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German postcard by WS-Druck, Wanne-Eickel, no. F 107. Photo: Metro-Goldwyn-Mayer / Filmpress Zürich.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
Two weeks ago I had not even heard of the Canadian artist Annie Pootoogook but now I am an admirer . Her work is currently on display at the Humber Street Gallery in Hull and I have been three times now to see them. My Canadian contacts are probably very aware of her work as she exhibited widely across the country . The works may be seen by some as “primitive “ but I like the direct nature of them. She draws on paper using pastels using a fairly flat perspective .
Pootoogook had her first major solo exhibition in 2006 when her work was displayed as part of a well-received show at The Power Plant in Toronto. The exhibition, designed by Nancy Campbell, focused on mythology, Inuit communities and difficulties of life in the Arctic.
In November 2006 she won the Sobey Art Award and was granted the prize of $50,000 .The press release announcing Pootoogook's win noted that "her work reflects both the current moment of a specific tradition and of a contemporary drawing practice."
After winning the Sobey Award she continued to receive exposure. She exhibited in major art shows such as the Biennale de Montreal, Art Basel and Documenta 12. Pootoogook was the first Inuit artist to participate in Documenta – an exhibition of contemporary art held in Kassel, Germany.
From 2009 to 2010 her work was shown in solo exhibitions at multiple galleries including the Agnes Etherington Art Centre (Kingston, Ontario), the National Museum of the American Indian (Washington, D.C.) and the George Gustav Heye Centre (Manhattan, New York). In 2010 her work was also exhibited at the Biennale of Sydney.
Pootoogook participated in one her last exhibitions in 2012 at the Massachusetts Museum of Contemporary Art. Curated by Denise Markonish, the exhibition titled Oh, Canada.
Notes from the catalogue of the Liverpool Biennial
Annie Pootoogook (b. 1969, Kinngait, Nunavut, Canada, d. 2016, Ottawa) comes from a long line of artists in Cape Dorset (known today as Kinngait) and began drawing in 1997. Within a decade, she became the catalyst for an explosion of creativity originating from Kinngait Studios. Her drawings challenged conventional expectations of ‘Inuit’ graphic art. An instinctive chronicler of her generation, Pootoogook created works peppered with images of daily life: from feasting, camping and hunting to current events seen on television, intimate personal eroticism as well as alcoholism and domestic violence.
Annie Pootoogook’s drawings serve as a diary of the artist’s life and are indicative of the sulijuk (‘true’ or ‘real’) tradition. Pootoogook worked with a singular clarity of vision, often depicting poignant moments of emotion or violence in intimate domestic environments. Immediate and direct in style, her drawings chronicle the everyday events of modern Inuit life in the small community of Kinngait as she saw it. Her realism is at odds with the traditional outdoor scenes that people have come to expect from Inuit art.
THANKS FOR YOUR VISITING BUT CAN I ASK YOU NOT TO FAVE AN IMAGE WITHOUT ALSO MAKING A COMMENT. MANY THANKS KEITH. ANYONE MAKING MULTIPLE FAVES WITHOUT COMMENTS WILL SIMPLY BE BLOCKED
Age 9.
"In my library, there is a TV room where the kids can go. There’s a kidsplace for kids only. There’s a playground and it has sand in it, but it’s indoor. A school, a Sobeys, study room, an arcade room, an apartment building. A loud room and a silent room. A silent room is for kids and adults if they don’t people to be noisy or listen to music or screaming, they can go in there and find a book. It’s more for reading. The loud room is a play room for both kids and adults – like a store with clothes for parents to buy. In the study room, they could study for tests, like a homework room, and in here I really like my kids area and my books because in here there are more books for adults, teens, preteens, kids and beginners. It’s going in order by age, too. It isn’t all mixed up. The parents and kids can just walk to the section they want to.
The kidsplace is my favourite – it’s almost like a place I went to for a friends’ birthday party where you get tokens. It’s like Chuck E. Cheese. You can play Pacman, too."
www.gallery.ca/magazine/exhibitions/sobey-art-award-2024-...
National Gallery of Canada; Ottawa, Ontario.
A big file, nice to explore in depth.
The top is a William Kurelek, a Canadian treasure.
It doesn't say exactly who did the lower left, but it's called Looming, but it could be by Tara Bryan.
The lower right is "Gros Morne" by Tara Bryan.
"The Rooms" is Newfoundland's premier and world class art and history museum. It is architecturally stunning, and its displays, exhibits and collections are all thoughtful, engaging, and fascinating. We were thrilled to see the Sobey Family Collection on display - world class and thought-provoking on its own. It knocked our socks off! It's not only what's inside that is astounding, the museum has many stunning views through their gigantic windows We ended our visit to St. John's with a walk back to our hotel to collect our luggage, head to the airport, then back home to Calgary. Flights these days seem to be getting worse and worse. We got home quite delayed, but thankfully on the day we had actually planned to. We were hoping to not have to overnight on route due to delays, it wouldn't have been fun. But we were spared!
German postcard by Kolibri-Verlag, Minden-Westf., no. 2751. Photo: Deutsche Cosmopol. Publicity still for I fidanzati della morte/The Betrothed of Death (Romolo Marcellini, 1957).
On 27 March, Italian film actor Rik Battaglia (1927-2015) passed away. He made nearly 100 film appearances between 1954 and 1999. Battaglia played the bad guy in dozens of Peplums, Eurowesterns and war films. In Germany he became notorious as ‘The Man Who Shot Winnetou.‘
Rik Battaglia was born as Caterino Bertaglia in Corbola, near Rovigo, Italy, in 1927 (IMDb) or 1930 (Wikipedia). Battaglia has never met his father and has seen his mother only rarely. He was raised by his grandmother. At 17 he was working as a sailor on a freighter between Corfu and the Black Sea. He was discovered by a talent scout in a bar and producer Carlo Ponti hired him on the spot. In his first film, La donna del fiume/The River Girl (1954, Mario Soldati), he played a cigarette smuggler who has a tempestuous love affair with a young and sexy Sophia Loren (Ponti’s wife) in hot pants. The film was an obvious attempt to recapture the success of Riso Amaro/Bitter Rice (1949, Giuseppe De Santis) with Silvana Mangano. After the success of the film Battaglia attended a drama school for two years. Another attempt to cash in on Riso Amaro was La risaia/The Rice Girl (1956, Raffaello Matarazzo), in which Battaglia appeared in the same kind of role opposite another sexy beauty, Elsa Martinelli. He played supporting parts in the Peplums (Sandal and sword epics) La Gerusalemme liberate/The Mighty Crusaders (1958, Carlo Ludovico Bragaglia) with Francisco Rabal and Sylva Koscina, and Annibale/Hannibal (1959, Carlo Ludovico Bragaglia, Edgar G. Ulmer) starring Victor Mature. In Germany he appeared as a slave merchant in the Liane-sequel Liane, die weiße Sklavin/ Jungle Girl and the Slaver (1957, Hermann Leitner) with Marion Michael, and he was seen in the Hollywood adventure Raw Wind in Eden (1958, Richard Wilson) with Esther Williams and Jeff Chandler.
Rik Battaglia made one of his best films with La giornata balorda/A Crazy Day (1961 Mauro Bolognini) opposite Jean Sorel and Lea Massari. Pier Paolo Pasolini co-wrote the screenplay for this black-and-white film about the lower class of Rome, based on a novel by Alberto Moravia. One of his biggest flops was the biblical epic Sodom and Gomorrah (1962, Robert Aldrich) with Stewart Granger and Pier Angeli. He appeared in several obscure Peplums and such adventure films as Sandokan, la tigre di Mompracem/Sandokan the Great (1963, Umberto Lenzi) with bodybuilder Steve Reeves. He moved to Germany where he played in the Karl May westerns Old Shatterhand (1964, Hugo Fregonese), Der Schut/The Shoot (1964, Robert Siodmak), Der Schatz der Azteken/The Treasure of the Aztecs (1965, Robert Siodmak), Die Pyramide des Sonnengottes/Pyramid of the Sun God (1965, Robert Siodmak), Winnetou - 3. Teil/The Desperado Trail (1965, Harald Reinl) and Winnetou und Shatterhand im Tal der Toten/ Winnetou and Shatterhand in the Valley of Death (1968, Harald Reinl), all starring Lex Barker; Das Vermächtnis des Inka/ Legacy of the Incas (1965, Georg Marischka) with Guy Madison, and Winnetou und sein Freund Old Firehand/Thunder at the Border (1966, Alfred Vohrer), with Pierre Brice. He was also the co-star of Freddy Quinn in the Schlager western Freddy und das Lied der Prärie/In the Wild West (1964, Sobey Martin).Battaglia had a German fan base in those years. That changed abruptly when he became Winnetou’s murderer in Winnetou - 3. Teil/The Desperado Trail (1965). From then on the public treated him only very cautiously.
Rik Battaglia returned to Italy to play in spaghetti westerns like Spara, Gringo, spara/Shoot, Gringo... Shoot! (1968, Bruno Corbucci) and Black Jack (1968, Gianfranco Baldanello). The best of these Spaghetti westerns was probably Sergio Leone's epic Giù la testa/A Fistful of Dynamite (1971) with Rod Steiger and James Coburn. He was also featured as Captain Smollett in Treasure Island' (1972, John Hough), one of many film versions of the classic adventure by Robert Louis Stevenson, with Orson Welles as Long John Silver. In 1974 he appeared in the Agatha Christie adaptation Ein Unbekannter rechnet ab/Ten Little Indians (1974, Peter Collinson) which also starred Richard Attenborough and Gert Frobe. He also appeared in the Sergio Leone produced western Un genio, due compari, un pollo/The Genius (1975, Damiano Damiani) starring Terence Hill. He mixed roles in such sexploitation films as Suor Emanuelle/Sister Emanuelle (1977, Giuseppe Vari) with Laura Gemser with parts in mafia-dramas like Il prefetto di ferro/The Iron Prefect (1977, Pasquale Squitteri) starring Giuliano Gemma and Claudia Cardinale, and an occasional Spaghettiwestern like Mannaja/A Man Called Blade (1977, Sergio Martino) with John Steiner. Alternate names he used for his films were Rick Austin, Riccardo Battaglia and Rick Battaglia. His last feature film was Buck ai confini del cielo/Buck at the Edge of Heaven (1991, Tonino Ricci) with John Savage. Rik Battaglia retired in 1999. In 1995, Battaglia was awarded with the Scharlih, the oldest award associated with Karl May.
Sources: Wikipedia and IMDb.
Sobey's recently acquired the Canadian assets of Safeway. These shots were taken a few days before this store on Albert Street South in Regina was coverted virtually overnight into a Co-op supermarket. It was one of a handful of stores that were sold off by Sobey's as part of a regulatory decision. Before conversion it featured old 1950's-style checkout stands that used a rotary turtable design. The store interior was clean but not up to then-current Safeway standards. Alas, the vintage neon street sign was also lost, replaced by a generic looking Co-op sign.
Yugoslavian postcard by Ifis-glas, Smederevo.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
The company's precautions include more store cleaning; encouraging staff to undertake strong hygiene practices; offering hand sanitizer and wipes throughout stores; and providing staff with masks and gloves,
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Gathering of the Tribes :
Moontribe-Party
Mojave Desert - 2001
Photo-Report:
www.flickr.com/photos/sterneck/sets/72157626608944632
Gathering of the Tribes
Moontribe
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Wolfgang Sterneck:
The Gathering of the Tribes
www.sterneck.net/stern/gathering-california
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Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports: www.flickr.com/sterneck/sets
Articles and Visions: www.sterneck.net
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THE GATHERING OF THE TRIBES
”Wir brauchen solche Treffen, um das Vertrauen wieder aufzubauen, das uns in der Kindheit genommen wurde...” - Es ist Sobey aus Vancouver, der mit diesen Worten die Atmosphäre des ”Gathering of the Tribes” in Los Angeles zusammenfasst. VertreterInnen von rund 50 Projekten setzen sich dort fünf Tage lang mit Wegen der persönlichen Entwicklung und der gesellschaftlichen Veränderung auseinander.
Das Verständnis von Tribe bzw. Stamm ist relativ weit gefächert und bewusst im Vorfeld nicht fest definiert. So er-streckt sich der Begriff auf lokale Projekte genauso wie auf die TeilnehmerInnen alternativer Festivals, auf grenzüber-schreitende Aktionsgruppen genauso wie auf kommuneartige Gemeinschaften. Vertreten sind unter anderem Leute vom Rainbow-Gathering, Burning Man und Earthdance, Angehörige der Farm-Kommune und anderer Eco-Village-Projekte, Mitglieder von Reclaim the Streets, Free our Forests, Multidisciplinary Association for Psychedelic Studies, Subversive Sounds, Moontribe, Alice-Project und Dream Theatre.
Inhaltlich reicht das Spektrum von Gruppen aus dem radikalen politischen und ökologischen Spektrum über Initiativen, die sich aufklärend gegen die bestehende Drogenpolitik stellen, bis zu Personen die beispielsweise über Trance-Tänze oder meditative Musik zu einer heilenden Veränderung beitragen wollen. Die Vielfalt der verschiedenen Aus-richtungen führt dabei keineswegs zu einer Beliebigkeit, vielmehr befruchten und ergänzen sich die Positionen trotz einzelner Differenzen an vielen Punkten gegenseitig. Das verbindende Element liegt neben der durchgängig idealisti-schen Ausrichtung zum einem im Bezug zum Dance Movement, also zur Techno-Kultur in unterschiedlichen Ausfor-mungen, sowie im zweifellos oftmals vagen, aber immer ernsthaften Bestreben ”to make the world a better place”.
TRANCE AND POLITICS
Den inhaltlichen Teil der Konferenz leite ich mit einem Vortrag ein, der von einem übergreifenden Ansatz ausgeht. ”Viele glauben, dass die Party-Kultur eine Insel sei, doch die meisten vergessen dabei, dass jede Insel von einem Meer umgeben wird...” Es geht mir dabei um eine Auseinandersetzung mit der selbstherrlichen Zufriedenheit in der sich viele aus den verschiedenen Szenen oftmals zurücklehnen, solange sie ”geile Musik, gute Drogen und viel Spa-aaß” haben und den eigenen Alltag einigermaßen regeln können. Alles andere scheint egal, doch spätestens wenn der Drogenfahnder vor der Tür steht oder Partys verboten werden wird klar, dass diese scheinbare Insel-Idylle eine Illusion ist. Dann ist es jedoch schon viel zu spät.
Prügelnde Polizisten auf politischen Party-Demos machen den symbolhaften Einfluss des Meeres auf die Inseln ge-nauso augenscheinlich deutlich, wie beispielsweise die Ego-Trips von DJs, die sich im Zuge der Kommerzialisierung wie Rockstars verhalten, oder die Parties in ”3. Welt”-Ländern, bei denen die eingeflogenen Party-Freaks vor lauter Verpeilung einfach ignorieren, dass einige Kilometer weiter entfernt Menschen hungern. Die Auflistung lässt sich beliebig fortsetzen, letztlich geht es um die aktive Anerkennung einer Verantwortung, die weit über die Party hinaus-geht: ”Manche Leute denken, dass Techno eine Insel sei - und sie öffnen die Augen und sie beginnen zu tanzen, nicht nur auf dem Dancefloor, sondern auch überall in den Straßen, in den Klassenzimmern, in den Büroräumen, in den Supermärkten, auf den Treffen der Weltbanken. Und Tanzen steht dabei für Veränderung, radikale Veränderung...”
Beispielhaft für die Ausrichtung des Gatherings bildet der anschließende Beitrag von Cinnamon Twist einen inhaltli-chen Gegenpol, der sich mit der Frage ”Kann Trance-Tanz den Planeten retten?” beschäftigt. Im Rahmen seiner Antwort beschreibt Cinnamon eine ”gemeinschaftliche psychedelische Trance als eine direktes Gegengewicht zur zerstörenden Selbstgefälligkeit der westlichen, technisch-industriellen Mega-Maschine, die wahnhaft alles tut, um den Planeten Erde zu zerstören.” Cinnamon bezieht sich dabei auf positive Energien, die durch den Tanz freigesetzt wer-den. ”Obwohl sie von unterschiedlichen Begriffen ausgehen, glauben viele Stammeskulturen, dass sie mit ihren rituel-len Tänzen etwas bewegen können. Sie sind notwendig, um die natürliche Balance aufrecht zu erhalten, um Regen herbeizurufen, um Krankheiten zu heilen, um die Dinge in Bewegung zu halten. Deshalb sind diese Tänze für sie heilige Tänze. Und im Grunde ist nicht nur die Form des Tanzes bzw. das, was die TänzerInnen damit verbinden, heilig. Heilig ist vor allem das, was sie damit erzeugen: eine kollektive Energie.”
Diese Energien lassen sich Cinnamons Verständnis zufolge auch in der heutigen Zeit nutzen: ”Zweifellos haben wir keine Tradition derartiger heiliger Tänze mehr. Wir haben keine Tänze, die von einer derartigen Intention oder einem vergleichbaren gemeinschaftlichen Gefühl getragen sind. Was wir haben bzw. wonach wir letztlich streben, ist eine grundlegende Einstellung, die alles durchzieht, wenn wir für unsere Feiern zusammenkommen: Frieden - Liebe - Ge-meinschaft - Respekt. Und das ist nicht wenig für einen Anfang, auch wenn es leicht missbraucht werden kann. Es liegt an uns, ob gelingt, kollektive Energien freizusetzen, die zur Heilung der Erde beitragen ...”
DER KRIEG GEGEN TERROR, DROGEN UND PARTYS
Mehrere Vorträge und Workshops auf dem Gathering setzen sich mit dem ”War on Drugs” auseinander, der inzwi-schen auch zu einem Feldzug gegen das Dance-Movement wurde. Der ”Krieg gegen Drogen”, den die us-amerikanische Regierung ganz offiziell unter dieser treffenden wie auch entlarvenden Bezeichnung führt, hat eine lange Geschichte. In den westlichen Kulturen wurden und werden beständig bestimmte Substanzen als Drogen ver-boten, wobei der Umstand, dass darunter in einigen Regionen zeitweise auch einmal Alkohol, Tabak und Koffein fielen, eine gewisse Beliebigkeit schnell deutlich macht. Die Verbote der Substanzen bzw. die Verfolgung der Produ-zentInnen und der KonsumentInnen hängt dabei keineswegs nur mit einer vermeintlichen oder tatsächlichen schädli-chen Wirkung zusammen, sondern war schon immer mit wirtschaftlichen und machtpolitischen Interessen verknüpft. Letztlich lenkt die Überbetonung der Drogenproblematik von den eigentlichen inneren gesellschaftlichen Problemen ab, die wechselwirkend wiederum auch entscheidend zum zerstörenden Gebrauch von Drogen beitragen. Sie wird zudem genutzt, um die politische und auch militärische Einflussnahme auf andere Länder, sowie die Repression un-angepasster Minderheiten im Innern, zu rechtfertigen.
Die Größenordnung des ”War on Drugs” machen einige Statistiken schnell deutlich. Die Vereinigten Staaten haben als vermeintliches Land der Freiheit im Verhältnis zur Bevölkerungszahl weltweit die höchste Zahl an Gefängnissinsas-sen, wobei ein Großteil im Zusammenhang mit Drogen verurteilt wurde. So kommt es jährlich zu rund 5 Millionen Verhaftungen auf Grund von Drogendelikten, wobei über 2 Millionen Menschen in Folge wegen Verstößen gegen Drogengesetze verurteilt und inhaftiert werden. Besonders betroffen ist dabei die afroamerikanischen Bevölkerung, was die noch immer in weiten Teilen rassistische Ausrichtung der Rechtsprechung deutlich macht. 1969 flossen von Seiten der damaligen Nixon-Regierung rund 65 Millionen Dollar in den Krieg gegen Drogen, 1999 unter Clinton war es die kaum vorstellbar hohe Summe von 17,7 Milliarden Dollar, die unter Bush weiter gesteigert wurde.
Die Terroranschläge des 11. September 2001 werden gezielt genutzt, um den ”War on Terror” mit dem ”War on Drugs” zu verknüpfen. Medienwirksam setzt inzwischen US-Präsident George Bush Drogenkonsum mit einer Unter-stützung des Terrors gleich. ”Ich werde ständig von Jugendlichen gefragt, welchen Beitrag sie zum Krieg gegen den Terror leisten können. Nun, wichtig ist, sich gegen illegale Drogen zustellen. Wenn Du in den USA Drogen kaufst, dann ist das so, als würdest Du direkt eine Terror-Organisation unterstützen.”
Die entsprechende Politik richtet sich auch direkt gegen das Dance-Movement. So kam es zu einer von Teilen der Medien und einflussreichen PolitikerInnen getragenen Kampagne, die Techno mit Drogenkonsum gleichsetzt. Regie-rungsbehörden organisierten in diesem Sinne vorgeblich wissenschaftliche Konferenzen bei denen Techno-Partys mit den sogenannten Crack-Houses gleichgesetzt wurden, in denen Crackabhängige bzw. Crack-Dealer leben. Dieser Definition zufolge sind Partys und Raves Veranstaltungen, die vorrangig dazu dienen mit Drogen zu handeln bzw. diese zu konsumieren. Inzwischen wurden in einzelnen Bundesstaaten Gesetze verabschiedet, die VeranstalterInnen für den Konsum von Drogen auf ihren Partys direkt verantwortlich zu machen. Zu Teil macht man sich schon als nichtkonsumierender Party-Gast strafbar, wenn auf der Veranstaltung illegale Drogen gebraucht werden. Auf diesem Wege soll eine auch in den USA stark angewachsene Jugendkultur, die nicht den puritanischen Wertvorstellungen entspricht, unter Kontrolle gebracht werden.
Welche bizarren Ausformungen die Drogenhysterie annehmen kann, zeigt ein Prozess, in dem die Bürgerrechtsverei-nigung American Civil Liberties Union (ACLU) gegen den Bundesstaat Louisiana klagte. Dieser hatte Rave-VeranstalterInnen angewiesen den Party-Gästen das Tragen von Masken und den Gebrauch von Glühstäben zu untersagen, da diese Utensilien angeblich in einem engen Zusammenhang mit dem Konsum von Ecstasy stehen. Während die meisten VeranstalterInnen den Auflagen nachkamen, formierte sich in der Szene Protest, der in der Forderung ”Fight for right to glow! - We’re gonna glow like we never glowed before!” einen ironischen Ausdruck fand. Der Prozess endete mit einem Erfolg der ACLU, den Bundesbehörden wurde untersagt, ohne rechtliche Grundlage auf lokale Rave-VeranstalterInnen hinsichtlich eines Verbotes von ”dekorativen Utensilien” Druck auszuüben.
Die Diskussion über Wege des Protests und Widerstands gegen die repressiven Entwicklungen ist auf dem Gathering allgegenwärtig. So trägt Scott Ehlers von der Campaign for New Drug Policies einen detaillierten Maßnahmenkatalog vor, der dazu beitragen soll, das Image der Techno-Kultur von einer Reduzierung auf Drogen und Kriminalität zu lö-sen. Das Ziel ist die Vermittlung eines Bildes einer Jugendkultur, die auf Werten wie Gemeinschaft und Gewaltlosig-keit basiert und sich auch über einzelne Projekte für das Wohl der Gesellschaft einsetzt. Das Future-Tribe-Project aus Florida beschreibt seine Kampagne ”I rave and I vote” mit der Jugendliche angeregt werden sollen, sich an den Wah-len zu beteiligen und einen Umschwung zu bewirken. Eine Gegenposition liegt im Ansatz den Underground zu stärken und sich dabei auf Strukturen zu konzentrieren, die von staatlichen Institutionen nicht angegriffen werden können. Ganz praktisch informiert daran anknüpfend ein Anwalt, welche Rechte gegenüber Polizeikontrollen bestehen. Leute vom Rainbow-Gathering berichten zudem über die Möglichkeiten sogenanntes Public-Land zu nutzen, das der Allge-meinheit gehört. Später betonen Mitglieder von DanceSafe und MAPS daneben die Bedeutung einer objektiven Auf-klärung über Drogen innerhalb der Techno-Szene und der Notwendigkeit von übergreifenden Forschungsprojekten.
SOZIALARBEITER, DJ-EGOS UND ZEN-KATZEN
Mehrfach führen einzelne Diskussionen über die Frage nach der Finanzierung alternativer, sozial ausgerichteter Pro-jekte zu einer kritischen Auseinandersetzung mit dem Bereich der Sozialarbeit. Übereinstimmung besteht darin, dass eine Ausweitung sozialer Projekte und die entsprechende Bereitstellung öffentlicher Gelder unbedingt nötig ist. Aufge-zeigt wird aber auch immer wieder der innere Konflikt vieler Projekte, die meist hauptsächlich auf Probleme konzent-riert sind, diese geradezu suchen bzw. sich darüber rechtfertigen müssen, um von öffentlicher Seite Gelder zu erhal-ten. Gleichzeitig werden oftmals nur Symptome angegangen, während die eigentlichen Ursachen von Erscheinungen wie Drogenabhängigkeit oder Obdachlosigkeit, die neben individuellen Faktoren zu einem beträchtlichen Teil in einem vor allem auf Profit und Konkurrenz ausgerichteten Gesellschaftssystem liegen, zumeist nicht aufgezeigt werden. Oftmals setzt die Zensurschere schon im Kopf an, um das Projekt bzw. den eigenen Arbeitsplatz nicht zu gefährden.
In der Diskussion wird der Realität einer notwendigen, allerdings vorrangig problemorientierten Sozialarbeit das Bild des ”positive space” gegenübergestellt. ”Wenn es im weitesten Sinne Räume gibt, in denen sich die Menschen selbstbestimmt und gemeinschaftlich entfalten können, in denen ihnen beigebracht wird, sich auch einmal selbstkri-tisch zu reflektieren,”, so Theo in einer Diskussionsrunde, ”dann werden viele Probleme automatisch wegfallen bzw. sie treten überhaupt nicht mehr auf.”
Ein weiterer Aspekt, der in vielen Diskussionsrunden immer wieder angesprochen wird, ist die Rolle der DJs. Ausge-hend von einer Abkehr vom jeglichem Starkult stand der DJ in seiner Wichtigkeit ursprünglich auf einer Ebene neben den TänzerInnen auf der Dancefloor oder den Leuten aus der Deko-Gruppe. Die Rollen waren sogar austauschbar beziehungsweise sollten bewusst austauschbar sein, denn im Mittelpunkt stand das gemeinsame Feiern als ein Aus-druck eines anderen Lebensweges. Von wenigen Ansätzen abgesehen sind diese Zeiten jedoch auch bei alternativen Partys vorbei. Längst haben die DJs die Rolle eingenommen, die über Jahrzehnte hinweg der Lead-Singer einer Rockband hatte.
Für viele Personen außerhalb der Szenen ist nur schwer nachvollziehbar, dass ein DJ selbst zum Musiker werden kann. Er ist dabei nicht nur für die musikalische Atmosphäre einer Nacht verantwortlich. Im Idealfall entsteht aus zwei oder drei Schallplatten, die ineinander gemixt werden, ein neuer Track. Die Samples, Sounds und Loops werden zu DJ-Tools, zu Werkzeugen und Materialien der DJs, die immer wieder in unterschiedlichen Betonungen und Ge-schwindigkeiten neu zusammengesetzt werden. Dieses Verständnis von Dekonstruktion und Neugestaltung ist jedoch immer seltener anzutreffen, meist begnügen sich die DJs inzwischen auf möglichst fließende Übergänge zwischen den einzelnen Stücken.
Mit der steigenden Popularität einzelner DJs ist in vielen Projekten die Frage der Kommerzialisierung und des Selbst-verständnisses der DJs verbunden. Nachdem es anfangs noch ein Vergnügen und eine Ehre war auf einer Party aufzulegen, sprechen viele DJs dann bald vom ”Arbeiten” oder oftmals auch mit einer gewissen Überheblichkeit de-monstrativ davon, gebucht zu sein. Kritisiert wird vor diesem Hintergrund zudem die scheinbar unkritische Auswahl der Auftrittsorte von Seiten vieler alternativer DJs. Dabei wird jedoch deutlich, dass die DJs keineswegs zwangsläufig ihre ursprünglichen Ideale plötzlich verraten haben und ”kommerziell” geworden sind, vielmehr setzt eine nur schwer steuerbare Eigendynamik ein. Um sich noch mehr auf die Musik konzentrieren zu können, geben viele DJs nach ers-ten Erfolgen ihre alten Jobs auf, geraten dann aber in eine Abhängigkeit von Auftritten, um ihren Lebensunterhalt bestreitenzu können.
Ein anderes Diskussionsthema bildet das ”im Moment sein”. Mishou spricht davon, dass Katzen die wahren buddhis-tischen Zen-Meister sind, indem sie alles ausblenden können und tatsächlich den Moment leben. Während sie in einer sonnigen Ecke behaglich dösen, leben sie Zen ohne eine Vorstellung davon zu haben. ”Wie oft befinden wir uns dagegen in Situationen, die einfach an uns vorbeirauschen, die im Rückblick wie ein Augenblick erscheinen, weil wir uns nicht bewusst auf sie konzentrieren?”
Ein Anhalten im Sinne eines bewusstes Wahrnehmens des Momentes bzw. der entsprechenden Situation wirkt dem entgegen. Ein Ansatz kann bei geschlossenen Augen eine bewusste Konzentration auf die Geräusche sein, die uns umgeben, und davon ausgehend auf das, was gerade passiert. Dies bedeutet keineswegs ein Rückzug in eine esote-rische Innerlichkeit, so die durchgängige Einschätzung der Runde. Vielmehr steht es für ein Bewusst-Sein im eigentli-chen Sinne des Wortes. Dies bildet den Ausgangspunkt für ein Wahrnehmen von dem was uns umgibt und weiterge-hend für ein entsprechendes Handeln, nicht zuletzt auch in einem gesellschaftlichen Sinne.
GEMEINSCHAFTLICH LEBEN
Der zweite Konferenz-Tag ist der Frage nach den Möglichkeiten gemeinschaftlichen Zusammenlebens gewidmet. An mehreren Punkten tritt dabei die Frage nach dem ”next step”, dem nächsten Schritt, auf. Einige Gruppen, die mit ihren Projekten gewisse Erfolge und eine Kontinuität erreicht haben, berichten von den internen Diskussionen über eine tiefer gehende Weiterführung, die sich stärker auf die Gruppe als Gemeinschaft bezieht. Das Spektrum reicht dabei von Wohngemeinschaften über kommuneartige Projekte bis zu Kulturzentren.
Auf großes Interesse stößt das Projekt einer Gruppe aus Vancouver. In den letzten Jahren organisierte dort das My-corrhiza Collective verschiedene Partys, um mit dem Gewinn ein Landstück in Elaho Valley zu kaufen. Damit soll ein Beitrag zur Rettung des verbliebenen Regenwaldes in Kanada geleistet werden, der weiterhin in weiten Teilen von der Abholzung bedroht ist. Chris Hill von Mycorrhiza erklärt in diesem Zusammenhang die tiefere Bedeutung des Projekt-Namens: ”In den Regenwäldern leben die Bäume in einer symbioten Assoziation mit einer Vielzahl von Bodenpilzen zusammen, die als Mykorrhiza bezeichnet wird. Die Pilze umgeben die Wurzeln der Bäume, sie leben von ihnen und schützen sie gleichzeitig. Dieses Symbolik übertragen wir auf unsere Aktivitäten: Wir wollen ein energetisches Netz-werk im Untergrund aufbauen, das den Wald als Teil eines globalen natürlichen Organismuses stärkt.”
Das Gelände soll zur Basis eines Gemeinschaftsprojektes werden: ”Wir sind gerade dabei ein Camp in Elaho Valley aufzubauen. Es soll zum einen dazu dienen, die Aufmerksamkeit auf die Zerstörung dieses so wichtigen Regenwal-des und die Folgen zu richten. Zum anderen wollen wir von diesem Camp ausgehend ein Öko-Dorf errichten, das langfristig unabhängig bestehen kann und sich über Anbau von Nahrungsmitteln und eine eigene Energieversorgung selbst trägt. Langfristig setzen wir dabei auf Hanf als Rohstoff. Das Camp soll zu einer Anlaufstelle für Menschen werden, die von ähnlichen Ideen geleitet werden und mit uns dieses Projekt als eine Gemeinschaft in Einklang mit der Natur aufbauen wollen. Wir haben damit begonnen, weltweite Kontakte zu Personen und Organisationen zu knüpfen, um aus ihren Erfahrungen zu lernen und mit ihnen zusammenzusarbeiten. Gleichzeitig wollen wir im Sommer eine Reihe von Veranstaltungen und Festivals durchführen. Im Anschluss werden wir als eine Art internationale Karawane, zu der alle Interessierten eingeladen sind, die Pazifik-Küste bis nach Südamerika hinunterziehen, um unsere Ideen weiterzutragen und mit den Menschen gemeinsam zu feiern.”
Im Anschluss spricht Sean Siple über die Erfahrungen der Farm, einer Großkommune in Tennessee, der rund 200 Personen angehören. Im Sinne eines Öko-Dorfes basiert sie auf ökologischen und basisdemokratischen bzw. ge-meinschaftlichen Prinzipien. Die Farm wurde 1971 im Anschluss an die Hippie-Ära gegründet, zu einem Zeitpunkt als ebenfalls die Frage nach dem nächsten Schritt gestellt wurde und teilweise mit dem Aufbau von kommuneartigen Gemeinschaften beantwortet wurde. Die meisten dieser Projekte scheiterten schon nach wenigen Jahren am Druck durch die umgebende Gesellschaft, sowie an ungelösten inneren Widersprüchen und zwischenmenschlichen Proble-men. Klar wurde dabei immer wieder, dass es nicht ausreicht sich in eine vermeintliche Idylle zurückzuziehen.
Notwendig ist dagegen ein Verständnis, das die Wechselbeziehungen zwischen der äußeren Gesellschaft und dem Leben in dem entsprechenden Projekt ausreichend berücksichtigt. Ebenso bedeutsam ist zudem eine ständige Ausei-nandersetzung mit den Prozessen innerhalb des Projektes bzw. mit der eigenen Persönlichkeit, so kräftezerrend es vordergründig sie auch sein mag. Denn genausowenig wie man zu einem völlig anderen Menschen wird, wenn man auf eine idealistische Party geht, auch wenn vielleicht viele Alltagsbelastungen zurücklassen werden, so wenig wan-delt sich eine Person von einem auf den anderen Tag, wenn sie sich einer Kommune anschließt. Das Überwinden von überzogenen egozentrischen Verhaltensstrukturen ist ein ebenso notwendiger, aber auch langer Prozess wie die Auseinandersetzung mit dem Konkurrenzdenken oder sexistischen Einstellungen. Aufbrechen lassen sich diese Strukturen nur, wenn sie ständig hinterfragt und angegangen werden, so beispielsweise in angeleiteten Gesprächs-runden in denen offen über die Entwicklungen der Gruppe bzw. der einzelnen Personen gesprochen wird.
Sean beschreibt die Bedeutung derartiger Prozesse am Beispiel eines Problems innerhalb der Farm, das diese fast zum Scheitern gebracht hätte. Der Gründer der Kommune nahm lange hinweg eine besondere Stellung innerhalb des Projektes ein, die allgemein respektiert wurde. Nach einigen Jahren verselbstständigte sich jedoch diese Position, aus dem Bezug auf eine charismatische Leitfigur war eine hierarchische Struktur geworden, die dem eigentlichen basis-demokratischen Anspruch völlig entgegenstand. Nur im Rahmen eines längeren, zähen Prozesses konnte dieser Zustand inzwischen zugunsten einer Verteilung von Verantwortung überwunden werden.
Der zweite Teil der Ansprache von Sean ist von einem Appell an die TeilnehmerInnen des Gatherings geprägt, sich ihrer Verantwortung für die Zukunft des Planeten Erde bewusst zu sein und diese auch weitergehend auszufüllen: ”Ihr habt eine Aufgabe, eine Mission. Vielleicht seid ihr die letzte Generation, die noch etwas verändern kann, danach mag es schon zu spät sein, um die ökologische Katastrophe aufzuhalten. Ich habe hier auf dem Gathering von beeindru-ckenden Projekten gehört, habe mit wunderbaren Menschen gesprochen. Verbreitet Eure Ideen weiter, lebt sie, teilt Eure Erfahrungen, tragt Eure Liebe weiter, liebt... Es liegt an Euch, doch ich spreche nicht von Euren Recht oder von einer Verpflichtung, es ist Eure Entscheidung, die ihr treffen müsst!”
VERBINDENDE RITUALE
Mehrere gruppendynamische Workshops auf dem Gathering haben zum Ziel ganz praktisch zwischenmenschliche Barrieren abzubauen und Prozesse innerhalb von Gruppen deutlich zum machen. So laufen bei einer Übung alle Anwesenden, zu diesem Zeitpunkt etwa hundert Personen, in Kreis. Nach einem Stop-Zeichen soll jede Person an-halten und der Person, die ihr am nächsten steht in die Augen schauen, und sich zum einen ihre positiven Energien, sowie im Anschluss bei anderen Person deren Ängste und Aggressionen vorstellen. Deutlich wird dabei insbesondere wie schwer es fällt einer andern Person in die Augen zu schauen, nicht wenige schließen zeitweise die Augen oder beginnen nervös zu reagieren. In einigen Fällen entsteht jedoch durch den so tiefen Blickkontakt und die gegenseitige Bereitschaft sich emotional auf den andere Person einzulassen eine zuvor völlig unerwartete gefühlsmäßige Verbin-dung.
Der dritte Tag der Konferenz wird von einem Ritual eingeleitet. In der zuvor meist hell erleuchteten Konferenz-Halle flackert nur eine lange Reihe von Teelichtern. Alle Eintretenden müssen ihre Schuhe ausziehen und die Gespräche beenden. Dann werden die Anweisungen für das Ritual schriftlich zusammengefasst verteilt. Zuerst sind darin ver-schiedene Meditationsübungen beschrieben, später soll sich jede Person auf einen tiefen Wunsch konzentrieren und ihn visualisieren. Die Stärke dieses Rituals liegt in dem atmosphärischen Bruch zu den aufwühlenden und eher nach außen gerichteten Tagen zuvor. Unmittelbar entsteht ein Gefühl innerer und äußerer Ruhe. Insbesondere durch die Meditationen wird es nocheinmal verstärkt möglich sich auf sich selbst zu konzentrieren. Eine anschließende Chakra-Meditation greift diese Atmosphäre auf und ermöglicht ein weiteres Hineingleiten in den eigenen Körper. Inwieweit sich die Teilnehmenden auf diese Übungen und die spirituellen Hintergründe einlassen, bleibt jeder und jedem selbst überlassen. Wesentlich für die Einzelnen wie auch für das Gathering als Ganzes sind vielmehr die Energien, die kon-zentriert bzw. freigesetzt werden.
Einen Höhepunkt des Gatherings bildet dann der Ecstatic-Dance-Workshop, der von Techno-Rhythmen untermalt wird. Die Anweisungen der Workshop-Leiterin hinsichtlich bestimmter Bewegungen und Körperhaltungen werden jedoch von den meisten nur Anfangs befolgt. Schon nach kurzer Zeit tanzen die rund 50 TeilnehmerInnen wild durch den Raum, durcheinander springend, hüpfend, teilweise schreiend. Es entwickelt sich eine Atmosphäre in der alle genau so tanzen können, wie sie es gerade wollen, ohne dass sie deshalb jemand kopfschüttelnd anschaut. Im Ge-genteil, wer sich fallen lassen will, kann dies tun, im sicheren Gefühl von der Gruppe aufgefangen zu werden. Es ist in diesen Momenten regelrecht spürbar wie innere Blockaden und angestaute Energien zumindest für die Zeit des Tan-zes aufgebrochen werden. Am Ende bilden die Beteiligten mit ihren Körpern ein kreisartiges Gebilde. Alle drücken sich aneinander, summen, rufen, schreien ekstatisch, die meisten ausgefüllt von einem Gefühl des Glücks.
Gerade die Verbindung von theoretischen Informationen, leidenschaftlichen Diskussionen und auch körperlich-emotionaler Nähe macht die Stärke des Gatherings aus. Von Anfang an prägt eine Atmosphäre der Offenheit in der es problemlos möglich ist, eine Person anzusprechen und mit ihr über Ideale und Ideen wie auch über persönliche Erfahrungen zu sprechen. Zudem vermittelt die Vielfalt der Tribes und ihrer zum Teil wegweisenden Projekte ein Ge-fühl der Hoffnung in einer ansonsten in Anbetracht der sozialen und ökologischen Entwicklungen meist äußerst de-primierenden Welt. Nicht zuletzt entwickelt sich insbesondere über die gruppendynamischen Übungen und die Rituale eine gefühlsmäßige Nähe, die ansonsten im Alltag kaum einmal erfahren werden kann. Zum Teil geht diese Nähe so tief, dass einzelne Personen anfangen zu weinen oder sich zeitweise zurückziehen, da sie diese Intensität nicht ertra-gen konnten. So nehmen die TeilnehmerInnen über die inhaltliche Ebene hinaus vor allem ein Grundgefühl der Mög-lichkeit und der Notwendigkeit einer grundlegenden Veränderung mit nach Hause.
THE MOON INSIDE
Den Abschluss des Gatherings bildet eine Open-Air-Party, die im wesentlichen von Mitgliedern des Moontribes orga-nisiert wird. Die 1993 gegründete Gruppe genießt inzwischen in der Dance-Community weiter Teile der Vereinigten Staaten geradezu Kultstatus. Bekannt wurde der Moontribe durch seine Full-Moon-Partys in der Wüste der weiteren Umgebung von Los Angeles. Die auf Non-Profit-Basis durchgeführten Partys verzichten meist bewusst auf Werbung, wie auch auf Verkaufsstände aller Art, Dekoration und Beleuchtung. ”Der Mond und die Sterne sind unsere Lightshow” führt Dallas dazu aus, um dann auf das Selbstverständnis Moontribes einzugehen. ”Es gehört zu unseren wichtigsten Zielen unsere Integrität zu wahren und uns kommerziellen Bestrebungen zu verschließen. Wenn Du an einer unserer Partys teilnimmst, wirst Du selbst zu einem Teil des Moontribes, Du hast genauso Verantwortung für den Ablauf der Party, bist genauso verantwortlich für deren Atmosphäre, wie alle anderen.”
Innerhalb des eigentlichen Tribes sind Hierarchien auf ein pragmatisches Minimum reduziert. Die wesentlichen Ent-scheidungen werden von Konsensprinzip ausgehend gemeinsam getroffen. Den Kern bildet das Council, dem meist 13 Personen angehören, um dieses herum hat sich das sogenannte Collective gebildet, das aus Leuten besteht, die sich in irgendeiner Weise einbringen, aber nicht zum Kern gehören wollen. Die Moontribe-Community wird wiederum von denjenigen gebildet, die zu den Full-Moon-Partys kommen.
Die Party-Nacht an sich verläuft in Anbetracht der hohen Erwartungen jedoch lange eher enttäuschend. Rund drei Stunden dauert es, bis man von Los Angeles aus endlich den angestrebten Platz in der Wüste gefunden hat, da die erst am Abend verteilte Wegbeschreibung einige kleine, aber folgenschwere Unklarheiten aufweist. Dort erweist sich die steppenartige Hügellandschaft mit ihrem eisigen Wind sofort als äußerst unwirtlich. Vom Parkplatz aus ist dann noch einmal ein längerer Fußmarsch nötig, um dann endlich ein überdachtes DJ-Pult zu erreichen. Die unverständli-che Reduzierung auf nur zwei Boxentürme verhindert die für das Tanzen so wichtige umschließende Beschallung, so dass sich die meisten direkt von dem DJ zwischen den Boxen eher frierend als tanzend drängelten. Es ist einer dieser Momente, in denen man sich zweifelnd fragt ”Was mache ich hier eigentlich?”.
Am Morgen wandelt sich jedoch die Atmosphäre schlagartig. Mit der Temperatur ändert sich auch die Stimmung und es wird endlich möglich, ein Gefühl für den Raum zu erhalten. Im Laufe des Tages wird dann auch verständlich, dass die Reduzierung einen wesentlichen Teil des so eigenen Charakter der Moontribe-Partys ausmacht. Wüste, Musik bzw. Tanz und Gemeinschaft sind dabei die zentralen Faktoren und nicht etwa ein bekannter DJ oder eine überfrach-tete Dekoration. Insbesondere die Kargheit der Landschaft und die aufsteigende Sonne können dabei ein Gefühl der inneren Klarheit erzeugen.
Die Musik wird von den DJs der am Gathering beteiligten Projekte bestimmt und umfasst ein entsprechend weites Spektrum elektronischer Musik. Daneben entstehen an verschiedenen Stellen immer wieder Trommelsessions, teil-weise die Musik auf der Tanzfläche begleitend, dann in einem angemessenen Abstand einen eigenen Rhythmus findend. Es ist charakteristisch, dass sich einige TänzerInnen völlig ausziehen, ohne dass ihnen in ihrer Nacktheit jemand eine übertriebene Aufmerksamkeit schenkt. Es ist ein genauso selbstverständlicher Teil der Party, dass sich auf dem Dancefloor immer wieder Tanzende an den Händen nehmen und einen Kreis bilden, der sich an einer Stelle öffnet, um spiralförmig ineinander zu gehen und sich danach wieder aufzulösen. Derartige Elemente sind Ausdruck eines Gefühls der Offenheit und der Gemeinschaftlichkeit, das ansonsten in der Party-Szene trotz aller Beschwörun-gen von ”Love and Unity” nur selten zu finden ist. Den Ausklang bilden am späten Nachmittag Golden Buddha, eine psychedelische Rockband, deren scheinbar endlose Improvisationen sich irgendwann im Nichts auflösen und die letzten Anwesenden noch einmal auf eine ganz eigene Reise nehmen.
Schnell deutlich wird für mich jedoch auch, dass bestimmte Rollen und Verhaltensklischees, die ich von vielen Partys in Deutschland und anderen Ländern kenne, auch hier zu finden sind. Eine geradezu globale Erscheinung ist der Freak, der in Gesprächen und in seinem Outfit seinen vorgeblich so tiefen Bezug zu Goa unablässig zur Schau stellt und sich am liebsten mit ”wichtigen” Leuten für alle sichtbar direkt beim DJ unterhält. Ebenso bekannt ist die housige Frau, die so gerne eine Diva wäre, sich in dem Glauben gefällt, sie würde über allem stehen und doch völlig in ihren Eitelkeiten und Unsicherheiten verfangen ist. Dies betrachtend unterhalte ich mich mit Tibo über die Frage inwieweit wir beide selbst Rollen spielen, wo die Grenzen zwischen Authentizität und Übernahme liegen. Ohne diese Fragen abschließend zu beantworten, wenn dies überhaupt möglich ist, lassen wir uns nach einigen Stücken wieder in die Musik fallen.
Zur Mittagszeit erklimme ich dann einen der ”Hills”. Zusammen mit Susie verweile ich dort, betrachte aus der Ferne die Tanzfläche. Wir lassen unsere Gedanken in der Weite dieser beeindruckenden Landschaft schweifen bis sie sich wieder finden. Ich spüre bald, dass ich weitergehen muss, allein weiter hinauf klettern muss. Ein Plateau nach dem anderen lasse ich hinter mir, bis ich irgendwann an einen Platz gelange, an dem ich keinen Menschen mehr sehe, keinen Sound mehr höre. Ich genieße diese Atmosphäre, diese Energie. Schließe die Augen. Und beginne zu hören. Bewusst zu hören. Das Summen vorbeischwirrender Insekten, das Rauschen des Windes, den Klang der Wüste. Langsam steigen Gefühle auf, Befürchtungen und Hoffnungen verdichten sich, werden zu Bildern von dem was mög-lich ist, auch wenn es oft so unerreichbar scheint. Traumhafte, unwirkliche, reale Bilder ausgefüllt von den Energien des Gatherings. Die Sterne sind erreichbar, aber nur wenn wir es wirklich wollen...
Wolfgang Sterneck (2001)
- * -
Saw these at our local Sobeys store so I had to grab one while there still were some! Seem to have sold pretty fast. The branches really look frosted but is a natural white color!
Highest gas price ever in Toronto, on 13th September 2008
$1.35 per litre
=70p per litre
=0.89€ per litre
=$5.11 per US gallon
How does this price compare with yours?
Ville-Marie, Sherbrooke, Nord, 1379 rue Sherbrooke ouest, Montréal.
L’œil, Sculpture en Bronze
Don de l'artiste et des employés du Musée des beaux-arts de Montréal dans le cadre de la Campagne 2008-2012
David altmejd
Né à Montréal en 1974, David Altmejd obtient son baccalauréat de l’Université du Québec à Montréal en 1998 et sa maîtrise en beaux-arts de l’université Columbia (New York) en 2001. Il participe à la 8e Biennale d’Istanbul en 2003, à la Biennale du Whitney en 2004, à la première édition de la Triennale d’art québécois, tenue au Musée d’art contemporain de Montréal (MACM) en 2008. Il représente le Canada à la 52e Biennale de Venise en 2007 et reçoit en 2009 le prix Sobey. Plusieurs musées canadiens et étrangers ont acquis des œuvres de lui, notamment le MACM, le Musée des beaux-arts du Canada, le Musée des beaux-arts de l’Ontario, le Musée des beaux-arts de Montréal, Les Abattoirs de Toulouse, le Solomon R. Guggenheim Museum de New York, le Whitney Museum of American Art de New York, le Museum of Contemporary Art de Los Angeles et le MUDAM Luxembourg (Musée d’art moderne Grand-Duc Jean). En 2015, Altmejd est fait Compagnon des arts et des lettres du Québec et le MCAM tient une importante rétrospective de son œuvre. David Altmejd vit et travaille à New York.
.... FreshCo Ltd. is a Canadian discount supermarket chain owned by Sobeys Inc. It was launched in May 2010, and as of 2017, there were 91 FreshCo grocery stores, all located in Ontario. FreshCo uses the slogan, “Fresher, Cheaper” ....
This crow was eating something off the pavement in a Sobey's parking lot, looked like a pile of road salt...
C-GRCY - Bombardier BD-100 Challenger 300 - Sobeys Inc.
at Toronto Lester B. Pearson Airport
Sobeys is the second largest food retailer in Canada, with over 1,300 supermarkets operating under a variety of banners. Headquartered in Stellarton, Nova Scotia, it operates stores in all ten provinces and accumulated sales of more than $14 billion CAD in 2009.
The aircraft's registration somehow shows, what kind of business Sobeys is running (Grocery).
Nice shopping-cart !
January 1971.
A.J. Sobey and J.W. Cone of Transportation Technology Incorporated wrote a report titled "The Case for Personal Rapid Transit," which was printed in the Highway Research Record No.367. As an advocate for personal rapid transit, vehicles that held one or only a few people, Sobey and his company, Transportation Technology Incorporated studied public transportation needs in various cities, including Los Angeles. Communication with a Southern California Rapid Transit District (SCRTD) Employee, an SCRTD report, and a public transportation report written by Cloverdale and Colpitts all influenced Transportation Technology Incorporated. All of these reports are available at the LACMTA Library & Archive.
Sobey, the amazing Corgi makes me laugh every day.
www.aprilshowersphotography.net/ l www.facebook.com/aprilshowersphotos
Italian postcard by Bromofoto, Milano, no. 1088. Photo: Universal-International.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
Vintage photo.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
Part of my collection of images documenting this pandemic from my own experience. I am adding them to an album.
120 pictures in 2020: 73. Moment in time (A)
French card by Edit. De Marchi Frères, Marseille.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
Sobey's recently acquired the Canadian assets of Safeway. These shots were taken a few days before this store on Albert Street South in Regina was coverted virtually overnight into a Co-op supermarket. It was one of a handful of stores that were sold off by Sobey's as part of a regulatory decision. Before conversion it featured old 1950's-style checkout stands that used a rotary turtable design. The store interior was clean but not up to then-current Safeway standards. Alas, the vintage neon street sign was also lost, replaced by a generic looking Co-op sign.
Project Description:
A Sequence of Lines and Links connects together 100’s of steel rulers in a triangulated pattern. The net-like construction drapes and buckles under it’s own weight. The triangular formation, known for regularity and stability, torques and sags, battling it’s own structure.
Biography:
Toronto artist Kristiina Lahde alters and re-formats ordinary objects and materials through a process of geometric re-organization in which measurement and pattern play a significant role. She received her BFA from the Nova Scotia College of Art and Design (NSCAD) in 1999. Her 2015 solo exhibition ULTRA-PARALLEL at the Koffler Gallery garnered high praise with reviews in The Toronto Star, Akimbo, and Canadian Art. Lahde’s work has been exhibited at 57W57 Arts, New York, The Power Plant, Toronto and the 2011 Biennale de Montréal. Lahde has upcoming solo exhibitions at Central Art Garage in Ottawa and OBORO in Montreal. She was a Long-List nominee for the Sobey Art Award in 2013. Lahde’s work is in the collection of the Canada Council Art Bank. Kristiina Lahde is represented by MKG127 in Toronto, MKG127 will be presenting her work at UNTITLED Miami Beach 2016.
Earlier this year, the Sobeys store at Varsity Common in Saskatoon began a renovation and expansion. The renovation and expansion involved building a new entrance to the store, as well as a new vestibule/lobby/foyer. The new vestibule/lobby/foyer uses doors from NABCO, which excites me greatly. The local distributor is Precision AutoDoor Systems Ltd., which is an exclusive NABCO dealer. There used to be another exclusive NABCO dealer, named A1 Power Door Ltd., but was acquired by ASSA ABLOY Entrance Systems, which exclusively sells Besam doors.
I was a demonstrator for Blue Dragon Stir-Fry Sauces the other day and decided to write a few recipes to really showcase the potential of these relatively convenient pouches. Each pouch says it "serves 2", however, I found them very thick and gloopy and so all the recipes I'm sharing (which serve 4) use one pouch plus water or another form of liquid to make more of a "coating sauce" that also soaks into the rice or noodles you happen to serve it with.
Check out:
yummysmells.blogspot.ca/2012/06/recipes-with-blue-dragon-...
There are 15 web pages listing Ottawa, Gatineau & area half marathoners. This web page lists the area half-marathoners who have first names starting with a Jed to a Judi.
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For the names of the other half-marathon runners, go to the set called "Ottawa-area Half-marathoners" which has links to the full directory of names i.e., all 15 web pages.
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To access race statistics AND pictures (if available), first click on this Sportstats’ link and enter the runner's last and first names, and then click on Search.
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The names are derived from the following half-marathon races:
i) 2010 Canada Army Run (link for photos only)
ii) 2010 Ottawa Fall Colours (link for photos only)
iii) 2010 Nine Run Run (link for photos only)
iv) 2011 Winterman (link for photos only)
v) 2011 Ottawa Race Weekend (link for photos only)
vi) 2011 Canada Army Run (link for photos only)
vii) 2011 Scotiabank Waterfront (link for photos only)
The pictures are available for sale from ASI Photos, Zoom Photo, etc.
---------------------------------
(list no. 7, in order by first name)
1….Jed Byrtus….Carp….M19 & under
2….Jed Charette….Ottawa….M19 & under
3….Jeff Avon….Val des Monts….M40-49
4….Jeff Avon….Val-des-Monts….M40-49
5….Jeff Bardell….Ottawa….M30-39
6….Jeff Bardsley….Chelsea….M40-44
7….Jeff Berry….Nepean….M40-44
8….Jeff Brown….Kanata….M35-39
9….Jeff Byles….Greely….M19 & under
10….Jeff Conrad….Stittsville….M30-34
11….Jeff Cooper….Ottawa….M45-49
12….Jeff Danforth….Orleans….M30-39
13….Jeff Daunt….Ottawa….M30-39
14….Jeff Fritzsche….Stittsville….M40-49
15….Jeff Frobel….Ottawa….M40-49
16….Jeff Goold….Kanata….M40-49
17….Jeff Gorin….Petawawa….M40-49
18….Jeff Hausmann….Ottawa….M40-49
19….Jeff Hawn….Ottawa….M40-49
20….Jeff Hunt….Ottawa….M30-39
21….Jeff Joslin….Kanata….M40-49
22….Jeff Kader….Gatineau….M45-49
23….Jeff Koscik….Ottawa….M20-29
24….Jeff Louwerse….Perth….M40-44
25….Jeff Macdonald….Ottawa….M40-49
26….Jeff McCue….Ottawa….M20-29
27….Jeff Mill….Kanata….M30-39
28….Jeff Moore….Ottawa….M40-49
29….Jeff Moustgaard….Manotick….M35-39
30….Jeff Oliver….Greely….M40-49
31….Jeff Pakeman….Nepean….M30-39
32….Jeff Rogers….Ottawa….M40-44
33….Jeff Rolofs….Pembroke….M45-49
34….Jeff Ross….Ottawa….M30-39
35….Jeff Roy….Ottawa….M25-29
36….Jeff Saunders….Ottawa….M40-44
37….Jeff Schmidtke….Ottawa….M30-34
38….Jeff Scullion….Ottawa….M30-34
39….Jeff Shillington….Ottawa….M30-39
40….Jeff Slavin….Nepean….M40-49
41….Jeff Smart….Ottawa….M30-39
42….Jeff Stoss….Ottawa….M30-39
43….Jeff Swrjeski….Kemptville….M30-39
44….Jeff Waterfall….Kanata….M55-59
45….Jeff Wright….Ottawa….M40-44
46….Jeff Zhao….Kanata….M45-49
47….Jeffery Tomkins….Kanata….M30-39
48….Jeffery Vanderploeg….Ottawa….M30-39
49….Jeffrey Arrand….Petawawa….M30-34
50….Jeffrey Code….Petawawa….M30-39
51….Jeffrey Dodds….Ottawa….M50-59
52….Jeffrey English….Ottawa….M20-29
53….Jeffrey Hunt….Ottawa….M30-34
54….Jeffrey Johnston….Ottawa….M30-39
55….Jeffrey Lafontaine….Ottawa….M20-29
56….Jeffrey Larocque….Gatineau….M35-39
57….Jeffrey Macdonald….Ottawa….M40-49
58….Jeffrey Muller….Ottawa….M30-39
59….Jeffrey O'connor….Kanata….M30-39
60….Jeffrey Rempel….Ottawa….M20-24
61….Jeffrey Smith….Ottawa….M40-49
62….Jelena Marjanovic….Ottawa….F19 & under
63….Jen Bowes….Ottawa….F20-29
64….Jen Crichton….Manotick….F20-24
65….Jen Debenham….Carleton Place….F30-39
66….Jen Debenham….Lanark….F30-34
67….Jen Milligan….Ottawa….F30-39
68….Jen Payne….Ottawa….F25-29
69….Jenelle Power….Ottawa….F20-29
70….Jeney Wolchuk….Nepean….F30-34
71….Jenn Bergeron….Ottawa….F30-34
72….Jenn Hunt….Arnprior….F25-29
73….Jenn Johnson….Gloucester….F30-39
74….Jenn Marr….Ottawa….F25-29
75….Jenn Mccabe….Ottawa….F25-29
76….Jenn Mulley….Ottawa….F20-24
77….Jenna Blois….Ottawa….F30-34
78….Jenna Bunny Ladd….Ottawa….F20-24
79….Jenna Jessup….Ottawa….F25-29
80….Jenna Jones….Ottawa….F20-24
81….Jenna Lacharity….Ottawa….F20-29
82….Jenna Ladd….Ottawa….F20-29
83….Jenna Martineau….Cornwall….F20-24
84….Jenna Pelham….Ottawa….F20-24
85….Jenna Poley….Ottawa….F25-29
86….Jenna Woito….Pembroke….F19 & under
87….Jenna Young….Ottawa….F20-24
88….Jennea Grison….Ottawa….F20-24
89….Jenni Kerteston….Carleton Place….F30-39
90….Jennie Abell….Ottawa….F55-59
91….Jennie Nieradka….Ottawa….F25-29
92….Jennifer Aaltonen….Orleans….F40-49
93….Jennifer Adams….Ottawa….F40-49
94….Jennifer Ajersch….Ottawa….F40-44
95….Jennifer Almond….Ottawa….F20-29
96….Jennifer Anderson….Stittsville….F30-39
97….Jennifer Andress….Carleton Place….F30-39
98….Jennifer Ann Sweet….Nepean….F30-39
99….Jennifer Balao….Ottawa….F40-49
100….Jennifer Balcom….Ottawa….F30-39
101….Jennifer Baudin….Ottawa….F30-39
102….Jennifer Bayne….Nepean….F35-39
103….Jennifer Becker….Arnprior….F30-34
104….Jennifer Bergeron….Ottawa….F30-39
105….Jennifer Beyak….Ottawa….F35-39
106….Jennifer Biondi….Ottawa….F30-39
107….Jennifer Blackburn….Carleton Place….F30-39
108….Jennifer Blattman….Ottawa….F35-39
109….Jennifer Bookhout….Ottawa….F35-39
110….Jennifer Boyle….Ottawa….F25-29
111….Jennifer Brenning….Ottawa….F40-49
112….Jennifer Bucknall….Ottawa….F40-49
113….Jennifer Burn….Kanata….F40-49
114….Jennifer Caldbick….Orleans….F55-59
115….Jennifer Cameron….Stittsville….F40-49
116….Jennifer Campbell….Kanata….F45-49
117….Jennifer Chauhan….Orleans….F30-39
118….Jennifer Cheetham….Ottawa….F20-24
119….Jennifer Clinton….Ottawa….F30-39
120….Jennifer Cote….Ottawa….F30-34
121….Jennifer Cox….Kanata….F35-39
122….Jennifer Crawford….Kemptville….F30-39
123….Jennifer Croisier….Kanata….F30-39
124….Jennifer Damiano….Dunrobin….F40-44
125….Jennifer Degouffe….Ottawa….F30-39
126….Jennifer Delorme….Kanata….F30-39
127….Jennifer Derksen….Carleton Place….F40-49
128….Jennifer Deschamps….Cornwall….F50-59
129….Jennifer Desroches….Orleans….F45-49
130….Jennifer Donohue….Kanata….F30-39
131….Jennifer Duffy….Maitland….F19 & under
132….Jennifer Dumoulin….Ottawa….F20-29
133….Jennifer Elliott….Ottawa….F30-39
134….Jennifer Etheridge….Kanata….F35-39
135….Jennifer Ethier….Ottawa….F35-39
136….Jennifer Eyre….Petawawa….F40-49
137….Jennifer Fergusson….Ottawa….F25-29
138….Jennifer Filip….Nepean….F25-29
139….Jennifer Fillingham….Ottawa….F40-44
140….Jennifer Fountain….Thousand Islands….F25-29
141….Jennifer Fraser….Ottawa….F30-39
142….Jennifer Frechette….Greely….F30-39
143….Jennifer Gardiner….Ottawa….F30-39
144….Jennifer German….Chelsea….F45-49
145….Jennifer Giguere….Nepean….F20-24
146….Jennifer Goods….Ottawa….F30-34
147….Jennifer Gosselin….Ottawa….F45-49
148….Jennifer Guerrero….Ottawa….F40-44
149….Jennifer Halfhide….Ottawa….F30-39
150….Jennifer Hall….Ottawa….F25-29
151….Jennifer Hall….Ottawa….F25-29
152….Jennifer Hall….Ottawa….F25-29
153….Jennifer Harnden….Ottawa….F20-29
154….Jennifer Harris….Ottawa….F30-39
155….Jennifer Hartley….Ottawa….F40-44
156….Jennifer Holmes….Stittsville….F30-39
157….Jennifer Hood….Ottawa….F30-39
158….Jennifer Katsuno….Ottawa….F20-24
159….Jennifer Kaufman….Ottawa….F25-29
160….Jennifer Kellar….Mallorytown….F40-44
161….Jennifer Kemp….Kanata….F30-39
162….Jennifer Koussaya-Kent….Ottawa….F35-39
163….Jennifer Labonte….Gatineau….F20-29
164….Jennifer Lamont….Ottawa….F30-34
165….Jennifer Laviolette….Ottawa….F35-39
166….Jennifer Leblanc….Ottawa….F35-39
167….Jennifer Lee….Ottawa….F30-34
168….Jennifer Lim….Ottawa….F20-29
169….Jennifer Lynch….Ottawa….F45-49
170….Jennifer Matheson….Cornwall….F40-44
171….Jennifer McCabe….Ottawa….F20-29
172….Jennifer Mcdonald….Smiths Falls….F30-34
173….Jennifer Mcdonell….Nepean….F35-39
174….Jennifer Mcdonell….Nepean….F30-39
175….Jennifer Mcgregor….Ottawa….F35-39
176….Jennifer McNaughtan….Ottawa….F35-39
177….Jennifer Miceli….Ottawa….F20-24
178….Jennifer Miller….Ottawa….F30-34
179….Jennifer Miner….Orleans….F30-34
180….Jennifer Mitton….Gatineau….F30-39
181….Jennifer Moher….Ottawa….F40-49
182….Jennifer Moores….Ottawa….F30-39
183….Jennifer Morin….Ottawa….F45-49
184….Jennifer Morris….Ottawa….F35-39
185….Jennifer Morrison….Ottawa….F30-39
186….Jennifer Morse….Ottawa….F35-39
187….Jennifer Mulley….Ottawa….F25-29
188….Jennifer Murdock….Prescott….F40-49
189….Jennifer Murphy….Ottawa….F35-39
190….Jennifer Nason….Kanata….F30-39
191….Jennifer Newton….Ottawa….F25-29
192….Jennifer Nutt….Ottawa….F40-49
193….Jennifer O'neill….Ottawa….F25-29
194….Jennifer Paradis….Orleans….F30-34
195….Jennifer Parr….Ottawa….F50-54
196….Jennifer Paul….Ottawa….F20-29
197….Jennifer Payne….Ottawa….F30-39
198….Jennifer Perlin….Kanata….F30-34
199….Jennifer Prieur….Kanata….F30-39
200….Jennifer Rauscher….Ottawa….F20-24
201….Jennifer Robinson….Petawawa….F20-29
202….Jennifer Rose….Kanata….F30-39
203….Jennifer Russell….Kanata….F25-29
204….Jennifer Sarrasin….Ottawa….F40-49
205….Jennifer Saxe….Ottawa….F30-34
206….Jennifer Scarizzi….Gatineau….F20-29
207….Jennifer Schenkel….Ottawa….F30-39
208….Jennifer Schmidt….Orleans….F20-29
209….Jennifer Selwyn….Masham….F50-59
210….Jennifer Shortall….Ottawa….F30-39
211….Jennifer Slawich….Ottawa….F25-29
212….Jennifer Stadler….Ottawa….F30-39
213….Jennifer Taillefer….Ottawa….F35-39
214….Jennifer Thomlinson….Ottawa….F25-29
215….Jennifer Tighe….Ottawa….F20-29
216….Jennifer Tindale….Ottawa….F30-39
217….Jennifer Tracz….Petawawa….F40-49
218….Jennifer Tu….Pembroke….F30-39
219….Jennifer Turk….Richmond….F35-39
220….Jennifer Upson….Kanata….F30-34
221….Jennifer Van Meer….Orleans….F40-49
222….Jennifer Wenzel….Ottawa….F30-39
223….Jennifer White….Ottawa….F40-44
224….Jennifer Wickson….Ottawa….F25-29
225….Jennifer Wills….Nepean….F40-49
226….Jennifer Wilson….Kanata….F20-29
227….Jennifer Winkel….Ottawa….F30-39
228….Jennifer Wright….Kars….F40-49
229….Jennilee Gavina….Nepean….F25-29
230….Jenny Andress….Carleton Place….F30-34
231….Jenny Fisher….Kars….F30-39
232….Jenny Koumoutsidis….Ottawa….F40-44
233….Jenny Lacoursiere….St. Albert….F30-39
234….Jenny Lewis….Ottawa….F30-39
235….Jenny Sheffield….Almonte….F40-49
236….Jeohanie Vezina….Gatineau….F20-29
237….Jeramy Rutley….Ottawa….M30-39
238….Jeremie Beausoleil….Embrun….M19 & under
239….Jeremie Saumure-Kyer….Petawawa….M20-29
240….Jeremy Atherton….Nepean….M40-44
241….Jeremy Cobb….Ottawa….M19 & under
242….Jeremy Farrell….Chalk River….M20-29
243….Jeremy Flinter….Ottawa….M20-29
244….Jeremy Fountain….Leeds 1000 Islands….M35-39
245….Jeremy Garbas-Tyrrell….Nepean….M30-39
246….Jeremy Irving….Ottawa….M35-39
247….Jeremy Judd….Smiths Falls….M19 & under
248….Jeremy Kerr….Ottawa….M40-49
249….Jeremy Mansfield….Ottawa….M50-54
250….Jeremy McGee….Ottawa….M30-39
251….Jeremy Neven….Elgin….M35-39
252….Jerome Belanger-Cote….Gatineau….M20-29
253….Jerrid Tremaine….Nepean….M30-39
254….Jerry Rudnicki….Petawawa….M30-34
255….Jerry Scheidl….St Albert….M40-49
256….Jess Devries….Ottawa….F25-29
257….Jess Keller….Ottawa….F30-34
258….Jessalynn Miller….Ottawa….F30-39
259….Jesse Blondin….Ottawa….F20-29
260….Jesse Craig….Ottawa….F30-39
261….Jesse Hall….Russell….M19 & under
262….Jesse Knockleby….Arnprior….M30-39
263….Jessica Aldred….Ottawa….F35-39
264….Jessica Alen….Vanier….F25-29
265….Jessica Biggs….Ottawa….F20-24
266….Jessica Breton….Gatineau….F20-24
267….Jessica Broere….Ottawa….F25-29
268….Jessica Brown….Ottawa….F25-29
269….Jessica Cole….Ottawa….F25-29
270….Jessica Craig….Ottawa….F25-29
271….Jessica D'aoust….Gatineau….F20-24
272….Jessica Dean….Kanata….F20-29
273….Jessica Dempsey….Ottawa….F20-29
274….Jessica Devries….Ottawa….F20-29
275….Jessica Devries….Ottawa….F20-29
276….Jessica Dyck….Ottawa….F30-34
277….Jessica Eamer….Cornwall….F20-29
278….Jessica Eastman….Kemptville….F20-24
279….Jessica Edmonds….Pembroke….F19 & under
280….Jessica Goldfarb….Nepean….F25-29
281….Jessica Kight….Ottawa….F20-29
282….Jessica Lanouette….Ottawa….F30-39
283….Jessica Lavoie….Gatineau….F20-29
284….Jessica Lee….Brockville….F20-24
285….Jessica Lefort….Ottawa….F25-29
286….Jessica MacAulay….Ottawa….F30-34
287….Jessica Magnan….Ottawa….F25-29
288….Jessica McRobbie….Petawawa….F20-29
289….Jessica Merten….Petawawa….F20-29
290….Jessica Moran….Finch….F20-24
291….Jessica Moss….Ottawa….F20-29
292….Jessica O'Gorman….Ottawa….F20-24
293….Jessica Pancoe….Ottawa….F30-34
294….Jessica Pedersen….Ottawa….F20-29
295….Jessica Poff….Barry's Bay….F30-39
296….Jessica Roche….Ottawa….F20-24
297….Jessica Rush….Ottawa….F25-29
298….Jessica Shehan….Ottawa….F35-39
299….Jessica White….Gatineau….F30-34
300….Jessica Wilson….Ottawa….F20-29
301….Jessica Young….Vanier….F30-34
302….Jessie Beavis….Ottawa….F65-69
303….Jessie Rai….Ottawa….F40-49
304….Jesula Drouillard….Ottawa….F45-49
305….Jetje Antonietti….Ottawa….F55-59
306….Jez Fletcher….Ottawa….M40-49
307….Jf Fauteux….Ottawa….M50-59
308….Jf Lepine….Orleans….M30-34
309….Jian Wu….Ottawa….M40-49
310….Jie Qin….Ottawa….F35-39
311….Jill Ainsworth….Ottawa….F20-29
312….Jill Dickinson….Ottawa….F40-49
313….Jill Fritsch….Ottawa….F30-34
314….Jill Frook….Ottawa….F30-39
315….Jill Grant….Cornwall….F40-49
316….Jill Kolisnek….Ottawa….F20-29
317….Jill Marsh….Ottawa….F40-49
318….Jill Parkinson….Ottawa….F45-49
319….Jill Perry….Ottawa….F40-49
320….Jill Pomeroy….Ottawa….F50-59
321….Jill Soucie….Renfrew….F50-59
322….Jill Stapleton….Ottawa….F20-29
323….Jill Thompson….Ottawa….F25-29
324….Jill Turner….Ottawa….F30-39
325….Jill Wherrett….Ottawa….F40-44
326….Jillian Marquardt….Pembroke….F19 & under
327….Jillian Osborne….Ottawa….F20-24
328….Jillian Propp….Ottawa….F20-29
329….Jillian Stow….Kanata….F25-29
330….Jillian Timperon….Rockland….F30-39
331….Jim Anstey….Ottawa….M30-34
332….Jim Brownrigg….Gatineau….M45-49
333….Jim Burgess….Ottawa….M60-69
334….Jim Burke….Ottawa….M55-59
335….Jim Carter….Nepean….M55-59
336….Jim Fraser….Ottawa….M55-59
337….Jim Fullarton….Ottawa….M45-49
338….Jim Hogan….Ottawa….M60-69
339….Jim Hutchins….North Gower….M40-49
340….Jim Lambe….Stittsville….M40-49
341….Jim Lambley….Kanata….M40-49
342….Jim Locke….Elizabethtown….M50-54
343….Jim Lothrop….Ottawa….M40-49
344….Jim McConnery….Gatineau….M40-44
345….Jim McInnes….Ottawa….M65-69
346….Jim Paquette….Orleans….M60-69
347….Jim Ralph Joseph….Ottawa….M19 & under
348….Jim Ryan….Ottawa….M60-69
349….Jim Sourges….Ottawa….M40-49
350….Jim Steel….Ottawa….M40-49
351….Jim Turner….Orleans….M65-70
352….Jim Vienneau….Petawawa….M50-59
353….Jim Wallace….Richmond….M30-34
354….Jim Walsh….Ottawa….M60-69
355….Jim Ward….Orleans….M60-69
356….Jimmy Cox….Ottawa….M20-29
357….Jimmy Ha….Ottawa….M19 & under
358….Jimmy Lavoie….Casselman….M40-44
359….Jimmy Novak….Ottawa….M30-39
360….Jimmy Walsh….Ottawa….M60-69
361….Jinny Williamson….Gatineau….F30-39
362….Jinsoo Kim….Ottawa….M40-44
363….Joëlle Labrie….Gatineau….F20-29
364….Joëlle Levac….Navan….F20-29
365….Joëlle Sabourin….Ottawa….F20-29
366….Jo Nuttall….Orleans….F40-49
367….Joan Bard Miller….Ottawa….F30-34
368….Joan Carpini….Ottawa….F40-49
369….Joan Cleary….Rockland….F50-59
370….Joan Craig….Ottawa….F60-69
371….Joan Duguid….Ottawa….F40-49
372….Joan Kam Cheong….Ottawa….F40-49
373….Joan McFaul….Kanata….F50-59
374….Joan McManus….Ottawa….F40-49
375….Joan Norgren….Ottawa….F45-49
376….Joan Norgren….Ottawa….F40-49
377….Joan Portelance-Galarneau….Ottawa….F25-29
378….Joan Tourangeau….Orleans….F30-39
379….Joan Wang….Ottawa….F30-34
380….Joanie Benoit-Desrochers….Cantley….F19 & under
381….Joanie Larose….Gatineau….F25-29
382….Jo-Ann Brault….Ottawa….F55-59
383….Jo-Ann Evoy….Brockville….F40-44
384….Joann Garbig….Ottawa….F55-59
385….Joann Garbig….Ottawa….F50-59
386….Joann Harrold….Ottawa….F35-39
387….Jo-Ann Sneddon….Ottawa….F25-29
388….Joann Tyrie….Petawawa….F40-49
389….Joanna Courtney….Ottawa….F30-34
390….Joanna Elliott….Kanata….F25-29
391….Joanna Grimshaw-Thew….Orleans….F40-49
392….Joanna Hardwick….Ottawa….F30-39
393….Joanna Marriott….Ottawa….F25-29
394….Joanna Simpson….Ottawa….F25-29
395….Joanne Bastille….Gatineau….F30-39
396….Jo-Anne Beauchemin….Ottawa….F30-39
397….Jo-Anne Belliveau….Ottawa….F55-59
398….Joanne Bradley….Ottawa….F30-39
399….Joanne Brydon….Petawawa….F30-39
400….Jo-Anne Crisp….Ottawa….F35-39
401….Joanne D'angelo….Orleans….F40-44
402….Joanne Desormeaux….Kemptville….F30-39
403….Jo-Anne Difruscio….Ottawa….F50-59
404….Joanne Doucet….Nepean….F40-49
405….Joanne Dunn….Gatineau….F50-59
406….Joanne Filliol….Cornwall….F50-59
407….Joanne Foley-Grimes….Ottawa….F40-44
408….Joanne Fox….Ottawa….F40-49
409….Joanne Froment….Limoges….F30-39
410….Joanne Garrah….Ottawa….F35-39
411….Jo-Anne Guimond….Ottawa….F40-49
412….Joanne Hale….Ottawa….F45-49
413….Joanne Henry….Orleans….F40-49
414….Jo-Anne Janigan….Ottawa….F50-54
415….Joanne Johnson….Ottawa….F30-39
416….Joanne Kadoski….Richmond….F50-54
417….Joanne Leblond….Gatineau….F45-49
418….Joanne MacNeill….Stittsville….F35-39
419….Joanne Mallet….Petawawa….F40-49
420….Jo-Anne Matheson….Orleans….F40-49
421….Joanne McFall Smith….North Gower….F40-49
422….Joanne Merrett….Ottawa….F40-49
423….Joanne Montgomery….Dunrobin….F40-49
424….Joanne Newton….Stittsville….F35-39
425….Jo-Anne Racine….Gatineau….F30-34
426….Joanne Ritchie….Ottawa….F40-49
427….Joanne Schliebener….Ottawa….F40-49
428….Joanne Schmid….Ottawa….F30-39
429….Joanne Schofield….Ottawa….F40-49
430….Joanne Sibbald….Gatineau….F30-39
431….Joanne Sim….Ottawa….F50-59
432….Joanne Snell….Ottawa….F50-54
433….Joanne Stober….Ottawa….F30-39
434….Joanne Sytsma….Mallorytown….F50-54
435….Joanne Thompson….Ottawa….F40-49
436….Joanne Thurlbeck….Ottawa….F35-39
437….Joaquin Fernandez….Stittsville….M60-69
438….Jocelyn Bourgeois….Gatineau….M30-34
439….Jocelyn Cayer….Casselman….M35-39
440….Jocelyn Dubois….Gatineau….M35-39
441….Jocelyn Kearney….Ottawa….F25-29
442….Jocelyn Murat….Stittsville….F20-24
443….Jocelyn Thauvette….Orleans….M45-49
444….Jocelyne Barsalou….Woodlawn….F60-64
445….Jocelyne Boivin….Orleans….F60-69
446….Jocelyne Grandlouis….Ottawa….F55-59
447….Jocelyne Lahaie….Ottawa….F30-39
448….Jocelyne Paul….Ottawa….F40-44
449….Jocelyne Quane….Ottawa….F20-24
450….Jocelyne Riopelle….Ottawa….F30-39
451….Jocelynn Cook….Manotick….F40-44
452….Jodi Ashton….Ottawa….F35-39
453….Jodi Beyer….Carleton Place….F30-39
454….Jodi Brennan….Merrickville….F40-49
455….Jodi Joy….Stittsville….F40-49
456….Jodi Saunders….Russell….F25-29
457….Jodi Tilley….Ottawa….F35-39
458….Jodi Wendland….Ottawa….F20-29
459….Jodi Wilson….Ottawa….F20-29
460….Jodie Davis….Rockland….F30-39
461….Jodie Hoffart….Ottawa….F30-39
462….Jodie Taylor….Ottawa….F40-44
463….Jody Bergen….Ottawa….F30-39
464….Jody Delwo….Ottawa….F40-49
465….Jody Gelowitz….Kanata….M30-39
466….Jody Kingsbury….Ottawa….M25-29
467….Jody Proctor….Ottawa….F40-44
468….Jody Schindel….Gatineau….F30-34
469….Jody Vallati….Kanata….F40-49
470….Jody Warnes….Ottawa….F35-39
471….Joe Gunn….Ottawa….M50-59
472….Joe Haimowitz….Ottawa….M40-44
473….Joe Lott….Ottawa….M50-59
474….Joe Macmillan….Stittsville….M50-59
475….Joe Milligan….Petawawa….M40-49
476….Joe Paraskevas….Ottawa….M40-49
477….Joe Raetsen….Nepean….M60-69
478….Joe Rogers….Ottawa….M30-34
479….Joe Ross….Ottawa….M30-39
480….Joe Smith….Ottawa….M45-49
481….Joe Tegano….Nepean….M50-59
482….Joe Whitmore….Ottawa….M30-34
483….Joe-Anne Mckittrick….Kanata….F35-39
484….Joel Allaert….Ottawa….M20-29
485….Joel Bedford….Ottawa….M30-34
486….Joel Clarke-Ames….Cornwall….M30-34
487….Joel Dimanche….Gananoque….no age
488….Joel Edwards….Ottawa….M30-39
489….Joel Elliott….Ottawa….M20-29
490….Joel Gregoire….Orleans….M40-44
491….Joel Kam….Stittsville….M35-39
492….Joel Le Floch….Ottawa….M30-39
493….Joel Levasseur….Pembroke….M30-39
494….Joel Mcdonnell….Kanata….M30-39
495….Joël Mevil….Gatineau….M40-44
496….Joel Neuheimer….Ottawa….M40-44
497….Joel Pennycook….Ottawa….M20-29
498….Joel Primeau….Gatineau….M30-39
499….Joel Proulx….Ottawa….M20-29
500….Joel Tait….Kemptville….M30-34
501….Joel Weaver….Ottawa….M30-39
502….Joel Westheimer….Ottawa….M40-49
503….Joel Willison….Gloucester….M20-29
504….Joelle D'aoust….Ottawa….F20-29
505….Joelle Hall….Orleans….F35-39
506….Joelle Levac….Navan….F20-24
507….Joelle Pare….Gatineau….F25-29
508….Joelyn Ragan….Ottawa….F45-49
509….Joey Beaudin….Limoges….M20-29
510….Joey Rogowy….Ottawa….M20-29
511….Joey Slobodian….Stittsville….M40-49
512….Johan Broeckx….Plantagenet….no age
513….Johann Unterganschnigg….Ottawa….M50-59
514….Johanna Jennings….Ottawa….F35-39
515….Johanna Laing….Gatineau….F25-29
516….Johanna Lemieux….Gatineau….F25-29
517….Johanne Audet….Gatineau….F40-49
518….Johanne Bertrand….Ottawa….F50-54
519….Johanne Branchaud….Gatineau….F50-59
520….Johanne Dery….Ottawa….F30-39
521….Johanne Finn….Gatineau….F40-44
522….Johanne Larabie….Plantagenet….F40-44
523….John Balint….Ottawa….M60-69
524….John Baranyi….Greely….M40-49
525….John Beaudoin….Ottawa….M30-39
526….John Birmingham….Arnprior….M35-39
527….John Bishop….Ottawa….M40-49
528….John Bowen….Ottawa….M30-39
529….John Brady….Ottawa….M40-49
530….John Buitenga….Kanata….M50-59
531….John Cameron….Kanata….M40-49
532….John Carmosino….Gatineau….M40-49
533….John Carson….Ottawa….M40-49
534….John Coltess….Ottawa….M35-39
535….John Cooper….Kanata….M40-49
536….John Dancause….Ottawa….M55-59
537….John Devlin….Orleans….M20-29
538….John Downey….Ottawa….M40-49
539….John Emard….Ottawa….M45-49
540….John Fahey….Chelsea….M40-49
541….John Farrell….Nepean….M50-54
542….John Fuller….Renfrew….M35-39
543….John Gardam….Nepean….M50-59
544….John Gazo….Ottawa….M35-39
545….John Giguere….Gatineau….M45-49
546….John Gillissie….Ottawa….M40-49
547….John Girard….Gloucester….M30-39
548….John Graham….Carleton Place….M50-59
549….John Graham McLean….Ottawa….M35-39
550….John Hale….Ottawa….M50-59
551….John Hall….Nepean….M50-59
552….John Hamilton….Ottawa….M60-69
553….John Harper….Orleans….M50-59
554….John Hawkins….Ottawa….M50-59
555….John Hetherington….Mcdonald's Corners….M60-69
556….John Hladkowicz….Ottawa….M45-49
557….John Horvath….Ottawa….M60-69
558….John Jr. Fuller….Renfrew….M30-39
559….John Kurdyla….Ottawa….M45-49
560….John Kutziubas….Ottawa….M25-29
561….John Leblanc….Ottawa….M40-49
562….John Ledo….Ottawa….M60-69
563….John Lemieux….Aylmer….M20-29
564….John Lougheed….Petawawa….M20-29
565….John Lymer….Ottawa….M20-29
566….John M French….Ottawa….M55-59
567….John Macmillan….Spencerville….M40-49
568….John Madower….Orleans….M40-49
569….John Mahoney….Kanata….M40-49
570….John Manwaring….Ottawa….M60-69
571….John Mclean….Ottawa….M40-49
572….John Mcnamara….Ottawa….M60-64
573….John Meek….Moose Creek….M35-39
574….John Meikle….Ottawa….M40-44
575….John Melanson….Ottawa….M40-49
576….John Menzies….Pembroke….M60-69
577….John Michael Natynczyk….Petawawa….M20-29
578….John Mitchell….Ottawa….M50-59
579….John Morales….Ottawa….M35-39
580….John Murphy….Ottawa….M50-54
581….John Neima….Nepean….M30-39
582….John O'Leary….Ottawa….M20-24
583….John Oliver….Ottawa….M50-54
584….John Pallascio….Ottawa….M50-59
585….John Patrick Sloan….Ottawa….M20-29
586….John Pemberton….Ottawa….M40-44
587….John Pool….Kanata….M50-59
588….John Potter….Orleans….M40-49
589….John Purdy….Nepean….M30-34
590….John Raiswell….Brockville….M70-74
591….John Rajman….Ottawa….M40-49
592….John Roach….Orleans….M40-49
593….John Ruff….Nepean….M30-39
594….John Saar….Ottawa….M45-49
595….John Scarlett….Orleans….M50-54
596….John Serviss….Rockland….M20-29
597….John Sobey….Ottawa….M40-49
598….John Sowiak….Ottawa….M30-39
599….John Speirs….Deep River….M60-69
600….John St. Marseille….Cornwall….M40-49
601….John Sterling….Greely….M40-49
602….John Sullivan….Kanata….M50-59
603….John Swift….Ottawa….M50-54
604….John Sylvestre….Ottawa….M40-44
605….John Tegano….Ottawa….M45-49
606….John Tennant….Orleans….M40-49
607….John Timmermans….Ottawa….M30-39
608….John Trant….Ottawa….M25-29
609….John Welsh….Ottawa….M40-49
610….John Zawada….Alexandria….M60-69
611….Johnathan Macdonald….Ottawa….M20-29
612….Johnny Lemieux….Gatineau….M20-29
613….Johnny Ostapiuk….Rockland….M20-24
614….John-Paul Yaraskavitch….Ottawa….M20-29
615….Jolene Harvey….Ottawa….F30-39
616….Jolene Savoie….Ottawa….F30-39
617….Jolene Sidney….Stittsville….F25-29
618….Jolynn Kam Cheong….Ottawa….F19 & under
619….Jon Andrews….Stittsville….M40-49
620….Jon Campbell….Ottawa….M30-34
621….Jon Hamilton….Greely….M40-49
622….Jon Marchand….Ottawa….M19 & under
623….Jon Mccully….St. Albert….M30-39
624….Jon McDougall….Ottawa….M20-29
625….Jon Neill….Ottawa….M20-29
626….Jon Schmeler….Nepean….M40-49
627….Jonah Losier….Ottawa….M19 & under
628….Jonathan Barteaux….Petawawa….M20-29
629….Jonathan Belanger….Gatineau….M20-24
630….Jonathan Byrd….Ottawa….M19 & under
631….Jonathan Carreiro….Ottawa….M20-29
632….Jonathan Charbonneau….Ottawa….M35-39
633….Jonathan Charbonneau….Ottawa….M30-39
634….Jonathan Chiu….Ottawa….M35-39
635….Jonathan Coulombe….Gatineau….M30-34
636….Jonathan Cox….Ottawa….M20-29
637….Jonathan Crozier….Ottawa….M20-29
638….Jonathan Cyr….Orleans….M35-39
639….Jonathan Dawe….Ottawa….M20-24
640….Jonathan Favre….Orleans….M20-29
641….Jonathan Fillion-Deneault….Gatineau….M25-29
642….Jonathan Gardam….Gloucester….M20-29
643….Jonathan Gilbert….Gatineau….M20-29
644….Jonathan Godin….Ottawa….M30-34
645….Jonathan Gravel….Ottawa….M20-24
646….Jonathan Hall….Limoges….M25-29
647….Jonathan Hurn….Ottawa….M20-29
648….Jonathan Katz….Ottawa….M20-24
649….Jonathan Lafontaine….Gatineau….M30-39
650….Jonathan Laurin….Gatineau….M20-24
651….Jonathan Lemieux….Ottawa….M20-29
652….Jonathan Letendre….Kanata….M20-29
653….Jonathan Martineau….Gatineau….M20-24
654….Jonathan Moher….Ottawa….M30-39
655….Jonathan Moore….Ottawa….M30-39
656….Jonathan Murphy….Ottawa….M20-29
657….Jonathan Noynay….Ottawa….M20-24
658….Jonathan Pace….Ottawa….M20-29
659….Jonathan Sanchez….Ottawa….M20-24
660….Jonathan Taylor….Ottawa….M30-39
661….Jonathan Theriault….Orleans….M30-39
662….Jonathan Therrien….Pembroke….M20-29
663….Jonathan Woodman….Ottawa….M20-29
664….Joni Bradley….Ottawa….F30-34
665….Joni Ogawa….Ottawa….F55-59
666….Jonny Sullivan….Ottawa….M20-29
667….Jon-Rhys Evenchick….Ottawa….M20-24
668….Jordan Arthur….Nepean….M30-39
669….Jordan Craig….Ottawa….M20-24
670….Jordan Devine….Orleans….M19 & under
671….Jordan Freed….Ottawa….M40-49
672….Jordan Harju….Nepean….M30-39
673….Jordan Macdonald….Ottawa….M30-39
674….Jordan Mcleod….Ottawa….M20-29
675….Jordan Menzies….Orleans….M35-39
676….Jordan Nesbit….Carleton Place….F30-39
677….Jordan Payne….Ottawa….M20-29
678….Jordan Reed….Navan….F25-29
679….Jordan Shew….Lombardy….M19 & under
680….Jordan Thoms….Orleans….M20-29
681….Jordon Bickford….Ottawa….M19 & under
682….Jordyn Vanderveen….Ottawa….F20-24
683….Jorge Zamorano….Almonte….M50-54
684….Jorie Yang….Kanata….F35-39
685….Jos E Lafontaine….Gatineau….F30-39
686….Jose Gabriel Cardenas….Gatineau….M30-34
687….Jose Saramago….Gatineau….M30-39
688….Josee Beriault….Ottawa….F40-44
689….Josee Boudreault….Ottawa….F50-59
690….Josee Bradley….Ottawa….F30-39
691….Josee Charette….Gatineau….F30-39
692….Josee Deleseleuc….Orleans….F20-29
693….Josee Gagne….Cornwall….F30-39
694….Josee Joanis….Gatineau….F30-34
695….Josee Labonte….Gatineau….F20-29
696….Josee Lovett….Embrun….F30-39
697….Josee Matte….Gatineau….F40-44
698….Josee Mcormond….Ottawa….F30-34
699….Josee Menard-Chiappa….Ottawa….F55-59
700….Josee Pasian….Ottawa….F40-44
701….Josee Patry….Gatineau….F50-54
702….Josee Pennober….Chelsea….F30-39
703….Josee Picard….Ottawa….F20-29
704….Josee Pothier….Orleans….F30-39
705….Josee Proulx….Ottawa….F25-29
706….Josee Sabourin….Gatineau….F45-49
707….Josee Sanscartier….Gatineau….F40-44
708….Josee Surprenant….Ottawa….F40-49
709….Josee Trudeau….Stittsville….F30-39
710….Josee Turcotte….Ottawa….F40-44
711….Josel Cioppa….Ottawa….M25-29
712….Joselyn Mugford….Kanata….F45-49
713….Joseph Basile….Greely….M55-59
714….Joseph Blanchard….Portland….M50-59
715….Joseph Boucher….Greely….M50-59
716….Joseph Clarmo….Greely….M30-39
717….Joseph De Pencier….Ottawa….M55-59
718….Joseph Emas….Nepean….M50-59
719….Joseph Formoso….Ottawa….M35-39
720….Joseph Ikerenge….Petawawa….M40-49
721….Joseph Kozar….Ottawa….M40-49
722….Joseph Nash….Ottawa….M20-29
723….Joseph O'sullivan….Low….M55-59
724….Joseph Ring….Petawawa….M20-29
725….Joseph Rios….Gloucester….M30-39
726….Joseph Smith….Ottawa….M40-49
727….Josephine Cybulski….Stittsville….F40-49
728….Josephine Hutchison….Ottawa….F35-39
729….Josette Day….Ottawa….F50-54
730….Josette Kodsi….Gatineau….F30-39
731….Josey Finley….Ottawa….F60-64
732….Josh Bowen….Ottawa….M20-29
733….Josh Bruinsma….Petawawa….M30-39
734….Josh Greenberg….Ottawa….M35-39
735….Josh Larocque….Ottawa….M20-29
736….Josh Lemoine….Ottawa….M20-29
737….Josh Mintha….Pembroke….M20-29
738….Josh Picknell….Ottawa….M30-39
739….Josh Pringle….Ottawa….M30-39
740….Josh Thompson….Smiths Falls….M19 & under
741….Joshua Burrill….Ottawa….M20-29
742….Joshua Childs….Kanata….M20-29
743….Joshua Gibbons….Orleans….M20-29
744….Joshua Karanja….Ottawa….M20-29
745….Joshua Lemoine….Ottawa….M19 & under
746….Joshua Matthewman….Ottawa….M20-24
747….Joshua Mccready….Orleans….M30-39
748….Joshua Mintha….Pembroke….M25-29
749….Joshua Siegwart….Mallorytown….M30-34
750….Joshua Tolmie….Kanata….M30-39
751….Joshua Torres….Ottawa….M25-29
752….Joshua Veldman….Gatineau….M25-29
753….Joshua Wilson….Petawawa….M30-34
754….Joshua Wintonyk….Petawawa….M20-29
755….Josiane Tardif….Gatineau….F25-29
756….Josip Basar….Ottawa….M60-69
757….Jouni Ranta….Greely….M40-44
758….Joy Hackett….Ottawa….F30-39
759….Joy Halverson….Ottawa….F50-59
760….Joy Hartzler….Ottawa….F35-39
761….Joy Kim….Ottawa….F30-39
762….Joy Malcolm….Ottawa….F50-59
763….Joyce Cavanagh….Kemptville….F45-49
764….Joyce Irwin….Richmond….F30-39
765….Joyce Mills….Mallorytown….F50-59
766….Joyce Richards….Gatineau….F40-49
767….Joyce White….Ottawa….F65-69
768….Joycelyn Litke….Stittsville….F40-49
769….J-S Rivard….Ottawa….M35-39
770….Juan Navarro….Kanata….M35-39
771….Juan Pedro Martinez….Ottawa….M35-39
772….Juanita Munro….Lanark….F50-54
773….Judah Leung….Ottawa….M20-29
774….Judi Mcalea….Ottawa….F50-59
775….Judi Miller….Kanata….F50-54
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