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no, probably not but.... some quality matchups today. first up tottenham v. chelsea at 11am on fsc. they are two of the top six teams in the english premier league. and no, i have no idea where tottenham is. chelsea won the premier league last year. at 230 from italy, lazio faces juventus pitting two of the top four team in serie a also on fsc. and goltv has two la liga games the better of the two has barcelona playing real sociedad. that would be one vs eight starting at 250.
today at noon knick fans will greet carmelo anthony with a basket of kisses as the denver nuggets play at the garden. melo is another top player flirting with new york fans hearts. his contract is up soon and he has expressed an interest to be traded here. denver has said he will either resign or be traded by the deadline in february. the knicks are suddenly relevant again as their consolation prize in the lebron sweepstakes, amare stoudemire has the team winning consistently against the lesser teams putting them in the playoff picture for the first time in a decade. amare has also come out as a jew which must make him a popular figure on the nyc bar mitzvah circuit.
and finally on a rainy day in secaucus, the jets hope to wash away the execrable taste in their mouth from their thrashing on monday night by the patriots. it was really the kind of beat down that can only be forgotten by avenging the lost should they meet again in the playoffs. it was that ugly.
What?HC NYT / TM.US (via support hide/seek face book)
“Katz: Well, we edited in terms of length, not to remove content. We felt the imperative to represent David Wojnarowicz’s work as he designed it. We included every scene that’s in the video, we just truncated the length.”
Why is this acceptable? What gives you the right to determine that a short version of the film–what, one bit of every shot, in order?–is an accurate representation of how it was “designed?” Yes, I know the estate OK’d it, but that doesn’t make it right. Aside from the controversy about its removal, the placement and use of video in this exhibition was abysmal. The touch-screen kiosk holding the Wojnarowicz and Bidgood pieces looked like an information center, not a means of displaying art. Both video monitors were easy to miss and looked tacked-on, to put it mildly. I was not at all surprised to learn of their “inadvertent” omission from the catalog. That the curators did not accord video respect equivalent to the photographs and paintings is evident by the way in which it was displayed. Ironic that these curators are being lionized for something pertaining to the one part of this excellent show that failed completely.