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Seminoles In Town
Happy birthday to anyone born on February 29. Sorry to be so personal, but how old are you?
Today is game day with the Florida State Seminoles at Bright House Field. While FSU practiced at the ballpark, the Phillies did their morning drills at Carpenter Complex. Short workout on Thursday followed by annual team golf outing, normal workout on Friday and then the Grapefruit League games begin.
Clearwater opener is Saturday vs. the Yankees, 1:05 p.m. WPHT and 94 WIP on Radio; Comcast SportsNet for TV. Also on Major League Baseball Network and MLB.TV.
New Alumni Features
Check out www.phillies.com/alumni for a couple of new features. One is a story about the Paul Owens memorial bronze bust that was unveiled earlier this week.
The second is a 40th anniversary story of the Rick Wise-Steve Carlton trade, one that wasn't well received by Phillies fans.
Camp Notes
**Ed Wade arrived in camp. He's a special consultant to Ruben. Ed's roll will be to follow the Phillies, both on the major league and minor league levels down here. He's also assigned to the Orioles and Pirates big league clubs in spring training. In season, scouting some big league teams and minor leagues, including the Phillies minor league players.
**Annual Major League Photo Day starts at 7 a.m. on Thursday. MLB licensees, wire services and TV networks will have stations set up for the players to parade through. Entire process takes nearly two hours.
**Thanks to all you Phillies Insider readers. Among the MLB Pro blogs on MLB.com, the Insider ranked 12th in January. Three below is Tommy Lasorda's World. Hard to believe we've finally passed him. Guess next aim is #6, Baseball Nerd—Keith Olbermann. May be tough to catch him. He has a little more national exposure.
Spring Training Memories
Larry Christenson (RHP, 1973-83)
"It was 1973 with the Phillies in Clearwater. I was No. 51. Roy Thomas was my roomie. What I remember from that first day was the dozens of writers and media that were following Steve Carlton around like the 'Pied Piper'. He had won 27 games the previous year and I was wondering who this Carlton guy was. I enjoyed the sun, the fun and competing for a spot on the team. I didn't like running because of my terribly bad back and the painful back spasms I would go through."
More Alumni memories can be found at www.phillies.com/alumni.
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Planning on attending practice on Friday. Would dearly love to get either a Ryno or Lee autograph but am not optimistic of my chances as I had no luck last weekend. Also, have tickets for Saturday and Sunday's games…figured practice might be a better place for autographs though. Just moved to Tampa a few months ago, so have no real frame of reference on fan/player interactions at spring training. Any advice?


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Forty shades of green? Maybe, but when it comes to plant life in Ireland, there's a whole lot more besides
Want to know what makes Ireland's plant life unique? It's best to ask the expert: "For a small island, Ireland's flora is remarkably rich and diverse" says Dr Neil Lockhart, senior botanist with The National Parks and Wildlife Service.
"Nearly half of Europe's mosses occur here and, uniquely, flowering plants from places as far apart as the Iberian Peninsula, the Arctic and even North America, all happily coexist."
What this means is that at any point during the year, the countryside is ablaze with flora from the bright yellow Wicklow gorse (which smells like coconut when it's warm) to the hot pink fuchsia in West Cork, and the hawthorn and gorse of the Glens of Antrim.
The rhododendron might be the national flower of Nepal, but such is its ubiquity in Ireland that it could almost be ours, too. A cycle, walk or drive through the Vee in the Knockmealdown mountains of Tipperary and Waterford will bring you up close to thousands of wild rhododendron bushes. A little more modest in colour is the bog cotton flower, which is sprinkled like snowballs over the rougher heather and scrub of the island's bogland areas. Alongside the west Fermanagh Lakelands, meanwhile, keep watch for the rarer, bright yellow Globeflower as they bloom between May and June, before the cream-coloured Cowbane makes its appearance over the rest of the summer months.
If you're looking for a microcosm of Ireland's flora and fauna, however, the Burren in County Clare is the place to go. Over 70% of Ireland's 900 native plant species are found here, and of the 28 orchids that are native to the island of Ireland, 24 are in the Burren. Keep your eyes out for lesser butterfly orchid, fly-orchid and autumn lady's tresses, as well as Irish eyebright, thyme broomrape and maidenhair fern.
For some Kodak moments, you'll find the island in bloom at different times of the year. Try the "orchard county" of Armagh in May when the hills are covered with white and pink apple blossom; the pink/purple heather covering the hills of Wicklow from June to September; or the blue spring Gentian that sets the Burren alight from late April to June.
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The island of Ireland is made up of four provinces and 32 counties, and they all have their own unique charms and traditions
Ireland's wildlife scene is buzzing. Getting close to it, though, needs no safari or special gear – in fact, it's...
Predictable? No chance… There are a few good reasons why Ireland is famous for its landscapes (and variety is just one...
So, you're probably familiar with the image of lush green valleys that appears on countless postcards of Ireland,...
"The general knowledge of time on the island depends, curiously enough, on the direction of the wind"
Don't let the pale complexion fool you, Ireland is an island of dedicated beachgoers
Ireland's mountain ranges are mostly in the coastal counties creating an almost bowl-like shape for the island
Ireland's landscape causes jaws to drop. But what picks them up again, and gets them gabbing till all hours, are...
Can I bring my pet to Ireland? What currency is used in Ireland? What languages do people speak? Find more about it...
Everything you need to know for entering the island of Ireland
Want to know more? Ask a question in our Community, they're the people who know Ireland best.
For more information on travel, accommodation and attractions have a look at our brochures and maps.
If you're a visitor from the island of Ireland you may want to visit one of these sites… Otherwise proceed to Ireland.com
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Tag: organic blemish clearing serum
Juice Beauty: Fighting wrinkles one product at a time
I love how vegan beauty brands are becoming more and more popular. Hopefully vegan brands will eventually become the new "conventional." I have always been a big fan of Juice Beauty. If you haven't heard of this brand yet, head...
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Glaciology and climate
As perhaps the most dynamic of all naturally-deposited porous media, the changing structure of snow reflects changes in weather and the environment. A wealth of satellite imagery exists over the vast expanses of the Antarctic and Greenland ice sheets, yet there is an incomplete understanding of what variations in the images means. From snow and ice cores collected from traverses across the Antarctic Ice Sheet and from several locations on the Greenland Ice Sheet, we are developing the physical basis by which satellite imagery can be used to make high-resolution maps of snow accumulation over vast and remote areas of the ice sheets.
Faculty contact: Mary R. Albert


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Canada to consult allies, competitors to replace CF-18s
The agency overseeing the replacement of the country's CF-18s intends to talk to the U.S., Australia and Britain as it conducts a wide-ranging analysis into the future of Canada's fast fighter fleet, defence sources tell The Canadian Press.
That review, which will also include consultation with competitors to the oft-maligned F-35 stealth fighter, will get underway soon and could last several months.
In the House of Commons this week, Public Works Minister Rona Ambrose said that the air force's statement of requirements — the document that set out what the military says it needs for selected pieces of equipment — will be set aside until an options analysis is completed.
"The options' analysis is a full evaluation of choices, not simply a refresh of the work that was done before," Ambrose told the House of Commons. "That review of options will not be constrained by the previous statement of requirements."
The process usually happens in reverse. The military defines what it needs and then, in conjunction with public works, conducts an analysis of what is out there and how the capability can be filled.
National Defence and to a lesser extent Public Works were accused last spring by the auditor general of not doing their homework when it chose to proceed with the multi-billion dollar proposal to buy the F-35 from Lockheed Martin.
Defence officials were also chastised for lobbying for the stealth fighter even before they wrote the formal statement of requirements, which contained 28 necessary capabilities including weapons and sensors.
None of the F-35's rivals were contacted, including Boeing and Eurofighter.
Sophisticated drones coming onto market
Col. Dave Burt, the officer in charge of the program, has been quoted as saying they "didn't feel the need" because they had "all the necessary information" and the technology gap between aircraft was too wide.
A Public Works secretariat, set up in the aftermath of the auditor general's scathing criticism, intends to go beyond what would be a traditional market analysis of which planes can do what and consider how the allies are coping with delays and cost-overruns in the F-35 program.
Of particular interest, according to sources, will be the Australians who recently chose to buy Super Hornets, the updated version of the F-18, in order to close the gap between their aging fighters and the introduction of F-35s after 2020.
Another rapidly evolving sector that may —may not — factor into the review is the whole question of unmanned technology.
Some critics have suggested that some of the surveillance missions the air force would like to see its new fighter carry out can be performed by highly sophisticated drones.
In an interview with The Canadian Press last year, former air force chief, retired Lt.-Gen. Andres Deschamps, said drones are still evolving and still unable to perform intercepts and dogfight with enemy aircraft.
"I think there's a lot of confusion around what fighters can do," he said in the interview. "The foremost job of any fighter aircraft ... is air control, which is fundamental to any sovereign action; maintaining control of your own air space. Right now, the only tool that's fully effective right across the spectrum of air control is a fighter — a manned fighter."
Defence sources said National Defence will have input into the new, expanded options analysis, but "it will not be driving the bus."


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This is just a quick note to address an apparent glitch that happened sometime yesterday. Some of you may have stopped by yesterday to find the blogroll missing from the front page. This was not intentional. I had no idea my blogroll had disappeared until I logged on last night to publish a post I'd been working on, and I freaked out. I'm still not sure how it happened, but I fixed it and it's back where it belongs. I can assure all my fellow history bloggers that I haven't dropped your sites from my page, and I have no plans to do so.
Blogroll present and accounted for
Filed under Uncategorized


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It's hard to believe the holidays are less than 2 weeks away. If you're still doing your Christmas shopping and need gift ideas, here are a few to consider:1. These MacKenzie-Amazonia Slippers ($45) will definitely bring out the holiday spirit. They come in small, medium and large. mackenzie-childs.com 2. C. Wonder recently opened up its first store in SoHo, NYC however if you can't make it to The Big Apple, you can shop online for great gifts like this ring box ($18) cwonder.com 3. For the runner: The Saucony Ulti Mitt 2 ($35) will protect her hands on those chilly running days. As a bonus it also has USB_LED light to help her see and be seen for safety. Saucony.com 4. These 100% cotton drawstring flannel print pants from Jockey ($36) will keep her warm and festive at the same time. Available in 5 prints. Jockey.com
5. I've previously written about Kiva which lets you help those that are helping themselves for as little as $25. At Kiva.org you make loans via the internet to small businesses in developing countries around the world. Once the company turns a profit, you're repaid, and can use the use the refunds to either help another business or donate them towards Kiva's operating costs.
This content is created and maintained by a third party, and imported onto this page to help users provide their email addresses. You may be able to find more information about this and similar content at piano.io


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Are you ready for the holidays? I have been busy getting the house ready for Christmas and I can't believe it's only a week away!
I was determined to create some holiday tags and they are finally finished. I used mostly what I had in my stash and a couple of finds from Michaels. They had little packs of snowflake and deer chipboard shapes for 1.00. I believe you get 10 of each shape in the packs.
I covered the shapes in silver glitter glass and sprayed them with Perfect Pearls Heirloom Gold spray to antique the glitter. The color combo is a little different from the traditional colors of Christmas and I think it worked great. I used Songbird papers from Prima, along with crystal swirls, Poinsettias, Splendor leaves, North Country stamps and Au Naturale flowers.
I colored the leaves with Lettuce Adirondack colorwash by Ranger. I also colored some of the seam binding with Ranger Tattered Rose Distress stain and the doilies were colored with Antique Linen Distress stain. Cover six manila tags with coordinating papers from the Songbird line. Then add strips of the papers along the bottom of the tags or make your own banners and use punches with the scraps of paper. Here I used my scallop circle punch by Marvy. I added an Au Naturale flower to the center and then topped it with a glittered snowflake and crystal center.
I covered the deer chipboard shape I found at Michaels with Wendy Addison Emporium glass glitter. I found jars of it at Tinsel Trading Company in New York. They have a wonderful color selection for all kinds of projects. Then I mixed in peachy/pink colored Poinsettias from Prima with crystal swirls and a little stamped sentiment from the North Country stamps.
I used one of my colored doilies on the background and wrapped some seam binding around the tag with a bow on the side. I added a chipboard snowflake to the center of the Au Naturale flower and finished it with a Jenni Bowlin button. I also stuck some pretty stick pins in some of the tags-love the look!
This tag also has a doilie in the background but I placed it off to the side and added my seam binding around the tag. Then I also added an Au Naturale flower with a poinsettia and snowflake to the center. I added twine to my bow with a Genie stone and smaller holly leaves tucked in around the larger ones.
This tag is pretty straight forward. I wrapped the seam binding around the tag, punched a circle and added different sized snowflakes to the center with a poinsettia. Then finished it with leaves, pins and a little holiday sentiment.
I created banner from a scrap piece of paper and adhered it to the background. Then I wrapped a doilie around the center of the tag, added a flower with a snowflake, poinsettias, leaves and pins with a little sentiment stamped on a tag. Finish it off with some crystal swirls and it's done!
Hope you like the tags! And I want to say-Thanks Kristina for reminding me that I needed to post these :)
Here is a list of everything I used in case you want to create some of your own...
Ranger Colorwash-Lettuce
Distress Stains-Antique Linen, Tattered Rose
Walnut Distress Ink by Ranger
Perfect Pearls Heirloom Gold Spray
Prima Poinsettias-here
Prima Splendor Leaves-White
Prima Songbird Collection-Collage, Title It, Sunrise
Prima Au Naturale Flowers
Prima Tea Thyme Swirls
North Country Cling Stamps
Prima Genie Stones
Say It In Crystal 18pc
Snowflake and Deer Chipboard Shapes-Michaels
Holly Leaves-Michaels-Recollections
Decorative Pins
Seam Binding-Camel Hair
Manila Tags
German Glass Glitter-Wendy Addison-Silver
Tag Punch-EK Success
Circle Scallop Punch-Marvy (pink)


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BENEFITING: PROMO FUND & SAGE Metro St. Louis
ORGANIZER: PROMO FUND & SAGE Metro St. Louis
EVENT: GO! for a Cause
EVENT DATE: Apr 15, 2012
PROMO FUND wrote -
Team RUN 4 EQUALITY is the product of 3 organizations (SAGE, PROMO Fund, and The LGBT Center of St. Louis) coming together to create something amazing...join the team and help us make steps towards equality. Funds go to support outreach and education on issues pertinent to the Lesbian, Gay, Bisexual and Transgender community.
If there is one thing you should know about joining team RUN 4 EQUALITY, aside from making a difference, you are going to have a blast.
SAGE Metro St. Louis strives to enhance the quality of life of gay, lesbian, bisexual and transgender older adults through service, advocacy and community awareness.
PROMO Fund is Missouri's statewide organization advocating for lesbian, gay, bisexual, and transgender equality through grassroots organizing, and community education.
The mission of The LGBT Center of St. Louis is to provide resources and support to the lesbian, gay, bisexual, transgender, questioning and ally community of St. Louis and its surrounding areas through education, empowerment, outreach and community building.


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EuroGamer - Beyond Good & Evil 2 might be too ambitious for the current generation of consoles to handle, creator Michel Ancel has revealed.
this game will be a launch title for next gen consoles
good to hear it, keep it up ancel, expect to hear this from more and more devs, about the only thing on consoles that would look good to me anymore are 2d games in true 1080p running at 60 frames
that is the only type of graphics they can handle at that high of fidelity
and after playing everything on pc for the last 5 years at that fidelity, espesially games like metro2033 dx11, the witcher 2, crysis warhead dx10, it gets harder and harder for me to go back and play anything but the very best exclusives on my ps3 and 360, and even those look quite out of date
kudos to you ancel, stay true man, 720p is garbage
What BS.What if next gen people don't want it anymore? Why not give it to the people who are closer to the gen that liked BGE 1? By the time you get it going no one might care anymore e.g. Alan Wake and Duke Nukeum. What an idiotic and brainless idea. How long before they figure out how to harness the Wii U or any other next gen system's power to the fullest? 2 or 3 years? Who says anyone will want you game by then? It just shows how ungrateful these companies are. WE are the ones that supported your game when it was on the PS2 and when it became a digital download and now you want to leave us in the dust, the people who lifted it up when it was being lost in a sea of games
It just shows that when you reach up high how easily you toss aside the people who supported you. I am not buying a whole new system now or high end computer just to play your game. Screw you. Next BGE you can keep it. I hope it fizzles just like the last one did.
Whatever. This is probably the biggest disappointment of this console generation for me. FFXIV is close behind, but that has a chance of shaping up before it makes it PS3-side at least.


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A recent photoshoot with Alisha Harms and her Chi from Chobits cosplay. This shoot was taken during Sakuracon in Seattle, Washington. Hideki was the person behind the camera in case you were wondering.
Category Archives: Uncategorized
The Artist as Hero
The Artist as Hero
It its my intention with this paper to use myth and fantasy to explore the representation of identity through images. Roland Barthes' own attempt to find his mother within images has led me to believe that other methods may exist with which to locate someone within images.
The Artist As Hero makes connections from the images of fictional characters, personal imagination, and identity through the examination of photography's manipulations of reality. By disrupting preexisting mythologies surrounding heroes within fiction, I reveal the exaggeration and impossibilities of those myths through my own average identity. This project enters into the fictions that are examined, as well as acknowledge the limitations of a reality that we exist within. My self-consciousness in undertaking this project acknowledges my own investment towards the fictions as well as knowing the audience has their own fantasy as well. The results of this project acknowledge the futility in searching for a clear identity, as well as for an image that might represent myself.
Chapter 1
Identity, Fiction, and the Fictional Identity
The Artist as Hero portrait project draws from lowbrow fiction, self-portraiture, and fantasy. Through fulfilling fictional roles in self-portraits from lowbrow sources such as novels, movies, and video games, I am examining what portraits reveal to us about individuals. I want these portraits to be a representation of inner desires and create images that may come closer then any portrait has to revealing something about myself. This is the significance of the portrait, whether painting or photography, operating as an index of an individual without giving more information than an expression and humor form. The Artist as Hero exploits these perceptions of reality through manipulation of my own persona within a series of portraits. Through a series of fictional male heroic figures that I portray, the contradiction between photo as document and fantasy is investigated. Self-effacing humor, and combined with the cultural phenomena of cosplaying, are used to open dialogue about photography's potential for misrepresentation, as well as our collective aspirations.
In an interview with Arielle Pelenc, photographer Jeff Wall disputes the relation photography has to the world around him,
The 'adequacy' is what is presumed in any imputed legitimating of what you're referring to as Representation. A critique of Representation claims that Representation happens when someone believes that a depiction is adequate to its referent, but is deceived in that belief, or deceives others about it, or both. Representation occurs in that process of self-deception, and so it becomes the object of a deconstruction. I don't think depictions, or images, can be judged that way, and I don't think they're made in those terms, or at least not primarily.[1]
Similarly to how Wall is referring to representation, my portraits use preexisting fiction and photography to dismantle the truth within a photograph. First, the images operate as a method to disassemble the familiarity we have with myths surrounding characters from popular fictions, films, and video games. Second, these images of myself depicted as fictional characters reveals the complexities of reading a photograph as a representation of an individual. This project was developed to uncover my own admiration for fiction and how I see myself in relation to the identities of those I have chosen. Wall refers to this particular style of photographs as being self-contained and having no "outside."[2] The narratives I take from do not exist within reality, however because of the work I have created, they have been contained within a frame and have some reality to them. My own fantasy of entering these roles and escaping reality comes from being aware of the futility of such an act. These characters, which consist of all male figures, can be characterized as heroes and play significant roles within the fictions they inhabit. It is an implied expectation that they fulfill their duties to their societies. After appreciating multiple storylines, I began to see that the expectation extends out towards the audience.
This portrait project exploits my embarrassment of pursing costuming and my own fantasies in order to genuinely pursue this idea of identity. My humorous attempts to fulfill a fantasy speak to a cultural desire for myth. In a way, I am reusing material that already exists as images. This relates to what Susan Sontag wrote in her essay, "Photographic Evangels:" "Nothing is more acceptable today than the photographic recycling of reality, acceptable as an everyday activity and as a branch of high art."[3] The heroes in this project are tools to express the disconnection between persona and reality within portraiture. My appreciation for them however is authentic, and my use of the characters it is both sincere and aware of the humor involved in my personal ambition of becoming them.
Fantasy and myth operate differently in this project. Myths can extend through generations worth of oral transmissions; they rely on speech and communication, rather than on physical objects or concepts. In Roland Barthes' Mythologies, he articulates the true purpose of the myth: "Myth hides nothing: its function is to distort, not to make disappear."[4] Barthes defines the purpose of the myth as a tool to highlight history, characters, and objects to a degree that describes them beyond their previous understanding. Through this interpretation, the characters I have chosen to exploit each belong to myth that extends beyond their written roles. By pursuing them in a way that subverts the mythology surrounding them, I in turn make them pseudo-realities, rather than myths.
This project reveals personal shortcomings and the appeal to the outsider in fiction. The use of fantasy needs to be deconstructed away from the subjective experience. My interest is not the genre of fantasy, which can commonly associated with magic, monsters, and imaginary worlds, but in the broader term of fantasy as an outlet for imagination. The expectation of fantasy is explained by writer Laurence Yep when he explains the purpose of integrating fantasy away from the genre: "By transforming the familiar into the unfamiliar, writers can also change the ordinary into the extraordinary."[5] This takes fantasy into an area that allows for any type of imagination or fictional thoughts, rather than concentrating it within the simplified genre.
For example, when reading a graphic novel, such as The Goon, there is an assumption by writer Eric Powell that the reader is aware of real-life gangs plaguing inner cities. The city in which Goon resides quickly turns into a paranormal slant in which he must defend himself against many supernatural, inner-city villains such as vampires and zombies.[6] While many aspects of Powell's story are grounded in reality, the reader must suspend their disbelief since the author has based the story partly in the everyday.
While The Goon is an example of contemporary American fiction, I have taken from sources outside of Western sources. My image, The Artist as Tuxedo Mask, uses the character Tuxedo Mask from the Japanese anime Sailor Moon. While the development of this character occurred primarily in Japan, his persona and appearance has clear indications of a Western influence. My interests, although influenced from Western literature and movies, is about the relation the audience develops with the fiction. Fiction extends outwardly towards an audience and does not need to be a project of a specific culture. Referring to this cultural exchange, film scholar Susan Pointon writes,
It is impossible to ignore the constant cross-pollination and popular cultural borrowing that complicate and enrich anime texts. The creators for the most part are young Japanese artists in their twenties and thirties who have been exposed since birth to Western influences. Despite their Japanese overlay, many of these videos pay generous and excessively scrupulous homage to sources as diverse as American television cop shows of the seventies.[7]
Pointon uses the term cross-pollination in order to discuss the dissemination of subjects between cultures. When Sailor Moon was originally released in Japan, there was no plan for it to be released into the United States. After a redubbing of audio and altering of culturally specific subject matter, the writers believed that a Western audience might be able to understand the content.[8] Further evidence of this transfer of fiction can be found in cosplaying, or costume play. This subculture, which has been adapted from Japan in the United States, occurs at conventions centers and events held to exhibit comics, movies, and gaming, where individuals come dressed in costumes as their favorite characters from these sources. Where cosplaying continues to have a presence, however, is in portraits of those individuals photographed.
Part of the aesthetic found in The Artist as Hero is derived from the collection of images found online from conventions that take places throughout the world. While there are professional cosplayers such as Yaya Han, my own interest is in the development of a subculture that is forming its own fiction. Yaya Han creates her own costumes and takes them around the world to exhibit her works along developed persona.[9] Much of her work resides in video and photography as she manipulates her own identity to become characters she wishes. There are moments in her images that the difference between her and the fictional roles become uncanny. Her work glorifies and reaffirms the importance of fantasy and fiction within culture throughout the world.
Photographer Elena Dorfman took on a project at Yaoi-Con in California in 2005 to photograph individuals who attended the convention wearing their costumes. Dorfman writes, "The theater of cosplay has no boundaries, is unpredictable, open-ended. It includes both the fantastic and the mundane, the sexually aberrant and innocent, female characters who become samurai warriors and brainy scientists, and male characters who magically change their sex."[10]
Figure 1. Elena Dorfman, "Chi" from Chobits, 2005.
These images, found in her book, Fandomania: Characters and Cosplays, exhibit a misunderstanding of the perception of what this type of performative act is concerned with. They neither uncover the individual, nor the significance of cosplaying, nor the unique cultural shift towards fantasy.
While the culture of cosplay is new within Western culture, the influence of it upon my work is an indication of its impact. Like those who participate with this culture, my appropriation of these narratives through costuming alters perceptions of my personality through photography. Thus my identity can exist within multiple personas at once. However my intention is not to recreate myself as these heroes, but instead to acknowledge my inability of becoming them, and to emphasize of photography's failure to reveal identity. This creates a paradox when I enter into a role: becoming my inner desires, and also recognizing that my audience cannot see which persona might be my own. Through creating photographs of myself in this way, I am potentially showing more of myself than a conventional portrait could ever reveal.
[1] Jeff Wall, Jeff Wall: Selected Essays and Interviews (New York: Museum of Modern Art, 2007), 14.
[2] Ibid., 9.
[3] Sontag, Susan. "Photographic Evangels." In On Photography (New York: Picador, 1977), 115.
[4] Roland Barthes, Mythologies, trans. by Annette Lavers (New York: Hill and Wang, 1972), 121.
[5] Laurence Yep, The Outsider in Fiction and Fantasy (National Council of Teachers of English, 2005), 54.
[6] Eric Powell, The Goon (Dark Horse Comics, 2006), 5.
[7] Susan J. Napier, Anime: From Akira to Princess Mononoke (New York: Palgrave, 2001), 22.
[8] Sailor Moon Center, "Sailor Moon Center: Eternal Light," http://sailormooncenter.net/ (accessed April 21, 2013).
[9] Yaya Han, Yaya Han: Costume Designer, Model, Cosplayer, (2010) http://www.yayahan.com (accessed April 21, 2013).
[10] Elena Dorfman, Fandomania: Characters and Cosplays (New York: Aperture, 2007), 3.
Caldera Artist Residency
Months after completing the residency I finally found time to post on image from my time there.
The Official Schwab Reviews
Rather than post my insights into recent things that I have been interested in onto this blog, I have set up another site for these ravings. If you are a fan of anything surrounding geek culture, art, and pop culture you can find it there. First up is my interest in Game of Thrones.
Everything Waffles on the Warpath
Everything Waffles and the Warpath Gallery are ready to announce the Everything Waffles Retrospective. This exhibit displays the portraits from 2010-2013. You can view the online catalog at their website at http://cargocollective.com/warpathgallery.
Comics and Zines
It's time to inform you about the latest underground workings from us. We have started a new Kickstarter to bring a new project to printing by the end of July. The comic book, yet to be given an official title, will be printed and mailed out to supporters and those who wish to purchase it.
Why so quickly? Why the rush? We are aiming to attend San Fransisco's Zine Fest this year in September and also trying to attend Comic Con San Diego this time next year. The zines and comics will be shown at these events as well as shirts and small figures created to support the project.
Unlike the previous Kickstarter funding project, I want to create comic books and web series inspired by the portraits I have created for the past 2 years. We are entering a world of fiction now and moving away from the parody that has been Everything Waffles. Want to help? Just check out the Kickstarter for all the information. Like it, share it, and post it as much as you can so that we can expand the Everything Waffles Universe.
More is on the way about the next zine and upcoming comic book. Follow the Kickstarter for now though,


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New Born Baby Gifts DeliveredPosted by Beautiful Bunches, Aug 23 2010, 12:07 PM in Gifts
Spring is almost apon us and soon little bundles of joy will be arriving at hospitals all over Perth. Beautiful Bunches has a range of http://www.beautifulbunches.com.au/listProduct/Gifts%20Perth/Baby+Gifts and http://www.beautifulbunches.com.au/listProduct/Flowers%20Perth/New+Born to deliver for you when the occasion arises. There is also some smaller http://www.beautifulbunches.com.au/listProduct/Extras%20Perth/New+Born you can add to flower order.
Flower Delivery PerthPosted by Beautiful Bunches, Aug 3 2010, 10:14 AM
Did you know that having flowers delivered to someone you love can make a really positive impact on their day. It brightens the mood of the receiver and often makes the rest of their day fall into place more easily. Receiving flowers in the middle of a stressful day can lessen the stress and make the entire day smoother. Sending flowers to loved ones for different occasions is something that has taken place for many years and is a hugely beneficial.
With the growth of the Internet, having flowers delivered has become an even larger business because you can order the flowers at your convenience, and many websites have the flowers categorized in an easy to navigate way. This makes it much easier for you to go through the various categories and select the flowers you want for your loved one. Most are categorized by occasion including Mother's Day, Valentine's Day, Anniversary, Romance, Birthday, and Funeral.
Perth Florist Beautiful Bunches knows having a trustworthy flower delivery service is vital particularly when the flowers have to be there at a specific time such as is the case with weddings. Most people only get married once and it is important to know that your flowers are going to arrive in time for the big day.
Moreover, when you have your floral arrangements delivered you can choose from a wide selection of flowers, plants, and bouquets. You can also choose various colours of flowers, for instance, if you know your recipient loves the colour green, you can choose various dyed floral arrangement in green. Truly, the possibilities are endless when it comes to sending flowers to someone you love.
Additionally, while the receiver of the flowers or plant feels very good and brings a smile to their face, the sender also feels good about sending an arrangement. Both the giver and receiver often report having a better day because of a floral bouquet received or sent. What's more, you can add various gifts to the floral arrangement, for example, you can add a stuffed teddy bear, a bottle of wine, or chocolates. This of course balances the floral bouquet with a little something that will last possible longer than the flowers, such as the teddy bear.
Of course, while you want to have the best online florist, you also want the best prices. Many of our customers already know we deliver great quality flowers on time for a reasonable price and continue to use us.
Lamps and Tealight holdersPosted by Beautiful Bunches, Jul 21 2006, 12:00 PM
Perth florist Beautiful Bunches has a range of unique and unusal electric Lamps and tealight holders which I am sure you will find prefect for a gift for family and friends.
They are all made from glass, the lamps are 30cm and the tealights are 11cm.
There are many diferent designs to choose from. so why not come down to Victoria Park and take a Look or view lamps online.
Perth Florist Beautiful BunchesPosted by Beautiful Bunches, Jul 18 2006, 12:47 PM
Beautiful Bunches is a local florist in Perth Western Australia, we provide the freshest Flowers for delivery to Perth City and surrounding suburbs. The delivery price is included in all flowers and baby gifts up to 20km from the Perth CBD. As an Online Florist Perth we have a great range of flower arrangements, flower bouquets, romantic roses, lush plants,gorgous baby gifts and gifts, online to deliver to anywhere in Perth . Specialists in same day delivery we guarantee to deliver your order on the day requeted as long as we recieve the order before 12noon on the day of delivery. Our florists can create fresh flower arrangements or flower Bouquets for all occasions be it a birthday, wedding anniversay, sympathy or funeral or just beacause. Choose from our wide range of online flowers pictures which are all made right here in Perth using local flowers. You can choose to add balloons, chocolates, a Teddy Bear, even wine or champagne to make a real impression. We are open on Valentines Day and Mother's day every year and also deliver on both special occassions. Please note that the pictures of Perth flowers -roses, tulips, lilies, oriental lilies, orchids, gerberas in bouquets or arrangements on our website all represent the standard price and the deluxe and supreme options either include more Perth flowers - roses, tulips, lilies, oriental lilies, orchids, gerberas to make up the difference in price. Our Baby Gifts and Baby gift basket are all of the highest quality and also include free delivery to the Perth Metro area. Please indicate in the special information on the order form which colour is required when there is a choice. Our Flower Shop is located in Victoria Park, 3 kms from the Perth city CBD which makes delivery to those suburbs south and north of Perth easier to service due to our great central location. Suburbs such as Victoria Park, South Perth, Kensington, Como, Manning, East Victoria Park, Burswood, Lathlain, Carlisle, Kewdale, Welshpool, Belmont, Bentley, Mt Lawley, St James, Rivervale, East Perth, Perth, West Perth, Subiaco, Leederville, Highgate and North Perth all recieve two deliveries each day. Beautiful Bunches - A Florist in Perth Western Australia, which offers superior online flowers Perth wide and baby gift delivery service with amazing customer service for a reasonable price.


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You say you want a "Revolution"? Producer J.J. Abrams has turned to a pair of colleagues who are bright lights in the adventure genre – "Supernatural" creator Eric Kripke and "Iron Man" director Jon Favreau – to show what happens when the world goes dark.
NBC's new sci fi opus centers on an intriguing premise: set 15 years after a mysterious apocalyptic event knocked out all electronic and advanced mechanical technology across the planet, "Revolution" follows the path of a small group of allies surviving in a world without power. Led by maverick ex-military man Miles Matheson (Billy Burke), they try to reverse the phenomenon and grow closer to discovering the cause – all the while facing some serious opposition spearheded by highly motivated militia leader Tom Neville (Giancarlo Esposito). The storytellers behind the scenes provided a tantalizing glimpse at what to expect from the series:
Eric Kripke (creator/executive producer): It's a really compelling idea: what would happen if we all lived without electricity in this very incredibly technologically overextended little world of ours and how would we survive, how we would find food, how would we find water, and this epic journey as to how can we save the world and get the lights back on. And that's a part of it, but for me it's just a really epic, fun saga. It's this journey about this family that is struggling to reunite. So it's intensely character‑driven, very complicated and there's fascinating characters who are all just struggling to come together against incredible adversity. And so for me it's the what‑if is interesting, but characters are everything.
Jon Favreau (executive producer/director): The name "Revolution" is not really meant to stand in for what's going on today, but it's meant to replay aspects of our history from when we were going from colonial times, living under oppressive monarchies and then becoming a republic. And that was what was exciting for me, is it was a way to tell aspects of our history to a new generation – If you look at all the young‑adult novels and what's in the zeitgeist, there's definitely a sense of the young generation coming and persevering against people who serve as allegories for how they might feel powerless as young people in the world. And so you see, in a lot of the young‑adult novels, you're dealing with other worlds where the young generation is very important and being a front line of a deep struggle, much like when we grew up with "Star Wars."
Billy Burke (star): This is one of those roles where when I saw it on the page, I immediately went back to my childhood and said, as I was growing up watching movies and television, that's what I wanted to do. I have never been given the opportunity to do things like that. I mean, I've been hanging around a long time, doing a lot of stuff, and I've been very grateful for it. But presented with this, it was the biggest gift I'd been given in a very long time.
Giancarlo Esposito (star): The one thing about this particular show and because of the interesting and creative elements that went into the writing of the show, you could think of it as a throwback to an old world, but it's returning to a simpler life. We have good guys. We have bad guys. We have guys in the middle. But there are people who want to get the power back for their own reasons and people who may not want to get it back because they can live a simpler life.
Kripke: In terms of the rules, it's about electricity, so it's about anything that throws a spark, any circuit that carries an electrical charge. That is the simple, clean rule and everything expands from that. So that means batteries, spark plugs, engines, and everything that comes from electricity. And just a side anecdote, because the writers are a bunch of nerds: we brought a physicist into the 'Revolution' offices and we pitched him what we wanted to have happen and we gave him the big secret as to why it all happened, because we have that secret and we really vetted it to make sure that it was accurate from the scientific point of view. And his face just lit up! I mean, he was like, 'That is absolutely possible. And I never even considered it, but that's amazing.' And so we did our homework and we came up with something that actually is quite plausible.
Favreau: While there's an underlying mystery with an internal logic to it, we still want to make it about the people and the emotion. And I think you're seeing an appetite both with the audiences and therefore with the networks to try to accommodate this more ambitious style of storytelling, and hats off to NBC for giving the show a shot because we're really approaching it. When I read it, I didn't think of it as a network show, a cable show, a pay‑cable show, a subscription. I just knew that it was good writing and I didn't know what was going to happen every time I turned the page.
Kripke: I'm personally thrilled for the opportunity to have 22 episodes because that lets me reveal a lot of different facets of these characters and really make them into really fascinating human people. And that to me is what is going to attract people to the show, is really likeable, interesting, complicated characters who are on just this epic journey in this epic saga. And some elements of the show are serialized, but it's not completely serialized. It's a whole world to explore – there are different towns and different villages and different skirmishes with the militia. And I like to tell stories that have beginnings, middles, and ends, and so as they're on a larger myth quest to get her brother back and reunite their family, they're having all sorts of ass‑kicking adventures along the way. And so for me, 22 episodes per season isn't a problem. That's a gift.
"Revolution": Ingriguing Lights-Out Premise With Character at the Core
Producer J.J. Abrams, creator Eric Kripke and director Jon Favreau aim for epic post-apocalyptic adventure.
You say you want a "Revolution"? Producer J.J. Abrams has turned to a pair of colleagues who are bright lights in the adventure genre – "Supernatural" creator Eric Kripke and "Iron Man" director Jon Favreau – to show what happens when the world goes dark.


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The panel and lining were sewn using the method from the pinch pleated drapes tutorial.
This is my styling assistant, Isabelle, who insisted that she wasn't tired and wasn't in need of a nap.
I beg to differ.
I'm curious to know why you didn't want her to have purple in her room.
I think they look beautiful! I LOVE that print, and I love it with the brass. Very sophisticated.
I have short curtains in my son's room. It's the smart move. Otherwise the kids are always stepping on them, playing in them, hiding under them, pulling them off the wall (I have long curtains in the girls' room, it happens every day!)
Especially in a place like that, where you really wouldn't see the long ones behind the bed anyway.
I love the fabric. Not sold on the short...yet - you always convince me, though!
Do you know who makes the fabric?
I LOVE short curtains in "kid" spaces- After what seems like harmless hide and seek - and ending in a bent curtain rod- I have shortened my kids' curtains!
The fabric you chose is gorgeous! Love the brass accent with it - you have such a great vision!
Super cute... love the idea of spray painting shower curtain clips.ReplyDelete
Natty, the curtains look great I love the fabric. I can't wait to see the room finished :)ReplyDelete
They look lovely! I can't believe you made them. I am in awe!ReplyDelete
Thanks for the love, friends!
I actually prefer shorter curtains in a bedroom longer ones dragging on the floor irritate me they belong in a sitting room. Love the fabric & thanks for the tutorial. I have a give away right now to celebrate Finsihing Touch Interiors 1st birthday pop on overReplyDelete
I looove this fabric! Can I ask where you got it? I am hoping Joanne's.....it is the only fabric store near me and I would love to use this in my foyer b/c it is orange and it would look great as pillows!
P.S. short curtains rule and make a space less formal, which is how a kids room should feel!
Love them, they add a great punch of color and pattern against the white walls and being short, they add a playful quality to the room! Thanks for the shout out to HOF as well, posting your project on the HOF Blog tomorrow. More great stuff from you!
Erika- 5th Avenue Designs makes the fabric.ReplyDelete
I was happy to see your short curtains. I am contemplating the same length for our master bedroom. I guess that length is acceptable for a bedroom. I will now get started on making my short curtains.ReplyDelete
I think the short curtains look great & I love how simple you made it with the hooks. I'd love for you to link up to my new linky party -
Creative Genius @ http://www.thecreativepaige.com
The fabric is lovely, it looks really nice with the colour of the room and so does the brass accent :)ReplyDelete
Your curtains look great. I think I am going to have to use short curtains in the living room. It's not my first choice but my dogs are destroying mine.
We always had short curtains in the kids rooms. I think they look just fine, are cost effective and as someone mentioned, the kids aren't wrapped up, etc. in them. Surely that counts as a safety measure? ;)
The room is looking good!
I just found this, in search of how to hang my beautiful new drapes I had made from an Etsy shop - THANK YOU for such a great tutorial (whether I use the curtain rings or not!). ;-)ReplyDelete
The short curtain and pin hook has been shared in the post here. Good post
I was wondering whether the spray paint on the rings hasn't scratched off by now, and how many coats you applied.
They're holding strong and look great! I applied a primer and two coats of paint.ReplyDelete
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In the fall of 1963, in Leningrad, in what was then the Union of Soviet Socialist Republics, the young poet Dmitry Bobyshev stole the young poet Joseph Brodsky's girlfriend. This was not cool. Bobyshev and Brodsky were close friends. They often appeared, in alphabetical order, at public readings around Leningrad. Bobyshev was twenty-seven and recently separated from his wife; Brodsky was twenty-three and intermittently employed. Along with two other promising young poets, they'd been dubbed "the magical chorus" by their friend and mentor Anna Akhmatova, who believed that they represented a rejuvenation of the Russian poetic tradition after the years of darkness under Stalin. When Akhmatova was asked which of the young poets she most admired, she named just two: Bobyshev and Brodsky.
The young Soviets felt the sixties even more deeply than their American and French counterparts, for, while the Depression and the Occupation were bad, Stalinism was worse. After Stalin died, the Soviet Union began inching toward the world again. The ban on jazz was lifted. Ernest Hemingway was published; the Pushkin Museum in Moscow hosted an exhibit of the works of Picasso. In 1959, Moscow gave space to an exhibition of American consumer goods, and my father, also a member of this generation, tasted Pepsi for the first time.
The libido had been liberated, but where was it supposed to go? People lived with their parents. Their parents, in turn, lived with other parents, in what were known as communal apartments. "We never had a room of our own to lure our girls into, nor did our girls have rooms," Brodsky later wrote from his American exile. He had half a room, separated from his parents' room by bookshelves and some curtains. "Our love affairs were mostly walking and talking affairs; it would make an astronomical sum if we were charged for mileage." The woman with whom Brodsky had been walking and talking for two years, the woman who broke up the magical chorus, was Marina Basmanova, a young painter. Contemporaries describe her as enchantingly silent and beautiful. Brodsky dedicated some of the Russian language's most powerful love poetry to her. "I was only that which / you touched with your palm," he wrote, "over which, in the deaf, raven-black / night, you bent your head. . . . / I was practically blind. / You, appearing, then hiding, / taught me to see."
Almost unanimously, people in their circle condemned Bobyshev. Not because of the affair—who didn't have affairs?—but because, as soon as Bobyshev began to pursue Basmanova, Brodsky began to be pursued by the authorities. In November, 1963, an article appeared in the local paper insulting Brodsky, his trousers, his red hair, his literary pretensions, and his poems, although of the seven quotations offered as examples of Brodsky's poetry, three were by Bobyshev. Everyone recognized this sort of article as a prelude to an arrest, and Brodsky's friends insisted that he go to Moscow to wait things out. They further insisted that he check himself into a mental hospital, in case a determination of some form of psychosis could help him plead his case. Brodsky met the New Year in the hospital, then begged to be released. Upon getting out, he learned that Bobyshev and Basmanova had been together on New Year's at a friend's dacha. Brodsky borrowed twelve rubles for train fare and raced up to Leningrad. He confronted Bobyshev. He confronted Basmanova. Before he could get much further, he was thrown in jail. The subsequent trial launched the Soviet human-rights movement, turned Brodsky into a world-famous figure, and resulted in his eventual exile from the U.S.S.R.
Brodsky was born in May, 1940, a year before the German invasion. His mother worked as an accountant; his father was a photographer and worked for the Navy Museum in Leningrad when Brodsky was young. They were doting parents and much beloved by Iosif Brodsky, who was their only child.
Leningrad suffered terribly during the war—it was blockaded for more than two years by the Germans, deprived of food and heat. An aunt starved to death. In the immediate postwar years, even as Stalin mobilized the country for the Cold War, the damage was plain to see. "We entered schools, and whatever elevated rubbish we were taught there, the suffering and poverty were visible all around," Brodsky wrote. "You cannot cover a ruin with a page of Pravda." He was an uninspired student, held back in the seventh grade. When his parents started having financial trouble—his father lost his Navy job during Stalin's late-life campaign against the Jews—Iosif, fifteen, dropped out and went to work in a factory.
In a loyal, scrupulous, and authoritative biography, "Joseph Brodsky: A Literary Life" (Yale; $35; translated from the Russian by Jane Ann Miller), Brodsky's old friend Lev Loseff puts a great deal of emphasis on his subject's decision to drop out of school, arguing that it prevented Brodsky from being ruined by overschooling. Brodsky thought so, too. "Afterward I often regretted that move, especially when I saw my former classmates getting on so well inside the system," he wrote. "And yet I knew something that they didn't. In fact, I was getting on too, but in the opposite direction, going somewhat further." The direction he was going could be called, variously, underground, or samizdat, or freedom, or the West.
He was restless. He left the factory job after six months. Over the next seven years, until his arrest, he worked at a lighthouse, a crystallography lab, and a morgue; he also hung about, smoking cigarettes and reading books. He travelled around the Soviet Union, taking part in "geological" expeditions, helping the rapidly industrializing Soviet government comb the vast country for mineral wealth and oil. At night, the geologists would gather around the campfire and play songs on their guitars—often poetry set to music—and read their own poems. Upon reading a book of poems on the "geological" theme, in 1958, Brodsky decided that he could do better himself. One of his earliest poems, "Pilgrims," was soon a campfire hit.
The whole country was going crazy for poetry; it had become central to the atmosphere of Khrushchev's Thaw. In 1959, as part of a return of sorts to the Bolshevik past, a statue of Vladimir Mayakovsky was unveiled in central Moscow, and soon young people began to gather around it to read their own poetry. In the early sixties, a group of poets started a series of well-attended readings at the Polytechnical Museum in Moscow, catercorner from the headquarters of the K.G.B. There is a film of one of these evenings, and, though it's just a poetry reading (rather than a Beatles concert, say), and though the poems of these semi-official poets weren't especially good, the atmosphere is electric. A crowd had gathered and before it stood a young man talking about his feelings: this was new.
The venues in Leningrad were more humble, but Brodsky and his closest poet-friends—Bobyshev, Anatoly Naiman, and Evgeny Rein, the "magical chorus"—took advantage of them whenever they could. Bobyshev in his memoir recalls Brodsky dragging him to the edge of town so Brodsky could read some poems to a group of students. Bobyshev left early.
As for the poetry itself, Loseff argues convincingly that the early work—before Brodsky's arrest—is uneven, sometimes derivative. But from the start Brodsky was one of those poets who can write confessionally and make it sound as if they were describing an entire social phenomenon. The poems are romantic, sarcastic, and effortlessly contemporary. There is an Eliot-like elongation of the poetic line, and a sense of surprise when the rhyme and meter are maintained; there is also the clear influence of the English Metaphysical poets, who laced their love poetry with philosophical speculations—in Brodsky's case, always relating to time and space. Searching for English-language equivalents, Robert Hass wrote that Brodsky sounded "like Robert Lowell when Lowell is sounding like Byron." As a cultural figure in Russia, though, Brodsky was more akin to Allen Ginsberg (with whom he later went shopping for used clothes in New York—"Allen bought a tuxedo jacket for five dollars!" he told Loseff, who wondered why a beatnik needed formal wear). For Ginsberg and his friends, freedom lay in breaking the bounds of traditional prosody; for Brodsky and his friends, freedom came from reëstablishing a tradition that Stalin had tried to annihilate. Brodsky was able to find surprising ways of doing this, seemingly with no effort, and always remaining cool and nonchalant. His early poems describe the narrator walking home from the train station; the narrator touring his old Leningrad haunts; the narrator watching a married couple argue, wondering whether he himself will always be alone. That last one, incidentally, is called "Dear D. B.," that is to say, Dmitry Bobyshev, who was in an unhappy marriage at the time.
Loseff describes the first time he heard Brodsky read. It was 1961. Some time before, a friend had given him a sheaf of Brodsky's poems, but the type was faint (samizdat manuscripts were often typed three or four sheets at a time), and Loseff didn't like the look of the lines, which, especially in Brodsky's early poetry, stretched on and on. "I managed to get out of reading them somehow," Loseff recalls. But now a group of friends had gathered in the communal apartment where Loseff and his wife lived, and there was no getting away from Brodsky. He started reading his long ballad "Hills," and Loseff was amazed: "I realized that here at last were the poems I had always dreamed of, without even knowing it. . . . It was as if a door had opened into a wide-open space that we hadn't known about or heard of. We simply had no idea that Russian poetry, that the Russian language, that Russian consciousness, could contain these spaces."
Many people felt this way when they first encountered Brodsky's poems. One friend who got hauled in for a talk with the K.G.B. around this time recalls telling his interrogator that, of all the people he knew, Brodsky was the likeliest to win the Nobel Prize. It was a period of tremendous generational energy and hope; someone had to embody it. It was important that Brodsky's poems were contemporary and local. It was also important that, in their debt to Anglo-American modernism, they connected the small group of Leningrad poets and readers to the great world. And most important of all was that, in their creative fealty to an old-fashioned formal tradition, they connected this generation to the great poets of the Russian past; Nadezhda Mandelstam, the poet's widow, declared Brodsky a second Mandelstam.
Then, in October, 1962, Khrushchev was confronted by President Kennedy over a shipment of missiles sent by the Soviets to Cuba. After a tense standoff, the Soviets withdrew in humiliation, and Khrushchev lashed out at home. Just a few weeks after the Cuban missile crisis, he lambasted a group of young artists at an exhibit in Moscow, calling them "faggots." The Thaw was finished. A year later, Brodsky was charged with "freeloading" on the back of the great Soviet people.
Among the intelligentsia, it later be came a point of faith, if not exactly of pride, that the Soviet regime had intuited Brodsky's greatness earlier than just about anyone. Loseff deflates this notion; in fact, he explains, the initiative for the arrest came from the head of a community-watch group; he had heard of Brodsky's local fame and Brodsky happened to live within his jurisdiction in Leningrad. That was all. The Soviet regime stumbled onto one of the great prodigies in the history of the Russian language pretty much by accident.
Brodsky's trial took place in two sessions, several weeks apart, in February and March of 1964; in between, Brodsky was confined to a mental hospital, where it was determined that he was psychologically fit to work. The trial was a farce, its outcome predetermined. "Trial of the freeloader Brodsky," a sign outside the courtroom read, a little prejudicially. Inside, neither the judge nor the people testifying against Brodsky had any interest in his poetry. Brodsky, who remained unpublished, made what money he could doing translations, sometimes working from literal translations when he didn't know the source language; his accusers wanted to know, among other things, how this was possible, and whether Brodsky wasn't exploiting his collaborators on such projects. Much of the case turned on whether writing was a real job if it brought little or no income:
CITIZEN ACCUSER: We checked. Brodsky says he got 150 rubles from a job, but actually it was 37.
BRODSKY: That's the advance! That's just the advance! It's only part of what I'll get later.
Brodsky at the time was not yet twenty-four. His friend Rein recalls how the second session of the trial fell on Maslenitsa, or Butter Week, the traditional pancake-eating holiday in advance of Lent. Consequently, on the day of the trial, Rein and some other friends went to the restaurant at the Hotel European to eat pancakes. Then, at four o'clock, they went to the courthouse. Not everyone, in other words, had a sense of the gravity of the occasion.
Brodsky did. Throughout the short trial, he appears to have been serious, quiet, respectful, and firm in his conviction about what he was put on earth to do:
JUDGE: Tell the court why in between jobs you didn't work and led a parasitic life style?
BRODSKY: I worked in between jobs. I did what I do now: I wrote poems.
JUDGE: You wrote your so-called poems? And what was useful about your frequent job changes?
BRODSKY: I began working when I was 15 years old. Everything was interesting to me. I changed jobs because I wanted to learn more about life, about people.
JUDGE: What did you do for your motherland?
BRODSKY: I wrote poems. That is my work. I am convinced. . . . I believe that what I wrote will be useful to people not only now but in future generations.
JUDGE: So you think your so-called poems are good for people?
BRODSKY: Why do you say of the poems that they are "so-called"?
JUDGE: We say that because we don't have any other idea about them.
In the end, the judge sentenced the so-called poet to five years of exile and labor up north, to straighten him out.
On the subject of Brodsky's exile, Loseff is once again forced to disappoint readers who have grown accustomed to thinking of the poet as someone who spent time in the Gulag. His confinement to a mental hospital in between sessions of the trial was miserable. His eighteen months in the village of Norenskaya were among the best times of his life.
Norenskaya was three hundred and fifty miles from Leningrad, and Brodsky could receive visitors. His mother visited him; his friends Rein and Naiman visited; his lover Basmanova visited. Even Bobyshev came to visit! (He was looking for Basmanova.) Brodsky rented a little cottage in the village and, while it didn't have central heating or plumbing, it was, as one visitor marvelled, his very own. "For our generation this was an unthinkable luxury," the visitor recalled. "Iosif proudly showed off his domain." Brodsky had a typewriter and was reading a lot of W. H. Auden. On the whole, this was more Yaddo than Gulag.
But there is nothing to be done about a legend once it's created. Akhmatova's famous dark joke at the time of his arrest—"What a biography they're writing for our redhead"—told only half the story. After his arrest, Brodsky met the occasion; he built his own biography. The transcript of the trial, made by a brave journalist named Frida Vigrodova, quickly appeared in samizdat and was sent abroad, where it was published in many languages (in the United States it appeared in The New Leader). A concerted campaign led by Akhmatova and joined by Jean-Paul Sartre resulted in Brodsky's early release. By the time he returned to Leningrad, in late 1965, Brodsky was world famous, and had developed profoundly as a poet. Bobyshev no longer stood a chance.
In 1967, Basmanova gave birth to Brodsky's son, and then broke things off with him again. Akhmatova had died the year before, leaving the already splintering magical chorus to fend for themselves. (Bobyshev rechristened them "Akhmatova's orphans.") Brodsky kept writing poetry and travelling around the Soviet Union. When Western academics came to Leningrad, they visited him. His poetry entered a phase of maturity and total mastery.
Brodsky continued to describe his life. One poem recalls a seaside meeting between two friends, and then goes on:
Many waves have passed since then.
Ashore my friend was drowned
in his own shallow but still bitter lies; and I set off
on wanderings.
And he also continued to describe and memorialize his love for Basmanova. From "Six Years Later," in Richard Wilbur's translation:
So long had life together been that once
the snow began to fall, it seemed unending;
that, lest the flakes should make her eyelids wince,
I'd shield them with my hand, and they, pretending
not to believe that cherishing of eyes,
would beat against my palm like butterflies.
There was not room enough in the U.S.S.R. for both Brodsky and the Communists. "The authorities couldn't help but be offended by everything he did," his friend Andrei Sergeev later wrote. "By his working, by his not working, by his walking around, standing, sitting at a table, or lying down and sleeping." Brodsky kept trying to get his poems published, to no avail. At one point, two K.G.B. agents promised to publish a book of his poems on high-quality Finnish paper if he would only write the occasional report about his foreign-professor friends. Nor was there a place for Brodsky in the growing dissident human-rights movement that his own trial had helped catalyze. His relation to the dissidents somewhat resembled Bob Dylan's to the American student movements of that era: sympathetic but aloof.
In the early nineteen-seventies, the geopolitical wheel turned again, and took Brodsky with it. Brezhnev's desire to clear house dovetailed nicely with pressure from the West to release Soviet Jews, and in the spring of 1972 Brodsky was given three weeks to pack his bags and board a plane to Vienna. Unlike Norenskaya, this would be true exile, and it lasted the rest of his life.
In Vienna, Brodsky was met by Carl Proffer, a Russian-literature professor at the University of Michigan, who was just starting Ardis, a small publishing house. Proffer happened to know that Brodsky's hero, Auden, was vacationing nearby, and they decided to pay him a visit. Despite receiving no advance warning, Auden welcomed the exiled poet, and a few months later Brodsky wrote home to Loseff, using newfound English words wherever possible:
W. H. Auden drinks his first martini dry at 7:30 in the morning, after which he sorts his mail and reads the paper, marking the occasion with a mix of sherry and scotch. After this he has breakfast, which can consist of anything so long as it's accompanied by the local dry pink and white, I don't remember in which order. At this point he sets to work. Probably because he uses a ballpoint pen, he keeps on the desk next to him, instead of an inkwell, a bottle or can of Guinness, which is a black Irish beer that disappears in the course of the creative process. At around 1 o'clock he has lunch. Depending on the menu, this lunch is decorated by this or that rooster's tail, or cocktail. After lunch, a nap, which is, I think, the only dry point of the day.
And thus Brodsky's charmed life in the West began.
Brodsky makes a cameo appearance in the novelist Sigrid Nunez's new memoir about Susan Sontag, "Sempre Susan." It is 1976 and Brodsky has recently started dating Sontag. He is romantic, brooding, mostly bald. "None of it matters," he announces one day. "Not suffering. Not happiness or unhappiness. Not illness. Not prison. Nothing." ("Now, that's European," Nunez writes, a dig at Sontag.) Another time, he takes everyone out for Chinese, his favorite New York meal. Sitting around the table with Sontag, her son, and the young Nunez, Brodsky is the bohemian paterfamilias. Nunez describes him purring to this small, unlikely clan, "Aren't we happy?"
This is the image one has of Brodsky in America: a runaway success. Only from the Russian side can one see how difficult it was, and also just how much it meant. For members of that Soviet generation, America was everything. They listened to its music, read its novels, translated its poetry. They caught bits and pieces of America wherever they could (including on trips to Poland). America "was like a homeland in reserve for us," Sergeev (who translated, among others, Robert Frost) later wrote. When, in the nineteen-seventies, the opportunity presented itself, many went. It was only upon arriving here that they discovered what they'd lost.
Brodsky was one of the first. In later years, enough people came over so that Russian communities formed in Boston, New York, Pittsburgh, but in 1972 America was as lonely as the village of Norenskaya. There weren't any Russians to talk to, Brodsky complained in letters home, and, as for the local Russian-literature professors, "They had come to resemble their subjects like masters their dogs." So that was out.
Brodsky's poems during his first years in the States are filled with the most naked loneliness. "An autumn evening in a humble little town / proud of its appearance on the map," one begins, and concludes with an image of a person whose reflection in the mirror disappears, bit by bit, like that of a street lamp in a drying puddle. The enterprising Proffer had persuaded the University of Michigan to make Brodsky a poet in residence; Brodsky wrote a poem about a college teacher. "In the country of dentists," it begins, "whose daughters order clothes / from London catalogues, . . . / I, whose mouth houses ruins / more total than the Parthenon's, / a spy, an interloper, / the fifth column of a rotten civilization," teach literature. The narrator comes home at night, falls into bed with his clothes still on, and cries himself to sleep. That year, Brodsky wrote a poem indicating that, in being forced to leave Russia, he lost a son. "My dear Telemachus," it begins, "The Trojan war is over," and continues (in George L. Kline's rendering):
I don't know where I am or what this place
can be. It would appear some filthy island,
with bushes, buildings, and great grunting pigs.
A garden choked with weeds; some queen or other.
Grass and huge stones . . . Telemachus, my son!
To a wanderer the faces of all islands
resemble one another. And the mind
trips, numbering waves; eyes, sore from sea horizons,
run; and the flesh of water stuffs the ears.
I can't remember how the war came out;
even how old you are—I can't remember.
Eventually, Brodsky escaped the country of dentists for a small garden apartment on Morton Street, in the West Village, which he rented from a professor at N.Y.U., and took a teaching post at Mount Holyoke, in western Massachusetts. He found his level, socially, and his complaining letters home took a curious turn. "Last week, I had the first conversation in three years about Dante," one went, "and it was with Robert Lowell."
In 1976, Brodsky was joined in the U.S. by his old friend Loseff, who became his best reader and a close observer of his American life. In Leningrad, the bookish Loseff had worked as the sports editor of a magazine for kids. In the U.S., he initially settled, like Brodsky, in Ann Arbor, working for Proffer's Ardis, before moving to New England, in Loseff's case Dartmouth, where he taught Russian literature until his death, in 2009.
As a biographer, Loseff is honorable, supremely intelligent, and almost supernaturally well informed. He shows how the important experiences in Brodsky's life appear in his poems—in fact, the book was written as a side project while Loseff was preparing a two-volume annotated edition of Brodsky's poetry, which will appear in Russia later this summer. He never strays more than is absolutely necessary into Brodsky's personal life. "The book is in the style of 'everything you always wanted to know about Brodsky but were afraid to ask,' if the thing you were afraid to ask about was his metaphysics rather than his wife," a reviewer wrote of the book when it came out in Russia.
But Loseff has also left a book of autobiographical essays, "Meander," published posthumously, in Russian, in 2010, under the editorship of the poet Sergei Gandlevsky. No less loyal and affectionate toward Brodsky, the short essays in this book are much more personal and personable, and Brodsky appears in them in a slightly different light. Loseff comes to visit him in New York to eat Chinese food and read poetry. Also to receive clothes: according to Loseff, Brodsky was always buying huge amounts of clothing at the secondhand clothing shops of Manhattan, then giving them to Loseff, who was about the same size. One essay opens with Loseff house-sitting for Brodsky on Morton Street; suddenly the phone rings in the middle of the night, and a female voice on the other end of the line, speaking English and mistaking Loseff for Brodsky, demands to know what he is doing. "Stupidly I said, 'Sleeping,' " Loseff writes. "What then began to happen on the other end of the line caused me some embarrassment, so I replaced the receiver, with unnecessary tact." The essay goes on to defend Brodsky from accusations of womanizing.
In these essays, Loseff is able to say some of the things that Brodsky could not. Even after moving to New York, Brodsky continued to play it cool. To any interviewer who asked, he would say that America is merely "a continuation of space." Or in "Lullaby of Cape Cod" (in Anthony Hecht's translation):
I write from an Empire whose enormous flanks
extend beneath the sea. Having sampled two
oceans as well as continents, I feel that I know
what the globe itself must feel: there's nowhere to go.
Loseff could never be so cool. He was taken with America. "Even now, having lived here thirty years," he writes, "I sometimes feel a strange elation: is this really me, seeing this foreign land with my own eyes, taking in these other smells, speaking to the local people in their language?"
Brodsky's own English improved rapidly. Almost immediately upon his arrival in the U.S., he began publishing essays, translated from the Russian by his friends, in the American intellectual press. In 1977, he bought a secondhand typewriter in Manhattan and soon was writing the essays directly in a supple, playful, ironic English, through which you could sometimes hear the poetic voice of his Russian. In these essays, many of which appeared in The New York Review of Books, Brodsky wrote with great sympathy of the poets he most admired: Marina Tsvetaeva, Osip Mandelstam, Anna Akhmatova, and, on the other shore, Robert Frost and, especially, Auden. In this way he was able to repay his debts. He was also able, in several autobiographical essays, to recast his painful experiences in a new form. As he wrote in one essay about his parents, who died in the mid-eighties, unable to see their son after his expulsion from the U.S.S.R.:
To write about them in Russian would only further their captivity, their reduction to insignificance, resulting in mechanical annihilation. I know that one shouldn't equate the state with language but it was in Russian that two old people, shuffling through numerous state chancelleries and ministries in the hope of obtaining a permit to go abroad for a visit to see their only son before they died, were told repeatedly, for twelve years in a row, that the state considers such a visit "unpurposeful." To say the least, the repetition of this utterance proves some familiarity of the state with the Russian language. Besides, even if I had written all this in Russian, these words wouldn't see the light of day under the Russian sky. Who would read them then? A handful of émigrés whose parents either have died or will die under similar circumstances? They know this story only too well.
His English was able to grant his parents a measure of freedom. But there was one thing it could not do: transform his Russian poetry into English poetry. Inevitably, Brodsky tried, and he wasn't shy about it. Almost as soon as his English was up to snuff he began to "collaborate" with his translators; eventually he supplanted them. The results were not so much bad as badly uneven. For every successful stanza, there were three or four gaffes—grammatical, or idiomatic, or just generally tin-eared. Worst of all, to readers accustomed to postwar Anglo-American poetry, Brodsky's translations rhymed, no matter what obstacles stood in their way.
From the very first, it had fallen to Brodsky to experience all the struggles of his generation on his own hide, as the Russians say. His immigration was no exception. He was spared the loss of social status that tormented other immigrants (indeed, the memoirs of later immigrants who had known him in Leningrad are filled with tales of how Brodsky didn't introduce them to another luminary, or pretended not to see them while doing a reading somewhere). Although his health was poor (he had his first heart attack in 1976), he was spared the material concerns many immigrants had. But he was not spared the dislocation, the misunderstanding. He failed to see that the social changes that made his poetry resonant in Russian had obviated just this kind of poetry in the States. Writing about his generation of idealistic Russians, he put it best: "Hopelessly cut off from the rest of the world, they thought that at least that world was like themselves; now they know that it is like the others, only better dressed."
In his last decade, Brodsky achieved an unprecedented level of success. He was awarded the 1987 Nobel Prize for Literature. Afterward, he spent a lot of time in Italy, got married to a young student of Russian and Italian descent, became the Poet Laureate of the United States, moved to Brooklyn. In 1993, his wife gave birth to a daughter, whom they named Anna.
As often happens, Brodsky was more visible in his last years as an essayist and a propagandist for poetry than as an actual poet. His ideas about the moral importance of poetry—inherited from the poets of the Silver Age, including Mandelstam, who had died for his poetry—eventually hardened into dogma; his Nobel Prize address stressed that "aesthetics is the mother of ethics," and so on. Poetry was immortal, he argued: "That which is being created today in Russian or English, for example, secures the existence of these languages over the course of the next millennium." But this wasn't true, as Brodsky eventually acknowledged in a great and furious late poem, "On Ukrainian Independence," in which he berated the independence-minded Ukrainians for casting aside the Russian tongue. "So go with God, you swift cossacks, you hetmans, you prison guards," it says, and concludes:
Just remember, when it's time for you, too, to die, you bravehearts,
as you scratch at your mattress and visibly suffer, you'll forget
the flatus of Taras, and whisper the verses of Alexander.
Alexander Pushkin, that is. Despite itself, the poem is an anguished admission that a Russian state and Russian-speaking subjects are still vital to the project of Russian poetry.
Brodsky never returned to Russia. Nor did he see Marina Basmanova again, though their son, Andrei, came to visit New York once, and the two did not get along. A friend recalls Brodsky calling her in Boston to ask if he should buy the young man a VCR, even though, Brodsky complained, he'd dropped out of college and refused to work. In 1989, Brodsky wrote his last poem to "M.B.," his old muse, describing himself out for a walk and breathing the fresh air and remembering Leningrad. "Don't get me wrong," it goes on:
Your voice, your body, your name
mean nothing to me now. No one destroyed them.
It's just that, in order to forget one life, a person needs to live
at least one other life. And I have served that portion.
The magical chorus had fallen apart. Even Rein and Naiman eventually quarrelled, with Naiman, in one of his many memoirs, accusing Rein of bringing a can of apricot compote to a dinner party and then eating all of it himself. In late January, 1996, Brodsky died, of his third heart attack, after a life of not taking very good care of himself. "If you can't have a cigarette with your morning coffee," he once said, "there's no point getting up."
Bobyshev eventually emigrated to the States. He settled in Illinois, where he, too, taught literature. After Brodsky's death, he published his account of his early years, including the Basmanova affair. There is a great scene in which he visits his aunt in Moscow. Akhmatova is in town at the same time and gives him a call while he's out. When he gets back, his aunt is flabbergasted. "Is it possible that Anna Akhmatova called for you?" she asks. "Yes, of course," young Bobyshev replies airily. "What did she say?"
The book ends with Bobyshev, now in America, calling Brodsky in New York. They haven't spoken in two decades, but Bobyshev has an important matter relating to Akhmatova to discuss with him, and they briefly put their differences aside. They settle the matter, and then Brodsky asks, "So how do you like America?" It's not easy, Bobyshev says, but still it's an interesting place. "What about it is interesting?" Brodsky asks. Bobyshev says it's all very interesting, the colors, the faces, all of it. "Hmm," Brodsky says. And they hang up. ♦
Written by Keith Gessen


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Our top Apple news from the last week was spiked with stories about the Flashback Mac trojan that is making the rounds. We also published some original stories about whether Apple holds the encryption key to your iCloud data, and whether Apple has a backdoor to your iPhone's PIN or passcode. And that's just the beginning! Read on for the weekly roundup:
Flashback trojan reportedly controls half a million Macs and counting: The Mac Flashback trojan has reportedly infected more than half a million Macs, according to one antivirus firm, and the number just keeps going up.
Mac Flashback trojan exploits unpatched Java vulnerability, no password needed: The Flashback trojan for the Mac is now exploiting a critical bug in the Java software framework, allowing it to hijack machines even when users don't enter an administrative password. Apple has yet to distribute a fix.
Apple holds the master decryption key when it comes to iCloud security, privacy: While your iCloud data is relatively safe from hackers, Apple has a master key to everything on its servers. This makes iCloud less than ideal for enterprise users and those wary of law enforcement, but security experts do have recommendations to help improve user privacy.
Can Apple give police a key to your encrypted iPhone data? Ars investigates: Modern iPhone users can set a passcode on their devices to encrypt their data and protect their devices against outsiders. But does Apple have a backdoor around this user-defined passcode—and thus the data encryption—for the purposes of helping law enforcement? The answer isn't very straightforward.
Comics on the iPad: will the new iPad attract paper readers?: The new iPad brings high-definition to digital comics, but will HD finally bring the paper readers too?
New Siri lawsuit also accuses Apple of over-promising functionality: A second lawsuit over Siri's functionality on the iPhone 4S has popped up—the second in as many weeks—with both suits accusing Apple of over-selling Siri's abilities in its marketing campaigns.
Apple reportedly investigating iPad Wi-Fi issues, offering replacements: If you have a third-generation Wi-Fi iPad and are having problems connecting to Wi-Fi networks, hardware issues may be the cause.
Apple building fuel cells to help power N. Carolina data center: Apple has been talking a big game about its green energy plans. Now, it's moving forward with a fuel cell project in North Carolina to help power its facilities with renewable energy.
Facebook: iOS-based credential theft only works on lost or jailbroken devices: Facebook has responded to a report claiming that an attacker could exploit the Facebook app for iOS and Android to siphon off login credentials. The company says the exploit only works if the device has been jailbroken or an attacker gets access to it.
Some e-book publishers begin settlement talks; Apple holding out: Why would Apple and several book publishers be holding out on a settlement over alleged e-book price fixing? They likely don't want to let e-book prices dip, even though other publishers are reportedly on board.
Have a great weekend, everyone!
Listing image by Photograph by Mooganic


text: I have a customer who has created site subdomain.domain.ext it also has the following co-domains: www.subdomain.domain.ext and subdomain.domain.ext Since upgrading to the latest ispconfig 2 version we've seen some sporadic weird behaviour. One was /etc/passwd being nulled and now this new problem. It seems that subdomain.domain.ext was also put on entirely different sites co-domain list belonging to a totally different customer under another reseller. What may be the cause of this? the subdomain can't be edited as admin, it simply says I dont have permission to access this object. co-domain subdomain.domain.ext on the site 1 and site 2 has different docids. What would be a quick fix? and what would be a permanent fix to make sure this wont happen in the future? Is there any known issues such as this with doublette co-domains?


text:
First Friday extends hours to midnight and exhibits into 18b- Stages, Art, Vendors, Food and more are north of Charleston
September First Friday Las Vegas – Celebrating Heritage
First Friday Las Vegas, the largest arts and culture festival in the Western United States, continues to evolve and draw huge crowds from around the valley and beyond for a night of art, music, food and more. Now in its 10th year, First Friday celebrates art and builds community with plenty of free activities for every age.
On Friday, September 6, First Friday extends festival hours until midnight and following the resounding success of August's festival, First Friday will continue to push installs, vendors, food trucks and stages into the neighborhood of 18b, encouraging attendees to get out there and explore. Multiples stages with varying musical genres can be found at Artifice, The Bar + Bistro Patio, The Main Stage at Casino Center and Art Way, The Welcome Tent at Casino Center and Colorado and Soap Box Stages throughout the festival for music and entertainment for all tastes.
Location: Casino Center and Colorado Ave.
Art Style: Emerging and established artists, arts, crafts
5 p.m. – Midnight – The Hub, located at Casino Center and Colorado Ave., will have assorted interactive activities and music to enjoy all evening. Wandering Minstrels and Singing Statues from Sin City Opera will be performing heritage themed music for $.01 donations throughout the evening while they roam the festival and entertain the crowds. Join them at their booth to try on wigs and take pictures, near the Welcome Tent on Colorado Ave. between Casino Center and Main St.
The Art of Law will be offering free seminars on trusts, wills and estate and digital planning inside their tent located on the corner of Casino Center and California Ave.
KidZone 5 p.m. – 9 p.m. is back with fun activities for little First Friday enthusiasts. Star Nursery brings a Kids' Garden Club to plant cool season plants with recycled paper. The area will host the Native American Activation by Deebege Newe. A nonprofit organization that supports the land and people of The Great Basin, the activation will have Native American crafts and a speaker series throughout the evening. Social Paintbrush returns in a special location with art classes at 6:30 p.m. and 7:30 p.m.
Green Street is the place where First Friday patrons can learn about spreading the love to the environment through multiple vendors and a great place to hang out, listen to music, make friends and get green. Star Nursery will decorate the area with seasonal plants, perfect for the desert climate. Also, Electric Vehicles Create a Change Now, March Against Monsanto, Vegas Roots, BottleHood, Clay Arts Vegas, Stitch-N-Time and Summerlin Energy.
HOURS OF OPERATION: 5 p.m. – Midnight
PARKING/SHUTTLES: Shuttle service will run from 4:30 p.m. – 12:30 a.m.
Four Open Top Sightseeing Shuttles, two Celebrity Coaches and an additional handicap equipped shuttle will make a constant loop around the entire event route.
For Handicap Transportation to event, call: 702-736-6491
There will be ample free parking as well as $5 parking lots. **If you park in unauthorized parking areas, you may be subject to towing.
Fremont Route Shuttle Stops:
* El Cortez - pick up and drop off on 6th St. across from the El Cortez valet entrance
* Golden Nugget - lobby doors just south of Rush Tower
* Arts District Hub at Colorado and Main
Government Center Route Shuttle Stops:
* Government Center
* Arts District Hub at Colorado and Main
Additional free parking at City Hall Garage at Stewart and Las Vegas Blvd. (must walk to Fremont shuttle stops)
For more information on First Friday Las Vegas, check the website www.firstfridaylasvegas.com, the Facebook pagewww.facebook.com/firstfridaylasvegas or on twitter at @firstfridaylv.
First Friday Las Vegas has been a mainstay of arts and culture in downtown Las Vegas for ten years. In 2011, the arts and culture festival welcomed a new ownership group, First Friday Las Vegas, LLC, comprised of Zappos.com executives Tony Hsieh, Fred Mossler and Steve Hill, as well as downtown developer Andrew Donner and executive producer Joey Vanas. The outdoor event which averages 20,000 patrons each month features several areas throughout Downtown Las Vegas like KidZone, Green Street, The Hub and Shuffle Zone that showcase artists of all calibers and genres.
Stages throughout the festival feature live music, food vendors and food trucks offer the finest in cuisine and other celebratory events each month are always working to build community in Las Vegas.