Well… Sounds like Kendall Jenner is a spoiled rich brat/awful human being just like the rest of her family. Last Monday 18-year-old Kendall Jenner went full-asshole while dining at New York City’s Mercer Kitchen. Apparently she threw a spoiled rich girl temper tantrum when the restaurant obeyed the law by refusing to serve her booze. Via Page Six:
Jenner was dining with Stephen Baldwin’s daughter, Hailey, and was unhappy when “the staff wouldn’t serve her [booze] because she’s underage,” our spy said.
Her server, Blaine Morris (Betty Nardone on MTV’s “Skins”) ran outside to ask the celebuspawn to pay her bill.
“Kendall took a couple of $20 bills out of her wallet, threw them at the server and walked away, not even counting if it was enough or if it included a tip.”
The waitress who had to chase her down the street while the spawn of Bruce and Kris Jenner threw money at her was an actress who pays the bills waiting tables named Blaine Morris. She tweeted this:
If true, fuck her. Even if she’s “just a dumb kid,” people who are disrespectful to the hard-working people who serve you food deserve no respect. She’s clearly lived a gilded life and never had to bust her ass during a dinner rush just to make a couple of bucks in a restaurant.
So you want to go to BDSM parties in NYC? Understandable. They’re pretty rad. Here’s a run down of some of the city’s finest and what you can expect when you show your kinky ass up.
Pangea is BYOB and doesn’t do that thing where cost is affixed to what genitalia you have. The party is aimed at letting BDSM people try swinging and vice versa (the moniker they’ve coined is “swinky”). Blended BDSM and play (ie sex stuff) areas let you mess around with equipment like confinement cages, St. Andrews crosses, spanking benches, and suspension racks (with expert riggers who will hang you from them)–and then mess around with the people around you. There’s also an all naked lounge/play space, a friendly foot fetish corner, and an ongoing game of naked Twister, if that’s your thing.
Unpretentious, very Queer-friendly, and generally woke as fuck when it comes to consent, Cakehole brings a sort of DIY-ishness/non-hierarchical vibe to the scene. Pretty much anything goes there besides consent violation, barebacking, getting excess fluids on things, or generally being an asshole. Dungeon Monitors make sure people aren’t acting a fool, and it does take place in an actual dungeon, so there’s lots of equipment and toys around (though definitely BYO, when it comes to toys and booze alike.) Also, there is sometimes cake.
The Hacienda Villa is what happens when a hedge fund manager decides to live his truth, buys a building in Bushwick, and fills it with polyamorous kinksters. While that might sound suspect and/or a recipe for the insufferable, the space (which is the actual home to a number of polyamorous and sex-positive “Villans”) is actually really inclusive and down to earth. In addition to sex positive classes and lectures, the Hacienda also hosts a wide range of play parties with specific BDSM and non-BDSM focuses (for instance, an upcoming Kinky Tasting will feature an assemblage of tops offering various sensation experiences, from rope to whipping to spanking to wax, that you can walk through and sample like a kinky buffet.)
Kinky Riot is relatively new, and is geared toward the fetish elements of BDSM and kink–though they welcome both newbies and vets. If you’re trying to get specific with your freakiness, they are definitely accommodating–the party is housed at Pendulum, one of the best-equipped dungeons in the city. There are medical play, fire play, and indoor smoking stations, as well as the standard St Andrews crosses, suspension points, and spanking benches. There’s also a regular play space for all you *squares* out there.
Lust is one part kink/BDSM/play party, one part dinner/culinary experience, and one (large) part hedonistic fever dream. Hosted at House of Yes, Lust may seem a little “Eyes Wide Shut” when you first get there, but if you go with it, it’s worth it. The party features dinner served on people (and, unlike at most sex parties, the food is actually something you’re going to want to eat). After people eat and drink, the party transitions into sex/BDSM mode, which entails various scenes, interactive performances, flogging stations, and ample play area.
As Paddles NYC’s main spanking party, this one is relatively straightforward. If you’ve ever been interested in spanking (giving, receiving, watching, whatever), this is the place. If you can imagine getting hit on the ass by something, you can probably find someone there to hit with/be hit by it. Until 10 PM it’s pure spanking (meaning barehand, paddles, hairbrushes, rulers, straps, and canes), but after 10, you’re welcome to bring out whatever other gear you’ve got stashed away. Oh, and if you dress in a schoolgirl outfit, you get in for $5. bucks.
I will say this right off the bat. If you do not like burners, this party is not for you. That said, Wonderland is pretty unique as part rave, part play/BDSM party. Each month’s party has a theme that requires a costume (and they are very serious about this–they have a “no effort, no entrance” policy.) Wonderland takes place in this huge dojo, so there’s plenty of space for each section (namely, the fuck area, the dance area, and the BDSM area). One thing that’s important to remember is that their accountability system is Buddy-based, meaning you will need to come with one (or two, or three) people you’re comfortable promising to keep in line (and vice versa).
Bedlam is another good choice if you’re looking to explore more equipment-based BDSM/play. They’re the party with all the fun shit you might not get to play with at home. They’ve got prison cells, suspended cages, bondage chairs and tables, and the rest of the general BDSM furniture collection including over ten suspension rigs with expert riggers. Monthly resident players offer safe, sane, but intense scenes in fire play, needle play, wax play, and impact play; onsite DMs and BDSM educators keep everybody informed and safe. $20. flat rate for everybody, and BYOB.
Happy hitting. Or fucking. Or hopping on one foot with a banana up your ass singing Eye of The Tiger backward. Or whatever it is that you’re into. No judgment.
Lana A. is a writer, wanderer, archivist, storyteller, and general word-maker/appreciator. She likes books, whiskey, talking to strangers, and getting weird.
Recently I was honored to have two of my artist books acquired by the Seattle Art Museum’s Dorothy Stimson Bullitt Library and installed in conjunction with the exhibition: Double Exposure: Edward S. Curtis, Marianne Nicholson, Tracey Rector, Will Wilson. The … Continued
I recently had a think piece published in Design Week Portland’s journal—a meditation on making, and failing, and isolation, and feeling like an impostor, and pushing through it all anyway. You can read it here.
These are uncertain and tumultuous times. It’s easy to feel overwhelmed by the current political climate. Like many others, I’ve felt compelled to become more involved in supporting the ideas and causes that matter to me. And so, I’ve begun … Continued
On an autumn day full of gold and blue, I turned off of a downtown Santa Fe street and made my way up a long set of stairs, led by a friend and former teacher who was in town for … Continued
After 2 years of collaboration and experimentation with Brandi Katherine Herrera, the artist book Mutterfarbe is complete! The opening reception was held at 23 Sandy Gallery in Portland, Oregon on September 8th, and included video and sound installation designed by Brandi & multidisciplinary artist Andrew Foster Glei. … Continued
For the past year, I’ve been living in the high desert of New Mexico. This is a remote place. It’s a place where land and sky unfurl, tumbling into the distance, rising and falling in dark and jagged patterns. The … Continued
The writing of Jorge Luis Borges has been a huge source of inspiration for me since I started making artist books. My interests in translation and non-linear narrative are always sparked when I read his stories or essays. Recently I found myself … Continued
I’ve recently finished a new artist book titled ELSEWHERE that includes lenticular images. Here is a sample of one of them! More information to come soon.
Hello from Santa Fe! Broken Cloud Press is finally settling in and recovering from the chaos of the big move from Portland—and the holidays, which followed right on its heels. I look forward to 2016 and creating new work in this beautiful … Continued
These letterpress broadsides were printed in conjunction with Santa Fe poet & artist Colleen Carias’s 2017 exhibition My Mother the Airplane (Catherine Ferguson Gallery, Galisteo NM). Broadsides measure 10 x 14 inches. Letterpress printed from photopolymer plates on pale blue Stonehenge paper. Each broadside features a unique suminagashi print, making this a variable edition. Numbered and signed by the poet.
In the classic stage performance and movie Fiddler On The Roof, we hear Tevye ask Golde this question. (Click here to listen) Do you love me? And when asked the question Golde seems to give Tevye a trivial answer, at one point in fact she tries to dodge the real question with this response:
But Tevye keeps digging deeper for the real answer, “But do you love me?”, and finally at the conclusion of the song Golde says: “I suppose I do” to which Tevye responds, “Then I suppose I love you to.”
Jesus asked Peter that same question. It was perhaps the most important question that Peter would ever have to answer. The question is both simple and yet profound. Jesus also repeated the question over and over digging for the real response. We read in John 21:15-17
“When they had finished breakfast, Jesus said to Simon Peter,”Simon, son of John, do you love me more than these?” He said to him, “Yes, Lord, you know that I love you.” He said to him, “Feed my lambs.” He then said to him a second time, “Simon, son of John, do you love me?” He said to him, “Yes, Lord, you know that I love you.” He said to him, “Tend my sheep.” He said to him the third time, “Simon, son of John, do you love me?” Peter was distressed that he had said to him a third time, “Do you love me?” and he said to him, “Lord, you know everything; you know that I love you.” Jesus said to him, “Feed my sheep.”
Of course we all know that that Jesus asks us that same question. Like Peter this is also the most important question we will ever have to answer. Do we love Him? How do we respond?
In order to answer the question perhaps we need to dig deeper to understand what Jesus means by love. In Mt 22:37-38 we read:
“He said to him, “You shall love the Lord, your God, with all your heart, with all your soul, and with all your mind. This is the greatest and the first commandment.”
Take note that each time after asking Peter the question, “Do you love me”, he also gave Peter a command by telling him to feed His sheep. After Jesus calls us to love Him He gives us a command as well. He calls us to observe His commandments. He said In John 14:21:
The “Ideal Talk” is the very first talk given on a Cursillo weekend. In the Ideal talk we are told that wherever we spend our time, and our thoughts and our money there is our ideal. So I ask you this, is loving Jesus your ideal? Do a quick introspection and check out where you spend your time, thoughts and money. How much time do you spend with Him? Are your thoughts throughout the day focused on Him? Does the way you spend your money reflect a love of Him? Do we in fact keep all of His commands or rather do we pick and choose what commands we want to follow?
In order to love Jesus we must know him. To know him we must spend time in study and prayer. St. Jerome said, “Ignorance of Scripture is ignorance of Christ.” You can’t move forward without knowing Christ. And you can’t really know Christ until you spend time with him. Prayer is conversation with God, listening to God, and just being with God. Prayer is essential to the Christian life. Your soul cannot grow close to Christ if you never spend time with Him in prayer.
If we truly love Jesus with all of our heart, soul and mind we will want to follow Him. In Matthew 16: 24-25 it says:
“Then Jesus said to his disciples, “Whoever wishes to come after me must deny himself, take up his cross, and follow me. For whoever wishes to save his life will lose it, but whoever loses his life for my sake will find it.”
What is it that is getting in our way of a more perfect love of our Lord and Savior Jesus Christ? Let us deny ourselves so that we can begin today to love Him with all of our heart our soul and our mind.
Dear Jesus throughout our day today and throughout this week, please keep the words, “Do you Love Me?” echoing over and over and over in our hearts and minds, and help our response as is evidenced in our actions, be like Peter’s, as we say “yes Lord you know I love you”. Amen.
I was introduced to Broker Buddha by Ryan Hanley's Agency Nation podcast, easily one of the top podcast on insurance and marketing.
RightSignature is a great app for getting docs signed, I've loved using it. Broker Buddha takes that, or Doc U Sign, to the next level. They allow you to be able to pre-populate insurance forms, take out un-needed sections, or repeat (reminds me of TaxAct) forms from a year before but make needed headcount or revenue edits.
Apart from the direct form features themselves, BrokerBuddha will have reminders to your clients for the docs, and integrate to your agency management system to avoid double entries. This technology sounds like it'll help cut out the last generation motions (driving to a customer, entering in data manually) and enable deep connections and more thorough work.
We're in private beta at the moment. Stay tuned for more news from us later this year. Get in touch with cyrus@brokerbuddha.com if you'd like to learn more.
Let’s face it: without you and the spirit of our community, we’re just people surrounded by walls. There’s something about Brooklyn Boulders that sticks with you: the friends, the family, the crushes-turned-lovers, and the shared passion for the challenging fun in rock climbing.
Real connections for people sharing parallel goals, obstacles, and experiences. Sometimes, it’s magic. Sometimes, it’s meant to #bkblove.
The measure of a group show might be given in the quality of the narrative it constructs. According to these terms, a good group show could successfully elaborate, say, contemporary trends in abstraction or the history of figurative painting in England. Traces Everywhere, the current group show at Tracy Williams, takes a humbler route and assembles a set of artists based solely on their use of a paper ground in their work. As a result, some of the exhibition’s twelve artists make rather strange bedfellows. Any resultant friction, however, is more than adequately compensated for by the overall excellence of the show.
Most creative in his use of the paper ground is Ernst Caramelle. He capitalizes on cheap construction paper’s susceptibility to sunlight by exposing partially covered sheets to the sun for varying amounts of time. The result might be an infinite gradient of values, but Caramelle keeps his forms simple. His paperwork is restrained without being cool.
He has excellent company in Tracy Williams’s ground floor gallery where Zipora Fried takes up floor space with a scroll. It runs from the wall to stretch most of the length of the small, rectangular room. A wedge shape form, knit tight in graphite, runs most of its length, its hard-edged rigor a fine foil for the child-like forms of Olav Christopher Jenssen’s colorful pastels. Jenssen sticks to the margins in his drawings and, through some magic many artists miss, activates the untouched paper. In his drawings, linear abstraction seems prone on the edge of representation. He goes so far as to sketch a figure at the left-hand edge of one drawing.
This might seem a good lead-in from the abstraction downstairs to the more figurative work in the upstairs gallery, but the transition winds up a bit jarring. Here, Fiona Banner takes center stage with a horizontal diptych entitled “Black Hawk Down/Plaything II.” It’s a text piece on paper, the garbled verbiage of which seems to describe events in the two films, the former disturbingly violent, the latter sexually lurid. Besides being extravagantly beautiful, this piece has little to do with the above-mentioned Ernst Caramelle, who is also hung in the upstairs hallway, or, for that matter, with Joe Fyfe’s lyrical collages that follow in the second upstairs gallery. Banner’s work relates more clearly to the semiotic strains in Matt Mullican’s work on the opposite wall. His titles, written on the drawings’ faces, are as forceful as the stick figure drawings that accompany them. Mullican’s ever-evolving symbolism also sits comfortably with that of his neighbor in the exhibition, Anne-Marie Schneider. His work is concrete and analytical, hers intuitive and gestural; the two make a fine couple. They underpin, to my eye, the logic of the upstairs arrangement.
It would not do to end without mention of Wes Mills’s abstractions. Of a scale and touch reminiscent of an Indian Tantra drawing, these exquisite drawings marry Richard Tuttle’s playfulness to Joseph Albers geometry to fresh effect. They prove again the old adage, Picasso’s I think, that every great artist is first a great thief. Their scope is a mirror for that of the exhibition’s artists who all merit far greater examination then they’ve been given here.
Nice knitwear... and a great 'tache. Stonnall's tintinabulists from the 70's ring out. Picture kindly supplied by Graham Evans.
Top reader and contributor David Evans recently sent in this great 1970’s picture of Stonnall Handbell ringers. How many do you recognise? Over to David for the details:
This really is ‘a tangle of bells’. I thought your Stonnall readers would like to see this photo of a worthy and very successful group of tintinnabulists in the 1970s. I feel sure that some faces will be instantly recognised by the villagers.
The bells were made by Whitechapel foundry in London, who also made Big Ben- their bells are certainly the world’s best for clarity and purity of tone. Handbell ringing in this country has a wonderful, rich dimension to its history. Just imagine the huge national rallies of the late 1800s… a glimpse at the intricate set competition music of that era gives an idea.
At a national rally in Wembley Conference Centre a few years after this photo was taken, one group actually played the Black and White Rag… on Handbells! Amazing. The biggest handbell is nearly as big and as heavy as a bucket!
Great pic. A friend and I have consulted on this and are convinced that the youngster standing at the left of the second row from the front is Roger Gaul, local farmer’s son. Roger was in our year at Shire Oak school (our first year was 1976) and was the epitome of a gentle giant. Long before any of us had even learned the word puberty, Roger, who towered over us and was twice as broad, was growing a moustache and talking in a hushed baritone.
Of course, given his size he was drafted into the rugby team, though his heart was never in it. On one occasion he asked to be excused a Saturday morning match because he was involved in a cake-baking competition. On another – and this is where my rambling tosh finally becomes vaguely relevant – he was in a handbell-ringing competition.
Being the callous and blinkered youngsters that we were, we all found this hilarious and incomprehensible at the time, though with hindsight he was Shire Oak’s very own renaissance teenager. Whatever Roger’s up to now, I hope he’s well and still, ahem, ploughing his own furrow.
It is, indeed, Roger Gall, one time member of Stonnall’s scout troop. Other people in the picture are, in the centre, Betty Amphlett, and between her and Roger, Betty’s husband Harry. Others seem familiar, but a quarter of a century on….
Indeed the Stonnall Hand-Bell Riners were a great band. Their LP vinal record is a classic.I took their photograph at the Harrogate competitive music festival in 1985 when they won the hand bell class in great style. This photo is included in my book “Hand -Bell Ringing The Living Tradition – RINGING FOR GOLD.to be published summer 2012. Peter Fawcett.
I have a 12 inch 45 rpm vinal record, the record and cover are in good condition, if any one is interested.