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Kool Kat of the Week: Ooh-la-Love! Talloolah Love Embraces Her Inner Geek Girl Power and Finds It Gloriously Glamorous at Dragoncon 2013
Posted on: Aug 27th, 2013 By: Anya99
Hair, makeup and photography by Pin Up Girl Cosmetics.
By Gretchen Jacobsen
Burlesque and pin-up culture have been a part of Dragoncon back to the Bettie Page Contests of the 1990s. But this week's Kool Kat, Talloolah Love, is taking it to another level as producer of DragonCon Burlesque, A Glamour Geek Revue and other titillating events throughout the weekend.
Talloolah has long been a force in Atlanta's burlesque revival, cabaret and Retro scenes. Known across the United States and even internationally, for her burlesque performances, the "Sweetest T in the South" is an instructor at the newly opened Atlanta School of Burlesque. She is also one of the founders of the retro arts organization, The Artifice Club, known for splendid steampunk events extraordinaire including Mechanical Masquerade: The Retropolis, Sunday Aug. 31 at 8:30 p.m. at the Westin Peachtree Plaza, as well as bringing the growing electro-swing movement to Atlanta.
The lovely Ms. Love somehow managed to find time out of her crazy schedule this week to talk to ATLRetro and share a bit about her fascinating career, her perspective on the burlesque revival today, and how she'll be entertaining us this weekend at Dragoncon. We couldn't be happier!
ATLRetro:What drew you to burlesque?
Talloolah Love: I grew up watching musicals, blue comedy, Carol Burnett and THE MUPPET SHOW. My idols were Betty Grable, Rosemary Clooney, Mae West and, of course, Marilyn Monroe. But it all started with belly dancing. I had taken classes in Colorado, but when I moved here, I found the community difficult to move around in as a newcomer. Burlesque embraced me with both arms, and I haven't looked back since.
Who inspires you as a performer?
Besides the aforementioned stars of yesteryear, my modern inspirations are Amber Ray, Immodesty Blaize and Russell Bruner [Editor's note: read our Kool Kat on Russell, the 2012 King of Burlesque here] All three are ferocious on stage. They leave indelible marks of inspiration on my soul when I watch them. Amber and Immodesty both for their fierce stage presence and mind-blowing costumes. Russell for his incredible timing, charisma and musicality. All of them have a devotion to their craft that really takes my breath away.
What is your philosophy as a performer?
To me, it doesn't matter what style of burlesque you do. It doesn't matter what size, shape, color, sex or race you are. As long as what you bring to the stage is polished, cared for, speaks from the heart, and makes you happy to do it, I call it burlesque.
Does it look like they are having fun? Does it look polished? Are you having fun watching them? Burlesque is so subjective. What I love about it is you cannot like that first act, but the second one lives with you for years. All you have to do is wait five minutes, and the channel gets switched to something new and different. You may love it, you may hate it, but wait till you see what's going on in the next five minutes. Variety is the spice of life, you know?
Do you think burlesque is "girl power"?
I do. I grew up being told I wasn't right for one part or the next. Burlesque gives me the power to say, "Oh yeah? Well, I think I was stellar for that show, so I am going to do it and there's no one who can tell me I can't." You have to have some brass balls to get up on stage and own everything you do in spite of the fact that not everyone will love you. Burlesque has given me the ability to say, "Well, I hope some of you liked my form of art." It's how I express myself. When I am on stage, or even rehearsing a number in my unitard, I feel empowered because I make the decisions on my hair, my costume, song, choreography, absolutely everything. Sure I want opinions on things, but I have the final say on what goes on stage. There's something exhilarating and very empowering about that.
You're the one of the founders of The Artifice Club. What is the club all about?
The Artifice Club is a group that DJ Doctor Q and I founded together. It's a coalition of artists who support artists. Besides my need for passion in one's art, I believe in collaboration of minds. In the past, the Club did this by doing shows and displays of peoples' art in hopes for exposure. Now, it is so much more than that. It is a not-for-profit organization that facilitates grants, helps promote, donates back to the community, and holds fundraisers to assist artists in keeping their mind on their creations rather than how they are going to pay for their space, or for a trip to the next festival to show their wares. It is now an organization with a board of directors and will be doing more good on a bigger scale for anyone who applies to the guidelines of the club.
What events are you involved in at Dragoncon?
Thursday Aug. 29, 8:30 p.m. at the Pulse Lounge in the Atlanta Marriott Marquis, I will be strutting out in my bunny ears with the ladies at The Annual Bunny Hutch. This isn't my event, but I am very excited about it.
Friday Aug. 30 8:30 p.m. The Sheraton Atlanta pool will be the location for the Second Annual Pin-ups by the Pool Party. Presiding over the show will be the returning and illustrious New Orleans Jon (see his recent Kool Kat profile here). There will be a pin-up competition and a mermaid competition, so please come see and be seen. I expect it to be quite a spectacle.
Saturday Aug. 31 11:59 p.m. in the Regency Ballroom at the Hyatt Regency Atlanta is DragonCon Burlesque, a Glamor Geek Revue. This is the second year I have been in charge of the show, and I couldn't be more elated! This year has some really out-of-the-park acts. For example, fresh off his world tour the KING of Steampunk Funk, Montague Jacques Fromage, will be the Master of Ceremonies weaving a story of intrigue and sexy interludes throughout the entire show, along with the 2013 Queen of the Southern Fried Burlesque Festival, Lola Lesoleil, and other prestigious award-winning performers. This promises to be the show not to miss!
What is unique about Atlanta's burlesque scene?
I feel like the scene has changed so much in the past ten years. When I first started out, Atlanta was unique because the troupes were really the only way anyone could perform regularly, and there really wasn't a lot of cross-pollination. Each troupe did what they did and that was it. It's so different now. We all work together, and the independents seem to outnumber the troupe members. Personally, I think that is a great thing. It means a patron can go to a show and really not know who they are going to see. I think that a golden age in Atlanta Burlesque really is on the horizon thanks to Ursula Undress and the efforts being made with The Atlanta Burlesque Alliance and The Atlanta School of Burlesque. Plus, with social events like my Atlanta Burlesque and Cabaret Society and Sadie Hawkins' Cougar Crawl, we all have a real good time with each other. Kind of like a burlesque SEX IN THE CITY, only we get high on E-6000 rather than sip cosmos together.
What do you think about Atlanta being named the nerdiest city in America?
Oh, I love it. It's appropriate too. DragonCon is huge, and it's run privately for geeks by geeks. Besides DCon, Atlanta plays host to at least five other major fan fueled conventions. Add to that the vast LARPing communities and bookstores/comic book shops out here, then throw in that Cartoon Network is deep in the heart of Atlanta's arteries, and you have a cultural cornucopia of Nerd-dom! I think it's great.
What are you working on for the future?
I am always looking for what's next. Fascination was an [electro-swing] event the good DoctorQ and I worked on together this past year, and I really loved the format. The venue was just an issue. Venues tend to be the big issue when it comes to producing big shows. My hope is that we find the RIGHT venue and that we start doing one big bang-out show – a little of the Fascination format with a few other big ideas I have cooking on the back-burner. Otherwise, I plan to do a Midwest tour next year. It's still in the planning stages, but once it gets off the ground, you can bet I am going to social network the bajeezus out of it!
Who would you like to perform for or with?
I started to list them all out, but that would take all day. I want to perform with everybody. Then perform with them again because once is never enough!
Where can we see you next?
After Dragoncon, I am going on a much deserved vacation, but I will be back at the beginning of October at The Shelter. I am going to be shaking it up as an airship pirate for this new mash-up music club night called Bootie Atlanta on October 5 – $5 admission before 11 and $10 after that.
Anything you'd like to add?
If you are interested in getting into burlesque, I have a few suggestions for you. If you already have an act and just need a venue to perform it in, I suggest auditioning. There are a lot of troupes and even a production company in Atlanta where you can audition, and then, you're there! The best way to get involved in the Atlanta Burlesque community is to come out to Atlanta Burlesque and Cabaret Society meetings at The Elliott Street Pub in Atlanta. We meet the first Thursday of the month at 8 p.m., we go till 10, and at these meetings, you will meet other burlesque performers, photographers and fans of the local scene, you may even get to catch an act on the stage down there for a workshop on new and established performers. It's a great way to market yourself. Speaking of marketing yourself, you will want to do your research and attend burlesque shows, figure out who the important people are and make sure you let them know you are serious. All of the troupes are very different and have a lot to offer the right person if they fit into their dynamic. If you don't like how one show runs, that's ok, check out another troupe!
If you do not have an act, and just really want to be involved, then I suggest classes at The Atlanta School of Burlesque. Check out their teaching schedule and come to a few classes. There's a fundamentals class for the very very basic, and then beginning choreography classes. I recommend that you look at videos of the different teachers. They are also active performers in the scene; go catch them out at a show. I guarantee you that going up to a teacher after they have performed to tell them that you will be taking a class from them in the near future is better than bringing an apple to them any day!
Category: Kool Kat of the Week | Tags: Amber Ray, Artifice Club, Atlanta, Atlanta Burlesque and Cabaret Society, Atlanta School of Burlesque, Bettie Page Contest, Betty Grable, Bootie Atlanta, Bunny Hutch, burlesque, Cabaret, Carol Burnett, Cartoon Network, Cougar Crawl, DJ Doctor Q, DragonCon, electro-swing, Elliott Street Pub, Fascination, Glamour Geek Revue, Immodesty Blaize, Kool Kat, Kool Kat of the Week, Lola Lesoleil, Mae West, Marilyn Monroe, Mechanical Masquerade, Montague Jacques Fromage, Muppet Show, pin-up, Pin-Ups By the Pool Party, Retro, retropolis, revival, Rosemary Clooney, Russell Bruner, Sadie Hawkins, Southern Fried Burlesque Festival, steampunk, Talloolah Love, The Shelter, ursula undress
Kool Kat of the Week: Dancin' to His Own Boylesque Beat: Russell Bruner Takes Off His Top Hat and More at Southern Fried
Russell Bruner, Reigning King of Burlesque. Photo credit: Insomniac Studios
Stars both of the Burlesque Revival and of classic tease arrive in Atlanta this week for the third annual Southern Fried Burlesque Festival Thurs. March 21-24 at the Wyndham Atlanta Galleria. Read our full festival preview here.
Just a quick glance at the line-up suggests this year will be just as good performance-wise as the first two, if not even better. But we have to admit that we're especially excited to see Portland, Oregon's Russell Bruner, reigning King of Burlesque, at the Free Range Burlesque show on Fri. March 22, after seeing him perform at our own Kool Kat Kitty Love's first Sultry Sunday of the year back in January. Male exotic dancers may be notoriously boring, but dressed in a pin-stripe seersucker suit, top hat and debonair curled moustache, let's just say Russell wasn't just sexy but sassy–really capturing the spirit of the tease in ways that most male dancers simply don't. Of course, that underlines the essential difference between burlesque, or in this case "boylesque," and striptease/exotic dance. Burlesque comes from vaudeville and variety and is all about having fun–which, well, they say gals love a guy with a sense of humor.
A little online research revealed that Bruner is a Vancouver, Washington native and Mormon-raised boy who eschewed football for the cheer squad and comes to burlesque via swing dance (He won a trophy at the Balboa Tempo Marathon in 2006) and a stint as the acrobatic Villain of Portland's Wanderlust Circus. Needless to say, we had to make him Kool Kat of the Week just to find out more about what drew him from a tech career with a dancing hobby to a professional performer, how he developed his unique style, his influences and his act at SFBF!
So you were working for Intel, your job ended and you ran away to join the circus? Is that basically how your career in burlesque/variety got started?
Well, the electrical engineering field wasn't too bad. I enjoyed the work, but kept thinking about how if I was ever going to do performance art, I should do it before I get any older.
Russell Bruner, Master of the Hat and Cane Routine. Photo credit: Adam Scherer.
Just about every lady I know thinks there's nothing duller than watching a Chippendale. You have a completely different look and approach to dancing off your clothes. To what extent do you think that playing against the expected is the key to your success?
You're right, I'm no Chippendale. I cater to the audience as I understand them with what I have to offer. I'm not playing against the idea of the Chippendale; I'm just more turned on by men like Gene Kelly, Tom Waits and Ray Bolger.
Your routines remind me of a cross between Fred Astaire – who also danced with a hat rack in a famous number and you've said is an inspiration -to '20s comedy cinema actors like Buster Keaton or Charlie Chaplin. Did you grow up on classic movies with dance and comedy numbers or when/how did you discover them? How influential are they on your routines?
I didn't see very many movies or see much television growing up, but there was this great movie place that I discovered when I first moved to Portland that's called Movie Madness. They have nearly everything with Fred Astaire, WC Fields, Charlie Chaplin, Buster Keaton, etc. I've since taken advantage of the inspiration found there, and in other sources that have old vaudeville acts film.
Were you at all nervous when you first stripped down? Any advice to men who want to do burlesque but are a little shy about it?
I was nervous about it. Any time I do something in front of an audience for the first time I'm always concerned about things going well. If someone is shy about performing, I think it's normal and shows they too have concern for doing well.
Who are your inspirations, either male or female, classic or revival, in burlesque?
Aside from the mentioned persons of yesteryear, for males, I am inspired by Leapin' Louie Lichtenstein, Armitage Shanks, the Stage Door Johnnies, Burlesquire, Tod Alan, Evil Hate Monkey, Mr. Gorgeous, Waxie Moon, Captain Kidd, Curtis Carlyle, Dahktur Sick, Jonathan Burns, Scott Maxwell, Luther Bangert, Nanda, Neil E Dee, Funny Eddie Dot Com, Bobbie Burlesque, Bellini Twins, Charlie Brown the Juggler, Donny Vomit, Scotty the Blue Bunny, Ben Delacreme, Jasper St. James, the cast of Meatfest in LA, the Boxers are Brief Boylesk, William Batty in Wanderlust Circus, and many others. All those are variety performers and not necessarily burlesque. The women that inspire me is a much longer list, so let me get back to you on that when I have more time to list everyone.
Russell Bruner. Photo credit: PEZ Photo.
Where/when was your favorite performance and what made it so special?
My last performance with the Carnivalesque Tour at State Theater in Falls Church, VA, was a recent favorite of mine. It was special because it was the last show of a great run. I had a lot of fun working with Gilded Lily Burlesque & Co., and I really enjoyed the spacious stage with a nice wood floor. I really enjoy performing on stages with nice wood floors.
Without ruining any surprises, what can you tease us about your performance at SFBF?
I think we've already given away that it involves working a hat rack like Fred Astaire. So other than hanging my hat up, you'll also see some nice cane work.
What's the secret of coiffing the perfect moustache?
I use beeswax. I'm constantly running out of it or losing it as I'm on the road a lot, so I'm constantly using different products that have beeswax in it, and I use a woman's personal trimmer that looks like a vibrator to trim it. And I just futz with it a lot. I stopped making circles at the ends because I can never get them to match so now I do more of a Salvador Dali type of styling.
Finally, what question do you wish someone would ask you to do but they never do? And of course, what's the answer?
I do wish I'd be asked to perform my partner acts more often. It's harder to fit it in the budget for promoters and sometimes the stages are too small, but I enjoy doing partner acts the most. I would love to perform partner dance acts more often on the road.
Category: Kool Kat of the Week | Tags: acrobatic, balboa tempo marathon, beeswax, boylesque, burlesque, Buster Keaton, Carnivalesque Tour, Charlie Chaplin, circus, Gene Kelly, Gilded Lily Burlesque, King of Burlesque, Kitty Love, Kool Kat of the Week, moustache, Movie Madness, Portland, Ray Bolger, Russell Bruner, Salvador Dali, southern fried burlesque fest, State Theater, Sultry Sunday, swing dance, swing dancing, Tom Waits, Wanderlust Circus, WC Fields
Third Time's The Charm: Revival Stars, Legends and Rising Ingenues Add Spice to Southern Fried Burlesque Festival
Stars both of the Burlesque Revival and of classic tease arrive in Atlanta this week for the third annual Southern Fried Burlesque Festival Thurs. March 21-24 at the Wyndham Atlanta Galleria. Bras off to Syrens of the South Productions, and in particular Katherine "Lashe" Neslund, with assistance from Ursula Undress, who had a dazzling dream to start a festival in Atlanta.As a lover of classic burlesque but appreciative of the creativity that revival performers show, ATLRetro has to say that the big evening shows at the first two SFBFs were among the best in Atlanta. We loved the chance to see some of the nation's and Southeast's best, including legends that sizzled stages in the '60s and '70s, without traveling to New York, the West Coast or the Burlesque Hall of Fame. Aspiring performers can take classes taught by these talents on topics ranging from costuming to performance to the history of the art form, as well as shop from a host of vendors selling everything from pasties to vintage items.
Just a quick glance at the line-up suggests this year will be just as good performance-wise, if not even better. First, we have to admit that we're pretty excited to see Portland, Oregon's Russell Bruner, reigning King of Burlesque, after getting a peek at him during our own Kool Kat Kitty Love's first Sultry Sunday of the year back in January. Male exotic dancers may be notoriously boring, but dressed in a pin-stripe seersucker suit, top hat and debonair moustache, let's just say Russell wasn't just sexy but sassy–really capturing the spirit of the tease in ways that most male dancers simply don't. Of course, that underlines the essential difference between burlesque, or in this case "boylesque," and striptease/exotic dance. Burlesque comes from vaudeville and variety and is all about having fun–which, well, they say gals love a guy with a sense of humor.
Russell Bruner
OK, yeah, that was a lot of getting hot and bothered about Russell. SFBF 2013 also features a bevy of lovely ladies. Friday night's all-star Free Range Burlesque will be headlined by Miss Exotic World 2010 Roxi D'lite, who also stars in BURLESQUE ASSASSINS, a Canadian comedy/action indie feature film which will have its Atlanta debut at SFBF. Set in a 1950s Burlesque theatre, it stars top burlesque performers from around the world and and follows a trio of sexy super-spies as they seduce their way within killing distance of a trio of villainy hell bent on global Cold War domination. How can one not want to see a movie whose description provocatively teases: "WITNESS the fatal fan dance of Koko La Douce! BEHOLD the brutal boa striptease of Bombshell Belle! SEE Bourbon Sue, a bad girl with a taste for booze, boys and Rock & Roll. Experience the carnage and the cleavage as the enemies of The Burlesque Assassins discover that when it comes to these women, LOOKS CAN KILL!" Catch the trailer here.
Known for having the "mouth of a sailor" and the "voice of an angel," Cora Vette will be on hand as pageant mistress of ceremonies on Saturday night. She performed for more than one million guests over three years as Tanya in MAMMA MIA! at the Mandalay Bay Hotel and Casino in Las Vegas. She now runs a burlesque company called Black Box Burlesque and also has a troupe of male burlesque performers called Cora Vette's Hot Rods. In fact, she may be one of burlesque's most diverse talents, having also written two burlesque musicals, the critically acclaimed Victorian comic burlesque operetta, LEADVILLE OR BUST! and a pot opera called REEFER MANIA: DENVER'S GONE TO POT.
Cora Vette.
Notorious for her costumes, 2012 Southern Fried Burlesque Queen, Denver's Orchid Mei, returns. She gracefully combines traditional Chinese dance with influences from classic burlesque femme fatales and has performed with the Dresden Dolls. Also back are last year's best group, New Orleans' Slow Burn Burlesque! Atlanta's own lovely Talloolah Love and Knoxville's Kisa Von Teasa will be featured performers at the Southern Scorcher showcase, hosted by Minette Magnifique's Baroness vonSchmalhausen which also includes Fonda Lingue, Ursula Undress and many more talented performers from all over the Southeast!
late night Saturday. SFBF's legends this year are Canada's Judith Stein and Detroit's Toni Elling, who will both be performing Friday. And that's not even counting Atlanta's New Orleans Jon, who emcees on Friday; all the way from Stockholm, Sweden, Adoria Amoria – if you had any doubt that the revival had reached Scandinavia; Knoxville's Sweet Little Psycho Kisa Von Teasa, and many more.
Here's a quick rundown of SFBF daily highlights:
Thursday March 21
SFBF kicks off with a happy hour mixer, which also will double as the monthly meet-up of the Atlanta Burlesque & Cabaret Club from 6 p.m. to 8 p.m., then get a sneak peek at burlesque's future stars at the Just Hatched Newcomers Showcase and watch the Atlanta premiere of BURLESQUE ASSASSINS at 10 pm.
The festival teases into full gear with classes and vendors during the daytime, the Free Range International Showcase headlined by Roxi D'lite and featuring performances by local and national stars at 9 p.m. and an after-party at 11:30 p.m with music by Till Someone Loses An Eye featuring Kool Kat Aileen Loy and Good Golly Svengali.
Judith Stein.
Take classes and shop the vendors' market during the daytime, then see some of the south's and nation's finest compete in the Southern Fried Burlesque Pageant, at 8 p.m. It's hosted by Cora Vette with farewell performances by last year's winners Orchid Mei and New Orleans' Slow Burn Burlesque. Then close out the night with the Southern Scorcher Showcase at 11:30 p.m. featuring Talloolah Love, Kisa Von Teasa, Fonda Lingue, Ursula Undress and many more talented performers from all over the Southeast!
Sunday March 24
Get your final shopping done and catch up with the performers before they leave town.
To purchase advance tickets and peruse the full class and event schedule with performer bios, visit www.southernfriedburlesquefest.com/. And for the latest updates and extras, be sure to friend SFBF on Facebook and follow on Twitter.
All photographs are courtesy of Southern Fried Burlesque Festival and the performers pictured.
Category: Features | Tags: 2013, Adoria Amoria, Aileen Loy, Atlanta, Atlanta Burlesque & Cabaret Club, black box burlesque, boylesque, burlesque assassins, burlesque classes, Burlesque Hall of Fame, burlesque legend, burlesque revival, cora vette, fonda lingue, free range burlesque, hot rods, Judith Stein, just hatched, Katherine Lashe, katherine neslund, King of Burlesque, Kisa Von Teasa, Kitty Love, legends, miss exotic world, New Orleans Jon, orchid mei, roxi d'lite, Russell Bruner, slow burn burlesque, southern fried burlesque fest, southern scorcher, Sultry Sunday, Talloolah Love, Till Someone Loses An Eye, Toni Elling, ursula undress, wyndham atlanta galleria
Kool Kat of the Week: Sexual Healing: Kitty Love Celebrates the Goddess in Every Woman at Monthly Burlesque Sultry Sundays at Red Light Cafe
Posted on: Jan 9th, 2013 By: Anya99
Step right up to Kitty Love's Sultry Sunday at Red Light Cafe. Atlanta finally has a monthly burlesque event again, which means that January is suddenly a lot warmer and less boring. This lovely Kitty is rustling up some mighty fine national and local performers for her next show this Sunday January 13 at 7 p.m. Headlining will be Russell Bruner, the Reigning King of Burlesque from the Burlesque Hall of Fame, plus the exotic Mistress Kali of New Orleans performing fire dance, Ursula Undress, Talloolah Love, recent Kool Kat Stormy Knight, bellydancer Haideh of Jahara Phoenix Dance Company, Madame X and Kitty Love herself. Syrens of the South's Katherine Lashe will be emcee, and also on the bill are song stylings from Lah Lah Luscious and magic from Chad Sanborn.
But what really jazzes us about Sultry Sundays and her other creative burlesque outlet, Cheeky Belles, is Kitty Love 's spiritual side. She reads Tarot cards and has been teaching sacred rituals and goddess mysteries since 2000. Given that she believes that "the healing of the world depends on the celebrating the goddess in every woman," it kind of sounds like a church in celebration of the female body and spirit! Which makes her sound like the purr-fect Kool Kat of the Week!
ATLRetro: What's Kitty Love's Sultry Sunday? How did you get the idea, how does it differ from other local burlesque shows and how often is it going to happen?
Kitty Love's Sultry Sunday is a monthly burlesque show on Second Sundays. I met the owner of the Red Light Cafe who invited me to produce burlesque shows on Sunday nights. Sultry Sunday is different in that it is in a cafe and intended to replace dinner and a movie. We are also an early show and hoping to appeal to people that can't necessarily go out late night or on Friday and Saturday.
How did you personally get into burlesque, and what appeals to you about the art form?
I started as an exotic dancer in 1991. I have always loved to dance. I was not allowed to dance or have any dance training as a child, and stripping was the only dance career that was open to me.
My favorite part of a show is seeing excited women in the audience. I love burlesque because it is so empowering for women and not just the performers. I believe that a woman owning her sexual power in public is a revolutionary act! In 2007, I met Katherine Lashe and Talloolah Love at a burlesque meet-up and soon after attended every burlesque show that I could find. I admired that Syrens of the South was so inclusive and fun, so I joined their first burlesque classes. I made my debut with Syrens of the South in August 2008 as my comedic character Rosie Palms.
Can you name a favorite classic and a favorite contemporary performer who inspires you, and why?
My favorite classic performer is Gypsy Rose Lee because of her wit and sophistication. My favorite contemporary performer is The Lady Miss Vagina Jenkins. She exudes sensuality and power. She makes the audience feel the heat all the way to the back row.
What's the story behind the stage name of Kitty Love?
"Kitty Love" is a metaphor for female pleasure. I am a passionate advocate for female self pleasure. I have coached women as an "orgasm coach," and my first advice is to practice!
This week's performance features Reigning King of Burlesque Russell Bruner, Mistress Kali and an all-star cast of local performers. How do you decide who's on the roster and can you share anything about what they'll be doing?
I do not travel much, so this will be first time seeing Russell live and I am really looking forward to it! It only took one video to convince me that he would create an amazing experience for our audience. Soon after I changed the date to January 13, Mistress Kali contacted me about performing in the show because she would be traveling this way with Russell. That's why I am calling it my "Lucky 13" show. Mistress Kali will be giving up the fire show.
I choose acts according to how they fit together to make a well-balanced show. But it's not easy for me to decide; I'm a Pisces! In this show I am showcasing a lot my local friends that I met through Syrens of the South. For Cheeky Belles shows, which will be back in February, I like to showcase new performers from my classes and independent performers who really bring the heat!
Will you be performing yourself? If yes, without giving too much away, can you give us a tease of what your act will be like?
I will be performing. I hope that my act inspires a lot of female pleasure!
What's your favorite performance to date and why?
My favorite performance to date was at the first Sultry Sunday. I did an improv with Paul Mercer and Regeana Campbell [The Changelings] performing live music. I love performing with Paul Mercer because it is always magical. I made my burlesque stage debut with Paul at an event in 2008.
At the last show, I had a very memorable moment! I love my mind and stepped onto a table and started dancing up there! Then I realized that I didn't have a plan on how to get down. Fortunately, I picked a table full of friends and a gentlemen stood up to help me.
You also have been teaching sacred rituals and goddess mysteries since 2000 and believe that the healing of the world depends on celebrating the goddess in every woman. Have you always been drawn to this way of thinking or was there a specific incident or aha moment?
I have always been unconventional. In 1997, I read a book called APHRODITE'S DAUGHTERS about temple dancers in ancient India. Shortly after that, I dedicated my life to service of the sacred feminine.
How does this spiritual side dovetail with your burlesque?
I feel the most spiritually connected when I am dancing. Dance has been used in worship for thousands of years. I hope that I represent that Goddess energy when I am performing. I try to bring out the inner Goddess of my students so that they can learn to access that energy when they want.
Kitty Love. Photo credit: Kellyn Willey, PinUp Girl Cosmetics.
I teach my students to use the elemental energy in their bodies to enjoy their dancing. There are no choreographed routines or required dance moves. I call it sensual dance because it is about feeling good, not just looking good. My next classes start on January 13 at the Red Light Cafe. To register, contact me at misskittylove@gmail.com.
You also read Tarot cards. What's your philosophy of approaching the cards, and how can someone get a reading from you?
I look at the cards as postcards from God. Everyone is here to learn on their journey, and the cards are like a map of what lessons are coming next and how to best approach them. I do readings at The Shelter for the monthly Ritual parties [the next, themed Gangster Speakeasy, is this Fri. Jan. 11] and at the Georgia Renaissance Festival in the spring. I am also available for private readings by appointment and at special events.
What's next for Kitty Love?
I am developing Cheeky Belles into a community of like-minded performers that use dance as a spiritual expression.
Admission to Kitty Love's Sultry Sunday is $20 at the door or $15 in advance (available on the Red Light Cafe website. And in case you wondered, the Red Light Cafe just got their liquor license!
Editor's Note: The first photo also should be credited to Kellyn Willey, PinUp Girl Cosmetics. All artwork is courtesy of Kitty Love.
Category: Kool Kat of the Week | Tags: Aphrodite's Daughters, bellydancing, burlesque, Burlesque Hall of Fame, Chad Sanborn, Changelings, cheeky belles, fire dance, Gangster Speakeasy, Georgia Renaissance Festival, goddess, Gypsy Rose Lee, Haideh, Jahara Phoenix Dance Company, Katherine Lashe, King of Burlesque, Kitty Love, Lah Lah Luscious, lucky 13, Madame X, magician, Mistress Kali, Paul Mercer, Red Light Cafe, Regeana Campbell, Ritual, Rosie Palms, Russell Bruner, sacred feminine, sacred healing, stormy Knight, Sultry Sunday, Syrens of the South, Talloolah Love, tarot, The Shelter, ursula undress, Vagina Jenkins


text:
package org.apache.skywalking.apm.testcase.zookeeper.controller;

import org.apache.zookeeper.CreateMode;
import org.apache.zookeeper.KeeperException;
import org.apache.zookeeper.WatchedEvent;
import org.apache.zookeeper.Watcher;
import org.apache.zookeeper.ZooDefs;
import org.apache.zookeeper.ZooKeeper;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;
import org.springframework.beans.factory.annotation.Autowired;
import org.springframework.context.annotation.PropertySource;
import org.springframework.stereotype.Controller;
import org.springframework.web.bind.annotation.RequestMapping;
import org.springframework.web.bind.annotation.ResponseBody;

@Controller
@RequestMapping("/case")
@PropertySource("classpath:application.properties")
public class ZookeeperController {
    private static final Logger LOGGER = LoggerFactory.getLogger(ZookeeperController.class);

    @Autowired
    private ZooKeeper zooKeeper;

    @RequestMapping("/zookeeper-case")
    @ResponseBody
    public String zookeeperCase() throws KeeperException, InterruptedException {
        zooKeeper.create("/path", "data".getBytes(), ZooDefs.Ids.OPEN_ACL_UNSAFE, CreateMode.EPHEMERAL);
        zooKeeper.exists("/path", watcher);
        zooKeeper.delete("/path", -1);
        return "Success";
    }

    @RequestMapping("/healthCheck")
    @ResponseBody
    public String healthCheck() {
        return "healthCheck";
    }

    private Watcher watcher = new Watcher() {
        @Override
        public void process(WatchedEvent event) {
            try {
                zooKeeper.exists("/path", this);
            } catch (Exception e) {
                LOGGER.error("error", e);
            }
        }
    };
}

redpajama_set_name: RedPajamaGithub


text:
Consumer inflation lost speed last month
By - The Washington Times - Wednesday, November 16, 2005
Consumer inflation, helped by a retreat in gasoline prices, slowed last month after racing ahead in September at the fastest clip in 25 years. But in a bad sign for the upcoming home heating season, natural gas prices rose sharply.
The Labor Department reported yesterday that consumer prices rose 0.2 percent in October after soaring 1.2 percent in September, when the Gulf Coast hurricanes caused gas prices to spike briefly above $3 per gallon.
The easing of overall inflation pressures reflected a decline in energy costs after a record 12 percent jump in September. Most of that downward pressure came from a 4.5 percent drop in gasoline prices.
However, natural gas, which is used to heat many homes, went the other way. It surged by 14 percent, the biggest monthly increase in nearly four years.
The government already is forecasting that natural gas users can expect to see their bills increase by 48 percent this winter's heating season, or $350 extra for the typical household. People who use home heating oil will see a 32 percent increase, which also averages to $350 more.
Core inflation, which does not include the volatile food and energy areas, was up by 0.2 percent in October after five straight months of 0.1 percent increases. While the acceleration was slight, some analysts worried it might be the start of more widespread inflation pressures.
"There is beginning to be evidence that high energy prices are starting to spill over into the rest of the economy," said Nariman Behravesh, chief economist at Global Insight, a Lexington, Mass., consulting firm.
As evidence of that, analysts noted airline fares were up 1.5 percent in October while hotel and motel rates jumped 3.5 percent and medical care costs rose by 0.5 percent, the fastest pace in seven months.
"Make no mistake about it. Inflation is building in the pipeline," said Richard Yamarone, chief economist at Argus Research in New York. "It is no longer a matter of if, but when, those price pressures will start to affect the general price level."
Analysts concerned about inflation predicted that rising prices will make further interest rate increases the first order of business for Ben Bernanke, whose nomination to succeed Federal Reserve Chairman Alan Greenspan won approval from the Senate Banking Committee yesterday.
The federal funds rate, a key short-term rate, is now at 4 percent. Analysts said they believe the Greenspan Fed will boost it twice more at its December and January meetings and that Mr. Bernanke, who is scheduled to take over Feb. 1, will keep raising the funds rate through the first half of next year, pushing it perhaps as high as 5.5 percent.
The Fed fights inflation by raising the cost of borrowing money, thus slowing economic activity.
"The Fed is quite concerned about letting the inflation genie out of the bottle," Mr. Behravesh said. He predicted that core inflation, which has been running at an annual rate of 2.1 percent so far this year, will rise to 2.5 percent in coming months.
The Fed has been operating for several years with an unofficial target rate for core inflation of between 1 percent and 2 percent.
Mr. Bernanke said at his confirmation hearing Tuesday that he would like to establish an official inflation target for the Fed, but said he would only move after further study and after gaining a consensus of other Fed officials.
So far this year, overall consumer prices have been rising at an annual rate of 4.9 percent as energy prices have shot up at a 37.1 percent rate. Last year, overall prices were up 3.3 percent.
Food costs edged up 0.3 percent in October, a slight acceleration from a 0.2 percent September increase, while clothing costs fell by 0.4 percent and new car prices rose 0.5 percent.
In other economic news, the Commerce Department reported that business inventories rose by 0.5 percent in September, the largest increase in eight months, reflecting in part rising levels of unsold autos.

redpajama_set_name: RedPajamaCommonCrawl


text:
News Subscriber only
Mark Reynier to open Irish whiskey distillery
02 December 2014 By Becky Paskin
Mark Reynier, the former managing director of Bruichladdich Distillery, has bought a former Guinness brewery in Ireland and plans to transform it into an Irish whiskey distillery...
Get unlimited access to spirits business
Subscribe to spirits business


text:
\section{Introduction}

Geographical maps can challenge information search in various ways. For instance, the queries of a search session can focus on multiple data categories and search results should be simultaneously visualized in a map to provide a unified access point to information. However, a large number of items might clutter the map, increasing its visual complexity.
Moreover, geographical results have a geometry that cannot be neglected (e.g., rivers and parks), or that deserves representation in order to make them recognizable in the environment; e.g., consider specific buildings within 3D city maps. Therefore, the visualization cannot be limited to the presentation of markers: geometries should be displayed as well.

In this paper we propose a novel visualization model aimed at addressing the above issues. Our model supports the management of 2D and 3D maps and is characterized as follows:
\begin{itemize}
\item
{\em Stylization and highlighting of search results.}
The model employs vivid colors and stylized shapes to graphically distinguish the searched items from the other elements included in the background layers of the maps, and to represent data types; i.e., the categories to which information items belong; e.g., schools vs. hospitals. Different from Virtual Globes, which mirror reality in a realistic way, we exploit graphical difference to make data evident to the user.
\item
{\em Interactive information filtering through opacity tuning.}
In order to enable the user to emphasize/de-emphasize information in a selective way, we introduce a typed interactive filtering model to modify data visualization without changing the content of the map.
Specifically, we propose transparency sliders for tuning the opacity of the visualized information, by data category. In that way, the user can steer visualization directly on the map, and he or she can decide which data categories have to be de-emphasized, and how much, in order to let the most relevant data emerge without loosing reference to the other search results.
\end{itemize}
These features are aimed at graphically highlighting differences in types of information (using custom icons for different types) and at supporting abstraction, through information filtering; see \cite{Card-etal:99}.

We carried out a laboratory test with users to evaluate our visualization model in the OnToMap Participatory GIS (PGIS) \cite{Ardissono-etal:17b,Ardissono-etal:17d,Voghera-etal:16}. Our main research questions are the following:
\newline
{\em {\bf RQ1:} Does the emphasis of geographical information, on a 2D/3D map, help the user identify the data he or she needs during a Geographical Information search task?}
\newline
{\em {\bf RQ2:} Can opacity tuning help the user focus on relevant information during the analysis of geographical search results, with respect to visualizing data with a fixed opacity, the same for every category?}

The results of our experiments show that emphasizing search results helps people find the information they need. Moreover, opacity tuning is a powerful function to focus map content in order to satisfy detailed information needs; e.g., to temporarily focus on a subset of the search results relevant to the completion of a sub-task.

\section{Background and Related Work}
\label{background}

In \cite{Hu-etal:15}, Hu et al. point out that "empirical studies show that visualization technologies, such as 2D maps and 3D virtual environments, can facilitate participants' learning and understanding in decision-making, especially spatial decision-making, processes"; e.g., see \cite{Al-Kodmany:99,Simpson:01}.
2D and 3D visualization were used in Web Collaborative GIS; e.g., see \cite{Hunter-etal:12}), and \cite{Sun-li:16,Hu-etal:15,Isikdag-Zlatanova:00}. In general, it is not clear whether 3D maps are superior to 2D ones in different application domains. \cite{Laakso-etal:03} reported that, in a tourist and navigation support service for mobile devices, 3D maps had advantages over 2D ones, but they might not provide much benefit for experienced 2D map users.

Concerning map readability and learnability,
Canham and Hegarty \cite{Canham-Hegarty:09} advocate minimality in graphical interface design: "graphics should not display more information than is required for the task at hand".
Earlier, \cite{Allen-etal:06} built on Hegarty's prior work and reported that "individual differences in the ability to learn from simple maps, figures, and diagrams are a product of both domain-specific knowledge and general visual spatial abilities". Moreover, the addition of perceptual detail in a navigation interface (route map) impacts on map learning, depending on the user's spatial abilities \cite{Sanchez-Branaghan:09}.
Recent work investigates the adaptation of information visualization to the user's characteristics \cite{Lalle-etal:17}.

Some works attempt to reduce the complexity of geographical maps through abstraction. E.g., \cite{Wang-etal:14} proposes hierarchical route maps representing less or more detailed views. \cite{Dunlop-etal:07} varies the width of linear geometries (runs of pistes) to highlight the most relevant results. Other works exploit transparency to overlay different types of information on maps \cite{Luz-Masoodian:14}, to combine an attribute setting mechanism with the visualization of a background working area \cite{Harrison-etal:95}, to merge maps in an overlay model \cite{Elias-etal:08}, or to provide translucent layers for map exploration \cite{Lieberman:94}. In comparison, we employ transparency to enable the user to focus maps on subsets of information.

Visual interfaces are adopted in information retrieval to provide overviews \cite{Hornbaek-Hertzum:11} and help the comprehension of information; e.g., \cite{Andrienko-Andrienko:09,Angelini-etal:13}. Some works attempt to improve the presentation of results by displaying them in 3D maps, explicitly representing geographical, temporal, semantic, or other types of relations; e.g., \cite{Deeswe-Kosala:15,Sen-etal:17,Kunkel-etal:17}.
Other works reduce visual complexity through sketching \cite{Wood-etal:12}, which seems to support user engagement.
We employ 2D/3D maps to represent the geographic extension of information, using a symbolic, stylized representation of data categories, in the tradition of Parish Maps and community mapping \cite{Parker:06}.
However, the shapes of our model do not recall handy sketching.

\section{Visualization Model}
\label{model}

Our model assumes that data is semantically modeled in categories representing types of geographic information. The domain conceptualization is based on an OWL ontology representing different dimensions of the territory, among which the artificial and the natural one, and going to the level of detail of specific data types, such as schools, hospitals, etc.; see \cite{Voghera-etal:16,Mauro-Ardissono:17b,Ardissono-etal:16}.

Figure \ref{f:mappa2D} shows our visualization model for 2D maps, applied to the OnToMap PGIS \cite{Ardissono-etal:17d,Ardissono-etal:17b}.
The top of the page includes a textual search bar and the main commands for managing the maps.
The map shows search results in the current bounding box. Geo-data is depicted either as markers (if the geometry is not available) or as shapes (in the opposite case) in vivid colors, in order to enhance item identification; the colors of items depend on their data categories.
The tab in the left portion of the page shows the data categories selected by the user as checkboxes with transparency sliders; as above, colors depend on data categories.
The transparency sliders support the tuning of the opacity of the corresponding data items. For instance, in the figure, the street markets, hospitals, urban parks and bike sharing stations are semi-transparent.

By clicking on a marker, or on the shape of an item, the user can view a table providing details about it; see Figure \ref{f:mappa2D}.

Figure \ref{f:mappa3D} shows the 3D map, which has the same features as the 2D one. Search results are depicted as solid, stylized, vividly colored shapes, and are overlaid on the 3D terrain layer: they cover the corresponding objects, but they are stylistically different for discernibility purposes.

 \begin{figure}
 \includegraphics[width=1\columnwidth]{mappa2Dlogo.png}
 \caption{2D map generated by OnToMap.}
 \label{f:mappa2D}
 \end{figure}

 \begin{figure}
 \includegraphics[width=1\columnwidth]{mappa3Dlogo.png}
 \caption{3D map generated by OnToMap.}
 \label{f:mappa3D}
  \end{figure}

\section{Technical Details}
\label{technical}

The user interface of OnToMap is implemented using HTML5 mark-up language + CSS, and uses two different libraries for embedding dynamic interactive maps: Leaflet (http://leafletjs.com/), that supports 2D visualization based on OpenStreetMap, and Cesium (https://cesiumjs.org/), a JavaScript library for 3D globes offering different maps as a base layer (e.g., Bing, OpenStreetMap, etc.).

Given a search query, the back-end of the application retrieves the results from the semantic layer as a GeoJSON (http://geojson.org/) formatted dataset (a {\em FeatureCollection}), representing a structured set of GeoJSON objects, each one containing geographic coordinates and geometry data of an item belonging to that category. These objects are visualized on the 2D or 3D map elements as polygons (or multi-polygons), lines (or multi-lines) or points, represented with colors and icons depending on their own category.

As the obtained dataset represents a set of two-dimensional geometries, it is necessary to manipulate each of its entities before passing it to the 3D viewer. In particular, a type check (polygon, polyline or billboard) is carried out. Depending on the specific type, the properties values are used to assign the appropriate color to the {\em material} field, a value representing the height in meters to the {\em extruded-Height} field (only for polygons) and a  link to the image in PNG format to be displayed in the marker indicating the point geometry to the image field (only for billboards). At this point, entities can be added to the scene and displayed by the current viewer: focusing on 3D maps (2D visualisation is handled in a similar way using Leaflet), the dataset items will be added to the Cesium viewer and displayed on the map.

The opacity of items, tuned by moving the sliders, is rendered in 2D by  modifying the properties of the CSS. In 3D maps, the color {\em alpha} channel of the item object is updated using the Model-View-ViewModel (MVVM) pattern.

\section{Visualization Model Validation}
\label{experiment}

We evaluated our model in a laboratory test with users, using OnToMap (OTM), in 2D and 3D modalities, and comparing it with Google Maps (GM) 2D and 3D, representing the baselines.
The experiment had a single-factor, within-subjects design. The investigated factor was the role of emphasis (expressed as stylization, vivid colors and through opacity) in map-learning, in 2D and 3D settings.

We asked participants to perform 4 map-learning tasks, each one associated with a different map:
\begin{itemize}
\item
Task1: question answering on a 2D map generated by OTM;
\item
Task2: the same, but on a 3D map generated by OTM;
\item
Task3: the same on a 2D map generated by GM;
\item
Task4: the same on a 3D map generated by GM.
\end{itemize}
In order to compare 2D or 3D maps across applications, we considered each treatment condition as an independent variable and every participant received the 4 treatments. We counterbalanced the order of tasks to minimize the effect of practice and fatigue.

\subsection{Test Subjects}
For the experiment we recruited 54 people (48,1\% females and 51,9\% males) who worked for free, without any reward. They are part of the university staff (teachers and secretaries) and students, as well as people working in the industry or retired.
They have different backgrounds (52.9\% scientific, 15.7\% technical, 19.6\% humanities and linguistics, 5.8\% arts, 5.8\% social sciences and law). Their age is between 20 and 75 years, with a mean age = 32.04.
Most of the participants use geographical maps sometimes, or often, at work, at home, or during their free time. However, they are more used to 2D maps than 3D ones: the 75.9\% of participants declared that they often use 2D maps but only 5.6\% declared the same of 3D maps. Most people rarely (57.4\%) or never (37\%) use 3D maps.

\subsection{The experiment}

One person at a time performed the test, which lasted about 40 minutes.
Participants first used OnToMap and Google Maps for a few minutes, in 2D and in 3D modalities, in order to get acquainted with the two types of maps.
Then, we instructed them about the tasks to be performed. For each task, we provided them with one of the four maps and with the questions to be answered looking at the visualized information.

In order to focus on map-learning, the maps were populated with the data to be analyzed. Information consisted of instances of multiple data categories.
Each map was annotated with an orange line that delimited the geographical area to be analyzed.
Figures \ref{f:mappa2D} and \ref{f:mappa3D} show the OTM maps we used; we omit the GM ones for brevity. The maps differed from one another in bounding box and in the visualized data categories, to prevent learning effects during task execution.

For each task, we asked participants to answer 4 questions (2 for each template below) using the interactive functions of the map:
\begin{enumerate}
\item
How many \textit{category name} (e.g., hospitals) are visualized within the area delimited by the orange line of the map?
\item
Find item {\em Y} (e.g., "Il villaggio di Smile") within the orange line in the map, and visualize detailed information about it.
\end{enumerate}
As objective performance indicators, we measured task completion time and the percentage of correctly answered questions.
As a subjective measure, we analyzed user experience: at the end of each task, participants answered a questionnaire aimed at evaluating the map they had just used; see Table \ref{t:questions}. They provided values in a 7-point Likert scale from 1, the worst value, to 7, the best one.

After the completion of all the tasks, participants filled in a post-test questionnaire eliciting feedback about the best and worst characteristics of OnToMap 2D and 3D.

\begin{table}
\centering
\caption{Questions proposed after the execution of each of the 4 tasks (translated from the Italian language)}
\begin{tabular}{|l|l|l|}
\hline
\textbf{\#} & \textbf{Task} & \textbf{Question} \\ \hline
1 & 1/2/3/4 & Please, rate the ease of use of the map.   \\ \hline
2 & 1/2/3/4 & How easily did you find the information \\
  &         & you were looking for in the map? \\ \hline
3 & 1/2/3/4 & How clear was the visualization \\
  &         & of search results in the map?   \\ \hline
4 & 1/2/3/4 & Please, rate the attractiveness of the map.   \\ \hline
5 & 1/2/3/4 & Please, rate the novelty of the map.   \\ \hline
6 & 1/2 & Please, evaluate the usefulness of the \\
  &     & transparency slider in information filtering. \\ \hline
\end{tabular}
\label{t:questions}
\end{table}

\begin{table}
\centering
\caption{Participants' performance during task execution}
\begin{tabular}{ccccc}
\hline
\multicolumn{1}{|c|}{{\bf Task}} &
\multicolumn{1}{c|}{\textbf{\begin{tabular}[c]{@{}c@{}}Min\\  Time\end{tabular}}} &
\multicolumn{1}{c|}{\textbf{\begin{tabular}[c]{@{}c@{}}Max\\  Time\end{tabular}}} &
\multicolumn{1}{c|}{\textbf{\begin{tabular}[c]{@{}c@{}}Median\\  Time\end{tabular}}} &
\multicolumn{1}{c|}{\textbf{\begin{tabular}[c]{@{}c@{}}Mean \% of \\ correct answers\end{tabular}}}  \\ \hline
\multicolumn{1}{|c|}{\textbf{1: OTM 2D}} & \multicolumn{1}{c|}{2}                                                                          & \multicolumn{1}{c|}{{\bf 238}}
& \multicolumn{1}{c|}{18}                                                                        & \multicolumn{1}{c|}{87.96\%}                     \\ \hline
\multicolumn{1}{|c|}{\textbf{2: OTM 3D}} & \multicolumn{1}{c|}{3}                                                                          & \multicolumn{1}{c|}{170}
& \multicolumn{1}{c|}{{\bf 22}}                                                                        & \multicolumn{1}{c|}{93.52\%}                     \\ \hline
\multicolumn{1}{|c|}{\textbf{3: GM 2D}} & \multicolumn{1}{c|}{2}                                                                          & \multicolumn{1}{c|}{85}
& \multicolumn{1}{c|}{11}                                                                        & \multicolumn{1}{c|}{{\bf 98.61\%}}                     \\ \hline
\multicolumn{1}{|c|}{\textbf{4: GM 3D}} & \multicolumn{1}{c|}{3}                                                                          & \multicolumn{1}{c|}{71}
& \multicolumn{1}{c|}{10}                                                                        & \multicolumn{1}{c|}{87.96\%}                     \\ \hline
\multicolumn{1}{l}{}                 & \multicolumn{1}{l}{}                                                                            & \multicolumn{1}{l}{}
& \multicolumn{1}{l}{}                                                                           & \multicolumn{1}{l}{}
\end{tabular}
\label{t:time_answers}
\end{table}

\section{Evaluation Results}
\label{evaluation}

\subsection{User performance}
\label{userPerformance}

Table \ref{t:time_answers} shows the execution time of each task, in seconds. The last column shows the percentage of correct answers per task.

We think that Task1 and Task2 were longer than the other tasks because the maps generated by OTM provide more details about geographical items; thus, it took more time to read them. Moreover, participants spent time using the transparency sliders to dynamically include and exclude data categories during information search.

Regarding the correct answers, Task3 achieved the best score, probably because (i) the familiarity of people with the icons used by Google Maps helped information finding; (ii) in the OTM 2D map, some data categories were difficult to discern because they were displayed in colors similar to the background layer.

\begin{table}[]
\centering
\caption{Statistics about Task1 and Task3}
\begin{tabular}{|l|c|c|c|c|c|c|}
\hline \hline
\multicolumn{7}{|c|}{\textit{\textbf{Task1 (OTM 2D)}}}                                                                                \\ \hline \hline
\textbf{Question \#} & \textbf{\begin{tabular}[c]{@{}c@{}} 1 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 2 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 3 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 4\end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 5\end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 6\end{tabular}} \\ \hline
\textbf{Mean}     & \underline{\textbf{6.07}}      & \underline{\textbf{5.37}}                                                                                & 5.11                                                                                & \textbf{5.52}                                                                & \textbf{5.57}    & \underline{\textbf{5.96}}                                                                                \\ \hline
\textbf{Variance} & 1.13 & 1.82                                                        & 2.67                                                                                & 1.88                                                                         & 1.00             & 3.17                                                                                \\ \hline
\textbf{St. Dev.} & 1.06               & 1.35                                                                                & 1.63                                                                                & 1.37                                                                         & 7.00             & 1.78                                                                                \\ \hline
\hline

\multicolumn{7}{|c|}{\textit{\textbf{Task3 (GM 2D)}}}                                                                                \\ \hline \hline
\textbf{Question \#} & \textbf{\begin{tabular}[c]{@{}c@{}} 1 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 2 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 3 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 4\end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 5\end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 6\end{tabular}} \\ \hline
\textbf{Mean}     & 5.67               & 4.96                                                                                & \textbf{5.35}                                                                                & 5.19                                                                         & 3.72             & \multicolumn{1}{l|}{}                                                                \\ \hline
\textbf{Variance} & 1.36               & 2.41                                                                                & 2.27                                                                                & 2.53                                                                         & 2.54             & \multicolumn{1}{l|}{}                                                                \\ \hline
\textbf{St. Dev.} & 1.17               & 1.55                                                                                & 1.51                                                                                & 1.59                                                                         & 1.60             & \multicolumn{1}{l|}{}                                                                \\ \hline
\end{tabular}
\label{t:2D}
\end{table}

\begin{table}[]
\caption{Statistics about Task2 and Task4}
\centering
\begin{tabular}{|l|c|c|c|c|c|c|}
\hline \hline
\multicolumn{7}{|c|}{\textit{\textbf{Task2 (OTM 3D)}}}                                                                                \\ \hline \hline
\textbf{Question \#} & \textbf{\begin{tabular}[c]{@{}c@{}} 1 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 2 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 3 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 4\end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 5\end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 6\end{tabular}} \\ \hline
\textbf{Mean}     & \textbf{5.83}      & \textbf{5.28}                                                                                & \underline{\textbf{5.57}}                                                                                & 5.09                                                                         & \underline{\textbf{5.76}}    & 5.67                                                                                \\ \hline
\textbf{Variance} & 1.65               & 2.13                                                                                & 1.80                                                                                & 3.33                                                                         & 2.00             & 4.04                                                                                \\ \hline
\textbf{St. Dev.} & 0.28               & 1.46                                                                                & 1.34                                                                                & 1.83                                                                         & 7.00             & 2.01                                                                                \\ \hline
\hline
\multicolumn{7}{|c|}{\textit{\textbf{Task4 (GM 3D)}}}                                                                                \\ \hline \hline
\textbf{Question \#} & \textbf{\begin{tabular}[c]{@{}c@{}} 1 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 2 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 3 \end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 4\end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 5\end{tabular}} & \textbf{\begin{tabular}[c]{@{}c@{}} 6\end{tabular}} \\ \hline
\textbf{Mean}     & 5.74               & 5.00                                                                                & 5.26                                                                                & \underline{\textbf{5.94}}                                                                & 4.43             & \multicolumn{1}{l|}{}                                                                \\ \hline
\textbf{Variance} & 1.78               & 1.92                                                                                & 2.38                                                                                & 1.22                                                                         & 2.44             & \multicolumn{1}{l|}{}                                                                \\ \hline
\textbf{St. Dev.} & 1.33               & 1.39                                                                                & 1.54                                                                                & 1.11                                                                         & 1.56             & \multicolumn{1}{l|}{}                                                                \\ \hline
\end{tabular}
\label{t:3D}
\end{table}

\subsection{User experience}

Table \ref{t:2D} shows the statistics concerning the answers to the questionnaires proposed after Task1 and Task3 (column titles denote the questions in Table \ref{t:questions}).
In the comparison between OTM 2D and GM 2D, the OTM maps received the best evaluations in terms of ease of use ($\alpha=0.05$), ease of identification of information ($\alpha=0.07$), novelty ($\alpha=0.05$) and attractiveness ($\alpha>0.1$). GM got the highest rating for the clarity of information visualization, in line with the ratio of correct answers in Table \ref{t:time_answers}. We attribute the positive evaluation of the ease to find information in OTM to the transparency sliders, which helped item identification by simplifying the map. In contrast, the lower evaluation of visualization clarity can be related to the above mentioned color issue.

Table \ref{t:3D} shows the results concerning Tasks 2 and 4.
OTM 3D outperformed GM 3D in all the measures but the attractiveness of the map, which was probably challenged by the lower definition of OTM background layer w.r.t. that of GM. However, the only significant results concern attractiveness and novelty ($\alpha=0.05$).

In both tables, the boldface, underlined numbers are the best values in the comparison among all of the four maps. We can see that OTM 2D has the highest ease of use and ease of identification of information;
OTM 3D has the highest clarity of visualization and novelty;
Google Maps 3D wins in attractiveness.

Columns 6 of Tables \ref{t:2D} and \ref{t:3D} show that participants considered the transparency sliders as more useful in the 2D map than in the 3D one. This can be explained by the superior clarity of the 3D map, in which the vivid colors of geographical items were very evident on the background layer, and helped information finding.

The post-test questionnaire confirmed that the best feature of OTM was the information filtering support provided by transparency sliders.
People appreciated the visualization of geometries, especially in 3D, because they help recognizing buildings in the city.
People also liked the representativity of the icons of markers because they help recognizing the type of information on the map.

The worst characteristics of OTM concerned:
(i) The colors used to represent some data categories, which in the 2D maps reduced visibility.
(ii) The fact that information items having small geometries are hard to identify. Some users suggested to combine shapes with markers to enhance visibility and to help understand if buildings having complex geometries include more than one geographic item.
(iii) The low definition of the terrain layer of the 3D maps.

\subsection{Discussion}
The results of the experiment suggest improving some aspects of the OTM user interface, but they positively answer our research questions.
Concerning RQ1, participants preferred the maps in which search results were clearly distinguishable from the background layer; e.g., OTM 3D ones. Moreover, they appreciated the opacity tuning as an information filtering function to support the reduction of visual complexity.
Concerning RQ2, results highlight the importance of transparency sliders to focus on useful data. We noticed that several participants used the sliders to hide irrelevant data categories. However, other people tuned opacity in a smoother way, maintaining semi-transparent data in the map.

\section{Conclusions}
\label{conclusions}

We presented a visualization model for representing Geographical Information search results on 2D/3D maps.
The model stylizes results, using their geometries, and represents them in vivid colors to enhance their discernibility. Moreover, it introduces transparency sliders to modify the opacity of data in the map.
A user test has shown that emphasizing search results through coloring, stylization and opacity tuning helps finding relevant information. Furthermore, transparency sliders are an efficacious tool to focus maps on specific information needs.
This work was funded by projects MIMOSA (``Progetto di Ateneo Torino\_call2014\_L2\_157'', 2015-17), "Ricerca Locale" and "Ricerca Autofinanziata" of the University of Torino.

redpajama_set_name: RedPajamaArXiv


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How we choose to spend the few years we're allotted on Earth—from the interactions we have with each other to the ways we choose to heal or steal from the planet—is a serious decision with measurable consequences. Out actions as individuals determine not just how our day will unfold but how future generations will be able to live. We determine what quality of life out children will be able to play in, what quality of air they will have to breathe, what flora and fauna they will gaze at in wonder.
If an individual takes the time to reflect upon this fact and proceeds to actually do something about it, their perspectives on life and living from then on will be different. Unable to continue ignoring the impact of one's own action, cognizant individuals can choose to apply a socio-political evaluation to everything they participate in. How one chooses to feed themself, to fulfill themself, to survive and guide their own life, is a choice that, from a critical standpoint, should not be taken lightly.
When we choose to affect the world around us directly, we begin to live our lives as if they actually mattered. We begin to realize the potential every person has for making this world a better place to live and thrive in. We begin to grow.
Regrowing potatoes in one season.
Adam Buchler wrote: I am in zone 7 and I was told to plant potatoes in early May around the time dandelions bloom. My potatoes will be harvested summer/fall as I planted an early, mid, and late variety. I am curious about how you are harvesting in March? what zone are you?
I didn't harvest them in March, that is when I planted them, towards the end of the month. They are a pretty quick growing variety and were flowering by the end of May. The tops haven't all died back yet, I just dug some up early to munch on and do this dormancy/chitting experiment. I'm in Zone 7, too, near Asheville, NC.
I'm a big fan of chopping and dropping. It just makes sense to keep biomass directly where it comes from (providing it isn't diseased or full of unwanted seeds). But of course as soon as it's down, it begins to dry out. Now in my mind, I mostly associate GREEN biomass with NITROGEN, and BROWN biomass with CARBON. I may not completely or clearly understand how this works--and please correct me if I'm wrong--but I get the impression that by letting the fresh material dry out on the surface, I am loosing both nitrogen and moisture. So what I have begun to do in my garden is simply lift the existing mat of dry mulch material and just tuck the new green stuff underneath it. This allows it to stay moist and green, more like a green manure than a dry mulch.
To test the efficacy of my little experiment, I have left some spots with their existing mulch layer (no additional material) and some spots normally chop and dropped on top. Whether or not I am correct about saving nitrogen, I have to say it is working well for me. The control areas do their expected part in conserving moisture and suppressing weeds of course, but not much else can be said. However where I have chopped and tucked, the soil is more moist, there is a good deal of insect activitiy, and a few worms have ventured out above the surface of the soil on a 90 degree day to have a munch.
For what it is worth, this is a new garden as of this year, so there is a clear division between the soil surface and the straw & leaf mulch. Also this is also not a forest garden, but some beds turned out of a yard in full sunlight all day. I don't know if tucking would make much difference in a place with more established soils or more perennial cover.
I just harvested some Purple Majesty potatoes I planted back in March, and I want to throw some of them back in the ground and get another crop in this summer. Reading Sustainable Market Gardening (Pam Dawling), I discovered they typically need a 6 to 8 week dormancy period before they will sprout. To speed this up, she recommends refrigerating them for 16 days, then pre-sprouting them in light for 2 weeks with apples or onions for ethylene gas.
I'm excited to try this, but I'm curious if anyone has tried this method and has thoughts on their results? Has anyone been able to regrow potatoes in one season by just tossing them back in the ground?
Sometimes remembering that is about all that gets me through the day.
I'm inclined to agree with John. I think the beauty in these systems is that they evolve. Permaculture (to me) is a rejection of our cultural programming towards structure and control over nature. The important thing is that you are conscious of the change you would like to see, and that you are doing and observing.
That being said, not everybody is a big-picture sort of person. I'm curious what your situation is. How do you currently use your space? What sorts of projects would you like to see happen? Are you interested in developing a food forest, raising ducks, harvesting rainwater, building a rocket mass stove, etc? What do you feel is making organization difficult for you?
The George Washington Carver Edible Park in Asheville, North Carolina. It's been around for over a decade. It could use a little TLC, but it's cool spot tucked just a few minutes away from the bustling downtown area.
I know there had been a kickstarter campaign to fund an edible park in Lincoln, NE as well, but I don't think that ever got off the ground, which is a shame. I'm guessing that's because of the surprisingly high pricetag they were shooting for.
I'm going to be doing some work on a friend's property, and one issue that I need to tackle is erosion control.
This is in the mountains of Western North Carolina, so the soil is pretty much just acidic red clay. This portion in particular sits at about a 60 degree angle and was disturbed in a previous building project, leaving it unstable. At the moment I'm considering putting in rhododendron and mountain mint, but I'd like to find a few other native perennials that could help stabilize this part. Any thoughts?
I'm reading up on fruit trees in preparation to put my first ones in the ground this coming spring. There is so much to learn! Ploidy, chilling hours, rootstock characteristics. I think I'm catching on, but one thing I'm not sure of is what exactly flowering groups refer to.
Are flowering groups distinguished by a distinct (calendar specific) period when they come into flower, or are the trees sensitive to changes in the temperature, daylight hours, etc? Or something else entirely?
Any other knowledge nuggets for a newbie would be appreciated!


Isla's school was closed for a field trip and Elliot had the day off. So we let Isla choose- school field trip to the zoo or family trip to the aquarium (and maybe we tipped the balance a tiny bit by adding things like "ice cream for afternoon snack" to our pitch). She "chose" the aquarium! Aside from the weather (tropical storm, so they say, but sure seemed more like a typhoon to us island-newbies), we had a fun day. Aquarium, fruit land (similar to pineapple world, just slightly less irritating), and dinner at a stunning location, appropriately named Pizza in the Sky (or Kajinho in Japanese).
You all always seem to have such a good time. I think Isla's decision to go to the aquarium was a smart one-the whole family got to be together and the ice cream looked scrumptious! I can't wait to share this with Poppy.
Asher's face in the second to last pic might be the cutest thing ever.


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text:
← EvesdroPete
Welcome To The Jumble →
Autographic content
The space-time continuum is threatened with destruction by today's strip, in which one of TB's author avatars heaps unsolicited praise on another of TB's author avatars. Not that comic strips cannot involve journalism, but wouldn't a comic strip creator be a more apt guest speaker in an art class? Oh that's right, Westview High cut art class in 2013 after failing to pass a school levy in 2012 despite the best efforts of the hairless man we all know and love as Arthur "Art" Teacher. Maybe Rache can bring it back when she gets her teaching certificate…
I guess I'll take a week of TB patting himself on the back for being born over a week of Buck and Linda, but only because no one offered me a week of stepping on Legos with my bare feet.
Tagged as author avatar, Batton Thomas, Cayla, Cayla's pink shirt, Cayla's pink turtleneck, insufferability, Les, Les' yellow shirt, Les. Cayla, nostalgia, people who are funnier than Tom Batiuk, potted plants in strange places, Scapegoat Mascot, Three O'Clock High, Westview H.S., Westview High School
34 responses to "Autographic content"
Between you and me BTS, I'll take the legos.
I don't have the urge to fruitlessly psychoanalyze plastic blocks.
Yeah, all sorts of various fantasy worlds and sub-universes are colliding here, most notably BatYam's crazy notion that he is in fact a "writer" and a "storyteller" which is way more believable in fantasy form than it is here on Earth, as we don't have decades worth of undeniable proof that "Three O'Clock High" blows. I mean I'm sure it does, I just can't prove it like I can with FW.
Batton Thomas? Wow. Now that's a really inconspicuous author avatar. It's called autobiographic writing!
As self-images go, Batton Thomas is an even sadder version of Batiuk than Les Moore.
Oh, splendid. We're in for at least a week of what Todd had to endure when he struggled to get Funky Winkerbean into print. Nit-picking editors! Beady-eyed newspaper exectives! We're talking Atomik-Komix epik here!
In Star Trek VI: The Undiscovered Country, Captain Kirk kisses a sexy alien. She turns out to be a shapeshifter, and later morphs into a duplicate of Captain Kirk. The alien tells Kirk that it must have been his lifelong ambition to make out with himself. Something just reminded me of this scene, for some reason.
Your sudden urge to kick Batiuk in the knees?
Well, not everyone keeps their genitals in the same place.
I was thinking more like TOS episode with the black and white cookie face guys battling it out.
Not only has Les left his students to come futz around the school office, he's brought in someone else to teach his classes today. Pete, Durwood, Gil Thorp are jealous…
Doghouse Reilly
"Mr. Thomas, I hope you'll excuse the ignorance of this woman whom I've married–even though she's nothing like my late first wife, the beloved Dead St. Lisa, who passed away–in not instantly recognizing you for the artistic legend you are!"
Truly, what could a comic strip creator say to high school journalism students? The kids are learning writing and editorial skills, working with photography, graphic design and layout, navigating administrative censorship hurdles, and, most importantly (as I recall from personal experience), getting local merchants and businesses to buy ads. Mr. Batton Ball offers none of those things, and will probably toss out unfunny anecdotes borrowed from "The Front Page."
If "Three O'Clock High" is supposed to be a successful strip, Batton most likely deals only with the syndicate that distributes his work, not directly with individual newspapers. And seeing how that industry has been in a death spiral for the last two decades and that the comics are among the first things papers cut from their budget, his comments will probably be just a tad outdated.
It frankly does surprise me just a bit, but it sure looks like we have to add "how newspaper comic strips work" to the list of things about which Battyuk is clueless!
Does this mean that Les Moore has met his maker? Bring on the fire and brimstone!
The Nelson Puppet
This is one ELABORATE circle jerk.
More self-referential nonsense at the expense of the snarker-troll fungus people. Loverly.
Three O'Clock High is actually a clever and relevant title that came to Todd about forty-eight years too late. Why didn't Less tell Caucayla about Batton's visit before now?
Meanwhile, today I'll have a 4:20 high.
I can't find the reference in TomBa's blog, but I think 3 o'clock High was a name he was considering when FW launched.
I wonder what prompted this arc. What pearls of wisdom will Batton Thomas impart to Les' captive audience?
Three O'clock High was one of the original strip names TB considered, along with Winkerbean and Co. and the eventual title. Here is the reference from TB's blog, where he sounds more excited about his syndication contract than his marriage…
AmigoLupus
I'm late to it, but Batiuk trying to force some romance between Buck and Linda was so badly thought out. For one thing, Linda never told anyone other than Les that Bull killed himself and she hid that fact to keep the insurance money. Linda didn't tell the one guy who remembers Bull and is there to be his friend and help her with stuff, no, she told it to the jackass who made a disparaging comment about her husband forever being a bully in his own funeral. Add to that how Linda's reasoning for not dating him is because she doesn't want to be "saddled with the burden" of looking after someone with CTE all over again, and she just strikes me as a completely repulsive person.
Buck might have been inappropriate in how he handled asking Linda if there could be something more between them, but her certainly dodged a bullet there when she turned him down.
Something else bothered me about Linda's explanation for not dating Buck: It suggested that she owed him something. If Linda doesn't want a relationship with Buck, it's her right not to have one. But the strip made her explain her rejection of him.
Buck was doing what every other man in Westview did: perform small favors for a woman, and this creates a debt that must be repaid in romance and/or sex. It's how Les got Lisa, and we all know that's the greatest love story in human history. I know I've said it before, but Funky WInkerbean has a lot of disturbing Incel/MRA overtones.
justifiable
Buck is just the latest in long list of toxic "nice guys" – men who believe basic social transactions are currency for sex, and if they put enough coins in the human decency slot, they're supposed to be rewarded with a payout.
Basically: "I watered your plants when you were out of town, so now you need to fuck me." They usually become enraged when their entitled expectations run up against reality, because how dare women?
The kinder explanation would be that Linda was genuinely attracted to Buck, but couldn't handle dealing with another disabled relationship. Not being able to overlook a disability in someone you're otherwise compatible with could make you feel guilty. If I had to guess, I'm thinking that is what we were supposed to be getting from the earlier strips this week.
There are some women in Funky that just get handed men because they 'deserve' them, like Cindy. Batiuk's sexism really comes out in just focusing on the male character's more. He hands everyone a barely sketched out significant other as a pity present. Except for Summer…because she is forever obscured by the castle of gayness.
And where's Buck's responsibility in all this? He's well aware he has "probable CTE" – if he really cares for Linda, why is he instantly trying to shove a shit sandwich of another bout of degenerative-disease caregiving in her face as soon as Bull's effects are out of the house? Oh, I forgot – in Todd's universe women only exist to prop up men, and if they don't fulfill their purpose, they deserve to feel lousy about it and then [presumably] die alone.
Buck showed up unannounced, supposedly looking to expiate his sins of tackling her late husband into CTE because this is what jocks do for other jocks, and and we jocks all need to keep busy yadda yadda – and then aggressively macked on her in the car after lunch, out of nowhere. Todd still doesn't get that this isn't weally womantic, but creepy in the extreme, as it looks as if Buck has been manipulating and grooming Linda all these past months so he'll have a soft place to fall when he starts to lose it. If Linda's attracted to Buck, it's the first we've heard of it, which is par for the course. Todd hasn't put any further effort into her character development than when she was first introduced. She was a cipher then, she's a cipher now.
Buck Futt and Linda had less chemistry than the Westview "science" class.
Whoa – why does Linda owe Buck anything? After effectively being on bomb disposal duty 24/7 looking after aggressive mood-swing Bull, why is she "a completely repulsive person" for not wanting to sign up for another tour of duty with the guy who showed up unannounced and volunteered to move her late husband's shit out of the house – presumably with the ulterior motive of replacing it with his own?
If there's a "completely repulsive person" here, it's the guy who's been pretending to be a friend to her husband all these months while concealing a completely self-serving motivation of his own. BTW, Less is Linda's "work husband" – she was confiding in him from the time Bull first started exhibiting sudden bouts of rage, so her telling him about Bull committing suicide isn't inexplicable.
Nah, I'm not saying Linda owes buck anything. The reason I thought she's repulsive is because Batiuk writes his grieving characters to be the most selfish assholes possible (see: Les)
A few months ago, we've seen Linda go on the support forums for the wives of football players with CTE. She spent half of the time making crappy jokes about Bull's condition, and the other half having the other wives give her support, only for Linda to go "that's nice, but how does that help ME???".
And then we have Bull's suicide and funeral. It's a complete mess of a storyline, partly because of Batiuk's utter contempt for Bull that he cut that supposed 10-week storyline into half, and partly because it's just another set-up for people to worship Les' ego. So we barely saw how Linda was doing during the funeral, or get her perspective on what happened, or even how she and her kid were dealing with the loss. What we did get was Linda admitting to Les that she hid the fact that he killed himself, so everyone else thought it was just an accident.
So with that in mind, I thought that Linda saying she didn't want to go through caring for someone with CTE again sounded less like "this is my legitimate reason for not wanting to date Buck" and more "Oh noooo, this will be a complete pain for ME! Woe is me!"
They used to say if he does not stop this he'll go blind.
Wow. This is pathological.
Why bother with "Battom Thomas"? Why not just say "Tom Batiuk–he does that strip about a cranky busdriver, the one whose name I can never recall."
We're about to witness a wonder of nature–a comic strip will commence climbing up its own ass.
I meant to attribute that bit of narration to Sir David Attenborough. It's called writing!
The saddest part is that because we know that he works about a year in advance we can't blame this "guest appearance" on COVID19-Lockdown-induced cabin fever.
matt2amy
I'm a bit out of touch.
Do today's teenagers read newspaper comic strips?
As Battyuk (unamusingly) depicted in an FW strip earlier this year, today's teenagers don't even know what a newspaper is, let alone a newspaper comic strip.
When the hell did Lester start teaching journalism? When did he ever work as one? Why the fuckin' hell would you ever invite a syndicated cartoonist to a journalism class? What benefit could he ever provide? What ever happened to the Lisa movie and that perfect script that Lester "Lord of the Late" Moore was supposed to get ready? How does Cayla have 20 years in the public schools system and she's still a receptionist?