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Top latest Five Understanding Marriage Urban news

Description:  This presentation aids married partners to comprehend really like and really like languages in marriage.

When he satisfies another person new, or another person essential to him, he puts his finest graphic forward. Allow’s phone it his Impression of Perfection, and it is exactly what his Internal Choose in his head holds because the normal.

If we need to make long term significant changes within our romance dynamics, we must always address the actual trigger – the pictures we stock within our minds of ourselves, and each other. We don’t have just one self-image - We've numerous, and our emotional behaviors in interactions, and how we come to feel about ourselves, arise from these photographs. This will get even more complicated once we take into consideration that one other man or woman in the connection has behaviors and agreements pushed by their self photographs.

Paul, likewise, extolled the virtues of marriage (see especially Ephesians five:21-33), contacting on husbands to like their wives and on wives to post to their husbands and to take care of them with respect. The only real legit divorce allowed by Paul is exactly what is known as the "Pauline privilege.

Feelings are as pure as respiration. They’re fleeting and messy and awful and fantastic, and they are all part of getting human. All

The Bible defines "family members" within a narrow perception because the union of 1 man and a single female in matrimony which can be Commonly blessed with 1 or various all-natural or adopted little ones

The man claimed, “This can be now bone of my bones and flesh of my flesh; she shall be named ‘lady,’ for she was taken outside of male.” That's why a person leaves his father and mom and it is united to his wife, plus they become one particular flesh. (Genesis 2:23-24 NIV)

Exactly what is the biblical sample for marriage? This really is very best viewed in an in depth analyze in the pre-eminent passage on marital roles in The brand new Testament, Ephesians 5:21-33. In this passage, instructions are provided to each husbands and wives in method of a "household desk," which attributes instructions presented to start with to the person less than authority accompanied by Guidelines for the person able of authority.

This kind of emotional drama can continue on in our possess associations until eventually we know one particular extremely important detail -- these photographs are all manufactured up! They may be fictional. We're reacting to the Motion picture in our creativity. The one energy guiding these photos as well as their stories could be the perception we give them. It is only because we consider these tales and images that we react emotionally. After we don’t have confidence in these False Pictures, we get rid of the psychological reactions. It is important to note that it's extra than simply the belief along with the graphic that makes for this dynamic. Integral to this dynamic could be the perspective. The Decide fundamentally sees matters through the Graphic of Perfection standpoint. The Sufferer sees things in the Concealed Impression standpoint*. If we have been to change the dynamic of our relationships, It's not at all ample to change our beliefs. We are going to also have to shift our perspective out from the Choose and Target. When we change our standpoint and now not have confidence in the pictures along with the tales, we could do away with the many emotional drama inside our associations.

her joyful. When she was sad or pissed off, he would provide a way to solve the issue or notify her how he would opt to come to feel if he were in exactly the same circumstance.

God’s “1 flesh” bond is not created through the couple and can't be dissolved by them. God establishes it and only He can dissolve it.

But, in case you grew up likewise Going Here to Mike and realized to dismiss or disregard your tougher thoughts, you may not truly feel at ease embracing these psychological opportunities for connection.

Permanency, exclusivity, and faithfulness are necessary to marriage since they foster and secure the two equal reasons of marriage. Both of these applications are growth in mutual like among the spouses (unitive) plus the era and schooling of youngsters (procreative).

So we see while in the sweep of biblical heritage a craze from marriage as the norm (with singleness currently being restricted to Outstanding scenarios), to a location where by the pros and cons of the two marriage and singleness are affirmed (in Jesus and Paul), to some marriage-significantly less state in heaven where by the one "marriage" will likely be that of Jesus, the heavenly bridegroom, towards the church as his spiritual "bride."

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Tuesday, January 24, 2012

Red-shouldered Hawks at a Fairfield High School

It’s only January, barely the start of breeding season, but a pair of territorial hawks have been strafing students at Fairfield Ludlowe High in recent days, raising the level of angst among students and teachers. Last week one of the hawks reportedly landed on a student’s head; this week one swooped down and grazed another student’s head.

Police were called to the scene (although to do what is unclear). The Connecticut Post wrote about it twice, the second time catching the attention of the New York City media. Today, WCBS 880, Fox 5 News, and WCBS Channel 2 news were all at the school.

Coincidentally our Birdcraft Museum and Sanctuary is just up Unquowa Road from the school, and the reporters made the most of it, interviewing Milan Bull, our senior director of science and conservation.

Milan’s opinion? It’s very unusual behavior (the birds, that is, not the media).

“It’s rare that red-tailed hawks become aggressive on their territory, but it does happen. This particular pair became aggressive last year defending a nest that was right next to the high school. And now, although it’s early in the nesting season, they’re setting up their territory and are becoming aggressive towards people who are coming close to the nest.

“They’re trying to send a warning, but they will make contact. It’s a brief contact, but it’s a very surprising contact when you get hit in the back of the head with a couple pounds of red-tailed hawk.”

Interestingly, when Channel 2’s Mark Morgan showed up, he asked if we were sure the hawks were red-tails, as was reported. Nobody at Connecticut Audubon had actually seen them, so all we knew was what we were told.

Mark said he himself is a birder and that these hawks -- which he got a good look at -- had banded tails, rather than red tails, and that he was pretty sure they were red-shouldered hawks. He described them to Milan, who agreed that from Mark’s description they seemed like red-shouldered hawks rather than red-tails: Buteo lineatus rather than Buteo jamaicensis.

But his main opinion didn’t change: It was still very unusual behavior.

State environmental officials may try to remove the nest, assuming there is a nest and assuming they can find it. Milan’s advice for people in the area: stay alert and, if you see a hawk swooping towards you, put your hands in the air.

Here’s a link to the WCBS story, with audio; and here’s the latest Connecticut Post story.

Tom Andersen
Director of Communications and Community Outreach

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The Cultural Center of the Philippines and the Center for Art, New Ventures & Sustainable Development (CANVAS)

Exhibit duration: 24 November 2017 to 21 January 2018
Opening reception: 24 November, Friday, 6pm
Pasilyo Guillermo Tolentino (3F Hallway Gallery) and Pasilyo Victorio Edades (4F Hallway Gallery)

The exhibition brings together professionals in the visual arts and design industry, each choosing a letter or two to connect to a concept in human rights. The hope is that, with these letters, words and art, the universal truths about human rights that can again be revealed, shared, reflected upon, and force an acceptance and commitment to the truth that human rights is not the cause of the chasm – it is the bridge that will unite. Participating artists and designers include Keith Dador, John Ed de Vera, June Digan, Electrolychee, Lala Gallardo, Gerilya, Meneer Marcelo, Jom Masolabe, Dan Matutina, Kevin Roque, Daniel Palma Tayona, and Wesley Valenzuela. The Weight of Words: An Alphabet of Human Rights is part of CANVAS’ “Looking for Juan Program” that explores art as a platform for social change.


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The Red Shoes
Ashley Shaw. Photo by Johan Persson.

The Red Shoes

Quirky, classic Matthew Bourne

Direction and Choreography by: Matthew Bourne
Music by: Bernard Herrmann
Based on Film by: Michael Powell and Emeric Pressburger, and the Hans Christian Andersen Fairytale
With: Ashley Shaw, Sam Archer, and Dominic North (9/19 performance)
Ahmanson Theatre, Los Angeles,
September 15 – October 1, 2017

I have never felt that ballet was a very successful medium for telling a story. To convey emotion? It works. For the set up of a situation? Sure. But details that push the story forward become exaggerated pantomime. Therefore, I have not been an enthusiastic audience for most full length, classical ballets. I go for the dance. I ignore the story. There, I’ve put it on the table as I feel I must be honest about where I am coming from.

Fortunately, my husband and I thought to screen the original 1948, brilliantly Technicolor film a few days before opening night. It certainly facilitated following the potentially bewildering story on the Ahmanson stage. Matthew Bourne’s “Red Shoes” is a full length, mostly classical, ballet in the strictest sense. During the 1950’s I must have seen the movie half a dozen times. It was at a time in my life when I practically slept with my pointe shoes on and had red ceramic toe shoes hanging on my wall. Had you asked me before we watched the film, ‘what do you remember?’ I would have said little but her passion for dance and love, and her tragic end. Especially the tragic end, her dramatic sacrifice to both. It made perfect sense to an adolescent, pre-feminist, dance-crazed kid. I tell you this because, if you share my feelings about full length classical ballet, I would hope that you too would screen the film before venturing forth.

But it is no longer the ‘50’s, and choreographer Matthew Bourne creates freely for a post-feminist, LBGT friendly world. There is something creaky about the story of a dance crazed girl, Victoria Page (Ashley Shaw), pushed by her aunt, Lady Neston (Daisy May Kemp) under the eyes of the demanding, coldly calculating, ballet impresario, Boris Lermontov (Sam Archer). To make a long story short. Victoria makes the grade, Lermontov has never heard of positive feedback or praise, but clearly appreciates her by giving her ever larger roles. She falls in love with Julian Craster (Dominic North), the composer and pianist who accompanies the troupe. Lermontov who has sublimated any sexual feelings into sadomasochistic balletic tyranny cannot abide sharing her attention with a lover. Lermontov reminded me of my teacher Carmelita Maracci who only touched her young students with a cane, leaving more physical contact to her warm and helpful assistant, Peggy. Dance-crazed youngsters put up with this kind of nonsense.

Ultimately Lermontov pushes Craster out of the company. The young composer gets his big chance in London. Victoria is torn between career and love. She leaves the company (remember the movie was released in 1948, the war was over and women were being pushed back into the home). While still in the company she is presented with a pair of red shoes. They have a curse. When a dancer puts them on she becomes possessed and cannot stop dancing unless they are ripped from her exhausted feet. Victoria has brought the shoes with her to London. One night, when Craster jumps out of bed and runs from her to the piano, she gets out of bed and pulls out the red shoes. Simply having them on her feet for a brief time she convinces herself she must return to the ballet company. Lermontov is hardly warm and welcoming, but Victoria dances again. Craster returns to Monte Carlo to claim his love. She is torn between the two and throws herself in front of the train on which Craster is arriving to claim her. No room for a two career marriage in this scenario.

That dear friends, is the Readers’ Digest version of the story behind Bourne’s new full length ballet and should stand as an exposition of why ballet is not the ideal way to tell a story. Under the umbrella of this very creaky story there are about two hours of dance varying from the very classical to quirky, classic Matt Bourne.

If you have read this far it should come as no surprise that a high point for me is the “Ballon de Plage” piece, charming, precise, visually appealing; its only function is to portray the charms of the Riviera with Bournes’ inimitable wit and precision. It is one of the refreshing contrasts to the strictly classical style of the opening of Act I. Bourne amply demonstrates his comfort with classical technique, but the parts that glow are the parts where the quirky Bourne shines through

Bourne did not use the original score from the movie. Instead the score for this production is composed of a compilation of Bernard Hermann’s film scores from the ‘60’s and before. The recorded music is presented at a frenetic pace, which probably accounts for the revolving cast. It is impossible to imagine dancing the entire ballet two nights in a row, let alone a matinee and an evening performance on the same day. This is an amazing troupe, however the pace becomes a distraction and an end in itself, demonstrating the unquestioned technique of the dancers but often undermining expression. Most of the dance is en pointe. Without exception, execution is as close to flawless as one will see out of animation. Ashley Shaw and Dominic North, who danced Victoria Page and Julian Craster on opening night, are both very expressive dancers. The sets cleverly function to portray a ballet within a ballet and other locations.

In the end it is a matter of taste. “The Red Shoes” is a story ballet in the classic sense, with glimmers of a more modern sensibility. Despite my lukewarm feelings about story ballets, watching such skilled dancers was entirely enjoyable. My personal preference is for the more modern presentation, of which Matthew Bourne is a master.

Karen Weinstein

Los Angeles ,

Weinstein is a clinical psychologist who teaches in the medical school at UCLA. She also holds a master’s degree in Urban Studies and has a strong interest in history and architecture, as well as the theater.


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Special School Board Meeting

There will be a Special School Board meeting on Monday, August 19, 2013, at 6:30 p.m. in the high school library.  The board intends to discuss a November bond levy and approve a resolution for calling a measure election.  An agenda is attached.

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Monday, May 31, 2010

Matthew: On History and Faith

To the charge that the truth of the gospels seems in some way diminished because of historical ‘problems’ with the gospels, I would first say that one doesn’t go to the gospels for history anymore than one goes to the gospels for science, because the gospels antedate both history and science. Which is not to say that the gospels don’t deal with the historical world or the natural world – but is to say that they do not do so in the ways that we modern readers might expect.

There must be more work to ascertain how ancient people generally thought about history in general and scripture in particular. What kind of truth were first-century Jews looking for, say, when Jesus read Isaiah in the synagogue? It certainly wasn’t journalism, nor a double-blind study. While we can’t go to the gospels for history, I do think we might be able to go to history for gospel. Because it might be that for these people the historical world was the world of faith. Our dualisms may not apply.

This is perhaps the largest problem with historical criticism, in that it carries too many of our own polar assumptions, and not enough of ancient peoples’, into the study of historical texts. Literary criticism, something of a corrective to this, puts together what form critics rend asunder because many have found it easy, even in the history of historical criticism, to lose sight of the forest for the trees.

When one spends too much time debating where exactly Jesus was born, it’s easy to lose sight of what the sheer weight of Christ’s advent has meant to the world for believers and non-believers, and for the story of Jesus Christ itself. One recalls here the old analogy of the scientist dissecting a dead butterfly and the poet describing a living one in flight. They both tell us key things about the species, though we must admit that the scientist-poet is a rare bird indeed.

Yet this is, of course, what Christians are compelled to be. It is the vey spirit of Christ which inspires us to seek his flesh. Thomas might have needed to put his hands in Christ’s side in order to believe the resurrection, but it was Christ’s own person that made him seek belief to start with. We are historical creatures with particular questions, and that inquiry is anything but dispassionate. It is profoundly faithful, and must be fair.

Christianity’s own core is that flesh is spiritual and that temporal, historical events have eternal significance. Our God is only ever revealed in the historical, the limited, the concrete...the human. How then could we dismiss the particulars of Christ’s life or fail to ponder their everlasting import? It’s not that history or scripture can never be wrong about details of Christ’s life, but rather, our journey of life in Christ is the walk into Jesus of Nazareth – and back out into faith again, enriched and reborn.

Thursday, May 27, 2010

Christology: The Historical Jesus

Whenever I read any of this historical-critical stuff, I feel like something of an archeologist myself – much of it is tedium, confirming or solidifying what we already know. Some of it is troubling or shocking or difficult to fathom; a few things are real, wonderful, and substantial finds.

And I found all three here, in James Charlesworth's 'The Historical Jesus': the basic thrust of Jesus’s biography must certainly be familiar to many Christians, at least one would hope so. And I’m not as troubled with all of the conflations at the author tended to be – I think it’s probably okay, for example, to assume that the garden John mentions before Jesus’s arrest is indeed Gethsemane, though that name isn’t specifically there; I don’t see what harm that could really do. So most of the book was a recast for me, and that’s fine.

And there were certainly some points that were profoundly troubling; the suggestion, seriously entertained, that the wedding in Cana was Jesus Christ’s own wedding. Now I don’t, myself, have much of a stake in the answer to this question, it wouldn’t change my faith overmuch if Jesus had married – but to argue that there was a strong possibility of this specifically from the absence of evidence in the Gospels as to what the wedding was actually about assumes an almost maniacal editing of the Jesus traditions before we get them in Johannine form.

Because so many of the historical-critical findings have been eventually overturned or revealed as exaggerations or distorted understandings of Christ, I wonder how easily, and at just how many points, contemporary historical-critical scholarship makes the same over-reaching mistakes. We say we’re getting better, but are we really?

But of course I did find several gems, the most recent of which in Charlesworth was the argument that because Jesus most likely did not know Greek, he would have lacked that language’s (and our New Testament’s) more sophisticated understanding of past, present and future, and would have dealt instead in the simpler Semitic paradigm of fulfilled or un-fulfilled time.

That is a profound realization, it’s both based on historical data and consonant with the Hebrew Bible, and it helps us understand what the man was actually trying to say. That’s premium work; I wish all historical scholarship went down a similar vein and perhaps spent less time battling through the authority of sources.

Which brings me to the actual question: it’s not that I side with the Christ of faith or the Christ of history so much as that I choose the Christ of history because of the Christ of faith. Because and only because I believe that Jesus was the Son of God who was crucified for our sins and resurrected for our salvation, it matters what he taught and where he lived and how he understood God.

That’s why the historical details matter to me, albeit in varying degrees. And that’s probably true for most Christians – I think the discussion of the historical Jesus alone is perhaps best for an outward-facing conversation, because the degree of certainty that we can have about Jesus’s human life is significant and telling in an apologetic sense, as a defense of the reasonableness of our faith .

Monday, May 24, 2010

Matthew: On the Gospels as Portraits of Christ

The image of the portrait of Christ denotes an intimacy between artist and subject - the artist is sitting with the subject for some hours, the artist knows the subject on some personal level, and the subject, let's be honest, is usually giving the artist money – which skews the 'objectivity' of the portrait.

But all of this connotes relationship. And, I would add, all of this connotes some degree of spirit (we've all heard of the beliefs about photographs stealing one's soul - there's nothing stealthy about a portrait, no paparazzi with a paintbrush and a canvas. does anyone even do portraits anymore?)

It makes sense of course that this idea of portrait would describe the gospels more than a snapshot. The writers of the gospels had some relationship with Jesus Christ. And their affection for the personality and work of Jesus Christ ‘colored’ what they wrote about him.

But because the Jesus Christ of faith is worthy of praise and honor in the first place, it matters less that the Beloved Disciple didn’t catch Jesus making a fool of himself at a party, or drinking milk straight from the carton at 3AM. The whole person of Christ matters more than individual moments about him, right? This would include details about his birth and diet and stray comments – the whole matters more than the sum of its parts, and that comes in a portrait.

On the other hand, the image of the portrait implies only one artist, and we now know this simply could not have been the case for the gospels. I suggest the image of the mural would be more apt – that beautiful art form that is often whole communities of people building on each other’s work, sometimes over days and weeks, each adding their piece to a greater, messy harmony.

This brings up the subject of canonization, of course, because there were and are other murals. And we are hard pressed, frankly, to say with any degree of certainty as to who was and wasn’t truly inspired by God when they wrote accounts of Jesus – in large part because so many people seem to have been involved in all the oral traditions, and in all the communities of people of the early Jesus Movement that kept traditions about Jesus going.

What does that sort of inspiration even look like, what would the criteria be? Would the person have to glow to be inspired? Would they have to hear the voice of God audibly, or would a prompting of one’s consciousness suffice? If the latter, how do we know that the fourth person remembering a parable of Jesus to add to the book of Mark is inspired, but a second person remembering one of Jesus’s stray sayings for the Gospel of Thomas is not?

What we can say with greater certainty is that we choose these gospels, these four that we have today. We chose them in antiquity and we choose them again in our own time. We choose them all over the world just as we have chosen them for 2000 years because they describe the Jesus Christ we ourselves have relationship with better than the alternative murals of the Gnostic or other apocryphal gospels – these are the gospels which build faith.

Yes, we choose them because they have better historical bona fides than the gospels we have not chosen, but at this point the sheer weight of our collective choice must matter more than any one reason for it. It’s like ‘dating’ manuscripts in the other sense of the word. It matters less that he has blue eyes and quite a bit more that he’s your boyfriend.

Notice: Semester Rewind

All (two of you):

Since I didn't have the chance to post throughout the semester, you'll be seeing my relatively few posts on Matthew, Christology, Hermeneutics, and Ethics all summer long, a post or two at a time. I'll start you off with Matthew.

the Curious Monk


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Chocolate Ricemellow Creme Panini

Next up in our set of guest posts for the week is brought to you from Kim Garr of C’est la Vegan. She is the talented baker behind C’est la V Bakeshop, here in Los Angeles. She comes up with some really great recipes, especially some of her treats for entertaining. My mother enlisted her to do make scones and biscuits for my bridal tea. Kim is sweet woman and I’m so pleased to be able to share one of her recipes here.

I’m such a huge fan of Cute and Delicious, and I’m so excited to be doing a guest post while Alix and Shawn enjoy their honeymoon!

I actually used the idea of a honeymoon as my inspiration for this dish, hoping to come up with something that would make for a really decadent breakfast in bed.  I think this Chocolate Ricemellow Creme Panini with Raspberry Dipping Sauce fits the bill nicely, though I would gladly eat this any time of day – honeymoon or not!

This is actually very simple to make, and if you don’t have access to vegan ricemellow or marshmallows, you could substitute peanut butter instead, or just do a plain chocolate panini sandwich, which would still be really delicious.  The Raspberry Dipping Sauce is easy to make, and the tartness of the raspberries really helps to cut the sweetness of the sandwich.

This ooey, gooey treat is so incredible, and I’ll definitely make it again.  It kinds of feels like a special occasion sandwich to me, but let’s be honest, I could easily count a movie night as a special occasion!  I hope you enjoy this as much as I did!

Chocolate Ricemellow Creme Panini with Raspberry Dipping Sauce

serves 2

Wash the raspberries and place them in a small saucepan over medium heat with the agave nectar (you can start with less agave and add more, depending on the sweetness of your berries).  Once you start to hear sizzling, stir the berries and start to break them up with a fork.  Turn the heat down, and simmer the mixture for a few minutes.  Remove the pan from the heat.

Heat your panini press or a large skillet.  Spread the margarine on the outsides of the slices of bread, or melt it in the pan if you don’t have a panini press.  Turn the bread over, and on the inside of each slice, spread 1-2 tablespoons of the ricemellow creme evenly over the bread.  Spread the chocolate chips over the ricemellow creme, and press the two sides together with the Earth Balance on the outside.  Place the sandwich in the panini press, and cook until the chocolate is melted.

Serve with the warm raspberry dipping sauce.  Enjoy!

3 Responses to “Chocolate Ricemellow Creme Panini”
  1. Becky says:

    This sounds so good! It reminds me of this fried PB&B sandwich I made once that I deemed a stomach ache sandwich, because it was so rich but also so worth it!

  2. Jaclyn says:

    These look so good! I just found your blog, it is amazing. I love your photos and the writing. Can’t wait to ready more 🙂

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Tuesday, February 24, 2009

Special Delivery

I can remember when I was younger that going to the barn with Dad while he checked heifers and occasionally pulled a calf was one of the funnest things to do. First he'd get the rope around the cow's neck and tie her loosely to one of the railroad ties holding up the pens. Then, he'd grab the chains that had been rinsed in disinfectant and hot water from the displaced coffee urn. Then he'd fish around inside the heifer's pelvis to fasten the chains around the baby calf's front hocks. Then he'd place the hook on the chains, wait for the cow to contract, and then give a tug. Yellow hooves, wet legs and knees would slip out. Another little tug, and I could see the nose and mouth, tongue long and curved. If all went well, usually one more tug would free the calf. If not, the calf puller with a pulley all rigged up would be fastened to the chains. A ratchet would slowly turn the pulley, and working with the heifer's contraction, a bit more slack, and a bit more slack would be gathered in. Eventually a low moo from the cow could be heard, and the calf would land with a thump on the straw-covered barn floor. Occasionally a piece of straw would be used to poke through the slime to get the nostrils clear, so the baby could breathe. Then, we'd hustle out of the pen, gathering up all our tools.

Usually, I'd hide behind a big round pole in the barn watching the mama sniff at her baby, while dad cleaned all of his gear. The little heifer would breathe so hard that dirt and straw would fly up and stick to the new, wet calf. Eventually the cow would go to work with her coarse tongue, licking off the mucous and fluid, which in turn stimulated the baby calf to think about his first meal. Watching the baby calf stand on wobbly legs and try to find its mother's udder is really pretty funny. Instinctively they know what to do, but sometimes they get lost in the details and look under the neck or front leg of the cow instead of in the back end. But they're tenacious little buggers and eventually find their way to breakfast.

Last weekend while Scott was gone, I was promoted to Chief Heifer Checker. We had 3 little heifers decide it was time to calve, and we had 3 successful deliveries. Luckily, none of them calved in the middle of the night. I figured that it takes me 12 minutes to dress, get my coat on, walk to the corral, check all the heifers, walk back, get undressed, and get back to bed. Not too bad, really. Then comes the task of trying to go back to sleep...

I did learn something though: be sure to close the gates behind you as you take the heifer and her calf down to the barn. You see, I went out to turn the girls in to their dinner (a refreshing main course of alfalfa hay and seasoned with an assortment of wild grasses) and discovered a freshly licked calf right in the middle of the gate. So after situating the rest of the ladies, I headed to the barn to put hay in the new heifers stall and grab the sled so I could drag the calf back to the barn. I trotted down the alley, back to the heifer and her new calf. I bent over and grabbed the still-slimy calf and placed him gently in the sled. The heifer mooed at me, and then sniffed her calf to make sure all was well.

We started the trek back to the barn, me pulling the sled with the calf, and the mama, with her head lowered, following. I only had to stop once to put the wobbly calf back into the sled before making it to the barn safely. Mama was pretty suspicious once we got into the barn. I opened the gate to a pen and helped the calf out of the sled, turning around just in time to see Mama bolt out of the barn. I ran to the door to watch Mama run as fast as she could back to the place where she last had her calf. AAAargggghhh!

To make a long story short, I finally convinced the heifer to return to the barn via another route, through another set of gates, which I made darned sure I closed behind me each time we passed one. I still had to talk pretty hard to get her into the pen without escaping. I usually get chilled enough that I have a hard time warming up when I get back into the house, but not this time. I was breathing hard and working up a sweat. Who knew that calving could be such a good aerobic work-out? (Although "Sweating with the Heifers" may be a little tough to market as an exercise video....")

We've had a week's hiatus from any calves, which has turned out pretty good since we now have 6 inches of snow on the ground and it was below zero this morning. I am looking forward to warmer weather and trips on the four wheeler and to the pasture to check on and tag the 3 year old's calves. Tomorrow will be the 1st of March... thank goodness our below zero days are numbered!!

The Weekend Wreck

This past weekend, Scott decided to fly to Colorado to watch Haley in her play and hang out with both Haley and Adam for a couple of days. Conveniently, there's now a semi-direct flight from Miles City to Denver with either a stop in Gillette or Scottsbluff, Nebraska. So, we dropped Scott off at the airport and went to watch my sister's team at the district basketball team. After a fun-filled game with well over 50 turnovers between the two teams, we went and ate a nice dinner with my mom and dad to celebrate Dad's birthday. We finished eating about 6 or so and stopped to get gas before leaving town.

The sun was just setting as we drove down the backside of Airport Hill and toward Sunday Creek. The Suburban has such a nice suspension system, that before I knew it, I was cruising along at about 78 miles/hour. The car in front of me started to slow down about 12 miles out of town, so I followed suit. Benjamin was asking me where Daddy was, so I was explaining that Daddy had just landed in Denver and that it was a wobbly flight. About that time, I looked down to turn the heater off, noticed I was going about 65, and when I looked back up, there was a mama deer and her yearling crossing the road.

Yep. I did it. I hit a deer with the new Suburban and knocked out the grille, bumper, and a fog light and who knows what all underneath. I stopped to check on it, but nothing was leaking from the radiator, or the engine, so we proceeded to drive the rest of the 25 miles home, following Mom and Dad at a speed of about 60. No more deer, no more wrecks.

Thursday, February 19, 2009

You asked for a a tattoo....

Some Thoughts About Wallpaper (2nd edition)

I was so excited when we got to set up our new home, some 8 years ago now. It truly is a treat to live in a place where no one else has ever lived. No weird hair in the drains, or between the carpet and baseboards, no one else's toothpaste ever spit down the bathroom sinks: you get the picture.

And truthfully, I had never seen so much bright, bright white. Everything was contractor primer white. And since it was the first home I had ever owned, I needed to put my mark on it. And mark it I did.... I painted, and papered, and papered and painted. There wasn't a room in the house that didn't have some color in it, and at the very least a wallpaper border. A cute clothesline with blue and yellow in the bathroom, baskets and flowers in the kitchen, John Deere tractors in the office, roses in the bedroom. Not sure why I had such a love affair with wallpaper borders, but man did I. Eight years later, I have been doing a rash of redecorating. It started with a remodel of the kitchen. My new counter top and cabinets did not go with the beautiful navy blue I had in the original kitchen. Down came the wallpaper border and away went the ragged blue-jean effect. Then I noticed the wallpaper in the entry way was looking awfully shabby. Between kids and dogs, I'm not sure who caused most of the damage (pretty sure it was the kids). So down came the clothes lines-with-freshly-laundered-country-attire border w/plaid bottom, away went the dark pink paint.

Now, I'm on to the master bedroom/bathroom. You see, my bedspread had gotten all worn out--what do you expect from a $50 Target ensemble? Eight years had had it--rips, cuts, pills. It was time to go. So I found an ensemble (complete with window treatments, sheets, and all manner and shape of pillows) on sale at Macy' And, of course, it doesn't quite go with the rose color-wash that adorns my bedroom walls. You know what's next. The bathroom colors don't really coordinate either, so down came the flowers in the bathroom. Who knew that wallpaper and steamy bathrooms don't get along so well?

This really is my anti-wallpaper manifesto. I putting it here in black and white (okay green and yellow): NO MORE WALLPAPER, EVEN BORDERS, IN MY HOUSE!

I really think that they should put that in first-time home-owners manuals too. I had no idea that it was that hard to take down. You can strip the outer layer usually, no problem. Then it takes all matter of spray gel--I tried Zip (it's blue) and I tried some pink stuff(it was environmentally friendly): I tried diluted bleach; I tried plain old water which actually worked best. Then, once you get the wall paper itself down you have to scrub off all the glue, which when you use the border bond-er, is no small task. Did I mention that under some of the wall paper it was good old flat paint? Now I have to re-prime some of the walls, before I can repaint. I had no idea it was that messy either! Water on the floor, glue dripping on the floor, wall paper that comes off in pieces the size of dimes. I had no idea that the border paste you can buy is extra durable so it will bond with the actual wallpaper; it's not designed to be put on the wall itself! I think if you are extremely wealthy, and can afford hired help to do all your decorating, knock yourself out, because usually the professional decorator also has professional un-installers as well as installers.
But if you are one of those DIY junkies (which I pretty much am), be smart. Wallpaper is NOT your friend.

Saturday, February 14, 2009

Valentine’s Day 2009

I know, I know. Two posts in just over 24 hours. I just had to share a couple of pictures. First here's a picture of the Valentine's Cake I made for Scott. It's a Red Velvet layer cake with Cream Cheese icing. I started doing this for Scott for Valentine's before we got married and I think I've made one every year since we have been married, with the exception of maybe one. This year I fancied it up a little just for fun since I was feeling a bit out done. You see, typically Scott remembers Valentine's Day, but it's either on the morning of that day or at some point during the day since I'm busy huffing around and acting more than a little annoyed that he apparently didn't remember. In Scott's defense, this particular "holiday" falls right in the middle of the first cycle of calving heifers, so most of the time, he doesn't even get to town. But this year, not only did he remember, he even bought cards for all four of the kids, AND his parents. And I got more than just a card: see picture #2.

I think it helped that Scott and I had a long talk about those days that women think are important: birthdays, anniversaries, and Valentines Day. It's not that we necessarily expect fireworks for gifts like diamonds, vacations, or the like (although we'd certainly take them!!!). We just expect that our other half thinks about us and makes the effort to do something special. The fact that Scott was planning ahead—he got everything for Valentine's day on Monday the 9th—made it even that much more special. We had planned to go out for dinner somewhere in Miles City, but decided to stay home since Alli was finally feeling better, and Ben was not feeling so great. We had porterhouses grilled outside with baked potatoes, green bean casserole, toast, and cake with ice cream. And I'm pretty sure they were better steaks than anywhere in town. Plus, we didn't have to drive 80 miles to do it.

So I just wanted to take a little time to brag on my hubby for the kind of Valentine's Day I always wished I could have. Love you honey!

Friday, February 13, 2009

25 Random Things About Me

For any of you that spend any time at all on "Facebook" you know about the countless lists and surveys they send out. That's why I usually just hit IGNORE... same as I do with the other applications. The whole thing can be kind of cumbersome, and definitely a time sucker. But my friend Mary, the Facebook Dropout, did think the list titled "25 Random Things About Me" was interesting. She challenged me to come up with the 25 things or so, and then post them on my blog. The thing is, I can come up with all kinds of things about myself, but I kind of wear my heart on my sleeve, so I'm not so sure that any of my list is really that big of a secret. I mean, people who know me, know me. I've definitely been known to "over share" and that acronym "TMI"--I'm pretty sure I've seen that flashing in the eyes of people that I'm talking to (as well as my husband--he's actually cringed before). I'm trying to get better about that, but I also think that sharing is how you make friends. I mean, if you come across like you're perfect all the time, no-one wants to be your friend, because they think you could never relate to them! And how can other people want to talk to you if you never say anything?

So this is in part for my friend Mary--and partly good brain exercise... Here goes:

1. I rarely do anything without listening to music (mostly Christian praise/worship and classic rock).

2. I hoard all matter of magazines with recipes, yet I usually cook the same things on a two week rotation.

3. I think I could live on potatoes, if I had to.

4. Cinnamon rolls are a close 2nd.

5. I really hate the wind but I'm trying to make peace with it.

6. I like to paint (walls, not art).

7. I am a huge procrastinator.

8. I love flowers and beautiful yards, but hate to weed.

9. I love to dance (two step, jitterbug).

10. I never drank coffee until I got married.

11. I've seriously considered getting a degree in school psychology.

12. I think I'd be a great administrative assistant for some big-time CEO.

13. Spring is my favorite time of the year.

14. I love to see all the fresh new black baby calves playing in the green grass and warm sunshine.

15. I love to bake fancy cakes.

16. I enjoy road trips with my husband.

17. I love to stay in hotels.

18. I was the high school mascot for boys basketball when I was a senior (free trip to all 3 tournaments!).

19. I was on the student senate in college for three years. I was also an RA for 1.25 years.

20. I used to play spring ball with the women's bball team at EMC when they were short bodies.

21. Someday I'd love to drive a Corvette convertible.

22. I love my kids more every day.

23. I enjoy working with the cattle and operating machinery.

24. Taking a drive around the ranch alone with my husband is my idea of a romantic date.

25. I love singing praise and worship music in a corporate setting.

That's not as easy as it looks. I'm sure I'll still be thinking about all the random things about me after I post this. Maybe I'll update my post if I come up with some other things. Right now I'm off to bake my hubby a red velvet heart cake for Valentine's Day. Happy Heart Day!

Thursday, February 5, 2009

As I write this post, our house is in the process of doing a little grieving. Last week, Scott had to take our family dog Wally to the veterinarian to be put to sleep. Wally, who has been a part of our family since 1995, would have turned 14 this spring. When Scott and I got married in 2001, Wally was like the rest of the family and welcomed me with open arms. In fact, Wally became my constant companion the minute I walked out the door.

It didn't matter if I was pulling weeds in the garden, sitting on the deck in a chair reading a book, or walking out to the highway, Wally was right beside me. When it was really hot and I was working in the garden, Wally would hang out under the shade of the lilac trees in a place where he could see what I was doing, but in a much cooler place. When I walked out to the road, we'd start out stride for stride, but typically, he'd make it to the top of the hill and then sit down for a break and wait for me to return and he'd plod along behind me the rest of the way to the house. The first couple of years, he'd even chase down a scent on a path through the barrow pit and eventually meet up with me further up the road. As he got older, he'd stop and wait for me closer and closer to the house. He would get so excited for our walks that if he heard me opening the door early in the mornings he'd start jumping and barking, loud enough I was afraid he'd wake up the kids. Occasionally I'd come out to grab something from the pick-up or car and when he realized there was no walk in store, he'd give me a sorrowful look and lay down on the deck.

Another thing about Wally that I always appreciated was his "warning" about approaching people. I could always hear his tail thumping loudly on the deck whenever anybody was on their way to the house, be they friend or foe. He especially loved it when Grandpa and Grandma G came by as that always meant a chicken strip was on it's way as well. Gus and Uncle Don loved to spoil both Wally and Buddy with a hot dog on their morning visits over to the bunkhouses. Wally's love for garbage was something that got old, and fast. If we were gone or busy for a few days, and Wally didn't get his full measure of food for the day, eventually he ended up tipping over the burn barrel and rifling through the refuse with his nose. We didn't even have to look outside at the cans, because his blackened nose was enough evidence to convict him on the spot.

The last few years, Wally began to physically break down, even though his kind eyes maintained their youthful twinkle. His hearing got worse and worse until he eventually didn't even hear it when I banged dishes around so he'd come and eat. His eyesight got worse too, and the cataracts became visible. His fur started to fall out, but the worst part was how hard it was for him to get around. Wally was a pretty big dog and his back hips just couldn't take the full weight of his body, so it got harder and harder for him to get up. As much as we dreaded it, the morning Scott had to lift him up so he could go outside, we knew it was time.

It's strange to drive up and not have him run out to greet our approaching Suburban. It seems strangely quiet to hear only Buddy's barking at night chasing deer and critters out of the yard. It's going to be especially lonely when it's warm enough to do my daily walks to the highway and back without Wally.

Thanks Wally, for your companionship and loyalty. We sure will miss you!


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selective exhibitions

..this is not intended as an exhaustive listing of exhibitions I have participated in.

The first exhibition in which I was a participant was a joint surrealist exhibition at Roen Art Gallery (a small local suburban gallery) with school friend artist Heather Robinson in 1981. My paintings were only exhibited once more in the eighties, in 1985. My works were rejected by all the commercial Melbourne galleries I approached in that decade.I then exhibited with the Contemporary Art Society of Victoria from 1992 to 1996. Since 1995 I have exhibited with Roar Studios, an artist run gallery. My first solo was at Roar in June 1999. My works were also included in the Roar stand of the 1996 Australian Contemporary Art Fair 5 (the Australian Contemporary Art Fair is now known as the Melbourne Art Fair). In the nineties, I did one better than the previous decade: I was rejected not only by all the commercial galleries I approached in Melbourne, but also by all of the commercial galleries approached in Sydney. In Australia if it's not decor, Australiana, or the faux avant garde, it will not sell!

..... when art is defined by the (art) market it is no longer art that is sold, but a commodity intended to pay for the wages, rent, overheads of the venture (gallery) in question. When the 'artist' deliberately sets out to create work that caters to market appeal, for the sole purpose it being sold, instead of expressing an idea, they are reduced to the status of artisans, not artists. Regardless of whatever talent these artisans may possess they instead create objects d'art, not art. The creation of such pseudo-art usually entails a considerable degree of self-censorship. It is 'art' that has only come about by researching what buyers want. High art has nothing to do with with what buyers want, for the prospective buyer is merely looking for a work of craft that serves merely as an adjunct to their other decor. Art created with the tastes of the prospective buyer reduces the artist to an artisan whose work contributes nothing to the sum total of human endeavour..

11 - 30 March 1994

Exhibition of paintings with the Contemporary Art Society of Victoria. City Square, Melbourne: 11-30 March 1994
(featuring paintings from 1989 -1993).The city square was demolished shortly afterwards..... not, I am assured, because my paintings were exhibited there!

17 February - 16 March 2000

Exhibition of paintings at the CASspace, Collins St Melbourne: 17 February 2000 - 16 March 2000
(featuring paintings & digital prints from 1996 - 1999)

Four works exhibited in group show featuring emerging artists at Melbourne gallery Mansour + Hill in LaTrobe Street in Melbourne's CBD. The show ran from 31 July - 11 August 2001. Fortunately no works were sold ... Prospective buyers could have made substantial savings as the Gallery had listed three of the four paintings' prices without including the gallery commission and/or GST! I would have received around half my asking price .... meaning half of the (approx) $2.80 per hour my paintings sell for....

Amalgam - duo exhibition of the works of Lee-Anne Raymond and Demetrios Vakras at Melbourne Gallery 4Cats, 9 April to 27 April 2002.

EXHIBITION at Echo Gallery Chicago USA
In October of 2002 four of my paintings travelled to Chicago, USA. In an exhibition organsied by Veronika Kotlajich of Echo Galley (Chicago) for Halloween, my works were exhibited alongside those of other artists, including Daniel Ouellette.

ehco gallery late evening... showing the Chicago skyline

Echo Gallery directors, Derek (left) Veronika (right), with Demetrios and partner Lee-Anne (centre).

When the exhibition at Echo finished my works had to return from the USA. Fortunately for Australians they are protected by a vigilant customs and quarantine department whose actions are governed by Australia's self-belief in Australia's innate and central importance in world affairs which they, the frontline troops, are to keep intact. Armed with the knowledge that events of global significance are more likely to happen on Australian soil than anywhere else on this planet their job is to protect Australians. In protecting this country from a world full of villains their vigilance is not tempered by their stupidity or lack of imagination. So it was, that when my purpose-built art crate reached its destination, Australia, the authorities of this country acting with the impunity possessed by a body which can act with complete immunity from the consequence of their actions decided that my crate posed a risk. Somehow, in the nation central to world civilisation, my crate with its paintings was, it seems, no more than a Trojan Horse intended to get in underneath their radar. So in looking for the means by which I was going to to corrupt the Australian mind these authorities decided that there must be something of value concealed in the crate and this of course excluded the paintings. The interior of this crate was slashed (below is one of the photos I have taken). Parts of the polystyrene were gouged out ... looking for heroin? What? The joins of this crate are glued and stapled together. These were pried apart by customs looking for the pestilence I may have intended to bring into the country. Alas, these vigilant defenders of the chastity of a nation alrerady f#=ç@*ked found nothing. So now, as a monument to Australia's vigilance, I have a crate which I can not use again. It is no longer dust/bug proof as anything can now get into it. Its interior is in a condition that if I repaired it by taping up their slashings to use it again to transport paintings it will appear that the crate has been tampered with which will thus elicit investigation again. It's not even good as fire-wood as its exterior is painted yellow and the polystyrene lining will give off toxic vapours. Thanks Australia!

above: cricled, the superb craftmanship of Australian customs. This is only part of the damage by Australian customs.

exhibition in 2004

Two photomontages were exhibited in a group show at CCP before it closed down.

exhibition in 2009

the fiasco of Guildford Lane Gallery of Melbourne

Guildford Lane Gallery is run by the toxic Robert Cripps. AVOID THIS GALLERY ASSIDUOUSLY!

Much money was spent by myself and my co-exhibitor Lee-Anne Raymond to make this show a success. This has turned out to be a waste of money. The owner, Robert Cripps, had, at the time of writing this, still not paid us for work that sold during the show [payment was eventually made around 6 weeks later - after we sought legal advice].

During the course of the exhibition he, by his actions, circumvented our capacity to promote our work. His idea of a contract, we were to soon discover, is that he believes he can unilaterally insert conditions subsequent to any original agreement. The result of his actions was the sabotage of the exhibition. Cripps turned the exhibition into an expensive debacle for us, but he made a profit on it.

Below: a photograph of some of the works exhibited at the June-July exhibition in 2009. The exhibition was of never-before exhibited works by myself and Lee-Anne Raymond. A fully illustrated catalogue was published to accompany the exhibition. (the catalogue can be purchased here). Essays which are featured in the catalogue were pinned alongside our artwork in the exhibition.

Cripps is a self-confessed racist [this page is expanded here]
He is a manifestation of the new-left who have adopted the sentiments Hitler expressed in his Mein Kampf, but who believe that, though theirs and Hitler's sentiments are the same, their racism is a 'justifiable' one
[expanded here].

Cripps took exception to my explanatory essays.

Some of my essays juxtapose quotes from both the Old and New Testaments alongside Hitler's Mein Kampf, to show that Hitler's racial exterminations were Biblical (religious). (An assessment of Hitler's Christianity)

Hitler wrote:

"...I believe that I am acting in accordance with the will of the Almighty Creator: by defending myself against the Jew, I am fighting for the work of the Lord." Mein Kampf p.60, Manheim translation.

Hitler's enmity of Jews is based on 1 Thessalonians 2.13-16 from the New Testament. [quoted here]

above: one of Cripps' many disclaimers (circled)

Yet it was not the exposure of the Biblical basis of Hitler's racism that Cripps took exception to. His actual objection was to my quoting from the Koran, particularly 9.38-52, in which the god of Islam, "Allah", guarantees automatic "martyrdom" to those who are killed while in the act of killing non-Muslims.

According to Cripps, quoting the Koran is insensitive to "Palestine", because he is opposed to, as he said, "the Jew's state in Palestine." He then accused me of "racism"! (Neither "Israel" or "Palestine", or the conflict there are mentioned in the exhibition)

Cripps, who does not know the difference between opinion and fact, placed disclaimers everywhere in the exhibition.

The "Disclaimer" reads:
"The management would like to state clearly that the views and opinions expressed in this exhibition are those of the artists, and not in any way representative of the views or opinions of the management, staff or volunteers of Guildford Lane Gallery."

The quotes from the Koran though are NOT an opinion. What quoting from the Koran achieved was the exposure of Cripps for what he is: a racist.

Unfortunately, some of the photographs are not in focus (limited depth of field). When Lee-Anne and I visited to photograph our exhibition, he followed us, harried us, ranting, ordering us out of our exhibition, even though we had a legal right to be there, and he had no legal means of executing his demand. He is a bellicose bully limited in erudition and of limited intellect.

below: detail of Cripps' disclaimer
The above brief summary of this exhibition is expanded in greater detail here.

Australian arts journalists (which included those who write for the Age and the Australian newspapers) were contacted by email. Some journalists did respond with sympathetic emails, but did NOTHING. No response of any sort was forthcoming from any journalist from Murdoch's the Australian and Herald Sun.

Australia's arts intelligentsia, a parody of the British arts intelligentsia, ignored the show.

The premise behind many of my works in this exhibition was the condemnation of religion-incited violence, and religion-incited racism. My works specifically condemn the 4 'montheisms': Zoroastrianism, Judaism, Christianity, and Islam, whose religious doctrines demand that their followers commit murder as an act of piety on behalf of their respective faiths. The exhibition also featured two works from my current series of "Mytheic Works" (preview here).

The exhibition was arranged as a counter-point to an exhibition of the powder-puff surrealism of Salvador Dalí whose works were being exhibited at the time at Melbourne's state art museum (the NGV).

It became evident that Cripps was utterly ignorant of surrealism, ignorant of its counter-cultural, counter-religious, and therefore its original revolutionary intent.

(For example, refer: http://en.wikipedia.org/wiki/La_Révolution_surréaliste :
"the initial issue announced the revolutionary agenda of the La Révolution surréaliste with, "It is necessary to start work on a new declaration of the rights of man."…the third issue announced, "End of the Christian Era."…Writer and actor Antonin Artaud wrote an open letter to the Pope, "Address to the Pope," and expresses the revolt against what Surrealists saw as oppressive religious values…anticlerical remarks are found throughout La Révolution surréaliste and reflect the group's relentless campaign against oppression and bourgeois morality.")

(the old version of this page is archived)

© copyright Demetrios Vakras


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Liberty`s Kids: #09 "Bunker Hill" (2/2)

Liberty`s Kids Season 1 Episode 09 Part 2/2 "Bunker Hill" Synopsis: James witnesses the battle at Bunker Hill; Sarah searches for a British officer; Henri is...

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Wednesday, March 4, 2009

New progress in our project has brought about a new website that is more functional then this current one! Please visit This will be the new website for Cycling For A Cure. Please check it out and let me know what you think!

Monday, March 2, 2009

Cycling For A Cure is NOT finished YET!

I want you to know that Cycling For A Cure is not done raising funds for the John Kanzius Cancer Research Foundation! I am currently working on some new plans for other fundraisers and probably another ride (locally). I would love for any input that you all may have to share and can't wait for this to all come together.

Although John Kanzius has passed we must continue supporting the amazing work that he began. His work will one day save many people and we need to help it get to that point! I will begin to post updates on here regularly as to the things that happen with the research and with the possible fundraisers/ride coming together. Thank you for all your support and please, lets help beat this thing!


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A Cheap & Awesome Girl’s Study Idea

Jason and Crystalina Evert published a book titled How To Find Your Soulmate Without Losing Your Soul.  They are currently making this book available at a huge discount when ordered by the case.  Right now you can order a a case of 44 books for only $2 each.  This book makes an excellent gift for young women and has really become a popular item through our Diocese.   I am male and have read most of the book and would say that the book is ideal for women that are considered young adults (ages 18-30) that are single.  I have several high school girls that are also very active in reading and encouraging their friends to read this book.

There is also a free study guide that is provided that would make this a great youth group women’s study idea.

Here’s some links!

Have you read the book or do you have other great ideas for a young women’s study?  Please share below!


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Thursday, April 17, 2014

New Products Now In Stock

CZ 75B Omega - The newest addition to the CZ 75 line incorporates the new Omega trigger system. The Omega system uses fewer moving parts resulting in increased reliability and an improved trigger pull.  Another benefit of the Omega system is a reduction in production costs making the 75B Omega our lowest priced steel frame handgun. Now available in 9mm.

The CZ 557 Carbine (above) and Sporter (below) models are now available in .30-06. The 557 model applies new manufacturing equipment and processes to create the next "best of class" bolt action deer rifle.


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Broken Lands

The Broken Lands
Ruler: King Thar
Government: Feudal monarchy
Capital: Unknown
Languages: Orcish (common), most humanoid tongues
View map
Rumors, Lore and Places of Interest:
Two important trade routes run through the area. One runs between the Republic of Darokin and the Principalities of Glantri, the other runs between Darokin and Ethengar Khanate.

For centuries, this region has been a haven for orcs, goblins, trolls and other humanoid tribes. There have been numerous conflicts between the tribes and the surrounding human populations, and among the tribes themselves. In fact, orc armies are believed to have held territory in the Five Shires, Ethengar, and the Atruaghin lands in centuries past.

About 25 years ago, an orc calling himself King Thar united the various tribes under his rulership. Many of the nations bordering the Broken Lands are concerned about this threat, especially Darokin. The Republic of Darokin relies heavily on trade with Glantri, which is frequently disrupted by attacks against merchant caravans, which must pass through the Broken Lands to reach their destinations.

Notes from the Dungeon Master:
Most people who travel into the broken lands do so in large groups, armed to the teeth. Even then, they do not stray from the known trade routes. Those who attempt to explore deeper into King Thar’s lands are usually never heard from again.

The landscape itself is a barren wasteland; harsh and unforgiving. One wonders how the humanoids that live there manage to survive at all.

For more information see GAZ 10: The Orcs of Thar.

Broken Lands

D&D 3.0: Tales from Mystara Galero


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Wednesday, 18 May 2011

BreadTalk, Jakarta

It’s fair enough that Breadtop has not copied the name. It’s stupid. But lets not judge a store by it’s name. Because if you did, you’d be missing out on all the sugary baked dough goodness.

This bread certainly won’t help with your weight problems. The flavours aren’t too ridiculous, but the sweet stuff is where it gets visually and orally appealing.

4 / 5 yums!
Where? Various
What? AUD $1-3

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1. Origin
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3. The Daimler Acquisition
4. Freightliner Today

Freightliner began as the vision of a man named Leland James. James was a native Portland, Oregon trucker who was an integral part in the merger between several local trucking companies in 1929. The result was a freight company named Consolidated Truck Lines. The trucking industry, like the automotive industry, was relatively young and there were few mass produced trucks that could meet James's needs. The roads between the cities of Oregon and Washington were shaky and steep, requiring trucks with a lot of power, and James and his transportation company were beginning to realize that what they were working with was far from ideal. They needed specific parts and trucks to fit their needs, and there were few companies out there. The ones that were available for such a small industry were inclined to use steel parts, something James wanted to avoid. His new company, which renamed itself to Freight Lines, Inc. in 1931 and to Consolidated Freightways, Inc. (CF) in 1939, would continue its transportation practices until the hardships became unbearable. With a lack of options to fit his specific needs, James decided to resort to manufacturing his own trucks. The result was a game changer and lead to one of the most successful commercial truck lines of all time: Freightliner.

While the Freightliner name can be traced to 1940, it didn’t produce its first truck until 1942. James had a goal of creating a truck that was lightweight, and it started with aluminum parts for the suspension, brakes, and hood. Choosing aluminum over steel would make James's trucks much more efficient, by increasing the payload capacity. This line of thinking lead to the formation of the Freightways Manufacturing Company, which was initially intended to help Consolidated Freightways achieve its goals. With several railroads overburdened in support of WWII, the trucking industry had taken on a larger role for freight companies in the United States. With the idea of improving the truck, the newly established manufacturing division within Consolidated Freightways led to the “No Name Truck” which was designed with an aluminum cab placed over the engine. It was made from scratch with the help of eight mechanics, many of whom would later hold key positions in the company. The comapny's first commercial truck, the Model 600, was created with an all-aluminum cab placed over the engine. That same year, the division changed its name to the Freightliner Corporation.

Truck manufacturing was interrupted by WWII, but production picked back up in 1947 with a newly established plant in Portland. It turned out that James’s ideas, once viewed skeptically, were gaining ground, and more companies began to take interest in Freightliner’s operations. A few years later, Hyster, a lift truck company, ordered one of Freightliner’s trucks for $15,871, making them the first private company to make a purchase. In 1951, seeing they could make a significant profit and that several other private companies had needs similar to James's, Freightliner agreed to retail its trucks through the White Motor Company, a company founded in 1900, which would become a leading producer of trucks in the U.S. following WWII. This would help cut production costs and increase distribution capabilities throughout the U.S. and Canada, and it also lead to some of their trucks being called “White-Freightliner.”

The 1950s brought significant changes to the industry, and Freightliner developed trucks that would aim to overcome the current limitations. One of Freightliner’s key attributes that helped establish nationwide success was its ability to listen to its customers. By meeting the driver’s needs, the company could afford to innovate successfully and grow its product into something that was reliable and efficient, and it became popular for its custom designed trucks. The word “No” was not a common word heard around the company. In fact, some demands were so common they became standard features, leading to models such as the WF64, the first truck with an overhead sleeper. The WF64 was also capable of running on gas, diesel, or liquefied propane. Freightliner's innovations in the commercial truck industry didn’t end there. In 1958 it created the first 90-degree tilt cab, which allowed mechanics easier access to make repairs.

While the 1950s firmly established Freightliner as a successful truck company capable of manufacturing reliable and innovative trucks that could fit customer demands, the 1960s would bring on further advancements. The trucking industry was catching up with rail shipping, and more companies found it useful to purchase trucks for commercial use. New interstate highways had been recently designed and implemented, and these boosted the industry. Demand for specific trucks depending on a company’s needs - whether it was for lumber, snow, rough terrain, etc. - also grew. Believe it or not, the 1964 WFT5366 was designed specifically to transport sugar cane in Hawaii. The next year also brought the Turboliner that came with a Boeing model 553 gas engine that could reach up to 300 horsepower.

It was the 1970s that would change Freightliner and transform it into the company we know today. Staying true to its roots, Freightliner continued to push the limitations of the modern truck. Some could say this began with the flagship model, the 1973 Powerliner that had a 600 hp V12 Detroit engine and was outfitted with a 2,000 square inch radiator to handle the output. Others could say it was with the FLC model that was designed with a new aerodynamic style. A major milestone came the next year when Freightliner manufactured its 100,000th truck.

It was also in the 1970s that the longstanding distribution agreement between Freightliner and White Motor Company would come to an end, thanks to financial trouble White was facing at the time due to over-expansion that did not produce returns. Freightliner Corporation transitioned into being a freestanding manufacturer and distributor following the termination of this relationship. Interestingly, many of the first dealers of Freightliner trucks happened to be from the White Motor Company network, though there were some that signed up to sell Freightliner trucks without having any involvement with the White Motor Company. In 1979, another big event in the evolution of the company, and of the whole trucking and truck manufacturing industries, occurred. President Carter signed bills into law which deregulated transport both on land and in the air. This changed the economics of trucking, and removed the shield of regulated carriage that protected carriers, allowing for much needed competition. A few years later, additional legislation was passed that altered traditional weight and length standards in order to lessen restrictions, and imposed a new excise tax on heavy trucks and the tires they used. This changed the rules of the trucking game even more.

The Daimler Acquisition

By the 1980s, it was clear Freightliner was one of the leading manufacturers of heavy-duty commercial trucks. However, with all of the recent deregulation activity, Consolidated Freightways, which had been founded and flourished as a traditional, unionized carrier in the era before deregulation, realized it was in a battle for its survival. In May 1981, CF sold its truck manufacturing business and the Freightliner brand to Daimler-Benz AG. This would allow for CF to focus its attention and resources solely on its traditional trucking business. CF continued in this capacity until 2002, at which point the company shut down permanently.

Since its inception, the cherished design of the original Freightliner had been in a constant state of evolution, and it would not have been without the keen sense of awareness Freightliner developed from listening to its customers. The cab height was raised so truckers could stand comfortably in their cabins, but one of the most notable changes was the drift in demand from flat-nosed trucks to long-nosed trucks. This changed the way models were manufactured, and the new design was geared toward an aerodynamic style, changing the image of the conventional truck. It became one of the best selling Class 8 trucks in North America and led the company to nearly double in profit into the 1990s with the expansion of the FLD. The Airliner suspension was another new innovation, and, in the 1990s, the now-defunct semi-truck Century Class increased safety and fuel economy. The 1990s did also bring a period of financial turmoil due to a downturn in the industry in general, but cost reduction programs were put in place that helped to restore the company to profitability when the market rebounded. The company also made numerous acquisitions, including Thomas Built Buses, during the 1990s in order to diversify itself. In 1998, its parent company Daimler-Benz AG, merged with and then subsequently acquired the Chrysler Corporation, forming DaimlerChrysler, with U.S. operations generally referred to as the “Chrysler Group.”

In the year 2000, a part of Freightliner’s past popped up again. That year, the Freightliner division acquired Western Star Trucks, Inc., originally founded in 1967 as a division within the White Motor Company to sell trucks on the west coast, by Australian businessman Terry Peabody who had purchased the company in 1990. White itself, which had helped Freightliner get to where it is today, went defunct in 1980 and its U.S. assets were acquired by Volvo AB in 1981, while two energy-related companies based in Canada purchased its Canadian assets, including a plant located in British Columbia and the Western Star nameplate and product range. The Western Star brand continued on under the Freightliner Corporation, alongside Freightliner branded trucks and others for the majority of the decade. Detroit Diesel Corporation (DDC), a diesel engine manufacturing company founded in 1938, was also acquired in 2000.

By the early 2000s Freightliner also began offering the Business Class M2, which could be used for several business applications and could be altered to fit many industries - such as electrical and oil. The trucking industry was far from what it had once been, and many vehicles were making long distance trips, in some cases across the country. In order to raise fuel economy, Freightliner was the first North American truck manufacturer to create a wind tunnel. This helped them develop a sleek and more aerodynamic design that can be seen in the Cascadia model, one of Freightliner’s most popular makes of all time. The Cascadia was built on a new platform and came with a new aerodynamic design with a sloped hood. It was a sign that Freightliner was still headed in an innovative direction and has been partly responsible for making Freightliner top of its class as the best selling brand for commercial trucks.

In 2007, DaimlerChrysler sold a majority of its interest in the Chrysler Group to a private equity firm, Cerberus Capital Management, and thereafter it became a new company, Chrysler LLC. DaimlerChrysler changed its name to Daimler AG shortly afterwards, but maintained a 19.9% interest in the now separated Chrysler LLC. This also led to the announcement that the Freightliner Corporation would be renamed to Daimler Trucks North America, LLC in 2008, with Freightliner Trucks becoming a brand under this new division. In April of 2009, Daimler AG came to an agreement with Cerberus Capital Management to give up its remaining stake in Chrysler LLC, days before Chrysler LLC filed for bankruptcy.

Freightliner Today

Today, Freightliner operates as a brand of trucks, like Western Star, produced by the Daimler Trucks North America LLC (formerly the Freightliner Corporation) division. Nearly all trucks from Freightliner feature Daimler’s BluTec catalytic convertors and have improved fuel economy with each new model. These have all been made possible with Daimler’s wind tunnel that’s used for testing, as well as the company's minor additions to its trucks such as side skirts and roof deflectors. Many of its cabs come in different sizes and are still built with aluminum as the main material, holding true to James’s vision that many skeptics were quick to shoot down. Its ability to listen to the customer, increase payload capacity, and improve fuel economy has led to a loyal customer base and is the reason for making them the best selling rig for a number of years. They’ve even released a new prototype that has once again morphed the image of the conventional truck. Rightfully nicknamed the “Revolution,” it features LED headlamps, an integrated grille, hidden headlights, a back entry door, keyless entry, wraparound windshield, and much more. Innovations such as these show that Freightliner is still focused on improving the conventional truck and remaining a top seller for years to come.

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Thursday, June 23, 2011

Supreme Terry Knit Camp Caps

Before you rush to the website to order, these were sold out within minutes. Even I didnt click fast enough cop one. Just expect these to be on ebay for hypebeast prices. They released in 4 different colorways. IF you dont believe that these are already sold out, click HERE.

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Dag Jensen

Dag Jensen was born in Horten, Norway and began bassoon lessons at the age of eleven with Robert Rönnes. He later studied with Torleiv Nedberg at the Norwegian Academy of Music in Oslo. He won his first orchestral position with the Bergen Philharmonic Orchestra at the age of sixteen and was promoted to co-principal of the same orchestra soon after. He continued to study with Prof. Klaus Thunemann in Hanover.

He was principal bassoonist of the Bamberg Symphony Orchestra from 1985 to 1988 and held the same position in the Cologne Radio Symphony Orchestra from 1988 to 1997. He is a member of the Saito Kinen Festival Orchestra and the Mito Chamber Orchestra, both with Seiji Ozawa as artistic director. From 2003 to 2005 Jensen was the principal bassoonist when Claudio Abbado founded the „Luzern Festival Orchestra“.

Dag Jensen won a first prize at the Norwegian Youth Music Competition and twice won the coveted ARD Music Competition in Munich, in 1984 and 1990.

His numerous solo appearances with renowned orchestras including, among many others, Bavarian Radio Symphony Orchestra, Cologne Radio Symphony Orchestra and South German Radio Symphony Orchestras, the Mito Chamber Orchestra, Japan, the Royal Swedish Chamber Orchestra, Camerata Academica, Salzburg, English Chamber Orchestra, Würtemberg Chamber Orchestra, KBS Symphony Orchestra Seoul, Oslo Philharmonic Orchestra, BBC Symphony Orchestra Manchester, Prague Symphony Orchestra and the Norwegian Chamber Orchestra with conductors like Seiji Ozawa, Jeffrey Tate, Sandor Vegh, Serge Baudo, Christopher Hogwood, and Iona Brown have taken him throughout Europe and Asia.

Chamber music plays an important part in his musical life, and he is a member of the Sabine Meyer Wind Ensemble and of the Ensemble Villa Musica. He is also a regular guest at several music festivals.

His artistic career is well documented on CD, with piano accompaniment as well as chamber music works and bassoon concertos.

Dag Jensen was Professor at the Hanover Academy of Music and Theatre from 1997 to 2011, and since 2011 he has been Professor at the University of Music and Performing Arts Munich. He is also Professor at the Norwegian Academy of Music, Oslo.


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Friday, January 20, 2006

Meeting Of The Minds (And Stomachs): Papa Cristo's Big Fat Greek Dinner, Los Angeles

Last night, Isaac and I had a dinner date with strangers--strangers we met on the internet.

No, we are not one of those kinds of couples...get your mind out of the gutter! Last night, we met up with the rest of the
l.a.foodblogging crew for some good food and good conversation at Papa Cristo's weekly prix-fixe Big Fat Greek Dinner.

It was a little like going on a blind date when we first walked into the dining room, whose blue and white checked tables were arranged communal style for this popular nineteen dollar Thursday event. There were people everywhere, whether they were seated, at the front tasting wine or at one of the appetizer stations. We looked around for some sort of "l.a.foodblogging" sign, maybe even a guy holding a sign like they do at the airport, but no luck. Some of the tables had a bunch of old guys at them, so hoping that our assumptions were correct that my foodblogging counterparts were mostlikely younger urbanites, we used process of elimination to help find our table. Finally, we found our way and met a bunch of the people I'd only known through cyberspace until now--
Jonah, Neal, Cybele, Zteve, Kristy, Dylan, WhyWeType, MaxMillion--and some significant others, too. A table full of food kooks just like me...awesome!

"l.a.foodblogging, where aaaare you?"

We started the evening off getting to know each other--how did we start blogging, what do we do when we're not blogging--and chowing on warm pillowy wedges of pita bread with taramosalata, a Greek caviar spread that reminded me a bit of lox cream cheese, and sliced loukaniko sausage that we'd picked up from appetizer stations set up in the dining room.

Looks kind of like abstract art, doesn't it?

This was a party, yes, but nothing took away from the casual, informal atmosphere that I love about Papa Cristo's. As usual, everything was served in or on plastic wares, including the wine that adorable owner Chrys S. Chrys was pouring for the night's wine tasting. Who needs wine goblets when you have medicine cups to try cabernet? So much better than Robitussin and very practical in my opinion!

The night hadn't even really gotten started yet and we were already full. The appetizers just kept on coming. First, delicious spanakopita triangles wrapped in flaky phyllo and filled with a solo feta cheese filling or a spinach and feta filling. Next, plates of pristine feta cubes, Greek olives, and dolmas--perfect little packages of seasoned rice wrapped in lemony grape leaves. Third, more of their crack-laced pita bread (because you can't eat just one!) and bowls of cool cucumber and yogurt tzatziki that I just couldn't get enough of. All of these dishes were served family style, a great way to get everyone to interact and mingle, though none of us needed any help with that!

Probably the only time that "flaky" is good

Dolmas, feta, and olives...oh my!

Cool as a cucumber tzatziki

Each of us were served a Greek salad of iceberg, tomato, cucumber, black olive, feta and a zingy Greek vinaigrette that came in a little plastic take out condiment cup. I've always been a fan of Papa Cristo's Greek potatoes, roasted tender with a slight hint of lemon. The seasoned green bean dish was texturally challenged because they obviously came from a can, but with its hearty tomato sauce, it tasted just fine. And as if our we weren't about to give birth to some serious pita bread babies--you know, the ones that were growing at exponential rates in our bellies--they brought us bread...warm, crusty French bread to go with the main courses that had yet to arrive!

Greek salad for food geeks

Bread??? Are you kidding???

Del Monte Greek Green Beans

When they finally did arrive, what we got were plates piled with grilled lamb chops and braised chicken. From personal experience, I can attest to the fact that the meat dishes at Papa Cristo's are delicious, but I still couldn't help wondering how tonight's dishes would turn out since cooking meats for this many people usually has its shortcomings. I was pleasantly surprised--the lamb and chicken were both tasty and tender. OK, so you could tell the lamb was not $20 & up pricepoint lamb, but you know when un-fresh lamb that's been sitting around has that old gamey taste to it? Well not at Papa Cristo' can tell that they sell this stuff and lots of it; this lamb was fresh, cooked with a nice brown crust on the outside and left a little rare on the inside.

Baa! I love lamb!

The chicken was even better. It was one of those dishes that certainly tasted better than it looked; on the plate, it reminded me of something one of my guy friends in college made with soy sauce and chicken as his first attempt at cooking on his own. But after I took a bite, I knew that this definitely wasn't some dude dashing some soy sauce and garlic power on chicken and frying it up kind of thing. The guys at Papa Cristo's had definitely put some time and thought into this because the chicken was seasoned very well--with wine, olive oil and garlic no doubt, as well as some other spices I'm sure--and was extremely tender. I even got some gelatinous slivers of fat along the way, and boy were they tasty. All of this meat served on...what else? Plastic platters and served with...what else? Plastic tongs, which, by the way, kept snapping in half all over the restaurant because they were a bit on the flimsy side. Who needs to break plates when you can break tongs, right?

Tasty "college" chicken and some fragile tongs

There's no plate breaking at this Greek party, but the atmosphere at Papa Cristos was plenty lively and that was before the belly dancer came out. After that, the crowd went wild...hands were clapping to the rhythm of the brunette-I-Dream-Of-Jeannie's gyrations across the room. There were people who tried hard not to make eye contact with the dancer in hopes that she wouldn't drag them out for a dance; then there were others who voluntarily went out and boogie-oogie-oogied till they just couldn't boogie no more. Perverted old men had their dollar bills out as she worked the aisles with her swaying hips and finger cymbals; both men and women got up and shook their groove thing, seduced by the dancer's charm.

That man wasn't one of us, I swear

The festivities didn't end there, however. After the whole room broke out in "Happy Birthday" in honor of a few celebrants, we were each served baklava, layers of syrupy sweet pecans wrapped in wrapped in flaky phyllo dough. To top that off, coffee served in (what else?)...diposable demi-tasses!

I guess "flaky" is OK in this case too!

I'm not going to sleep tonight

We all had so much fun and such good conversation that it was almost as if this whole l.a.foodblogging gang had already known each other for awhile. When I tell random people that I blog about food, there are some people that get it and that fully support it, and then there are people that don't exactly get it. "Why don't you be a food critic?" they ask. And then they don't drop it when I tell them that I just do this on the side for fun. ("Why not?" they insist.) I also get this: "How can you like food so much and not be fat?" What some people don't get is that liking food and writing about it doesn't necessarily mean that I want to write for Gourmet magazine full time; nor does it mean that I eat twelve donuts for breakfast everyday. Foodbloggers are normal people just like me and you, you know (hell, none of us even critiqued the food that night!)...we just happen to like good food and writing about it too!

Papa Cristo's
2771 W. Pico Blvd.
Los Angeles, CA 90006
(323) 737-2970

LACheesemonger said...

Pam said: "How can you like food so much and not be fat?" ... Foodbloggers are normal people just like me and you, you know"

Uh huh, that's what I want to know also Pam, why aren't you fat ;) ?!? I keep eating those damned spring mix salads and 30cal/tbs low-fat dressing, and I still need to work off a bunch of pounds from the midsection, lol... need to do more cycling this year to keep up with all you peeps with insane metabolic rates. Can we get a bikini shot then Pam, hehe And how about Isaac, he's going to do the speedo pizza service with me for Sarah's next baby shower event correct ;), just as long as she doesn't post anything more that our sexy lower jaw lines, lol?

Normal???? Uh huh, *wink* *wink*...Deep End Dining, Chaxiubao *cough* Bull's penis noodle *cough*

BoLA said...

Great post Pam! I can't believe we finally got to meet everyone...and yeah, it felt a little strange in that I didn't know what people looked like except for the bottom parts of people's faces. I felt like the guy calling out "Bueller" when I was one of the firsts to arrive, calling out "Daily Gluttony"..."Daily Gluttony"...where are you??? =)

Oh yeah...I was flattered that people thought that I could be Sarah from the Delicious Life. But alas, I had to disappoint... no, I'm only Best of LA. muahahha! "Not all Asians look alike, you know!" ;)

Kirk said...

Hi Pam - Sounds like you all had a blast. But where's the "smile line" photo? BTW, who's slipping hte belly dancer that money? Oh, so many more questions.... LOL!

eatdrinknbmerry said...

Pam, i think i know where stripping originated from. There were children there too!


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Lyrid Meteor Shower Peaks This Week

The rest of this week will provide we mortal Earthlings one of the greatest shows in nature, and the cost is free. Yes it is time once again for the annual Lyrid meteor shower which will streak across our skies Friday night and Saturday morning. Experts say this year will be one of the best shows in recent years.

The truly spectacular display will be taking place just before the new moon this year. As a result, the super dark skies will provide ideal conditions for stargazers who can expect to see up to 20 ‘shooting stars’ an hour starting late Friday night and into the early hours of Saturday morning. The meteor shower occurs every year between April 16 and April 25, but this year the peak display will start just after midnight Friday night on April 22.

Experienced stargazers predict the greatest number of shooting starts are expected to fall in the hours just before dawn. They say the event is best seen from the northern hemisphere but those in the southern hemisphere can still enjoy the show, just with fewer meteors. In order to get the best view of the event, you should find a position in a low light area. The desert, mountains, or beach areas are best. But if this options are not available to you, look for a dim area, away from streetlights or brightly-lit buildings, with an unobstructed view of the sky, such as at a park or even a ball field.

The shower is created when the Earth crosses the trail of dust particles left from the passing of the Comet Thatcher as it orbits the sun every 415 years. As the Earth Crosses the Comets trail, the particles are attracted by our gravity and then burns up as it enters the Earth’s atmosphere creating streaks of different colored light in the night sky. Sometimes the Lyrid fireballs can become extremely bright as they enter the Earth’s atmosphere, sometimes lighting up the entire night sky for a few seconds.

The Lyrid meteor shower will be visible for much of the nation as it reaches its peak on Friday night: Please check your local weather conditions before you decided to stay up all night to watch the shower only to find that it is raining or foggy. This is the second meteor shower this year and is expected to be the most eye-catching. At least until the Orionid shower in late October which could provide as many as 100 shooting stars per hour.

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Boko Haram: 106 Chibok girls, 11,894 hostages freed so far

Minister for Defence, Mansur Dan-Ali has revealed that no fewer than 106 Chibok girls and 11,894 other Boko Haram hostages have been freed so far by the Nigerian army.

The minister spoke at a 2-day retreat organized by the ministry held at the National Institute for Policy and Strategic Studies (NIPSS) Kuru, Jos.

According to the minister, “More than 12,000 Boko Haram captives have been freed; the figure includes the 106 Chibok girls that were abducted in 2014.

“But that figure of success not withstanding, more needed to be done to consolidate on the efforts to sustain the peace and security currently enjoyed.”

“For more to be achieved, the military components of the ministry and the civilians must work hard, understand each other and have mutual respect and trust.

“The combined efforts of members of the armed forces had successfully degraded the Boko Haram insurgents, making it difficult for members to regroup and carry out organised attacks,” he said.

In his remarks, Plateau Governor Simon Lalong described the retreat, targeted at enhancing civil-military relationship, as “apt and of great significance”.

Lalong said, “Plateau had had its share of security challenges and had seen seen how collaborations between the military and civilians had ensured quick resolution of internal conflicts.”

The Speaker of the House of Representatives, Mr Yakubu Dogora, in his remarks, declared that power was not in the barrel of the gun but in the content of the heart.

“Holding guns and ranks should not give anyone a sense of superiority over members of the society; it should be a humbling factor and be managed with a great sense of responsibility,” he said.


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RUSH: OkCupid Head Honcho Sam Yagan Has Funded ‘Anti-Gay Bigotry And Hatred’

RUSH: It has now been learned that the head honcho of OkCupid is a guy by the time of Sam Yagan. He started a company called eDonkey, was a peer-to-peer site dedicated to stealing apps and programs. It’s a pirate site. But, this guy personally gave money to Utah Republican Chris Cannon, who served in Congress from 2007 to 2009. He left Congress in 2009.

He voted against every gay marriage initiative that came up, and this guy at OkCupid supported him. The guy at OkCupid funded, according to the left, anti-gay bigotry. He funded anti-gay hatred. Chris Cannon. I remember this guy. He was in 2007 to 2009 for Utah and strongly opposed same-sex marriage. He even supported a constitutional amendment defining marriage as a man-woman-only thing.

The guy that ran OkCupid gave money to him.

The guy that ran OkCupid suggested a boycott of Mozilla.

It was a publicity stunt. The OkCupid guys were not down for the struggle. They were not into the cause. It was a pure publicity stunt — and it worked. They got a guy canned. They got a guy forced out. So actually a guy who has supported “anti-gay bigotry and hatred” in the form of donations to a Republican congressman from Utah — and, by the way, I’m being euphemistic, of course.

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RUSH: People Are Afraid To Speak Up Against Liberal Fascism

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