text:
The Early Video Project

Interview with John Reilly

By Davidson Gigliotti

Recorded: December 14, 1999

Look, I record these, John,

OK, so I'm just telling you. OK, John, I'm preparing an e-mail right now which is going out to all the participants in this project. You will be getting one, you're on the list. I've sort of created a mailing list. It's not a real mailing list in the sense that, an interactive mailing list. I'd like to do that, it would really be good if we could have a sort of Early Video List, you know, where people could sort of...

We could all kind of share things with each other. That would be fun.

Yeah, that would be fun, and I think that I would like to do something like that.

If you could do that that would be actually a great step in the right direction, 'cause I've been thinking a lot about this too. But my list is relatively incomplete.

All right. Well, you'll be receiving an e-mail from me which explains the project and my role in it and how it all came about, and so on. What I'd like to do is I'd sort of like to get back into your history before Global Village - you know, where you came from and how you got involved in filmmaking. I know you were a filmmaker. And basically what life was like in New York before you did that?

OK, do you want to start in any particular place, or just have me...

Well, I don't know, you got out of school, right. Education is not that important, what's really important to me is well, you know. Well...tell me a little about your education.

All right. Well I went to undergraduate work at Seton Hall University. There was no televison or film program at the school. They had what they called Communications, basically which translated into radio. They had a fairly good FM radio station. And we did programming. I created a program for them for FM about avant-garde theater in New York. I would go into the city and do interviews with the new emerging theater groups. Judith Malina and Julian Beck and people like that.

That was an innovation for the station because they never did anything like that before, but I was really interested in visual, that was my thing and not audio. So I convinced them to let me work in film, and, uh, in exchange for them buying a Bolex camera, I wrote course descriptions for them to create a new section in film that they would have. So, that was the trade-off, and they bought the Bolex. I then took my own courses that I created - I think I was the only student - and eventually made a film.

It was a fiction film, an experimental film. Took place mainly in the New York City subways, as I recall. But it....the influence for me at that point was probably early films being shown by Jonas Mekas and Stan Brakhage things, and, uh...

So you were going into New York a lot and looking at avant-garde stuff.

All the time, all the time.

Tell me about those experiences.

Early on there was a theater in the East Village that Jonas Mekas took over and I can't remember the exact years. I'm recalling it was mid-sixties.

Was this the New Charles?

That's right, exactly right, you're exactly right.

It was right across the street from Stanley's.

And we got to know Stanley along the way, like a lot of people, right?

So there's the connection for me, and that was a revelation. Because you couldn't see this stuff anywhere. If you think back in those days there was no place to really see this kind of film, this alternative kind of film. You could see European film in art houses and whatnot, but you couldn't really see the experimental groups. So, you have that, and then eventually I showed one of my films in the Charles and, uh...

So you must have hung out at Stanley's a bit.

Oh, yeah. You used to be there?

Oh, often, often.

When he passed away it was kind of sad, a lot of us felt badly.

I didn't even know. When did he pass away?

I dunno, after that period, not too long after, I think, my guess is the late sixties.

He was the one who did the Dom, too. That was him.

That's right. Yeah, a he had a heart attack and just died like suddenly. Just like that.

Jesus, I'm trying to remember if I knew that.

And his sister, or somebody, took over...something like that.

I don't think there's a bar on that corner anymore.

I don't think so. But that was a wonderful place.

It was, it was a beautiful place. I used to go there with my friend Willy Murphy. We used to hang out there all the time, you know, looking for trouble, etc. But, you know, it was an artist's place kind of, and we enjoyed it very much.

So this period was very important to me, this period of development. Before this though, what really brought me into the city on a consistent basis - I still lived in New Jersey - what brought me into the city on a consistent basis was going for the masters at NYU. And I went to the Film School, there's this great teacher they had, Haig Minujian, and Scorsese dedicated two of his films to Minugian.

[conversation off topic]

Also in the film school was Scorsese, Marty and I became friends, and his influence in terms of pulling me more in the direction of feature film and thinking about that was important. At the time I didn't think that important, because my main work was in documentary. But having him around and full of energy the way he was, and is, was quite remarkable. There were a number of others there in the Film School that were of influence to me. So my goal at that point was working in film, right, except that I couldn't afford it. I really...the usual dilemma of not wanting to do commerical work and not having the money to go out and make elaborate 16mm films. Even if you shot in black and white, it was a lot of money in those days. It was an unrealized frustration, an unrealized dream, a big frustration for me. And I taught on and off, here and there, to make money, to earn money.

Where did you teach?

I taught at New York Institute of Technology, and on the island, at Westbury, and I taught briefly at Rutgers, but not very long, adjuncting. Full time at the New York Institute, and one year I went out to the University of Kentucky in Lexington, one year. It was fun, because I treated it as a kind of visiting artist thing for me. They had a different idea of what I was going to do there, it was a conflict, but really I saw it as a chance to work with local artists in that area, and I had a lot of fun and I made a film about Appalachia called Harvest of Hope. And it was commissioned by the state, they have several programs that they wanted to show, and I hired Scorsese to edit the film. He and I worked together for four months on the film.

Beautiful! Is that film around, I mean, can you see it?

Yeah, I have a copy of it. I think at one point I had given it to the Museum of Modern Art after they got interested in my video. I don't know what they did with the print, but I gave them a copy.

Do you have it on video?

Not at the moment, I only have 16mm.

Should put it on video so other people can look at it. I know it's a big deal projecting 16mm film, it's not such an easy thing, but, you know, if you have them on VHS ...

So that brings us up to '68. I'm back in the city, I'm living in the city.

Where are you living?

At this point I'm living on Spring Street.

Where? What number?

192 Spring. It's about a block in from 6th Avenue.

South side of the street?

Yes, South side of the street, correct. It's a small apartment, it's not a loft, it's a small apartment, inexpensive, but it gave me freedom to pursue other things by not having a big rent, and that was through '68. Then I got a loft down further on Spring Street, 118 Spring, down near Mercer.

Did you get to meet Rudi Stern by this time?

No, I didn't get to meet Rudi until '69. At this point I was working with Ira. And Ira and I had formed some company, briefly involving Frank Gillette, might have been called Information Structures. I was trying to think of the name....

How did you meet Ira?

I met Ira, let's see now, how did I meet Ira?

You know, I've got a business card somewhere with you two guys name on it.

Yeah, yeah, yeah, we started this company together. You know, it's funny. Through some friends who told me about Ira and introduced us and brought us together, I don't remember who it was, some artist as far as I can recall it. And they said Ira was working with this portable video and had been out in Ohio, I think Frank was with him.

Antioch, right. And they had these incredible tapes, and it blew my mind. Here I am unable to make 16mm film because I can't afford it, and here they come along with this beautiful process. I always felt that the texture of those early black and white video cameras had a special quality to them, it may be my mind playing tricks on me.

No, they did have a special quality, and I've written about it. Hold on a second, let me see if I can....yeah. basically what I said here was "There is still a nostalgia among video artists who practiced in the sixties and early seventies for the old course-grained black and white images of early video. Part of the power that they transmitted was the power of image and sound so stripped of detail that only the most direct messages had relevance."

That's quite good, actually. I think you're right.

Yeah, they were powerful. It was a powerful...not just because it was new to us, but it was powerful in its own right, you know.

Image-wise it was powerful, aside from the process which was powerful. The images were powerful. And I was struck by the simple things that Frank and Ira had done. All three of us, for a while, formed a company. I even believe, for a short time, Paul Ryan was involved in that company. Frank created quite a remarkable piece for the Howard Wise Gallery, and it might have been called Wipe Cycle.

Yeah, Wipe Cycle, Frank and Ira did that.

Frank and Ira, and that was an important piece for a lot of us because it really showed the live camera, the interaction, the bank of monitors...

Oh, it was a remarkable work, I saw it.

A remarkable work, exactly, and that influenced the first presentations we made at Global Village. When we actually started to construct Global Village, at some point in '69 Rudi entered the picture.

Tell me about Global Village. Was it a 501(c)3?

Yes it is, it still exists.

When did you found it?

In '69, Fall of '69. I think it was dated September, I went back and looked at some articles about it.

Did you, uh, that was the loft on the corner of Broome and...

The second floor. Did you have to renovate that loft? Did you just walk in and..

We originally worked...we tried to raise some money to get investors involved. Rudi had a lot of experience creating models and things so he created a model of the loft which showed it as a theater. And we used the model to raise... we didn't raise much, but we raised enough to begin.

This is with Rudi and Ira and....

Ira was...yeah, in the first several months Ira was involved, and then Ira dropped out. We had a parting of the ways. I'd rather not go into all of that. He went his seperate way and Rudi and I went our seperate ways, and somewhere in that period we launched Global Village. I recall September of '69. That's my recollection.

What was your aspiration for Global Village?

To experiment with video was my aspiration and to have a space that we could present the video in various forms. And not have to worry about censorchip, not have to worry about rejection by networks, not have to worry about...cable didn't exist. There was no such thing as access or anything else, that came later. We predated that. So the really - if you think about it where would you show anything? You could show it in galleries, right, but even then there weren't very many who were into it. You could probably count them on one hand. If even that. They were't there. So we created a space, part gallery, part theater. We originally sat on the floor, there were no chairs, we put foam down on the floor. Mekas reviewed it that first year and liked the show but complained about having to sit on the floor. He said he had long country legs, or something like that.

Yeah, something...

He didn't want to sit on the floor. And so we did a mixture of material and what had influenced me was Gillette's - I keep on saying Frank, I know Ira was involved in it too, but the theory was more Frank's of the Wipe Cycle and the multiple monitors, the bank of monitors - so we created 12 monitors and we had three channels of video and three channels of audio that we fed into it. And one innovation we made was it could be performed. You could actually perform a piece and do it live with a switcher.

The switcher was built by C. T. Lui.

Of course.

Right? We all turned to Lui at that point.

Oh, sure. Was Lui involved with you guys at all?

No, no, other than support. He came to the show, enjoyed himself. But no, he had no direct involvement, but through Lui you met everyone else, because everyone was hanging out down there, and stopping in and.....

Sure, Lui was kind of a catalyst.

He was kind of a catalyst and he played an important role. We needed a C.T Lui at that point.

[tape change]

I'm sorry, go ahead.

I was saying we needed somebody like Lui, even though he was himself not, quote, an artist, he played a very important role.

Yeah, I bought my first deck from Lui.

Exactly, and Ira bought the first things we had, and on and on. We dealt with him regularly after that. He was a very important catalyst. He designed the switcher for us. And it was, I don't know, a little box with buttons on it, very mechanical buttons, by the way, nothing electronic. And each button would give you a different pattern of the 12, of the three channels, three audio, blah, blah, blah. So we designed programs for it, and that was the earliest Global Village formal presentation was this performance piece that was made up of a lot of things - tapes we had shot, short little documentary pieces, the Woodstock material that Ira and I split up.

Did you go to Woodstock?

He was there, I was in Europe, I was doing something else in Europe.

What were you doing in Europe.

I was trying to show my earliest video in London, with mixed success. I mean people were like looking in disbelief, because there was no European movement. Anyway, I went over there. I was a little ahead of myself, right. A couple of years later it was very successful. Meanwhile Woodstock took place and we had material from it and we had that in the program. I shot erotic material, we had that in the program, we had Abbie Hoffman, the trial might have just started, the Chicago Seven - remember all that?

Yeah, yeah.

I had that in the program. Rudi did tapes about witches, that was in the program. I mean it was like transexuals, we had an unbelievable mix of all the stuff that couldn't go anywhere else. The Woodstock, of course, could. But nobody was seeing it because the film wasn't out yet. So we had the only video. So there was all kinds of material and it was mixed together in a collage. That was the interesting part.

Had you run across people like Howard Gutstadt and David Cort yet?

We had met them almost concurrent with that period. Whether they came by...I think they actually did at some point. I know Paik would come occasionally and bring somebody with him to see the mix. Woody and Steina Vasulka were there.

Right. They were around those years, very early.

Very early, very early. In fact we met Woody when we were doing - after the Wipe Cycle - the company was called, I believe, Information Structures, and we were going to do large installations and it was Ira and I and Frank and probably Paul Ryan.

Something about the American Can Company or something?

Exactly. And somewhere in that mix, not working directly for them, but somewhere in that mix was Woody Vasulka working for a guy who did slide presentations. Woody was his master builder of these devices.

Yeah, he was a very good engineer. What was your involvement withy the American Can Company project?

That was mainly Frank Gillette. We were involved in...Information Structures was the company that designed it, which we were all involved in. But the real work on it was mainly Frank, Frank was the one... Frank was not the easiest person. I don't know how well you know him.

Oh, I know him well.

He could be difficult. He could be challenging. He was wonderful - he was a genius. But they sent him off to meet the American Can people and they didn't appreciate Frank.

Perhaps that was not the right guy to send, no.

No, no, no, they were baffled by Frank. Amazingly the thing got built, but somehow we got ripped off. We got money for it, but they walked off with this matrix of about 50 monitors. So it didn't quite...it wasn't what we envisioned. Somehow Woody was involved, somehow this other company was involved that made slide shows, and through that we started a friendship with Woody that's lasted till today. Woody and Steina. And Woody would come to the early Global Village shows, and somewhere in that period he started the Kitchen, a little bit later. In the old hotel on Broadway.

So the early Global Village was place for mainly Rudi and I. We did have other people come in eventually.

A lot of people went through there.

A lot of people went through there and worked on things with us.

Tell me about some of them. Andy Mann went through there.

Andy Mann who had some contribution to the early construction of that switcher and matrix. He worked on it. If anyone who deserves credit other than Lui or us thinking about it was Frank Gillette for inspiring it. It was a performance thing.

Did Andy come in, like, and work on stuff with you guys more or less regularly?

Oh, Andy was there for almost a year, or more, a year and a half. He was our right-hand person.

Starting when, about sixty...

You know, dates are a little fuzzy for me. I'm gonna say '69, late '69, in that period.

Who else?

Edin Velez?

Yeah, I remember Edin, I used to know him pretty well.

Edin was married in our loft space to Ethel Velez, and we actually had him staying there for a while when he lost his apartment. It was a funny thing, a funny period. It was big space, it was 125 feet long, 30 or 35 wide, and we had a lot of space to do things in there. Later on, tons of people went through.

Well, you know something, this is off topic, but one of the things that I'm really interested in - I have the idea that probably several hundred people went through Global Village in terms of its classes and workshops and so forth, and I imagine that if you at the credits of a lot televison programs today you probably find many of them.

Find names.

A lot of people who went into the industry, or who went into video in some way or another.

You'll find some people who were already established. For instance, Larry Rivers came to us at one point and said, "I want to take a class in video". No, he didn't say class, he said, "I want you to teach me video, I just bought this camera, and I want to start using it." So Rudi and I actually set him down in a class, but that didn't work, so then we did it privately. And subsequent to that he sent a wife, and he sent two girlfriends over the course of several years. So one day we'd get a call and it would be so-and-so coming by and she'd work with us for a while. And Larry, by the way, has a lot of tapes. I just saw him recently out here, and I told him I'd help him put together some of the tapes. So there were people like that that came by, Rauschenberg got interested in what we were doing, eventually did video himself, but came by. People from the Hollywood community - Ah, I'm not very good with names - several prominent actors spent time there. They were involved with some underground film projects and they came by. Of course Abbie Hoffman and Jerry Rubin and all of the people involved with them came by the space. They were there quite frequently. They were in the show, they were permanently part of the show.

Permanently part of the show. What do you mean exactly?

We had a performance piece that was repeated, and it ran for almost two years.

And they would come by live?

They would come by and be there. Yeah. And sometimes get up and say something, sometimes do nothing, sometimes bring people. Sometimes we'd all go into front office and we'd smoke something, you know, on and on and on.

Yeah, all that.

Yeah, it was like a gathering on the weekend. And the other connection that we had - these were groups, I'm not talking about only individuals - the other connection we had through Rudi was to Tim Leary, and the whole crowd from Millbrook. So they would come, and Leary would come.

Rudi was tied in with them a little bit.

Tied in with them, exactly. Rudi did slide show presentations as part of it.

Right, over on Second Avenue.

That's right. So through all of that was his friendship with Leary. And then the Warhol group came in. Now Andy Warhol, to my knowledge, never showed up at the space, but if you name people from his group...

Paul Morrisey

Paul Morrisey was there, who I developed a friendship with later. Several of the actresses would come by, one or two of the tranvestites, I mean, you name them. One called Holly Woodlawn...

Yeah, Holly Woodlawn, all that.

They would come by. And it had this funny quality that we didn't intend, by the way, that wasn't necessarily why we were doing it.

Yeah but you were accessible, you were there, and you were doing this stuff so, you know...

Right. And it was clearly more on the experimental end. Something else developed at that point which we were compared to once in a while, which was totally wrong. It was called Channel One.

Yeah, Ken Shapiro

Ken Shapiro.

Right, I remember Ken Shapiro. I went to one of those Channel One things.

Well that wasn't us. And he was not involved in kind of this video underground.

No, it was a different thing. He was working with Chevy Chase.

Exactly, he was working with Chevy Chase, but in the reviews they would sometimes lump it all together.

And of course you were the only people in town doing that at that time because the Videofreex were all involved in that CBS thing.

[Off topic conversation ensues.]

What we were doing to certain parts of the establishment was a threat. It wasn't to be controlled, they way they had a great control of the networks. And this particular process you couldn't put back in the bottle any longer.

No, no, it was scary to them, I agree.

It was scary, and people like Don West who were trying to make a bridge with you guys, eventually his bosses realized, "Hey, you can't control this situation - its not going to be neat the way you think it's going to be."

No, no, I know. They were basically mortified to be getting involved with it and that's sort of how that went. But, you know, what were you reading at that time?

Well, I think one of the things that influenced us, obviously from a choice of the name was McLuhan. Paul Ryan, I guess, among others, for me it was Paul, brought McLuhan to New York.

Well, what happened was that McLuhan had a year at Fordham, and Paul...

Culkin,it was Culkin.

Yeah, Father John Culkin. Did you know him?

Yes, I did.

Tell me about him.

He was an extraordinary man, he was also one of the most intelligent people I've ever met in my life. And very much believed in, somehow, Catholicism and you could mix it all toegther and you have this wonderful excitement of people like McLuhan. So he brought McLuhan in to Fordham and they had that year. I think it was a full year. And a number of us met McLuhan while he was there.

McLuhan had a brain tumor and had to be operated on, it was not a great year for McLuhan. He was in the hospital recovering from brain surgery much of that time.

I recall, he was not in great shape. But there were several meetings that were set up that...

Paul was his graduate assistant.

Anyway that was a big influence, and later on we wound up... the guy he did several books with, I can't remember his name, but the visual books, remember the ones...

Fiore, I think that was his name.

Fiore. We worked with him on another project, Rudi and I. And got to know him. So that was a very seminal and influential period for us, this whole business of McLuhan. And when we used the name, we called him. He was back in Toronto, I think and we called him and asked his permission. His daughters came by to look at the program, that's what he told me. "They are going to come and look at it. I can't get down there at this point. If they think it's OK you can do whatever you want with the name." And they came by, and fortunately they liked what we were doing at Global Village and they told him that and he called back and said, "That's great, go ahead and have fun with the name." But of course he didn't own the name, we just did it as a courtesy, right. The book was called, right - The World is a Global Village.

I'm jumping around a lot.

I'm sort of looking back at Culkin again and your relationship with him and how you knew him and what kind of person he was.

I was always very impressed by Culkin. Remember of course, at one point he was active as a Catholic priest, and that was this period. Later on, I believe, he left the priesthood and I knew him in another capacity because he worked to some degree with the New School. And in 1971 we started our long relationship with the New School.

Tell me about that. How did that come about?

It came about through some friends of ours who were filmmakers who had been teaching courses the New School. And they brought us over there to introduce us to the people who ran the program at the New School, and the key person to giving approval for what we were doing was the Dean. And the Dean's name was Allen Austel.

Austel was one of these unsung heroes in this whole thing, who was wide open to experimentation with courses, ideas, people at the New School and would sanction things. And then if it worked, he would support it. And so he gave his blessing, so we got the thing rolling in the beginning, and that's what it was. Now we had a wonderful relationship with him because we operated out of our loft on Broome Street. We didn't need his space, and more interestingly they didn't have a space, which was actually perfect for us, because had they had a space we would have been more under their control. The point is we didn't want to be under their control, we wanted a lot of freedom. You know, we wanted to be able to do the transexual tapes, we wanted to be able to do...we did one called "Feedback", a study in feedback which involved a class and which resulted in a huge lawsuit.

Yeah, one of the class member's husbands sued us for a million dollars.

For what?

For destroying his marriage.

In what way did that happen?

Well, his claim was that this tape that I had put together of the class taping themselves and then playing the tapes back to members of their family and then building on that, a simple process of using the video for what it could do - you know, it was one of the ways we worked with it, we all did these things - he claimed it introduced radical ideas to his wife through this process and caused his marriage to disintegrate.

Maybe it did.

Maybe it did, maybe it did, and, uh, he sued us for a million dollars. And, of course, the New School at that point had a fit, and not knowing quite what to do. So they called me in and I met with a bunch of lawyers and they said, "You have to think about the way we can defend this. This guy's serious." So I said all right, I'm going back to look at all the tapes. So I went back and looked through the boxes of tapes and I found much more damaging material in the boxes than we ever used in the final project, mainly with him making outrageous statements about how he was controlling things, how this, how that, and how his home was a castle and how he was going to throw everybody out. I mean, control his wife and his children, on and on - I took it all out.

So the material in the box, which I had taken out to try to be fair to him, before we knew about any lawsuit, was far more damaging. And so that was taken in and shown to the judge. And the judge said, "You were far worse than anything these people put in this tape. Case dismissed." and threw it out.

Wow, that's good.

But anyway the relationship with the New School went through all of this stuff. And another person who was key at the New School was Mike Engel, of the Engel Hart industrial family. And Mike was a person who eventually, when he came into some of his inheritance, gave money, not to us but to the New School and helped build part of their facilities. But he was also instrumental in the beginning in allowing us to exist and experiment.

I always enjoyed teaching, it's always been a part of my life.

Yes, I know, I understand that. I think of Global Village as a teaching facility.

A larger part of it was actually.

What year did you become involved with the New School?

I think it was also '71. The earliest catalog I can find was 1971. It might have been '70, but the earliest I can come up with is 1971. And we offered probably two courses in video. And eventually at its peak it was about twelve courses, and about ten people worked for me.

When was the peak of this, do you think?

Peak was probably in the early '80s. Up to about '85, I think.

Have you kept good records of all of that stuff?

I have a lot of it.

In other words, if we wanted to see just who the people were who went through there it could be done.

It possibly could be done. I would, yeah, possibly. And also I could call people and try refresh their memory, if they could remember people as well. Literally hundreds, you're right.

I think so. I think it was hundreds of people who went through that place. And I know that I lectured there once or twice, you know, and I remember it was a room full of people, and, you know John Trayna, I guess was involved.

John Trayna was involved. Shirdar Bapat was involved with us first, and then he went with Woody and Steina, and somewhere else, and somewhere else.

He wound up working with Nam June a bit. He was good friends with Al Robbins.

Right. So we had the thing of... because we were open to the public, a lot of them came to us first, and then would go to other groups.

You had a lot of walk-in.

Yeah, a lot. Exactly. Wheras in the beginning you guys had this big project, but it was closed in, because...

Yeah, we didn't start having...we started doing these Friday night showings, video theater kind of stuff, but that wasn't until the new year of 1970. Jan one, 1970 was when we finally got out of that CBS project.

Now I remember, though, attending at least one evening while the project was still going on.

Yeah, that was the big event when all the guys from CBS came. Mike Dann was there, and Fred Silverman...

Didn't you have a performance of rock or something?

Yeah, yeah, Buzzy Linhart!

Buzzy Linhart, OK. Obviously you remember better than I do.

No, everybody was there. Jud Yalkut was there, Beryl and Ira were there, and there was a big room full of people, the whole video community of New York City, basically was sitting in that room. Not only that but Fred Silverman was there, Mike Dann was there, I think maybe even Fred Friendly was there. And I've got to say that it was...well, never mind, someday I'll...The Adventure Which So Nearly Cost Us All Our Lives. I don't know. I've often felt that was a true waste of energy for us in a way. To spend that time involved with those people doing that thing, because it distracted us I think from other stuff we should perhaps have been doing. But that's just beside the point, in any case. It's gone down in history, and people talk about it like it was something -it was something. But it was, I don't know, it took a long time to recover from.

You guys had the unique thing of having more individuals involved in a group than any other video group, and that was an interesting thing. You were like a traveling theater company.

Yeah, well that was, as a matter of fact, that was David's vision.

Was it.

Yeah, David came... you talked about Beck and Malina...you didn't mention Grotowski but you may as well have, and David kind of was coming a little bit out of something like that. And he kind of wanted us to become something like a traveling theatrical troupe, in a way. But he couldn't do it with those people, because while some of them were kind of into that, some of them were definitley not. We had to do different kinds of things at that point.

Did you move up to Woodstock when they finally...

Oh yes, I didn't leave them until 1974. I was with them from '69 to '74. The last Videofreek closed the door on Maple Tree Farm in 1978.

Oh, God, really? I didn't think it went on that long.

Yep.The last Videofreek walked out the door in 1978.

And left the lights on and the video camera rolling?

Turned the lights off, and that was it.

Oh, man, that was a very interesting, uh....

Oh, it was. It was just wonderful - for me it was wonderful, I loved every minute of it. It was, is, something that I constantly think back upon. It was a very wonderful, it was very enabling for me, it enabled me to do other things later on, you know.

Didn't you guys carry on after Cort was no longer part of the....

Cort was part of it right up until.....

Not up until the end, though. He left before that didn't he?

No,no. Cort moved to the country. He was there all the time I was there. He got sort of more loosely involved in it around 1973, maybe, or '74.

I still remember something, it was just talk, that he was no longer a key player in what was going on.

Well, he might not have been a key player, but he was certainly there. He had a room there and was in and out of there a lot. And he certainly was a part of it, of course. But he had his own projects, and things he wanted to do, and so on.

What happened to David Cort?

David Cort lives in Boston.

[ off-topic conversation ensues]

Early on in this process, through Paik, we got involved in the Avant-Garde Arts Festival...

Charlotte Moorman!

Charlotte Moorman, but Paik made the phone call, spoke to me or Rudi, both of us probably - we would both pick up the phone - and said why don't you come in, and we are just doing video the first year, and on and on, things like that. And we did, and for like five years, every year we would do a piece, and it would connect us again to all of these people. It was wonderful. And I think you guys were involved...

Well, not the Videofreex so much, but me, yes.

You were involved.

I would do it myself.

You were involved, because I remember seeing you there. You had pieces in it.

Oh, yeah, absolutely.

That wasn't a Videofreek project?

It never really was. They were not...they were always a little bit shy of involvement in works that they felt self-consciously art-oriented. I was not, because art was kind of the direction I was interested in and was going in. So although they would support me in these activities, they usually would remain behind the scenes, so to speak. But my first one was in 1971. It was a the old Armory.

Very important year, by the way.

Yeah, that was the year Shirley Clark had her big Ferris Wheel.

John and Yoko were involved.

I believe they were. '71, that was the old Armory.

Cause during that period he gave me money to finish one of my works.

Oh, really, so anyway, go on about the Avant-Garde Fesitivals.

Well, it was a terribly important thing, and it was really Rudi who had been involved in the art world more than me. Remember my background as a filmmaker.

And filmmakers and art world avant-garde art shows don't necessarily mix. Now with Shirley Clark they did because she was an experimental filmmaker. But there were a lot of fimmaker friends of mine who thought I was crazy to be involved in all of this. You know - the Scorsese group, let's say, loosely speaking - who just would turn their nose up on it. They saw no relevance in anything to do with this crowd. And to be drawn into it and to begin to think textural ways and environmental ways, and all of the elements that we did with these events was wonderful. And it really liberated me as person. It become very important challenge every year, and the contact all through the year, to be in touch with all these people, was wonderful. Woody and Steina had a piece, it was a circular...

Oh, I remember that piece well. And it was one tape and one deck, and a circle of monitors facing inward, and they had this image zipping around on that thing - that was smart, that was a smart piece.

Very smart piece. It was a very exciting event. And somehow we all mounted the shows and whatever we were doing, and somewho the money was there, and on and on and on. It just went on for a while, and it cemented contacts for me to a lot of these other artists, which was very important.

All right. I want to continue on this discussion with you. I need another time from you. What would be good?

[scheduling information.]

End Part One.

To submit comments on this article contact: davidsong@home.com

© Davidson Gigliotti, 2000CE


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Judge clears officers in wrongful death suit
Sep 27, 2013 | 748 views | 0 0 comments | 6 6 recommendations | email to a friend | print

SALT LAKE CITY — A federal judge has cleared officers from several law enforcement agencies in a wrongful death lawsuit brought by the family of a part-time Farmington firefighter shot after a 12-hour stand-off in 2008.

U.S. District Court Judge David Nuffer granted summary judgment motions for Farmington City, Davis County and Salt Lake City after finding officers from those jurisdictions did not violate the constitutional rights of Brian Wood during the stand-off in September 2008.

In their wrongful death lawsuit, Wood’s wife and parents alleged officers acted unreasonably in response to a 911 call Wood made. In that call Wood claimed he had beaten and raped his wife. Following the call, Wood fired a shot into a garbage can and then got into his pickup truck outside his home. He had two pistols with him.

For a couple of hours officers tried to get Wood to put his weapons down and leave the truck. They then used tear gas to force Wood out of the vehicle where he remained for several more hours,

Special weapons and Tactics (SWAT) members from the Davis County Sheriff’s Office and Salt Lake City eventually used a Taser on Wood, but he still did not drop the gun.

A Davis County Sheriff’s deputy shot Wood when he pointed the gun at him and other officers. Nuffer dismissed claims against the deputy in November 2012.

In his ruling Thursday, Sept. 26, Nuffer said the plan the officers used was “only implemented after Mr. Wood had refused to voluntarily surrender over the course of 12 hours of negotiations.”

There was no evidence that any of the law enforcement agencies engaged in an unconstitutional government policy in the alleged use of excessive force, Nuffer said in his ruling.
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Bruins Release Pre-Season Schedule

The Bruins have officially released their preseason schedule starting on September 23 in Montreal.

I wonder if Milan Lucic will fucking kill anyone?

Here’s the complete schedule

9/23 at MTL – 7:30pm
9/24 vs. WSH – 7:00pm
9/26 at WSH – 7:00pm
9/27 at DET – 7:00pm
9/30 vs. NYI – 7:00pm
10/3 vs. NYI (Bridgeport) – 7:30pm
10/4 vs. DET – 5:30pm (seriously).

About Pez

People seem to like me because I am polite and I am rarely late. I like to eat ice cream and I really enjoy a nice pair of slacks. Years later, a doctor will tell me that I have an I.Q. of 48 and am what some people call mentally retarded.


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Viewing Single Post From: Spoilers for the week of March 4th
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Feb 20 2013, 01:44 PM
After Creamed SPinach Mouth offers Marlena some comforting garbled mess meant to be words, can he please get hit by a train?
Ummm.....yes! Best description of Rotox ever!

Personally, I am most excited to see the Dimera bunch all under one roof again.

Sami and EJ vs Nick should be awesome too. Yep. This is why EJ and Sami need to be together. Let's watch them tag team and wreak havoc!

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Spoilers for the week of March 4th · DAYS: News, Spoilers & Discussion


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Database Administrators Stack Exchange is a question and answer site for database professionals who wish to improve their database skills and learn from others in the community. It's 100% free, no registration required.

I have captured a trace in profiler and stored the trace to both a table and an xml for replay. I open the xml and replay the trace on the same server/database with modified stored procedures (I want to check the performance of some changes). In the replay options I choose "save to table" to store the replay results for later analysis. The replay went well with a few errors about 'bulk inserts' which I accept since the profiler documentation states that it does not replay bulk events.

My problem is that the replay trace table does not have the same columns as my original trace! specifically the duration and cpu columns. I really need these in order to compare the two sets of results. Is there anything I am missing in the replay setup or anywhere?

Thanks dat_girl

share|improve this question

1 Answer 1

up vote 2 down vote accepted

Are you using one of the default traces in Profiler or are you creating it manually?

If I were in the same situation, I would just save the trace to a regular text file and then import that file into a SQL Server table.

USE mydb

SELECT * INTO mytracetable FROM ::fn_trace_gettable('c:\my_trace.trc', default)

At least that way you are certain to get the same columns everytime. As to the BULK INSERT statements, you could try this filter.

Column Filter for TextData with the Not Like set to %BULK INSERT%.

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Top Definition
Ozzy Osbourne's (Black Sabbath) nickname is the Prince of Darkness, he's cool.
Ozzy Osbourne's nickname is the Prince of Darkness, he's cool.
von Kitty7292 24. Mai 2005
5 more definitions
prince of darkness is the title triumphed by satan after his fall from the divine grace of God.
Moreover, during night-time, evil is raw and darkness is a symbol of loneliness, vaguness, obscurity and horror so all that are kindda essences of the satan.
Beware of The darkness.....
"It was The prince of darkness who persuaded Adam and Eve to eat from the tree of knowledge of Good and Bad."
von HajreAswad 2. August 2006
Someone equally fictitious as Santa and God, this alleged entity holds appeal for hicks, evangelists and pierced-teen fantasies (and all the while you were wondering what they have in common). Also alleged is that he is a fallen angel, but sources can never tell how he fell, from where, and did he take any para-legal action immediately afterwards? In case he did, who was his lawyer? I'd want to avoid the lawyer who can't get anything better than hell in compensation.
At the Burger King,"Hi, my name is Prince Of Darkness, may i take your order, please?"
von Lanark 3. Februar 2005
Young Male, Wearing High End Brands, Talks like a young Black Male, Enjoys the Company of Females of the finer Nature.
Joe : I am the "Prince of Darkness"
Liam : Now then!"Prince of Darkness"
Tom : Whats the "Prince of Darkness" all about?
von LiamJFox 30. Oktober 2007
hey joey im the price of darkness
von some guy 20. Mai 2003
Satan, enemy of that sheepfucker "god"
von Anonymous 22. Mai 2003

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Dead Fred Genealogy Photo Archive Thousands of Genealogy Photos
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The co-creators/ executive producers of the CW‘s two top-rated series, Arrow and The Vampire Diaries, have teamed for a new project at the network — a series adaptation of the cult British 1970s sci-fi series The Tomorrow People. Arrow‘s Greg Berlanti and The Vampire DiariesJulie Plec will executive produce the project, written by Phil Klemmer (Chuck). In the vein of X-Men and Heroes, Tomorrow People is the story of several young people from around the world who represent the next stage in human evolution, possessing special powers, including the ability to teleport and communicate with each other telepathically. Together they work to defeat the forces of evil.

Created by Roger Price, The Tomorrow People, ITV’s answer to BBC’s Dr. Who, ran on the commercial broadcaster for eight seasons from 1973-1979 (watch its opening credits below). It developed a strong cult following and was a favorite of Berlanti and Plec, who are good friends from college. They had been chasing the rights to Tomorrow People for more than a decade, finally tracking them down to FremantleMedia, which rarely licenses its formats to other studios. But, given the level of auspices and Berlanti and Plec’s passion for the project, the company made an exception and will co-produce the adaptation with Warner Bros TV and studio-based Berlanti Prods. Berlanti, Plec, Klemmer and Berlanti Prods’ Melissa Berman executive produce, with SVP Scripted Programming Tony Optican overseeing for Fremantle. This is not the first attempt to reboot The Tomorrow People. ITV tried it in the early 1990s, with the new series running for three seasons.

Berlanti has credited Plec with convincing him to go back to writing when he had given up on his Hollywood dreams after a year of odd jobs and a string of rejections by agents and studios. Years later, the two briefly worked together on Dawson’s Creek and sold a feature, Her Leading Man, to Universal, with Dawson’s Creek creator and The Vampire Diaries‘ co-creator/exec producer Kevin Williamson attached to direct. Klemmer recently worked with Berlanti Prods on Berlanti’s USA drama Political Animals as well as the company’s midseason CBS series Golden Boy. Berlanti and Plec are with WME.

2 years
I adored the original series from the 70's! There was a reason it worked so well; rock...
2 years
The Tomorrow People was my favorite show as a child. I even enjoyed the 1994 remake in...
2 years
Not only was there a second series a couple years back, but Big Finish did a set...


text: The Agatha Christie estate has signed with WME for representation. WME will work closely with Acorn Productions Ltd, which acquired a 64% stake in Agatha Christie Ltd in February 2012, and with the Agatha Christie family, who hold the balance of 36%, to mine the British author’s properties for television, film and digital media. Christie is one of the most popular and prolific mystery writers, writing more than 80 novels and short story collections and 19 plays — many of which have had film and TV adaptations. Her estate holds ownership of iconic characters Hercule Poirot and Miss Marple, both of whom have spawned successful television franchises, and also includes an expansive media library. Christie has sold more than 2 billion books and continues to sell over 3 million books worldwide every year. She authored the most popular mystery novel of all time, And Then There Were None. Trivia question for Christie buffs: What was And Then There Were None‘s original title, under which it was published in 1939? (Hint: It would be considered highly offensive today as it contains the N-word.)


text:
Taking Down The Field Goal Posts: Beavers Contain Trojans

Oregon State 33, (3) USC 31. I was almost certain that Oregon State would blow it, giving us a chance to replicate one of the all-time great headlines in sports history. But the Beavers held firm and denied USC's attempt to come back from a 30-10 deficit with about 20 minutes to play. Oregon State knocked down a John David Booty pass that would've given USC a 2-point conversion and the tie with almost no time on the clock. USC's loss will likely move West Virginia into the 3rd spot in the BCS Rankings, making Thursday night's game at #6 Louisville pretty huge.

Temple 28, Bowling Green 14. There weren't a ton of compelling games outside of the USC/Oregon State contest... so I'm giving this spot to the Temple Owls, who ended their 20-game streak of futility by knocking off Bowling Green yesterday, 28-14. I particularly enjoyed this gloating post at Temple Football Forever (yes, it's a Temple football blog), directed at this two-year-old, Temple-mocking column by a Bowling Green alum. That guy's been waiting over two years to write that post... God bless him.

(9) Florida 21, Georgia 41. If we're going to stop calling it the World's Largest Outdoor Cocktail Party, maybe we should also consider not calling it a rivalry at all. Florida's won 8 of their last 9 against Georgia, and 15 of their last 17. Florida's defense was the story of the game, almost by default. The teams combined for 27 completions on 61 attempts, for one touchdown and three interceptions. Not the prettiest of games. Perhaps they should promote drunkenness.

College Football Scoreboard [SI.com]


text:
Alright, Brett Favre Might Be Kind Of A Dick

Amidst all the Brett Favre will he?/won't he?-coverage during the past two weeks, one topic that's come a lot is the status of his precious legacy in the eyes of his fans and the league. The Brett Favre purists and sycophants don't want to see Brett be "Willie Mays on the Mets" "Johnny Unitas on the Chargers" or "Manute Bol on The Miami Heat", etc.

He doesn't even need to step on the field to tarnish that legacy anymore. The Wisconsin State Journal printed the transcript from the second portion of Brett Favre's interview with Greta Van Susteren and Favre comes off like a man who's completely lost any and all human sensibility.

Some excerpts:

• "It's hard for me to trust this guy (Packs' GM Ted Thompson) when either I'm told one thing and everyone else is told another, or he's telling the public one thing and telling me another. ... That's part of the reason for (asking for) the release (from the Packers)."

• Favre also put his friend, offensive line coach James Campen, in a tough spot with the organization by saying his former teammate told him he could "force their hand" by applying for reinstatement and coming back to the team.

• When Van Susteren intimated during the aired portion of the interview that Aaron Rodgers, whom the Packers have backed publicly as their 2008 starting quarterback, probably won't stay healthy after suffering injuries the past two seasons, Favre replied, "I do feel bad for Aaron a little bit."

• Favre also acknowledged that he hasn't talked to Rodgers and that, "I never gave him advice, really."

"I know this has been tough on him," Favre said of Rodgers. "And this has nothing to do with him, this whole deal. If they want to make (me) a backup ... how does that protect my legacy if I'm a backup? If (they say), 'Brett, we'll welcome you back, we'll pay you $12 million, but you've got to hold the clipboard and ball cap?' That's probably better for them as opposed to letting me go somewhere and me coming back (with another team). Then their legacy, the management, would, you know, could be in jeopardy."

• "Ted (Thompson) and I, I thought, have always had a good relationship. We don't talk a whole lot, we don't go out and eat and shoot the bull. But on three different occasions ... I don't want to say (he) lied - I think that's kind of a harsh word - but I think 'untruth' or whatever is (a) better (word)."

He's a gunslinger...he's just a little kid having fun out there...he's a pretty special guy.

Favre Slams GM Thompson [Wisconsin State Journal]


text:
The Wall Is In Bryce Harper's Head

After Bryce Harper clumsily ran face-first into the right-field wall at Dodger Stadium, we were assured—by Harper himself and others—that the incident would not prevent Harper from "playing hard" in the future. Those assurances may have been given a bit hastily.

The Giants were trailing the Nationals by a run and down to their last strike during last night's game in San Francisco, when Gregor Blanco sent a shot towards Harper in right field. And then this happened:

You can clearly see Harper—still a step or two away from the warning track—short-arm his leap for the ball, his whole body flinching as if he expected to go slamming into the wall. That was a gaffe made by a man who is still more than a little gun-shy. Harper seemed to admit as much to the Washington Post after the game:

“I don’t want to hit the frickin’ wall full-on,” Harper said. “Of course that crosses your mind after you jam into a wall. It doesn’t really feel very good. It [stinks] that I couldn’t make the play. I totally put that loss on me.”

Nats pitcher Rafael Soriano, who was on the mound when Harper let that ball get over his head, wasn't feeling sympathetic after the game. From USA Today:

"With two outs and the tying run at first, you have to play the outfield so the ball doesn't go over your head,'' Soriano said in Spanish.

"It may not have been a catchable ball, but if we're positioned the right way, there might have been a different outcome. With two outs, I could tell my four-year-old son, 'You know where you need to play,' and he would have positioned himself better. It's not an excuse, and I'm not speaking badly about anybody, but I think that's how you play the game.''

It's stupid to think that a player who suffered a collision as damaging as the one Harper did would be able to move on without the incident sticking in his mind for a bit, but this will certainly put a damper on the tumescence of the columnists who spent last week getting themselves all worked up about Harper's heroic scrappiness. He's going to have to beat out at least six infield singles by sliding into first base in order to make up for this.


text:
dealscanon rebel t1i digital slr with 18-55mm lens, 15…

Good Deal. I was seriously considering this one until I found a Canon EOS 50D open box at HHGregg for $1000. I couldn't pass that one up.

If you want to stick to Canon (like you already have all the accessories), I would definitely go with this one (if you are looking at the >$1000 price range.)

It uses an SD card instead of the Compact Flash. Advantages: Available for cheap at many, many, many places. Disadvantage: Slower than CF. Most people won't need the increased speed. That is why it is the Pro line Canons still use compact flash.

I checked and unfortunately, Barnes and Noble doesn't have any of the cheap magic lantern manuals for this model in stock. They have the manual, but it is at regular price.

the Canon EOS Rebel T2i is coming out next month with a lot more features. Pass

@freeskierinvt: The T2i kit will be priced at $900 initially, then likely settle around $850. The T1i remains in the lineup, priced at $800 list, $750 street today. The $700 price is a likely settle point in a few months and is a steal now. Tax? Shipping? YMMV - the price here is $697 out the door. You can't find a new T1i on ebay that low - even with Bing cashback.

A lot more features? No so much. The main diffs with the T2i - 18mp vs 15mp, 30fps @ 1080p, SDXC card format compatibility, and a slightly higher battery life (10%). Same processor, same housing as the T1i.

The $100-$150 difference would make an excellent offset to a great lens. For most, the T2i is a marginal improvement -- not the bump that differentiated the T1i from the XSi (Digic IV, HD video).

@jbuccola: "The $100-$150 difference would make an excellent offset to a great lens."

You obviously haven't been looking at Canon's good lenses.
My 70-200 2.8 L with IS is $2000.
The 24-105 f/4 L with IS is around $1300.
24-70 f/2.8 L is also around $1300.
Some of the primes are a little less. Some are more.

@killjoy: I said offset, not purchase.

This is an entry level kit. Folks who are looking at primes are going to be looking at camera bodies, not kits with crappy glass. And unless they have a specific application, those with prime lenses are probably looking at full frame sensors.

Your $2k glass may seem like the world to you, but that's a non-starter for most pros. You're saying the right things to the wrong audience.

ok seriously don't buy this's gonna go down once the t2i is out

Another MAJOR difference between the T1i and the T2i is the complete and utter uselessness of the T1i's video mode because it doesn't have a mic jack. The T2i has a stereo 1/8" jack so you can use your own microphonePr


text:
questionswhat two sides do you pick in a "chain…

Depends on what my choices are! I like fries, but I wouldn't double up on fries most likely.

Baked potato & another baked potato. Love them w/everything piled on! Yummm Carbs & protein. ;-) I take home a doggie bag w/leftovers. (AKA a gmwhit bag)

I usually choose sides that will reheat well, as the salad and steak usually fill me up. So a baked potato (or a baked sweet potato if we are thinking of the same nutty steak place), coleslaw, potato salad, steamed vegetables, etc. Nothing fried or that will suffer for being kept in the fridge for a day or two. I especially like to take a baked potato home as I can throw some grilled chicken or other meat on top and maybe some steamed broccoli and make a whole 'nother meal out of it.

Mashed potatoes and sweet potatoes. With the fixings on top of both.

I like a salad, rice, or chili. Never got anything else...


text:
When Greteman misses dinner because of late-night rehearsals, she often ends up satisfying her evening hunger by snacking on cheese and crackers, chips and dip, and lots and lots of coffee. While this kind of junk-food grazing is typical for college students, it's not advisable, says Litt. "Because most meals are digested and absorbed in three to four hours, students should put themselves on some kind of pattern where they eat [again] within a three- to five-hour period to avoid getting overhungry," says Litt. Eating on a regular schedule prevents blood sugar swings, reduces cravings for unhealthy snacks, and wards off undue tiredness.

As any student knows, caffeine increases alertness and reduces fatigue—useful effects, especially when you're working late. The scientific consensus is that moderate caffeine intake yields no negative long-term effects, but sensitive individuals may experience more jitters from coffee than they want. If that's the case, try black or green tea; if even those contain too much caffeine for you, try energizing herbal teas, such as peppermint, thyme, or ginseng. The newest buzz is coffees (including decaffeinated ones) blended with herbal extracts shown to support brain function, such as ginseng, ginkgo, and vinpocetine. If you need a little extra oomph to make it through a study session, a caffeinated beverage and a high-protein snack can boost performance.

Don't, however, drink a lot of coffee the night before a big exam; the caffeine could prevent you from getting a good night's sleep. Instead, indulge in a few serotonin-producing carbs to help you snooze soundly. (And don't forget to eat protein in the morning to fire up your brain for the exam.)


text:
Parmenter Thomas A DDS

Phone: (734) 434-6020

Address: 3075 West Clark Road Suite 209
Ypsilanti, MI 48197-1103

Practice: Dentists

Choosing a dentist in Ypsilanti is not a fun task. Despite the fact that dental work is no fun, picking the best dentist will make it better. There are lots of options when it comes to choosing a dentist, and choosing the right one can have a major impact on your experience. In this article we’ll discuss some secrets to selecting the best dentist.

The first thing you should do is choose a dentist that is seasoned. There are tons of inexperienced dentists and low quality dental offices. While you will find some good young dentists, it is significantly better to find a dentist who has at least five years of professional experience. If you’re getting major dental work done like a crown, you definitely need someone with practical knowledge.

Ask your friends and family for any advice they may have. Just like the majority of services, people tend to go to the same specialists when they find a good one. You may also research potential dentists to get a good grasp of their practice. This is effective specifically if you cannot get any recommendations. It may be worth checking out if you find one who has a lot of good reviews.

Some things to consider are dentists in Ypsilanti who promote super low prices. Dentistry is similar to most other things for the reason that, you get what you pay for. In these type of practices you aren’t going to get a great deal of one on one attention. Also, avoid dentists who use routine sedation. For young kids this is ok, but for the majority of adults being sedated is not required for dental work.

It is always a smart idea to call the dental offices and read more about their service. If you ask a lot of questions and follow the hints above, you should have few problems when it comes time to choose a dentist in zip code 48197.

Have you actually went to Parmenter Thomas A DDS? If so please give a precise review.

Feed-back posted here may not reflect the particular views for this business.

Comments are closed.


text:
Steve Warren

Capt. William H. Dubois (credit: Facebook)

Air Force: Colorado Captain Killed In F-16 Crash

The crash of an F-16 jet near an unidentified air base in the Middle East has claimed the life of an Air Force captain from Colorado, the Pentagon announced on Tuesday.

Government Shutdown Grounds Air Force Academy Football

Army, Navy and Air Force might be forced to skip their football games next weekend because of the partial government shutdown.

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12 Ways to Use an Extra Dresser

If you’re a recently merged household, an avid yard-seller, or even a thrift shop addict… you might be able to relate.  All too often, our homes seem to just end up with spare furniture.  Most of the time, we have no idea what to do with these extra pieces and they often end up in obscure places or get unnecessarily dumped!  I’m here to tell you that an extra dresser is one piece that can serve at least 12 purposes, if not more!

Dressers are versatile, have tons of storage, and come in millions of styles!  Moral of the story… don’t get rid of one unless you have to.  After all, you could always remake your dresser into one of these…

{Dresser as Nightstand from Emily Clark Interiors}

Changing Table

changing table

{Dresser as Changing Table from Project Nursery}

{Sideboard by Abbie @ Five Days Five Ways}

Media Cabinet

media storage

{Dresser as Media Storage from House of Turquoise}

media storage2

{Dresser as Media Storage from Danielle Oakley Interiors}

Bathroom Vanity

bathroom vanity

{Dresser as Bathroom vanity from HGTV}

Garage Storage

{Dresser as Garage/Tool Storage by Crafty Nest}

Craft Room Storage

craft room storage

{Dresser as Craft Storage by Maple & Magnolia}

{Dressed Up Dresser as a Credenza by Brooklyn Limestone}

Hostess Table at Restaurant

Sadly, I can’t find a picture of one online, but one of our favorite local restaurants has a vintage dresser that has been refinished in a bold, high-gloss color.  The drawers face outward and are permanently closed.  The back of the dresser was removed and a small curtain place inside to conceal the built-in shelves that hold the menus and other supplies.  It’s awesome… REALLY!  I’ll have to try and snap a picture next time I’m there. Smile

Outdoor Buffet

outdoor buffet

{Dresser Transformed into Rolling Outdoor Buffet by Organizing Made Fun}

Kitchen Island

kitchen island

{Dresser Reinvented as an Amazing Kitchen Island from Apartment Therapy}

Printer & Misc. Office Equipment Storage

printer storage

{Dresser Printer Storage by PB&J Stories}

Now, who has an extra dresser lying around their house that needs a makeover?!?!?  I know I do!  Now, if I could just decide what I want to use it for…

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  1. I love this post!!! I hoard dressers for this very reason! I have like 3 that will be spray painted and re-knobbed (is that a word??! lol!) this summer!

  2. It’s true. You can do a lot with an old dresser with a bit of creativity. My favourite idea has always been repurposing it as a bathroom vanity because then it looks more like a piece of furniture and it’s custom too!
    Good post.

    • Thanks! Dressers as vanities are absolutely one of my favorites too! I’m dying to do it in my house, and since we have two vanities that need to be replaced, it will probably happen! :)

  3. Thanks for the feature!!!! I am in love with so many of the styling of rooms you had in this line up WOW, oh and totally copying that garage dresser! :)

  4. Love this post! We’re totally using a dresser in our nursery as a changing table… that way lil bean can grow with it! :) I’m hoping to post the big reveal here soon… I’ll let you know when I do!

Speak Your Mind


text:
13 Principles of Effective Time Management for Freelancers

by Steven Snell

October 1, 2009 in Business/Freelance

Freelancers and independent designers have the need to achieve efficiency with their time. Effective time management does not come naturally for many of us, but to avoid working ridiculous hours and to greatly increase the chances of success in business, it is an area that needs attention. While working to improve the effectiveness of my time is an on-going journey for me, I have learned some things along the way that I think may be helpful to others. This article is written with freelance designers in mind, but the basic principles apply to many other situations as well.

1. Respect and Value Your Time

The first and most critical step towards being able to effectively manage your time is to respect and value it. As a freelancer, time is the most valuable asset you have. With your available time you can pursue various projects and determine how you want to make an income. Without any time you will be unable to do the work that produces the income.

Respecting your time is a general attitude that involves realizing the value and potential of your time, and a desire to work towards achieving greater efficiency and productivity with it. If you disrespect your own time others will do the same and you’ll wind up working harder and longer to earn the income that you need. Respecting your time will generally lead you towards an interest and a willingness to do the other things that are mentioned throughout this article.

2. Have a Plan for Your Time

If you start work in the morning with no idea how you will spend your time, chances are you will lose a lot of efficiency because of wasted time. Everyone has their own methods of planning that work for them, but generally you should either: 1) plan your work a week at a time, 2) at the end of the day plan for the next day, or 3) set a plan at plan at the very beginning of each day before you start to work.

With a plan for your time you will never sit around and wonder what you should be working on next because you will have a schedule with priorities that need to be accomplished. This way you will be able to finish one task and move on quickly to the next.

Something worth noting here is that you will not want to go too far with the planning, you should still have some flexibility, especially if that is important to your own style of work. Having some level of freedom can make the work more interesting and less taxing. My recommendation to is have a general plan with a few specific tasks that need to be accomplished, but allow yourself the freedom to make a few decisions throughout the day.

3. Be Goal-Oriented

Goals are great for helping to keep you on task. If you are working to achieve a specific goal it is much easier to stay focused until that goal is accomplished. Set minor goals for your day such as getting done with a specific task by a certain time. Without having any goals to work towards you’re likely to find that your pace of work slows down and you get less accomplished.

4. Set Deadlines

Many of the projects that you will be working on as a freelancer will have deadlines. Some clients will need you to be finished by a specific date, but others will have more flexibility. Additionally, you may be working on a personal project that has no real deadline because there is no one to report to except yourself.

While flexibility is a good thing, having a deadline to work towards can be very helpful for knowing how much you need to get done and for encouraging efficiency. For your projects that do not have set deadlines from clients, I recommend that you set your own deadlines or target dates of completion. While you shouldn’t be so rigid with this that you completely take away your flexibility, I think you will find that it helps to have something to work towards. And if you find down the road that a self-imposed deadline is not realistic, it can always be adjusted.

5. Have a Set Ending Time

One of the problems with time management for freelancers is that there is always the temptation to just keep working longer in order to get things done. While this can help in some situations (such as last minute work that needs to be done in order to meet a strict deadline), in general working more is not the answer and it can even decrease efficiency.

I’ve found in my own work that when I have a set time that I will be ending the day, I work with more focus and achieve better productivity because I know everything needs to get done before that time. When I plan to work into the evening until I get done with the things on my to-do list, I often find that my pace slows down (I know it’s going to be a long day, so why push it to get more done quickly?) and I don’t get much more accomplished than if I had ended work a few hours earlier. I’d be better off to end earlier and get some time with family and away from work.

6. Don’t Try to Overwork Yourself

Most freelancers work long hours. While this may be necessary at times and it can help for building up a client base and meeting deadlines, in terms of time management it usually isn’t effective. We all have a need for a work/life balance, and working too much can throw everything else out of whack. Additionally, trying to do too much can lead to tons of stress and a scattered focus that can make it even more difficult to accomplish the most important things. With a more realistic work schedule you will be able to focus more effectively on the issues at hand and you will have more energy for getting things done and doing so in an efficient manner.

Although there is a lot of emphasis on planning in this article, there are also benefits to keeping your planning to a minimum. What this means is that you will want to prioritize the important things that must get done, but don’t attempt to micro manage your day. Work to keep your calendar light and you will have more energy and focus for the important work, and you’ll also benefit from some added freedom that comes from being able to choose the other things that you want to work on if you have extra time.

7. Form Good Habits

Developing habits comes naturally to most of us. Unfortunately, bad habits are easier to form than good ones. Developing bad time management habits will make it hard to achieve your goals and you’ll have to work even harder just to break those bad habits, not to even mention the work that will need to be done accomplish the tasks that are at hand.

However, with the development of good habits, time management can become much easier and will be second nature. Bad habits of time management involve procrastination, any kind of lack of focus, poor organization, or lack of concern for your time. If you are willing to put in the effort now to form good habits, once they have set in you will be well on your way to becoming an efficient freelancer.

Really, just about everything that is covered in this article can be a habit. Take for example the issue of goal setting. If you make a habit to end each day by setting goals for the following day you will automatically put this into your daily routine and you’ll never lack focus because of not knowing what you should be working on.

To form good habits, consider the things that you struggle with and be consistent at working to overcome them. Find a way that seems to work well for you and do it the same way. Back to the example of goal setting, if this is something you struggle with and you want to form into a good habit, be committed to doing it at a certain time or a certain way each day. If you sometimes do it at the end of your day and sometimes at the start, it will be easier to blow off and harder to form into a habit. Consistency leads to habits.

8. Have an Activity for Stress Release

Freelancing is like any other work in that it does come with its fair share of stress. The stress is often from the pressure to meet a client’s deadline. Other times you may feel stressed because of a client that is particularly difficult to deal with, or maybe your stress is self-imposed as you’re feeling unable to come up with a design that you are happy with.

Whatever the case may be, stress is very likely to be something that you will have to deal with. Having a specific activity for helping to overcome the stress and find some peace and relaxation is important. For some people this comes in the form of exercising or going to the gym. This can be a great stress release after sitting at the computer all day. For others it will involve music, art, or it may even be to just get out of the home office and go for a walk or a drive.

9. Know Where Your Time is Going

Tracking your time is an important part of achieving efficiency. I don’t feel that it’s necessary to always be tracking your time every day, but when you are working to form habits and to see where you can improve your efficiency it is critical that you know what you are currently doing in order to be able to improve upon it.

Tracking your time can involve simply writing down what you are doing and for how long, or you can use one of many resources that are available to track your time online. Once you know how you are typically spending your time you can evaluate to see your weaknesses and areas for improvement. It’s likely that you’ll be surprised at some of the things that are eating up considerable amounts of time and how you can get more out of your days.

10. Group Tasks Together

One of the difficult parts of freelancing is that there are a lot of transitions throughout a day and many things pulling you in different directions. You have design projects that need your attention, but you also have to take care of completing quotes for potential clients, customer service, invoicing, recording of financial records, marketing, networking, and more.

With all of the different activities that you have to do throughout the course of a day and a week it can be helpful if you are able to group together similar items and do them at the same time. For example, rather than responding to client emails the moment they hit your inbox (and stopping what you are working on in order to do so), why not set aside 30 minutes, or however much time you need, each day for responding to all of your client emails at one time?

Another example is invoicing and finances. Rather than recording your income sporadically whenever it comes in or completing invoices the moment you are done with the work, why not have a time set aside to take care of these tasks once or twice per week? Additionally, there tend to be a lot of small items on daily to-do lists. My typical list of things to do each day consists of maybe two or three major items that will take the bulk of my day and maybe five little things that are important but will only take a couple of minutes each. I like to do all of the little things at once and get them out of the way rather than being distracted by them one-at-a-time throughout the day.

11. Prioritize Organization

In order to achieve maximum efficiency in your time management you will need to be organized in a number of ways. Your office should be organized so that you don’t waste time looking for things and so that you can work in a clean environment with as few distractions as possible. Your finances should be organized so that you don’t have to spend time trying to figure out which clients still owe you money. Your schedule should be organized so that there is little wasted time between activities. Your customer service should be organized so that you don’t have to waste time searching for old emails or to remember who needs to have some type of work done for them.

In general, if you make it a priority to organize your work and your life, efficiency with your time will follow as a natural result.

12. Take Quick Breaks

It’s easy to get involved in projects and find yourself working straight for long periods of time, especially when you enjoy the work that you are doing. Generally this leads to decreased efficiency and a higher risk of burnout. Just taking a quick five minute break to get some fresh air or get away from the computer can make a big difference. If you are struggling with focus and you have been working for a while, try taking a short break to see if it gives you more focus when you come back.

13. Calculate Your Per-Hour Income

One of the reasons it is so tempting for freelancers to work long hours is that more work tends to result in more money. But this is not always the case. If you are keeping accurate records of your income and expenses it is easy to look at any given month and see how much money you are making, but that only tells part of the story. If income or profit is all that you are looking at it is very tempting to increase the hours that you are working.

By tracking the time that you spend each day, week, and month working, you will be able to calculate how much you are making per hour (I’m not referring to how much you charge clients per hour, but rather the amount of money that you have made divided by the total number of hours worked). When you see how much you are making per hour it may help you to get the big picture and it may encourage you to work towards better efficiency with your time. Calculating your hourly income puts the emphasis on being more effective with your time rather than just working more hours.

What’s Your Advice?

What tips or advice do you have on the subject of time management?

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About Steven Snell

Stephen Snell is the owner and editor of Vandelay Design.Connect with Stephen on google+

  • aviko-oloo

    Oct 2nd

    that’s is highly recommended list ,i just got a brief meeting with my boss on time management and yeah! that doesn’t only apply to freelancers

  • Jessica

    Oct 2nd

    It definitely shows that you’re writing from experience, Steven. With this recession, you have so many more freelancers. It can be a challenge on it’s own to land the contract job, but what good is it when you’re not using your time effectively to get the job done? I think it dates back to when we were kids doing our homework sometimes – there can be so many distractions. Maybe we already developed bad time-management skills then?

    Remember when we were told, “If you could be paid for your time, how much would that be?” Tracking your time is important, but if you could put a dollar sign next to the value of tracked time spent/lost, I think it would be used differently. So even if you gave a set price for the job, it’d still give you an incentive to see how much money was lost on wasted/inefficient time.

  • ungemeinfein

    Oct 2nd

    Very interesting article, thanks a lot!

  • kunter ilalan

    Oct 2nd

    0. Plug all of your ‘social’ connections on the net off

  • Jasmin Halkic

    Oct 4th

    Very nice and useful article.

  • AtiKuSDesign

    Oct 5th

    This is something I really need help with.

    Because I try and complete extra projects on top of my full time job, it can be really difficult to motivate myself to work during the evenings.

    Once I get going I love it but for some reason getting started is the hardest bit.

    Thanks for the tips!

  • kodegeek

    Oct 6th

    Very helpful, Thnx

  • Mark Carter

    Oct 6th

    Thanks for this thought provoking article.

    “As a freelancer, time is the most valuable asset you have.” … this was a very useful reminder right at the start of your article ….

  • devlex

    Oct 7th

    very very useful article! and this is not only for freelancers! i will take it in my daily process!
    thanks a lot!

  • Rahul - Web Guru

    Oct 9th

    Ahem… Ahem…

    I think this article was created just for me ;)

    I needed this one.

  • Tai

    Oct 23rd

    As a recent full-time freelancer I cannot stress how important it is to start good habits early.
    Use time-tracking tools and take weekends off. Clients respect you more if you have clearly defined boundaries such as office hours and weekends.
    I recommend the book “The Principles of Successful Freelancing” by Miles Burke (Sitepoint book). That book helped me immensely.

  • Rebecca Pearson

    Nov 12th

    Steven, I know you wrote this with freelancers in mind, but i think the same principles apply to anyone with a full-time job. Thanks for the helpful tips! There are also online resources to help people who struggle with time management, such as this one-hour course: http://www.onehourcourses.com/management.php?cid=155. I haven’t actually taken it, but I’ve heard good things about it. I know you can enter INTERVIEW as a promo code to take the interviewing courses for free through One Hour Courses, but it might work for the time management course as well.

  • Michał Wyrobek

    Dec 21st

    solution for all these points is Pomodoro Technique ;) http://www.pomodorotechnique.com

  • Jan Wencel

    Jan 5th

    Well done, Stephen.

    I think you could even move number seven, form good habits, to the top and let all the tips develop into good habits.

    Being in the habit of grouping like tasks together, setting deadlines and making a plan for your time will likely bump out old habits you have of working “on demand” as tasks arrive (like responding to email in nanoseconds!).

    Thanks for the list!

  • Jessica

    Jan 5th

    I agree with Jan. Step #7 – Form Good Habits – basically summarizes everything Stephen is pointing out in this article. Repetition forms a habit and with it becoming second nature, you have mental room to focus on other things! :)

  • Chadwick Wood

    Jan 12th

    As for “Have a Plan for Your Time”, I’m currently working on a tool for just that, called Hourpatch (http://www.hourpatch.com/). It lets you make an iCal-like schedule, but integrates some time tracking features to keep track of whether you’ve planned enough time for everything. Maybe some of y’all will find it useful!

  • Jack

    Jan 13th

    This is an interesting piece. Thank you.

  • Sam

    Mar 27th

    Its definitely a fruitful post. Thank you.

  • lv bags

    Aug 9th

    Its definitely a fruitful post.

  • Paul

    Sep 9th

    Urgh being a freelancer is definately hard work at times. And it is so important to have a good activity to let you wind down after a hard day (for me it’s climbing). On the subject of useful tools for time management I would also suggest a simple bit of online software called 1DayLater ( http://1daylater.com ) – not sure how this compares to the other suggestions mind!

  • HaleLoraine

    May 16th

    If you want to buy a car, you would have to get the credit loans. Moreover, my sister all the time uses a secured loan, which seems to be really firm.

  • Leave a Comment

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TRW Sales, Profits Rise

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Grow your business smarter.

Visit CBS Detroit's

Small Business Center.

LIVONIA — The Livonia-based automotive safety systems developer and manufacturer TRW Automotive Holdings Corp. (NYSE: TRW) reported fourth quarter sales of $4 billion, up 7 percent from a year earlier, and net income of $425 million or $3.27 a share, up from $204 million or $1.56 a share a year earlier.

The company also reported net income excluding “special items” of $238 million or $1.84 a share, up from $225 million or $1.72 a share a year earlier. Those special one-time items include restructuring and debt retirement charges, an adjustment to a gain on business acquisition, and favorable net tax items, including a benefit associated with the reversal of the valuation allowance on the company’s deferred income tax assets in the United States.

For the full year, TRW revenue grew to a record $16.2 billion, up 13 percent from 2010. For the year, net income was $1.16 billion or $8.82 a share, up from $834 million or $6.49 a share in 2010.

For the year, net income excluding “special items” was $971 million or $7.42 a share, up from $844 million or $6.57 a share in 2010. For the full year, those special items included restructuring charges, a gain related to favorable resolution of a commercial matter, charges related to the termination of a service contract, debt retirement charges, a gain on business acquisition, and favorable net tax items.

“TRW’s solid fourth quarter performance sustained the positive momentum established earlier in the year and propelled the Company to its second consecutive year of record earnings,” said John C. Plant, chairman and CEO.  “Achieving record sales and net earnings in 2011 despite the fragile and uncertain business environment demonstrates the strong market position of the company.”

For the fourth quarter, operating profit actually fell, to $307 million from $310 million a year earlier. The company blamed that on higher raw material prices, higher legal fees and planned increases in costs to support future growth, partially offset by the improved profit from the higher level of sales between the two quarters. But that was offset by lower interest and debt expenses and a tax benefit during the period.

Fourth quarter 2011 net cash flow provided by operating activities was $608 million (after making $100 million in discretionary contributions to pension plans), which compares to $362 million in the fourth quarter of 2010, which included $170 million in discretionary pension contributions. Capital expenditures were $267 million in the current quarter compared to $126 million last year. Fourth quarter free cash flow (cash flow from operating activities less capital expenditures) was a positive $341 million, compared to $236 million in the prior year quarter.

For full year 2011, net cash flow provided by operating activities totaled $1,120 million, which compares to $1,052 million in the prior year period. Capital expenditures were $571 million in 2011, which compares to $294 million last year. For 2011, free cash flow was a positive $549 million compared to $758 million in 2010.

As of Dec. 31, the company had $1.53 billion of debt and $1.24 billion of cash and cash equivalents, resulting in net debt (defined as debt less cash and cash equivalents) of $291 million. This net debt is $477 million lower than the balance at the end of 2010, making 2011 the sixth consecutive year the company has reduced its net debt. In addition to strengthening the balance sheet through reducing its overall level of debt, the company made further progress on reducing its legacy liabilities.

At year end 2011, the Company’s pension and other postretirement benefits net unfunded liabilities position improved $346 million compared with year end 2010, despite the negative impact of lower discount rate assumptions between the two periods.

TRW’s planning assumptions for industry production volumes in 2012 are approximately 13.9 million light vehicle sales in North America and 18.4 million in Europe, up 6 percent and down 8 percent, respectively, compared to 2011 levels. Within the forecast for North America, the Company expects production for the Detroit Three manufacturers will be about equal to their 2011 production levels. The company continues to expect expansion in vehicle production volumes in China and the rest of world regions. Based on these production levels and the company’s expectations for foreign currency exchange rates, full year 2012 sales are expected to range between $16.0 billion and $16.4 billion, with first quarter sales expected to be approximately $4.1 billion.

“TRW is positioned to sustain its positive momentum as we enter 2012 given its strong market position and continued growth opportunities resulting from increased global demand for TRW’s innovative technologies,” Plant said. “Continuing to execute the company’s aggressive growth strategy is a key objective in 2012 that will further position the company for long-term success.”

A replay of a conference call discussing the results is available by calling (800) 642-1687 in the United States or (706) 645-9291 elsewhere, using pass code  42078050.

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Albion College

15 Michigan Schools On Princeton Review’s ‘Best Of The Midwest’

Fifteen Michigan colleges and universities have made the Princeton Review’s list of 155 “Best of the Midwest” institutions, released this week.

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Stockwell Library - Albion College

Conpoto Allows Albion College Families To Buy Treats At Campus Eatery

The app developer Conpoto LLC said Tuesday that the company and Albion College have agreed to provide an original new service to Albion students and their friends and families.

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Matt’s Favorites: Educating Innovators, Privacy Fatigue, Cyberattacks And More Earths

Here’s another day’s worth of my favorite finds from the amazing world of high technology. Just look at these!

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Seven Michigan Schools In Fiske Guide To Colleges

There are more than 2,200 four-year colleges in the United States. This year, seven Michigan schools have been included in the resource that millions of parents, counselors, and college-bound students have turned to for more than 25 years — the Fiske Guide to Colleges.

WWJ Newsradio 950–10/21/2012

This archive photo shows then American President Gerald Ford on July 31, 1975. (Credit: AFP/Getty Images)

Gerald Ford Sculpture Installed At Albion College

A bronze sculpture of President Gerald Ford has been installed and dedicated at Albion College.

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US News & World Report Ranks Michigan’s Top Colleges

“U.S.News & World Report” released the 2012 edition of Best Colleges, with several Michigan schools making the cut.

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Flu Outbreak Shuts Down Albion College

Classes are cancelled and students are being asked to keep to their dorm rooms at Albion College after an outbreak of the flu.

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text:
Battery Life

Event Notices From November 17

The latest meeting and event notices from Michigan’s technology-focused companies and institutions

WWJ Newsradio 950–11/17/2011

Cell Phones

Smartphone Battery Life Could Dramatically Improve With UM Invention

A new “subconscious mode” for smartphones and other WiFi-enabled mobile devices could extend battery life by as much as 54 percent for users on the busiest networks.

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