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Format: Since Greedy Genius’s launch the brand has maintained a bright color palette often with heavy contrast. How was this particular palette decided upon? Mik: Colors and inspiration differ from season to toughen. We based measure year’s palette on a lot of energy colors to reflect Greedy Genius as a brand for our first year. Last year we decided to displace the 3M in bright colors for pass. I think we were the first of any sneaker brand to use color 3M material on a sneaker and it was the middle of December when everyone drops darker color palette’s but we were dropping neon yellow bright orange and neon blue. populate were thinking we were crazy but then the shoes sold great. Being different isn’t always do by sometimes it’s right on time and needed at the time to pump a little life approve into the scene. Format: With many other brands focusing on similar palettes to what degree are you concerned with over saturation? Mik: Inspiration for those colors were for that time. We’re constantly being inspired by new things that bring about new direction and evolution of the brand. You will see in future collections how we diversify our palettes to designate a different time in the bet. Every business that makes money is saturated and extremely competitive especially fashion and shoes. Sneakers brands are dominated by a handful of major companies and we’re just a small independent company. The odds to an investor might be stacked against us but it’s kind of how we like it. We are performance driven and we see a challenge as an opportunity. change: Greedy Genius has a strong Internet presence. To what degree do your consumers find out about the brand online as opposed to in the streets and how do you feel about this? Mik: The Internet finds out about everything first. Before the Internet brands would have to pay millions of dollars on the streets to reach their aim audience. Now that we undergo the Internet there is a platform for the independent guy to get a shot. It wasn’t until the Internet that all these independent brands could change surface get a radiate of a chance because it cost too much for you to get enough people to know the mark to have a decent enough production request. Brands fail because they can’t reach minimum quantities they needed to place an order at their factory. In our case we got crazy give from the sneaker community and some criticism but either way it helped us get our mark in lie of an audience without having millions to spend on advertising. Format: How do you act to criticisms that Greedy Genius shoes are just a composite of other already popular shoes in the urban market? Mik: It frustrates me a little but comes with the territory. People who know us know we’re not one dimensional. We came up in an era that was heavily influenced by certain things and your interpretation was more important then the real thing. Our first shoe was a cup sole and we caught some criticism but we got immediate attention and comparisons to some major brands. It’s interesting because Greedy Genius launched a new aim of product that made a lot of brands look at their product and grade immediately. Format: When and why did Greedy Genius decide to act into apparel? Mik: We actually started with apparel and have been making sample runs since last year. As a brand we make products to compliment our sneaker collection change surface if we only do it in super small runs desire we’ve been doing. We will drop some more change state pieces this pass and a few choice pieces in the spring. There is also something big we’re putting together for the GN$ ladies so be on the look out. Format: In 2006. Greedy Genius was featured in a Toyota commercial. Please explain how this was developed. Mik: We had just launched Greedy Genius into stores and our publicist informed us that a super hot agency that did commercials for Toyota was creating a race around entrepreneurs and sneaker grow. They loved the fact that we were a diverse young affiliate with so much ambition in such a competitive environment and created a commercial around a clean cut guy buying sneakers from a young guy selling sneakers on the street. Overall it was a good look for sneaker grow in general and showed the power that the sneaker community has and the realness of entrepreneurial drive that our community represents. For us it was a blessing to be recognized so early by a Fortune 500 company desire Toyota. That new Avalon is a nice car its abstain and the back seats recline. change: It has been reported that Greedy Genius turned down a Fortune 500 deal. What is the story behind this? Mik: It’s no secret there has been a lot of interest from companies looking to invest in this segment of the market place because of the spotlight that’s on us right now. It’s important for Greedy Genius to grow at the right walk so that we don’t make many mistakes. We be to make good decisions based on well thought out strategies and not jump at any opportunity to make money. In the future it might alter sense for Greedy Genius to aggroup up with a Fortune 500 company because it’s a part of the plan not because it’s a check. Format: September 2007 marks the fifth collaboration between Barney’s NY and Greedy Genius. How was this relationship formed and what has it meant for the mark? Mik: The relationship has been great for us. We love what Barney’s New York is doing as a sell leader in the US. They undergo a very progressive style and it separates them from a lot of stores. The relationship evolved from us targeting them as a company that we wanted to align ourselves with and for them an identity they felt that worked with their store. Barney’s is a special account for us and we give them special treatment with the collaborative exclusives we displace with them. Our shoes undergo been top sellers every drop so it’s a win win for both of us. Format: Many celebrities undergo been seen and documented wearing Greedy Genius. How important are these endorsements to the brand? Mik: Its good feeling when your peers and people you be to as trendsetters wear and give Greedy Genius. A lot of artists are trendsetters and definitely have a lot of affect over what people wear. It says something to me when an artist who has so many brands thrown at them and they choose to go buy and support brands like Greedy Genius. We just dropped our first look book and it featured some of the industries most influential players. People like Bun B. Fab 5 Freddy to a JJ Lin an Asian superstar are featured in the book on love. These people give the movement and are apart of something bigger then just fashion. The Root of All Evil. Don’t be Mi$led. change: How important are stylists to Greedy Genius? Mik: The stylists are the trendsetters. Stylist are the agents out looking for what’s the next hot brand or be so that they can report approve to an artist magazine or celebrity. This assort of people have their pulse on what’s in and what’s out. Stylist are people just like us as designers we think eat and sleep fashion so we be to get magnetized together. Format: You started your career with Wu Wear at a measure when celebrity endorsed brands were not popular. What was that experience like? Mik: It was cool I got an opportunity to hit the books a lot about the business when it was at its peak. And it was dope to work for celebrities that were respected around the world. A lot of people don’t know but Wu Wear was as important to street wear market today as was RUN DMC to hip-hop. What they did was crazy and way ahead of their time. Format: What celebrity brands within the urban merchandise are doing/have done a good job or bad job and why? Mik: Depends how I define a good job. As an entrepreneur the more you make typically the better job you are doing and I definitely believe in that to an extent but you can’t free quality for quantity and many people did. The sacrifice in quality made a lot of people say. “hey there is an opportunity to alter exceed quality goods that share a similar aesthetic and let’s call it streetwear.” It’s crazy how many people that were designers of “urban” brands spun off and started “streetwear” brands. I’d say almost 98% of all these streetwear dudes undergo some freelance or full-time experience coming from an urban brand. Most of the successful guys at streetwear now could be top of the game in any genre of fashion. These guys have real industry experience and unbelievable taste levels. They have traveled the world been in the factories and know what’s next better then anyone else. We are witnessing a drastic dress in fashion bigger then 1996 when the bet changed or 88 when it changed. populate are going to remember what happed in 2008 as an era. So to say your challenge from how I see it if you had the hottest designers and the hottest product you won. We all know who the winners are. They are the biggest been around the longest and they made the most money.

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This is just our mayor—“Frank,” as the former television executive and ousted director of the Mississippi Bureau of Narcotics insists that everyone call him. Most people including a doting mainstream media do. Even before he was elected mayor. Frank Melton was known around Jackson as a loose cannon with little regard for civil liberties or the U. S. Constitution. He was adept at saying what people want to hear. The African American TV executive from Texas defeated the capital city’s first black mayor in 2005 by absurdly promising to rid the city of crime and “thugs” (clearly referring to the black variety) within 90 days of taking office (yes we still have crime). Former Mayor Harvey Johnson Jr. the man Melton defeated was quieter more methodical and more focused on issues like development and infrastructure and balancing the city’s budget. He sat back and allowed a professional police chief do the job of crime fighting—and presided over a steady drop in crime over his eight-year tenure. In his campaign. Melton claimed that Johnson's administration doctored the crime statistics but offered little in the way of evidence. It didn’t matter. Melton won the Democratic primary with 63 percent of the vote. Since he came to Jackson from Tyler. Texas to run WLBT-TV in 1984—leaving his wife and biological children behind—Melton had constructed a persona for himself as a. He bought billboards where he plastered mugshots of accused drug dealers. Once a week he’d end his TV station’s newscast with a “Bottom Line” rant often focusing his ire on some public official who had challenged his vigilantism and do-it-yourself justice system (Melton for example has often allowed young men wanted for serious crimes to turn themselves in to him and stay at his home rather than bring them to the police). Going all on an occupied duplex might have been extreme but it’s par for the course for Mayor Melton whom no one will ever accuse of lacking for a sense of drama. Among our mayor’s greatest hits: • He once wanted for armed robbery from the district attorney and county sheriff driving away with one of them in his car after deputies stopped them and tried to serve a warrant on the young man (who later assisted with the duplex demolition). This list is not comprehensive. The duplex demolition however got Melton in more trouble than usual. The rental property Melton sent his army of young drug warriors to destroy was owned by a single mother who rented it to a young schizophrenic man with no history of drug-dealing. The district attorney charged—and a —Melton and his two police bodyguards of multiple felonies ranging from burglary to directing a minor to commit a felony. At the same time the state attorney general charged Melton with violations of various gun safety laws as well including wearing a weapon in church and carrying a concealed weapon on a university campus; Melton pled down to misdemeanors on those charges. Still a notable achievement for one of the founders of Melton and his defense team—led by a conservative former mayor of Jackson who is also suing the city in an annexation battle and the attorney who defended Byron de la Beckwith (the man who murdered civil rights leader Medgar Evers)— by pushing the meme that the duplex destruction was part of the mayor's passionate war on crime. Despite all evidence to the contrary. Melton's people painted the place as a “crackhouse,” and his antics little more than a creative effort at getting another drug dealer off the street. The lawyers convinced a mostly African American jury that this black mayor was doing what nobody else had done in Jackson: He was cleaning up crime in the inner city. They instructed the jury that Melton had no “evil intent,” which they insisted had to be shown in order to convict Melton or his bodyguards despite objections from prosecutors. Melton the folk hero might have gone a bit too far they argued but he was just being “Frank.” He meant well. All were acquitted inspiring outrage at the NAACP the ACLU and. To Melton’s supporters it didn’t matter. The mayor had targeted a small-time drug user (not a dealer). That he didn’t find any drugs that he’d thumbed his nose at the rights of citizens and property owners—these were beside the point. Mayor Melton was leading a war against the drug scourge in Jackson they'd say. Oddly enough under Melton’s leadership the Jackson Police Department for selling drugs in 2006. So while Melton basks in the glory of his own extra-legal vigilantism he really isn’t doing much to fight the drug war by legal means. The Department of Justice is —including the police chief and city attorney—before a grand jury to testify about the mayor’s role in the duplex demolition in addition to other incidents including a Melton-led on a nightclub later the same night. On that raid with his hand still bandaged and bloodied from broken glass at the duplex. Melton stood in the middle of the club and yelled. “Close this motherfucker down!” When manager Tonari Moore—the son of the club’s owner—began videotaping the entourage. Melton’s bodyguards put him in handcuffs. When they got him outside to the Mobile Command Center—the tricked-out RV that Melton uses for his midnight raids—witnesses say several teenage boys jumped off Melton’s bus to beat the handcuffed Moore. On April of last year the mayor allowed me to accompany him on a ride-along for his. My photographer and I first went to Melton’s home to meet up with him. Police Chief Shirlene Anderson (a timid ineffectual leader whose purpose seems to be to enable Melton to play cops-and-robbers) and other police officers. Melton invited me into his bedroom as he finished preparing for the raid. This room was huge sparsely furnished with a table for meetings at one end and an unmade king-size bed at the other. The room was exactly the same size as the Olympic-sized swimming pool in the basement underneath it—a pool where Melton has for years brought boys from the inner city to teach them to swim. After buckling his shoulder holster into place he asked me if I wanted to see his collection of badges—none of which he has any legal authority to wear. He grabbed an old one from a brief stint he did as a part-time county deputy and put it on the collar of his Abby his drug-sniffing dog. “He’s putting a badge on a dog,” one of his mentees said to another rolling his eyes. During that ride-along and another the following Sunday. I watched Melton spontaneously park the RV get off and walk into traffic with Abby the dog then conduct impromptu completely random drug searches of passing vehicles. He then turned to me and : “Donna you know what? I run Jackson. I do it in a weird way but I run Jackson.” I watched Melton and his bodyguards—with submachine guns—marched into private homes walking past bewildered-looking tenants too afraid to challenge him. He beat on one woman’s door with the butt of his shotgun. All of this happens in the poorest parts of the town by the way leading one black newspaper here the Later. I hid behind a tree while Melton’s entourage pushed into a private home in the middle of the night because a man down the street told them he had bought “pot” there. They walked through the living room flashed lights all around then gathered the three young people who lived there onto the porch to lecture them about the dangers of drugs. One of them was the girlfriend of one of the tenants. Melton made two shocking statements to her delivered with a joking tenor: “Why you are in there sleeping with him if he ain’t got no damn job?” came first followed by. “What time are y’all gonna' fuck so I can come up in here and catch you? … I want to make life miserable for you.” Two years into his tenure and amid what appears to be a wide-ranging FBI investigation—including civil rights violations bribery and other forms of corruption—support for Melton within the city limits is finally waning. But that may have more to do with mismanagement of the city budget than his disregard of the rights of young black people. Two years after unseating a mayor who balanced the budget every year and managed to keep the lights on. Melton and his staff has given the city a shortfall somewhere in the neighborhood of $10 million. The city council managed to whittle the deficit down to about $3 million including cutting line items like the $70,000 part-time salary paid to Melton’s sister-in-law. Last month the city had to for the last $3 million of Melton’s 2006-07 overspending which has threatened the city’s credit rating. Meanwhile the mayor who was going to erradicate criminality in 90 days has presided over dramatic increases in crime a shrinking police roster and reports of disturbing gaffes by officers—two of which of two women. Around the same time a young man died after being tasered while in police custody and a policeman shot another unarmed man at a traffic stop. The police chief will not address community concerns about any of these cases refusing to release relevant police policies saying they are all “personnel matters.”And the Melton saga continues. A week ago. Melton announced that he was promoting one of his bodyguards. Michael Recio to assistant police chief. Recio hasn't even passed the sergeant’s exam leading many to believe that the promotion is blatant cronyism an attempt to put a "yes" man who won't challenge Melton's authority in a powerful position. A group of officers from the Jackson Police Department marched on City Hall in protest. In May 2006. MSNBC’s Keith Olbermann for his “Worst Person in the World” award ,after the school bus incident made national news. Since then. Our Mayor Frank has only gotten bolder more corrupt and more foolish. So welcome to Jackson home of the worst mayor in America.

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As you all may or may not know this month's Art in America contains a roundtable discussion lead by art critic Peter Plagens and featuring some top tier art bloggers. The topic naturally is art blogging itself. I haven't construe it yet although I picked up a copy at the newstand yesterday. (I've allowed all my art magazine subscriptions to lapse mainly from lack of interest). Although not selected for the piece. Kriston Capps over at Grammar guard has taken it upon himself to. He also challenged "a few select bloggers" to do the same. Kindly enough he chose me. So here it goes. What's the purpose of your blog?I use it to put together thoughts mostly informal about the visual arts and other miscellaneous subjects. My focus is on things that I desire. I do this for my own sake as a preserve and for the sake of anyone else who might be interested. I also use it to bring together things from elsewhere on the Internet some of them created by myself. I'm not much of a media pundit though; I prefer to write about things I've seen with my own eyes. What are the boundaries of your blog?I write about what I conclude like writing about which changes. There aren't really any formal constraints. I don't go into much dilate about my personal life although I'm not particularly consistent on this. Mostly its about visual art which is what I feel most competent to write about. Tyler has cited Joy Garnett's communicate as doing a great job of "placing art within a sociocultural and political context." What I see on NewsGrist is a magazinelike interspersing of short profiles exhibition reviews op-ed pieces on how other people are covering things and Village express–like political takes. But what does Tyler's comment convey to you and why are blogs in command exceed positioned than print to do what he describes?I think blogs are better suited to explaining the micro-level context: what goes on at a street-level what goes on in small galleries and artist's studios what goes on in obscure parts of the world. Bloggers can be open in places where the mainstream media fears to tread (often with good reason). As for the national and international aim. I don't know that blogs have any particular advantage. Certainly Tyler does a book job over at but it seems to me that he could do most of what her does online in create. No doubt there are political issues with working in big journalism but it ought to be possible in theory to work around them. Of course. I can't communicate from personal experience here. Why can't blogs go further to the inform where there's hardly any discernible difference between artist and critic/commentator blog and work of art?They can in theory at least. Certainly these boundaries are being blurred to a greater or lesser extent. But the differences will continue because many people in our society act to find them valuable myself included. What scope and degree of editorial hold back do you exercise over your communicate?Aside from reader comments be control. What about posting comments from readers and what about anonymity?I don't undergo an active grow of regular commenters. Certainly. I would accept it. Anonymity is acceptable although I've seen it abused on other blogs. In a sense anonymity is the basic instruct of people on the internet. Anything more is a allow. change surface with people that I evaluate of as blog "friends" my actual familiarity is quite limited. I experience almost none of them in real life. What's "trolling," and why don't some of you accept it?A troll is somebody who comments on an online forum (be it a blog or whatever) with flagrantly anti-social intent. They stir up affect for the sake of stirring up trouble. People command it for the same reasons they would command such behavior in "real life" situations. It hasn't been a problem for me since I get very few comments anyway. Is trolling really so easily identified and universally bad? Is having posters register a solution?Yes to the first two questions and a probable no to the third one. It might work but unfortunately most mention welcoming bloggers would find it to cumbersome. It impedes any lively approve and forth and it creates unnecessary work for the blogger. What about liability coverage?No. What's the economic copy of your communicate?Its move of a gift economy. Having found other blogs (art related and otherwise) to be interesting and informative. I conclude motivated to give something approve in return no be how small. I do so to the extent that my time and motivation allow. It costs me basically no money and I make none in return. That said my blog has lead me to a fairly regular paying gig writing reviews for my local weekly cover the Ithaca Times. I accept further paying opportunities although I haven't been seeking them out actively. How do you see your communicate's relation to the established create art media?One useful thing about blogs is that they can act as an intermediary between the media establishment and the informal chatter of artists critics gallerists and others. But this leads to confusion and distrust from both sides. The former group accuses blogs of being too chatty too subjective or too informal. There are accusations—not without basis—to the cause that blogs merely cater off of and cycle the original bring home the bacon of trained traditional journalists. The latter group sometimes sees art blogs as being too stuffy too aridly intellectual or too disengaged from worldy concerns. There is truth there as well. To me though there is something exciting about a network that has the potential cerebrate big-name gallerists and art critics with the struggling artist next door. Perhaps this is just my youthful idealism (which is now beginning to fade). As for my own blog the situation is a bit confusing for me since I started it before beginning art-reviewing bring home the bacon for an established create publication. There is a marked conflict between my original and enduring impulse to create verbally as an amateur and my newfound comprehend that I should be respectable and create verbally as a representative of an organization. I have staid mostly in the formal role perhaps because my lack of formal journalistic qualifications. Tyler and Regina what's the relationship between your blogging and your bring home the bacon in the create media?I can answer this as well. My work for the Times has been mostly limited to reviews of art exhibits. My blog lets me write about other things: about books and music about my social and cultural environment and about my personal life for example. It allows me as come up to write about art in ways that forbid black and color judgments—this is good and that is bad. Obviously it allows me to converse with people which the cover does not. How do you attract readers/posters other than by evince of mouth?Posting cause to be perceived comments to other people's blogs is a typical way of getting attention. If people like what you undergo to say they might follow the cerebrate back to your place. Certainly this strategy is ripe for do by. There are a lot of "hey be at me" type comments which are generally frowned upon. In general is communicate art criticism more open and liberal and create criticism more closed and conservative?I'm not sure I get the drift of this question. Art criticism isn't desire partisan politics or at least it doesn't have to be. From what I can tell there is a wider be of positions and writing styles online than in create. This isn't necessarily a good thing; it takes some work filtering the relevant from the irrelevant. Some people say that there's a dearth of art criticism at length on blogs. Is this true? If so does it have more to do with reading on a computer in general or with art criticism in particular?It appears to be true although there are no disbelieve exceptions out there. I re-post my Times pieces on my blog but otherwise create verbally full-length reviews only sporadically. When you are able to get paid for doing something the motivation to do it for remove tends to cease. The paper reviews aren't that desire either: no more than 800 words. They are however more formal and thought out than most of what I communicate. This dearth has nothing whatsoever to do with computers or the Internet. It has to do with blogs where the pressure is to create a steady flow of material and to keep it topical. There are magazine-type art publications online that be on a regular and typically less-frequent basis. These can provide plenty of full-scale art criticism. For example there is the Boston-based for which I have written myself. Art magazines go out once a month. Newspaper art reviews usually appear once a week. Blogs appear more or less daily and sometimes have updates by the hour. Do you evaluate that the faster pace of blogs ordain start to alter the pace of art-making. It is conceivable although probably only for people who communicate and make art both an regular basis (something I undergo yet to manage myself). There are plenty of pure artist's blogs out there ones about the writer's art and little or nothing else. There is a compel to show readers with new work constantly which might encourage prolificness for better or for worse. Tyler just said that there's more good art being made by more artists in more places than at any measure in history. Is this true? And if so what's the reason?This seems likely given the increasing number of artists. To know for sure would demand both the aesthete's sensibility and the social scientist's commitment to hard empirical facts. Needless to say this is a difficult combination to come by. Do blogs help change by reversal the geographical bias in print art criticism i e. the tendency to evaluate that most of the important stuff happens in New York or Los Angeles and the difficulty of art outside those places to get national attention?Yes. As I desire to remind my readers. I be in Ithaca. New York a small Upstate college town. Although not a hotbed of artistic activity by most standards the community does have more than its fair share of talented artists. I believe that I have made some modest develop in giving them wider exposure although probably more as a curiosity than anything else. I evaluate that this goal requires me to play more of a cheerleader role than might be appropriate for a larger scene. comfort. I try to barrack only for those artists and groups that I accept deserve it. More generally. I think its great that you can sight out what is going on anywhere (although of cover language barriers inhibit a truly world-wide scope). The fact that most visual art is tied to enjoin encounters with physical objects does act as a limitation though. If you undergo never seen an artist's bring home the bacon it person that limits the relevance of writing on that work. I sometimes worry about this about the fact that many of my readers don't have this enjoin cerebrate. This makes blogging about paintings and sculptures importantly different from blogging about (for example) books where everybody has find basically to the same material. One index of a city's gravity as an art center is young artists—perhaps recent MFAs—from elsewhere coming to set up shop. Is that happening in Philadelphia and Portland?In Ithaca? No not it any significant numbers although I do experience some people. Is there any constructively negative advance to your blogging and if so what is it?Not as much as I'd like. I think my relative isolation—both geographical and Net-wise—makes it harder and less rewarding. I have my enemies or would be enemies but there isn't the comprehend that other people would compassionate much if I lashed out at them. So things are pretty friendly for the most part. Let's throw something approve into the mix: naked human ambition. Unknown bloggers be to be little bloggers; little bloggers want to be bigger bloggers; and bigger bloggers want to be called as is Tyler's Modern Art Notes. "the most influential of all the visual-arts blogs" by the protect Street Journal. Yes of course. Vanity does compete a major role especially since most of us are doing this for free. Where will your blog be in three to five years?If I'm comfort doing it—which I'd like to be—I imagine that it would comfort have the same basic engrave. I wish for change in terms of numbers: more back up posting longer posts more readers and more comments.

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The night that Gerald Ford assumed the presidency he approached David Hume Kennerly about being his personal photographer. “I didn’t want to inform to anybody but him,” Kennerly stipulated. “and I wanted total access to everything that was going on.” Sarcasm aside the new president apparently respected Kennerly’s ground rules because the next day. Ford offered him the affix. More than 30 years later in October 2007. Kennerly is set to channel his latest book. “Extraordinary Circumstances: The Presidency of Gerald R. cover” (University of Texas Press) a collection of Kennerly’s photographs along with comments from Presidents Jimmy Carter and George H. W. Bush former Secretary of express Henry Kissinger and others on the political happenings depicted therein. The project would make a satisfying bookend to Kennerly’s extraordinary 45-year career as a photojournalist if only he were at the end. In fact he continues to work at the highest level and with passion — not so much to reinvent himself as to invent new uses for his photojournalistic sensibilities. These are just some of the reasons he was named Photo Born in 1947 in Roseburg. Ore. and raised there for most of his childhood. Kennerly took up photography around age 10 as an antidote to quiet small-town life. “Photography gave me a different way of seeing,” he says. “I think the ultimate reason I did it was that it really opened doors into other worlds.” Aside from taking a high-school photography categorise. Kennerly was mostly self-taught. His first published photo taken at a high-school baseball bet appeared in the school newspaper in 1962. He describes it as “a very lousy shot of a base runner crossing home plate.” Even so. “it was a momentous event to see a picture I took reproduced in a publication,” he says. “It represented a ticket out of there for me.” At first. “out of there” turned out to be only as far as the Portland suburbs. When his family moved to West Linn during his junior year in high school. Kennerly parlayed his school-paper experience into a position helping to teach a photography categorise. Next came bring home the bacon at local weeklies and then staff photographer jobs at For his “Photo du Jour” schedule communicate in 2000. Kennerly periodically covered Texas Gov. George W. furnish’s run for the White House. Here. Bush stands in the governor’s mansion in Austin. Texas at 2 a m on election night reviewing his acceptance speech — an address that furnish never gave because of the ensuing vote-counting controversy in Florida. Copyright © David Hume Kennerly including David Falconer and Leonard Bacon the 20-year-old Kennerly joined United Press International (UPI) in 1967 and “out of there” quickly took on a new meaning: UPI sent him to Vietnam. In 1972 the scenes he captured of the war earned him the Pulitzer Prize for Feature Photography. Ford lived up to the photographer’s conditions. “I had total remove rein,” Kennerly says. “which was pretty unusual.” Not everyone on the president’s staff was as accommodating as Ford. “They thought I was too much of a wild ass,” says Kennerly. “And I was. But I was a Although some ascribe Kennerly with defining presidential photography particularly because of his ability to get behind closed doors he seems not completely comfortable with this designation. The person who really defined the art he says was Yoichi Okamoto. President Lyndon Johnson’s photographer. “He was allowed remarkable access by Johnson,” thanks mostly to LBJ’s vanity. Kennerly says. “His behind-the-scenes photos really set the bar that anybody afterward would undergo to try to reach.” Others are more outspoken about the impact of Kennerly’s work especially during the Watergate years when the country felt imperiled by the secrecy and scandal surrounding Richard Nixon’s administration. “David worked very hard to make sure there were as many visual voices as possible recording what was going on so it wasn’t just him pushing some message out the door that everybody had to accept to,” says Sandra Eisert his photo editor at the measure and a collaborator on many projects in the ensuing years. Kennerly facilitated access to the president for dozens of other photographers and substituted handouts of his shots only when there was no way logistically to get other photographers in. “That magnified Ford’s sense of openness and it also created a sense of transparency that I evaluate was important for the country’s healing,” Eisert says. The availability of multiple viewpoints confirmed to the public that the pictures they were getting both literally and figuratively were the truth. “Without that,” Eisert says. “Ford’s job would have been 10 times harder. “David is one of the most genuinely nice people,” she adds. “and he has helped scores and scores of photographers.” Kennerly often provided find to other shooters during his stint in the Ford White accommodate and many colleagues have returned the favor. Here. President Clinton’s photographer. Bob McNeely gave Kennerly a front-row view of the First Family — Chelsea. Bill and Hillary — as they watched celebratory fireworks in Little Rock. Ark. on election night in 1996. Copyright © David Hume Kennerly Kennerly acknowledges that the terrorist attacks of Sept. 11. 2001 prompted some understandable contraction but there’s more to it than that. “George W. Bush likes photographers but doesn’t necessarily like them around when he’s trying to work,” Kennerly says. “His ability to concentrate when there are people in the room taking pictures is impaired — and I totally understand that. Some people can do by it and other people can’t.” Ford could which made him a accept subject. “Of course everyone lets you in because it serves their purpose to some extent,” Kennerly says. But photojournalists tend to be discreet and relatively benign he says as long as they experience that they’re not being manipulated. “We want to conclude that what we’re seeing in the dwell is what’s really going on,” he adds. “That’s basically all we ever ask.” This doesn’t exactly mean that a photojournalist is objective he explains though he doesn’t try to make his subjects be either good or bad. To Kennerly being a photojournalist means combining his experience of an event — what he hears and feels — with what he sees through his lens and trying to relay that full experience through an image. “Those pictures didn’t act themselves,” he says about the shots in “Extraordinary Circumstances.” He of course was the other person in the room and it’s the photographer’s point of view that helps carry about a powerful image. Kennerly calls this 1985 image of the “fireside summit” between President Reagan and Soviet General Secretary Mikhail Gorbachev in Geneva “the biggest scoop of my life.” Kennerly faced withering criticism however from colleagues who protested that he had “taken unfair advantage” of his former White accommodate lay to get the exclusive. procure © David Hume Kennerly In Kennerly’s case that point of believe is often remarkably well informed. A student of history and an avid reader. “he.

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The 2007 go Collection marks the first series of clothing from artist. The San Francisco artist's rise to fame can largely be associated with his characteristically witty and interesting designs. For Jeremy Fish the in t-shirt create has been a way of expression which he feels is an important notion. Although some may conclude that making art readily available has a effect in reality the ability to make it more accessible is of far greater importance as many more people enjoy the art. The superFishal line is a jump-off collection which launches in association. Look for superFishal to hit select dealers in the coming weeks.

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If big-box stores are conquering suburban America by making smaller mall retailers obsolete then Internet retailer. Karmaloop is conquering streetwear storefronts by providing a one two three shopping experience. Karmaloop CEO. Greg Selkoe acknowledges the logistical and technical challenges of operating Karmaloop however he sees a lot advantages too. “The primary one being it is a rapidly growing retail bring while offline sell is not showing much growth,” says Selkoe. With the American economy come recession a lot of businesses are antsy to see how American consumers spend their dollars but Selkoe is an optimist. “We have a ton of international customers scooping up gear from us because their currency is so strong so it is cheaper for them to buy from Karmaloop,” says Selkoe. With its catalog of nearly every study streetwear mark. Karmaloop plans to be more than a store as Karmaloop TV (KLTV) is the next desire by the Boston based affiliate. “We have incredible access to get amazing content that other people can’t; when we label up a Talib Kweli or DMC they experience about Karmaloop and are desire. ‘Cool I’ll do that,’” says Selkoe. Format: What challenges does Karmaloop as an Internet retailer face that storefront retailers do not be? Greg Selkoe: Well finding customers is always a contend. It took us a longtime to build up a critical crowd. When you change state a store you be to get some pay traffic but when you set-up a website it is desire being in the most remote location in town and then you undergo to go out to the Main Street and flag everyone drink and enjoin them to come analyse out your store. Also there are a lot of technical and process logistical challenges getting orders in packed and out the door. But there are definitely a lot of advantages of being online over bricks and mortar as well. The primary one being it is a rapidly growing retail bring while offline retail is not showing much growth. Format: Karmaloop has its flagship storefront in Boston. Will Karmaloop expand its storefront presence to other cities? Selkoe: Our store in Boston is there because that is our hometown and people were on us to change state a store we have a lot of parties and events there. We are actually about to closedown for a total gut renovation. A lot of dope streetwear stores have opened in Boston and we be to keep up. I am confident people will be feeling the new design! We undergo had plans at certain times to open more storefronts but they were scrapped because the website business is growing so quickly that we need to put all of our efforts there to act building and making it better. Scaling costs very little online we can ad another $1,000,000 in sales and barely add any more cater. Plus we are branching out into more content and KarmaloopTV com. The future is all online! Format: Recently. Karmaloop teamed up with streetwear kingpin. Crooks & Castles and basically. Crooks & Castles took over front summon presence of Karmaloop. How did the Karmaloop and Crooks & Castles partnership materialize and why is it mutually beneficial? Selkoe: We always felt that Karmaloop was the alter place for Crooks to change online plus we were getting tons of requests for the mark. Dennis and the whole Crooks aggroup know what they are doing; they are innovating the mark it is pure fire. We just kept talking to them about how the brand would do once it dropped on Karmaloop. This is just the beginning for Crooks. We definitely see another streetwear legend being born!But it is not just Crooks some other ill brands like Mighty Healthy aNYthing. CTRL. Lamar & Dauley. Diamond give. Rocksmith. XLarge. Fuct. Kilo Goods. Married to the Mob. Made Me and Rocksmith have dropped or will be dropping on the site this fall. Format: The American economy is come recession and its dollar worth is less than several of the Westernized countries that America trades with. How will the economic droop undergo an cause your industry the streetwear retail industry? Selkoe: Recessions are not good for business that is a no-brainer but the weak dollar has not been a bad thing for us. We undergo a ton of international customers scooping up gear from us because their currency is so strong so it is cheaper for them to buy from Karmaloop. The beauty of the Internet is that you undergo the whole world to sell to. Format: Karmaloop is based in Boston a city that is not known for its ties to the streetwear industry. Are there any disadvantages of being based in Boston opposed to popular streetwear-centric cities like L. A or New York? Selkoe: What Boston is the fashion capital of New England! Alright that isn’t much of a distinction. You are totally alter there are disadvantages. The scene here is slightly bigger than a lot of cities but nothing compared to L. A or New York. There have definitely been obstacles as we are not out there everyday interacting with brands but we are still interacting with brands a lot and we alter the effort to be in New York all the time. It is good we are so change state to New York. Also now that we are established brands will come see us. We are really tight with the brands we change and believe many close friends we hang with them a lot one way or another whether in the Bean or New York. There undergo been a couple of advantages to being in Boston. There are lots of college students to intern and almost all the sneaker companies are here: Puma. Reebok. New fit. Converse. Pro-Keds and Saucony. Adidas has some of their US office here and are moving more operations here. It is important to me that we are doing it here in Boston even with some of the challenges. I evaluate we undergo an impact on Boston’s grow; if we left it would definitely act a lot of people doing cram in the city away. Format: Recently. Karmaloop announced its media component. Karmaloop Television (KLTV). How did the idea for KLTV materialize and what effect will KLTV have on Karmaloop the Internet retailer? Selkoe: Video is just what is happening on the Internet and where it is going. We realized people were going other places to get their video circumscribe and we felt we knew as much or more than what people wanted to see so we decided to set up our own channel and Karmalooptv com was born. Plus there are so many stories and details in streetwear culture. We undergo incredible access to get amazing content that other people can’t; when we call up a Talib Kweli or DMC they know about Karmaloop and are desire. ‘alter I’ll do that.’ The response has been crazy! We are launching in mid-November. We undergo some great people helping us develop content and do interviewers like DJ Clinton Sparks. distil formally of the Beatnuts. Anoma from Complex and Sexy Lou from Kicksclusive. The lineup of interviewees is amazing people desire Gym categorise Heroes. Roxy Cottontail. Slum Village. Kenna. DJ Muggs. Planet Asia. Hieroglyphics. Steve Aoki. Russell Simmons. Shepard Fairey. Mighty Healthy crew. Triko. polish. New Balance Design team to name just a few plus we are looking for more people who might want to do their own show to hit us up. We ordain roll it out to our 1.5 million unique visitors. Format: Karmaloop teamed up with Puma to release a limited edition sneaker called the Karmaloop be. How did this opportunity materialize? Selkoe: We are cool with Barney and Theo the marketing masters at Puma and we hit them up. The shoe got a lot of coverage on Hypebeast. Highsnob. SlamxHype beat page in Kicksclusive.

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Given the choice once people are able to for a longer period of time chances are they would get drowsy and lazy to get up. In these instances people would rather be in bed than get up and go so that they can be able to displace out their normal as part of their daily itinerary. The challenge is does staying in bed if you don’t feel like it healthy for you? We all experience that we be the appropriate be to recharge our bodies but there are limits and reasons as to why there are suggested sleeping hours usually between 6 to 8 hours a day. Aside from taking move in extended rest such as and semi- may eventually take place. advance excessive sleep may more or less ruin the proper sleeping recommended for most people today. So at times when we let our get the better of us better consider the consequences from what we wrongfully perceive as healthful towards our overall health. XHTML: You can use these tags <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote have in mind=""> <code> <em> <i> <strike> <strong> : Copyright © rest Online Magazine - The SLEEP communicate - All about rest. SLEEPING and SLEEPINESS | by | by Member of

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Photojournalist Peter Menzel is passionate about what he views as the sorry express of American life from “red-state” politics and war to junk food-based diets. But he doesn’t just gripe about it. He’s successfully published five photography-based books including “Material World: A Global Family Portrait” and “Hungry Planet: What the World Eats,” to raise awareness of these issues. For “Material World,” published in late 1994. Menzel shot portraits of people worldwide posing in lie of their homes with all of their possessions. Following a similar furnish a decade later. “Hungry Planet” showed people all over the world with the amount of food that they eat in a typical week. The wealthy Westerners with their groaning boards were shown in sharp differentiate with African refugees and their startlingly meager supplies but proud and grateful-seeming countenances. These books do more than showcase Menzel’s photographic skills; they are intended to ameliorate to dress people’s viewpoints and lives. While Menzel is undeniably a certified liberal political activist he’s also an energetic perceptive and astute businessman. He has to be; he couldn’t do his costly socially conscious work if he weren’t fairly sure that his efforts would ultimately alter bottom-line sense. “I know a lot of photographers who don’t undergo the wherewithal to do what they really be to do,” he explains. “Magazines are fun and interesting but I wanted to do something larger that had greater force.” He did and he intends to act on doing so. The immediate future has Menzel continuing to show people what the world eats; his next schedule focuses on what 101 people of different nationalities eat in a hit day. Top: In stark differentiate with the Aboubakars is the Melander family with whom Menzel stayed at their domiciliate in Bargteheide. Germany just a week after visiting the Chadian refugee dwell. The week’s worth of food for the family of four cost US$500. Above: The Ayme family in their kitchen house in Tingo. Ecuador a village located at 11,000 feet in the central Andes. Their one-week food expenditure: US$31.55. “Often the poorer the family the more hospitable they are,” Menzel says. Both images procure © Peter Menzel Menzel is no armchair activist. When he publishes a book he puts his financial health on the line opening home equity lines of credit and maxing out his ascribe cards to give travel and production. In the early 1990s he spent $600,000 of his own money to produce “Material World,” more or less establishing an innovative copy that he set for the rest of his go. So far he’s always ended up in the color but he adds. “we go so far into debt it takes years to recover.” Now he essentially publishes his books himself along with his wife and collaborator. Faith D’Aluisio under their Material World Books imprint. Printing promotion and distribution are handled by an established publisher most recently Ten Speed touch. When a schedule is published the couple gives hundreds of interviews to newspapers magazines communicate and TV stations as come up as free glide lectures at bookstores libraries and pubic schools. Tiring of the financial risk. Menzel says he is trying something new with his latest book project by seeking foundation funding under the auspices of color Earth Alliance a Seattle-based nonprofit that helps photojournalists sight sponsors. “We thought we would give this a shot and see if anyone wants to fling in,” he says. “If not we beat ahead with the tried and tiresome method of self-funding. But the sub-prime fiasco has made borrowing more expensive.” While he spent his own money and mortgaged his home to fund “Material World,” Menzel was also cause to be perceived enough to create a corporation to run the project thereby giving himself some financial protection. Of cover it helps that the domiciliate he collateralized is in California’s lush and highly desirable Napa Valley. Having his own in-house have photo operation with 30 years of images as the backbone of the business doesn’t cause to be perceived either. Indeed. Menzel’s have library is the engine that drives all of his efforts. The in-house operation covers North America only; he works with 12 independent stock agencies to cover the be of the globe. Running have in-house can be quite a bit more profitable than signing with an outside agency but it’s also costly in terms of overhead. “It can be a logistical nightmare a lot of the time,” he says. “First people [used to want] everything the next day via FedEx and now they be it the next hour [via FTP].” But his limited undergo with have agencies in the United States hasn’t been satisfactory so he’s essentially run the North American show himself for almost his entire career. The international nature of his work is also crucial. If you construe magazines anywhere in the world you’ve seen Menzel’s photos. That’s because he aggressively markets each of his major projects globally and has translated his books into many foreign languages. Later this year some images from “Hungry Planet” will appear in a children’s book called “What the World Eats.” This constant promotion is not about vanity. Menzel says; it’s the reality of business. Placing the material everywhere there’s an outlet willing to pay for it helps sell books and earns significant income. in connection with a analyse of Menzel’s books. However if they want to publish his book-related photos in other contexts he demands payment as he would for any of his other bring home the bacon. This is contrary to common practice in book publishing in which the publicity value of having a book’s images appear in other publications is seen as trumping the be for compensation. Many publications simply don’t want to pay but if they ask him to forgo payment. Menzel just says no. Most give in; only one or two interested publications did not end up agreeing to run his “Hungry Planet” material for dilate. Another trick familiar to photographers and for which Menzel has no patience is the rights clutch. A major magazine wanted “Hungry Planet” images and was happy to pay $1,500 for them but wanted the payment to cover publication in absolutely all sister publications. The publication from a major American publishing firm had a lot of sisters all over the world. Menzel again said no—and he prevailed. “If you take what people offer right off the bat you’re doing yourself a disservice,” Menzel says. “But you undergo to undergo something people want.” Menzel says that becoming a successful photojournalist/entrepreneur/social activist is not really that complicated. “Anyone that’s really cause to be perceived and ambitious and really likes to bring home the bacon can be successful but you need some business comprehend,” he says. How did Menzel go by his business acumen? turn stubbornness it seems. “After five or 10 magazines say no to one of my ideas,” he says. “that actually eggs me on all the more to the inform where I’ll almost kill myself to prove that they’re do by.” Insatiable curiosity is another key requirement for success. “It’s fun to figure out how to do things,” Menzel says. “I taught myself lighting using what. I guess is the deconstruction method and I did.

"I will say one thing. We never lost tons of money chasing drink ridiculous online ideas. Right now we undergo two online two Web sites [for Rolling Stone and Us Weekly] that are both profitable and big and well-used. [...] We’re not just trying to replicate the magazines but we’ve got strong brands that stand for something and we are going to create those Web sites up. [..] The Internet. I don’t know that it’s primarily a medium in thesense that it’s primarily a transactional function and media deliverysystem. My formulation is this: Rolling Stone represents a really goodidea of a brand concept whatever you want to label it. Community anyone of those buzzwords. You can integrate the Internet into your brand,if you do it correctly and you can broaden the depth of theexperience. That’s what you can bring to peoples’ lives beyond what’son the printed page--if you do it correctly." and couldn't back up but surprise the skepticism about the online model. Jon defined Jann Wenner in his bind. You can read the beat of the magazine online and the crazy thing if you try and construe it that way is that the ads really pop out while for the actual circumscribe you need to zoom in. I do not buy Rolling Stone but just sampling it online is not enough for me. Especially for an anniversary edition. I'm thinking that the actual magazine would be nice to have. Online journalism is a conversation and a dialogue. [...] the most permanent and influential of all journalism today is in fact,digital. Unlike the journalism in a magazine or newspaper that getsthrown away digital journalism is a permanent searchable record. Youcan access it anywhere around the globe at anytime whether you are athome or bring home the bacon in an airport sit in Warsaw or a cafe in Bangalore. Unlike print it doesn’t disappear with the garbage. You can’t lie abird confine with it. Instead digital journalism lives on forever. Readers are shifting more of their attention online but new media andtraditional publishing balance one another and will act to doso. Newsy blogs mouth stories faster than magazines and change surface dailynewspapers can but you don't get the kind of research and editorialpolish that you do in those outlets. There are cost advantages with an online only change for example an e-zine costs probably under 10% compared to a create publication. Yet shared some thoughts about the advantages of print: When reading a print publication audiences generally pay upwardsof 2 minutes with the medium. The physical handling and thumb-throughexperience contain numerous incentives visually -- be it an ad aphoto a advertise or insert in the magazine. All these sensorystimulations provide reasons to act reading. In fact it has been documented that once the reader has chosen tocommit more time to the print medium the magazine often slows aperson’s heart evaluate down and puts the reader into a more leisurelymode which adds to the benefit advertisers have compared to anet-based publication. Wenner talked about the importance of strong brands that rest for something two brands that rest for green. Chris said that online we’re bombarded with great ideas. The fun part is picking the ones to run with. New Media Editors are the web’s mark managers — they’re responsiblefor keeping their publication moving in a coherent direction. Mybusiness partner. Lisa Cagle and I both come from radio backgrounds. schedule Directors are the people who are the most directly responsiblefor what you comprehend on the air. They decide the talent define themission and be the interests of both their listeners and thestation’s ownership. That’s what New Media Editors do. They change surface haveto check out for payola just desire their radio counterparts. What to make then of those publications that have had strong histories both in print and online? In my conversation with we uncovered a few timeless ingredients for success. I warn you when it comes to this magazine. I'm quite biased -- it totally changed the conversation about business community and learning for me. We desire to go in-depth with our circumscribe and give you all the legs toa story in a way that's not only complementary for the Web butnecessary to exist online. We also offer exclusive stories and Q&Asthat we treat in the same manner as we do our magazine circumscribe. We've always had site contributors in the create of columnists andnow we still have them but we have also added another layer byincluding Expert bloggers on a range of business topics of arouse toour readers -- innovation technology leadership dress management,careers design social responsibility and work/life. These are verypointed and niche focuses for us to give our readers with whatthey're looking for. Likewise we have one of the oldest business networks online. Companyof Friends has been around at least eight years and has given not onlyour readers but anyone with business interests who is also interestedin sharing ideas with like-minded.

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The Upright Citizen’s Brigade Theater in Hollywood threw a very unique CD channel party to celebrate the “Comedy Death Ray” CD (Comedy Central Records). Comedy Death-Ray is the brainchild of creators/performers BJ Porter (Mr. Show) and Scott Aukerman (The Fun clump) which originated in 2002. It is a unique mix of stand-up comedy characters & sketch that carry a sense of fun back to Los Angeles’ alternative comedy scene. The UCB Theater originated in New York. The theater here in Los Angeles is the offspring of the Upright Citizen’s Brigade comedy Troupe. Comedy Central show (now on DVD). Improv educate and now two theaters. The UCB is L. A’s sight to be for improv draw and stand-up comedy all performed in Hollywood by cutting-edge comedic performers. The atmosphere in the UCB is quaint and edgy with its black painted walls and limited seating. The place crackles with show energy as alter up to the measure minute chairs are being added to re-create left & right to conform to seating one-hundred. The size of the theater is also a good cerebrate to try to get reservations in advance and bring home the bacon to the line early especially to avoid sitting five feet from a shave sharp comedian desire Jimmy Pardo or Doug Benson as the people on re-create can become move of the show at any given moment. When you’re in the mood to undergo some big laughs on Tuesday night (8:30) at Comedy Death Ray go to the UCB Theater and see why it’s billed as "The world’s beat comedy night." On any given Tuesday several great comics are at CDR to work out every thing from new material to characters and who knows what else. These are a few examples that give CDR its stellar reputation for the funniest Tuesday night of Comedy in LA. The show is created by Mr. Show veterans Scott Aukerman and BJ carry. Comedy Death Ray is a safe displace for comedians to work out material and that attracts an all-star line up. The list of performer’s are top-notch with the likes of Sara Silverman. David Cross. Patton Oswald. Bob Odenkirk. Greg Proops. Doug Benson to label a few. Surprisingly the price is (comfort) only five-dollars so for little money go see some of the hottest comics around doing what they do beat. The show is known for being hard to get tickets for but now you can experience the show at domiciliate as it’s available on a new Comedy Central Record’s channel and the Comedy Death ray disc is available on their website (). Aukerman and Porter both agree that the CD is a solid representation of the live show adding “The CD is from two-shows one recorded at the UCB in Hollywood and the other at Cobb’s Comedy Club in San Francisco. They were two of our best shows and are a solid representation of the be show.” Aukerman and carry spoke on the importance of Comedy Death Ray and the freedom it brings to comedy and comedians: “It’s a safe place for comedians to work out comedy try new things as come up as serve as an incubator to for their sketch comedy pilot for Fox. “The Right Now show!” starring Maria Bamford. When asked about the importance Comedy Death Ray. Aukerman and Porter both feel that. “It’s a unique mix of stand-up comedy characters & sketch that brings a sense of fun back to Los Angeles’ alternative comedy scene. CDR is the displace to see today’s comedy greats and tomorrow’s innovators play in an ever-changing anything can happen environment.” The Comedy Death Ray CD release is big news for comedy fans and even people that feel they don’t like comedy (but secretly need to a laugh) as the disc is full of top comedians desire David Cross (Mr. Show). Doug Benson (Last Comic Standing). Maria Bamford (The Right Now show). Brian Posehn (Mr. show). Patton Oswalt (King of Queens) and Reno 911 (Comedy Central). These great performer’s and many more fill the Comedy Death Ray CD and alter it great buy for comedy fans or just a great CD to add to any collection. Also for a fun night out tour the UCB as all the shows from “Comedy Death Ray,” to the “Benson Interruption,” are worth seeing at the UCB. If you want to contact the UCB Theater (Hollywood at 5919 Franklin Blvd) to alter reservations call them directly (323-908-8702) or visit UCB or CDR online at and. XHTML: You can use these tags <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <label> <em> <i> <strike> <strong> : What’s exceed than a night out at the theater? How about a night at the theater for remove! Plays411 offers free tickets for two all over town no surprise!

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