1 1/2 cup chocolate chips melted in microwave
2 cups drained and rinsed garbonzo beans (chick peas)
1 cup sugar
1/2 teaspoon baking powder
4 eggs
Place eggs in a blender. Add chick peas and puree til smooth. Add sugar, melted chocolate chips and baking powder. Pour into 8 or 9 inch greased pan. Bake for 35-40 min.
Yes, it's this easy.
Thursday, June 4, 2009
Thursday, May 7, 2009
Favorite Reads of 2008 (Reading Group Guides)
1. Water for Elephants by Sara Gruen (Algonquin)
2. Loving Frank by Nancy Horan (Ballantine Books)
3. Three Cups of Tea by Greg Mortenson and David Oliver Relin (Penguin Books)
4. The Glass Castle by Jeannette Walls (Scribner)
5. A Thousand Splendid Suns by Khaled Hosseini (Riverhead Trade)
6. The Book Thief by Marcus Zusak (Knopf Books for Young Readers)
7. Eat, Pray, Love by Elizabeth Gilbert (Penguin Books)
8. The Shack by William P. Young (Windblown Media)
9. Snow Flower and the Secret Fan by Lisa See (Random House Trade)
10. The Guernsey Literary and Potato Peel Pie Society by Mary Ann Shaffer and Annie Barrows (The Dial Press)
2. Loving Frank by Nancy Horan (Ballantine Books)
3. Three Cups of Tea by Greg Mortenson and David Oliver Relin (Penguin Books)
4. The Glass Castle by Jeannette Walls (Scribner)
5. A Thousand Splendid Suns by Khaled Hosseini (Riverhead Trade)
6. The Book Thief by Marcus Zusak (Knopf Books for Young Readers)
7. Eat, Pray, Love by Elizabeth Gilbert (Penguin Books)
8. The Shack by William P. Young (Windblown Media)
9. Snow Flower and the Secret Fan by Lisa See (Random House Trade)
10. The Guernsey Literary and Potato Peel Pie Society by Mary Ann Shaffer and Annie Barrows (The Dial Press)
Thursday, April 9, 2009
Magician's Assistants Throughout History
Assistants have been part of magic shows for most of the recorded history of magic as a performance art. Despite their often crucial role in magic acts they, and the work they do, have suffered from negative public perceptions. The assistant's role has often been stereotyped as consisting of menial tasks and having the primary purpose of adding a visually aesthetic element to an act. This is associated with the perception that assistants are usually female and often dressed in revealing costumes. Although there have been plenty of instances of male assistants throughout the history of magic, the glamorous female stereotype has made a particular impact because female assistants were a prominent feature of illusion shows during the 20th century, when magic began to reach huge new audiences, first through the burgeoning of live vaudeville and variety shows and then through television. The glamorous female assistant has become an iconic image that continues in modern media and literature
A notable feature of the glamorous female assistant iconography is the frequency with which assistants play the role of "victim" in illusions where they are tied up, apparently cut with blades, penetrated with spikes or swords or otherwise tortured or imperiled. Examples include Aztec Lady, Devil's Torture Chamber, Mismade Girl, .
Radium Girl, Zig Zag Girl, and, perhaps most famous of all, Sawing a woman in half.[1 Noted illusion designer and historian Jim Steinmeyer has identified the advent of the sawing illusion as a turning point in magic history and a moment which, more than any other, marks the origin of the cliche of the female assistant as victim. It is generally agreed that a "sawing" type illusions was first performed publicly by P.T. Selbit in January 1921. His presentations of what he titled "Sawing through a woman" made an enormous impact and greatly affected public expectations of stage magic for decades afterwards. Steinmeyer has explained:
"Before Selbit's illusion, it was not a cliche that pretty ladies were teased and tortured by magicians. Since the days of Robert-Houdin, both men and women were used as the subjects for magic illusions. Victorian gowns often made it unrealistic for a lady to take part in an illusion or be pressed into a tight space."
Changes in fashion and great social upheavals during the first decades of the 20th century made Selbit's choice of "victim" both practical and popular. Steinmeyer notes: "During the 1900s, as a shapely leg became not only acceptable on the stage but admired, it was fashionable to perform magic with a cast of attractive ladies".
That was only part of the story however. The trauma of war had helped to desensitize the public to violence and the emancipation of women had changed attitudes to them. Audiences were also tiring of the gentler forms of magic represented by the likes of John Nevil Maskelyne. It took something more shocking, such as the horrific productions of the Grand Guignol theatre, to cause a sensation in this age.
Steinmenyer concludes that: "...beyond practical concerns, the image of the woman in peril became a specific fashion in entertainment".
In contrast to the publicity given to Selbit, the names of the assistants who made this influential act work have received almost no publicity. There were actually two premieres of the illusion. Selbit first presented it to an audience in December 1920, however on that occasion the spectators were a small group of invited theatrical agents and promoters who Selbit hoped would book the act. The public premiere then occurred on 17 January 1921 at the Finsbury Park Empire music hall after Selbit was hired by the Moss Empire group. According to Steinmeyer, the assistant at the 1920 preview was Jan Glenrose, Selbit's main assistant at that time. The public performances featured principal assistant Betty Barker.
Many of these illusions, together with others that involve appearances, disappearances or escapes, involve assistants being shut in boxes of one sort or another. This has led to the nickname "box jumper" which, although it could be applied to a male assistant, is usually inferred to be a female assistant. One reason that has been given for the predominance of women in this role is that the illusions sometimes require an assistant that can fit into cramped spaces and women have an advantage in that they tend to be smaller and more limber than men.
Feminist critics have taken the above aspects of illusions and performances as evidence to support claims that magic is misogynistic, but this view has been contested by some magicians and assistants. However, a few prominent assistants have gone on record stating that they deserve better recognition for their efforts and achievements (see "Documentaries" below).
Some modern magic acts have preserved the glamourous elements of the female assistant iconography while attempting to give full recognition to female performers by billing women as equal partners in acts.
A notable example is the husband and wife act The Pendragons, for which Charlotte Pendragon has worn very revealing costumes and done traditional "box jumping" roles yet receives equal billing with her husband and has been honoured in her own right as a top professional magician. Another example, although with more modest and conservative costuming, is Kristen Johnson, who receives equal billing with her husband Kevin Ridgeway when they perform together as a magic act and often stars in her own right as an escape artist.
History and critiques of magician's assistants
Assistants have been part of magic shows for most of the recorded history of magic as a performance art. Despite their often crucial role in magic acts they, and the work they do, have suffered from negative public perceptions. The assistant's role has often been stereotyped as consisting of menial tasks and having the primary purpose of adding a visually aesthetic element to an act. This is associated with the perception that assistants are usually female and often dressed in revealing costumes. Although there have been plenty of instances of male assistants throughout the history of magic, the glamorous female stereotype has made a particular impact because female assistants were a prominent feature of illusion shows during the 20th century, when magic began to reach huge new audiences, first through the burgeoning of live vaudeville and variety shows and then through television. The glamorous female assistant has become an iconic image that continues in modern media and literature.[2][1]
A notable feature of the glamorous female assistant iconography is the frequency with which assistants play the role of "victim" in illusions where they are tied up, apparently cut with blades, penetrated with spikes or swords or otherwise tortured or imperiled. Examples include Aztec Lady, Devil's Torture Chamber, Mismade Girl, Radium Girl, Zig Zag Girl, and, perhaps most famous of all, Sawing a woman in half. Noted illusion designer and historian Jim Steinmeyer has identified the advent of the sawing illusion as a turning point in magic history and a moment which, more than any other, marks the origin of the cliche of the female assistant as victim. It is generally agreed that a "sawing" type illusions was first performed publicly by P.T. Selbit in January 1921. His presentations of what he titled "Sawing through a woman" made an enormous impact and greatly affected public expectations of stage magic for decades afterwards. Steinmeyer has explained:[4]
"Before Selbit's illusion, it was not a cliche that pretty ladies were teased and tortured by magicians. Since the days of Robert-Houdin, both men and women were used as the subjects for magic illusions. Victorian gowns often made it unrealistic for a lady to take part in an illusion or be pressed into a tight space."[5]
Changes in fashion and great social upheavals during the first decades of the 20th century made Selbit's choice of "victim" both practical and popular. Steinmeyer notes: "During the 1900s, as a shapely leg became not only acceptable on the stage but admired, it was fashionable to perform magic with a cast of attractive ladies".[5]
That was only part of the story however. The trauma of war had helped to desensitize the public to violence and the emancipation of women had changed attitudes to them. Audiences were also tiring of the gentler forms of magic represented by the likes of John Nevil Maskelyne. It took something more shocking, such as the horrific productions of the Grand Guignol theatre, to cause a sensation in this age. Steinmenyer concludes that: "...beyond practical concerns, the image of the woman in peril became a specific fashion in entertainment".[5]
In contrast to the publicity given to Selbit, the names of the assistants who made this influential act work have received almost no publicity. There were actually two premieres of the illusion. Selbit first presented it to an audience in December 1920, however on that occasion the spectators were a small group of invited theatrical agents and promoters who Selbit hoped would book the act. The public premiere then occurred on 17 January 1921 at the Finsbury Park Empire music hall after Selbit was hired by the Moss Empire group. According to Steinmeyer, the assistant at the 1920 preview was Jan Glenrose, Selbit's main assistant at that time. The public performances featured principal assistant Betty Barker.[6][4]
Many of these illusions, together with others that involve appearances, disappearances or escapes, involve assistants being shut in boxes of one sort or another. This has led to the nickname "box jumper" which, although it could be applied to a male assistant, is usually inferred to be a female assistant.[7][8] One reason that has been given for the predominance of women in this role is that the illusions sometimes require an assistant that can fit into cramped spaces and women have an advantage in that they tend to be smaller and more limber than men.[1][5]
Feminist critics have taken the above aspects of illusions and performances as evidence to support claims that magic is misogynistic, but this view has been contested by some magicians and assistants. However, a few prominent assistants have gone on record stating that they deserve better recognition for their efforts and achievements (see "Documentaries" below).[1]
Some modern magic acts have preserved the glamourous elements of the female assistant iconography while attempting to give full recognition to female performers by billing women as equal partners in acts. A notable example is the husband and wife act The Pendragons, for which Charlotte Pendragon has worn very revealing costumes and done traditional "box jumping" roles yet receives equal billing with her husband and has been honoured in her own right as a top professional magician. Another example, although with more modest and conservative costuming, is Kristen Johnson, who receives equal billing with her husband Kevin Ridgeway when they perform together as a magic act and often stars in her own right as an escape artist.
A notable feature of the glamorous female assistant iconography is the frequency with which assistants play the role of "victim" in illusions where they are tied up, apparently cut with blades, penetrated with spikes or swords or otherwise tortured or imperiled. Examples include Aztec Lady, Devil's Torture Chamber, Mismade Girl, Radium Girl, Zig Zag Girl, and, perhaps most famous of all, Sawing a woman in half. Noted illusion designer and historian Jim Steinmeyer has identified the advent of the sawing illusion as a turning point in magic history and a moment which, more than any other, marks the origin of the cliche of the female assistant as victim. It is generally agreed that a "sawing" type illusions was first performed publicly by P.T. Selbit in January 1921. His presentations of what he titled "Sawing through a woman" made an enormous impact and greatly affected public expectations of stage magic for decades afterwards. Steinmeyer has explained:[4]
"Before Selbit's illusion, it was not a cliche that pretty ladies were teased and tortured by magicians. Since the days of Robert-Houdin, both men and women were used as the subjects for magic illusions. Victorian gowns often made it unrealistic for a lady to take part in an illusion or be pressed into a tight space."[5]
Changes in fashion and great social upheavals during the first decades of the 20th century made Selbit's choice of "victim" both practical and popular. Steinmeyer notes: "During the 1900s, as a shapely leg became not only acceptable on the stage but admired, it was fashionable to perform magic with a cast of attractive ladies".[5]
That was only part of the story however. The trauma of war had helped to desensitize the public to violence and the emancipation of women had changed attitudes to them. Audiences were also tiring of the gentler forms of magic represented by the likes of John Nevil Maskelyne. It took something more shocking, such as the horrific productions of the Grand Guignol theatre, to cause a sensation in this age. Steinmenyer concludes that: "...beyond practical concerns, the image of the woman in peril became a specific fashion in entertainment".[5]
In contrast to the publicity given to Selbit, the names of the assistants who made this influential act work have received almost no publicity. There were actually two premieres of the illusion. Selbit first presented it to an audience in December 1920, however on that occasion the spectators were a small group of invited theatrical agents and promoters who Selbit hoped would book the act. The public premiere then occurred on 17 January 1921 at the Finsbury Park Empire music hall after Selbit was hired by the Moss Empire group. According to Steinmeyer, the assistant at the 1920 preview was Jan Glenrose, Selbit's main assistant at that time. The public performances featured principal assistant Betty Barker.[6][4]
Many of these illusions, together with others that involve appearances, disappearances or escapes, involve assistants being shut in boxes of one sort or another. This has led to the nickname "box jumper" which, although it could be applied to a male assistant, is usually inferred to be a female assistant.[7][8] One reason that has been given for the predominance of women in this role is that the illusions sometimes require an assistant that can fit into cramped spaces and women have an advantage in that they tend to be smaller and more limber than men.[1][5]
Feminist critics have taken the above aspects of illusions and performances as evidence to support claims that magic is misogynistic, but this view has been contested by some magicians and assistants. However, a few prominent assistants have gone on record stating that they deserve better recognition for their efforts and achievements (see "Documentaries" below).[1]
Some modern magic acts have preserved the glamourous elements of the female assistant iconography while attempting to give full recognition to female performers by billing women as equal partners in acts. A notable example is the husband and wife act The Pendragons, for which Charlotte Pendragon has worn very revealing costumes and done traditional "box jumping" roles yet receives equal billing with her husband and has been honoured in her own right as a top professional magician. Another example, although with more modest and conservative costuming, is Kristen Johnson, who receives equal billing with her husband Kevin Ridgeway when they perform together as a magic act and often stars in her own right as an escape artist.
Thursday, March 5, 2009
The Shack
It was an awesome Book Club. Cindy thank you, I could barely see you in your gossamer floaty attire!
I was amazed at the depth and breadth of reactions to the story. That is the beauty of this book! So many real and diverse feelings. I think it was one of our longest discussions. Good job Chapter Chatters!
Tip: Start at Video #4 http://www.youtube.com/watch?v=oIh7IJHlSf8&feature=relatedIt would make sense to read the book first and then listen.
Here is some info on Paul Young. It is a series of You Tube videos. He tells his dramatic life story and what brought him to writing “The Shack” I can't recommend them highly enough. There is no way I could do justice to his biography when facilitating!
Also, did anyone else picture Della Reese as Paul Young's "God" and Sayid from "Lost" as the Jesus character? 
Monday, February 16, 2009
Lost Boys
http://images.google.com/imgres?imgurl=http://www.mazeministry.com/mormonism/polygamy/boys.gif&imgrefurl=http://www.mazeministry.com/mormonism/polygamy/lostboys.htm&usg=__RkG5ItfmRegHK7pUrgqp9ecuoTY=&h=324&w=379&sz=119&hl=en&start=12&um=1&tbnid=qYWlPwR_QgxLyM:&tbnh=105&tbnw=123&prev=/images%3Fq%3Dlost%2Bboys%2Bpolygamy%26um%3D1%26hl%3Den%26rlz%3D1T4GZHZ_enUS308US235%26sa%3DN
(CBS) "Lost Boys" is the term given to young men who are forced to leave polygamist compounds at a very young age. Many say they're banished on pretexts, enabling older men in such sects to have less competition for younger women and wives.
Most of the Lost Boys are between 13 and 21 when they're kicked out of compounds such as the one in Eldorado, Texas from which authorities removed more than 400 children and teens in a raid earlier this month.
The alleged wrongdoing cited by sect elders when Lost Boys are tossed include things such as watching a movie, playing football, or talking to a girl, Lost Boys say.
Among the many difficulties Lost Boys face is that they're raised to not trust the outside world. They're usually left with little education or life skills and must learn to live in a world about which they know little, while dealing with the deep psychological pain of being shunned by their families and believing they're beyond spiritual redemption.
One such Lost Boy is Brent Jeffs, nephew of controversial imprisoned polygamist leader Warren Jeffs.
Brent chatted withThe Early Show co-anchor Maggie Rodriguez Monday, along with Shannon Price, director of The Diversity Foundation, which helps Lost Boys, among others, housing them and helping to integrate them into society.
Brent told Rodriguez, "(The reason) most of these men, you know, just like me, who were tossed out is if we're not following every little single thing that they say and do, they just find little reasons to kick us out. And you know, merely for the big reason of, you know, we're competition for these older men to get these younger women. It's a sad story.
"They'll usually find something, you know, that you've done wrong. Some little thing, then they'll say, 'well, you need to leave town because you've done this wrong thing. And we don't believe that you need to stay in here with us."
" ... when they're kicked out, these boys, their dad, they're told to drop these boys off at the edge of town and just tell them, 'Good luck.' These boys have nowhere to go. They don't have brothers and sisters, you know, anybody to go to. So they rely on somebody like us (The Diversity Foundation, which Brent is working with), who can kind of help them figure out what they're doing in life. Otherwise, they're just lost and, you know, they end up making some bad decisions down the road. And it's just not a good situation. We definitely need to help them."
Asked if young people in polygamist sects even know it's against the law for someone to marry and have sex with a girl younger than 18, Brent replied, "They don't even talk about it at all in the church. The thing they teach in there is, 'What we tell you to do is what you should do, and you should never, ever question what we tell you to do.' They don't say anything about underage marriages and you're being married to this girl that's definitely not of age to be married. They just don't teach that at all."
Price said services her group makes available to Lost Boys vary, "depending on the child and what their availability is of their family back in their community of origin. So most of them I think generally speaking, they're lacking in education, they're delayed in their maturity. So, we do a lot of life skills instruction to make sure that they can integrate into the larger society."
"Under the Banner of Heaven" suggested reading companions
Will Bagley, Blood of the Prophets: Brigham Young and the Massacre at Mountain Meadows;
Fawn Brodie, No Man Knows My History: The Life of Joseph Smith;
Sally Denton, American Massacre: The Tragedy at Mountain Meadows, September, 1857;
Judith Freeman, Red Water;
Philip Jenkins, Mystics and Messiahs: Cults and New Religions in American History;
John D. Lee, Mormonism Unveiled: Or Life and Confession of John D. Lee and Brigham Young;
Bernard Lewis, What Went Wrong?: The Clash Between Islam and Modernity in the Middle East;
Dorothy Allred Solomon, Predators, Prey, and Other Kinfolk: Growing Up in Polygamy.
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