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S: ali, what inspired your move from play writing to poetry, and now on to novel writing? a: i started as a songwriter for my band, sacred heart of elvis. in the 80s. i ended up living with a director in toronto, and found at ; theatre parties, no-one would talk to you unless you had a "project". so i started making up "projects" as a joke, and that led to writing and acting at ; a couple of fringe shows in the early 90s. i wrote a trilogy that that was based on. the marquis de sade. the first play was an adaptation of philosophy in the bedroom. that was followed by two plays, each progressively more abstract. in the last one. the actors were complaining that the lines were too "poetic". so, after it closed, i thought "well, maybe this isn't the right medium for what i want to say. i should write outside the collaborative process of theatre, explore, see what happens." s: where did you hear about the 3-day novel contest, and are you nervous about the experience? a: i think i heard about it around the same time i was attending ksa. my friend clayton mccann he's a madman poet, lives in victoria, has some pieces coming out in filling station soon ; and i talked about. doing the contest together. somehow it never happened, so i'm glad i'm finally going to do it. with a bunch of cameras around there's no way i can get lazy and say "nah.let's order sushi and watch day of the locust again". so i'm not nervous, exactly.though book television seems to be doing their best to freak us out. i got an e-mail that was two pages of all the things they intend to do to fuck with our heads. we're sleeping in bunk beds. they plan to make us move computers. they're bringing in animals, they're going to let customers hover over your shoulder--if anything makes me snap, that will!. but ; when i think about the dives sacred heart used to play in. how bad could it get at chapters? that's like being scared you're gonna get beat up at earl's. as long as no-one throws a bottle i'll be fine. s: how much preparation have you done for the contest and what are you allowed to bring with you? a: we're only allowed 2 pieces of regular paper to bring in with us, as well as source material. i've been printing my notes really small. the story could end up far away from the planned ending, but at least i have one just in case i get lost. 50 gaycalgary magazine #35, september 2006. Name thank you here with me hunter humpty dance money for nothing [no intro] sultans of swing days go by gone upside down charlie browns parents once in awhile charlie brown's parents dishwalla - counting blue cars dishwalla - find your way back home dishwalla - somewhere in the middle somewhere in the middle believe i touch myself landslide long time gone landslide cowboy take me away i can love you better [double rhythm of love let me clear my throat who we be how's it goin' down peace train day i fall in love ghetto jam through your hands without love bad girls hot stuff i will go with you i will go with you [dance mix] last dance u know what's up everybody loves a lover make up in love you still got me refreshments this is me [remix] do you have to go now tear away the man without fear in my bed never make a promise tell me this christmas [urban] body crumbles brave disconnected heaven n hot rods i confide last time last time ordinary silence sorry under the sun body crumbles remix barely breathing bite your tongue she runs away is there something i should know? the wild boys the reflex the reflex artist dido dido dido digital underground dire straits dire straits dirty vegas dishwalla dishwalla dishwalla dishwalla dishwalla dishwalla dishwalla dishwalla disturbed divinyls dixie chicks dixie chicks dixie chicks dixie chicks dixie chicks dj company dj kool dmx dmx & faith evans dolly parton dolly parton & james ingram domino don henley donna lewis donna summer donna summer donna summer donna summer donna summer donnell jones doris day doug stone doug supernaw down together dream feat. kain ; drifters drowning pool drowning pool feat. rob z. dru hill dru hill dru hill dru hill dry cell dry cell dry cell dry cell dry cell dry cell dry cell dry cell dry cell dry cell dry cell dry cell duncan sheik duncan sheik duncan sheik duran duran duran duran duran duran duran duran album totally hits 2001 totally hits, vol. 3 sex packets now that's what i call music! 11 misc misc misc genre pop rock pop rock wcqv hip hop . wcqv wcqv pop rock general . other other wcqv other other other wcqv rock pop pop rock country pop rock wcqv wcqv wcqv wcqv wcqv wcqv wcqv wcqv wcqv wcqv wcqv disco disco wcqv dance wcqv pop rock wcqv wcqv wcqv wcqv pop rock wcqv wcqv soundtrack wcqv wcqv wcqv wcqv rock rock rock rock rock rock rock pop wcqv wcqv 80's rock year 2001 2000 1990.

Kozmo: "mean as ever and twice as treacherous, that grizz is in deep shit, boss man." janet: "how much can we win?" randolph decides to save four hundred forty-five thousand dollars of his end for walking around expenses. "rounded off, forty-eight huge so far . and we get the circus back . right, ann?" ann: "yes, it's all arranged, and as the business world knows, mr. bailey's word's his bond. he just wants a fierce battle in that pit." rump: "i can't stand it, r n'r. i can't, gawddammit, i wants my shit!" randolph sees rump is at his wit's end and thinks fast. "carter, we were remiss, we did not give reverend rump an envelope . you have one, and it was merely a gross oversight?" randolph is winking and blinking while making facial gestures of scamming rump to carter. carter: " vernice may have one, we could have had our wires crossed. i'll go back and check if you want." but alas, the sinister minister can't be fooled and screams; "you think i'm fuckin' stupid! you think i don't see this game you runnin', mothafucka!" ann: "why don't you invite the good reverend to meet mr. bailey, that might settle things, sir?" randolph: "yeah, rump, ya wanna meet this bailey guy . the richest man in michigan?" randolph tries another tactic on rump. ann: "he just about owns it outright, ask anyone, sir." rump: "never fuckin' heard of him! shit." rump is unfazed. randolph: "oh, you know you're curious, rump. think, it's the biggest cat in this state arranging this fight of the fiercest. where's ya sportin' blood? think what you can win. go look at my buffalo, nothin', just don't get too close, man.
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Disposition whose development the women in our study described. recall such situations as the one where della's looks were singled out for sexual innuendo by her professor chapter 5 ; and the encounter between sam and annette that karen recounted. men, too, were vulnerable to having their attractiveness insulted by women, to having their social worth belittled, to bearing the brunt of symbolic violence. women could accept their gifts, their attention, and their good treatment and still not reciprocate with any show of affection. they could refuse to allow the relationship to become more emotionally or physically intimate. women could insult them verbally as well, referring to them as "pricks, " "nerds, " "creeps, " and other unappealing names. nonetheless, our studies showed that women's treatment by men had a greater impact upon evaluations of their social worth than the relationship reversed. that is, the gender ideology discussed here had more importance for women than for men. on the face of it, the romantic sexual relationship that constitutes the standard of meaning in the model--the pairing of attractive people who give and get equally, and the expected outcome of intimacy and prestige for both--seems to favor neither the woman nor the man. but, in the student world of the late 1970s and early 1980s, equality was not the rule. women's attractiveness and prestige were far more dependent upon their relationships with men than vice versa. men had diverse sources of symbolic capital. men on the basketball team and men of potential ; wealth, for example, had sources of attractiveness and prestige that were largely independent of how women treated them. there was no such alternative source for women. participation on women's sports teams--no matter how many championships the teams won--added little to the athletes' attractiveness to male students; the same was true for women's participation in student government or university performance groups. the playing field for romantic encounters was not equal. when sam snubbed her, annette had little else to fall back on for validation of her social worth. had she similarly snubbed him, sam, a well-known athlete, would not have been as bereft. it is clearly fairly easy to create spaces, figured by the world of romance, in which men are especially privileged. this easy access to privilege is a consequence of men's more numerous sources of symbolic capital. yet other social and material contexts may affect the ways popular ideologies of romance are played out in particular sites. one woman in.
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Next morning, october 21, 1 had an appointment with mrs. virginia hale--a upi stringer and a reporter for the haverhill, massachusetts, gazette. she lived in a generous ranch house on a trim residential street in hampton, not far from the ocean. mrs. hale was an experienced, observer. she knew every conventional flight pattern of the nearby portsmouth air base, as well as the commercial air lanes reserved for airliners on their way to boston. she took me immediately to her kitchen window, set above her spotless stainless-steel sink, and pointed out the portion of the sky in which she first saw the unknown craft. she had kept it in clear view over a five- to'lo-minute period. she pointed to a soapish smear on a pane of her ivindow. "i put my finger in the dishwater the minute i saw this thing in the sky, " she told me, "because i wanted to clearly mark the position where it was when it first came into view. the only thing i had handy to do this was the soapy water, and you can still see it there--faintly of course. but it's there." it was. enough of a mark to line up a fix on a certain portion of the sky, above the rooftops of her neighbors' homes and out over the atlantic a short distance. it was from this general portion of the sky, i recalled, that sergeant farnsworth had described the craft coming in over the two hysterical young men on the hampton boulevard that early morning when they had been whisked to the coast guard station to make their report. "i don't know the date i saw this, " mrs. hale told me, after she had poured a cup of black coffee in the kitchen. "i'd say two to three weeks ago. i was standing right here by the sink, about 25 after 6 in the evening. it was dusk, it wasn't quite dark, and there was still plenty of light. the reason it caught my eye was because it was bright and because it was going slow, very slow. not at all like the path of the planes as they come over. so i automatically figured something is wrong. then--it stopped dead over that house--" she pointed to the roof of her neighbor's house, just out the kitchen window. "it was about three times the height of that chimney, " she continued, "and it hovered there. now you know four minutes is a long time and that's why i hesitate to say that. but i'm pretty sure it was that long. then i marked the window with the smear from the dishwater, so i could remember where i lined up the spot." we moved outside, as she reenacted what had happened. "at the moment the object stopped i came out here on the terrace. now, i would estimate that it was out beyond the coast guard station which is right on the shore, just over these houses here. after it started up again, it moved much faster. the b-47's go further east and further north before they cut back. and when this thing cut back toward the southwest, coming directly back and losing altitude fast, coming in really fast, and coming, almost, i swear i thought it was coming right at me. of course, to be frank, i was hoping it would land. and it cut over this house behind us here, and i knew i would lose sight of it. but also, it was going so fast i thought it was going to crash." "could you get a clear look at it at this time?" "well, at this point i could see from underneath, too. it was dome-shaped, and underneath, it was flat. its altitude was now about twice the height of that chimney. by the time it was over here, i could see the bottom and die front of it plainly. and here 1 got a full'view-of the bottom and the back and tail, maybe you'd call it a fin. then i went'into the house and looked out 112.

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