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Astonishing rampage in name of 'religion of peace'
"A little less than every five hours, somewhere around the world a Muslim is carrying out a fatal jihadist attack.
These are not the regular beatings and vandalism against Christians, Hindus and Buddhists but religion-oriented attacks in which someone dies at the hand of a member of the"religion of peace."
A website called "The Religion of Peace" has listed more than 20,000 such fatal attacks since Sept. 11, 2001.
As of today, the total was 20,022. The 20,000th came a few days ago when a Jewish woman was cut in pieces in Iran by religious radicals "intent on expanding a mosque."
Some 1,800 deadly Muslim terror attacks happen each year, amounting to about 150 a month and five a day.
The purpose of the website, according to operator Glen Roberts, a pseudonym, is to put the level of violence being inflicted by Muslims in perspective.
"I started watching [the Council on American-Islamic Relations] in the months after 9/11," said Roberts, "and I was astonished by the self-absorption. Each day people are maimed and killed explicitly in the name of Islam while this organization complains about headscarves and hurt feelings.
"I thought," he said, "that maybe if I started documenting the violence, it would inspire a sense of moral perspective on their part.
"I was wrong, of course."
He said he monitors acts of Muslim violence from a range of news sources that are reliable, when "it can be reasonably inferred that the perpetrator was motivated to some degree by their Islamic faith."
"I do not post anything that I believe to be false," he said. " … This is not to say that mistakes haven't been made, but they are unintentional and relatively rare."
Fatal attacks that are reported to him only are posted when they can be verified with a reference to a news sources that he would consider reliable.
He said while he's not been able to convince Muslims that their faith is violent, he hopes others take notice.
"Critics seem to assume that I'm trying to convince others that they are in mortal danger or that Muslims are bad people because they are Muslim. This is not true, of course," he told WND.
"The evidence presented by TheReligionofPeace.com is meant to drive home the message that Islam is not like other religion," he said. "It is openly supremacist and more vulnerable to violent interpretations. When one religion inspires over 1,500 faith-motivated acts of violence each year while other religions contribute practically none, then it should be obvious that there are unique problems – and it should be OK to say so."
He wrote that Islam continues to be "an open threat" to Western liberal values, including freedom of conscience.
"There is already pressure against free speech rights, particularly in Europe. We should be highly concerned about the logical path of the current trend regardless of whether or not the full consequences of Muslim immigration and deference to the increasing volume of Muslim demand will be experienced in our lifetime," he said.
"Judging by the one-way flow of immigration, even Muslims find Islamic countries less livable. What sense does it make to continue importing and catering to an ideology that doesn't work elsewhere – particularly when Islamic immigrants as a group are the most notoriously resistant to integration and acceptance of Western values?"
He said Muslims in the West who say that Islam is a religion of peace are generally sincere.
"They want to believe that their religion is superior, which wouldn't be the case if it brought violence instead of peace," he said. "Therefore, they convince themselves and others that Islam is really just the Judeo-Christian value system an Arabic vocabulary."
He said the "far less pleasant reality is that those who want to believe in 'peaceful Islam' have a lot more of Islam to ignore than do the jihadis."
Roberts wrote: "On a week in which two suicide bombers slaughtered over 54 Christian and Druze and Sunni extremists massacred nearly 200 Shiites in Iraq, TROP recorded our 20,000th Islamic terror attack since 9/11. It happened to be the stabbing and dismemberment of a Jewish woman in her Iranian home by religious radicals intent on expanding a mosque."
A UPI report explained the Jewish woman was stabbed to death and her family blamed her death on a religious motivation.
The victim, identified in the report as just Tuba N., was attacked allegedly by her Muslim neighbors after they had been trying to drive her family from their home and confiscate the property.
"Thugs broke into her home, tied up her two sisters who were living with her, and repeatedly stabbed her to death," said the report.
A list of headlines on the site was equally thought-provoking. The site listed a musician in Mali who was ordered into silence on the threat of having her tongue cut out, a teen in India who was found with chains around his hands and feet who claimed he had been chained after trying to leave a Muslim madrassa.
Then there was the Australian stabbed for "insulting the prophet," advocacy for child marriages, the massacre of 10 Christians, a 15-year-old killed for dating a boy, a tailor now dead for making "inappropriate" women's clothes and a gang-rape and murder.
The site explains the Quran has at least 109 verses that "call Muslims to war with nonbelievers for the sake of Islamic rule."
"Some are quite graphic, with commands to chop off heads and fingers and kill infidels wherever they may be hiding."
The site continues: "Unlike nearly all of the Old Testament verses of violence, the verses of violence in the Quran are mostly open-ended, meaning that they are not restrained by the historical context of the surrounding text. They are part of the eternal, unchanging word of Allah, and just as relevant or subjective as anything else in the Quran."
One verse, for example, states, "Those who believe fight in the cause of Allah."
The site says there are 10 reasons Islam is not a "religion of peace." One is the thousands of terror acts committed in the name of Islam, while acts committed in the names of other religions have been minimal. More people are killed by Muslim terrorists each year than in all 350 years of the Spanish Inquisition. The daily Muslim terror toll is more than the Ku Klux Klan killed in 50 years.
Muhammad, meanwhile, "had people killed for insulting him or for criticizing his religion," the site explains.
"Muhammad inspired his men to war with the basest of motives, using captured loot, sex and a gluttonous paradise as incentives. He beheaded captives, enslaved children and raped women captured in battle.
"Muslims continued their jihad against other religions for 1400 years, checked only by the ability of non-Muslims to defend themselves. To this day, not a week goes by that Islamic fundamentalists do not attempt to kill Christians, Jews, Hindus and Buddhists explicitly in the name of Allah," the site explains.
"Islam spreads like a virus. It radiates from Muslim countries that are too diseased to support it and into healthy systems that are that way because they have had the luxury of developing apart from Islam. Once in the host system, the Islam virus uses the existing machinery to make replicas of itself. Over time, the host makes unilateral concessions to the religion, feeding and appeasing it in the vain hope that this supremacist ideology can be tamed," the site warns.
"In a matter of time, the entire system groans to an agonizing death and assumes the condition of the diseased nations from which Muslims originally fled."
WND previously reported Roberts received an email threatening: "We will kill you. Like this," referring to an attached photograph of a man who had been beheaded, his body resting chest down on grass and his lifeless head placed in the middle of his back. Another photograph showed a bloody knife.
The website notes attacks have been documented in the U.S., Iraq, India, Sudan, Algeria, Afghanistan, Pakistan, Israel, Russia, the Philippines, Indonesia, Nigeria, England, Thailand, Spain, Egypt, Bangladesh, Saudi Arabia, Denmark, Germany, Canada and more than 60 other nations
In one recent week, Nov. 24-30, there were 53 jihad attacks resulting in 272 dead bodies and 743 with injuries." -- Bob Unruh


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For my August GQ page I talk about the particular to Manhattan look of guys running out of the office on "early Friday's" in rigs that are somewhere between Manhattan and the Hamptons a.k.a Manhattan Beach.
Tuesday, July 24, 2007
UPDATE Congrats to Michael Bastian -New Designer for Bill Blass
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46 comments
looks like he can't leave the city fast enough!!
What a great look! I love the flat-front nantucket red shorts, l/s shirt, and brown oxfords worn without socks. I used to see this look quite often, especially on the East Coast, though never with brown oxfords. Usually with boat shoes or loafers.
how funny is this…well said.
and great photo!
you mean mantucket
Looks like more "Ed Norton on the way to Fight Club" to me.
And this is where shorts should fall on a gentleman. Thank you, Ed.
Now, that's nice!
Do you mean the neighborhood in Brooklyn, Manhattan Beach?
The clothes are ok for summer.I also like the big green bag-but the shoes don´t fit the combo. This kind of shoes definitely need socks.He could have chosen different type of shoes altogether.
This is a good look. I like to dress this way…although I'd probably be wearing Reef's, boat shoes, or sneakers. Fabrizio should take some style pointers from this guy – it's all about subtlety.
So cuute! adore!
Occasionally, one is fortunate enough to see why a clothing cliche became a cliche. This look is not mine, or at least it has not been in more than 40 years, but it is done so well by this gentleman that I want to exclaim "Eureka" all over again.
He looks totally hot. If I saw him on the street I'd give him the once over. And I agree; well said.
Wow – he looks gorgeous! I adore the pink bermuda shorts plus his relaxed attitude.
Three things: a) Nice Shot; b) I like the fact that he's sporting a rigger's bag which can be purchased for twenty bucks at just about any army/navy;c)I especially like the fact that he's not wearing those absurd footies a lot of guys sporting the "no socks" look try to pass. You wouldn't catch one of the Fratelli Barbieri in those silly things.
I'd wear sneakers…then you can run faster. Run for a cab in NYC.
Cool shot though.
funny and so true! one can see variations of this look on men all over the city on friday afternoons during the summer. he looks swell in his brown oxfords, but he'll probably change into flip-flops or topsiders on the jitney…or helicopter…
I think this is a great hybrid of WASP culture and Hamptons style with a nod to the army. The blue oxford and faded coral shorts (which look like a pair of Nantucket Reds) are classic trad fare, but the glasses, laceups, dark brown leather belt accented with a gold buckle, and large watch and bag all add this heavy dose of masculinity that keeps the look grounded. What I most appreciate is the bag – it is great to see someone taking a risk (a good one at that) with their choice of carryall; too often canvas totes are suggested to be the only option. The large proportion just utters fashion without being frivolous. It is the Jay Gatsby of the 21st century.
The thing that's most interesting here is the shoes, which are dressier than not. This reflects a sense borrowed from the shorter-pants aesthetic that the feet must be anchored in some way not required when less ankle is apparent.
(I'd wager, also, that he ain't leaving for the Hamptons, which are, after all, rather hidebound sartorially.)
What's so bad about "footies," if they're worn with sneakers? I believe Noel Coward rocked them that way. And I hate to say it, but I really don't think people should be wearing dress shoes with shorts and no socks. The mixture of formality and informality really doesn't work for me.
Great shot, great look. This is the perfect summer outfit. Allthough I'd probably change into sneakers or topsiders when out of the city.
Isn't that Michael Bastian? I love him…and I love his designs. I wish more guys would dress like him….great innate style.
I really like this – what to me are "normal" clothes, but done really well. I love the bag.
No matter how long I live in the city, it's the preppy guys that will always catch my eye. I'm a sucker for Nantucket reds. YUMMY!!
That is one massive duffle. I like how "easy" his look is.
Ahh sexy indeed. However…this man has the tan, the legs, why not show a bit more stem??
I think taking the shorts just a few inches north would take this look from sexy to irresistably alluring!
I also love the colour combo.
Hot…take me away in that beautiful bag.
I just want to cry when I read the comments! I accept that your personal tastes differ from mine, but to CONSTANTLY complain about the lack of socks in dress shoes… Christ! It's the European way! You must accept this and move on.
i like this too. even for preppy, its not obnoxious with garish color and horizontal stripes. but the key is the tan. anything less than the tan he's sporting will look lame. white/pink ankles and pale knees…its going to bad with pink shorts.
unfortunately i've resorted to very casual chinos for this occasion. i'm jealous.
love it, and I definitely think this is a great type of short for men, too!
I love dress shoes like this with no socks and shorts. One of my personal favorites for the summer. I think he looks great – but why is he heading downtown (I used to live on that block of lower 5th)?
shorts shorter. shoes heavier. aviators not my style – something more wayfarerish instead.
I like hamptons look except the shoes
amen! the jcrewesque distressed nantucket shorts are a perfect easy short to pull off.
Give him a pair of mocassins, please! maybe he doesn't know this kind of shoes are perfect with shorts and legs like him.
As affected as this look could be, I do think that he does a good job of pulling it off. The same goes for the shoes. For what it's worth, they're bluchers rather than true oxfords (or balmorals), so that does technically bring the formality level down a bit.
I live next door to Manhattan Beach, CA, and this guy would fit right in … except for the shoes. We show a lot more toe out here in LA. :D
I love this one so much. I actually own this exact same bag and it is great- my girlfriend's father who is ex-military actually bought it for me at the store at a military base.
This look is great, but I agree with earlier comments is that the big watch, glasses, and webbed belt are a good compliment to the reds and the shirt.
This is the look I aspire to.
As a Midwesterner, I just assumed that all Easterners of a certain class dressed this way in summer. You mean they don't??
He looks terrific — casual, at ease, comfortable — nothing is "too too."
To me, his entire look is in very good taste.
Great outfit and bag is just right. Utilitarian enough to tone down the whole look so that it looks naturally pulled together, not assembled.
I used to see this kind of outfit growing up in CT; nice to have it back.
My 3 year-old son and I were looking at the blog pics and he asked if the picture was of me; I was hugely flattered. This guy looks great, and is definitely ready for Mantucket!
Love this!
What I love about this site is that I can return to my birthplace NYC without getting out of bed here in Michigan. In the city, you see people like this on Friday afternoon and know someone is gonna have a better weekend than you; anyway so many cues to his character, but mostly it's the shoes, the bag and the shorts.
love the look, the pose, everything!.. that bag is the cherry on the cake :)
i love the way he combined the blouse and the pants. but not with that bag. :(
Absluotely first rate and copper-bottomed, gentlemen!

subset: commoncrawl


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Great day walking from Birds Ferry Lodge - Karamea
Great day walking from Birds Ferry Lodge - Karamea. Guide and picnic lunch available at Birds Ferry Lodge
Karamea is a secluded haven, situated at the end of the road, at the Northern end of New Zealand's South Island's West Coast.
It is flanked by the bush covered mountains of the Kahurangi National Park on one hand and the Tasman Sea on the other. Karamea with its mild climate and beautiful surroundings has that relaxed "off the beaten track" feeling not often found nowadays.
Fill up with petrol and visit the DOC visitor centre.
The surrounding area has a wonderful array of natural features to please everybody whether you are a tramper, caver, botanist, geologist, hunter, fisherman or just looking for a quiet spot to spend a family holiday.
The Oparara Basin
Kahurangi National Park - the ultimate destination...
Rich unspoiled rainforest stretching across a broad valley floor, three magnificent arches sculpted by the Oparara River.
Bush-fringed streams stained the colour of billy tea from the tannic acids washing down through the soil, and an underground treasure hidden away in a highly complex cave system, combine to make this area one of immense national and international significance.
The Oparara River is the habitat of the whio or blue duck, which frequents the swift-flowing waters. The Department of Conservation has some 450 stoat traps in the Oparara as part of its blue duck protection scheme.
Access: From Karamea take the main road north towards the Kohaihai. Turn right at the Oparara Arches sign at McCallums Mill Road (approx 10 kms). Access into the Basin is via a gravel road, at times narrow and winding. The journey will take about 45 minutes.
Take care. The road is not recommended for large motor homes or buses.
Walks in the Oparara Basin:
Oparara Arch
Take the left-hand track before the Oparara Bridge for 15 -20 minutes upstream. This is an easy, well formed track for most of the way, with some steps. This follows the Oparara River to the larger of the Limestone Arches. You can enter the Arch and go through to the other side which may be easier to photograph. 45 minutes return
Moria Gate /Mirror Tarn Loop Track
A new easy access 3.6km loop track linking the 2 stunning attractions listed below - Moria Gate Arch and Mirror Tarn.- beginning and ending at the car park
Allow up to 2 hours to go down under the Arch, and then cross over the top of the Arch and continue on round the terrace and down past Mirror Tarn back to the carpark. Suitable for all ages. Well signposted at the beginning of the track. Allow 1 ½ to 2 hours
Moria Gate Arch
Take the track to the right at the beginning of the large car park This track takes you through some beautiful rain forest and moss covered trees, accessing the Arch through an open-ended cave. This is a very picturesque Arch stretching over the Oparara River, and well worth the effort.Allow 45 minutes return
Mirror Tarn
Driving up beyond the first Arch carpark you come to a small road to the right. This takes you to the Oparara River. You walk up past the river along an old logging track, branching slightly left to the Tarn. This is a very pretty lake, with wonderful reflections. 20 minutes return
Crazy Paving and Box Canyon Caves
Torches are necessary. Continue 2.5km on past the Arch car park to the Cave car park. A few minutes walk through the rainforest will take you to the first of the two caves, Crazy Paving Cave. It is so named due to the cave floor formation.
Look for the cave spiders Spelungula Cavernicola. and their egg sacs, also cave wetas, in this cave.(New Zealand's largest and only native cave spider). 30 minutes return
Continue on the main track up the steps to the Box Canyon Cave. Descend down steep stairs to the cave floor.
This cave is a large open cave, with several limestone passages off to the sides that you can explore. Look for fossils on the ceiling.
Please respect the delicate nature of these caves.
Start of the Heaphy Track
The Heaphy Track, located in Kahurangi National Park at the north-west corner of the South Island, is the longest of the DOC Great Walks. For 82 kilometres the track crosses the Park's range of landscapes and finishes at Collingwood.
Kohaihai Lookout
Kohaihai marks the end of the road. Here starts the Heaphy Track at the mouth of the Kohaihai River. It is a camping site, has good parking and public toilets. A great place for a picnic too. Start the track next to the shelter. Well before the swing bridge is a small sign on the right pointing to the zig zag track. It leads to a vantage point overlooking the Kohaihai River mouth, sea and forested hills. Originally part of an access route into the river flats to the East. Allow 1 hour return.
Nikau walk
Start the track next to the shelter and cross the swing bridge. The Nikau walk is clearly sign posted.
A wonderful short walk through an almost pure stand of Nikau palms, amongst them some majestic ratas and few other native species.
At a fork with no signs choose left for the short version or right for the longer one. For the longer walk allow 45 minutes return.
Scott's Beach
This is the first beach from the start of the Heaphy Track. To reach it you have to climb over a small saddle just past Nikau walk. Allow 1.5 hours return.


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Everyone needs to take a break now and then, but it can be hard to calm a busy mind.
Music, such as on the world music albums "Miles Beyond" (Autumn Light Productions) and "Enchanted Wind" (Weishiu Music) by Suzanne Teng & Mystic Journey, can help set the mood. "Enchanted Wind" features tracks of deep flute meditations, lasting up to 9 minutes each.
"When I play them (on my flute), they put me into that state (of deep relaxation) more and more," Teng said. "When I listen to them, they get slower and slower and just much more allowing that place to breathe. So much of our relaxation process is breathing."
Flute player Teng and her band, Mystic Journey — percussionist Gilbert Levy, Barry Newton on upright bass and Dann M. Torres on oud and guitar — will perform in San Pedro on Saturday and Malibu on Sunday.
Teng has performed on hundreds of recordings, as well as for film and television including CBS' "Survivor." Her composition "Fertile Crescent" was featured on NBC's "America's Got Talent." Teng also teaches flute, percussion and world music and co-facilitates retreats, guiding music circles around the world.
The Santa Fe, N.M., resident grew up in Berkeley, playing piano at age 7 and violin in fourth grade. Tired of competing with her sisters, she changed instruments to flute in sixth grade. Teng felt the calling for a music career, but instead obtained a degree in managerial economics from UC Davis.
"I really learned what I didn't want to do with a passion and thus I learned what was really important to me," Teng said.
What was important was her flute. She went on to get a master's degree in music from Boston University's School of the Arts and a Ph.D. in music and healing from UCLA's Department of Ethnomusicology. While at UCLA, Teng discovered trance ceremonies.
"I realized that in my academic world I wasn't scientific enough, I wasn't able to prove my beliefs and my thoughts because so much of what became apparent to me was coming from the spiritual dimension," Teng said.
This led to her interest and speciality in healing through music. Playing flute meditations puts Teng into an altered state and she hopes her listeners join her and receive healing.
"I don't call myself a healer, but I'm inviting that space that invites the healing process. I'm a believer in the mind-body connection," she said. "I think we have a great ability to invite healing into our own bodies."
Teng's work in this direction has also been validated by the medical community. The pharmaceutical company Gentech created a CD for patients using Herceptin, a breast cancer infusion drug, and included some of Teng's music.
"We were really honored and pleased because here was this huge pharmaceutical company acknowledging that when their patients are in a certain state then they're more receptive to the healing process of drugs," Teng said.
Azusa flute player Fred McCall, a member of Windsong Canyon, Ad Hoc Consort and SabreSong, took several lessons with Teng in 2009 after the death of his first wife.
"I was still hurting and she helped me with that," McCall said.
At the time, Teng was living in Topanga Canyon. McCall remembers entering her studio, which boasted more than 200 flutes and percussion instruments on its walls. He and Teng sat on chairs in the center of the space, playing notes on their flutes back and forth.
"(She taught me) to listen to the music and let your heart take the melody," McCall said. "I had never been in that situation playing before. … She is a true professional. She reaches out not only with her talent and music, she reaches out to people with her personality. She wants them to feel joy."
Teng writes her material with Levy, who is also her husband. They approach each piece differently, sometimes creating a song in the studio, other times working on a melody over a long period of time, but the roots are always steeped in improvisation.
"A lot of my ideas just come from the instruments. I'll have a new instrument in my hands or something I'm exploring and seeing where the instrument wants to take me, pretty much guides me," Teng said.
While Mystic Journey's albums can be full of soft, soothing music, the band's live performance vary widely in tempo and dynamics.
"That's why we call it the Mystic Journey because it's not just the calm and the quiet, which recordings can be. I don't like albums to go way around the place because I like a certain mood, but in our shows it's always a path and it's different," Teng said.
The band uses a different set list every show, ranging from very high-energy music to calm, relaxing tones.
In November, Teng and Mystic Journey plan to begin recording music for a new album.


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Code Happy Low Rise Certainty Straight Leg Drawstring Pant - Black
A Contemporary fit, low rise, straight leg, adjustable drawstring pant with an elastic waist features belt loops, front slash pockets, cargo pockets, a back yoke and one back patch pocket. Also featured is an instrument loop on the right pocket with a non-functional logo snap and bungee I.D. loop. Front leg seams, an adjustable bungee inside the leg opening and double needle topstitching complete this pant. Inseam: 31".
Easy returns on all non-embroidered items!
Returns Policy
You may return most new, unopened items within 30 days of delivery for a full refund. We'll also pay the return shipping costs if the return is a result of our error (you received an incorrect or defective item, etc.).
You should expect to receive your refund within four weeks of giving your package to the return shipper, however, in many cases you will receive a refund more quickly. This time period includes the transit time for us to receive your return from the shipper (5 to 10 business days), the time it takes us to process your return once we receive it (3 to 5 business days), and the time it takes your bank to process our refund request (5 to 10 business days).
If you need to return an item, simply login to your account, view the order using the 'Complete Orders' link under the My Account menu and click the Return Item(s) button. We'll notify you via e-mail of your refund once we've received and processed the returned item.
We can ship to virtually any address in the world. Note that there are restrictions on some products, and some products cannot be shipped to international destinations.
When you place an order, we will estimate shipping and delivery dates for you based on the availability of your items and the shipping options you choose. Depending on the shipping provider you choose, shipping date estimates may appear on the shipping quotes page.
Please also note that the shipping rates for many items we sell are weight-based. The weight of any such item can be found on its detail page. To reflect the policies of the shipping companies we use, all weights will be rounded up to the next full pound.


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500 Pearl St 601 Market St Attorney Website www.usdoj.gov/usao Bankruptcy Court Clerk Bankruptcy Website Byron White Chief Judge Chief U.S. Probation Circuit Cont Counties in District Court Administration Court of Appeals COURT SYSTEM Chief Court Website Courthouse 1 Courthouse criminal Dearborn St Directory Dirksen Bldg Dist District Court Judges Division Earle Cabell Federal Public Defender felony Holding Court Independence Mall Info Sys James judges Jurisdiction Judiciary Homepage Jury trials juvenile Main St Main State Capitol misdemeanors P.O. Box Places of Holding Potter Stewart Robert Senior Judges senior status small claims Suite SYSTEM Chief Justice Theodore Levin Thomas Eagleton U.S. Attorney Website U.S. Bankruptcy Court U.S. Bankruptcy Judges U.S. Court U.S. Courthouse U.S. Courthouse 300 U.S. Courthouse 515 U.S. CtHse U.S. Magistrate Judges U.S. Post Office U.S. Probation Officer VCIS Vital Records Voice Case Info Website www.usdoj.gov/usao U.S. William www.naag.org Secretary www.usdoj.gov/usao U.S. Magistrate www.vitalrec.com


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It's time for another round of Business Insider Advertising's weekly caption contest. This week's image is an ad for Panasonic that is of Michael Bay proportions.
In case you're new, here's the how it works: Every Sunday we post an image from a ridiculous print ad. Your job is to come up with a witty caption to accompany the shot. Also: as much as we love responses in the comments, they don't count unless they're emailed in.
Entries do not have to have anything to do with advertising — this is our twist on the New Yorker's cartoon contest.
Email your submissions to Lstampler @ businessinsider.com by MIDNIGHT Thursday May 24 (along with what you do and where you're from)for a chance to win the honor of being named B.I.'s wittiest reader and a $50 gift certificate to Amazon.com. The winner wil lbe selected in a blind vote and announced on Friday.
Advertisers: If you would like to sponsor the caption contest please email firstname.lastname@example.com.


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NY artist Joy Garnett makes paintings based on found photographs gathered from the mass media. [more info]. In January 2004 she had a solo exhibition of a series of paintings called "Riot," which featured the figure in extreme emotional states. One of the paintings, Molotov, was based on an uncredited image found on the web that turned out to be a fragment of a 1979 photograph by Susan Meiselas.
When Meiselas and her lawyer learned of the painting, they sent a cease-and-desist letter to Garnett accusing her of "pirating" the photo. They demanded she remove the image of Molotov from her website, and that she sign a retroactive licensing agreement [PDF] that would sign over all rights to the painting to Meiselas, and to credit Meiselas on all subsequent reproductions of Molotov. Garnett offered a compromise: she agreed to give Meiselas a credit line on her website, but refused to sign a "derivative work" agreement, claiming that her painting was a transformative fair use of the Meiselas photo. Meiselas' attorney, Barbara Hoffman, turned down the offer and instead threatened Garnett with an injunction, demanding that Garnett comply with all of the demands as well as pay $2,000 in retroactive licensing fees.
Garnett pulled the image of Molotov from her website, lest it result in the entire site being pulled down (cf: a "Take-Down order"). She never signed over the rights to her work, but she was not pursued once the image of Molotov was removed from her site.
Before Garnett removed the image from her site, fellow artists who were following her story on Rhizome.org, (a not-for-profit organization with a website and list serve dedicated to new media art), grabbed the jpeg in solidarity. First they copied the html and created mirror pages on their own websites; then they started making anti-copyright, or "copyfight" agitprop based on the painting, resulting in many derivative works including collages, animations, etc. Several media and copyright reform blogs ran the story, and soon it spread globally, along with the images. The story was translated into Italian, Czech, Chinese, Spanish, French, and Catalan.
Two years later, (April 2006), Garnett and
Meiselas were invited to speak together at the COMEDIES
OF FAIR U$E symposium
at the New York Institute for the Humanities, organized by Lawrence Weschler and hosted by
Their panel presentations were then re-edited and published in Harper's, February '07. (See below).
Harper's Magazine, February 2007
Portfolio (pp.53-58):
Joy Garnett and Susan Meiselas: ON THE RIGHTS OF MOLOTOV MAN: Appropriation and the art of context [PDF]
Presented with Jonathan Lethem's The Ecstasy of Influence: a plagiarism.
Harper's Magazine, April 2007
Letters: "Credit Where Credit's Due," Lawrence Lessig + Jonathan Lethem; "All Riots Reserved" [PDF]; "All Riots Reserved" (html)
Harper's Magazine / April 2007
from LETTERS
I am a great fan of Susan Meiselas, a contributor with Joy Garnett to February's portfolio, "On the Rights of Molotov Man," but she, like many photojournalists, denies a crucial element of her work, to its detriment: namely, the photograph as a visual communicator. An image speaks to its viewer in a different way than a word to its reader. The "psychological gesture," a term coined by the director Michael Chekhov, is a physical pose that personifies the struggle or action of its character and conveys a feeling rather than a story. Pictures are not stories, and to attempt to keep them in the cage of storytelling is to deny their essence.
The very act of pressing the shutter of a camera is a decontextualization. It is a process of interpretation that Meiselas seems to dimiss in her own work, because (and with good reason) she maintains the importance of the events themselves. Moreover, her distinction between riot and revolution is itself interpretation. What is a riot if not part of a revolution? The use of "Molotov Man" as an archetype of struggle, an emotional emblem of the spirit of riot and revolution, is far from "diminishment of his act of defiance." It is rather a celebration of it and a sound declaration of the power of the image.
-- Henry
More Commentary on the Harper's piece
Alan Wexelblat, Copyfight
edward_winklman blogspot,
David Bollier, OnTheCommons.org, 1/25/07: Authorship as a Collective Endeavor
Christopher Reiger, The
Hungry Hyaena blog,
[A thorough and thoughtful recap of the Harper's piece]
COMEDIES of FAIR U$E:
A Search for Comity in the Intellectual Property Wars, April 28-30, 2006
Presented by:
The New York Institute for the Humanities at NYU in association with the NYC Humanities Council
Read final program [PDF]
Watch the COMEDIES videos and download mp3s of the talks.
Read transcripts and commentary here.
Download and use/distribute Joywar lecture images here.
Articles and Posts referencing the conference
Mike Madison, madisonian.net, The Drama of Fair Use,
Laura Quilter, derivative works blog, comedies & tragedies of fair use,
Articles and Presentations referencing Joywar
Richard Rinehart, Canadian Heritage Information Network (CHIN):
"Nailing Down Bits: Digital Art & Intellectual Property."
Date Published: 2006-09-15:
In any discussion of the cultural heritage community's response to intellectual property,
one should mention art that explicitly addresses copyright. Of course sometimes art works
become unintentionally well-known for copyright issues that arise around them. These
artworks can become exemplary of a specific intellectual property issue, or can even
become cultural touchstones and rallying points for copyright activism. One work in the
former category is the aforementioned sculpture by Jeff Koons, String of Puppies. A work
in the latter category is Molotov, a painting by artist Joy Garnett. Joy Garnett's paintings
incorporate mass media imagery in the form of painted versions of photo-journalistic images
that she finds online and elsewhere. Her subject is not just the subject of the photo, but
the photo itself as a cultural artifact. In one such painting, Molotov, she cropped and painted
an image of a young man about to toss a soda bottle Molotov bomb. She exhibited this painting
and was sued [sic]* by the photojournalist who had produced the original photograph. This
might have remained a routine instance of alleged copyright infringement but for what happened
next. The art community rallied to Garnett and many artists began appropriating the same image
for works of their own, sometimes changing the contents of the bottle or other details, in a
cultural movement that became known as Joywar!
*The threat of an injunction was dropped after Garnett removed the jpeg of Molotov from her website.
David Bollier, On the Commons.org, "Clearance Culture vs. Creative Freedom,"
Marjorie Heins, LAWDRAGON, "Quiet Riot - Will Fair Use Survive?"
Creativity is under assault. Copyright holders from Mattel to a famed photographer are threatening those who create
and critique, undermining technology's ability to propel message and stoke debate.
Marjorie Heins and Tricia Beckles, Brennan Center for Justice at NYU School of Law, Free Expression Policy Project.
on Free Culture & the Digital Library,
Will Fair Use Survive? Free Expression in the Age of Copyright Control (html); Download Final Report (PDF)
David Green, Towards Fair Use Best Practices for Individual Creators: "Pirates, Thieves & Innocents:
Perceptions of Copyright Infringement," Copyright Symposium, Center for Intellectual Property,
University of
March 8, 2004: "Joywar" is officially kicked off by Rhizome's Net.Art News publication and RSS
dissemination of the blog post: Joywar: The Molotov Years (see below)
Joywar took place during March and April 2004. This page contains an incomplete archive accumulated
as the sit-in progressed. Many of the links may now be broken. However, stills and screen shots of many
Joywar works can be seen in streaming video as part of the lecture "Painting Mass Media + The Art of Fair
Use" that I gave at
http://www.columbia.edu/cu/arts/dmc/docs/lectureseries.html, or in the Thumbnail Archive. New
articles and links to presentations have since been added to this page.
Read an encapsulization of the story here.
Read about it in the context of fair use here.
November 2005
Joywar: The Molotov Years
Rhizome.org - Net.Art News, March 8, 2004
Recall Toywar, the battle between Zurich-based net collective etoy.com and
eToys, a once-profitable but eventually bankrupted toy vendor? Recap: in
1999, the retailer closed down etoy.com, arguing that eToys users who
accessed the art site would be offended by its content. In an act of
'electronic civil disobedience,' etoy supporters bombarded eToys.com,
overwhelmed its servers, and helped devalue its stock to $1/share. When
the dust settled, the commercial giant had lost five billion dollars worth
of equity in 81 days and etoy.com retained the rights to its name. Now:
Joywar. Artist Joy Garnett, whose paintings sample photojournalism, is
being sued by a photographer over 'Molotov,' a reworked, large-scale
painting based on an image from 1978. The case hinges on the question of
who owns media images, especially those that are supposedly documentarian:
after all, if an artist can lay original and exclusive claim to the
portrait of a revolutionary hurling a molotov cocktail, we might have
pause to wonder on the nature of that captured event. We might also notice
the anxiety released when an image is remade and given new meaning, new
circulation, and yes, new profit potential. While she awaits the outcome
of the suit, whose plaintiff is demanding several thousand dollars,
credit, and that she not exhibit or produce the work again, Garnett has
removed 'Molotov' from her website. Garnett's peers have initiated a
'Joywar,' and a flourishing campaign to sample, share and remix is
underway. It's impossible to list here all of the mirror sites and uses of
'Molotov' that have exploded in the last week or so, but it's clear that
many are in favor of the free dissemination and reuse of images and the
rights of artists like Garnett to sample. -- Christine Smallwood
Note: Rhizome.org is a nonprofit organization that was founded in 1996 to provide an online platform for
the global new media art community. Programs and services support the creation, presentation, discussion
and preservation of contemporary art that uses new technologies in significant ways. Core activities include
commissions, email discussions and publications, and a web site.
Though the organization is
based, the Rhizome.org community is geographically dispersed, and includes artists, curators, writers,
designers, programmers, students, educators and new media professionals.
[ref: http://rhizome.org/info/index.php ]
Some Dancers & Musicians – March 2004
The American artist Joy Garnett, whose paintings are derived from news images, is
faced with a legal action for thousands of dollars over this one. This has nothing to do
with the protection of livelihood and everything to do with the suppression of free
speech and free artistic practice.
Don't let the schoolyard bullies win!
Show your solidarity with Joy by grabbing this image and posting it on your website
or by making your own artwork derived from it,
this or this or this or this or this or this or this or this or this or this or this or this or
this or this or this or this or this or this or this or this or this or this or this
This list is by no means exhaustive!
When you've made your artwork or posted the image, don't forget to mail Joy with the URL
about Joy
mail Joy
main page
UPDATE (Jan 16, 2005): This solidarity page was itself remixed as part of The Getaway Experiment
commissioned by Turbulence. Have a look and keep clicking the central image for more:
Britlatov Cocktail
March 25, 2004
same text as above, recycled with new image :
back to top
Rhizome Raw
response posted by Matthew X.
Message 37 of 39 in thread
I don't think Warhol is the best parallel...you
should look into Leon Golub's practice. He too collected
thousands of images from the news media and reworked them on
his canvases...playing with scale and surface. I remember seeing
a video about him working in his studio. He had file cabinents full of
images torn from the pages of magazines and newspapers that he would
create with.
JOYWAR: The Distorted Molotov
An homage to Joy Garnett's Molotov
Culture Kitchen - March 05, 2004
Joy Garnett['s] Riot show are oil paintings of images sampled from newswires and other public news
media. Now she is not only being sued by the photojournalist whose picture was sample[d] in Molotov
but she is being asked to never show and never sell the artwork. This is obviously not a case of an
artist protecting his speech rights but of one artist using his copyrights as a way to censor another
artist. A sad case of Stockholm Syndrome if there ever was.
Check her work at First Pulse Projects and drop her a line or two at joyeria[at]walrus[dot]com.
Trackback for this post:
The following blogs make reference to this post :
» Storm in a Pepsi bottle de Light From
An Empty Fridge
Artist Joy Garnett seems to have got into a bit of legal trouble with a painting called Molotov,
part of... [More...]
Found in March 12, 2004 04:04 PM
» Britlatov
Cocktail de sasnaK
The American artist Joy Garnett, whose paintings are derived from news images, is faced with
a legal action for thousands of dollars over this one. This has nothing to do with the protection
of livelihood and everything to do... [More...]
Found in March 26, 2004 11:43 AM
Say it loud, say it proud!
1 Comment by: doron at
it is my opinion that image has no copyrights .
2 Comment
by: Oligonicella at
Baloney. That photojournalist makes a living by taking photos. Sometimes at great risk to self.
Did the artist *ask* the photographer? Did the artist *pay* the photographer for the right to use
his/her copyrighted work?
The lazy attitude that one has the -right- to simply steal the work of another and use it as the
basis for a prefab hack is just that, lazy. How hard is it to simply paint someone throwing a mol?
Not. Not at all. What the painter did was to plagerize. That is unethical, and illegal. No sympathy here.
3 Comment by: carol at
The case has similarities to one involving the Barbie and Ken dolls from several years ago. An
artist took the dolls (some bought, some found) and modified them, then resold them. The court
verdict was that the modified dolls where an original peice of art work and even though Mattel owned
the copyrights on the unmodified version of the dolls, they could not prohibit the resale of the modified
ones, nor could they collect royalites. Legal precident is with the painter in this case.
4 Comment
by: Sigivald at
So, Oligonicella, if a painter ever sees a photograph, and paints a picture based on seeing it, does
the painter also need to ask and pay?
Since when is painting a picture based on some other work the same as "stealing the work of" that
person? The photograph is copyrighted; images created via other media based on seeing that photograph
are not, however, violations of that copyright.
Making a copy of the photohgraph (even with, say, photorealist painting) might be violation. Making a
painting compositionally based on the photograph, but with painterly method and especially with substantial
changes, is not, nor should it be.
(Doron is still wrong; images have copyrights. But s/he is right that the image's copyright only applies to
the literal image, not to interpretations of that image, especially wholly-created ones in other media - there
may be some meat in a copyright case, of course, for an "interpretation" that consisted simply of re-coloring
a scan in Photoshop... but IANAL.)
5 Comment by: ryan at
The problem with dealing with this as copyright, is that Joy's work (like that of Gerhard Richter, Rosenquist,
Rauschenberg, Levine et al) is a comment on the image being appropriated - and therefore should be
considered critical commentary - a fair use. But it gets sketchy for some because the painting is also being
sold. it's not sketchy for me because the object of the painting is an artifact, just like the original photo, that is
sold not based on it's materiality (well maybe for some painting collectors it is about that, but not usually
photography), but based on it's communicative potential. no one has asked if the photographer obtained
permission to capture the image of the person throwing the molotov? why's that? we should believe that
someone owns the rights to an image because they snapped a shutter, while the person photographed is
merely a landscape? Joy merely treated the image as the person in the photo was treated.
But the archive must be kept safe...
6 Comment by: steve at
someone should have thought to
copyright that cross around his neck
that someone would have made a few bills
Lukemelia 3/8/2004, 11pm
Now playing: Joywar.
[Molotov image]
It's like Grey Tuesday for visual art...
Diritti di Riot
Guerriglia Marketing March 9, 2004
L'artista Joy Garnett è stata citata in giudizio da un fotografo autore a causa della sua opera Mololotov,
una rielaborazione ad olio su grande formato di un immagine pubblicata nel 1978 su un settimanale
Un caso di estremismo del diritto d'autore che non solo pone l'annosa questione del facoltà di rielaborazione
delle immagini, ma lo fa a partire da un'originale che è una fotografia di cronaca.
Il fotografo ha infatti potuto catturare il gesto del soggetto senza premurarsi del suo consenso, avvalendosi
del diritto di cronaca. Mentre, paradossalmente, quel gesto di ribellione viene trasformato nel suo opposto
nel momento in cui diventa una semplice rappresentazione.
Joy Garnett è stata così costretta ad eliminare l'opera dalla sua serie
Riot (già esposta a
che dal suo sito internet.
Per rispondere a questa assurda causa, una serie di siti della comunità artistica (e non solo) hanno
cominciato a ripubblicare la pittura della Garnett in originale o rielaborandola.
Questa la ragione della nuova immagine di home page sul sito di guerrigliamarketing.it.
Attenzione: grazie a tutto questo, l'opera finirà per aumentare il suo valore
Joywar, riprodurre per tutelare.
March 10, 2004 – Neural.it
La rielaborazione dell'opera di un'altra persona non è una pratica nuova nel mondo dell'arte,
e spesso gli autori originali coinvolti hanno manifestato disappunto per aver perso una parte
della loro 'paternità'. Paradossale è però il caso di Joy Garnett, artista che sta per subire una
causa di violazione del diritto d'autore per aver interpretato in pittura alcune celebri foto di
cronaca degli anni settanta. Uno dei fotografi originari ha chiesto alcune migliaia di dollari di
risarcimento intimando che l'opera ('molotov') non sia più esposta, nè pubblicata e che le
sua riproduzioni vengano rimosse perfino dal web. All'assurdità della richiesta la risposta
spontanea è stata quella di creare un network di siti che riportano l'immagine 'proibita' in
una qualche forma. La riproduzione infinita dell'opera è la risposta politica che si avvale di
un presupposto tecnico tanto necessario (l'immaterialità della riproduzione in rete, e quindi
la sua semplice duplicazione), quanto ormai acquisito da tutti, meno, forse, dagli artisti
ancora seduti sui loro privilegi di mercato.
Date: Wed, 10 Mar 2004 16:33:22 +0100
From: ottokin <email@example.com>
To: Joy Garnett <email@example.com>
Subject: Re: tshirt
Produce this shirt an fuck the Pepsi!
image archived here:
bye from
By etoy.MARCOS @ [ etoy.ACTIVITIES ]
JOYWAR. the next art war!
for further information go:
Storm in a Pepsi bottle
Light from an Empty Fridge (blog), Friday 12 Mar 2004 16:03
Artist Joy Garnett seems to have got into a bit of legal trouble with a painting
called Molotov, part of a exhibition called Riot based on photos from newswires
and news sources.
What's the issue? Well, it's not, as I first expected, the fact that the molotov
bottle has a Pepsi logo on it. That initially reminded me of Alexander Kosolapov,
whose use of corporate logos I wrote about before. It appears, though, that the
painting is based on a photograph taken in 1978, and the photojournalist who
took it is suing for X thousand dollars and also as a general Cease And Desist to
prevent further exhibition.
It's not therefore a case of Evil Corporate Censorship Boo Hiss, unless there's
something going on that I wasn't aware of, but it does seem like another example
of a ridiculous use of copyright given that the original was taken over twenty-five
years ago and this painting cannot be said to be depriving the original photographer
of anything at all - in fact it potentially increases her profile. Nobody is going to use
this painting for some purpose instead of the original. A painting of a photograph is
not a copy of the photograph, rather a derived work, and the original was publicly
displayed in news media which increases the degree to which it could be said to be
public domain. This looks like simple artistic oversensitivity and I don't have much
Anyway, here are a couple more links on the subject. New developments will bring
updates, though only if I hear about them, obviously.
News story on rhizome.org where Garnett appears to be a member. I'm delving
through posts on rhizome.org to try to find out a little more information.
Solidarity page - links to lots of interesting modified and derived works that people
have done based on
Molotov as part of the campaign - for example, Distorted Molotov,
» trackback (0) » art+design » ip
The artist Joy Garnett may have a lawsuit against her for using a photo-journalist's image in her
painting titled Molotov. What has followed after Garnett made her situation public is a deluge of
appropriations and commentaries by net art communities (although Garnett is not revealing the
names of the plaintiff or her lawyer -- we know the plaintiff is a woman). Joy Garnett recently
updated her "webring" on the Rhizome Raw list; her original post can be found on Rhizome.org's
thread: http://rhizome.org/thread.rhiz?thread=12379&text=23895#23895 Because there currently
is no website hosting all of this information. Net Art Review is supplying all the links, as updated by
Joy Garnett, listed below:
Molotov Web ring : [snip!]
:: Eduardo Navas [+] ::
Recently several mailinglists were flooded with the support messages and actions for
the Molotov painting by Joy Garnet (see post below by Eduardo Navas). Though I
didn't read all responses (I'm not on all lists that commented on the Molotov case),
the main thing I missed in all comments was that this whole type of copyright lawsuits
have had already some clear precedents. Probably the best known example is the
"Puppies" for the work "String of Puppies". Jeff Koons lost the case and it's interesting
to know why. Here I quote from the article "COPYRIGHT PROTECTION AND APPROPRIATION ART"
by William M. Landes:
"... is appropriation of mass media images by the artist Jeff Koons who was the
defendant in three similar copyright cases in the 2nd Circuit. In the best-known
photograph of a group of puppies with their owners, tore off the copyright notice
from the card, and hired an Italian foundry to make four sculptures based on the
photograph. Since Koons admitted copying, the only issue on appeal was if his
copying was a fair use.
Counting against fair use is that Koons added little to the original image except
for changing the medium and adding color. Indeed, altering the image would
have defeated his purpose of changing the meaning of the image by putting it in
a different context. On the other hand, Koon's sculpture is not likely to damage
the market for the copyrighted photograph. The products are in different markets
and won't compete for sales. Yet the plaintiff's business was licensing photographs
so upholding Koon's fair use defense could potentially eliminate an important
source of revenue to photographers and result in adverse incentive effects.
Koons' principle argument for fair use was that his work should be privileged as
a satirical comment or parody. By appropriating an everyday image, he claimed
that his work commented critically on a political and economic system that places
too much value on mass produced commodities and media images. Not surprisingly,
the court rejected his defense because his work did not comment directly on the
appropriated image. As noted earlier, fair use requires that the parody be directed
at least in part at the original work. When the parody comments on society at large,
the defendant should be able to license the copyrighted
:: Peter Luining [+] ::
Miscellaneous Quahogs
Wednesday, March 24, 2004
Read this, if you're concerned about artists' rights to rework culture:
posted by Quahogs ! at 3/24/2004 10:22:04 PM
More about painting, photography, and copyrighting images
March 24, 2004 - Working Artist's Journal - Anna L. Conti,
Is it ethical for an artist to paint a picture based on a photograph, without permission of
the photographer?
This issue has come up more and more frequently since the Pop art era, and it is currently
being debated online and in the art world because of a lawsuit being brought against painter
Joy Garnett, by a photojournalist. The photographer shot a photo of a young man throwing
a molotov cocktail, the image was printed in a newspaper, and Ms. Garnett made a painting
from the image. The painter's friends are taking action by disseminating Ms. Garnett's
painting, as well as digitally manipulated versions of it, as widely as possible. I think they
are trying to make these points:
1- copyright protection is meaningless in these times
2 - we don't care if you use our images, so why should you care if we use yours
3 - copyright protection is wrong - open source standards are better for society
(There is a parallel version of this argument in the music industry and it seems like plagiarism
stories have been in the news a bit recently, so maybe it's a bigger story than I realize, but
or now I want to focus on visual art.)
Both photographers and painters are visual artists. They both manipulate their mediums to
present a personal vision to the viewer. Some present "straight" reporting, which is generally
considered "real", "realistic" or "realism". Others focus on stylistic concerns, but their work is
usually still "representational". Others are more concerned with pushing the limits of their
mediums, and these images often become "abstract." And there are plenty of artists who
cross these fuzzy boundaries.
Sometimes painters use photographs. They make painted copies of all or part of the photo.
They copy the photo as exactly as possible, or just use it as a starting point, and change so
much that the source is not recognizable. Sometimes they take the actual photo and literally
paste it into the painting.
Less often, photographers use paintings (or sculptures.) They shoot photos of sculptures and
paintings in public places. They set up a scene to look like a famous painting, then shoot photos
of it. In at least one case a photographer (Richard Misrach) photographed parts of paintings
and then published a book titled "Pictures of Paintings".
Both painters and photographers "use" what they see in their world. This includes people,
animals, flowers, food, furniture, buildings, vehicles, natural and man-made land formations,
sunsets, sunrises, bill boards, magazines, videos, web pages, etc. The list is infinite. There is
no shortage of images.
Reasons why artists might decide NOT to paint or photograph a particular image:
1. They live in a society that jails or kills artists who make this kind of image.
2. The image is copyrighted by someone and the artist does not wish to risk a lawsuit.
3. The subject of the painting or photograph does not want to be portrayed in this way, and
the artist cares about the feelings of this person or
4. The image has already been done over and over, and this artist has nothing new to add.
... and, after all, there is no shortage of images.
Reasons why artists might decide NOT to sue another artist for "stealing" their copyrighted image:
1. It's more trouble than it's worth - how much money can you squeeze out of the average artist?
2. Thinking about people who live in glass houses.... is there an artist anywhere who hasn't
appropriated something from other artists?
3. The energy that goes into tracking down and prosecuting copyright violations is not put into
creating new work.
... and, after all, there is no shortage of images, and new work to be created.
So, what I still don't understand is why this still happens. If your business is in the visual arts,
then the issue of copyright is not new to you. So why ask for trouble? If you're trying to make
a political point, then I can see how getting sued would add to the value of your project. But if
you're mainly interested in aesthetics, use your creative juices and pick another image that
does the same thing... it's not like there's a shortage of
Elise Tomlinson on the law and painters using public images, March 23
photonet forum - a series of letters from photographers on the issue
Who owns the rights to this man's struggle?
nmazca.blog, mar 26, 2004
Yesterday afternoon I clicked over to Amberglow and noticed a mixed-up, tiled
version of the painting, Molotov, above. That blog's author mentioned legal action
that PepsiCo had brought against the painter, one Joy Garnett, after her "Riot"
series was shown at a NYC gallery.
Scores of freedom-minded, art-savvy, anti-corporate bloggivists have since
risen in (virtual) solidarity with Ms. Garnett, posting either the same image or
variations thereof (this is my favorite) in order to assert artists' rights. This
collective action has been called JoyWar.
I was excited by all of this, and I decided that I too would take up the fight
against Pepsi and its heavy-handed intellectual-property bullying. But that would
have to wait until after I bought a couple of birdfeeders
and tidied up the back patio.
So... those tasks completed, I sat down to stick to it The Cola
out that Pepsi was not the litigant at odds with Ms. Garnett. It is, in fact, the
photographer whose image Garnett had downloaded and used as the source for
her painting (typical for the content of "Riot"). I discovered this little wrinkle in the
Molotov story after -- say it ain't so! -- taking the time to read the backstory. One
particular comment on another blog -- in regard to attribution that Garnettttt dddiidn't
give to this unnamed, world-famous female Magnum photographer -- left me
wondering "So who is it?"
Susan Meiselas. Very attentive readers of nmazca.blog will recall the bit that I
posted about her book, Carnival Strippers, back in October. Meiselas' photo of a
Sandinista fighter was made during her coverage of the armed struggle against the Somoza dictatorship
"This is obviously not a case of an artist protecting [her] speech rights but of
one artist using [her] copyrights as a way to censor another artist." Is that so?
I would say not, and I'm fairly liberal with access and use of my own images.
The major factor is attribution, if not permission. It can't be assumed that a
grainy photo from a not-so-long ago war is in the public domain. Is it sufficient
to make a general statement about the use of others' images, make comments
about reinterpretation and altered contexts, and then present the work for sale
(again, without credit given to the original creator)? Garnett uses found images,
also, and it would be too much to expect attribution with those. But this other bit
is tricky, and I wouldn't be so hasty to dismiss Meiselas' assertion... although
her bit about never showing the painting again, come on.
I'm concerned about originality on one hand, and freedom to adapt on the other.
Another noteworthy point is this: "No one has asked if the photographer obtained
permission to capture the image of the person throwing the molotov? Why's that?
We should believe that someone owns the rights to an image because they
snapped a shutter, while the person photographed is merely a landscape?" Thus,
my original question: Who owns the right to this man's
Now if you'll excuse me, I've got to burn a copy of The Grey Album.
mr damon [p-link]
Joywar, What is it good for?
greg.org, March 26, 2004
The artist Joy Garnett just had a show called "Riot" at Debs & Co, lushly
painted figures in caught in moments of distress or violence. Then she got
threatened with a lawsuit by a Magnum photographer for referencing a 1978
image of a guy throwing a Molotov cocktail. Of course, the irony [?] is
that, as Garnett says, "my work is ABOUT the fact that images are
uncontrollable entities. It's about what happens when you remove context
and framing devices." Which means, of course, it's about getting sued.
Congratulations, Joy. I hope you get sued again real soon.
Related: The Bomb Project, an archive of "nuclear-related links organized
for artists."
art | posted by greg allen
Stay Free! Magazine, march 26, 2004
New York-based artist Joy Garnett has been threatened with a lawsuit for
creating Molotov, a painting based on a 1978 photograph. Though Joy has
removed an image of the offending work from her website, supporters
have rallied around her cause and created art based on HER art. You can
see the image and read more about it here:
My personal faves, of the Molotov-inspired artwork:
The Pepsi Molotov Cocktail
i_speak_of_dreams weblog,
Al's awake again. I made dinner. Then there's this:
"The American artist Joy Garnett, whose paintings are derived from news images,
is faced with a legal action for thousands of dollars over this one. This has nothing
to do with the protection of livelihood and everything to do with the suppression
of free speech and free artistic practice. Don't let the schoolyard bullies win! Show
your solidarity with Joy by grabbing this image and posting it on your website or
by making your own artwork derived from it."
(the quote is from BoingBoing, linked at the end of this post.)
The protest page is here.
This is the image in question: <Molotov image>
I assumed that the suit was brought by Pepsi, as somehow demeaning the brand. It wasn't.
Here's the artist's website: [sic]
"...the most interesting thing just happened: I'm being sued for
copyright infringement (does it mean I'm finally a grown-up?).
the joke is I was served the letter the day after I met with an
arts funding rep who encouraged me to list "sampling" on my
grant application as part of my painting practice. It made the
whole thing seem almost funny.
The plaintiff is a world-famous photojournalist who takes pics
in war-torn regions; the pirated image is a detail of a photograph
taken in 1978. Months back while trolling the Web for news images
and such, I found the cropped detail w/ no credit line, probably
on some anti-NAFTA/anarchist solidarity website, printed it out and
stuck it in a folder to paint later. I had no idea it was a detail of a
pic by a Magnum photographer or that it was from their most
seminal series and book. The joke is definitely on me..."
Is Joy Garnett a plaigiarist? Is it "stealing" to use a figure from another's work in your own?
I'd sure like to see the original image, to see how much Garnett changed the image. What
would happen if Garnett submitted this work for credit in a university class?
Postscript: I had first seen the image, and the controversy, from BoingBoing's guestblogger.
Johannes Grenzfurthner is writer, artist and founding member of Vienna/Austria based
art-tech-philosophy group monochrom. monochrom is an unpeculiar mixture of proto-aesthetic
fringe work, pop attitude, subcultural science and political activism. monochrom's mission, its
passion and quasi-ontological vocation, is primarily the collection, grouping, registration and
querying (liberation?) of the scar tissue represented by everyday cultural artifacts.
More postscript:
The original image is here--it is huge, 70 by 60 inches. The artist has exhibited the work at
Debs & Co--here are more images. For my money, while Garnett's work is obviously BASED
on the work of others (news photographs) they are not mere copies; the works are transformed
by Garnett's craft (the act of painting) and vision (what is emphasized, what is left out.)
April 2004
La artista Joy Garnett, que basa sus pinturas en fotografías encontradas en presa,
revistas e Internet, se ha visto implicada en una demanda judicial millonaria por
violación de derechos de autor. La fotógrafa Susan Meiselas, de la agencia Magnum,
la ha denunciado por emplear una de sus fotografías en un cuadro que Garnett
expuso en una galería de Nueva York. La fotografía de Meiselas, de 1978, reproduce
la imagen de un guerrillero sandinista a punto de tirar un cóctel Molotov elaborado
en una botella de Pepsi. Garnett encontró esta imagen, ya recortada y sin mención
de su autora, en una página web y la incorporó en una pintura.
La notícia de la demanda judicial se difundió rápidamente por Internet, en particular
a partir de una noticia publicada en el portal de arte en Internet Rhizome. La cuestión
de los derechos de autor de la fotógrafa sobre la imagen (no ya la foto en sí) y el
hecho de que el pleito obligaba a Garnett a retirar la imagen de su web y posiblemente
destruir la pintura, suscitó una rápida y airada reacción en la comunidad artística.
La imagen del cuadro de Garnett se copió en varios otros sitios web, para impedir su
censura, y se propuso elaborar variaciones a partir de la obra original en señal de
apoyo. Numerosos weblogs difundieron y comentaron el caso, que ha pasado a
denominarse "Joywar", en referencia a "Toywar", otro conocido caso judicial que
enfrentó al colectivo artístico eToy con una multinacional. La implicación fortuita de
Pepsi en la historia hizo pensar a muchos que era la empresa la que denunciaba a
la artista.
Finalmente, el caso parece haber quedado en suspenso. La artista ha elaborado una
completa lista de los artículos que han recogido la historia, así como de las variaciones
que se han creado a partir del cuadro original. Pau ha participado en esta iniciativa
con una animación flash que figura entre las favoritas de la propia Garnett.
Joywar: lista de enlaces elaborado por Joy Garnett
"Molotov", animación flash por Pau Waelder
Joywar – autoři proti autorskému právu
by L.P.Fish; 9.4.2004 |
Před několika dny oznámila americká malířka Joy Garnettová, že její případ byl stažen od
soudu a že tak končí jeden z nejhezčích případů solidarity internetové komunity s kulturou
nových médií, který vstoupí do dějin jako Joywar. Případ celkem jednoduchý.
Joy Garnettová je malířka. Náměty svých obrazů čerpá z dokumentárních fotografií. Když
se na její webové stránce objevil obraz Molotov, namalovaný podle fotografie z demonstrace
publikované v tisku v roce 1978, přišla jí žaloba o náhradu škody v řádu tisíců dolarů. O tom
že se pojetí problému "autorských práv" mění v souvislosti s rozvojem technologií a vznikem
nových médií asi není pochyb. O tom, že tento vývoj zahrnuje i řadu soudních sporů a právních
či mocenských excesů také ne.
Své by o tom mohli vyprávět hactivisti ze skupiny Yes Men, jejichž cynická parodie na stránky
koncernu Dow Chemical (pod který spadá firma Union Karbide odpovědná za jednu z největších
ekologických katastrof v indickém Bhópálu), rozčílila korporaci natolik, že se kromě žaloby na
samotnou organizaci pokusila zlikvidovat i intelektuální newyorský server Thing.
Garettová si však vzpomněla na jiný slavný případ. V roce 1999 byla přerušena činnost stránky
švýcarských internetových umělců a aktivistů etoy.com, na základě žaloby prodavačů hraček
Etoys, kteří tvrdili, že lidé jdou na doménu etoy.com automaticky pro jejich zboží a jsou zmateni
jejím obsahem. Snaha firmy Etoys vzbudila takovou zuřivost internetové komunity, že v období
jedna osmdesáti dnů nazývaném později jako Toywar uživatelé soustavně zahlcovali její server
a především způsobovali špatnou pověst protestními stránkami o nichž informovala i mainstreamová
média. Způsobili tak propad jejích akcií a škodu odhadnutou na několik desítek milionů dolarů. Od
té doby si na švýcarské aktivisty sídlící na etoy.com nedovolil nikdo sáhnout.
Ale vraťme se k Joy Garnettová. Ta zveřejnila na internetu svůj případ, v němž vysvětlila vlastní
postoj k autorským právům, k tomu proč je její obraz něco "nového" jakkoli v něm zužitkovává
již vytvořený artefakt a požádala o pomoc. Okamžitě se vytvořily stránky šířící dál informace o
akci dál nazývané Joy War. Kopie fotografie, která byla předmětem žaloby, se bleskem rozšířila
a během několika týdnů vznikly stovky jiných uměleckých děl rozmístěných na stovkách míst na
internetu a všechna "samplovala" zmíněnou fotografii. Žaloba byla stažena.
Na tomto případu je celkem hezké, že staví do opozice proti "autorskému právu" samotné autory.
Ukázalo se, že autoři samotní chtějí "samplovat", že je tato metoda v umělecké komunitě obecně
přijatelná a tak pomalu nezbývá přiznat, že "autorská práva" v současné podobě vyhovují jen
jejich překupníkům. A to je jistě jeden z mnoha důvodů, proč tenhle stav změnit. Parodické použití
symbolů existující firmy či "samplování" existujícího artefaktu prostě chápou umělci jako otázku
svobody. A kdo jiný než "autoři" by měl rozhodovat o jejich "právech"?
Molotov Mash-ups: some favorites
UPDATE: April 2005 email from Esparzios Punk-Rock requesting permission to make a CD cover.
Here's the finished cover.
[Note: some of the urls below may no longer contain references to this issue.]
Update: New to Joywar (ca. January 2005):
Getaway Experiment: Solidarity
Still Images: collage / agitprop
Moving Images / interactive
Mirror Images
Info / blogs / + image/s
Info / linking blogs / bbs
Joy Garnett: Selected Lectures & Articles on Appropriation + Open Source Culture
Harper's Magazine, February 2007
Portfolio (pp.53-58):
Joy Garnett and Susan Meiselas: ON THE RIGHTS OF MOLOTOV MAN: Appropriation and the art of context [PDF]
PAINTING + OPEN SOURCE (RealPlayer: panel
+ Q+A, in 2 parts)
Open Source: On the Line
panel organized by Rhizome at the Vera List Center for Art + Politics at The New School, Dec. 4, 2006
See slides of this talk;
Webcasts: part 1; part 2
COMEDIES of FAIR U$E: A Search for Comity in the Intellectual Property Wars
April 28-30, 2006
New York Institute for the Humanities at NYU
13 minute talk (Quicktime): http://newsgrist.typepad.com/comediesoffairuse/
Slides from talk: http://www.flickr.com/photos/newsgrist/sets/72057594138438448/
Discussion on Laura Quilter's blog: derivative works: comedies & tragedies of fair use
at Mike Madison, madisonian.net: The Drama of Fair Use
Blogging + The Arts 2: Hosted by
Rhizome at The New Museum
Rhizome.org Director of Technology Francis Hwang will lead a panel discussion on Blogging and the Arts. This panel, the second in a series hosted by Rhizome.org, includes painter and web-artist Chris Ashley, painter Joy Garnett, artist and programmer Patrick May, and writer Liza Sabater. The discussion will address issues such as ways that artists are using blogs to distribute their own work, and the influence of blogging culture on political issues of interest to those in the arts. [Thumbnail Archive of Joywar]
In Their Own Words: JOY GARNETT
Between Yahoo.com slide shows, 24-hour television news, and competing tabloid newspapers, we've become a culture that's accustomed to the sensations of media imagery. Here Joy Garnett describes how she transforms news photographs into paintings, a slowing-down process to counter what she sees as our culture's mal-absorption of images related to technology, surveillance and war. Read article
Between 0 and 1: Digital Rights and the Future of Art Images Online
College Art Association,
February 17, 2005, 12:30-2:00pm
Speakers: Chair, Eve Sinaiko, CAA; Christine Kuan,
Editor, Grove Art Online (
Max Marmor, The ARTstor Project; Ted Feder, Artists Rights Society; Joy Garnett, Artist.
Cultural Politics, Volume 1, Issue 1, March 2005; available online (free pdf download)
Edited by John Armitage, Douglas Kellner, Ryan Bishop. Contributors: Andrew
Field Report: "Follow the Image," by Joy Garnett
download article [pdf]
ABSTRACT: New York artist Joy Garnett outlines her methods as a painter who works from sampled or found images. She discusses her relationship to her sources, which have included science photographs, declassified military and news media imagery. She describes the challenges she has encountered while working with different types of source material: from technical obstacles (invisible phenomena that require lenses and other optical devices) to socio-political mediation (government secrecy and the search for declassified imagery), to legal encumbrances (accusations of "piracy" and copyright infringement regarding a sampled image). Garnett explains her sense of the continued relevance and critical potential of art in light of these challenges, specifically the uses of painting in an age of mass production and digital technology.
Painting Mass Media & the Art of Fair Use
For streaming video (QuickTime) of my September '04 lecture please visit
the Art & Technology lecture series at
or go directly to the lecture:
"Steal This Look," Intelligent Agent, Intellectual Property Issue, Vol.4, no.2 (Summer 2004)
This is a short piece about Joywar written very shortly afterwards:
§ 107. Limitations on exclusive rights: Fair use
Notwithstanding the provisions of sections 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include—
(1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
(2) the nature of the copyrighted work;
(3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
(4) the effect of the use upon the potential market for or value of the copyrighted work.
The fact that a work is unpublished shall not itself bar a finding of fair use if such finding is made upon consideration of all the above factors.
"Toward a Fair Use Standard," 103 Harv. L. Rev. 1111 (1990), by Judge Pierre Leval [source]
"The use must be productive and must employ the quoted matter in a different manner or for a different purpose from the original. A quotation of copyrighted material that merely repackages or republishes the original is unlikely to pass the test; in Justice Story's words, it would merely "supersede the objects" of the original. If, on the other hand, the secondary use adds value to the original -- if the quoted matter is used as raw material, transformed in the creation of new information, new aesthetics, new insights and understandings -- this is the very type of activity that the fair use doctrine intends to protect for the enrichment of society. Transformative uses may include criticizing the quoted work, exposing the character of the original author, proving a fact, or summarizing an idea argued in the original in order to defend or rebut it. They also may include parody, symbolism, aesthetic declarations, and innumerable other uses."
General Information + Articles
"Free Culture: How Big Media Uses Technology and the
Law to Lock Down Culture and Control Creativity" (Penguin 2004)
Righting Copyright: Fair Use & "Digital Environmentalism"
By Robert S. Boynton, Book Forum, Feb/Mar 2005
This is a brilliant article that promotes the various movements in copyright reform,
including the strategy of the "copyright misuse" doctrine as a way to bolster fair use.
Fundamentals of Intellectual Property
(Copyright + Trademark law – PDF files)
Astrachan Gunst & Thomas PC
Creative Commons
Stay Free!
a print magazine focused on issues surrounding
commercialism and American culture.
a web site "about fine art and pop culture. Lofty postmodern theory and grassroots resistance."
Illegal Art
Freedom of Expression in the Corporate Age
Grey Tuesday – Free the Grey Album
VCE Art - Borrowed Elements in Art
Original photo by Susan Meiselas, c.1979
of original photograph:
"Molotov" painting (2003) Oil on canvas, 70 x 60 inches (Mirror sites)
B & W photo, cropped, uncredited
(found while searching for URL of fragment)


text:
Main navigation | Main content
|Pat Meyers, Andrew Matas, Rich Ormiston, Sharan Banagiri, Vuk Mandic, Levi Walls, Margot Fitz Axen.
|Richard Anderson
The 2017 Nobel Prize in Physics went to Rainer Weiss, Kip S. Thorne, and Barry C. Barish, creators of the LIGO experiment which made the first observations of gravitational waves. LIGO, the Laser Interferometer Gravitational-Wave Observatory, is a collaborative project with over one thousand researchers from more than twenty countries, including the University of Minnesota.
Prof. Vuk Mandic's group has been a member of the LIGO Scientific Collaboration since 2007. The group has made numerous contributions to LIGO, including work on LIGO detector characterization and noise sources, data quality studies, development of novel data analysis pipelines targeting long transient and permanent stochastic gravitational-wave signals, and studies of implications of observed gravitational wave signals.
The UMN LIGO group currently includes postdoctoral researcher Andrew Matas, graduate students Sharan Banagiri, Pat Meyers, and Rich Ormiston, and undergraduate researcher Margot Fitz Axen. Three postdoctoral researchers (all currently holding faculty positions in the USA and abroad), two Ph.D. students, and numerous Masters and undergraduate students have contributed to the work of the group over the years.
On 14 September 2015, two LIGO detectors at Hanford, WA and Livingston, LA observed gravitational waves for the very first time. The waves, which were predicted by Albert Einstein a hundred years ago, came from a merger of two black holes 1.3 billion light-years away. Since then, three additional binary black hole mergers have been observed. In August 2017, the Virgo detector near Pisa, Italy has joined the LIGO detectors, resulting in the first three-detector observation of a black hole binary merger and with the currently best sky-localization of the source.
Detections of black hole binary mergers imply the existence of the stochastic gravitational wave background from the population of these binaries across the universe. Detection of this background, and of potential long-lasting transients associated with binary mergers, will be the focus of the future research in Mandic's group.
In addition to research contributions to LIGO, the School hosted Barry C. Barish as the 2007 Van Vleck lecturer on the topic of "Probing Einstein's Universe."


text:
Click on question to reveal the answer.
|1. Do you offer workshop manuals for download?
|2. How do I know the download time when I read 2CD or 4DVD?
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|16. I would like to return the product because I have changed my mind. How can I do it?
|17. Why are your manuals packed with WinRAR?


text:
Fabio Contato 2003
Garda Doc Classico Rosso
Azienda Agricola Provenza
From a winery about 2 kilometres from the restaurant, a blend of
Tasted a bit alcoholic at first so I asked for an ice bucket and cooled it for 15 minutes.
Condensation on a red wine bottle looks a bit strange but the wines fruit was now to the front with a depth of cherry and strawberry with a Peppery spicyness.
Long finish showing mint and soft sweet leather.
A delighful wine, the last red of our holiday.
€27 in a restaurant in Sirmione, Italy


text:
Rain postpones 1st round of LPGA Championship
PITTSFORD, N.Y. -- Shanshan Feng will have to wait a day to begin defense of her LPGA Championship title.
A steady rain punctuated by heavy downpours and an occasional bolt of lightning forced the postponement of Thursday's first round at Locust Hill Country Club. The LPGA's second major of the year now will begin Friday morning, the second round will be staged Saturday, and the players will attempt to complete 36 holes on Sunday.
"The problem became the golf course," said Sue Witters, director of tournament competition for the LPGA. "We had numerous greens under water, fairways puddling. If it could have stopped raining, we would have had a shot."
More than a half-inch of rain had fallen by mid-morning, and it was still raining hard more than two hours after the noon announcement of the postponement of play. Locust Hill officials figured the course could take up to three-quarters of an inch of rain, but the weather system stretched 140 miles and wasn't expected to completely pass through for seven hours.
That proved to be too much for an area that had received over 4 inches of rain in the past week and a half.
"We went as long as we could," Witters said.
The overnight forecast called for a break, affording the grounds crew a chance to get the course in shape. Scattered showers were expected Friday morning and there was a 20-30 percent chance of a thunderstorm during the day, but Witters said she was confident the course would be OK.
"I'd like to believe today was our worst day," she said. "The goal is to get 72 holes, but it's got to stop raining."
Witters also said Monday was still on the table, but with no rain predicted for Sunday and the longest day of the year looming in two weeks she was hopeful there would be enough daylight to complete two rounds on Sunday.
"We think we can play golf until 9 o'clock," Withers said. "That gives us extra room, and we'll need it. I'm not nervous yet. I wish we could have gotten some golf in today."
The one-day break was welcome news for some players since it came during a stretch of seven tournaments in a two-month span, including two majors.
"It's definitely tough because you're excited to get going, but to be honest with you I'm very tired with it being my fourth week in a row," said Brittany Lang, who planned to spend the afternoon trying on wedding dresses in preparation for the big day next January. "It's actually kind of good for me. I'm sure a lot of girls are definitely ready to get going."
When the first round begins, the focus of every player will be on one thing -- avoiding the rough that was nearly 4 inches high before the rains hit.
"It is so hard to hit out of wet rough like that," Lang said. "It's nearly impossible. That rough, I think, is going to be horrendous after this much rain."
"If you're hitting the ball well, you can score well," Paige Mackenzie added. "You just have to be on your game every single shot. It does not allow any mistakes at all."
The inclement weather continued a streak that began two weeks ago at the Bahamas LPGA Classic. The course there was closed for two days because of severe flooding, and when the tournament finally got under way it was shortened to 12 holes. The LPGA Tour was determined to play with two new title sponsors and devised a 12-hole route that would allow the players three rounds to reach 36 holes and make it an official event.
Last week, high winds and tough greens created havoc.
The flooding in the Bahamas was caused by a foot of rain in about five hours. It wasn't nearly that bad at Locust Hill on Thursday, but it, too, wasn't pretty.
"Unfortunately, it's just part of the game," Mackenzie said. "Anybody that's played, whether it's professional golf or amateur golf, you go through events like this.
"I learned very quickly my rookie season when only 18 holes were played in Arkansas in a four-day span. There's going to be surprises like this. We're a pretty flexible tour. I think the hardest part is on the rookies. They want to go play. It's a major."
Copyright 2013 by The Associated Press
This story is from ESPN.com's automated news wire. Wire index
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- Tiger Woods played a round at Augusta National on Tuesday, fueling speculation he will compete in the Masters. Bob Harig »
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text:
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Budgeting & Forecasting
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RV Forum logo wear - click HERE
California has 850 miles of shoreline on one ocean. Florida has 1350 miles of shoreline on three different large bodies of water
And then there is Florida weather..........
But unlike Florida, California doesn't have the all the swamps, alligators, sink holes, bugs, humidity and hurricanes. Our Disneyland doesn't have any giant prehistoric lizards that grab kids and eats them either.
And Florida does not have an eight year drought to contend with and you won't see one hundred wildfires burning at the same time like California did earlier this year.
California has the Manson Family, OJ Simpson, Death Valley, Santa Ana winds, earthquakes and the San Francisco Giants.
I found it horrid in the late spring and summer. I hate humidity and bugs, and both are in abundance in Florida.
I also spent a lot of time in California on business, mostly either near LAX or Orange County. Weather is nice, but there are too many people for me.
You were in the 'wrong' part of California.
The argument is like chocolate vs strawberry...
The argument is like chocolate vs strawberry, a personal preference that is not going to be swayed by the opinion of others! As if anyone really cares! I like vanilla.Betty
Betty I was making a joke. No one here ever understands humor unless you put this is humor in large capitol letters.
Often way too true! And not just with our forum friends; our humor is often too subtle and refined! And I consider both states nice to visit but wouldn't want to live there. Will probably never visit California again.
SeilerBird, I hope that I do not offend you, but.... I agree!!!
This is really a stupid thread and I hope the mods will kill it.
You don't offend me, I have been offended by the best around here and my skin is really thick. I have lived in California for 40 years and Florida for 5 years and I find it humorous how often people feel it necessary to bad mouth both states. They are probably jealous because they are not smart enough to live in either state so they bad mouth them to try and make their state look better. This is really a stupid thread and I hope the mods will kill it.
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Game 35 vs. DET: Squeaking by
Huge shame that Memo wasn't able to go tonight, seeing as how he traditionally kills the Pistons for us.
It wasn't exactly a slow start, but it wasn't anything to write home about either. The Jazz are now 7-28 in first quarters this season (i.e. they have only won the first quarter 7 out of 35 games so far).
The second quarter kicked off with a lineup of Watson, Price, CJ, AK (at the 4) and Fes…and the Jazz were off and running. This unit was as good as the Jazz have looked all season. All high percentage shots, dunks, running, pushing the ball, high-energy, fast-paced. In just 4+ minutes, a 3-point deficit after one was a 9-point lead. Then the starters came in (with Gordon in place of AK) around the 5:40 mark, it was back to missed jumpers, and…tie game.
Aside: Recapping has gotten so trite. It's like watching Jazz games is bad behavior and my punishment is writing lines.
3rd: Balanced scoring: Al with 8; Sap with 7; Deron with 8. Dunkphobia and missed layups galore. Quarter ends with the Pistons up 1.
4th: CJ was completely gassed (he's still recovering from the flu); no one can get anything going; Jazz shoot FTs; figurative nail-biting and lots of cursing and disgruntledness that this game is even close; Jazz squeak by on a huge, huge Raja 3 (at least, the refs said it was a 3); game.
Final thought: I liked what Jerry did with the lineups tonight. It was probably necessitated by injuries and/or foul trouble, but he was mixing and matching and no one lineup was on the floor for too long. This could be a really good thing.
Can't remember which SWARM/second-unit player said it, the gist of his comment was that the second unit plays with much more energy because they're basically cramming 48 minutes into 5-10 minute stints. When they're on the floor, they're playing all-out. Maybe the solution to our woes is playing everyone/every unit in shorter stints. This keeps the starters off the court for long periods of time, which is a good thing (as @my_lo pointed out tonight, the game slows down considerably when Deron is on the court), and keeps energy levels high.
Post-Game Quotage (KFAN audio)
** [How do you change the first quarter mindset?] Deron: (sighs) I don't know. We try, we talked about it, you know, and…I don't know. I really don't have an answer. We just gotta do it.
** Raja calls Deron "Willy." Jerry calls Deron "DWill."
** CJ: [The second unit] just come out with raw energy, we're an up and down team with Earl and Ronnie Price [who] pressure the ball to get us running, myself, and Fes runs well for a big guy, and with AK playing at the four when he comes back in–we're just basically playing basketball. There's not many plays called, I don't know if Coach likes it, but you can't argue with the end result because of the way we play. We're active defensively, and we get a lot of layups and open shots.
** Al: I'd rather lose every first quarter game that we play this year if you tell me we gon' win every fourth quarter.*
** Raja: I'd rather be a first quarter team than a fourth quarter team.*
** TMac has either grown up, or forgot to pretend that he doesn't know how to pronounce "Deron." ;)
*See any problems here???? This could be the moment we discovered what ails us. Mandatory team therapy session tomorrow.
Random Stuff, etc.
** WTF Jazz. You let TMac–TMac!?–get a triple double on you. SMH. (one rebound shy actually, but like that makes a difference.)
** The people have spoken, but Masha is having none of it. AK, post-game: "People want a mohawk, but my wife likes this, so I'm going to stick with this one." Matty: "Masha, bring back the mohawk!"
** Speaking of bad hair, here we have footage from the last time Detroit won in Utah. Cue Memo's frosted tips:
** And finally, the Jazz broadcast team has no idea how to spell Utah native Julianne Hough's name:
Unintentional Dirty Quote Machines of the Night
** Boler on Tayshaun: He's got a very smooth stroke.
** Boler: Millsap explodes, the ball taken by TMac.
** Matty: Their hands aren't on enough balls.
RRR permalinkJanuary 5, 2011 2:17 pm
"People want a mohawk, but my wife likes this, so I'm going to stick with this one."
See aside from those you live with, IT DON"T MATTER!! After all he only gits one date nite a year, ya know? :)


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