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The Vancouver East Cultural Centre, Vancouver, Feb. 24, 1999
(February 26, 1999)
"The next band could have played a show for thousands of dollars but they're playing this benefit instead," the evening's emcee said by way of introducing Sleater-Kinney. "Thank you for not moshing."
It was no joke. Moshers have been singled out and berated at previous Rock for Choice benefits in Vancouver. Tonight, hyperactive and aggressive males dominating the dancefloor were clearly unwelcome in a 400-capacity, sold-out theatre where the cause was pro-choice and sixteen-year-old girls craned their necks for a glimpse of their heroes.
Turns out, there was no need for worry. Concentrating on material off their brand-new album, The Hot Rock, Sleater-Kinney confounded any potential moshers with a batch of songs few audience members had heard. With a heightened emphasis on vocal interplay and twisty guitar lines over singalong choruses and power chords, The Hot Rock's songs discouraged even hyper-kinetic fans from reaching a comfortable bounce, never mind a state of flailing abandon.
The sawing riff of the opening song, the appropriately titled "Start Together," did set a spark in the eager fans, some of whom had lasted through five local bands before the arrival of the headliner. And the early unleashing of the equal-opportunity anthem "I Wanna Be Your Joey Ramone" sent much of the dance floor into paroxysms of pogoing. The uncharacteristically generic "God Is a Number" didn't go over quite so well, but the band's tried-and-true numbers -- the proud manifesto "Words and Guitar" and the punchy, Devo-meets-New Order of "One More Hour," both from Dig Me Out -- peaked the audience's satisfaction meter.
Still, the new songs offered plenty to get excited about. "Banned from the End of the World" proved frontwomen Corin Tucker and Carrie Brownstein are able to transfer the ambitious, intertwining melodies found on the new album live. It's no revelation to say one of the band's primary strengths is the complementary voices of the two -- Tucker's a late-night siren, Brownstein's a reassuring stroke -- but it's a fact highlighted on the new record. "Get Up," the first single, is a definite grower -- the unexpected spoken-word intro and sly chorus just take a while to sink in. And the title track is a stunner, a slinky, silky seduction unlike anything the four-year-old band has yet recorded.
The trio certainly seemed satisfied. Despite a couple of false starts, a few sloppy endings and some commercial-length pauses between songs, Tucker, Brownstein and drummer Janet Weiss were all smiles. Brownstein was the most theatrical of the bunch, toying with her guitar-hero status by holding her instrument upright, kicking her leg out at appropriate chord changes, andeven shaking her blue-jeaned butt at the audience while facing Weiss. The doll-faced Tucker good-humoredly addressed the moshing issue: "We know there's no moshing," she told the audience, "But we like to see you shake a little."
Meanwhile, behind the drums, Weiss was a one-woman Tai Bo demonstration, her bare arms tirelessly pounding the skins. Touring with her other band Quasi and Northwestern compatriot Elliott Smith in addition to her Sleater gig has honed Weiss into a drumming machine. Her fast, busy beats filled the few spaces left between Tucker and Brownstein's guitars and voices and grounded the more rambunctious melodies.
If The Hot Rock itself isn't enough, the trio seems intent on continuing to challenge itself. The rest of us -- moshers included -- can only hope to follow along.


text: I am an actor, musician, and composer hailing from Wisconsin. I grew up around the stage acting in countless productions for my parents theatre company Youth Theatre Company. Most fondly, through middle school, high school, and college, I was a part of a three-person juggling troupe called the Squirrel Dodgers. Not only did we perform at numerous private and public functions around the state of Wisconsin, but I did so with my two brothers. Upon graduation from the University of Wisconsin-Madison, I moved to Lenox, MA where I worked as an actor and teaching artist at Shakespeare & Company. After a short time in Chicago, I was accepted into the graduate acting program at Columbia University... and here I am! When NOT acting, I spend my time biking, discovering new music, learning the banjo, and (you know) looking for the meaning of life! Hope you enjoy my website!

subset: commoncrawl


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No Silver Bullets: Network Security Tries to Keep Pace With Evolving Threats
As cyber threats increase, providers continue to evolve their offerings
Cyberattack. Security breach. Compromised data. These words grab headlines and keep enterprise and government leaders up at night. In 2015 alone, hackers compromised the private data of millions of Americans held by several high-profile organizations including The Federal Office of Personal Management, Anthem and Experian. The average cost of such a breach for any company also increased to $3.8 million in 2015, up 23% from 2013 (Ponemon Institute, 2015). In the U.S., Apple's compliance with the FBI and Department of Justice's request to unlock an encrypted iPhone used by a terrorist in the San Bernardino, California attacks has sparked an ongoing public debate over government involvement in cybersecurity.
As migration to the cloud, investment in the internet of things (IoT) and the proliferation of mobile devices increase the attack surface available to hackers, Baird continues to see a secular tailwind for IT Security spend. This space continues to be the most resilient market in our coverage universe. We also anticipate further industry consolidation via M&A activity from larger players, which will encourage security offerings continue to evolve and meet industry demand.
Perimeter-Based Strategies Are No Longer Enough
While cloud and internet of things (IoT) solutions are beneficial to many enterprises, those trends only bolster the case for enterprise security spending. The risks of the cloud transition are evident in the rise of startups offering cloud access security brokers (CASB) and Security-as-a-Service platforms.
Additionally, the cyberattacks of the past decade have made clear that traditional perimeter-based security approaches are no longer sufficient. New and improved security tools such as microsegmentation, which provides enhanced security for East-West traffic within a data center, may limit the damage caused by today's complex cyber challenges. Companies such as VMware, Cisco, Fortinet and Palo Alto Networks have developed segmentation solutions, which they describe as a necessary resource for the modern enterprise network and data center.
Cloud Security: Protecting Data Beyond Corporate Walls
Cloud security is a rapidly growing domain of network security. A study released by Transparency Market Research in January 2016 projected that the cloud security market alone will grow to $11.8 billion by 2022. Perhaps the biggest concern for enterprises is the loss of visibility and control with respect to security policies. When data is migrated to the cloud, enterprises have limited visibility into or flexibility to adapt the cloud service provider's security controls. Many companies also worry that devices outside the corporate firewall can access enterprise cloud services and put private data at risk. Furthermore, cloud services may complicate the ability to comply with an increasing number of information security standards enforced by governments and industry mandates.
With mobile devices accessing cloud services beyond the enterprise perimeter, security must be consistent and automated throughout the network. Specific solutions include creating dynamic trust zones, offering reliable encryption services, and using single sign-on and context-based authorization for identity access management. CASBs now offer services that mediate traffic between cloud apps and users to provide enterprise security policies as cloud-based tools and data are accessed. CASB startups and cloud security solutions have proliferated in recent years and are set to keep growing as more enterprises move to the cloud. Notable examples include Skyhigh Networks, Zscaler and Illumio.
The Rise of Segmentation Solutions
Given the declining confidence in perimeter-based security approaches, many companies have developed a range of segmentation solutions that seek to address threats that may move laterally across a network. These approaches include microsegmentation, internal segmentation and network segmentation.
Microsegmentation was made possible by the rise of network virtualization and the software-defined data center. Despite advances in endpoint security and perimeter defenses, cyber threats continue to present a real danger to the enterprise and there are few lateral controls to prevent their spread across the network once inside the data center. Microsegmentation offers the ability to attach security to individual workloads, virtual machines (VMs), applications or virtual networks and automatically provision such policies. This is only possible in a virtualized environment where individual virtual workloads and networks can be isolated, independent of the physical infrastructure.
Like microsegmentation, internal segmentation focuses on advanced threat prevention particularly in terms of lateral movement across an internal network, rather than perimeter-based defenses. It may refer to the divvying up of assets across the entire enterprise network versus just the data center. Fortinet offers a related solution with its Internal Segmentation Firewall (ISFW). The ISFW, for example, can segment mobile devices, servers with sensitive intellectual property data, private clouds, data center, edge gateway and the internet from one another. Unlike its predecessors, the ISFW has high throughput capacity in order to keep up with the high speeds of internal networks and offer internal visibility and protection.
Similar to internal segmentation, network segmentation security platforms allow enterprises to create policies that classify all traffic by users, application and content. Through the creation of security zones and flexible policy deployment, Palo Alto Networks' Next Generation Firewall (NGFW) becomes a network segmentation gateway, offering integrated security functions to log and inspect all traffic in the network and data center.
The Road Ahead
Network Security remains a heavily fragmented market, and we continue to expect the larger players to facilitate market consolidation through M&A over the next few years. According to Gartner, the top five vendors (Cisco, Check Point, Palo Alto, Fortinet and Juniper) represent 69% of the total market for enterprise network security equipment and 71% of the total market for firewall equipment in particular.
Throughout 2015 and the start of 2016, many of the biggest Network Security vendors have announced or completed significant acquisitions. Several of the acquired companies offer cloud security solutions, signaling an effort by legacy vendors to keep up with the transition to the cloud and accompanying innovation. Examples include Microsoft's purchase of Adallom and Cisco's acquisition of Lancope. Large players have a compelling opportunity to consolidate market share. This M&A activity will spur growth in security spending and help drive new solutions for enterprises to keep up with ongoing and increasingly sophisticated cyber threats.
Learn more about Baird's comprehensive Technology & Services platform.
Robert W. Baird Limited and Baird Capital Partners Europe Limited are authorised and regulated in the United Kingdom by the Financial Conduct Authority.


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The Last of a Salty Breed
- Details
You are invited to a Seafaring Book Launch at Mangawhai Museum
A history of the British and New Zealand Merchant Navies - by Roy Vaughan will be launched at a special function at Mangawhai Museum at 1.30pm on Sunday 18th October 2015.
The book charts the rise and fall of the Merchant Navy from Viking times, to the introduction of large container ships in the 1970's.
The emphasis is not just on ships, but also tells the stories of the sailors, funny, tragic and heroic. It covers the huge change in world demographics that was brought about in the hey days of Empire when Merchant ships engaged in slavery and convict voyages to Australia and the United States from Britain. It recounts the transshipment of tens of thousands of Indians as indentured labourers to the West Indies, Mauritius and Fiji.
'The Last of a Salty Breed' includes a number of Mangawhai stories of international note and a re-examination of some of New Zealand's ship disasters including the loss of the Union Steam Ship Company's 'Kaitawa' on Pandora Bank in Cape Reinga.
The book will be on sale on the day of the book launch and also in the museum gift shop.


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Miranda Metcalf became the director of the Contemporary Print Department of Davidson Galleries—one of Seattle's oldest operating galleries—in 2012. Metcalf scored the position while she was technically still earning her MA at the University of Arizona—probably to the envy of everyone in her graduating class—and moved back to her native Seattle to take over the department.
Recently, she's begun taking research trips to Asia and exhibiting the highlights of what she sees. 2015 brought "Contemporary Prints from Thailand" and "Contemporary Japanese Printmakers", which included a trip to Japan. 2016 brings "Contemporary Chinese Printmakers" (March 3-April 2) and an upcoming Australia-themed exhibit in April.
I joined Metcalf at Davidson last week, where she toured me around "Contemporary Chinese Printmakers" in her black harem-pants jumpsuit. (What proper curator doesn't own a cuffed parachute jumpsuit?) We talked about the freedom of gallery curation, Chinese sexism versus American, and how to jump the Great Firewall of China.
Miranda K. Metcalf (on the right) and gallery intern Xiqian Li at the exhibition opening.
Your academic background is in 16th century European art. But, now you're jet-setting off to Asia to haul back work from the best printmakers working today. What's driving you?
I've always been interested in curating through immersive travel. There's a kind of mind expansion that can happen when you're totally engaged in seeking out a country's contemporary and historical context through its art. Doing a series of international—particularly Asian—exhibits has been on my mind since I took this position.
I have a personal interest in China, not just in its art and culture, but about the Western perspective of it. It's a huge world power that we tend to feel very cut-off from. And I get the sense that there is an almost willful ignorance surrounding China amongst Americans: we seem to reduce Chinese society and culture to stereotypes in a way that we wouldn't dare with, say, Hmong culture or Italian, or Inuit.
In the sense that making wide or uninformed generalizations wouldn't be PC about those cultures, but it's accepted about China?
Absolutely. We often hear, "Oh, France! I love France, it's so beautiful, such accents, such history, wonderful art." And then, from the same people: "Oh, China – that's where plastic comes from." When really it's so much more complex, more nuanced than that. Our Cold War media messaging has definitely carried over into the present. While some of those messages aren't wrong, they encourage reductivism, and discourage us from investigating. But, art is a powerful vehicle for cultural exchange, for breaking down assumptions.
"...Maybe they're looking at us and thinking, "how can American art have any meaning when it's all about themselves? When it's not grounded in tradition?"
You had to get old-school when curating this exhibition, since China is basically on a separate internet from the rest of the world. What was your methodology for finding these artists?
The Great Firewall of China was a huge hurdle. With past international exhibitions I could research a country's contemporary printers online. Even if artists didn't have personal websites there were always professional organizations, academic institutions, and other galleries I could rely on to get an electronic preview of the work. China is different. There's no Facebook, no YouTube, no Google. And that's a problem both ways: artists couldn't look up my gallery to confirm I wasn't a scammer!
Most of the communicating I did was through our amazing intern, Xiqian Li. She did hours of translation for me, and then we used an app called WeChat to communicate with our Chinese artists.
And then I just had to get on the ground. Art Partners—aka Barbara Pitts and Cathy Gill—is a group that facilitates artistic exchanges between Seattle and Wuhan. They connected me with several artists who are professors of printmaking at Hubei University. I learned about the Beijing print scene through two professors at the elite Central Academy of Fine Arts. And I traveled with print-maker Jenny Robinson, who is a bad-ass travel partner.
Did you have a list of artists with whom you wanted to meet or already knew you'd feature once you hit the ground in China?
Not really. That digital barrier was a blindfold. Most everything I did was on-the-fly. I had to look for opportunities as they presented themselves. I saw work in artist studios, galleries, and in private residencies. Anytime I saw a way to see more work I had to jump on it. And once word got around, especially in Wuhan where I gave a gallery talk, people came out of the woodwork to push catalogs into my hands.
What's going on in the Chinese printmaking scene? Are most of the artists you're featuring working as full-time professional artists? Teaching? Working in traditional modes or busting out on their own?
People look to China as the cradle of printmaking. 2,000 years ago there were small carved stamps (chops) used to create signatures, and we often reference those as the first printmaking in the world. Today, there are fine art academies and universities with incredible print studios. That means artists are working at an extremely high level of sophistication and quality. And size was a huge factor: printmaking is physically gigantic in China. The work that gets celebrated is big. I had to set a size limit.
Because three 12' long prints would eat up most of your exhibit space?
Partially. Our collectors are largely private collectors,and these were not home-sized objects. They were made for museums and government buildings. Originally, I had the top-level printers in China on my radar, but their sizes and their prices were just too big for us.
Additionally, those highest-level artists are entrenched in a Chinese value system, in terms of how artwork is considered "good". It's highly technically skilled, yes, but they also have strong references to the old masters who have come before. That's a barrier to my audience, who doesn't have the context.
Haoyu Xu \ Floating Aimlessly 10 \ 2014, lithograph 15 x 19 inches \ Image courtesy of Davidson Galleries
When I saw the title of the exhibit I admit that I expected a museological overview of the most important printmakers working today in China. Something holistic. But, a good number of these artists are still considered emerging artists, and not all that well-known in China. Do you worry that people will question your curatorial choices?
I didn't set out to get the "best-of" China, or create a perfect survey. That's nearly an impossible task. And what hubris to think I could! The title was supposed to read "Contemporary Chinese Printmakers" rather than "Contemporary Chinese Printmaking." (Our graphics folks didn't get the memo.) I don't want anyone to get the impression that I am claiming that this is somehow an inclusive overview of the work coming out of a diverse nation.
I guess my assumption was grounded in personal experience curating for a museum, where every perspective needs to be covered and every choice justified.
While education and information is a crucial part of what we do, as a gallery we're free of the expectation of creating canon. I was more concerned with each work being fantastic, standing alone, than matching a theme or trying to represent an entire scene. This exhibit is more, This is what I saw while I was in this country, what I thought was beautiful and good, and I hope you think so, too.
With the caveat that you're not a tourist bringing home schlock, but a curator with a trained eye.
As a curator, you know what you want. 95% of the time within half a second after you've seen it. But, having said that, I didn't make my decisions standing right there. I brought everything back, had a hard think, consulted with [gallery owner] Sam Davidson, and then made my invitations.
Which works did you know you had to have?
There were a few artists I made concrete promises with while I was there: Hui Zhang and Yan Wang were two. My brain absolutely lit up with their work.
Hui Zhang's work kicks off the show, and his work is a direct challenge of some stereotypes Westerners may carry about China, particularly Asian women. They're depictions of young girls screaming or singing their lungs out—or holding your eye with an absolutely rock-solid gaze. I couldn't stop staring back at them.
Part of the reason I responded to those was gaining insight into how hard it is for women in China. Jenny and I worked with a number of young, highly educated women who translated for us at the universities. These were women who'd just returned from studying at the Royal Academy in London—operating at an extremely high level. I'd ask them if they were looking for a position in one of the Chinese universities, and they'd respond: "oh, we've asked, but they say there are enough women working there."
Wow. That's...blunt.
It was mind boggling. I deal with my fair share of sexism as the young, female director of my department here in Seattle, but it's subtle. This was just a factual, up-front thing.
We worked with a translator named Mia while we were there, and I asked her whether she would translate for me at my gallery lecture. Two of the male trip coordinators caught wind of that, and absolutely chewed her out—in Chinese—right in front of me. Mia later explained what they said: she was stepping above her station, that the gallery was a professional academic institution and wouldn't want her there, and that surely they'd have a better translator on hand. Turns out? They didn't have one. Mia had to scramble to step in at the last minute, and did an amazing job.
Were you largely exempt from that kind of overt sexism, being professionals and guests?
I wasn't busted down because of my gender, though I was second-guessed a lot. The overt stuff was actually more ageist. Jenny Robinson is a print-maker in her late 50's, I'm a curator in my early 30's—and everyone seemed to think we were alternately too old and too young to be doing what we were there to do!
Too old to be an artist?
People told Jenny, "Oh, you're so strong!" when she carried her bags around. She's not decrepit! She operates a huge press in her studio!
At my gallery I'm often questioned, but usually people's reactions are: "You're the director? Oh, well, good on you!" In China, it was more: "I hear you're a young doctor of printmaking...are you sure?" Like it was factually wrong. By the end I was like, "Yep, that's me, doctor of printmaking, whaddya want?"
I'm glad you didn't revert to the womb while you were there , and that Jenny didn't wither away into nothing.
By the end, she dubbed herself 'One Foot in the Ground Robinson'.
A solid amount of the work in the exhibit doesn't overtly reference China at all, and is reflective of personal experience, or abstract. Others are culture and country-specific. Is the mix an intentional choice? Or are there connections that I'm missing?
I was intentionally not looking for work that "looks Chinese", but instead for what was compelling and spoke well of the scene. But, this was complicated by a couple of factors: that the visual culture of Chinese is very distinct, and that the government has tight hold on what art you see. Being an outsider and of course only spending 10 days there I have no way of knowing which is the chicken and which is the egg with this. There are certain themes which are approved and if an artist makes imagery which fits into these themes they are much more likely to get their work seen and therefore for me to see it.
Is there work in this show that would not be able to be exhibited in China? Too politically sensitive?
I don't think so. All of these artists operate within the academic sphere, which is cozy with the government.
I did try to discuss censorship in recent decades with a few the artists I met there. It was difficult for them to talk about, not only because it's sensitive politically and personally, but because many of the artists have lived and trained within this culture of institutionalized censorship. They've learned to grow around the borders placed before them, and have found a meaningful practice within them. The attitude was, "Yes of course it sucks, no I don't really want to talk about it. Talk about what I have done, not what I am kept from doing. That is a much more interesting conversation."
So, it's like asking an artist why they don't use the color flirth in their paintings. What's flirth? They've never seen it, so why should they miss it or worry about it? The paintings are still representations of their lives and emotions, and convey a message.
When artists develop their whole careers in that context, this is their practice and reality, and that's what we should focus on. We have this assumption that they are yearning against the system and dreaming of getting out, but maybe they're looking at us and thinking, "how can American art have any meaning when it's all about themselves? When it's not grounded in tradition?"
To wrap up, any long-term lessons you've carried away from the experience of curating this show?
Don't try to open an exhibit with Chinese artists a few weeks after Chinese New Year. You won't get the work until a day before the exhibit opens, and you'll get some gray hairs waiting for it.
Contemporary Chinese Printmakers runs through April 2nd. It features work by Feng Zheng,Fan Fang, Liao Yang, Guangxi Wen, Jiantan Wu, Xiang Li, Wei Zhang, Yan Wang, Yun Fei Ling, Lian Zhang, Yijie Lu, Hui Zhang, Beini Mu, Mengmeng Tan, Lan Bao, and Haoyu Xu.
— author Sarra Scherb--aka Brass Archer—is a writer, gallerist, curator and designer in Seattle. She has worked with four Seattle art galleries and five Washington museums on exhibits, research, writing and curation. She's written and designed for publications including The Stranger, The Toast, Stackedd Magazine, Weave Magazine and the Seattle Art Dealers Association. She can usually be found wearing suspenders, too much lipstick, and a squint.
Tracy Rector is a dynamo. I met her through SPoCS (Seattle People of Color Salon), when she invited the entire community to join her for the penultimate SuperFly launch dinner at the Suquamish Longhouse. Since then she and I have continued to celebrate, and celebrate each other. It's really easy to support Tracy's ambitions and achievements. Her work with Longhouse Media and the wider community has been a consistent force of inclusive engagement. I admire the joy I see her protecting in herself and within the community she is building around her.
Of course, what I really wanted was to indulge in a four-hour-long brunch of wanton consumption—lingering over questions made of chewed dirt and ephemera that spring from my mind organically, and in the moment. I wanted her to linger with me on a Holodeck without deadlines and agendas, to lick the loose threads of cultural and diasporic dialogue, to really needle word choices like indigenous, to pry open and unhook the scaly undersides of terminology, the claiming or renunciation, the significance of such an articulated artifact, revivified. I wanted the palpable connection—something like a steady gaze over dim sum—the first-hand account of her words (as solid as hands) reaching, choosing, pulling from the many, a few to huddle around her specific definition of home …
But this is reality folks. And in reality, that kind of indulgence has yet to occur because we are women of color who do too much. The way water is wet, this is the way women of color push themselves to the marrow beyond the bone. So, using only the technology and the scant time available to us, she graciously fed me a few morsels about her latest project: YOU ARE ON INDIGENOUS LAND which just closed at Core Gallery on Friday, January 29th.
Look through my eyes to see Tracy at the opening of YOU ARE ON INDIGENOUS LAND: She is relaxed, her stance is ajar like an open door—I, like many, swoop in for hugs, taking them quickly like handfuls of bread. Easily, her head tips back to laugh, recognize, or agree. She is generous, welcoming, and open. She is smiling and her smile seems earned.
[Natasha] Tell me about your first experience with curating a show like this.
[Tracy] Well, curating is not for the thin-skinned, or for folks who buckle under stress. It's hugely stressful, an enormous balancing act, a constant exercise in troubleshooting, an opportunity to practice relationship skills, a time to be decisive, and above all I found that I needed to be OK with frequently asking for help and just holding the faith that something would come together!
I loved it!
[Natasha] How did the idea for YOU ARE ON INDIGENOUS LAND come to fruition?
[Tracy] I firmly believe in working with as many women, women of color, and POC as possible while I mature as an artist. My foundation for any creative goal or community work is centered on uplifting others. Leveraging this space [Core Gallery] for a group show, and as an opportunity for many of these artists to have their first gallery exhibition, felt and feels vitally necessary given the still entrenched everyday inequities that we face.
In terms of tribes or Nations represented, we have a huge diversity ... Aztec, Tlingit, Duwamish, Haida, Creek, Muckleshoot, Tulalip, Native Hawaiian, Lakota, Cowichan and loads more. I truly love how inter-tribal and mixed-race most everyone is in the series.
[Natasha] How do you and Melissa know each other? Have you worked together before?
[Tracy] For years, Melissa [Ponder] has been volunteering for me and for Longhouse Media events as an event photographer and as a SuperFly mentor. When this portrait idea came to mind, I asked Mel if she would be "into" collaborating on it. She said yes!
[Natasha] Can you tell me the tribes/nations represented by the project to date?
[Tracy] We've taken about 130 photographs with a goal of reaching 365, but with an even more ambitious goal of 1001 Indigenous faces.
In terms of tribes or Nations represented we have a huge diversity to date, which I think is typical of Urban Native communities for many reasons. Aztec, Tlingit, Duwamish, Haida, Creek, Muckleshoot, Tulalip, Native Hawaiian, Lakota, Cowichan and loads more. I truly love how inter-tribal and mixed-race most everyone is in the series.
[Natasha] Who is your community? Who is your family? How do you decide this?
[Tracy] I truly feel like a mom, first and foremost. I adore my two boys and have sacrificed a lot for them to have many opportunities. I've also learned so much from them, too.
I am connected to my family of origin. I am also very involved in an intentionally crested family of loved ones and peers. I've been especially lucky to meet so many incredibly beautiful people through my work as Longhouse Media, and SuperFly, too. These people have certainly become a spiritual family.
[Natasha] How do you feel about how Seattle is changing?
[Tracy] Ugh...I'm very sad about the drastic changes happening in our beautiful city. In my opinion, money has governed many of the decisions that have shaped and will shape the aesthetics and culture of Seattle.
I really try to stop myself from complaining and try to practice letting go and welcome change. But to be honest, there's just a lot of fucked up shit happening right now, steered by outsiders who have no emotional connection to the city, the people, the land or the cultural heritage of our home.
A few bright spots of hope for me are: the amazingly passionate young people at Garfield High School, who have lead the way for much of the Black Lives Matter work; the team in the Office of Arts & Culture, the incredibly powerful change-makers and artists in our local Indigenous community, the fact that the International District is landmarked, the diverse music scene, and the foresight of Capitol Hill Housing has been pretty impressive.
[Natasha] A well-meaning white person recently mentioned Seattle's "Scandinavian roots" to me and I almost hissed at them. What does Seattle need to know about itself that it's in denial about?
[Tracy] There are some deep Scandinavian roots here, which characterized much of my reality and many of my experiences growing up in Seattle. I love that there is a stronghold of Scandinavian awareness in Ballard. Buttttttttt, I truly wish that we could protect our other heritage areas and pockets of diversity.
Perhaps it has to do with skin color, access, money and or resources? I'm really feeling bummed about the CD lately. In a perfect world, I want to love all these wealthy Millennials moving into the sweet bungalows of the Central District, and believe they won't behave as entitled outsiders; but I feel a huge disconnect to this group of new people. I feel angry. I feel displaced. And I feel upset that an African-American grandma who has lived in her home for 50 years can't afford the property taxes anymore, and is made to feel like an outsider in the very same neighborhood she grew up in—which was during an era of redlining and people like her couldn't venture out of the Central District because of a lack of safety and intense racism and hatred.
Also, do folks know that after the Civil War many Southerners moved up here to get away from the influence of the North? As I understand, the largest Klan rally ever—or was it white supremacist rally ever—took place in the area now known as Belltown. Do people know that Natives were outlawed from being in the city of Seattle? The early settlers were especially nasty towards the First People, and there were many deadly attacks in order to seize land. Governor Stevens even put a bounty out on the scalps of misbehaving or "bad Indians", and made many promises in treaties that he had no intention of honoring. Or that a smallpox epidemic furthered by the federal government killed about 75-90% of the local tribal people? We are all on stolen land. Land gained by American colonizers and dishonorable men by sacrificing the lives of the Indigenous people living here. In my opinion this city is the unseeded territory of the First Peoples. And so I just want everyone to beware that they ARE ON INDIGENOUS LAND, and know exactly what that history entails.
Tracy Rector expands on the concept behind YOU ARE ON INDIGENOUS LAND:
"Art is not separate from life for many Indigenous people. It's as essential as food and water in many ways. It keeps us grounded and connected to creator and spirit. My concept as part of this show was to create a space where the artists can practice their work as they would any day and for the public to learn about the vast diversity of contemporary talent in our communities. It's not all just leathers and feathers as stereotypes would lead the public to believe.
YOU ARE ON INDIGENOUS LAND is in response to the pervasive colonizer mentality of racist xenophobes who don't want to allow refugees into this country, or those extremists in Oregon who want "their land" back which was actually violently seized by the federal government from the Paiute. Native history is everyone's history here on the lands now called the United States of America. Our show is a proud reminder that we are still here on the land of our ancestors despite the American genocide that our relatives experienced.
YOU ARE ON INDIGENOUS LAND carves a space for Indigenous people to support one another. There are far to few Indigenous spaces if any inside the city limits and it's time that we change this fact. First Peoples history is everyone's history and all citizens would benefit from such spaces!"
in·dig·e·nize (Tracy Rector and Melissa Ponder)
Shaun Peterson
Cheyenne Randall
Joe 'wahalatsu?' Seymour
Jeffrey Veregge
— Author Natasha Marin is struggling to accept the danger of identifying as a single black mother living in America. She practices radical transparency as a form of digital performance art and serves tea to strangers all over the world at midnight. Follow her like a creeper on Twitter @mikokuro.
Please browse the gallery below by clicking on any image and scrolling through.
In January, G. Gibson Gallery presented Cable Griffith's second solo exhibition at the gallery, this time featuring paintings about UFO sightings. This beautiful body of work continues the video game aesthetic Griffith has been cultivating for the better part of a decade with a dark, rich palette. His scenery describes a broad range of geography, but the dominant use of greens, blues, browns, and blacks are strong enough to suggest a wet, dark, and cold northerly location—our Pacific Northwest location. When warm colors appear like red or orange, they contrast brightly but still interlock with the rest. The compositions aren't made of sharply defined lines, only shapes of color. His rigid pixelated-pop style creates a variance to the organic shapes, colors and underlying painterliness of his brushwork.
There is a general logic to most of the paintings: nature and object. They each present a different view of the same fictional world which feels, for the most part, complete and coherent. This logic creates rules governing what is, and how. It's rigorous. And as a result of this rigour, the "sightings," represented as they are in the style Griffith explores, are incorporated into the environments of his pieces in the same way that everything else represented is incorporated. There is no significant difference between the trees, the land, the water, the sky or the lights in the sky. In Griffith's world, they are all real and manifest in the same way, each of them natural, and treated as such.
There are two pieces in the show where this rule-based harmony doesn't feel quite so true. In Maury Island, the "sighting" appears to hover; alien and out of place in the environment. This amplifies our attention on the utopia in Griffith's other works, and particularly when grouped together in chorus with one another. In Two Lights in the Woods, there's a waterfall in the bottom left section. The brush is boldly revealed in a swathe of unruly water spray. What the brush stroke in Two Lights calls attention to is that behind the seamless fusion of the natural world, space, and the digital world that Cable presents, is Cable himself. That this surreal world is largely coherent is a result of it being represented coherently by the artist.
"Between comprehension and terror is the truth. Anything else is just a well-told story."
This series is an engagement with storytelling, both in the pieces that present complete stories, and in works like Maury Island and Two Lights that get their power from breaking the rules laid down for the others. These are paintings that all share the general subject matter—accounts and stories of reported sightings. And Griffith's painterly style itself is a sort of retelling. They are paintings based on digital representations of the perceived world of the digital designer; paintings of artifacts, both memorial and material, in a recreated world; based on a digital world; based on an imaginary world; based on the physical world. These are the stories of stories about stories in a style of a style.
The effect of all this—beautiful visions in and of a mythological world—called into question as they are throughout, is a sense of uneasy hope. By combining the aesthetics of digital world, video games, UFOs, and space; Griffith bridges several great human horizons. He envelopes them in natural environments, suggesting there is the chance of comprehension and maybe even mastery over these forces. They are our future. But even as the hope of understanding and mastery is presented, so are the reminders that this hope is yet another story of a story— it is something we are being told about.
When it comes to having reasons to hope there is indeed a next frontier, and that we will have access to it, Griffith's stories seem timely. The commercialization of space is steadily underway, and the recent news of SpaceX's successful return of a stage 1 rocket, typically lost in a launch, seems to assure future profitability. The digital world is more rich and complex than we have language to describe. And finally the truth we have all resigned ourselves to— that we will continue to pillage our planet until it is completely uninhabitable—necessitates the need for hope beyond Earth. And what is true of hope is that it is a story we tell ourselves to keep going more than it is a true representation of the world. For truth, it's best to look at the midpoint between the paintings in Sightings and Lovecraft's work. Between comprehension and terror is the truth. Anything else is just a well-told story. Cable is a wizard of a storyteller, and his world is worth visiting.
Today, Saturday, 16 January is the last day to see Sightings; but any remaining work from the show is available to view by appointment at G. Gibson Gallery.
— Author Ben Gannon is a Seattle-based artist and sometimes philosopher. He attended Whitman College, where he co-founded the arts periodical Quarterlife Magazine. His work has been shown at NEPO 5K Don't Run, Cupcake Royale, and 12th Ave Arts Center for their inaugural celebration Garden Variety, curated by Amanda Manitach.
All images courtesy of G. Gibson Gallery.
March 2016


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Family, children studio/location* session
The session takes place at my home studio Woodley Stockport Manchester or on location
Studio session fee £50, Location session are available please contact me for more details
(payable at the time of booking)
Please have a look at the Studio Policies Here
– 1-1,5 hour studio/ location* session (props, backgrounds included)
-Photographer's time and talent to capture images and prepare them for viewing
-Password protected online gallery with 25-45 images to choose from, available for one week
-Session fee does not include any digital images or products, please see collections bellow.
Digital collections:
Bronze collection £150
-5 DIGITAL images on a DVD with PRINT RELEASE
-Includes FIVE 6×4 GIFT PRINT of your gallery selection
Silver collection £220
-10 DIGITAL images on a DVD with PRINT RELEASE
-Includes TEN 6×4 GIFT PRINT of your gallery selection
Gold collection £290
-All digital images on a USB with print release
-Includes TEN 10×8 GIFT PRINT of your choice
-includes 2 X KEYRINGS
Luxury collection £599
-All digital images on a USB with print release
-Includes one 70cmx50cm TRADITIONAL CANVAS
-Includes one 8×6 DESK FRAME
-Includes TWENTY 6×4 GIFT PRINT of your choice
-Includes a 20 page 8×6 PHOTO BOOK
The session is for up to five people. Larger groups can be catered with prior arrangement.
The session will be informal and relaxed to put you and your children at ease.
*Location/Lifestyle session: As well as photographing in my studio, I offer relaxed lifestyle location family and children photography sessions across Manchester Lancashire and Cheshire.
Please contact me for more details.
Sylvia Csoma


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Wait, What? Ep. 105: Ringing Endorsements/
Brandon Graham's Multiple Warheads: Worth the Trip
Safe and dry on the left coast, we are willing and able to provide you with two-plus hours of distraction. At no point in the following podcast do we mention the extensive rat population of New York clawing their way to higher ground even if it means going through dark, electricity free apartments and the helpless population contained therein to do so. Not once!
So...join us after the jump and help us think happy thoughts, won't you?
Show notes? Why yes, we do have show notes, now that you mention it...
1:01-4:46: Greetings! Welcome to the hundred and fifth episode of the world's worst conspiracy. A brief bit of culinary discussion before we gear up to our four color topics of discussion. Although this is the our first-ever "book club" podcast where we sit down and finally discuss in full Sean Howe's remarkable Marvel Comics: The Untold Story, we also thought we should give you some reviews and news analysis, too.
4:46-31:19: First up: the gorgeousness of Brandon Graham's Multiple Warheads. Graeme and Jeff both read it, both dug it, and both dig into it for your entertainment, edification and (probably) exasperation. There's also a bit of discussion about the latest issue of Prophet for comparison/contrast.
31:19-31:40: Intermission Uno.
31:40-1:07:04: More comics! We're a mite divided on Batman, Inc. #4 and Flash #13. Also, under Graeme's microscope: Superman #13. Talon #1, Ghost #1, Captain America #19, The Hive by Charles Burns, and, in passing, Superman: Earth One, Vol. 2.
1:07:04-1:07:26: Intermission dos!
1:07:26-1:08:23: Incidentally, though this episode is debuting just before Halloween, we didn't record this in costume or anything...though Graeme does start us off with a very good HAL imitation. Too bad they haven't invented the "Sexy HAL 9000 costume" for Halloween...yet.
1:08:23-1:56:55: Sean Howe's Marvel Comics: The Untold Story. Graeme and Jeff praise it; we kvetch about it; we both whole-heartedly recommend it and have a variety of caveats to issue. It's the first episode of the Wait, What? Book Club and we invite you to give the book a read and us a listen.
1:56:55-2:02:23: Tech corner: Curious about what model of Kindle Graeme is using? Jeff is!
2:02:23-end: Closing comments: In case you wanted a section of the podcast that's all about what to get Jeff for his birthday, listen to this section first!
And...there you have it. Quality talk about (some quality comics and comics-related nonfiction). This week we're skipping recording so if you fell behind and want to catch up, you've got two weeks to do so.
And if you want to listen to this podcast I just finished notating the heck out of...well, you have probably seen it staring at you from the corner of the block of Haddonfield, iTunes Illinois.
But if not, I believe you will find out it lying just below the Doyle house window below...waiting for you now:
May everyone everywhere stay dry, healthy, and safe, and have a fine ol' All Hallow's and All Saint's!


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Attorney Services in Central and Western PA
Lawyers Serving Blair, Bedford, Cambria and Huntingdon County, PA
In today's complex legal environment, it is critical to locate the best attorney services for your legal needs in central and western Pennsylvania. The law firm of Jubelirer, Carothers, Krier, & Halpern provides all the legal services that you need from a traditional law firm but we go a step further to provide mediation services, professional business services, estate planning, and much more.
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Skilled Estate Planning Attorney in Tyrone, PA
Although our specialties and areas of expertise differ, our attorneys are able to work together as a team to help you accomplish your goals whether you are the plaintiff or defendant in a litigation case, require mediation for any type of issue, real estate assistance, estate planning, personal injury representation, or would like professional assistance with your workers' compensation or Social Security disability claim. With over 80 years of experience, our team has the knowledge and skill to ensure that you will receive the best possible results for your legal issue whether in Tyrone, Hollidaysburg, Duncansville, Altoona, or throughout our service area.
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We reduce legal-related business operating costs for our commercial clients via enhanced technology, a high level of accountability, and superior, efficient service. Our team reduces fixed costs and our attorneys are available on an as-needed basis. With no ongoing contractual obligations, we save our clients time and money and are able to prioritize and streamline legal services such as court filings and process procedures. Rest assured that we're always here for you. Jubelirer, Carothers, Krier, & Halpern are trusted lawyers and attorneys that have been serving residents and business owners in Hollidaysburg, PA and throughout the central and western Pennsylvania region for over eight decades.
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- Hollidaysburg, Pennsylvania
- Tyrone, Pennsylvania


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Cleaning services has been rising by leaps and bounds. This is just owing to the fact that there is a rising demand for such services amongst the persons. The demand is so great that many persons have opened up corporations offering such services to the persons. As a client, the difficulty arises here. Hiring the services of a cleaning service must be done carefully or else you would be facing difficulties in future. But how to choice the cleaning services is an excessive problem. Some simple issues must be checked beforehand you employ the service of any firm. this would ensure that you are hiring good corporations for the work.
One of the most significant features to check whereas employing the office cleaning is to check for the authorization of the corporation. This should be checked so as to recognize whether the corporation is duly certified and is following the government instructions and regulations in their work. This should be done beforehand you engage any corporation for the commercial cleaning. This will confirm that the service providers follow all the instructions in their work in addition to conform to the government directives.
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The following factor to see is the capability of the workforce and the experience heights of the staff. This should be taken into accord as this would help you to recognize the proficiency of the staff at the work. Experienced persons doing the work are a profit for you. You will be capable to get the greatest service from the workforce.
Cleaning Services from Friendly Cleaners
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Hi there!
My name is Loe and I'm a Product Designer. I work cross functionally to maintain and improve the user experience for Marketo's online Community, Education site, Help Article site, and Support site. I'm also instrumental in designing the federated search experience (Solr) and streamlining internal design and release processes.
Before going to Marketo, I attended General Assembly's User Experience Immersive program under the Girl Develop It Scholarship. I've been consulting as a UX Designer since 2012 and I have 6 years of experience in startups, e-commerce, and enterprise software.
When I'm not designing, I'm is practicing yoga, singing backup in the Lagos Roots Afrobeat Ensemble, and recording my new album.


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This is just a public notice that Moniker Privacy Services is currently hosting my old domain name www.goatlike.com. Somehow they've gotten access to an old version of my website and are using my work to sell banner ads?
I don't know who they are, but they're not me and they do NOT have my permission to use any of my work.
The domain is theirs now, but that's it.


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Welcome to a new year with Random Rugby! If you love rugby, here's where it's at. Random Rugby is a place where you can let loose, watch videos and talk about your favourite players. Each month we've got a Random Rugby T-shirt up for grabs.
Simply tell us what size tee you take and you'll be in the draw. The competition closes on the 30th of each month at 5pm until the comp finishes.
The winners' Random Rugby T-shirt will be sent out by courier – please read our website terms and conditions.
What size tee do you take?


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Double Disc set featuring 67 original recordings from the original British Rock 'n' Roll era (1956 to 1960).The first disc presents the rockinest recordings from Tommy Steele, whilst disc 2 gives you the 33 tracks from Tommy's brother Colin Hicks.The accompanying booklet includes detailed liner notes and photos.
Raucous Records is the longest establisted 1950s Rock 'n' Roll, Rockabilly and Psychobilly CD, DVD and vinyl specialist on the internet.A world of Rockabilly, Psychobilly, Surf, Swing and 1950s Rock 'n' Roll delivered to your door.
© Raucous Records 2019 All Rights Reserved


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Your editorial entitled "Another costly ACA symptom" rightly sheds light on the inability of the ACA to control the rise in health care costs.
However, I find your idea that Congress should explore proposals that would push consumers (patients) to consider costs before they make health care decisions to be impractical and often dangerous.
The march to raise deductibles, increase co-pays and severely restrict provider networks has been going on for more than a decade and has been accelerating. As every physician with even a little clinical experience knows, the ideal policy is to have no deductibles, co-pays or limits on appropriate providers for all basic/essential medical services. Then patients are much more likely to seek and maintain appropriate care.
Too often essential medication, treatments and physicians visits are skipped when they don't fit into the family budget. This often results in hospitalization or death. Several studies have shown that death due to the lack of adequate health insurance exceeds the death rates from motor vehicle accidents.
You also state that "the public should learn … the folly …of expecting massive federal health care interventions to keep medical costs down." Wrong!
Traditional Medicare, now 50 years old, has been doing so quite effectively. It is the only element in our current health care system with real teeth.
I wish the media would do a much better job of shedding light on the major problems we have in our country in how we organize and finance health care. For more than two decades, we have been plodding along on the theory that patients should have "skin in the game" and that we should rely on competition and the free enterprise system to control costs.
What has been the result? Our costs are nearly twice the average of the other advanced nations in the world. Our overhead is very excessive, i.e. too many chiefs and not enough Indians. We are the only advanced nation that fails to automatically cover everyone. Obesity is going up and our longevity has stagnated compared to other rich nations.
All of this is quite unnecessary. We can greatly reduce the rate of increase in health care costs in ways similar to our sister nations in the developed world. Our aging population problem is not as severe as many other nations. Furthermore health care is a booming area for job creation across the full salary range, especially for the middle class.
For details about the facts and suggested reforms, I recommend two respected organizations: the Organization for Co-operation and Economic Development (OECD.org) and the Physicians for a National Health Program (PNHP. org)
We are sorely in need of major reform.
Bridle Trail Drive
Johns Island


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Last night's 4/8 WWE RAW drew an average audience of 4.61 million viewers. The first hour drew 4.49 million viewers, the second hour drew 4.78 million viewers and the third hour drew 4.56 million viewers. It was the highest rated show on cable Monday night.
This is up from last week's show that drew 4.30 million viewers.
The final rating will be out shortly.
Source: TVbythenumbers.com


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FREE FROM CLUTTER ESTATE SALES -- Town & Country Japanese-Inspired Sale
Dates & Times
The sale you are looking at occurred in the past.
This very sweet sale with a Japanese flavor will be so much fun to browse, so you won't want to miss it and you'll just have to tell all your friends on Facebook to meet you there!!! Read between the lines and just know that we couldn't possibly take photos of every little thing, so expect the element of surprise and delight when you show up! See you there.:
- Unique furniture pieces -- living room, bedroom, dressers, waterbed, full bed, tables, vintage patio chairs, mesh patio chairs and more
- Novelty Items -- Exotic animal decorative items, porcelan bird collection, oodles of candles in every shape and size; children's rocking chair and bench, waterbed
- Small Appliances -- Microwave, Portable grill, toaster oven, Japanese tabletop burner, mini fridge/freezer, vacuum, huge television
- Housewares -- Pots, pans, decorative casserole dishes, salad spinner, pie plates, lots of glassware and more.
- Candle collection -- oodles of beautiful decoxrative candles
- Garden -- Lots of plants and interesting vases, tools, hose, wheel barrow, lawn mower, blower
- Sewing -- Two vintage machines, piles of fabrics, collection of threads.
- Clothes -- Ladies Petite pants, suits, skirts, tops, shorts, dresses
- Accessories -- Porcelain and glass bird collection plus other exotic animals.


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Celebrate "Dia De Los Muertos" all year long by honoring the departed with the "Ponte A Cocinar" – apron collection. This red loteria apron includes all the "Mariachi Los Muertos" characters displayed in a traditional loteria card design.
One size fits most.
About "Mariachi Los Muertos"
The Mariachi Los Muertos™ concept is an illustrated collection of "Dia De Los Muertos / Day of The Dead" characters. With over 50 characters in production, each "muerto" is loosely developed based on its song description and title. Each character is unique with their own name but all the characters together make up the virtual band: "Mariachi Los Muertos™"!
Calaca Records is the exclusive distributor of the "Mariachi Los Muertos" music collection: The most complete and sought after traditional Mariachi collection available today. Search for "Mariachi Los Muertos" anywhere music is sold or streamed.
Featured Mariachi Release:


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Millennials Much More Willing to Job Hop Compared to Past GenerationsPosted to Finance November 08, 2016 by Connor D. Wolf
The majority of millennials, at 60 percent, are open to jumping to a new job if the opportunity arises, according to a poll out Tuesday.
Millennials view their work lives in vastly different ways than past generations. Six in 10 millennials are open to new job opportunities with only half planning to stay in the same job a year from now, according to a report by Gallup. Gallup warns the willingness to jump around could pose a problem for the labor market.
"60% of millennials say they are open to a different job opportunity," the report states. "This is 15 percentage points higher than the percentage of non-millennial workers. Millennials also report the greatest willingness to act on better opportunities, with 36% reporting they will look for a job with a different organization in the next 12 months if the job market improves, compared with 21% of non-millennials."
Gallup defines millennials as anyone born between 1980 and 1996. It notes that millennials currently make up 38 percent of the national workforce with a possibility that number could rise to 75 percent by 2025. Their large percentage of the workforce poses a problem with how willing they are to jump around.
"Often, millennials are characterized as entitled job-hoppers, but the reality is that 55% of this group is not engaged at work," the report notes. "Many millennials likely don't want to switch jobs, but their companies are not giving them compelling reasons to stay."
Gallup notes there is hope for companies that wish to retain their millennial workers. Millennials want a purpose more than just a paycheck and they want jobs that help with their personal development. They would also prefer having an ongoing conversation with their bosses about their performance as opposed to an annual review.
"When they see what appears to be a better opportunity, they have every incentive to take it," the report notes. "While millennials can come across as wanting more and more, the reality is that they just want a job that feels worthwhile — and they will keep looking until they find it."
The report stresses how profoundly different millennials are on a multitude of fronts. They don't just view their work lives differently, they also look at religion, news gathering and their social lives differently, too. Nevertheless, the difference can be compensated for with minor changes in how companies treat them.
Source: Millennials Much More Willing to Job Hop Compared to Past Generations – InsideSourcesNotice: This website is a repository for our posts that go out to the world, but is not used as out primary messaging medium. The absolute BEST way to reach us, and follow our posts, is on LinkedIn. We have a group there, entitled The Workforce Productivity and Compensation Institute, and you are welcome to visit and interact with us there. To visit the group, go to: https://www.linkedin.com/groups/8567153/