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School board candidates offer opinions on variety of topics during forum
Technology, reaching all students and reducing the achievement gap, students' mental health issues, and keeping up with increasing enrollment emerged as important issues for Lincoln Board of Education candidates attending a Leadership Lincoln forum Wednesday.
One of the most divisive issues the school board has faced in recent months came up most directly at the end of the forum, when an audience member asked candidate Rachel Terry how she feels about diversity and inclusion based fake love cartier bracelet on differences such as gender identity.
Terry, one of three District 2 candidates, helped found a parental rights group and initially rallied parents to express concerns to the school board over gender identity training materials used by Irving Middle School teachers, which exploded into a controversy that gained national media attention.
Terry responded by saying she doesn't believe schools should discriminate based on gender, sexual orientation, race or religion and doesn't know why people think she does.
"I don't really understand how asking for transparency and parental permission has turned into I am discriminating against a certain population," she said. "I know that education is the way for all children to make their way in life. That's the way to get out of poverty, to find opportunity."
Lincoln Public Schools, she said, should focus on reaching the parents replica cartier bangle love of home schooled children who for some reason feel they aren't being served by the public schools. She said she and her husband home schooled their children for a few years in Colorado while waiting for an opening at a particular school.
District 4 candidate Jesse Wyrrick said he agrees with Terry that asking for more transparency is not an issue of discrimination, then asked the audience how many of them were transgender or knew a transgender person.
When a majority of hands went up, he expressed surprise and said the "majority should rule" on the issue of transgender students.
"On the whole," Wyrrick said, "the purpose is education, communicating skills, and not providing a restroom or a locker room that a majority of people would probably feel uncomfortable if a transgender were allowed to go into any venue they wanted to assign themselves to."
Other candidates at Wednesday's forum said LPS needs to welcome all students.
Matt Schulte, a candidate in District 6, said all students need to be cared for, and as executive director of Campus Life he works "alongside a lot of kids and adults that come from this particular population you talked about."
Connie Duncan, Terry's opponent in District 2, said the issue is simple.
"We have to educate all children," Duncan said. "We have to provide our teachers with the resources to educate all children. That's just the way it is. That's what we should do. We're an inclusive community."
Norman Dority, the third District 2 candidate, did not attend the forum.
Katie McLeese Stephenson, an incumbent facing Schulte in District 6, said schools must work with all children whoever they are and with whatever issues they cartier jewelry replica bring to school and transgender students in particular are at high risk of suicide.
"So we need to do everything we can to make every student feel comfortable, accepted and loved in our schools," she said. "It's critically important. And gender identity is a critically important part of this puzzle."
District 4 candidate Annie Mumgaard said parents already have access to curriculum and ways to offer input, so she questions those who say they only want transparency.
"As a parent I have to ask myself, how do I not have it?" she asked. "Learning is only going to happen is a child feels known, safe and respected in a classroom. That happens when teachers have the knowledge about who makes up our community."
John Cartier,Mumgaard's challenger in District 4, said one of the reasons he wanted to run was to help ensure schools are a warm and inclusive environment for all students regardless of age, race or gender identity.
He said he supports expanded learning opportunities for children and wants to support teachers and involve them more in decision making.
One of the biggest issues facing the district, he said, is helping students deal with mental health issues.
McLeese Stephenson and Duncan both said they decided to run because they want to serve students.
McLeese Stephenson said addressing poverty, trauma and other issues that lead to an achievement gap for some students is critical.
Duncan said early childhood education and after school programs are important ways to make sure all children succeed after high school and find careers.
Mumgaard said her expertise in television and as a long distance learning coordinator positions her to help the district advance in the digital age.
Terry said she wanted to be an advocate for parents who feel they don't have a voice and to offer perspective she gained from having her children attend schools in Colorado cartier love bracelet replica and Washington state.popular replica cartier love earring size You shou
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Technology, reaching all students and reducing the achievement gap, students' mental health issues, and keeping up with increasing enrollment emerged as important issues for Lincoln Board of Education candidates attending a Leadership Lincoln forum Wednesday.
One of the most divisive issues the school board has faced in recent months came up most directly at the end of the forum, when an audience member asked candidate Rachel Terry how she feels about diversity and inclusion based fake love cartier bracelet on differences such as gender identity.
Terry, one of three District 2 candidates, helped found a parental rights group and initially rallied parents to express concerns to the school board over gender identity training materials used by Irving Middle School teachers, which exploded into a controversy that gained national media attention.
Terry responded by saying she doesn't believe schools should discriminate based on gender, sexual orientation, race or religion and doesn't know why people think she does.
"I don't really understand how asking for transparency and parental permission has turned into I am discriminating against a certain population," she said. "I know that education is the way for all children to make their way in life. That's the way to get out of poverty, to find opportunity."
Lincoln Public Schools, she said, should focus on reaching the parents replica cartier bangle love of home schooled children who for some reason feel they aren't being served by the public schools. She said she and her husband home schooled their children for a few years in Colorado while waiting for an opening at a particular school.
District 4 candidate Jesse Wyrrick said he agrees with Terry that asking for more transparency is not an issue of discrimination, then asked the audience how many of them were transgender or knew a transgender person.
When a majority of hands went up, he expressed surprise and said the "majority should rule" on the issue of transgender students.
"On the whole," Wyrrick said, "the purpose is education, communicating skills, and not providing a restroom or a locker room that a majority of people would probably feel uncomfortable if a transgender were allowed to go into any venue they wanted to assign themselves to."
Other candidates at Wednesday's forum said LPS needs to welcome all students.
Matt Schulte, a candidate in District 6, said all students need to be cared for, and as executive director of Campus Life he works "alongside a lot of kids and adults that come from this particular population you talked about."
Connie Duncan, Terry's opponent in District 2, said the issue is simple.
"We have to educate all children," Duncan said. "We have to provide our teachers with the resources to educate all children. That's just the way it is. That's what we should do. We're an inclusive community."
Norman Dority, the third District 2 candidate, did not attend the forum.
Katie McLeese Stephenson, an incumbent facing Schulte in District 6, said schools must work with all children whoever they are and with whatever issues they cartier jewelry replica bring to school and transgender students in particular are at high risk of suicide.
"So we need to do everything we can to make every student feel comfortable, accepted and loved in our schools," she said. "It's critically important. And gender identity is a critically important part of this puzzle."
District 4 candidate Annie Mumgaard said parents already have access to curriculum and ways to offer input, so she questions those who say they only want transparency.
"As a parent I have to ask myself, how do I not have it?" she asked. "Learning is only going to happen is a child feels known, safe and respected in a classroom. That happens when teachers have the knowledge about who makes up our community."
John Cartier,Mumgaard's challenger in District 4, said one of the reasons he wanted to run was to help ensure schools are a warm and inclusive environment for all students regardless of age, race or gender identity.
He said he supports expanded learning opportunities for children and wants to support teachers and involve them more in decision making.
One of the biggest issues facing the district, he said, is helping students deal with mental health issues.
McLeese Stephenson and Duncan both said they decided to run because they want to serve students.
McLeese Stephenson said addressing poverty, trauma and other issues that lead to an achievement gap for some students is critical.
Duncan said early childhood education and after school programs are important ways to make sure all children succeed after high school and find careers.
Mumgaard said her expertise in television and as a long distance learning coordinator positions her to help the district advance in the digital age.
Terry said she wanted to be an advocate for parents who feel they don't have a voice and to offer perspective she gained from having her children attend schools in Colorado cartier love bracelet replica and Washington state.
Fatal Attraction
ON May 30, 1992, Kristin Lardner, a 21 year old college student, was stalked and shot to death in Boston by her abusive former boyfriend, Michael Cartier, who then killed himself. Kristin's father, George Lardner Jr., an investigative reporter at The Washington Post, asked his editors to let him write about her case. Kristin's murder, and Mr. Lardner's reporting in The Post, spurred Massachusetts to toughen the judicial system's handling of batterers. "The Stalking of Kristin" entwines Mr. Lardner's Pulitzer Prize winning reportage on the case with the story of his daughter's life. The result, unfortunately, is a wobbly and at times tedious book, but the deadly negligence it exposes demands attention.
Michael Cartier had an extensive criminal record, including recent convictions for beating up a previous girlfriend, Rose Ryan, and torturing and killing a kitten he had given her. His phone calls to and harassment of Kristin violated his probation and the restraining order she had taken out against him. But, as Mr. Lardner reports, court officials, cartier love bracelet on sale replica without knowing these facts, made decisions that kept Cartier out of jail. His psychologist never knew about his jailhouse drug record and never saw his rap sheet. His probation officer didn't know Cartier was already on probation for beating up Ms. Ryan, who kept knives on her night stand in case he returned. Although knock off pink gold cartier love bracelet Kristin reported to the police that Cartier violated the restraining order, the information never reached the judge who made the decision to keep Cartier free just 11 days before he murdered her. A warrant for Cartier's arrest remained outstanding six months after his suicide.
Mr. Lardner is not just an investigative reporter; he is a man possessed. He talked to everyone with a detail to contribute, including Cartier's parents. He confronted one court official after another with specifics about their negligence, his unique dual role allowing him to act out the fantasy, shared by most crime victims, of shaking the system's bureaucrats by the collar until they understand the anguish they have caused. fake love bracelets cartier But the book suffers.
Mr. Lardner was obviously a loving father, but he frequently laments that he knew little about his daughter while knock off love bracelets cartier she was alive. He has corrected that deficiency now, and a good third of the book details Kristin's childhood, including the hospital where she was born, her third grade struggles with spelling, the various metamorphoses of her Mohawk haircut and her fatal attraction to bad men. He no doubt found it therapeutic to document his daughter's days, but Kristin's life is remarkable only in light of her death, and its description does not merit such length.
His understandable fury at Michael Cartier also serves the book poorly. Cartier has come to represent all batterers to Mr. Lardner, and I was often left wondering whether Mr. Lardner is applying the lessons of his daughter's murder more generally than is warranted. In his conclusion he tosses off insufficiently supported opinions on many aspects of crime prevention, from more police (unnecessary) to intervention after problem children are no longer little (futile).
MR. LARDNER'S main point deserves to ring out: the courts often fail to prevent and punish domestic violence. He describes how batterers think and how an intelligent and manipulative criminal like Cartier, who knew the justice system inside out, can peg exactly which buttons to push with the probation officers and mental health workers who evaluate him. Mr. Lardner shows that courts still do not treat violence against women with due seriousness.
But the book's most important lesson is that Kristin did everything right. Mr. Lardner refutes the widespread belief that the courts offer effective protection to battered women, and that only women who fail to report domestic violence or drop charges continue to fall victim. Unlike many battered women, Kristin was educated, sophisticated and free of the need to worry about children, with the time and resources to make the law work for her. Most important, she was a member of the class of people who believe the law when it promises to protect them. "The Stalking of Kristin" reveals the tragic error of that trust.classic imitation cartier leve necklace size you deserve to have Let's go comprehend concerning it the situation
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ON May 30, 1992, Kristin Lardner, a 21 year old college student, was stalked and shot to death in Boston by her abusive former boyfriend, Michael Cartier, who then killed himself. Kristin's father, George Lardner Jr., an investigative reporter at The Washington Post, asked his editors to let him write about her case. Kristin's murder, and Mr. Lardner's reporting in The Post, spurred Massachusetts to toughen the judicial system's handling of batterers. "The Stalking of Kristin" entwines Mr. Lardner's Pulitzer Prize winning reportage on the case with the story of his daughter's life. The result, unfortunately, is a wobbly and at times tedious book, but the deadly negligence it exposes demands attention.
Michael Cartier had an extensive criminal record, including recent convictions for beating up a previous girlfriend, Rose Ryan, and torturing and killing a kitten he had given her. His phone calls to and harassment of Kristin violated his probation and the restraining order she had taken out against him. But, as Mr. Lardner reports, court officials, cartier love bracelet on sale replica without knowing these facts, made decisions that kept Cartier out of jail. His psychologist never knew about his jailhouse drug record and never saw his rap sheet. His probation officer didn't know Cartier was already on probation for beating up Ms. Ryan, who kept knives on her night stand in case he returned. Although knock off pink gold cartier love bracelet Kristin reported to the police that Cartier violated the restraining order, the information never reached the judge who made the decision to keep Cartier free just 11 days before he murdered her. A warrant for Cartier's arrest remained outstanding six months after his suicide.
Mr. Lardner is not just an investigative reporter; he is a man possessed. He talked to everyone with a detail to contribute, including Cartier's parents. He confronted one court official after another with specifics about their negligence, his unique dual role allowing him to act out the fantasy, shared by most crime victims, of shaking the system's bureaucrats by the collar until they understand the anguish they have caused. fake love bracelets cartier But the book suffers.
Mr. Lardner was obviously a loving father, but he frequently laments that he knew little about his daughter while knock off love bracelets cartier she was alive. He has corrected that deficiency now, and a good third of the book details Kristin's childhood, including the hospital where she was born, her third grade struggles with spelling, the various metamorphoses of her Mohawk haircut and her fatal attraction to bad men. He no doubt found it therapeutic to document his daughter's days, but Kristin's life is remarkable only in light of her death, and its description does not merit such length.
His understandable fury at Michael Cartier also serves the book poorly. Cartier has come to represent all batterers to Mr. Lardner, and I was often left wondering whether Mr. Lardner is applying the lessons of his daughter's murder more generally than is warranted. In his conclusion he tosses off insufficiently supported opinions on many aspects of crime prevention, from more police (unnecessary) to intervention after problem children are no longer little (futile).
MR. LARDNER'S main point deserves to ring out: the courts often fail to prevent and punish domestic violence. He describes how batterers think and how an intelligent and manipulative criminal like Cartier, who knew the justice system inside out, can peg exactly which buttons to push with the probation officers and mental health workers who evaluate him. Mr. Lardner shows that courts still do not treat violence against women with due seriousness.
But the book's most important lesson is that Kristin did everything right. Mr. Lardner refutes the widespread belief that the courts offer effective protection to battered women, and that only women who fail to report domestic violence or drop charges continue to fall victim. Unlike many battered women, Kristin was educated, sophisticated and free of the need to worry about children, with the time and resources to make the law work for her. Most important, she was a member of the class of people who believe the law when it promises to protect them. "The Stalking of Kristin" reveals the tragic error of that trust.
Kage dance theatre's new show Out of Earshot embraces music
When choreographer Kate Denborough saw drummer Myele Manzanza perform, she knew she had to work with him.
She approached him after seeing him play at a Stonnington Jazz Festival gig several years ago, asking him to work with Kage, the Melbourne based dance company Denborough co founded with Gerard Van Dyck.
The resulting show called Out of Earshot in which Manzanza performs with Van Dyck and Anna Seymour, Elle Evangelista and Timothy Ohl, pushes the boundaries of dance and music.
Denborough pushed Manzanza's own boundaries the moment he started working with Kage, particularly his ideas about personal space.
"The very first day we started working together I was sitting at the drums and fake Van Cleef & Arpels bracelet Kate said, 'OK, what can we do here?' and just sits right on me," he says, jumping up and physically demonstrating what happened, with all replica van cleef & arpels alhambra clover bracelet the grace of a practised dancer.
"And I was what? We're going now? My idea was that I'd just be making little beats and they'd be dancing to it . but she was like, really replica Van Cleef & Arpels bracelet on me, and then I've got all these dancers coming, saying OK, climb up here and push you over there.
"That was a surprise, getting used to the breach of personal space."
For dancer Anna Seymour, who is profoundly deaf, it's the first show in which music has been integral to her performance.
"This project is really satisfying for me because it's the first time that I've worked directly with the music and the musician themselves," she says.
"Usually when I'm working on a dance project I focus on the movement, that's it, and I don't focus on the music. With this project its definitely a crucial part of it and how we create the movement. It's very visceral."
Kage, who will stage Out of Earshot next month as part of the Melbourne International Jazz Festival followed by a short run at Adelaide Cabaret Festival, has developed the work during a what Denborough describes as a period of "enormous difficulty" after it lost funding amid cuts to the Australia Council. It managed to continue through philanthropy and a grant from the Federal Arts Ministry's now defunct Catalyst program.
The company has emerged from that process with a brighter future, last week receiving $50,000 from the Australia Council for its next show, Caught in the Middle. Based on the experience of an Aboriginal dancer adopted by a Norwegian family, it will feature dancers from Scandinavia's Indigenous Sami people and will premiere in Sweden.
Out of Earshot is at Chunky Move, 111 Sturt Street, Southbank, from June 2 11 and Adelaide's Dunstan Playhouse on June 14 15.
When choreographer Kate Denborough saw drummer Myele Manzanza perform, she knew she had to work with him.
She approached him after seeing him play at a Stonnington Jazz Festival gig several years ago, asking him to work with Kage, the Melbourne based dance company Denborough co founded with Gerard Van Dyck.
The resulting show called Out of Earshot in which Manzanza performs with Van Dyck and Anna Seymour, Elle Evangelista and Timothy Ohl, pushes the boundaries of dance and music.
Denborough pushed Manzanza's own boundaries the moment he started working with Kage, particularly his ideas about personal space.
"The very first day we started working together I was sitting at the drums and fake Van Cleef & Arpels bracelet Kate said, 'OK, what can we do here?' and just sits right on me," he says, jumping up and physically demonstrating what happened, with all replica van cleef & arpels alhambra clover bracelet the grace of a practised dancer.
"And I was what? We're going now? My idea was that I'd just be making little beats and they'd be dancing to it . but she was like, really replica Van Cleef & Arpels bracelet on me, and then I've got all these dancers coming, saying OK, climb up here and push you over there.
"That was a surprise, getting used to the breach of personal space."
For dancer Anna Seymour, who is profoundly deaf, it's the first show in which music has been integral to her performance.
"This project is really satisfying for me because it's the first time that I've worked directly with the music and the musician themselves," she says.
"Usually when I'm working on a dance project I focus on the movement, that's it, and I don't focus on the music. With this project its definitely a crucial part of it and how we create the movement. It's very visceral."
Kage, who will stage Out of Earshot next month as part of the Melbourne International Jazz Festival followed by a short run at Adelaide Cabaret Festival, has developed the work during a what Denborough describes as a period of "enormous difficulty" after it lost funding amid cuts to the Australia Council. It managed to continue through philanthropy and a grant from the Federal Arts Ministry's now defunct Catalyst program.
The company has emerged from that process with a brighter future, last week receiving $50,000 from the Australia Council for its next show, Caught in the Middle. Based on the experience of an Aboriginal dancer adopted by a Norwegian family, it will feature dancers from Scandinavia's Indigenous Sami people and will premiere in Sweden.
Out of Earshot is at Chunky Move, 111 Sturt Street, Southbank, from June 2 11 and Adelaide's Dunstan Playhouse on June 14 15.
Mother's fury as Google shows 3
A woman has told of her horror after Google published a photograph of her young son naked on the internet.
Claire Rowlands, 25, was stunned to see the image of Louis mears playing on a sunny day in his grandmother's garden in Walkden, Greater Manchester.
Louis, three, had been snapped by Google's controversial 'camera car' as it took pictures of every road in Britain for the search engine's Street View service.
The company blurred out the registration plate of a car on the drive
of the house but the image of Louis, who was wearing nothing but his
shoes, was uncensored.
A spokeswoman said: 'We take issues around inappropriate content in our products very seriously, and we removed the image in question within an hour of being notified.
For us, privacy and user choice remain paramount.
'This is why we have put in place tools so that if people see what they believe to be inappropriate they can report them to us using the simple tools and the images will be quickly removed. We apologise for any inadvertent concern this may have caused.'
Privacy groups have already blasted Street View, which they branded a 'burglar's charter' when it was launched last year. Alex Deane, from the Big Brother Watch group, said: 'This is not the first time this has happened but the excuses are wearing thin.
'Google still needs to take greater responsibility for people's personal privacy and introduce stronger safeguards to the system.'
Most watched News videos EXCLUSIVE: Ariana Grande plane arrives back in Van cleef arpels alhambra bracelet replica the US Homeless man describes how he helped after Manchester attack Moment bomb explodes at Ariana Grande concert Eye witness describes spotting the Manchester attacker Man is arrested by police outside Buckingham Palace Forensic officers raid of Manchester suicide bomber Blood seen dripping from victim leg after Manchester Armed police prepare to raid of Manchester suicide bomber Huge tailbacks on M6 as police after crash between lorry and car Threat level now CRITICAL: PM raises terror level Sickening video warns of more attacks after Manchester Mum of Manchester attack victim Georgina Callander releases balloons
Help for the homeless heroes: Millionaire West Ham owner. The schoolgirls massacred by ISIS coward: Five teenagers. Was bomber's family in global terror network? Killer. 'Our little princess has been so lucky': Father's joy as. Mother of child actress pictured hugging a female police. Britain on lockdown: Army deploys 1,000 heavily armed. Grisly photos of scorched remnants of suicide bomber's. Van Cleef & Arpels bracelet knock off Heartwrenching scenes as the mother of 15 year old. Horror on the M6: Lorry driver is arrested after four. Tourists watch in horror as armed police arrest man. Aaron Hernandez's hell behind bars: NFL star killed. More than 24 hours on, desperate families still search. Comedian Van and Arpels bracelet knock off Jason Manford deletes Twitter after being. BREAKING NEWS: My son is innocent, insists father of. White women's burrito shop is forced to close after. 'I won't forget what you said!' Trump tells Pope after. Melania and Ivanka wear black veils to meet the Pope at. Bomber from a red brick semi who 'knew an ISIS. MOST READ NEWS Previous
A woman has told of her horror after Google published a photograph of her young son naked on the internet.
Claire Rowlands, 25, was stunned to see the image of Louis mears playing on a sunny day in his grandmother's garden in Walkden, Greater Manchester.
Louis, three, had been snapped by Google's controversial 'camera car' as it took pictures of every road in Britain for the search engine's Street View service.
The company blurred out the registration plate of a car on the drive
of the house but the image of Louis, who was wearing nothing but his
shoes, was uncensored.
A spokeswoman said: 'We take issues around inappropriate content in our products very seriously, and we removed the image in question within an hour of being notified.
For us, privacy and user choice remain paramount.
'This is why we have put in place tools so that if people see what they believe to be inappropriate they can report them to us using the simple tools and the images will be quickly removed. We apologise for any inadvertent concern this may have caused.'
Privacy groups have already blasted Street View, which they branded a 'burglar's charter' when it was launched last year. Alex Deane, from the Big Brother Watch group, said: 'This is not the first time this has happened but the excuses are wearing thin.
'Google still needs to take greater responsibility for people's personal privacy and introduce stronger safeguards to the system.'
Most watched News videos EXCLUSIVE: Ariana Grande plane arrives back in Van cleef arpels alhambra bracelet replica the US Homeless man describes how he helped after Manchester attack Moment bomb explodes at Ariana Grande concert Eye witness describes spotting the Manchester attacker Man is arrested by police outside Buckingham Palace Forensic officers raid of Manchester suicide bomber Blood seen dripping from victim leg after Manchester Armed police prepare to raid of Manchester suicide bomber Huge tailbacks on M6 as police after crash between lorry and car Threat level now CRITICAL: PM raises terror level Sickening video warns of more attacks after Manchester Mum of Manchester attack victim Georgina Callander releases balloons
Help for the homeless heroes: Millionaire West Ham owner. The schoolgirls massacred by ISIS coward: Five teenagers. Was bomber's family in global terror network? Killer. 'Our little princess has been so lucky': Father's joy as. Mother of child actress pictured hugging a female police. Britain on lockdown: Army deploys 1,000 heavily armed. Grisly photos of scorched remnants of suicide bomber's. Van Cleef & Arpels bracelet knock off Heartwrenching scenes as the mother of 15 year old. Horror on the M6: Lorry driver is arrested after four. Tourists watch in horror as armed police arrest man. Aaron Hernandez's hell behind bars: NFL star killed. More than 24 hours on, desperate families still search. Comedian Van and Arpels bracelet knock off Jason Manford deletes Twitter after being. BREAKING NEWS: My son is innocent, insists father of. White women's burrito shop is forced to close after. 'I won't forget what you said!' Trump tells Pope after. Melania and Ivanka wear black veils to meet the Pope at. Bomber from a red brick semi who 'knew an ISIS. MOST READ NEWS Previous
A New Retrospective Collection From Street Photographer Mark Cohen
All Images (c) Mark Cohen, Courtesy of University of Texas Press
This is an exciting post for me. Why? Because I've had a copy of Mark Cohen's FRAME on my desk for nearly two months, but had my hands tied by the publisher not to write about it. Well, I'm happy to report that is now over and I can let loose on this wonderful retrospective collection from a true master of street photography Mark Cohen.
Mark Cohen not only helped to define modern street photography, he was also one of a group of photographers who ushered in color photography and the acceptance of it as an art, not merely just a film for your grandmother to use at a birthday party. 35mm film for still photography didn't really get popular until about 1925, with the advent of the Leica camera. When one takes this into consideration, along with the acceptance of the idea that 35mm film really was the takeoff point for what we might call street photography, it is really no surprise that people like Cohen and others of his generation were the ones to notably push boundaries in new directions. Simply put, Mark Cohen was the man of the hour with 35mm street photography. Add to this mix some wide angle lenses and a blatant disregard for the viewfinder, and you have a recipe for truly groundbreaking aesthetics in photography otherwise known as the work of Mark Cohen.
It may look easy to photograph snowflakes, or a few crumbs of bread next to a puddle (a photo Cohen considers one of his best) and I suppose it is. Now, try to make those photographs iconic. Ah, yes, there is the challenge. The confluence of time, medium (and its novelty at the time), along with a new approach to a unusual subject combines to convey iconic status here. Today making a photograph like this is near impossible, not only because we feel as though the images are too familiar too exhausted but because new technologies demand new deviation to achieve aesthetic uniqueness. Those street photographers trying to emulate people like Cohen today clutching to their M3 and a roll of film are helplessly doomed. Instead, the masters of today will be the photographers who embrace the current approach to image making (digital and its derivatives) and twist and bend it until something new and unseen unfamiliar fake cartie love white gold bracelet emerges. That's how art, good art, is born. The 35mm frame of a few crumbs of bread abandoned on the sidewalk is done. It's taken. Like the blank canvass, you've missed your chance. This is why there will only ever be one Mark Cohen and one Robert Rauschenberg, in the case of the blank canvas.
I've known Mark through casual correspondence for several years now. He's a wonderfully talented artist and a gentlemen of the highest order. When I heard of his new retrospective collection I simply couldn't help but get my hands on a copy. I'm glad I did. This book is the definitive Mark Cohen. A masterful and superbly curated (Cohen sequenced the photos himself) collection of over two hundred and fifty images both black and white and color. All the iconic photographs are here and many others, some rarely seen, also find their home between these covers. The introduction functions splendidly to place Cohen's work within the overall history of street photography, as well as to highlight some of his unique contributions to this increasingly popular form of photography.
One must keep in mind when viewing Cohen's work that his selective use of flash, blur, and haphazard framing, all essential to his vision, were entirely novel at the time. These highly emulated methods are commonplace today, if not overdone entirely, and that can easily diminish one's ability to read these photographs in their appropriate context can diminish one's sense of awe and anomalousness. In precis, both Cohen's way of working, as well as his product, were entirely unfamiliar to a vintage audience. For example, Three Pieces of Bread By Puddle, 1975, is a striking image even today, in an age where this particular aesthetic is no longer strange or foreign to nearly any viewer. But imagine someone looking at this image in 1975? How almost silly it must have seemed scraps of bread, blurry too! The image is a radical departure in photography not so much for what it depicts, but for what it doesn't, and for the notion that a serious artist would put this photograph forward in any kind of serious way. Cohen was not making a statement so much with what he was showing, the crumbs of bread a puddle, but with his blatant disregard for the photographic paradigm of the time. Out of context the image is okay, interesting maybe, peculiar in context the image is iconic, a complete game changer. In fact, this particular photograph, I suspect, is a lot more important to the history of photography than we realize. This photograph allows us to renew our sense of photographic seeing to reapproach the photograph entirely. No small feat.
The physical book itself is a pleasure to hold. An attractive, but simple, slipcover (shown) hides a wonderfully elegant engraved black cloth hardbound cover with a color photo inlay. Red linen endpapers add and additional Cartier love diamond ring imitation touch of richness. Oh, and the reproduced contact sheets in the front Cartier love replica ring and rear of the book are a uniquely special touch. The University of Texas Press went all out for this book and it shows. The volume is well worth the very reasonable $85 price tag.
Now that I have you sold on the book. Let's talk to the man of the hour himself. Here's a transcript of a conversation I had with Cohen earlier this summer.
Michael Ernest Sweet: Mark, you've undeniably made significant contributions to the genre of street photography (and photography in general) how does that feel at this time in your life, to know you've had such a huge impact?
Mark Cohen: It feels very good to be a recognized artist. A photographer. I see pictures, even in newspapers and fashion magazines, with heads cut off, and close wide angle cropping, everywhere, and when I first did this it was seen as very radical. Visibility took a long time to get, but I set up a lot of obstacles in my own way, unconsciously. Now there seems to be a lot of imitation of my style or technique and that feels okay too to be seen and elaborated on in some way.
Michael: Yes, I was going to ask about how you feel to know that your work is so heavily emulated (even copied) by so many others today. Even my own work has been heavily influenced by your approach. Tell me, how did you get started in street photography?
Mark: My first influence was Cartier Bresson. I saw his book, The Decisive Moment. Then I went to downtown Wilkes Barre and made pictures on Public Square. It was where all the buses came into the city and so there were people everywhere and plenty of social activity. It was not like Mexico in 1933, but I could mix in with life all around and then develop those pictures.
Michael: Why so close, what lead you to this style of photography?
Mark: For an architectural commission I needed a 21mm lens and then I took it to the bus stop. I saw how close you needed to be to fill the frame. When I got this close the subjects began to react.
Also, at this time, 1972 or 1973, I started to carry, attached to the camera, a small flash unit that I could use to exaggerate the scene with dramatic lighting effects. The flash also enabled me to work even more quickly because the added instantaneous flash of light effectively made the exposure 1/1000th of a second at f16 so that everything was sharp and bright in the part of the frame that was key to the picture. I didn't have to stop moving to take the picture. A flux of intrusion, theater, and observation began to coalesce with these negatives.
Michael: Have you ever wanted to back up, to make photographs with wider views, more "classic" images one might say?
Mark: After a couple of years with the 21mm lens I saw that the intrusions into people's spaces was too frequent, and so I switched to a 28mm lens. This was a lot more comfortable. I had to learn to keep the camera level with these lenses because of the exaggerated distortions they made when they were tipped. I did it right. I did it all five minutes from my house. I had no real understanding of Madrid, but I went there and made pictures, and they are cool pictures but there is a local indelibility and truth about the Wilkes Barre and Scranton pictures. Some are already classics.
Michael: Mark, are you still shooting on the streets?
Mark: Yes. I moved to Philadelphia and I am trying to learn how to work here. It is an infinitely bigger place. I need to fix up a little territory to work in. It is very difficult. Some very rough sections. I have been here about two years and now think I want to make an exhibit of the new pictures which have been mostly made at the great distances required with the 50mm lens. There is no plan to my work and there is even in my own mind an incomplete understanding of what I am doing and what street photography actually is. I think it harbors an echo of surrealism in its accidentalness. I rarely look through the viewfinder.
Michael: Did you ever ask permission or "choreograph" any of your street photographs, or are they all truly candid?
Mark: Most, 99% are truly candid, but if I am very close, I might ask a deflecting question, like "can I get a picture of your ring?" Do it very fast never put the camera to my eye, and have the ring as the approximate center of this unseen gyre of picture elements; buttons, windows, collars, necks, telephone poles, etc., to be discovered in the darkroom.
Michael: I completely understand that approach, I've worked that way myself quite often. It's a good middle ground approach to fending off conflict. Have you ever had any significant altercations with strangers at the other end of the lens? Anything physical?
Mark: I have been pushed and shoved and screamed at but nothing serious. I am always aware of the edge and who to absolutely avoid. I know I am working without credentials, and very close to an invasion of privacy, even in such a public space as the street, but I am usually able to defuse the situation by explaining that it "is only my hobby."
Michael: Recent times have seen an explosion in street photography, do you think the genre is in for a radical change with the iPhone generation?
Mark: I never tried to look through an iPhone. It is hard to imagine a camera that is easier to see through the finder of than a Leica M 3. It fits in your hand at the end of your arm in a very natural way so as to position it perfectly and quickly. The digital images made by the millions each minute mostly never get printed. The selfies and grandchildren appear on the camera/phone screens. No one makes an album, or a portfolio of prints. A slim laptop is the modern way. It's all in the cloud servers everywhere burning mountains of coal to keep it all sorted. It may be that the pace of street photography needs film. It is really pretty easy to develop, then discover, a roll of film and make a silver print. Make an object. But I just saw the new "film" Tangerine, made on the streets of Los Angeles, in a terrific and free candid, intimate way, made with an iPhone 5. That might move the French new wave two steps forward, so the future of street photography is unknown in the face of these new techniques.
Michael: Finally, you're also a rare bird in the street photography genre because you're known as much for your color photographs as you are for your monochromes. Was the color photography simply a product of the times, or were you working more deliberately with the move to color?
Mark: I had a commercial photo studio so I was always using color film. In about 1974 Kodak invented a 35mm ASA 400 speed film and this was the same speed as Tri x so I could use it in the street in exactly, f stop for f stop, the same way. I shot a few rolls like this and then in 1976 the George Eastman House supported a project where I shot this new film for a whole year. Then I went back to black and white until 1987 when Fuji made a 1600 ASA speed negative film and I did another long series of negatives and prints with that film. My work was very deliberate in both black and white and color but the color pictures, which are very strong, were not seen until 2006, and took on an added significance when a portfolio of 30 dye transfer prints imitation Cartier love yellow gold ring was produced.
Michael: Mark, thank you so kindly for your time and this insightful interview. It's always a pleasure to speak with you.
Mark: Thank you, Michael. I am very happy to have this chance to talk about my work and this new book from The University of Texas Press.trend knockoff cartier white bracelet Galvanized s
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All Images (c) Mark Cohen, Courtesy of University of Texas Press
This is an exciting post for me. Why? Because I've had a copy of Mark Cohen's FRAME on my desk for nearly two months, but had my hands tied by the publisher not to write about it. Well, I'm happy to report that is now over and I can let loose on this wonderful retrospective collection from a true master of street photography Mark Cohen.
Mark Cohen not only helped to define modern street photography, he was also one of a group of photographers who ushered in color photography and the acceptance of it as an art, not merely just a film for your grandmother to use at a birthday party. 35mm film for still photography didn't really get popular until about 1925, with the advent of the Leica camera. When one takes this into consideration, along with the acceptance of the idea that 35mm film really was the takeoff point for what we might call street photography, it is really no surprise that people like Cohen and others of his generation were the ones to notably push boundaries in new directions. Simply put, Mark Cohen was the man of the hour with 35mm street photography. Add to this mix some wide angle lenses and a blatant disregard for the viewfinder, and you have a recipe for truly groundbreaking aesthetics in photography otherwise known as the work of Mark Cohen.
It may look easy to photograph snowflakes, or a few crumbs of bread next to a puddle (a photo Cohen considers one of his best) and I suppose it is. Now, try to make those photographs iconic. Ah, yes, there is the challenge. The confluence of time, medium (and its novelty at the time), along with a new approach to a unusual subject combines to convey iconic status here. Today making a photograph like this is near impossible, not only because we feel as though the images are too familiar too exhausted but because new technologies demand new deviation to achieve aesthetic uniqueness. Those street photographers trying to emulate people like Cohen today clutching to their M3 and a roll of film are helplessly doomed. Instead, the masters of today will be the photographers who embrace the current approach to image making (digital and its derivatives) and twist and bend it until something new and unseen unfamiliar fake cartie love white gold bracelet emerges. That's how art, good art, is born. The 35mm frame of a few crumbs of bread abandoned on the sidewalk is done. It's taken. Like the blank canvass, you've missed your chance. This is why there will only ever be one Mark Cohen and one Robert Rauschenberg, in the case of the blank canvas.
I've known Mark through casual correspondence for several years now. He's a wonderfully talented artist and a gentlemen of the highest order. When I heard of his new retrospective collection I simply couldn't help but get my hands on a copy. I'm glad I did. This book is the definitive Mark Cohen. A masterful and superbly curated (Cohen sequenced the photos himself) collection of over two hundred and fifty images both black and white and color. All the iconic photographs are here and many others, some rarely seen, also find their home between these covers. The introduction functions splendidly to place Cohen's work within the overall history of street photography, as well as to highlight some of his unique contributions to this increasingly popular form of photography.
One must keep in mind when viewing Cohen's work that his selective use of flash, blur, and haphazard framing, all essential to his vision, were entirely novel at the time. These highly emulated methods are commonplace today, if not overdone entirely, and that can easily diminish one's ability to read these photographs in their appropriate context can diminish one's sense of awe and anomalousness. In precis, both Cohen's way of working, as well as his product, were entirely unfamiliar to a vintage audience. For example, Three Pieces of Bread By Puddle, 1975, is a striking image even today, in an age where this particular aesthetic is no longer strange or foreign to nearly any viewer. But imagine someone looking at this image in 1975? How almost silly it must have seemed scraps of bread, blurry too! The image is a radical departure in photography not so much for what it depicts, but for what it doesn't, and for the notion that a serious artist would put this photograph forward in any kind of serious way. Cohen was not making a statement so much with what he was showing, the crumbs of bread a puddle, but with his blatant disregard for the photographic paradigm of the time. Out of context the image is okay, interesting maybe, peculiar in context the image is iconic, a complete game changer. In fact, this particular photograph, I suspect, is a lot more important to the history of photography than we realize. This photograph allows us to renew our sense of photographic seeing to reapproach the photograph entirely. No small feat.
The physical book itself is a pleasure to hold. An attractive, but simple, slipcover (shown) hides a wonderfully elegant engraved black cloth hardbound cover with a color photo inlay. Red linen endpapers add and additional Cartier love diamond ring imitation touch of richness. Oh, and the reproduced contact sheets in the front Cartier love replica ring and rear of the book are a uniquely special touch. The University of Texas Press went all out for this book and it shows. The volume is well worth the very reasonable $85 price tag.
Now that I have you sold on the book. Let's talk to the man of the hour himself. Here's a transcript of a conversation I had with Cohen earlier this summer.
Michael Ernest Sweet: Mark, you've undeniably made significant contributions to the genre of street photography (and photography in general) how does that feel at this time in your life, to know you've had such a huge impact?
Mark Cohen: It feels very good to be a recognized artist. A photographer. I see pictures, even in newspapers and fashion magazines, with heads cut off, and close wide angle cropping, everywhere, and when I first did this it was seen as very radical. Visibility took a long time to get, but I set up a lot of obstacles in my own way, unconsciously. Now there seems to be a lot of imitation of my style or technique and that feels okay too to be seen and elaborated on in some way.
Michael: Yes, I was going to ask about how you feel to know that your work is so heavily emulated (even copied) by so many others today. Even my own work has been heavily influenced by your approach. Tell me, how did you get started in street photography?
Mark: My first influence was Cartier Bresson. I saw his book, The Decisive Moment. Then I went to downtown Wilkes Barre and made pictures on Public Square. It was where all the buses came into the city and so there were people everywhere and plenty of social activity. It was not like Mexico in 1933, but I could mix in with life all around and then develop those pictures.
Michael: Why so close, what lead you to this style of photography?
Mark: For an architectural commission I needed a 21mm lens and then I took it to the bus stop. I saw how close you needed to be to fill the frame. When I got this close the subjects began to react.
Also, at this time, 1972 or 1973, I started to carry, attached to the camera, a small flash unit that I could use to exaggerate the scene with dramatic lighting effects. The flash also enabled me to work even more quickly because the added instantaneous flash of light effectively made the exposure 1/1000th of a second at f16 so that everything was sharp and bright in the part of the frame that was key to the picture. I didn't have to stop moving to take the picture. A flux of intrusion, theater, and observation began to coalesce with these negatives.
Michael: Have you ever wanted to back up, to make photographs with wider views, more "classic" images one might say?
Mark: After a couple of years with the 21mm lens I saw that the intrusions into people's spaces was too frequent, and so I switched to a 28mm lens. This was a lot more comfortable. I had to learn to keep the camera level with these lenses because of the exaggerated distortions they made when they were tipped. I did it right. I did it all five minutes from my house. I had no real understanding of Madrid, but I went there and made pictures, and they are cool pictures but there is a local indelibility and truth about the Wilkes Barre and Scranton pictures. Some are already classics.
Michael: Mark, are you still shooting on the streets?
Mark: Yes. I moved to Philadelphia and I am trying to learn how to work here. It is an infinitely bigger place. I need to fix up a little territory to work in. It is very difficult. Some very rough sections. I have been here about two years and now think I want to make an exhibit of the new pictures which have been mostly made at the great distances required with the 50mm lens. There is no plan to my work and there is even in my own mind an incomplete understanding of what I am doing and what street photography actually is. I think it harbors an echo of surrealism in its accidentalness. I rarely look through the viewfinder.
Michael: Did you ever ask permission or "choreograph" any of your street photographs, or are they all truly candid?
Mark: Most, 99% are truly candid, but if I am very close, I might ask a deflecting question, like "can I get a picture of your ring?" Do it very fast never put the camera to my eye, and have the ring as the approximate center of this unseen gyre of picture elements; buttons, windows, collars, necks, telephone poles, etc., to be discovered in the darkroom.
Michael: I completely understand that approach, I've worked that way myself quite often. It's a good middle ground approach to fending off conflict. Have you ever had any significant altercations with strangers at the other end of the lens? Anything physical?
Mark: I have been pushed and shoved and screamed at but nothing serious. I am always aware of the edge and who to absolutely avoid. I know I am working without credentials, and very close to an invasion of privacy, even in such a public space as the street, but I am usually able to defuse the situation by explaining that it "is only my hobby."
Michael: Recent times have seen an explosion in street photography, do you think the genre is in for a radical change with the iPhone generation?
Mark: I never tried to look through an iPhone. It is hard to imagine a camera that is easier to see through the finder of than a Leica M 3. It fits in your hand at the end of your arm in a very natural way so as to position it perfectly and quickly. The digital images made by the millions each minute mostly never get printed. The selfies and grandchildren appear on the camera/phone screens. No one makes an album, or a portfolio of prints. A slim laptop is the modern way. It's all in the cloud servers everywhere burning mountains of coal to keep it all sorted. It may be that the pace of street photography needs film. It is really pretty easy to develop, then discover, a roll of film and make a silver print. Make an object. But I just saw the new "film" Tangerine, made on the streets of Los Angeles, in a terrific and free candid, intimate way, made with an iPhone 5. That might move the French new wave two steps forward, so the future of street photography is unknown in the face of these new techniques.
Michael: Finally, you're also a rare bird in the street photography genre because you're known as much for your color photographs as you are for your monochromes. Was the color photography simply a product of the times, or were you working more deliberately with the move to color?
Mark: I had a commercial photo studio so I was always using color film. In about 1974 Kodak invented a 35mm ASA 400 speed film and this was the same speed as Tri x so I could use it in the street in exactly, f stop for f stop, the same way. I shot a few rolls like this and then in 1976 the George Eastman House supported a project where I shot this new film for a whole year. Then I went back to black and white until 1987 when Fuji made a 1600 ASA speed negative film and I did another long series of negatives and prints with that film. My work was very deliberate in both black and white and color but the color pictures, which are very strong, were not seen until 2006, and took on an added significance when a portfolio of 30 dye transfer prints imitation Cartier love yellow gold ring was produced.
Michael: Mark, thank you so kindly for your time and this insightful interview. It's always a pleasure to speak with you.
Mark: Thank you, Michael. I am very happy to have this chance to talk about my work and this new book from The University of Texas Press.
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maybe they're tired from counting fans' imitation van cleef pendant money
And then when the long awaited day finally arrives, you arrive at MTS Centre only to learn Sidney Crosby, Evgeni Malkin and Phil Kessel aren playing, not because they injured or ill because they "tired."
Well, isn that precious.
If that sounds outrageous, welcome to the world NBA fans populate, where the practice of "resting" star players during the regular season has become so ubiquitous that the league commissioner last week was finally compelled by fan outrage to issue a memo threatening "significant penalties" in the future for teams who sit players without adequate notice and for no discernible good reason.
And, no "tired" is not a good reason.
If you earning millions of dollars to play a children game and you find yourself too tired to complete the assigned schedule, you don need a day off you need to go to bed earlier, get into better shape or find yourself a less taxing occupation.
Professional team sports is a marathon; you want a sprint? Take up the 100 metres.
You want to know why Winnipeg Jets centre Mark Scheifele is, for the second straight year, playing his very best and most productive hockey after Feb. 1? Because he a workout and nutrition fiend 12 months a year, and so Scheifele has a gear late in the season that a lot of other players do not.
Scheifele doesn take games off late in the season to "rest" he uses them to exploit his advantage to maximum effect. Clippers.
That incident followed on the heels of a March 11 road game in which the Golden State Warriors rested Stephen Curry, Draymond Green, Klay Thompson and Andre Iguodala which is to say the best parts of their team against the San Antonio Spurs.
NBA coaches will tell you that it all just good player management to sit your stars late in the regular season and rest them for the playoffs, particularly if your team has already locked down playoff positions as the Warriors and Cavs have done.
That absurd, of course. The NBA playoffs van cleef ans arpels Pendant replica stretch well into June, just like the NHL and the idea that Steph Curry taking a day off on March 11 is somehow going to give him that little extra he needs months later is patently stupid.
No, what this is really about is the way the coddled multimillionaires who are this continent professional athletes are increasingly wagging the dog. It the star players, not the head coaches, who increasingly call the shots, and if Lebron wants a day off, he gets one, even if it serves as a giant middle finger to the fans who show up every night no rest for them, or their wallets to pay James ridiculously bloated salary.
ABC basketball commentator and former NBA head coach Jeff Van Gundy summed it up perfectly during his call of that now notorious Cavs Clippers game: "If this was any other business, it would be a prosecutable offence this type of bait and switch manoeuvre that the NBA allows its teams to pull."
It revealing that these "rest" days basketball coaches today say are so necessary were almost unheard of even a few years ago. Do you remember all the "rest" days Magic Johnson and Larry Bird and Julius Erving and Michael Jordan took off?
Yeah, me neither. I guess they must have just had more comfortable mattresses back in the day.
And then there the fact that "rest" days are virtually unheard of in the NHL, which plays an 82 game regular season schedule, just like the NBA.
Yes, basketball is a physical sport, but there no bodychecking or stickwork or frozen pieces of rubber travelling at 180 km/h in a basketball game. And yet somehow hockey players manage to endure all that and still grind through a season without taking a day off to rest the exception being goaltenders, who play the full 60 minutes.
Remember that playoff game back in 2013 when Boston Bruins forward Greg Campbell finished a penalty killing shift despite a broken leg? Steph Curry needs a rest in early March.
Jonas Siegel of the Canadian Press shopped the issue around the NHL late last week to see if hockey players thought the day might come that they, too, take off games just to "rest." Their answers warmed my heart.
"I just think hockey a different kind of animal where I don think guys would want to do it," Montreal Canadiens captain Max Pacioretty told Siegel. "Guys are stubborn enough to probably fight it if they were asked and that how I would see that going down."
Leafs forward Nazem Kadri was even more succinct.
"Never," he said.
There a reason hockey is Canada game; we show up in this country, every day, no matter what. It the only way we survived in this climate.
Look, I on record in these pages that I think basketball is a deeply flawed sport the rims are too low, the players are too high and the increasingly ubiquitous three pointer from long range has stripped away the value of playmaking and teamwork and replaced it with a stupid human trick as van cleef & arpels clover necklace fake the new foundation of the game.
Any team sport in which you regularly achieve your stated scoring objective 50 times a game is inherently dumb; any sport in which you can now achieve that objective and get rewarded with extra points by simply launching bombs from 30 feet is just boring.
And then when the long awaited day finally arrives, you arrive at MTS Centre only to learn Sidney Crosby, Evgeni Malkin and Phil Kessel aren playing, not because they injured or ill because they "tired."
Well, isn that precious.
If that sounds outrageous, welcome to the world NBA fans populate, where the practice of "resting" star players during the regular season has become so ubiquitous that the league commissioner last week was finally compelled by fan outrage to issue a memo threatening "significant penalties" in the future for teams who sit players without adequate notice and for no discernible good reason.
And, no "tired" is not a good reason.
If you earning millions of dollars to play a children game and you find yourself too tired to complete the assigned schedule, you don need a day off you need to go to bed earlier, get into better shape or find yourself a less taxing occupation.
Professional team sports is a marathon; you want a sprint? Take up the 100 metres.
You want to know why Winnipeg Jets centre Mark Scheifele is, for the second straight year, playing his very best and most productive hockey after Feb. 1? Because he a workout and nutrition fiend 12 months a year, and so Scheifele has a gear late in the season that a lot of other players do not.
Scheifele doesn take games off late in the season to "rest" he uses them to exploit his advantage to maximum effect. Clippers.
That incident followed on the heels of a March 11 road game in which the Golden State Warriors rested Stephen Curry, Draymond Green, Klay Thompson and Andre Iguodala which is to say the best parts of their team against the San Antonio Spurs.
NBA coaches will tell you that it all just good player management to sit your stars late in the regular season and rest them for the playoffs, particularly if your team has already locked down playoff positions as the Warriors and Cavs have done.
That absurd, of course. The NBA playoffs van cleef ans arpels Pendant replica stretch well into June, just like the NHL and the idea that Steph Curry taking a day off on March 11 is somehow going to give him that little extra he needs months later is patently stupid.
No, what this is really about is the way the coddled multimillionaires who are this continent professional athletes are increasingly wagging the dog. It the star players, not the head coaches, who increasingly call the shots, and if Lebron wants a day off, he gets one, even if it serves as a giant middle finger to the fans who show up every night no rest for them, or their wallets to pay James ridiculously bloated salary.
ABC basketball commentator and former NBA head coach Jeff Van Gundy summed it up perfectly during his call of that now notorious Cavs Clippers game: "If this was any other business, it would be a prosecutable offence this type of bait and switch manoeuvre that the NBA allows its teams to pull."
It revealing that these "rest" days basketball coaches today say are so necessary were almost unheard of even a few years ago. Do you remember all the "rest" days Magic Johnson and Larry Bird and Julius Erving and Michael Jordan took off?
Yeah, me neither. I guess they must have just had more comfortable mattresses back in the day.
And then there the fact that "rest" days are virtually unheard of in the NHL, which plays an 82 game regular season schedule, just like the NBA.
Yes, basketball is a physical sport, but there no bodychecking or stickwork or frozen pieces of rubber travelling at 180 km/h in a basketball game. And yet somehow hockey players manage to endure all that and still grind through a season without taking a day off to rest the exception being goaltenders, who play the full 60 minutes.
Remember that playoff game back in 2013 when Boston Bruins forward Greg Campbell finished a penalty killing shift despite a broken leg? Steph Curry needs a rest in early March.
Jonas Siegel of the Canadian Press shopped the issue around the NHL late last week to see if hockey players thought the day might come that they, too, take off games just to "rest." Their answers warmed my heart.
"I just think hockey a different kind of animal where I don think guys would want to do it," Montreal Canadiens captain Max Pacioretty told Siegel. "Guys are stubborn enough to probably fight it if they were asked and that how I would see that going down."
Leafs forward Nazem Kadri was even more succinct.
"Never," he said.
There a reason hockey is Canada game; we show up in this country, every day, no matter what. It the only way we survived in this climate.
Look, I on record in these pages that I think basketball is a deeply flawed sport the rims are too low, the players are too high and the increasingly ubiquitous three pointer from long range has stripped away the value of playmaking and teamwork and replaced it with a stupid human trick as van cleef & arpels clover necklace fake the new foundation of the game.
Any team sport in which you regularly achieve your stated scoring objective 50 times a game is inherently dumb; any sport in which you can now achieve that objective and get rewarded with extra points by simply launching bombs from 30 feet is just boring.
Maple Leafs swamped
The clinch won be a cinch.
In fact, some more of that pain that Mike Babcock warned about when he became coach of the Maple Leafs two years ago was absorbed Tuesday night as Toronto found out what slamming head on into a Stanley Cup contender in April feels like.
With their first playoff spot in four seasons within reach if they could somehow get past the Presidents Trophy favourite Washington Capitals and get help on the out of town scoreboard the Leafs were swamped 4 1. Their next chance to punch their post season ticket comes Thursday with Tampa Bay in town.
On Tuesday, the Bolts fell to Boston, which clinched its playoff spot, while the New York Islanders won and are still hanging around.
There were prophetic words from James van Riemsdyk before the game, as he deflected questions of Toronto projected playoff chances after Sunday final game against Columbus.
don want to get too far ahead of ourselves before the ink is dry on that, warned the left winger. it has been exciting to play some meaningful games down the stretch. We done pretty well, we continue to push forward. It only going to get tougher from here on out. was even more tight lipped in the morning when a reporter, attempting to get him to comment on the spreading playoff fever, pointed out youngsters have no memories of the Leafs in the playoffs.
don either, retorted the coach.
Each club came into Tuesday on a run of 8 1 1, but the vast difference was Washington aiming to wrap up first overall and Toronto, on a back to back, attempting to qualify for the first time in an 82 game season since 2004. The Caps, who have had many trips mapped out to the Cup final that were stopped cold, are taking a methodical approach to this campaign, to be ready for a two month grind.
That included the trade deadline acquisition of defenceman Kevin Shattenkirk, seen as the last piece of the puzzle and one of Tuesday night scorers and credited with the game winner.
came out and dictated play from the get go and we didn have a whole lot of answers, Babcock said. were hungry, competitive and won more battles.
don want to make excuses. I would obviously have liked to play them tomorrow (instead of after a three game road trip and Monday match in Buffalo) and had that as a measuring stick. To me, we didn find out how good they were, because we didn push them at all. Leafs were out shot 13 3 in the first period as both teams used their back ups, Curtis McElhinney and Philipp Grubauer.
was a one sided game, start to finish, said Babcock. had about eight minutes there at the start off the second period, but otherwise they were bigger, stronger, faster, quicker and more organized. best chance to keep up came when down just 1 0. Matt Niskanen was in the box for somehow thinking the officials wouldn see him throw a puck away from the Capitals crease. But before that power play ended, Mitch Marner was called for holding the stick and the magical Caps power play went to work.
With efficient puck control, Alex Ovechkin and Shattenkirk manoeuvred the perimeter until they rotated positions, Shattenkirk with an near empty net goal.
unit has been together awhile, noted McElhinney of 25 point power play shooters Nicklas Backstrom and Ovechkin. able to make something out of nothing. To get down 2 0 was the (dagger).
were just a little flat and unable to find our way into that game. You give them some opportunities, they can make you pay. Caps remain a possible first round match up for Toronto, plenty of incentive to get out of the wild card spot the Leafs were left in after Boston and Ottawa won on Tuesday.
isn any secret that certain match ups are more advantageous, said Toronto defenceman Connor Carrick. a perennial top team who been a contender all this year and last. But you have to go through the best teams to win. You don just luck it out. forwards found industrial strength Capitals in their path much of the evening, boxing them out of Grubauer crease. The Caps were also having none of Nazem Kadri attempts to ruffle their feathers.
Ovechkin, who had all the focus on himself in the morning for confirming his intent to play in the 2018 Olympics, recorded his 60th point in 42 career games against Toronto on the Shattenkirk goal and now has at least a point in eight straight against them. Marner, who just missed a first period breakaway pass during a stretch of 4 on 4 play, finally scored on the power play with 1:08 remaining. The other two of Toronto 60 point rookies, Auston Matthews and William Nylander were blanked, Matthews seeing a five game goal streak halted.
McElhinney, who has been patiently charting face offs while Frederik Andersen went on a tear and won nine of 12 starts, had little chance when the Leafs took their eye off the puck for a second on a dump in and Brett Connolly and Andre Burakovsky set up Lars Eller on the first goal.
The 6 foot 6 centre did not return after one period of Tuesday 4 1 loss to the Washington Capitals at the ACC. He had an upper body injury from one of the forceful hits delivered by the visitors, who looked far more in physical playoff mode than the newcomer Leafs.
in a back to back game, you like your fourth centre, said Toronto coach Mike Babcock. just talked to the doctor and they will re assess him in the morning and let me know what going on. Leafs are taking Wednesday off, so Boyle availability for Thursday against Tampa Bay, ironically his old team that many thought would be out of the playoffs by now, won be clear until game day.
Tyler Bozak did some double duty at centre after Boyle departed and in all, eight different Leafs took draws. Auston Matthews went 10 for 18 as the Leafs wound up with better team numbers than the Caps in the dots, one of their few positives in the loss. If Boyle can go, Ben Smith can be activated.
been great since he been here, winger James van Riemsdyk said of Boyle impact since the trade. does a lot of little things, makes some good plays and has provided us with a different element there. We see what happens with him.
The clinch won be a cinch.
In fact a bit more of that pain that Mike Babcock warned about when he became coach was absorbed Tuesday replica van cleef & arpels onyx necklace night as the Maple Leafs were reminded what slamming into a Stanley Cup contender feels like.
With their first playoff spot in four seasons in the cards if they could get past the Washington Capitals and get some help on the out of town scoreboard, Toronto was swamped 4 1. Their next chance to punch their ticket comes Thursday with Tampa Bay in town. But the Bolts need to beat the Leafs in regulation to extend the race into the weekend.
Toronto, which had not lost at home since Feb. 18, was blanked, notably their trio of 60 point rookies, until Mitch Marner van cleef replica necklaces power play goal with 1:08 to play.
Marner, Auston Matthews and William Nylander were celebrating the night before for being the first to replica van cleef & arpels clover necklace reach that mark since the 1980 81 Quebec Nordiques. Matthews had his five game goal streak snuffed by the Caps.
The clinch won be a cinch.
In fact, some more of that pain that Mike Babcock warned about when he became coach of the Maple Leafs two years ago was absorbed Tuesday night as Toronto found out what slamming head on into a Stanley Cup contender in April feels like.
With their first playoff spot in four seasons within reach if they could somehow get past the Presidents Trophy favourite Washington Capitals and get help on the out of town scoreboard the Leafs were swamped 4 1. Their next chance to punch their post season ticket comes Thursday with Tampa Bay in town.
On Tuesday, the Bolts fell to Boston, which clinched its playoff spot, while the New York Islanders won and are still hanging around.
There were prophetic words from James van Riemsdyk before the game, as he deflected questions of Toronto projected playoff chances after Sunday final game against Columbus.
don want to get too far ahead of ourselves before the ink is dry on that, warned the left winger. it has been exciting to play some meaningful games down the stretch. We done pretty well, we continue to push forward. It only going to get tougher from here on out. was even more tight lipped in the morning when a reporter, attempting to get him to comment on the spreading playoff fever, pointed out youngsters have no memories of the Leafs in the playoffs.
don either, retorted the coach.
Each club came into Tuesday on a run of 8 1 1, but the vast difference was Washington aiming to wrap up first overall and Toronto, on a back to back, attempting to qualify for the first time in an 82 game season since 2004. The Caps, who have had many trips mapped out to the Cup final that were stopped cold, are taking a methodical approach to this campaign, to be ready for a two month grind.
That included the trade deadline acquisition of defenceman Kevin Shattenkirk, seen as the last piece of the puzzle and one of Tuesday night scorers and credited with the game winner.
came out and dictated play from the get go and we didn have a whole lot of answers, Babcock said. were hungry, competitive and won more battles.
don want to make excuses. I would obviously have liked to play them tomorrow (instead of after a three game road trip and Monday match in Buffalo) and had that as a measuring stick. To me, we didn find out how good they were, because we didn push them at all. Leafs were out shot 13 3 in the first period as both teams used their back ups, Curtis McElhinney and Philipp Grubauer.
was a one sided game, start to finish, said Babcock. had about eight minutes there at the start off the second period, but otherwise they were bigger, stronger, faster, quicker and more organized. best chance to keep up came when down just 1 0. Matt Niskanen was in the box for somehow thinking the officials wouldn see him throw a puck away from the Capitals crease. But before that power play ended, Mitch Marner was called for holding the stick and the magical Caps power play went to work.
With efficient puck control, Alex Ovechkin and Shattenkirk manoeuvred the perimeter until they rotated positions, Shattenkirk with an near empty net goal.
unit has been together awhile, noted McElhinney of 25 point power play shooters Nicklas Backstrom and Ovechkin. able to make something out of nothing. To get down 2 0 was the (dagger).
were just a little flat and unable to find our way into that game. You give them some opportunities, they can make you pay. Caps remain a possible first round match up for Toronto, plenty of incentive to get out of the wild card spot the Leafs were left in after Boston and Ottawa won on Tuesday.
isn any secret that certain match ups are more advantageous, said Toronto defenceman Connor Carrick. a perennial top team who been a contender all this year and last. But you have to go through the best teams to win. You don just luck it out. forwards found industrial strength Capitals in their path much of the evening, boxing them out of Grubauer crease. The Caps were also having none of Nazem Kadri attempts to ruffle their feathers.
Ovechkin, who had all the focus on himself in the morning for confirming his intent to play in the 2018 Olympics, recorded his 60th point in 42 career games against Toronto on the Shattenkirk goal and now has at least a point in eight straight against them. Marner, who just missed a first period breakaway pass during a stretch of 4 on 4 play, finally scored on the power play with 1:08 remaining. The other two of Toronto 60 point rookies, Auston Matthews and William Nylander were blanked, Matthews seeing a five game goal streak halted.
McElhinney, who has been patiently charting face offs while Frederik Andersen went on a tear and won nine of 12 starts, had little chance when the Leafs took their eye off the puck for a second on a dump in and Brett Connolly and Andre Burakovsky set up Lars Eller on the first goal.
The 6 foot 6 centre did not return after one period of Tuesday 4 1 loss to the Washington Capitals at the ACC. He had an upper body injury from one of the forceful hits delivered by the visitors, who looked far more in physical playoff mode than the newcomer Leafs.
in a back to back game, you like your fourth centre, said Toronto coach Mike Babcock. just talked to the doctor and they will re assess him in the morning and let me know what going on. Leafs are taking Wednesday off, so Boyle availability for Thursday against Tampa Bay, ironically his old team that many thought would be out of the playoffs by now, won be clear until game day.
Tyler Bozak did some double duty at centre after Boyle departed and in all, eight different Leafs took draws. Auston Matthews went 10 for 18 as the Leafs wound up with better team numbers than the Caps in the dots, one of their few positives in the loss. If Boyle can go, Ben Smith can be activated.
been great since he been here, winger James van Riemsdyk said of Boyle impact since the trade. does a lot of little things, makes some good plays and has provided us with a different element there. We see what happens with him.
The clinch won be a cinch.
In fact a bit more of that pain that Mike Babcock warned about when he became coach was absorbed Tuesday replica van cleef & arpels onyx necklace night as the Maple Leafs were reminded what slamming into a Stanley Cup contender feels like.
With their first playoff spot in four seasons in the cards if they could get past the Washington Capitals and get some help on the out of town scoreboard, Toronto was swamped 4 1. Their next chance to punch their ticket comes Thursday with Tampa Bay in town. But the Bolts need to beat the Leafs in regulation to extend the race into the weekend.
Toronto, which had not lost at home since Feb. 18, was blanked, notably their trio of 60 point rookies, until Mitch Marner van cleef replica necklaces power play goal with 1:08 to play.
Marner, Auston Matthews and William Nylander were celebrating the night before for being the first to replica van cleef & arpels clover necklace reach that mark since the 1980 81 Quebec Nordiques. Matthews had his five game goal streak snuffed by the Caps.
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Richemont seeks entry into Indias luxury retail market
New Delhi/Paris: Luxury goods group Richemont, whose stable of brands includes jewellers Cartier and Van Cleef Arpels, has applied to open shops in India, joining other global retailers who entered the market since New Delhi relaxed investment rules.
The entry could be a boost for the country luxury retail sector, which represents a tiny fraction of global luxury brands sales but has a fast rising number of wealthy people.
The sector has been hampered by high tariffs, complex legislation and lack of retail space, prompting brands to trade mainly in luxury hotels in Asia third largest economy.
Richemont has applied to enter in the brand retail space, where stores sell only one brand, for an initial investment of $5 million, a senior Indian government official said on Thursday. He also declined to give any indication replica cartier bracelet when a decision might be made on the proposal.
In the single brand sector, India allows 100 per cent foreign direct investment on condition that a imitation cartier 18k gold bracelet third of materials used in products is sourced locally.
"We see India as a market with long term growth potential for Richemont Maisons (brands)," a spokesman for Richemont said in an email sent to Reuters on Thursday.
"There is a growing market of affluent young consumers and the property market is also changing."
Out of the 217 billion euro global luxury goods market estimated in 2013, just over 1 billion euros were generated in India, consultancy Bain Co said.
Should India create a more favourable environment for luxury brands, the market could be worth at least ten times more, some analysts say.
Richemont said it planned replica cartier love style bracelet to meet India 30 percent sourcing requirement through the purchase of polished diamonds for the group as a whole using its India based entity.
No rule change
India first standalone luxury retail store opened in 2011 in Mumbai, a 3,000 square foot store for France Hermes that has an art gallery on the second floor and a glass elevator to travel the two floors.
Single brand retailers such as Britain Marks Spencer have a major presence, riding soaring demand for branded products among the fast growing urban young population.
But multi brand retailers such as supermarkets, which face more restrictions on foreign investment, have been less quick to invest. Earlier this week, the local government of Delhi stopped foreign supermarkets from entering.
Despite the world economic crisis, Geneva based Richemont has had a good run of growth in the last two years, boosted by its expanding retail operation at a time when its wholesale business has seen a more modest rise in sales.
Richemont proposal will now be examined by the department of industry, and if approved, would then be submitted to India Foreign Investment Promotion cartier gold plated love bracelet Board for final approval.
New Delhi will not relax sourcing conditions for the luxury brand, even if it finds it difficult to procure 30 per cent of merchandise from local suppliers, the official said.fashion knockoff cartier gold ring stainless steel
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New Delhi/Paris: Luxury goods group Richemont, whose stable of brands includes jewellers Cartier and Van Cleef Arpels, has applied to open shops in India, joining other global retailers who entered the market since New Delhi relaxed investment rules.
The entry could be a boost for the country luxury retail sector, which represents a tiny fraction of global luxury brands sales but has a fast rising number of wealthy people.
The sector has been hampered by high tariffs, complex legislation and lack of retail space, prompting brands to trade mainly in luxury hotels in Asia third largest economy.
Richemont has applied to enter in the brand retail space, where stores sell only one brand, for an initial investment of $5 million, a senior Indian government official said on Thursday. He also declined to give any indication replica cartier bracelet when a decision might be made on the proposal.
In the single brand sector, India allows 100 per cent foreign direct investment on condition that a imitation cartier 18k gold bracelet third of materials used in products is sourced locally.
"We see India as a market with long term growth potential for Richemont Maisons (brands)," a spokesman for Richemont said in an email sent to Reuters on Thursday.
"There is a growing market of affluent young consumers and the property market is also changing."
Out of the 217 billion euro global luxury goods market estimated in 2013, just over 1 billion euros were generated in India, consultancy Bain Co said.
Should India create a more favourable environment for luxury brands, the market could be worth at least ten times more, some analysts say.
Richemont said it planned replica cartier love style bracelet to meet India 30 percent sourcing requirement through the purchase of polished diamonds for the group as a whole using its India based entity.
No rule change
India first standalone luxury retail store opened in 2011 in Mumbai, a 3,000 square foot store for France Hermes that has an art gallery on the second floor and a glass elevator to travel the two floors.
Single brand retailers such as Britain Marks Spencer have a major presence, riding soaring demand for branded products among the fast growing urban young population.
But multi brand retailers such as supermarkets, which face more restrictions on foreign investment, have been less quick to invest. Earlier this week, the local government of Delhi stopped foreign supermarkets from entering.
Despite the world economic crisis, Geneva based Richemont has had a good run of growth in the last two years, boosted by its expanding retail operation at a time when its wholesale business has seen a more modest rise in sales.
Richemont proposal will now be examined by the department of industry, and if approved, would then be submitted to India Foreign Investment Promotion cartier gold plated love bracelet Board for final approval.
New Delhi will not relax sourcing conditions for the luxury brand, even if it finds it difficult to procure 30 per cent of merchandise from local suppliers, the official said.