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This post is to be used by undergraduate students for reviews of exhibitions and lectures.
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Review of the Photography Lecture by Gillian Laub
Yiting Liu
The photography lecture given by Gillian Laub was held in Chazen Museum of Art on Jan. 24th as the initiation of a four-month-long exhibition of Southern Rites, an over a decade long artwork. This artwork was triggered by a letter wrote by Julian to Spin magazine in 2002, which moved her to visit the town, Vidalia, Georgia, due to the complaint about racially segregated proms. Only visiting the town for 2 days, she met Harley, who was the chair of the white people prom at the time and who refused to talk about race. She then realized that this is only the beginning of her project to learn more about the community. When she later returned, she started to understand the community. She did not surrender when faced with obstacles: being kicked off the prom, being threatened by the white people community, and being physically attacked and threatened by the sheriff of the town. This personal experience of powerlessness marks the moment when she needs to tell the story in the form of a movie. Moving on, she started to do more than photography, she has been involved in the activities in the community. For this project, Southern Rites, Gillian went back to the town and interviewed the people multiple times while learning more about their stories such as the riot to take down the segregated prom and homecoming.
Through the lecture, what impresses me the most is her curiosity and bravery in investigating and understanding the tension between the white and black people in the community. She shared her way of telling stories and discovering the narratives by interviewing people, infiltrating the community, and understanding the reasons behind the actions. The stories behind each photo she shared in the slide show for this lecture were very moving and valuable, given that she chose to quote the interviewees for Southern Rites. She wants to let their voices heard. The way she introduced the person(s) in the photo takes me to the exact moment when she and the person(s) interact. Her photos and the lecture are serious that she educated people about this place with racial issues and some deeper that needs to be alerted in the form of photography and movie.
I went to Cache by Sarah Stankey on Monday, March 25th for her show Cache. The show presents her understanding of wildlife, the preserving of the wildlife, and her connections with the wildlife through her curious exploration in terms of self-portraits, collections of specimens, and historical archives. I like the nature of interactivity of the show as well as her self-portraits.
The props, background drop, and rabbit legs are to be touched, the rat is to be examined with a probe, and the book is to be read only if you put on gloves. The interactivity of her show makes it more interesting as the audience gets to place themselves in being other people. This is exactly the theme of Cache in her self-portraiture.
For her self-portraiture, I was struck by the self-portraiture by Sarah and how she uses the costumes and props she collected throughout the years to create a representation of a character. I dwelled most of my time on the photograph – A Gourmet Meal. The colors are coherent in a way where the pastel colors are in the upper half of the image while the slightly more contrast color is on the lower half of the image. The floral pattern in the background, as well as that on her dress, echoes the flower to her left. It is very soothing to look at without being too jumpy when my eyes move to the feast. It is more like a painting to me. Her expression is very interesting to look at although this piece is titled as A Gourmet Meal, the gourmet herself is not as pumped about it, making this piece more interesting since there is a story to it for the audience to explore.
Her show is a success in my opinion since the interactive activities audiences can do coincide with her theme where she puts herself as somebody else in her self-portraiture. This technique of inviting the audience to have a deeper understanding of her approach in her art is very brilliant.
CACHE: Sarah Stankey Master of Fine Arts Show
What was most interesting about this exhibition compared to any other exhibition I have been to was that I actually knew the artist personally. I feel that factor is huge in means that it affects how you view the work, how you view the artist, and what you initially gain from the exhibition.
Seeing Sarah in class, I would have never depicted her as a hunter let alone a person who could produce such art that included animal skin and preserved insects. It was also the first time I was surrounded by such death. My initial impression was neither good nor bad, just taken aback. Being unfamiliar with the hunting way of life, it was interesting nonetheless to see how animals are preserved and created into works of art through Sarah's eyes.
The part that I most enjoyed about her exhibition were her self portraits. I am a little biased because photography is something that I can relate to the most. As a photographer, I understand the challenges of taking self-portraits so with that knowledge I can only appreciate the precision that is carried out with her work. The attention to detail, composition, expression, framing, and colors is exceptional.
Subject matter aside, the way she presented her exhibition was fun and enjoyable for a wide range of people. She had pieces that you could interact with, take pictures with, and touch. Although art is best preserved in glass boxes, the fact that she trusted her audience enough to let her artwork be interactive, it also shows a side of Sarah that is not directly shown in her work.
Great job Sarah!!
As a part of the photography team of the student organization, ALT Magazine, I was fortunate enough to attend a private lecture by the esteemed Darcy Padilla.
Darcy Padilla started her lecture by introducing who she was and the work that she has produced over the years. She has been featured in many prestigious newspapers and magazines and is currently a member of Agence VU. Her most recent project, "The Julie Project" has been recognized for multiple worldwide awards. She was also a major photojournalist during the 2016 elections following multiple presidential candidates such as Bernie Sanders, Hillary Clinton, Ted Cruz, President Donald Trump, and former President Barack Obama.
It was an extraordinary experience to be able to have a small one-on-one discussion with such an amazing, famous photographer. The hour that the photography team spent with Padilla was not enough for the knowledge that she had to share. Even though time with her was very brief some things that she mentioned still stick with me today.
1. Know how to look back, then zoom in.
When photographing for the presidential campaign Padilla expressed the utmost importance of this rule. It is important to capture the subject in question but also using the background context to further the strength image is what makes a difference between a professional and amateur photographer. So many of her images capture the complete environment of the conventions and rallies without having the full stadium in the image. The details that she is able to capture in an image relies on the fact that she seems more than what is in her viewfinder.
2. Cherish connections
Even though press pass is supposed to allow all access to events that you are photographing, especially at highly controversial events, it is possible that it is the thing that keeps you locked out. No matter where you go, who, what you are photographing, be kind and cherish the connections that you make because you never know when that relationship will be beneficial.
3. Spontaneous photographing is as important as staged photography.
Though the styles are polar opposites sometimes the most "spontaneous" photographs are staged. It is important to capture the metaphor you want to address, create a story with your image, and work different angles. Something Padilla said that stood out was "don't always take the picture that is expected."
Through this lecture, it has made me want to keep challenging myself and pushed me to reach deeper and understand the difference between a hobby photographer and a professional photographer.
Photography Lecture Review - Gillian Laub
Zoe McCartney
Art 376
Let me preface this paper by saying that I really wanted to like this exhibition. I really wanted to like Gillian Laub (my very first "college photography lecture"! And by a woman who went to this same school! How exciting!) and I really wanted to enjoy Southern Rites, to have my eyes opened to the realities of American society and the raw beauty of good, old-fashioned, boots-on-the-ground photojournalism. I went into it with heightened expectations and a sweet sense of hope and excitement and that one might be on me -that might be my fault- but, honestly, I felt kind of underwhelmed. Southern Rites was a concept I was open to exploring and being taught about but I left the lecture (and the exhibition as a whole) feeling the teensiest bit betrayed. I didn't feel "official" and "artsy" like I had hoped but, rather, I felt like I had just sat through a presentation of a white lady recounting a time when she pushed her way into telling a story (someone else's, I feel I should add) that made her feel important.
Perhaps I misunderstood. It's possible that I mistook her pride in her hard work for a pride in a reinforcement of societal expectations and advantages. I hope that's what happened.
Gillian Laub's presentation was mostly a semi-formal talk-show interview about the journey she went on to "document" the segregated proms that were still being put on in the South. The head honcho Chazen lady guided her through her tale of danger and intrigue and, in the end, I felt like I hadn't learned much of anything aside from these three things: 1) If you want to find a story, sometimes you really just have to push your way into things--people will thank you for it later when you bring the story out of the context of the community. 2) It's possible that galleries are more interested in the story of a body of work than in the visual quality of the art itself. 3) When I get disappointed, I get cynical. None of these things were exactly new or shocking discoveries.
After she was done recounting her tale, she opened the room up for a few questions. Because she had yet to talk about the art side of things, I asked her (much more respectfully than I might be leading you to believe with the tone of this review) to speak a little more about her photographic process. She didn't say much. She mentioned that she went back to shooting in film after digital and did hardly any editing. She then moved on to the next question. It was kind of a meh experience. I hope my experience of this lecture has merely been tainted by time but as it stands, it feels like a lecture and a show that I could have skipped and been perfectly fine.
Things we collect. Sarah Stankey's MFA exhibit review
Not always things that you collect make sense, nor does they interact with each other. However, things we keep are personal and inherently have an emotional aspect. In very rare times those objects interact so well with one another. Stankey's exhibit does the last. Her MFA exhibition created a homage about her years long objects collection. Her creation of art by interacting with object and leaving the evidence of that with a series of portraits, makes the very extravagant, distinctive objects she possesses work together as one.
Every portrait she created was so unique and detailed to the core, in which she would create self-portraiture in very interesting and creative ways. From dressing herself as a hunter and pointing a rifle to the viewer, to wearing animal fur and look excessive, she portrays herself in very contrasting and emotional series of photographs. One notices that her work is personal and her objects have sentimental value that represents different perspectives of her life experiences.
One of the aspects that were unique of the exhibit was the ability to interact with many objects part of the self-portraiture. One as a viewer could become more than that and actually immerse itself in the world of the artist. While going through the things and the art made from them, one was able to give a new personal and distinctive interaction to them. At the same time the "active viewer" was naturally getting closer to the life of the owner.
Naturally artificial, Xiaoyue Pu experience review
The colorful and surprising series of portraits of Xiaoyue Pu brings out the question of how human beings interact with nature. As the pictures look complicated in structure and composition, by dividing its features, one can notice simple notions of connections and relations between subject and the surrounding space. While, with a simple glance the photographs look like both people are trying to clash with nature, in a deeper look, they are conveying the opposite. The dichotomy between humans and nature can be seen in this project as one of the strongest ideas presented in the series of photos.
At a first sight, the subjects look as a disturbance to the environment. However, both subjects are trying to relate to the space they are part of. The strangeness of the subjects appearance feels as a representation of the complicated interaction between humans and the nature world, sometimes clashing, other times joining forces. For instance, both subjects utilizes objects, clothes, make-up that employing primary colors onto themselves. This basic color spectrum makes the people portrayed in the pictures look vibrant and intrinsically rudimental. These connection makes one allude to coming back to the roots of humans, before industrialization. As they try blending in nature, they are using these three colors, very different from green, contrasting, just as if they were the flowers. The two subjects' dresses hinted these, as both use floral patterns.
Meanwhile there is a strong relation between subjects and nature, the use of plastic objects makes one imagine the antithesis of human nature interaction. Currently plastic is considered one of the most dangers to the environment. Therefore, one can assume that the utilization of plastic objects is bringing the commentary of the detriments of human-environment relation.
I attended Gillian Laub's Chazen lecture about her photography exhibition Southern Rites. This lecture was interesting to say the least. I don't feel like I learned anything though. Laub entered into Montgomery County, Alabama as a self-proclaimed photojournalist to photograph the County schools' segregated proms. The non-violent racism she saw soon turned violent when a young Black boy was murdered by an old white man.
I think that her photographs are mediocre. They look like prom pictures. I don't think that I would be able to tell that these were segregated proms had she not prefaced the images as such. Most of the United States isn't integrated on more than paper. Milwaukee, Wisconsin is the most segregated city in the US. I don't think that her work is as groundbreaking as she made herself seem.
I will commend her however for continuing to photograph outside her comfort zone in the face of much backlash especially from the teens parents. It takes courage to be a photographer and tell a story that you know will cause outrage when it comes out.
However the story she told and the way she told it in the lecture screams White Savior Complex to me. She didn't talk about her work in this marginalized rural community like she was a guest. She talked about it like she was a hero exposing this horrible phenomenon. On a personal level, I am also bothered by journalists whose activism ends at the front of their lens. Taking pictures to expose the problem is not enough. I wanted to hear her talk about how her time in Montgomery County inspired her to join a coalition or start a foundation.
Overall, I was disappointed in her actual photographs, her approach to her photographs, and her lecture. It wasn't the worst, but I wasn't impressed. I was disappointed with this white artist who came into black communities and profited from their story.
On April 12th, I attended the Southern Rites exhibit by Gillian Laub, at the Chazen. This exhibit revolves around Laub's work, photographing segregated proms in Mount Vernon Georgia, which sparked great controversy after her photos got published in Times Magazine. Everything about this exhibit blew me away, and it was so incredibly powerful that it almost brought me to tears.
In the first section of the gallery were photos of teenagers in their prom attire, couples and people by themselves. The photos that resonated with me the most in this portion of the gallery, were the ones of biracial couples because it really highlighted the problems that were taking place. Next to the photos there were blurbs that explained the stories of the subjects, and it was interesting to read how the biracial couples were only welcome at the black prom.
The following part of the gallery was all about Justin Patterson, a 22 year old African American who was shot by an older white man, for interacting with his daughter in their home late at night. Although the photos were powerful, considering it included a portrait of his daughter, the video installation is what really intrigued me. It was heartbreaking to hear the story of how the shooting occurred, and to learn that the man who shot Patterson walked away from the crime with only a year sentence in the state penitentiary. This part of the gallery enhanced the idea that racism is still extremely prevalent in the south, and hinted at the movement Black Lives Matter.
I really loved everything about this gallery, especially the ending with the room full of cutouts of people dancing. The music playing overhead set a somber tone, and it was an interesting aspect to add glass on some of the cutouts so that I could see myself. Overall, this exhibition hit on the issues of racism and inequality really well, and everything about it was moving.
For my artist lecture, I went to Xiaoyue Pu's opening performance for her exhibition "The Secret Garden" on April 26th. Although the performance was abstract and was difficult to pull meaning from, it did have a general feeling of discomfort, especially when the performers started interacting with the audience. From what I could tell, the performance was set to bring the onlookers into the Secret Garden and display the atmosphere which is present. I got the impression that the performers were reacting to, or controlled by, the sounds that were being played. When the sounds stopped, the performers started speaking and interacting with the audience, making it personal and intimate by stating their names and shaking hands with audience members. It was also clear to me that the performers were meant to represent a broad variety of cultures, as I noticed at least three languages being spoken, although they were all saying the same general thing (Hello, my name is __, welcome to the Secret Garden). At the end, they handed the pieces to members of the audience, who then, without explicit instruction, placed one canvas on each easel that was set up, which included the audience in the mind-control which was happening to the performers.
Of course, this is all conjecture, but this is the impression I got from the performance. As for the exhibition itself, it felt a little unprofessional, especially at the beginning. The start was delayed a couple times, it started and stopped a couple times, and the performers had to stand there for at least 10 minutes due to the delay (I felt bad for them). Once it officially began, it felt a little under-practiced and unpolished; however, all the performers seemed eager and, if they weren't, didn't lead me to believe so. I thought it was an interesting performance, although, overall, I'm not quite sure how it related to the artwork itself.
On January 29th, I attended a Gallery 7 exhibition of digital photography images by Maryam Ladoni, titled "Mail for Apartment no. 445." She begins her artist statement by telling her audience, "This is a poem about home." Ladoni then goes on to describe where she came from. She was a child of a war torn Iran and would often find comfort in her father's stories about the United States. As she got older she was forced to watch people she loved leave their homes in the wake of economic and social hardship. She too dreamed of being able to leave, and in 2017 was finally granted that opportunity. Unfortunately, she realized that even in leaving her home she could never really leave her home. Ladoni recalls her father saying to ther, "We are forever war-torn." In this new and foreign place, Ladoni uses her camera to write a poem about looking for home in everything all of the time.
First, I want to say this this work is brave. I want to commend her for the courage to write this emotional photographic poem. It tells a brave story that so many people in America can relate to. My critics should not take away from that fact.
That being said, I as an outside viewer felt as though this show lacked some cohesion. Some of the images like Home (2), Retired, and Mail for Apt. No. 445 clearly communicated the ideas that Ladoni expressed in the artist statement. I could see her looking for home in places it should be but might not always feel perfect: like a bed, a reclining chair that is ironically outside and her own mailbox. There were other images that I felt like did not communicate the idea of home like Carrying a city, A pair of legs, Nest, and Complicated (2). I think those images are all eerie and creepy. The depict garbage dumps, mannequins, and broken dolls. Some of those subjects were mentioned in the artist statement as things that Ladoni would often see around her neighborhood, but I still don't think that they show home. It is possible that Ladoni is trying to show the audience that the home that she came from clearly wasn't rainbows and sunshine as it was war-torn, but these other photographs don't say war-torn to me. They were frightening, but not in the way that war and refugee status is frightening. They were reminiscent of ghosts or something else haunted. It is possible that they could also be trying to show the audience that her new home is also far from perfect, but in her artist statement she refers to the States as a Promised Land. The body of work gave me mixed signals about it's message.
I understand that as an outsider looking in on Ladoni's brain child I may not be interpreting the intended message of her work correctly, but art is about impact not intent. We may not see the art as the artist intended but it's about how it impacts us. I felt the beauty of Maryam Ladoni's work. Each image on it's own was expertly crafted in areas like composition, tone, and texture. The talent of the artist is clear in each frame. I have no critiques to offer about the actual photographs themselves. They are exceptional, but not as perfect when placed in a show together. However, the very creative idea that this work is intended to be a poem is communicated incredibly well.
I attended Sarah Stankey's exhibit named "Cache." At first, I did not know what to expect, the advertisement seemed very dark and kind of creepy due to the skull. However, after seeing Sarah's work, the advertisement for it describes it perfectly. The exhibit was not at all creepy, but objects that Sarah had collected over the years. What I found most interesting is how she constructed the pictures based on the object she had collected. I really enjoyed the photographs that she had of the food (this is not just because of my love of food). I had talked to her about her process of creating the pictures, specifically, the props and backgrounds and Sarah had said that each image took hours to create. This adds to my appreciation of the work and time that had gone into the images. They also give way to Sarah's personality, not only as an artist, but as a person. Because each image embodied an object she herself collected, it ties her to the work as well as the object revealing something of her character. Each object in the images, represented a different part of her personality from food to the animal fur that she collected. Something that I also found interesting was that she took pictures of herself with the objects she collected. This also tied her to the work as it revealed more to her characters. Not only were these objects that she collected for her work, but they were objects that she was inclined to collect for herself. Overall, I enjoyed seeing Sarah as a character and person in a different light outside of the classroom.
I went to the "The Secret Garden" by Xiaoyue Pu. Although the reception was centered on Xiaoyue's photograph's there was a performance that went along with them. It was a very interesting performance. When you first walked into the building in the middle was a table of plants with (what I thought) were letters that formed a word (from what I could guess). When the performance started, the performers were wearing black morph suits with their faces covered. Because of the literal name of the costume they were wearing the color of it, it allowed them to be ambiguous. In other words, the performers, morphed into any general idea that the spectator wanted them to be. This was specifically demonstrated when they walked around and introduced themselves in different languages. At that point, they could've been anyone from anywhere, they were not confined to their identity. This is why I thought it was so hard to understand the underlying message of the performance. Because it was not clear what the performers were, I was very confused during the performance. I did not understand what they had to do with the images they were carrying and walking around with. I, also, did not understand why they put the images down when it was being performed. To me, in order to connect the images to the performance, they need to be included in them. The performers, did, at the end, give the images to random spectators, and as the performers walked away, the spectators slowly put the images on their stands. What I liked about this is that it gave the power to the spectators. When it comes to photography and other art mediums, order matters, the fact that the spectators got to choose the order was powerful. I'm not really sure if they actually had the chance to choose the order of the pictures though because the performers showed the spectators the order before giving them the pictures. They also gave the pictures to the spectators in a specific way such that the images correlated to where the stands were. Do people really have the free will to decide? I thought that was a very powerful statement.
I attended a reception and performance put on by Xiaoyue Pu titled "The Secret Garden." The performance centered around several prints taken by Pu with each being held by a performer in a black morph suit. As the performance started, all the actors put down their respective photos and proceeded to move around a collection of plants centered in the room to abstract and obscure sounds in what appeared to be a trance-like state. Once the sounds ceased, the actors began to act more independently. Each said "Hello, my name is…" in a variety of languages and the actors began to move about the room and shake the spectators' hands. Eventually the sounds began to play again, and the actors went back to the trance-like state. They retrieved several stands to place the photographs on and reclaimed the prints they had placed on the floor earlier. Each of the actors eventually gave a member of the audience a print that they, in turn, placed on a stand. The whole performance was very odd, and I could tell it was meant to inspire some unease and anxiety. The inclusion of the morph suits added greatly to the performance as they obscured the wearer's face completely. To not have a face to look into when being greeted by an actor was very strange and interesting. I also thought it was interesting how the audience was able to, more or less, choose how the photographs would be displayed at the end of the performance. By handing each one of the prints to a spectator, a tremendous amount of control was given to the audience. A lot of times in events like this, the order that a group of images is presented in matters significantly. It was a fascinating concept to allow the audience to control such a vital part of presenting a group of photographs. One thing that I didn't understand, however, was how the images themselves related to the performance. The images that were used in the performance were just portraits of two different subjects taken in what looked to be a garden. The images did not obviously depict subjects from many different ethnic backgrounds either. As a result, the whole performance of the actors seemed to have very little relation to the images that were presented. I think it would have been interesting to have a performance that could be more strongly linked back to the images, but I did enjoy how the performance got the spectators interested in the photographs. It was an interesting way to present one's work for sure.
I saw Sarah Stankey's exhibition named "Cache." The exhibition contained a variety of objects in addition to the photographs that she had taken. There were hand bound books, props used in the photos, and even a preserved dead mouse on display for people to look at and interact with. I was definitely surprised that the exhibition contained objects to interact with; I thought that the exhibition would solely be photographs. To have this level of interaction in an exhibition is a really good idea because it definitely helps keep one interested in the whole collection. There is a sense of exploration that I got while attending this event. You constantly wanted to find something more to interact with and look at. As for the images themselves, I thought several were interesting. Most of the images had elements of nature that worked to bring the collection together as a whole. There were a few images, like the hunting ones and the picture involving some Kentucky Fried Chicken that didn't seem to fit as much in an obvious way; however, once one thinks about the images more deeply, it is clear that the nature elements are still in them. For example, even though one of the hunting images appeared to be shot in a studio, hunting is something that is still tied to the great outdoors. The vast majority of the images presented were self-portraits. I found many of these images interesting. They were clearly staged images, but I thought that this suited the collection well. Many of the set-ups for these pictures were elaborate and Sarah clearly committed a lot of resources to setting everything up the way she wanted. The fact that she is staring directly into the camera in many of the photos also invokes a feeling of seriousness that keeps the viewer grounded in reality. I found myself thinking about things like food and about where it comes from. This collection made me think about how that piece of chicken you would get from KFC was actually alive at one point in time before being served to you as sustenance. I found "Cache" to be a really neat exhibition that contained many interactive elements that also provoked many thoughts about humanity and its intrinsic connection with nature.
I went to the Southern Rites photography exhibition by Gillian Laub. I was blown away by these portraits. I really like this sort of lifestyle photography that has an element of staging to it. In almost every picture the people were in direct contact with the camera and staring right into the lens. I felt that this really captured the story even more because they were saying so much with their eyes. You could see the sadness and hope and love in all of the different photographs. He captured the young people in a really powerful way that made them look very strong.
There were many photos that were composed in a very interesting way that really drew me in. I liked the first photograph when you walked in "Prom King and Queen, dancing at prom." Everything besides the girl's fancy nails and the ring was out of focus. The little details of Prom are what makes it so special. As a young person, there are not many times in your life before this that you get to dress up and act like a princess. It makes you feel special to look so beautiful and you could see how happy that it made the girl and boy as they shared a special moment together on the dance floor.
I also really liked the photo "Seniors arriving to first integrated prom." It was captured in a way that some of their faces were in it, just the movement of them walking towards the camera. I found this very powerful. I think that using people's faces can sometimes be an easy way out of capturing a storyline. By just using bodies and more the message can still come across in an even more interesting way.
Overall I just really enjoyed looking at these pictures. They were all so raw and real. The colors popped so much on the pictures it made them feel super crisp. I definitely recommend checking this exhibition out.
Photography Lecture Review: Monica Haller
Having the opportunity to listen to Monica Haller's lecture at the colloquium was fascinating and true to itself. Her work extends beyond the basis of photography and deals with subject matter that mirrors her own interests. Focusing on both environmental and human structure, Haller creates work that is highly dimensional. A prominent theme across her work is her strong connection to her roots in Louisiana. Speaking a lot about Louisiana as well as the Mississippi Delta and her explorations, Haller discussed how land can be affected by issues of value, ownership, and colonization. There is so much history embedded in land, and it is interesting how she uses this idea to widen her practice. What is especially engaging about Haller that sets her apart from everyone else is how she captures her work using more than just a camera lens. Incorporating various mediums, she does not limit herself in any regard. One way she does this is by recording audio of the Mississippi River. Using sound brings so much life to her work, providing more context to her photographs as well as her experiences traveling. By utilizing meaningful concepts and expressing them in an engaging way, viewers are given a new perspective of how photography can be considered. Haller's documentation in all areas exemplifies dedication and authenticity. It was nice to hear about all of the different projects she has been involved in over the years. There is something very durational and progressional about her work and in expressing topics like land and roots, Haller truly redefines what being a photographer means.
Photography Show Review: Southern Rites
Gillian Laub's photography show, Southern Rites, presented at the Chazen Museum of Art speaks a strong, much needed message that everyone should listen to. Upon entering the exhibition, there is an overwhelming sense of emotion all around. Visitors are guided through the gallery space by the powerful photographs centered around segregated Georgia community proms. Each photo tells the candid stories of people and their experiences dealing with the actualities of racism. Laub does not hold back when it comes to her photographs, showing everything with honesty and genuineness. The incredible realness she displays is necessary toward the notion that there is still progress to be made. Southern Rites communicates not only the impact of racism but how it continues to affect society today. This powerful message is ongoing throughout the entire exhibition. Embodied within photographs and memorabilia is a raw and heartbreaking truth. The exhibit documents the segregation of high school proms as well as acknowledges the pain experienced along the way. By recognizing issues of racism, violence, and inequality, Laub's work encourages conversation, which is immensely important to her message. The world still has a lot to work on and Laub reminds us of that. This exhibition is captivating the whole way through and a piece of the message leaves with every viewer. Southern Rites captures photographic honesty in such an impactful way, impossible to forget.
The presentation I went to was by Monica Moses Haller.
I really enjoyed this presentation. It was really interesting how she combined photography, audio, video, and research. It was clear how passionate she was about what she was talking about. She showed us a picture of a huge live oak tree that was really stunning. It looked interesting because only the middle section of the tree was in focus. I liked how that looked because it kind of made the tree look a bit out-of-this-world and like it might not be on Earth. The pictures she showed were also edited in a very interesting way a lot of her pictures had interesting depths of field. She also her pictures edited so there were lots of cool blue undertones, which is something that I like to do with my pictures as well.
She talked a lot about how collaboration and research are very important to her. She did not want to take credit for everything she did and frequently mentioned that people that she worked with and what they did for her projects. I think that research is something very important to photography and many people don't realize it. You can't capture something accurately unless you know information about it. She did a lot of work in Louisiana, where she said that she was from. It was clear how passionate she was about her work because it is about where she came from. She captured how hurricane Katrina affected the land in Louisiana. This is such an interesting thing to capture because before she was capturing the beauty of an oak tree that was really important to her, but she could also capture the destruction and still make it look like a pleasing picture. She talked about taking ownership of the land and how important family is. This is how you could tell how passionate she is because she kept bringing these ideas up. She also had really interesting pictures of the Mississippi. I liked these because the water looked so interesting because the picture was clearly taken with a long exposure. They all had really interesting textures.
The lecture I went to was honestly a lot less photography-centric that I'd hoped. Monica Haller discussed various large projects, including creating underwater soundscapes and a large veteran book project. She shortly discussed a tree she'd take photos of, which was fairly interesting. She photographed up close, creating an almost octopus like effect with branches spraying out towards the edges of the frame. She chose a short depth of field, which caused a strange blurring on some of the tree limbs. I didn't personally care for the blur, but it did add a feeling of mystery to the piece. She chose to photograph this tree repeatedly to explore the solidity of oak trees. These trees are some that stand tall for decades or centuries, through floods and winds. I think photographing these trees over a few years despite the fact they stay the same visually is an interesting concept, though the photos don't differ much visually. Overall, Haller's speech wasn't a personal favorite of mine, but it was interesting to hear about her various projects.
I've made a handful of photographer friends in the past 7 years or so. One of the most successful of them is my friend, Max Goldberg. He's currently shooting for and modeling for the Rock modeling agency here in Madison. He hosted a small exhibition of his recent work a few weeks ago entitled "Agency". His work is largely studio, with occasional on-location shoots. The work he displayed at this show focused on expressions, both of the face and the body, as well as the way people express themselves though fashion. His work contains muted colors, models in everything from leather jackets to sundresses to just about nothing at all. He's been working in the studio for years now, and his current work is some of his strongest. The ambiguity of the expressions in the models creates a sort of thoughtfulness to each and every image. Though composition remains simple, each image and pose has its own striking presence. He utilizes simple backgrounds, but he displayed the images with the darkest to lightest backgrounds on one long wall, which created a really dynamic way to view them. Overall, his show was a presentation of how far his work has come, and represented the level of professionalism he'll continue to purse in his art career.
On April 10th, I went to a photography lecture given by Monica Moses Haller, who specializes in photography and video making. Throughout her speech, she discussed many of her older and current projects, to try and give us insight to the type of artwork she does.
Something I found especially interesting was her work she is completed in Louisiana where she photographs trees to try and channel what said trees and the land has witnessed over time. Haller began photographing trees, specifically live oaks, when she was just 19 years old, and her passion only grew from there. She was fascinated by the way they grew, and how they were able to withstand floods. Connecting these trees to her family history became an important aspect of her everyday work, and eventually was made into a book. A quote from her book she shared that especially stood out to me was, "when the floods come I climbed the trees." For some reason this quote resonated with me, and really emphasized her emotional connection to the trees.
Another project that Haller shared with us was her work on the Mississippi river, collecting sound bites of the river and the life that lived in it. This project consisted of putting a mic out on the river to pick up sounds which created a composition. Headphones were set up along the edge of the river, which allowed people to listen and become involved.
I find Haller's work extremely interesting, and I enjoy how she connects her projects to her own life and everyday people. Woking with multiple types of media can be challenging, but Haller seems to excel in what she does, creating an interactive environment for her audience.
I attended a lecture delivered by artist Monica Moses Haller. She is a multimedia artist who does a large majority of her work in New Orleans. The primary focuses of her work are on the nature of memory and issues of race. Her grandparents were originally from Louisiana and her grandmother was Creole, and therefore considered to be a black woman. Due to discrimination they faced for their interracial relationship, they moved to Minneapolis, Minnesota. Her grandfather and mother traveled down to New Orleans every summer to work and some members of her family remained there.
During her visits to New Orleans something that always fascinated her were the trees that have been around for 600-800 years. She has been shooting these trees for 18 years. One aspect of these trees that she finds so compelling is the fact that the trees seem to resist being captured by the camera. Their massive size and the intricacy of their roots are too large to be contained in a single shot. Focusing on memory, Haller directed a project called the "Veteran's Book Project". She helped veterans, people who were in Iraq at the time of the war, and people who had lost family members in the war collect images and archives to create memory books. These books were then installed in museums.
I went to an exhibition in Birge Hall called the Secret Garden by Xiaoyue Pu. It consisted of several performers dressed in black morph suits hiding their features. They each held a print of the photographer's work and displayed them and interacted with them in various ways including placing them in different locations and running around them or handing them to members of the audience. Ambient music played and the performers went through a series of moves including walking and crawling and writhing on the floor. Performers also interacted with the audience by introducing themselves in various languages and welcoming watchers to "The Secret Garden". The performers then exited and gave the people in attendance the opportunity to view the prints up close.
The subjects of the photos were women with accentuated features through the usage of highly pigmented red and blue makeup used on the eyebrows, eyelids, and lips. The setting for the photos was within a greenhouse, and the models were surrounded by plants and greenery. I feel that by displaying Asian women in such a natural and stunning way, this artist is working to combat western standards of beauty. By highlighting the models' decidedly non-eurocentric features, Pu is emphasizing that those characteristics are not at all necessary to be beautiful.
I attended a lecture given by Monica Moses Haller, where she talked about her past and recent art projects. While not all of it was photography related, the ones that were are very interesting.
The first photo project she talked about was her idea to give veterans a book to tell their story. She designed the books while authors were in charge of content within the book itself. Looking at some of the book covers, there is a distinct theme to their covers while still maintaining an individualistic style that really let each book stand out on its own while still fitting in with the other books in the series.
Her most interesting photo project to me was her long term project of capturing a live oak throughout her life. The massive branches and roots of the tree resist being framed by a camera no matter how hard Monica tried. She not only focused on the tree itself, but also the waterline visible on the trunk that marks the passage of time throughout the tree's life. Finally, Monica mentioned how she took photos of the tree in segments to learn about what the great live oak sees from its own perspective.
Some of her most recent work incorporates text into photographs in order to tell a story. She uses variations in white space, placement, and size of text to give each photo character. While she did not mention future plans, Monica is a very gifted artist with big ideas about the world.
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May 12, 1993, Section C, Page 1Buy Reprints
ALL right, if Chuck Norris is such a tough guy, I decided, let's see how he handles Lutece.
Mr. Norris, the great martial-arts, action-adventure, karate-wheeling movie star, was in town recently promoting his new film, "Sidekicks." The title refers to the asthmatic teen-age boy Mr. Norris befriends and inspires in the movie and to his own swift foot-in-the-belly predilections.
Before picking a place for dinner with Mr. Norris, I did some research on him.
It happens that in "Return of the Dragon" (1973), the first movie he ever made, he played a small, villainous role. The plot revolves around its star, Bruce Lee, the first of the famous barefoot bashers, who saves the owner of a Chinese restaurant in Rome from Mafia scum.
"Sidekicks" has some important scenes set in the Frying Dragon, a fictional Chinese restaurant in an unnamed city in Texas. Mr. Norris has found himself in Chinese restaurants in some of his other 19 films, and you have to figure that by now he is fed up with Chinese restaurants. Scratch them. I also saw his new CBS series, "Walker, Texas Ranger," in which he beats up about a dozen desperadoes in maybe 15 seconds in a Mexican restaurant. The tacos there might have left a bad taste in his mouth. So forget Mexican, too.
Then I recalled something Goose Gossage told me when he was with the Yankees and, with his blazing fast ball and curling mustache, was the most feared pitcher in baseball.
"Goose," I said, "you intimidate everyone in baseball. Who intimidates you?"
"New York waiters," he said.
That's it! What better test of the mettle of Chuck Norris than to take him to the most formidable restaurant in New York?
Tieless in a brown checked sport jacket, black knit sweater-shirt and black slacks, Mr. Norris, with his trademark neatly trimmed blond mustache and beard and quiet smile, entered the restaurant, a former town house on East 50th Street, and was led into the "defense de fumer" section.
Mr. Norris moves with an easy gait, as befits a man whose diligent daily workout routines keep him, he says, in the kind of condition that helped him win seven straight world middleweight karate championships, the last in 1974.
"Oh, hello, Mr. Norris," said one waiter in black tie, standing aside and letting Mr. Norris follow the maitre d'hotel to a table in a far corner of the garden dining room. "Hello," said another waiter, and a captain or two. "Hello, Mr. Norris," came a chorus from cooks leaning out of the open windows of the kitchen.
"Hi, guys," Mr. Norris said, smiling and shaking a hand. "Good to see you."
There wasn't a single "Bon soir," which most guests get. Suspicious.
We sat down in front of the white latticework, like a high fence against the pink walls. Three fresh sweetheart roses in a thin vase greeted us.
The guy's a phony, I concluded. Everyone knows him. He was born in the prairie town of Ryan, Okla., moved when he was 9 years old to Torrance, Calif., now owns a home in Tarzana, Calif., and a ranch outside Houston, but the guy's got to be a regular here.
"You come to this restaurant often?" I asked.
"Nah," Mr. Norris said. "Never been here before."
"They know me from my movies -- they've been on television a lot lately," he said. "I think I was on 20 times last week alone. TNT recently had a Chuck Week." He laughed. "I get the same thing all over. It's like I'm part of the family."
Shortly, the chef and owner of the restaurant, Andre Soltner, in whites and a chef's toque that seemed to reach the ceiling, appeared at the table. He had a small pencil and a small pad of paper in hand.
"Good evening, Mr. Norris," he said. "The waiters, they are all scared. They don't want you should beat them up. So I come myself to take the order."
"Aw, I'm not here to hurt anyone," Mr. Norris said gently, smiling. "I'm here to eat."
I glanced around and saw a handful of waiters watching in awe, at a respectful distance. Mr. Soltner was smiling.
"For appetizer," he said, "our specials today we have the gambas -- the fresh shrimp -- with scallops in light Nantua sauce, and we have halibut on puree of eggplant and, um, the salmon stuffed with mousseline of pike in pastry with sauce Choron."
"I don't eat appetizers," Mr. Norris said, politely.
Mr. Soltner cleared his throat. He looked slightly mournful.
I said quietly to Mr. Norris, "Maybe you ought to at least try one of them."
"Uh, O.K.," he said, agreeably. "Halibut."
"And for the main dish," Mr. Soltner said, "we have beef, veal, seafood, chicken, sweetbreads -- "
Mr. Norris stopped him at sweetbreads. "I'll have the chicken," he said.
"We have a nice baby chicken, roasted crisp in natural juice and herbs, and with vegetables."
"That'll be fine."
"And to drink? We have an extensive wine list."
"Iced tea," Mr. Norris said.
"Iced tea," Mr. Soltner said. "Yes, certainly, iced tea."
He wrote this down dutifully.
"Thank you," Mr. Soltner said.
"My pleasure," Mr. Norris said.
Mr. Norris said that he rarely eats in French restaurants. "Don't go in much for sauces," he said. And he doesn't eat hearty dinners. "I eat my big meal at lunch, and that's usually pasta and vegetables," he added.
The 5-foot-10, 53-year-old Mr. Norris watches his weight carefully and remains in fighting trim at about 160 pounds. His workout routine -- he spends nearly six hours a day, six days a week -- goes from tromping up the Stairmaster to tangling with jujitsu.
"I identify with the kid in 'Sidekicks,' " he was saying, as he took one bite of the complimentary onion tart and casually inched it away. "I grew up a dreamer, like he did. John Wayne was my hero." In the movie, the boy idolizes Chuck Norris, who plays himself.
"But I was shy, unathletic and only a C student," Mr. Norris continued. "I did make the football team, but I was second string. The coach wanted those aggressive types. I just wasn't one of them."
Mr. Norris also grew up poor, with an alcoholic father, a Cherokee Indian, who was gone from home much of the time, and he and his brother Aaron, who directed "Sidekicks," and a third brother, Wieland, were raised for the most part by their Irish mother.
"There were taunts by kids about being a half-breed," Mr. Norris said. "I had very low self-esteem. And I used to daydream about being strong and being able to handle myself. To beat up the bullies."
He went into the Army right out of high school and was stationed in Korea. That was when he took up karate.
"Four months later, my coach told me I was ready to break cinder blocks with my hand," he said. "You have to strike at the middle of the blocks and hit them with the knuckles of your first two fingers -- because they can take a lot of pressure -- and follow through. And you have to have your mind focused solely on the task at hand. It's an exercise in discipline and teaching you to focus in life.
"So I got all ready, staring, concentrating hard, and then brought down my fist. But just at the point of impact, I got scared, and turned my hand just a little. Wound up in a cast for six weeks."
He later broke the hand again, and his nose, too, in karate fights. But he persevered, another lesson not lost in his movies.
The baby chicken in natural juice and herbs arrived. Mr. Norris checked it out, without comment. The waiter checked out Mr. Norris in a similar wary fashion. And departed.
Mr. Norris said he never had any intention of becoming an actor. His plan was to be a karate instructor. Upon leaving the Army, he opened a karate school in Los Angeles, then added five more. He sold them to a conglomerate, which mismanaged them, and when he was brought back to run them, he went broke.
Mr. Norris, married (he's now divorced) and the father of two boys, had to start over again. He opened another karate school, and one of his students happened to be the son of Steve McQueen.
"Steve thought I might have a shot at the movies," Mr. Norris said. "He said, 'You've got this intensity in your eyes when you fight that audiences might find appealing -- could be profitable for you.' "
It has been, making Mr. Norris one of filmdom's top box-office draws, putting him up there with such knock-'em-down heroes as Clint Eastwood, Charles Bronson and McQueen.
"But none of it came easy," Mr. Norris said, picking at the chicken. "I remember going for a casting call. There were about 50 of us for one small part, and some jerk in charge is screaming at us, 'Get in line, you slobs!' I got so mad, I grabbed him by the collar. Needless to say, I didn't get the part. I thought: 'This just isn't going to work. I have to find another way.' "
He and a friend then wrote the script for "Good Guys Wear Black" and took it to about 30 producers, all of whom turned it down. He finally found one who loved the script and filmed it in 1977. Despite some terrible reviews, Mr. Norris was on his way to stardom.
McQueen had one piece of advice: "Next time, not so much dialogue." And Mr. Norris has hewed to that line of the strong, silent type, letting his punches and boots, often in lyrical, balletic sequences, do the talking.
"All I wanted to do in movies was be a positive image," he said. "I wanted to be likable, as I do in real life. I don't like violence for violence's sake. I hated the movie 'Blue Velvet,' for example. I liked 'Aladdin,' because it has a positive message. In my movies, I never attack anyone. I don't cause trouble, but I end it.
"I never wanted to be Dustin Hoffman or Al Pacino. I mean, I never dreamed of being an Ac-tor." He said the word slowly. "I do what I do."
Among other things, he has written several books on karate and an autobiography, "The Secret of Inner Strength: My Story," with Joe Hyams (Little, Brown, 1988).
"Are you finished, Mr. Norris?" asked a waiter, with circumspection. About half the chicken in its bright yellow sauce remained uneaten.
"Yeah, thanks," Mr. Norris said.
Desserts were suggested. Mr. Norris declined. For the sake of reportorial thoroughness, I went for the tarte au chocolat with the caramel ice cream.
"Do you mind?" I asked.
"No, go ahead," Mr. Norris said, reaching for his iced tea.
On another subject he recalled a time when he himself was in awe, when he met George Bush when he was running for President in 1988. "But he made me feel comfortable right off the bat," Mr. Norris said. "This was at a time when people were calling him a wimpy candidate, and I was asked to emcee a rally in Riverside, Calif., for him. And I was asked to travel with him, and I did for a little while. It was funny. His image had changed. You'd read in the papers, 'Two macho men have just arrived in town. . . .' " He laughed.
"This 'macho man' stuff is strange. You know, some people get things into their heads and make you bigger than you are. I'm not Superman. If a guy comes up behind me and puts a gun to my back and tells me to give him my wallet, what I'd do is reach back, pull out my wallet and give it to him. Absolutely. You'd be foolish to gamble your life for money."
At the next table, a woman leaned over and said, "Excuse me, Mr. Norris, but I just have to tell you that you have saved our marriage, numerous times."
"Oh?" Mr. Norris said.
"My husband" -- here the woman half-turned to the man shyly smiling at her right -- "always goes down to our den when we've had a fight and puts on your films. I think his favorite is 'Delta Force.' He gets his aggressions out that way."
"Glad to be of service," Mr. Norris said.
As Mr. Norris departed, the waiters and the captains and the cooks in the kitchen said: "Goodbye, Mr. Norris." "So long, Mr. Norris."
Andre Soltner shook his hand with a little bow. There was not one "Au revoir, monsieur."
Incredible! Without delivering a single blow, not by fist and not by hoof, Mr. Norris had brought Lutece to its knees. No contest. The winner and still champ, Chuck Norris.

subset: commoncrawl


text:
At work we are testing an existing application with behat+mink. We normally use goutte driver, but in some cases (when javascript is needed) we need to use selenium server piloting firefox.
When using firefox, the page is loaded including external javascript (google analytics, network ads etc..) so it needs connetivity. An alternative is disabling external requests on the testing environment or use a fake DNS entry, but that wasn't a viable solution for us.
A small problem I had was bypassing the office network proxy, that requires a proxy auto config file (PAC) when firefox was running. You can find many links online mentioning the various firefox preferences you can set, for example network.proxy.http and network.proxy.http_port to specify a proxy, or network.http.use-cache to enable/disable the browser cache.
In my configuration (ubuntu 12.04, with selenium 2.28, firefox 18.0.1), the preferences file read by firefox is located at /usr/lib/firefox/defaults/pref/proxy.js, where you can add the various calls to user_pref([settings], [value]) .
Here an example of how I changed the puppet manifest of the box to make things working for us
file { "/usr/lib/firefox/defaults/pref/proxy.js": content => 'user_pref("network.proxy.autoconfig_url", "http://chante-with-your-value/default.pac"); user_pref("network.http.use-cache", false); user_pref("network.dnsCacheExpiration", 1); user_pref("network.proxy.type", 2);' }


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Volkswagen Plans To Debut Electric Car In 2020 That Doubles Current Range
Volkswagen has just announced the 2020 production of the Volkswagen I.D., a poorly named electric vehicle that looks like a Mac mouse and has an estimated single-charge range of 373 miles. For reference, most existing electric vehicles have a range of less than 100 miles except for Tesla models, which can get 200+ and cost accordingly. My bike? My bike can go about four miles on a single Whopper Jr. combo from Burger King before I need a nap.
As for the price, Volkswagen says it will have a price on the level of today's Golf Diesel with comparable power. That's less than $30,000 in the U.S., though we don't know whether that's before or after tax credit.
You know what we should be developing instead of electric cars? Affordable and efficient jetpacks. Nothing screams the future louder like jetpacks. And nobody screams jetpacks louder than myself. Check it: *clears throat* PEENIIIIISSSSS!! Wait, hold up, let me get a do-over. Actually, no, I was happy with that. Impressive right? I've got some pipes.
Keep going for a video unveiling of the vehicle at the recent Paris Motor Show.
Thanks to Dunc, who's holding out for an electric car that can go cross-country on a single charge, that way if you're a hitman you don't have to risk stopping at gas stations where you could be caught on camera or identified. Smart. Just how many people have you killed anyways?


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Photography Classes in Bealeton VA
Are you looking to learn about photography in Bealeton VA? No matter if you are a hobbyist, professional, or beginner, the best way to improve your photography technique is through hands-on classes with professional instructors.
There are many recognized and accredited photography schools in Virginia. Photography classes cover techniques such as lighting, exposure and composition, posing and unposing, portrait capture, and other photography fundamentals. Growing into an accomplished photographer can lead to a lifelong hobby or a prosperous professional career.
There are many Photography Classes in Bealeton VA:
- Bealeton Photography 101
- Bealeton Digital Photography Classes
- Bealeton Nature Photography Classes
- Bealeton Editorial Photography Classes
- Bealeton Studio Photography Classes
- Bealeton Photojournalism Classes
Bealeton VA Photography Classes
Northern Virginia Community College
4001 Wakefield Chapel Rd
Annandale, Virginia 22003-3796
Phone: (703) 323-3000
34.39 miles away
The Art Institute of Washington-Northern Virginia
21000 Atlantic Blvd Ste 100
Sterling, Virginia 20166
Phone: (571) 449-4400
38.25 miles away
Lord Fairfax Community College
173 Skirmisher Lane
Middletown, Virginia 22645
Phone: (540) 868-7000
43.62 miles away
The Art Institute of Washington
1820 N Fort Myer Dr
Arlington, Virginia 22209-1802
Phone: (703) 358-9550
44.09 miles away
Corcoran College of Art and Design
500 Seventeenth Street NW
Washington, District of Columbia 20006-4804
Phone: (202) 639-1800
45.61 miles away
Gallaudet University
800 Florida Ave NE
Washington, District of Columbia 20002-3695
Phone: (202) 651-5000
47.97 miles away
Montgomery College
51 Mannakee Street
Rockville, Maryland 20850
Phone: (240) 567-5000
49.80 miles away


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According to the Oak Creek Patch
"An Oak Creek man has been arrested and charged with burglary after officers found the man hiding in the bell tower of a church after it appeared the church had been broken into.
On Jan. 15, South Milwaukee Police were dispatched to the Divine Mercy Church at 800 Marquette Ave. to escort church personnel during a procession.
According to the criminal complaint filed in Milwaukee County, as the officer was performing this escort, he saw a man wearing a black hoodie and one yellow glove and one orange glove walking on the sidewalk towards the church. After the escort, the officer returned to the church and noticed that one of the doors between the church and Saint John's Manor was open.
According to the criminal complaint, the officer checked the foyer area at that time and did not locate anyone inside and the interior doors to the church from the foyer were locked. He closed the door he found open and made sure it was locked. He also checked the exterior of the church and then took up a surveillance position down the block.
Police reported that after a short while, the officer received a dispatch to assist another officer. As he drove by the front of the church he saw that the door which he had personally locked which he had initially found open was open again. He went in through that door and now saw that the interior church door off the foyer was open. He and other officers then searched the church and located Steven M. Carney in the bell tower of the church.
According to the criminal complaint, after police arrested him, they searched him and found two silk flowers in his pocket which he stated belonged to the church. Police located a yellow and orange glove on him, a tie, rope, and keys. Carney stated that he was present at the church to clean up.
Police spoke with Father Robert Betz of Divine Mercy who stated that he did not have permission to be in the church or take any items from the church."


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Style 1012 in apple red, 1014 in light blue, 1015 in kelly green, or 1003 in tan. NOTE: KELLY GREEN IS SOLD OUT.
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Attempting to catch a baseball while holding a child is a risky proposition. It can make you look like a suspect parent who is also a super-cool badass if pulled off properly, but it can also make you look like a suspect parent who is not at all cool if the opportunity is flubbed. This guy falls into the latter category:
Come on, man. If you're going risk pile-driving your child into the ground, at least do it while going for a difficult catch.
h/t Chase


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When a player moves up from the college level to the pro level, the speed of play is often cited as the most drastic jump.
Speed, however, won't be an issue for Sounders FC defender Dylan Remick. The second round MLS SuperDraft selection out of Brown University was a top-flight sprinter in high school. As a senior in 2009, he ran a 48.61 in the 400 meters, just 0.77 seconds off of the 2009 Junior Olympic qualifying standard of 47.84.
He also didn't waste time in getting acclimated to the Sounders FC and on Tuesday the club announced that they had signed the 21-year-old defender to the team.
"I've been very happy with Dylan," Sounders FC head coach Sigi Schmid said. "Athletically, he's very, very good. He's a good passer and he's improving every day. He may not play a lot of minutes this first year, but he's definitely someone that we think we can build on for the future."
Remick not only excelled in the high school ranks, but also ran track during his freshman year at Brown, running mostly on the 4x400 meter relay team. Though he had extremely competitive times and has a twin brother, Spencer, who runs track at USC, he always envisioned soccer is his path.
"I knew it would be very difficult to qualify for the Junior Olympics. I knew I had some speed, but that didn't seem like a realistic goal as much as soccer did," Remick said. "And I did love to play soccer more than I like to run track. So I was always focused on soccer and track was a great sport to keep me in shape."
Now, he uses his speed from the left back position – although Schmid has also used him at right back with some success this preseason. In a league that features so much speed in the attacking positions, it will be a boost for the Sounders backline.
"I always knew that was a strength of mine and it's helped me become a better soccer player," Remick said, noting that his track workouts helped him develop game speed as well. "The 400 is such a long-distance sprint. It's both physically and mentally tiring and tough. Both the physical and mental aspects helped me in soccer, preparing me for anything that would come my way."
Just two classes away from completing his biology degree at Brown, his new contract with the Sounders FC will not stand in the way of Remick earning his diploma.
The administration at Brown has allowed him to complete two outstanding finals and the two courses he still needs to finish to graduate while he is in Seattle with the Sounders and his professors have helped in building the coursework for him to pass the classes.
"It'll be a little bit difficult. The good thing is by finalizing the contract, it gives me some closure on what my situation will be," Remick said. "That helps a lot and Brown has been overwhelmingly helpful in allowing me to follow my dream as well as finishing on the road."
Remick played four seasons at Brown, starting all but one of the 71 matches he appeared in while notching six goals and 12 assists. He was a second-team All-American at left back as a senior, when he had two goals and seven assists. While with the Bears, he also earned the Cliff Stevenson Award for the team's MVP and the Class of 1937 Trophy for the player who contributed most to the team.


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The wickedness in Nigeria has reached an alarming rate, people are slaughtered like ordinary animals daily. The recent video of the 4 Boys brutally murdered in Port-Harcourt, Rivers State goes to show how insensitive Nigerians have become, for human beings to kill their fellow human being in cold blood shows that we have no regard for human life and we have thrown any value we have to the wind. The Mubi students that were murdered in Adamawa State is another case for concern and by now we should all know evil men are on the increase to shed blood. We must all condemn in strong terms these murders and ask that our government and other security operatives make investigations and bring to book everyone involved. The bystanders at the Port-Harcourt jungle justice scene should also be charged for the murder of those boys.
We must start educating ourselves that taking laws into our hands is
unacceptable and the government must make sure that we all have confidence in them, the police and the judiciary to make sure justice is not compromised.
We must pray for our land asking God for mercy, and also pray that all those thirsty for blood will eat their own flesh and drink their own blood. Let us also pray as individuals that we and our family members will be far from such evil. All parents should at this time caution their children on the friends they keep and places they go to.
Let's pray that God will console everyone bereaved and heal our land.
The truth is Nigeria and Nigerians need Jesus Christ, not in words only but in deed. We all need to forsake our evil ways and ask for God's mercy for ourselves and our land. Let us not forget that any seed we sow, we will reap. Let our watchword as Nigerians be " Do as you would be done by" let us love ourselves and love others. Let me end this post by reminding us all of the ten commandment as written in Exodus 20 and Deuteronomy 5 of the bible. This commandment was given by God to help His people live and do right. I think it's time we are all reminded that there are laws in place, even if we don't fear man, let's fear God who created us all and who we will all stand before one day to give account of our stay on earth. God help us all.
Find below the ten commandment which will help some of us to know that we have truly gone far from God and what we see today is the result of our self centered living. May God help us to read with understanding and truly repent. If Nigeria will change, it will start with us all.
Then God gave the people all these instructions: ( New Living Translation)
I am the Lord your God, who rescued you from the land of Egypt, the place of your slavery.
1.You must not have any other god but me.
2. You must not make for yourself an idol of any kind or an image of anything in the heavens or on the earth or in the sea. You must not bow down to them or worship them, for I, the Lord your God, am a jealous God who will not tolerate your affection for any other gods. I lay the sins of the parents upon their children; the entire family is affected—even children in the third and fourth generations of those who reject me. But I lavish unfailing love for a thousand generations on those who love me and obey my commands.
3. You must not misuse the name of the Lord your God. The Lord will not let you go unpunished if you misuse his name.
4. Remember to observe the Sabbath day by keeping it holy. You have six days each week for your ordinary work, but the seventh day is a Sabbath day of rest dedicated to the Lord your God. On that day no one in your household may do any work. This includes you, your sons and daughters, your male and female servants, your livestock, and any foreigners living among you. For in six days the Lord made the heavens, the earth, the sea, and everything in them; but on the seventh day he rested. That is why the Lord blessed the Sabbath day and set it apart as holy.
5. Honor your father and mother. Then you will live a long, full life in the land the Lord your God is giving you.
6. You must not murder.
7. You must not commit adultery.
8. You must not steal.
9. You must not testify falsely against your neighbor.
10. You must not covet your neighbor's house. You must not covet your neighbor's wife, male or female servant, ox or donkey, or anything else that belongs to your neighbor.
Note: even if we do not believe in God, am sure most religions are against killing others except those that need the human sacrifice for power. It's time to preach real love in our various places of worship and remind ourselves of the ten commandments which God gave. Christians should be reminded more about this commandment as if other religions claim ignorance of it, we can not.
Action : let's read Matthew 5: 17, Matthew 7:12, Matthew 22:36-40, Luke 6:31-36, Romans13:8-10, Galatians 5:14, James 2:8


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An Epitaph For The Montreal Expos
I never thought I'd type these words, but here goes: Good-bye Montreal Expos. I've kept the faith about the Expos future in Montreal for years now. Year after year we'd hear reports of the Expos soon-to-occur exodus but put little stock in them. When owners and commissioners open their mouths I assume one of two things: (a) they're lying, and (b) they're trying to extort money from the fans, the players, the regions that host/wish to host MLB.
However this time it's real. Bud Selig and his money-whoring heart got the necessary corporate welfare from D.C. to give them a team. A vote on the Expos' relocation is about to be taken and Budley Do-Wrong never calls for a vote unless he's positive about the outcome.
I do not bear any ill will toward baseball fans in Washington. I wish them well and hope Nos Amours bring them all the joy and none of the frustrations that the Expos have brought me. I was thrilled back in 1976 with the news that Toronto was going to get the Giants from San Francisco so I am in no position to bear any kind of animus toward Washingtonians for rejoicing over the arrival of les Expos.
I do not blame Washington for my losing my National League rooting interest. There's plenty of blame to pass around for the Expos' demise and baseball fans in Washington's fingerprints are nowhere to be found on the murder weapon. I wish I were a dog so I could cock my hind leg and give the following a proper salute:
- Bud Selig: I love pizza. If there was only one pizza joint in my hometown and they advertised that the food was poor, the beer was lukewarm and watered down, the servers were rude and inattentive, and that chances were excellent that I'd leave their establishment unsatisfied and a little nauseous and they had absolutely no intention of improving things, would it be logical to say that I didn't like pizza because I refused to patronize the place? What if you complained about the restaurant to management and they told you that if you ate high priced feces and drank cat urine a couple of dozen times a year they might decide to serve slightly better pizza and a have decent beer in a few years--although they might have to jack up the prices in order to so?
Doubtless you'd suggest that the establishment do something that's both auto-erotic and anatomically impossible.
Well, that's Bud and the Expos. Blame the consumer for not swallowing his #@*#!! And calling it ice cream or the 1927 Yankees incarnate. His other crimes (I won't list them all, bandwidth problems y'know) include the bad faith negotiating that led the strike of 1994 derailing a magnificent season for Expos that could've revitalized the franchise. Not letting the Expos call up players Sept 1st when they were contending for the wild card not long ago, not offering Vlad Guerrero arbitration so the Expos could get draft picks or at the very least extending the negotiating window to retain him. Trying to contract the Expos, killing off interest in the Expos but implying that every year was the last season for the Expos in Montreal, his non-stop anti-marketing of MLB, rewarding Jeffery Loria with a World Series championship team for doing his part to killing off any remaining interest in the Expos and then plundering the front office before going to Florida etc. etc. etc.
- Jeffery Loria: Let the option expire on the tract of land for a new park, kept the Expos off (or significantly reduced) the radio and TV rather than accept fees he felt were inadequate (thereby killing off interest via a lack of exposure rather than trying to build interest and induce demand), ticked off local government, ticked off corporate sponsors, alienated the people he needed to cultivate in order to make the team successful, made dubious cash calls to acquire dubious talent to dilute other stockholder's share to acquire enough of the team to sell to MLB. Took the money and ran off to Florida with a lot of Expos' property, and generally helped Bud Selig to assassinate any interest in the Expos. Loria and Selig teamed up to destroy as much interest in the Expos' as possible to make selling and moving the franchise the only "logical" alternative.
- Claude Brochu: Supported Bud Selig's stance during the strike of 1994. The Expos were 13th out of 14 teams in attendance in 1993, moved up to 11th out of 14 in 1994 and drew a total of 2,917,687 fans those [almost] two seasons (in other words--things were picking up). The Expos finished 3 games back of Philadelphia in the NL East (94-68) in 1993 and had the best record in MLB in 1994 (74-40.…with the second lowest payroll in the major leagues). Instead of taking advantage of renewed interest in the Expos and investing in the franchise to continue the trend, they stripped the club of its stars to lower payroll even further. If you don't think there was renewed interest in the Expos, consider this: Despite the firesale of 1995, the Expos moved up to 10th out of 14 in NL attendance. The interest was there, but Brochu and his partners let it wither and die.
- Bowie Kuhn: Limited the Expos to 18 telecasts into the Ontario market--which in effect, cut off the Expos from anywhere west of Quebec. The Expos, Canada's first team, was, in the words of--then owner--Charles Bronfman "ghettoized ... into Quebec." The Blue Jays would go on to become one of MLB's wealthiest teams while the Expos became the poorest.
- "The System": The system, in theory is fine. A team gets six years major league service from the players they develop. However, the mishandling/manipulating of the system by owners, the MLBPA, and player agents hurt the Expos significantly. Some quick points: The levels of revenue sharing [up to recent times] destroyed the Expos. Large revenue teams bid up the price of players which small revenue teams had to match to hang on to talent. The large revenue teams escalated the cost of doing business for the small revenue teams giving them a built in advantage. Teams like the Yankees, Mets, Dodgers etc. could acquire the best current talent while pricing out future top talent out of the price range of teams like the Expos. This wouldn't be a problem if this only involved free agents, however it trickled down to arbitration eligible players as well. A player on a small market team might not be able to afford the arbitration awards of its top talent forcing them to trade [the player]. This reduced the period of time a club could hang on to its best players from six to as few as three years. This enabled wealthy clubs earlier access to the best talent developed by low revenue clubs as team like the Expos would have to trade their most talented arbitration eligible players to franchises who could afford them.
I could go on and one but the point is clear: the power brokers in MLB screwed the Montreal Expos repeatedly. Every time the Expos were building interest, expanding it's base, and growing in success (late 1970's-early 1980's; mid 1990's) baseball management derailed it. The fans did not fail the Montreal market--MLB did. The fan base showed more interest and loyalty to the Expos than MLB ever did. If major league baseball did what they did to the Expos to any other franchise over the last 25 years, they'd be the ones headed to Washington. A team can win despite a cheap/dishonest owner or the current system or an idiotic commissioner etc. but not when all of these factors come into play as they did with the Expos.
Believe it or not, despite his constant whinings to the media, Bud Selig likes the current setup of the business of major league baseball. Competitive balance isn't the problem it's been made out to be. Since the strike, the Florida Marlins have won two World Series, the Minnesota Twins just three-peated in the AL Central, the Oakland A's can win their fourth division title in five years thereby giving them their fifth straight post season appearance, the one time laughable Cleveland Indians (remember the Major League movies) won six division titles and two pennants, the one time equally laughable Seattle Mariners won three division titles and qualified for the playoffs once via the wild card.
Picture if you will, what Bud Selig would call his baseball utopia: 100% of baseball revenues are put into a pot and divided evenly 30 ways. There is a hard salary cap. Perfect, right?
In this "utopia" could you go to your city, municipality, state and say: "I need a new public financed stadium to compete or I'm going to go broke"? Why do you need a new stadium? You have the exact same revenues as the Yankees. The Yankees can't outspend you. It doesn't matter where you play since you're situation would remain unchanged relative to the other teams in the league. Could you go to your city, municipality, state and say: "I need a new public financed stadium to compete or I'm going to go broke and if you don't build it I'm leaving"? Where would you go? You'd be no better or worse off than where you were [at the moment].
A degree of perceived competitive imbalance/perceived economic losses is important to Selig (why do you think that he's to the word "aberration" that Ford Frick was to the word "asterisk"?) in that it gives him leverage to extract public money for his stadium scams. He can claim market size disadvantages, he can claim payroll disadvantages etc. Absent these "imbalances" he has no claim to need public assistance. Then he has the hammer: the antitrust exemption. There's only one game in town--major league baseball. If Bud Selig had his alleged utopia, then any market that could support a team could have one. Bud doesn't want that however; by having fewer teams than cities that could support them, he has another tool in his blackmail belt. Now he can make the threat "[insert team name] needs a new public financed stadium to compete or [insert team name] will go broke and if you don't build it [insert team name] is leaving." The name of the game is no longer fan support but corporate welfare. Could Los Angeles support an NFL franchise? Of course. But why have L.A.'s last two teams left for St. Louis and Oakland respectively? Those regions anteed up more subsidies than Los Angeles was willing to pay. Why has Washington not gotten a major league team during the multiple rounds of expansion since 1977? D.C. didn't put enough subsidies on the table. Now that they're willing to cough up 100% of stadium costs and assign the lion's share of stadium revenues to the team, now Washington is "ready" to become "major league" again.
This is what is so purulent about Selig. When he was trying to find a buyer for the Expos, he wasn't just looking for a buyer. Bill Gates couldn't purchase the Expos unless the city Gates would have them play in would subsidize the franchise with a publicly financed stadium. Selig was looking first and foremost for a round heeled city. Once one was located, then the search for a group to purchase the team could begin in earnest. It's not about fan support, it's about public support. It's not about the number of fans willing to buy tickets, it's about the number of corporations willing to lease luxury boxes and club seats. It's not about the "best interests of baseball" it's about taking money from schools, libraries, healthcare etc. and giving it to his billionaire parasites he calls friends.
When Bud Selig dies I am going to go to his grave and dig up some worms. I am going to take those worms and go fishing. I am going to take the fish I catch and feed it to my cat. I am going to take the litter out of my cat's litter box and take it to the dump. Then I am going to check back at the dump in two weeks and look where I dumped the cat litter so I can say that I watched maggots engage in cannibalism.
Best Regards


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Puerto Rico's Northwest is a sun-kissed, wind-caressed region that stretches from Quebradillas, towards the Island's northern corner, in Aguadilla, then goes down along the west coast, following the shoreline across Aguada, Rincón, Añasco…
Home to some of Puerto Rico's best beaches, with waves envied by every surfer, the Northwest presents a variety of enjoyment beyond sand and sun: restaurants and farmer's markerts; shopping centers and little stores; parks and golf courses; historical buildings, booming with memories, and nature —nature, on its own, is full of diversity! There are caves and rivers and lakes to explore, with the tropical weather of the carribean asurring no single day would ever be the same.
Let's look, more closely, at some of the towns in Puerto Rico's Northwest:
Founded in 1508, this municipality is located in the western coastal valley region, east of Rincón, west of Aguadilla and Moca, and north of Añasco and Mayagüez. Amidst its landmarks, Aguada has Ermita Espinar, a church built over the ruins of an old, Spanish chapel.
Founded in 1775 by Luis de Córdova, this city is located in the northwestern tip of Puerto Rico —its northwest coast bordered by the Atlantic—, north of Aguada and Moca, and west of Isabela. Here you can find, among other things, Aguadilla's Ice Skating Ring, Las Cascadas Water Park and Crashboat Beach.
Situated near the Island's west coast, Añasco also borders the Mona Passage, which is a strait separating Puerto Rico from the Hispaniola island.
A municipality of Puerto Rico located in the northwestern region of the island, north of San Sebastián, west of Quebradillas, and east of Aguadilla; this town is known as the "Jardín del Noroeste", the Garden of the Northwest, because of the many wild flowers in its landscape. Beaches and rivers, like Jobos and Guajataca, entice tourists to visit and stay.
Founded in 1823, this municipality is located in the northwestern shore, bordering the Atlantic Ocean, north of San Sebastián, east of Isabela, and west of Camuy. Places of interest include El Merendero, a scenic park and ocean lookout, and Guajataca's Lake Reservoir.
Rincón, which means corner in English, is a municipality of Puerto Rico founded in 1771, located in the Western Coastal Valley, west of Añasco and Aguada. This small town is home to many of the surfing beaches in Puerto Rico, including Domes, Marías, Tres Palmas, Sandy Beach, and Pools Beach.
Located in the northwestern region of the Island, north of Añasco, southeast of Aguadilla, east of Aguada, and west of Isabela and San Sebastián. Tourist will want to visit "Palacete Los Moreau", a museum-house, historically known as the Labadie Mansion, that inspired Enrique Laguerre, one of Puerto Rico's greatest writers, to write La Llamarada.
Founded in 1752, this town is located in the Island's northwest, south of Isabela and Quebradillas, north of Las Marías, east of Moca and Añasco, and west of Lares.


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Student Affairs and Technology
News, tips, and practical insights about technology for student affairs practitioners by Eric Stoller.
Are We Cultivating Innovation?
My own answer to the question posed in this post's title varies. As with anything related to the overall picture of Student Affairs, nuance abounds. Initially, I would say that if I were to generalize, I would vehemently say that we actively discourage large scale innovation in Student Affairs. However, because we exist in "the gray," I feel compelled to mention that there are pockets of innovation … although, finding them isn't easy. You know who you are.
My own answer to the question posed in this post's title varies. As with anything related to the overall picture of Student Affairs, nuance abounds. Initially, I would say that if I were to generalize, I would vehemently say that we actively discourage large scale innovation in Student Affairs. However, because we exist in "the gray," I feel compelled to mention that there are pockets of innovation … although, finding them isn't easy. You know who you are.
Last week, I read an article in Fast Company's Co.Design blog on creating a culture of innovation. When I come across a business-themed article, I usually view it through my student affairs professional lens. Most of the time, business pieces translate rather easily to the work, concepts, and ideas that are present in the field of Student Affairs. When I got to the section in the Co.Design article on the "innovator's DNA" I was struck by how applicable it was to Student Affairs.
According to the Co.Design article, the Innovator's DNA consists of the following four components: Questioning, Networking, Observing, and Experimenting.
Questioning was framed as "asking probing questions that impose or remove constraints." I don't think that we do a good enough job of letting people ask questions. The cultivation of the "why this or that" question seems to thrive in our graduate programs. But, I am concerned that we tend to weed out questioning discourse in favor of faux agreement once everyone gets to the "real world." For example, when I asked about "radical practitioners," I was asked, quite overtly by some, to stop asking. However, to be fair, there were several commenters who said that I hadn't asked enough questions. Questions: Are we okay with dissonance? Isn't that part of being a lifelong learner?
Networking is something that I think we do fairly well…as long as it's within the safety of our silos. How many Student Affairs professionals go outside of the box when they pick professional development opportunities? One of the reasons why I am so thrilled about the Big Ideas in Higher Education Conference* that Rutgers University is hosting is that it is completely different than most of our "usual" events. The speakers lineup is full of folks who will definitely make everyone think critically and who will give attendees a broader network of connections. Questions: What events do you attend that are outside of your professional box? How do you expand your network?
Observing was positioned as "watching the world…for surprising stimuli." Sometimes I think that we try so hard to create formalized assessments that we miss the random asides…those things that we didn't predict, but that actually benefit our students. Question: What have you observed recently at work that you didn't predict?
Experimenting is something that requires time. We rarely have enough of it. It's usually not a formal part of our professional day-to-day. I love that the Co.Design piece defines experimenting as "consciously complicating…by trying new things or going to new places." Questions: When was the last time that you took some time and experimented? Were you rewarded for doing it? How is Student Affairs relentlessly reinventing itself?
The path to innovation in Student Affairs really needs just one key ingredient to get jump-started at most institutions: a dynamic leader. Higher Education, of which Student Affairs is included, is astoundingly hierarchical. We may say that we don't appreciate or value it, but we easily slide into a top-down space more often then not. Our leaders often dictate whether or not we can be innovative. The best leaders in our sphere realize that they are the key to big picture innovation. Leaders who approach innovation as "normal" need to be cultivated…we have to support them just as they support us.
What does innovation in Student Affairs mean to you?
*Full disclosure: I'm giving the opening talk at the Big Ideas in Higher Education Conference on "Passionate Radical Practitioners."
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Taiwan's stance on comfort women issue unchanged: foreign ministry
Taipei, Sept. 11 (CNA) The government's stance on seeking the rights and dignity of Taiwanese "comfort women" -- women forced to work in wartime brothels for the Japanese military during World War II -- remains unchanged, the Ministry of Foreign Affairs (MOFA) reiterated Tuesday.
Urging Japan to face up to the issue, MOFA spokesman Andrew Lee (李憲章) said there will be continued efforts in negotiations with Japan on the comfort women issue. However, Taipei also hopes the matter will not hinder Taiwan-Japan relations from moving forward, he added.
Lee was answering questions at a regular press briefing about whether or not the government will demand that Japan apologize in the wake of a Sept. 6 incident in which a Japanese activist was caught on camera appearing to kick Taiwan's first comfort women memorial in Tainan, southern Taiwan.
He said the Japanese man, identified as Mitsuhiko Fujii, a member of the Tokyo-based Alliance for Truth about Comfort Women, has already left Taiwan but his alleged act is being investigated nonetheless.
Under Taiwanese law, kicking a statue can be determined as an act of vandalism.
Asked if Fujii will be listed as persona non grata, Lee said the MOFA will study the case along with the police and immigration authorities. "If the ministry needs to, it will negotiate with Japan based on facts."
Meanwhile in Tokyo, Taiwan's de facto ambassador to Japan Frank Hsieh (謝長廷) said he will press harsh condemnation on Fujii if the latter is found to have actually kicked the comfort women memorial.
Hsieh reiterated his office's consistent stance on the comfort women issue, which is asking Japan to negotiate, pay compensation and apologize.
Since he assumed the post in June 2016, he has delivered six protests to the Japanese government, the diplomat said.
The kicking incident sparked public outcry in Taiwan, with surveillance camera footage showing Fujii raising his foot several times to kick the bronze statue widely seen on local news reports.
The comfort women memorial, erected on a vacant lot next to the opposition Kuomintang's (KMT's) Tainan chapter, was unveiled Aug. 14 during a ceremony presided over by former President Ma Ying-jeou (馬英九), who urged the Democratic Progressive Party (DPP) government to use a law governing transitional justice the DPP enacted as the legal basis for efforts to demand an apology and compensation from Japan.
On Tuesday, KMT lawmaker Wang Yu-min (王育敏) said she has drafted an act governing restoration of the comfort womens' reputations and relevant compensation.
Under the draft act, anyone found to have acted in a discriminatory manner against a former comfort woman, family members of a former comfort woman, or a comfort women memorial would be subject to a penalty of imprisonment for up to one year, Wang said.
Meanwhile, the Taipei Woman's Rescue Foundation, which has long been concerned about the comfort women issue, asked the relevant authorities to find out the details of the statue-kicking incident and bring those responsible to justice.
In a statement released Tuesday, the non-profit organization called for all sectors of society to attach importance to research and education on the comfort women issue, so that future generations have knowledge about issues concerning the human rights of women during time of war.
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As we went to the restaurant to eat in the evening sun, the beach was emptying of towels and people. Amid the smell of sun cream and ozone, you said it had been a fun day. I knew otherwise, because on your phone you watched pictures of other people's lives.
Henry writes short fiction and poetry. He lives in Somerset in the UK.