond to a request for comment.Oracle sued Google last August, alleging that its Android operating system infringes on several Java patents. Google denies doing anything illegal.Lawyers for the two sides argued for 90 minutes before the judge Wednesday about how wording in the patents should be interpreted. How the judge rules could affect whether Google is found guilty of infringement.At one point he lost patience with the back and forth."I don't know, it's frustrating that these gigantic law firms can't write clearer language so we don\u2019t have to go through this process," the judge said.


text: Interview: WM Hunt W.M. Hunt Talks to Elizabeth Avedon L'Oeil de la Photographie, September 30, 2011 W.M. Hunt at Home, Oct 2011. Photograph © Elizabeth Avedon "When I turned 50, I decided my life's mission would be to promote the pleasure of photography." William Hunt The first U.S. exhibition of over 500 photographs from W.M. Hunt's extraordinary collection will open at the George Eastman House International Museum of Photography and Film on October 1, 2011. Selected works include photographs by Man Ray, Irving Penn, Robert Frank, Diane Arbus, Richard Avedon, Edward Steichen, Robert Mapplethorpe, Berenice Abbott, and Nadar in a range of formats from daguerreotype to digital. Highlights from the collection have previously been shown at the Rencontres de la Photographie in Arles, France; the Musée de l'Elysée in Lausanne, Switzerland; and Foam-Fotografiemuseum in Amsterdam, The Netherlands. Thames & Hudson in the UK, Actes Sud in France and Aperture in the U.S. are simultaneously publishing his book, The Unseen Eye: Photographs From the W.M. Hunt Collection, to accompany the show. W.M. Hunt began collecting over forty years ago with his first acquisition, Veiled Woman, by Imogen Cunningham. Hunt, a curator and educator, was founding partner of the Hasted Hunt Gallery (now Hasted Kraeutler), former director of photography at Ricco/Maresca Gallery, and served on the Board of Directors of AIPAD. He is currently on the Board of Directors of the W. Eugene Smith Memorial Fund and The Center for Photography at Woodstock, NY. and was profiled in the BBC series, appropriately titled in his case, The Genius of Photography. Hunt's collection follows an unprecedented theme in which the subject's eyes are averted, hidden, concealed, pierced, or missing in every photograph. In The Unseen Eye, he writes of To El-Mochuelo"(Boy Behind Post) by Ralph Eugene Meatyard: "This is a photograph of me. I am the young boy, ten years old, standing behind the post at the base of the stair, out of focus, hidden, unseen. I'm scratching my head, wondering. The image is by a visionary photographer from Kentucky, Ralph Eugene Meatyard, and it was taken in the early 1960s. "OK, it's not me. I would have been older than that by then, but this image is a key to understanding this collection. The photographs in this book are meant to flow easily, like a dream, from one to the next, with birth and death, pleasure and pain, the everyday and the infinite." I spoke with Bill in his New York penthouse recently as the collection was being packed for the Eastman House exhibition: Elizabeth Avedon: What came first, the exhibition or the book? WM Hunt: The book was commissioned in 2005 based on my Arles show. The publisher at Thames and Hudson, Thomas Neurath, who is a lovely, lovely, lovely fellow, wrote me this letter that was very flattering and said he'd enjoyed the show. He totally got it, but he thought it had commercial potential. I said, "Are you really sure about this?" When he said, yes, I had a rendezvous with his sister who was their long time Art Director, Constance Kane, who I also adore. It's a family held company, so I'm doing this book and the only two people I know there are the family. The book was set into motion slowly and then there's a show in the Musée de l'Elysée in Lausanne, Switzerland with Bill Ewing and at Foam with Marloes Krinjen. Fabulous. So the show is kicking around and it's about 360 pictures and that takes place over a three-year period. We're working on the book, it stops and goes. Part of the problem is I'm in New York and I've never done a book before, and they're in London. Then there's this period when it's not happening and I'd tried to get the show to Paris at the Maison Rouge or the MEP (Maison Européenne de la Photographie). The Maison Rouge is much funkier, better for a collector situation; the MEP can't do as many pictures. It's funny that France has been this welcoming place. The Arles show was just fantastic. One of my very good friends is Alison Nordstrom, senior Curator of Photography at the George Eastman House. She stays here all the time in the artist studio downstairs where the collection is. We talked about doing this show and when the book was becoming a reality, Alison got Eastman House to commit. The good news is it's not collaborative; I'll put it up. When people agree to do the collection, it comes with the understanding I'll do the installation. My line about installations is "That's the most fun you can have with your clothes on." It truly is. It's four days of great problem solving. My thinking is very much about engagement; I want the audience to come in and I really want to amaze them, astonish them. I want them to go, "I've never thought about photographs this way." We did this cool thing in Amsterdam. The Foam people were great, but they had a very big ballroom that was awkward in a way with windows on one end and two walls too far apart. So I built my speed bumps and then I asked them to get two-dozen chairs and put them in the middle of the room. Opposed to the photography gallery as egress, in and out, Foam wanted you to stay there, and the chairs made it easy. People came in and would sit there and talk; it looked like a bus station. And I loved the idea you would come in and look at one picture and talk to your friend for 45 minutes. I was thrilled. The show that's coming up in Rochester is by design a very big show at 550 photographs. One idea is nobody has ever done a show that big. The Friedlander show was 477, Family of Man was 517, so I'm looking to that being news value. I just want people to come and be amazed. EA: Do you own all of the photographs in the book? WM Hunt: There are a couple pictures that I don't own, but they have history with me so they are in the book. One is a Weegee picture I used in a project early on, so it was meaningful and also you don't ever see it. There's a picture that Hans Krauss had that was so cool. I used to have the slide and the postcards and I would put it in talks about collecting – the one that got away. It was too expensive. In the foreground there's this skull. It's small at an angle. It's the ultimate post mortem photograph before anyone had a post mortem photograph. (Humphrey Hime, The Prairie, on the Banks of the Red River, Looking West, 1858) Mitch Epstein had a picture I just loved. (Mitch Epstein, Untitled, NY (Man on Escalator), from 'The City', 1998). We worked out something and now I own it. It did this weird thing. Once I got it home, it completely changed and my reading of it was really different. It's cut on the diagonal, the escalator, bright red background, middle-aged guy facing away from the camera. I always thought he's going up on the escalator. It was this optimistic dynamic. Then I get it home and the escalator is stopped – the guy's just in place. That actually for me is one of the pleasures of it. You look at them and they are different from you. EA: I'm interviewing Joel-Peter Witkin next week. Don't you own several of his photographs? WM Hunt: There's a Joel-Peter Witkin story I like. The thing that gave this collection increased visibility was the Witkin, Man without a Head, 1993, which is a brilliant photograph. That's a photograph that people cannot stand to look at. It just gives them the spilkes. In the show in Arles, they gave me the most contemporary feeling venue on the inside. I'd built these speed bumps in it because I don't like you to be able to walk into a show and see it all, so I had these big triangles that were in the way. The show was on two floors and the end of the second floor my sister-in-law is suddenly doing this very weird walk. She says, "I know it's here. I KNOW it's here and I DON'T want to see it." I'd put it behind something so you wouldn't catch sight of it when you first walked in the room. I want to deny the experience of jumping out of your skin when you see that picture. That was a really big deal picture because it was expensive and it was empowering because it was a picture you shouldn't have. It's just a 'bad boy' picture. [Paolo Ventura comes into the apartment during our talk. His exhibition The Automaton of Venice opened at the Hasted Kraeutler Gallery (through October 15) and he's visiting for the day before returning to Italy. Ventura and Hunt discuss some 19th century photographs of nude women, prostitutes, Paolo saw in a flea market. Somebody had drawn beautiful masks to cover the eyes on the negatives.] WM Hunt: The mask thing is a strange thing in the collection, because masks let the eyes in and this is very much about not letting the eyes in. For the show at the Eastman House I took out all the masks, so there are pictures in the book that aren't going to be in the show. My sister is the only one who's seen all the different incarnations of this collection, so I'm curious to see what she thinks. This one will be really dense. And we're using a different color this time. We're using green for the entrance hallway. EA: Talk to me about your Arbus pieces. WM Hunt: The cool Arbus is the one nobody knows, which is the Man from World War Zero. (Diane Arbus, Man from World War Zero and His Wife the Alligator Skin Woman, 1968) and it is elegant. Doon turned me down the first time, which I had expected, and I was in the process of writing the letter that said, "Oh please, oh please, oh please…" when she wrote me back the next morning and she said she'd changed her mind, that it was OK. That was great. EA: Is he moving or is that his face? WM Hunt: That's a very good question that people don't usually ask. I don't know if he has three eyes or one eye. You realize that the photograph is a completely banal portrait done in a very relaxed setting, all these formal considerations that you would bring to it anyway. When you look you say, "Who are those people?" [In The Unseen Eye, W.M. Hunt writes: "The Arbus portrait is alarming in its unaffected and affectionate capture of a shockingly odd couple. Their appearance is so unexpected but treated here in such a matter-of-fact fashion. The man is a Cubist curiosity. You don't even notice the wrinkled condition of the wife's skin."] I have a lovely Avedon story. I had been the Chairman of Photographers + Friends United Against Aids. It was a really amazing time because as an actor I had no single mindedness and as a fundraiser, I was ruthless. I would call anybody. When I left I was casting about for things to do and figured I'd go back to show business. Then this crazy gallery, Ricco/Maresca, sent me a presentation on Gerald Slota, the photographer you looked at on the way in [at the entrance to Hunt's apartment]. I went to meet these guys and thought they were different from any dealers I had ever met. I didn't buy a Gerald Slota, because I thought they were over priced, but I was completely beguiled. They proposed that I curate a show; either do it now or a year and a half from now. I said, "Now would be good." I had a three month lead and I did this show called Delirium; pictures about people in a delirious state. It was very much everything that I'd been working on as a collector, as someone looking at photographs. I put the call out to people I trusted and asked, "What have you got?" This picture came to me by Keri Pickette, who lives in Minneapolis, of a little boy who is on a staircase and he looks like he's been hit in the knee's, but he's in a really heightened state of pain, sadness. I really liked this picture. It was very odd, a painful picture, so I put it in the show. Later, Aperture came to me and said, "Can we do this as an issue of the magazine?" I then got to recurate it, write an essay and I put all these blocks of text in it. It's a really good issue of the magazine. I saw Keri this summer and said, "I'm going to put you in the Eastman House show." And she said, "Oh, did you ever see this letter from Dick?" I knew who she meant, but I didn't know what she was talking about. Some one had given him a copy of Delirium and he wrote her a letter saying that he's had her "picture up for weeks and how wonderful the picture was. Thank you very much." I thought what a swell letter to have. So good for her and that was cool he saw that. EA: How did you acquire Richard Avedon's photograph of Sophia Loren (Richard Avedon, Sophia Loren, New York, October 1970), when did it come about for you? WM Hunt: I saw the Sophia Loren in the Marlborough show. [In "The Unseen Eye," W.M. Hunt writes: "This is a photograph of a beautiful woman – Sophia Loren at her best. She is gorgeous, dynamic, breathtakingly exciting, something we all imagine at some point about ourselves. Richard Avedon's photographs are celebrations of a certain kind of beauty. The Loren portrait is as much sculptural as photographic. The instructions Avedon gave for the printing of a negative like this were so detailed that they look like a 'paint by numbers' map. Beauty is completely subjective."] The two other Avedon's, Nureyev (Richard Avedon, Rudolf Nureyev, New York, May 29, 1967) and Capote (Richard Avedon, Truman Capote, New York, October 10, 1955), I bought from the Fraenkel Gallery. Fraenkel was always reasonable with me. There were a couple of dealers who were good 'Spirit Guides' Janet Borden and Frish Brandt. They had a sense of what I was up to, they had a sense of what money I didn't have, they had a sense of the economies of the time, so if they each sent me six pictures in a year, which was a really judicious way of dealing with me, I would probably do two from each place. That's pretty good because I didn't have a lot of money and that was for me a lot of money. The irony, of course, is now those pictures are a huge deal. The Irving Penn, The Two Guedras, Morocco, 1971, was $5000 at Christies 25 or 30 years ago, which was a fortune then. A fortune! If you've ever seen those Penn platinum's close-up, they change, like that hyperspace moment in movies when you see the constellation, then you're IN the constellation. They just explode in your eye and become this matrix of silvers. I spent more money than I thought I could ever find on that print and now it is worth – a lot. [Sold at 2010 auction for $314,500.00]. The Two Guedras, Morocco, 1971, is the cover of Worlds in a Small Room. Two ladies, one stands, one sits; and there's a variant where the seamless is blowing, but this is the pure one. The tragedy of this book is the Penn people wouldn't give me permission to use it. I miss it like mad and I wrote really well about it and that was cut too, so this panel I'm doing on the 12th of October with Susan Bright (Unseen in The Unseen Eye, SVA Theatre, NY) is actually to talk about the stuff that's not in the book. EA: What was your first success as a dealer? WM Hunt: Larry Gianettino was my first success, someone who nobody knew about. I showed him and let people know about him and we did a book. When Elisabeth Biondi had only been at the New Yorker about six weeks, she ran a photograph by him and it looked great. We sold pictures based on it being in the New Yorker. She and I have logged in a lot of time together since. EA: Tell me about the diptych behind you. WM Hunt: Gary Schneider was doing a talk at ICP one night, just beginning work on the Genetic Self-Portrait series, and he showed aqslide of this diptych. (Retinas, from 'Genetic Self-Portrait', 1998) When the lecture was over, I made a beeline for him. I wanted it. It looks like this moonlit night in the haunted forest; it looks like a lot of things. I think it's very exciting. [In "The Unseen Eye," W.M. Hunt writes: "This is part of Gary Schneider's ambitious self-portrait series, based on the extraordinary conceit of appropriating X-rays of the interiors of his own eyes – this really is the 'unseen eye' – and then printing these in his exquisite and exacting fashion. This image is a haunted landscape of the soul under a full moon, eerie and rapturous."] I think that collectors who have an investment in friendships with the artists that you end up collecting the artist also and that's really fun. There are a couple of artists that I was the first person who bought them. I've known Gary a long time and think he's a real talent. His skill as a printer always preceded him. He had a photograph of a friend of ours daughter, Fotofolio's Julie Galant and Martin Bondells' daughter Anya when she was about 8 or 10. I bought it. It's a great, great picture. It's in the book. (Gary Schneider, Anya, 1994) There's a very big mask picture (Gary Schneider, Mask Self-Portrait, 1999) on stretched canvas, about 2 meters x 2 meters, that will also be at Eastman House and it's in the book. I've never exhibited it before. I'm pleased to show it because where I've put it in a space it will get a lot of light around it. It likes a lot of space. EA: Is there a photograph in your collection you could not live without? WM Hunt: The Penn.


text:
May 15, 2010
13 comments:
I saw this on the news the other day. What an atrocity! The parents and dancing instructors know no shame and have no sense of propriety! No way a seven year old should be made up to look so sexy and adult-like. I, too, say "SHAME!" And I'm certainly not a fuddy duddy!ReplyDelete
they weren't thinking. or they have no sense. probably both. what's amazing is it wasn't just one girl, there were a whole bunch of them! my husband pointed out that these girls are growing up really fast and girls in general these days are growing up rather quickly...and they will want to be calling my house for my son in the 2nd grade. YIKES!!ReplyDelete
I have a niece who was in dance most of her primary school days and I NEVER saw anything like this. Her final dance (when she was a senior in high school) she did a 1950's type thing in babydoll PJs and she was unsure about it. I saw the dance and there was nothing inappropriate about it. This video is just incredible. We are all to blame -- these little girls see and hear this stuff all the time on the video channels. I can remember toddlers going around singing "Like a Virgin" by Madonna and those toddlers could be the mothers of these little girls. It's not new. There's no going back I suppose, so we better figure out how to deal with it from here. I have a 13 months old granddaughter and I'm frightened for her. My job is to help her through it.ReplyDelete
First these young ladies are dedicated and talented. I see little B. Ramseys in the making and hope it does not end as sadly for them as it did for her.ReplyDelete
This is a prime example of why the world is in the mess it is....there has to be something inside a parent that screams NO!!!!!ReplyDelete
Too many people are having children and shouldn't....these are human beings, little human beings who trust that their Moms and Dads are loving them and doing the right thing, not exploiting them....the society that is out there now has no boundries....NONE. How do you ever go backwards???? That is the only answer in my opinon... I hope that these parents realize what they have done....if I thought that my child was on the web like this I would be insane!!!!!
I agree with you Lori! Where the heck were the parents!! They had to buy those costumes!!!!!!!! They all need a different teacher!ReplyDelete
The sad thing is that these parent approved it and one of them probably posted it on Youtube. These same parents will be wondering why their girls are promiscuous a few years from now. Children deserve their time to be children!ReplyDelete
It is shocking, and disturbing that they would consider this a age appropriate dance routine. Dr. Phil's comment about Pedophiles worries me. Since we have had two of them living in our building here. One is the school teacher, from a few years ago. Yes...ReplyDelete
Well! You can't take aay from the fact hat they ae all very talentd children - and CHILDREN is the operative word here -How in the heck did these parents allow this to go ahead, and then agree for it to be displayed on You Tube. Having heard what Dr Phil had to say about the whole paedophile issue, I am quite frankly disturbed. What happened to children learning dance to nursery rhymes and old time tunes? Am I just getting old or are they trying to be old before their time, or is it that they just don't understand what they are doing and are relying on the backing and support of their parents to point them in the right direction? If this is the case, I sure hope that the media outrage about this whole issue had kicked them into touch. The mind boggles!ReplyDelete
I'm (almost) speechless! I cannot believe that any parent would allow a 7 year old to take part in this routine. The costumes and dance moves are so inappropriate on SO many levels. The girls are obviously talented and put alot of work into this. But why the instructor thought that this was the right routine for 7 year olds is beyond me. I made the mistake of watching an episode of Toddlers and Tiaras once, and my immediate reaction was nausea. How a parent can allow their child to be objectified and sexualized in this manner is something I will never understand. Kids are growing up way too fast as it is, can't we just let them be kids for goodness sake? KathyReplyDelete
Perfect title for this post!!!ReplyDelete
I would LOVE to hear from any of the parents...wishing they would answer your question.
Parents: be PARENTS. Our children MORE than deserve that.
This provocative dancing routine by children is disgusting.
I came here because your comment on Robynn's blog made me laugh out loud! I love your sense of humor. I began reading your blog, and came across this one...and wanted to put my 2 cents (where is the 'cents' key on the keyboard??? Sigh...) in. (I know...I'm not supposed to end a sentence with a preposition...but....) So, I ended that one with a conjunction!
Love your humor...and your seriousness in this particular blog.
Smiles to you from Jackie
The adults involved claim these are dance moves--not sexual ones. I beg to differ. As I watched the video on the news, all I could think about were the pedophiles out there watching as well. It makes me sick to my stomach.ReplyDelete
i didn't need to watch the video to know what ur talking bout and i completely agree. the whole pageantry thing is disgusting. i think it's a much bigger problem in the states than here. the thing is i don't think enough ppl think it's wrong or at least don't care to voice their opinion about it. like maybe if ppl were to start an up roar against this kind of situation as they do with smoking or wearing fur, i'm sure at least some little change would come from it as it has for those problems. and this one seems much more severe, if u ask me. of course pedophiles feed off this, u just know they're in the audience oogling (that was hard to type). and it is simply mind boggling that a parent would let their child be part of something like that. it's natural for little girls to wanna dress and act like the women they see on tv but its the paret's job to just say no! i remember none of my girl cousins were allowed to wear make up unless playing dress up or something at home, never in public. i have to admit sometimes driving around i'll see someone i might think is hot and as i get closer i'm ashamed cuz the girl is WAY younger than i initially thought. i would never let my 14 y.o. dress like that... that's it, there's my rant on the subjectReplyDelete
Thank you for taking the time to leave a comment. I appreciate every one of them and respond to all.


text:
CRS: Indias 2004 National Elections, July 12, 2004
From WikiLeaks
About this CRS report
This document was obtained by Wikileaks from the United States Congressional Research Service.
The CRS is a Congressional "think tank" with a staff of around 700. Reports are commissioned by members of Congress on topics relevant to current political events. Despite CRS costs to the tax payer of over $100M a year, its electronic archives are, as a matter of policy, not made available to the public.
Individual members of Congress will release specific CRS reports if they believe it to assist them politically, but CRS archives as a whole are firewalled from public access.
This report was obtained by Wikileaks staff from CRS computers accessible only from Congressional offices.
For other CRS information see: Congressional Research Service.
For press enquiries, consult our media kit.
If you have other confidential material let us know!.
For previous editions of this report, try OpenCRS.
Wikileaks release: February 2, 2009
Publisher: United States Congressional Research Service
Title: Indias 2004 National Elections
CRS report number: RL32465
Author(s): K. Alan Kronstadt
Date: July 12, 2004
- Abstract
- U.S. relations with India depend largely on Indias political leadership. Indias 2004 national elections ended governance by the center-right coalition headed by Prime Minister Atal Bihari Vajpayee and brought in a new center-left coalition led by Prime Minister Manmohan Singh. Following the upset victory for the historically-dominant Indian National Congress Party led by Sonia Gandhi, Gandhi declined the post of Prime Minister in the new left-leaning United Progressive Alliance (UPA) coalition government, instead nominating her party lieutenant, Oxford-educated economist Manmohan Singh, for the job. As Finance Minister from 1991-1996, Singh was the architect of major Indian economic reform and liberalization efforts. On May 22, the widely-esteemed Sikh became Indias first ever non-Hindu Prime Minister. The defeated Bharatiya Janata Party now sits in opposition at the national level, led in Parliament by former Deputy Prime Minister Lal Advani. A coalition of communist parties supports the UPA, but New Delhis economic, foreign, and security policies are not expected to be significantly altered. The new government has vowed to continue close and positive engagement with the United States in all areas. This report provides an overview of the elections, key parties, and U.S. policy interests.
- Download


text:
Students may select one (1) piece of artwork to submit for this showcase.
Media accepted in this category include oil, acrylic, watercolor, charcoal, colored pencil, crayon, ink, marker, etching, collage, etcetera. Digital medium artwork will be taken in a separate category.
Important note: This year we will not be accepting physical artwork, only photographs of the artwork. To ensure our judges have the best quality view of your work, please confirm that photographs are no less than 1350x1080 pixels.
Only two-dimensional (2D), unframed artwork will be accepted.
Students must upload the photograph of their artwork to Sister Cities International by attaching the photo to the application below in either a .jpeg or .png format.
Students are also encouraged to post one (1) photograph of their artwork to Instagram and include the following in their caption:
-Tag @SisterCitiesInt
-Use the hashtag #YAAS2022
-Include the city, state, and country where the student is from
All submissions must be made by April 1, 2022.
Judges will evaluate submissions based on theme interpretation, and creativity.
All work must be original.


text:
February 29, 2016
February 28, 2016
February 27, 2016
February 25, 2016
February 24, 2016
February 23, 2016
February 22, 2016
"Tout en haut du monde" by Rémi Chayé
February 21, 2016
NYC Gifathon by James Curran
A compilation of 30 animated gifs - memoirs of spending one month in New York
February 20, 2016
February 19, 2016
February 18, 2016
February 17, 2016
Sketches from Byron Howard
Byron Howard, co-director of Zootopia and Tangled and animator for Lilo & Stitch and Brother Bear, shares his take on the characters of Winnie the Pooh. Source.
February 16, 2016
February 15, 2016
February 13, 2016
February 12, 2016
Big News for the Animation Industry in Canada!
Cinesite's new Montreal massive studio will employ 500 people, and produce 9 features, including 'Klaus'
Read the full story here.
Read the full story here.
February 11, 2016
'Pear Cider & Cigarettes' - The 32 minute animated movie by Robert Valley
Just a few days left to contribute to the finishing of this film, check it out here.
February 10, 2016
February 09, 2016
February 08, 2016
February 05, 2016
Ensemble Staging
Posted by Ron at 6:00 PM 0 notes
Labels: Cinematography
February 04, 2016
February 03, 2016
February 02, 2016
February 01, 2016
Oasis Dental by The Magnificent Itch
Oasis asked The Magnificient Itch to create a piece that would connect with their clients on an emotional level. This is what they created using a mixture of 2D and After Effects Animation. themagnificentitch.com.au/
Instagram: instagram.com/magnificentitch/
Directed by Stefan Wernik twitter.com/stefanwernik
Produced by Guy Jamieson
Compositing by Jason Morice
3D animation by Arthur Collie
Art Design and 2D animation by Alexander Watson
Music by Stephen Frost stereocouture.com/en/
Animating Art - 1987 Documentary
Arthur Harold Babitsky (October 8, 1907 – March 4, 1992), better known as Art Babbitt, was an American animator, best known for his work at The Walt Disney Company. He received over 80 awards as an animation director and animator, and also developed the character of Goofy. Babbit began his career in New York City working for Paul Terry's Terrytoons Studio. But in the early 1930s he moved to Los Angeles followed by his fellow Terrytoon colleague Bill Tytla, and secured a job animating for the Walt Disney Studio, which was expanding at the time. HE worked as an animator or animation director on such films as The Three Little Pigs (1933), Snow White and the Seven Dwarfs (1937), Fantasia (1940), and The Incredible Mr. Limpet (1964), among others.
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text:
3months warranty on main drive train;
engine, hydraulics & hydraulic braking system,
transmission and differential *
Silver Shadow
Long Wheel Base ("LWB")
1 owner!!
In beautifully presented condition.
Desirable "Chrome bumper" model
This is an absolutely stunning presenting Rolls-Royce Silver Shadow Long Wheel Base ("LWB"), finished in Silver Sand with rich honey tan Connolly hide leather interior. The coach work waist-rails and hubcap beauty rings are finished in hand-painted dark brown to match the vinyl top.
The long wheel base version of the Silver Shadow is easily identified by the small rear window (opera window) and standard fitment Everflex vinyl top, it is 4" longer in the rear door. This provides a noticeable increase in rear passenger space.
This is a lovely condition example with a low 63,500 miles from only 1 owner from new. Purchased new by a wealthy industrialist it was part of a large collection of Rolls-Royce and Bentley motor cars. In the last 15 years, the car sat in a private collection display.
This is a well presented example that displays all the hallmarks of a serious and dedicated owner. It was repainted some 15 years ago in its original colour and so the paint is in excellent condition. It was a very high end paint job costing some $17,000 so it is deep in lustre and shine and is entirely consistent. An original North American car that was never driven in inclement weather (and it shows), always climate control stored. Very straight, very clean, very true in all characteristics Rolls-Royce.
The interior is completely original. The Connolly hide leather is stunning. The leather finishes have never been redyed and not so much as even a touch-up, showing its original Connolly hide signature finish. Connolly leather has a 2-tone effect with a darker dressing in the depths of the grain. If you are familiar with Cognac leather in early Mercedes, you will understand this description, but with the Rolls-Royce leather, the effect being more subtle. Any form of redying, loses this burnished grain effect. This Shadow shows it off well with a beuatiful degree of warm patina to look like, and feel like, a high-end Chesterfield couch. So inviting you want to just sit in it for no reason. This is an example that looks like it is only a few years old. Certainly not 45!
The African burl walnut's original French polishingis in good condition, only with minor hairline marks in the lacquer. Carpets are good. The headliner is all original.
As importantly, it has been maintained meticulously. Although rarely driven in recent times, the car was kept in the collection under the eye of a Rolls-Royce caretaker who regularly maintained the car. Recent work performed includes a complete going over of the hydraulic and braking system; brake pumps, accumulators, accumulator valves, calipers, hoses, reservoir and system flush, etc. The car has been completely gone thru the Park-Ward Motors Museum trained workshop and literally everything needed doing has been done; from engine and mechanicals, all operational items (seats, windows serviced and lubricated)down to the tiniest and most insignificant light bulb in the dash. Some $18,000 in work that will keep the new owner in good stead for many years to come. The car drives smooth, without any bumps, rattles or knocks. It truly "floats" like the Shadow of this era was designed and built to do. Testament of its well maintained history is the cleanliness under the hood. Not detailed but appropriately maintained. The trunk presents just as well without so much as mark in the carpet.
All external bright-work is well above standard and lights and lenses excellent. Normally, the rear quarter bumpers rust out where the brackets are internally welded - no such thing here! The car is simply stunning to admire as well as drive.
* This month, we are offering a special warranty at the advertised price:3 months warrantyon main drive train; engine, hydraulic & hydraulic braking system, transmission and differential - with all work carried out by our dedicated team.Great peace of mind to you as the buyer and a testament to how we "stand behind our cars"! (Applies to lower 48 states only).
~~ Driving this Rolls-Royce Silver Shadow is like trangressing back into the early 70s. It is a beautiful example of the Long Wheel Base model which can be driven as-is to your next Rolls-Royce show with pride. ~~
International buyers welcome!
For extra photos on this fine example go to the link below. The photos are of super high resolution so if you right click on any, you can zoom in and see every little detail and defect in considerable detail.
Click HERE to see some 180 high resolution photos
Rich brown pin-striping hand-painted by an artisan in accordance with the Crewe tradition
A low 63,500 miles!
Original Connolly "hand-rubbed" leather finish
Click HERE to see some 180 high resolution photos
A note from RRMOTORSINC:
For those Rolls-Royce enthusiasts who have followed my auctions in the past I welcome you all. For those who are new to my adverts and/or the marque, please note that as a serious collector of some 30 years, all my cars are truly described examples. I have my own private Rolls-Royce workshop (not open to the public but dedicated to my own cars and fellow RR enthusiasts) with trained Rolls-Royce craftsmen who are proficient in all aspects. As a team, we are dedicated to the preservation of the marque and as such, any car that leaves the stable is completely inspected and work-shopped to ensure mechanical and operational items are maintained appropriately. We adopt a "keep it original" mentality with pride and confidence, offering after sales technical support and assistance well beyond the sale. Because most of my cars are offered for the pleasures of driving enjoyment it is not always possible or practical to seek perfection (in the true sense of the word) but we do always uphold excellence in whatever we do. Our cars are by no means cheap priced cars but we like to think they are amongst the best. To this end, I firmly believe in the famous adage; "Quality is remembered long after the price is forgotten."
We hope you do too."
RRMOTORSINC is a division of Park-Ward Motors and The Park-Ward Motors Museum. We can always be reached at +1-312-320-6996.
We at Park-Ward Motors – the things we do.
When our Rolls-Royces are commissioned for resale, they are indeed professionally and correctly "fully work-shopped". No corners are cut. And it is all addressed in true Crewe tradition. There is way too much to list here but to give you an example of our commitment to excellence of the various processes, this is one such example of what we do:
Doors and windows:-
Every car has its interior door panels removed. If the wood is in need of repair (as most are) it is refinished in-house by trained and talented craftsmen at Park-Ward Motors. This is a detailed process of stripping the wood of its old lacquer, repairing the veneer if there is damage, staining the top surface as per Rolls-Royce methodology and refinishing with no less than 25 coats of clear lacquer. Hand wet-sanded and polished between all of its last 15 coats. New window felt guides and wood-to-glass foam seals are fitted. All window mechanisms are checked and serviced for smooth and efficient up and down movement. This includes an electrical modification to rectify the typical "slow window syndrome". All tracks, chains and gears are lubricated. Where central locking is fitted, these are all serviced to ensure no "solenoid sticking", another common problem. Units are repaired and or changed as required for refurbished units. Door wiring and door-to-body wiring is checked, repaired and/or replaced as required. The splash plastic on the inside of the doors to protect the leather panels from rain splash from inside the door is replaced with correct specification black plastic as used by the factory. Cut to shape and glued in position as per original. All door hardware is checked and repaired as required including locks, handles and scuttle finishes. The door is reassembled with all items cleaned and polished. The wood refitted and the leather panels are re-Connollised before final fitment.
Take this example and apply it to the many, many different aspects of Rolls-Royce restoration, service and maintenance and you have our dedication to correct and professional vehicle pre-delivery preparation and commissioning.
**PLEASE read auction terms and conditions below BEFORE bidding.**
~~ Important note: the $2,000 deposit is due within 24 hours. If not paid, or if no contact is received within that period, we reserve the right to offer the car to any other party.~~
This Rolls-Royce is part of a private collection. Although licensed and bonded, I am not a main-stream retail car dealer or broker; I am a professional car collector of some 30 years with considerable experience and knowledge of Rolls-Royce and Bentley Motor Cars. I have a long standing reputation being associated with the marque which I take seriously. I take pride in my cars and have fun in collecting and restoring them. However, auctions are not a game so when you place a bid or offer, and you are the winning bidder, please understand you have entered a binding contract. You cannot bid and win the auction and expect not to meet the terms and conditions. Bidding and/or winning does not mean you are expecting me to "hold" the car until you have the opportunity to inspect it. Any inspection contemplated should be undertaken BEFORE you bid or make an offer and I openly welcome any potential buyer to come and personally inspect the car. Once you bid or make an offer, you are doing so to buy WITHOUT conditions. Your bid can not be subject to anything. A $2000.00 deposit (non-refundable) is required within 24 hours of the close of the auction and payable by PayPal. The balance of funds are required within 7 days of the close of the auction and must be provided by cashier's check or bank wire. I cannot accept PayPal for the balance unless you are willing to meet the cost of transfer fees. Full payment must be made (and payments cleared) before the title and/or the vehicle is released. All payments are non-refundable. Payments as described above form an important part of this purchase contract and so, if all the funds are not received as outlined above, I reserve the right to terminate the transaction without notice. If there has been any deposit or other part payments received and I elect to terminate the contract, I reserve the right to keep any such deposits or payments and resell the vehicle to another bidder or interested party or re-list the vehicle at any time. To be clear, if you change your mind for ANY reason and do not complete the transaction in the time-frame required, you will forfeit your deposit. I am happy to assist with shipping arrangements on a national and worldwide basis but the winning bidder takes full responsibility for pickup and/or shipping and at his cost.
As a collector and experienced restorer of the marque, I make every effort to bring my cars to a high standard. By comparison, my cars are generally superior to others available but they are by no means perfect. You must expect some issues. Unless specifically stated, the car is not of show standard but of nice "driver" condition. Please understand, show cars of this model cost hundreds of thousands of dollars to achieve and sell for prices commensurate, so the sale price of this car reflects its relative condition. You are buying "condition" accordingly. Buyers should not expect to receive concours quality or "perfect" cars at these prices. Please also understand, the very nature of these classic Rolls-Royces is such that it is not always possible to attend to every item, or perhaps I may have inadvertently overlooked items. Further, and very importantly, these cars are classic cars also because they are old. So this means a 45 year old car is predominantly comprised of 45 year old parts. And old parts will fail. All buyers must understand and expect that things can or will wear out, break and/or stop functioning without notice. This is even more likely with hand-built English cars of early technology when compared to the typical American car of the same vintage. Please note, fitted radio/stereo systems are usually subject to upgrade by purchasers so I do not ensure operation of these. Similarly, cruise control systems fitted to these classics were of an inferior design and I do not check or warrant the operation of these. Suspension and brakes on these cars are complex. We thoroughly check them and replace things that are identified faulty. But please understand, by example; if we change a brake line because it appears aged or faulty, we do NOT at the same time replace all other hoses because they are of similar age. This is considered "preventative maintenance". We do not do this unless specifically requested and is not included in the purchase price. Feel free to ask for this additional service. Further, a feature or function that is working perfectly one moment, may decide to play-up the next. After all, it is some 45 years old. This is the nature of any classic car and especially a Rolls-Royce which was very "complicated" for its era. For this reason it is necessary for the following condition:
With the exception of any special warranty offers outlined in the main text of this listing, the vehicle is being sold "as-is/where-is" with no warranty expressed, written or implied. Any descriptions or representations are made with reasonable judgment and all efforts are made to ensure fair assessment and accuracy but they are for descriptive and identification purposes only and are not to be construed as a warranty of any type. The seller shall not be responsible for errors in description, authenticity, genuineness, or defects herein and makes no warranty in connection therewith. If any aspect of the description contradicts what can be seen in the photos, then the photos shall prevail as the reference point. No allowance or set aside will be made on account of any incorrectness, unforeseen imperfection, defect or damage. It is the responsibility of the buyer to have satisfied himself as to the condition and value and to bid based upon that judgment solely. The seller shall and will make every reasonable effort to disclose any known defects at the buyer's request prior to the close of the auction. Seller assumes no responsibility for any repairs regardless of any written or oral statements about the vehicle. Being a classic car in excess of 10 years of age, in mostUSstates, the mileage may be recorded as "exempt". In this regard the seller makes no warranties as to the accuracy of the mileage indicated or shown and accepts no responsibility for any discrepancy with independent reports such as Carfax, AutoCheck, etc.In this regard the seller makes no warranties as to the accuracy of the mileage indicated or shown. I can hold the vehicle up to 30 days while you arrange shipping but you must immediately insure it. I will not bear any responsibility for any additional costs including storage, transportation, or repair after the close of the auction. Whereas I am happy to store the car in excess of 30 days from auction end, a cost of $35 per day shall apply beyond 30 days of auction end. Also, you must remember that this is a classic +/-45 year old vehicle, and while it is up to you, I do not recommend that you just "hop in and drive it across the country"until you have familiarised yourself with the car. At least, I have never done that. I have always professionally transported the cars in enclosed carriers from where I bought them to my home.
I am sorry if these terms seem harsh but there seem to be some very unrealistic buyers out there - fortunately, only few of these people exist but those that do can make life difficult, so it appears EVERYTHING needs to spelled out. Very simply put, this is an old car being offered for sale. It is not new and is subject to the perils of age. Further, Rolls-Royces are not without nuances, idiosyncrasies and they are renown for a host of design issues which can make them not inexpensive to maintain. This is well documented in many circles. You need to be a special and considerate type of purchaser to own a Rolls-Royce. Their down-side is part of the fun in owning them! As the old saying goes; "we love to hate them and hate to love them!" So, please respect the terms and conditions when you bid.
~~ **IMPORTANT NOTE: As a professional collector and experienced restorer, I have my own Rolls-Royce dedicated workshop with qualified craftsmen on hand; The Park-Ward Motor Museum. As a passionate collector of the marque I take great pride and pleasure in passing on any of these great cars to its next owner ("caretaker"). In so doing, once this Rolls-Royce is sold, I will put the car thru my workshop to ensure that it is mechanically sound and all major features and functions are operating as described even though the car is contractually being sold "as-is". Certain items such as final electrical tests and hydraulic pressure checks are usually left for this stage as these are considered "commissioning procedures". In this case, this will include the air conditioning system of this car. This and considerable other work will be performed after the sale and before delivery. This is all done at NO CHARGE. We call this; "Predelivery Commissioning". Who else selling a Rolls-Royce on eBay does this?! Depending on our work load, please allow approximately 14-21 business days for this procedure. We will keep you posted every step of the way. For more information on the Park-Ward Motor Museum and our skills, please eBay message me and I would be happy to show you some 100 Rolls-Royces restored to varying levels over the last few years ~~
VALUES: Rolls-Royce values vary wildly, entirely dependent on their condition. There are, of course, other aspects that add or subtract from their values – Long Wheel Base versus regular, the year which dictated certain technical changes, etc. The colour alone, for example can make a big difference. So for the benefit of new-comers to the marque please see the approximate guide to values based on a particular model below. Please remember, these are "plus-or-minus" figures:
Year: 1969-1972
Make: Rolls-Royce
Model: Silver Shadow LWB
Show car: $45,000+
Exceptional: $35-45,000
Excellent: $25-35,000
Good: $18-25,000
Average: $12-18,000
Fair: $6-12,000
Basket case: < $6,000
Hopefully this will provide a reference point for the Rolls-Royce being featured in this listing as it compares to the range of different condition examples.Please note, a very poor condition example that is tired and not maintained can easily demand some $30,000 in restoration to make it a "nice" example but remember, it will be no longer original. So don't be fooled by "cheap buys". For any specific questions about this unique example of a Rolls-Royce, please do not hesitate to contact me.
According to the London based investment research firm; Historic Automobile Group International, classic cars have appreciated on average, 13% per year since 1980, whilst overall stock values averaged an 11% gain over the same period. The following graph charts the value of collectible cars vs. the S&P500.