the Spaghetti Harvest, 2007

The Spaghetti Harvest 

Yes, the BBC did a groundbreaking documentary on the Swiss spaghetti farming industry back in 1957 (crappy Realplayer version here), but that’s soooo 20th Century. Here is an update on an independent spaghetti farmer working the family farm in New Jersey, and his valiant fight against corporate Big Spaghetti.

and remember, if you want to grow your own, just follow the advice of the BBC:

place a sprig of spaghetti in a tin of tomato sauce and hope for the best

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my grampaw, the warlock

Oh, it’s not all Alan Rickman’s laser gaze and cute teens prancing around the Great Hall in robes, nosiree.

from the Archive:

My Grampaw, the warlock

Friday, September 30, 2005

Well it makes a hell of a lot of sense, if you think about it.

Even if he wasn’t my grandfather.

Depends on your definition, see. Are you an “on paper” person, or an “off the record” person? Because who my grandfather is depends on who you are in just that way.

On paper, Tom Bailey was my grandfather. Off-paper, or in other fact readily on-paper, he was at sea for ten months before my mother was born. In long retrospect, ie a visit almost 40 years after the fact, a picture of the next-farmer-over’s lawful daughter, sitting on top of the tv, looked enough like my mother to settle the matter. So. Are you a bureaucrat or are you a gossip? Those are your choices.

So. Tom Bailey was known as a warlock. Not a pagan. Please don’t make that mistake; Tom Bailey was a warlock, meaning he had allied himself to what he recognized as the powers of darkness in order to gain power, rather than wrapped himself in silk togas on long weekends and melted aromatherapy candles while doing tarot for his knitting club.

Awwww, how can you say that about a poor, semiliterate farmer?
Any number of ways, starting with the fact that, stone cold sober, he shot out the wall between the living room and the kitchen knowing full-well that his children and wife were on the other side. He wanted to practice, you see.

One of my aunts, as happens in families, was known as “the pretty one,” and, as happens in families, she prided herself on it. Until she was fourteen. At fourteen, she suddenly sprouted warts all over her hands. Now, anyone nowadays knows warts are caused buy a virus. And there’s nothing you can do but get them frozen off. But back then, there was no known cause and nothing you could do. And she was sure, absolutely sure, beyond the shadow of a doubt, that no man would ever marry her with these warts on her hands.

She cried. Of course she did. She cried night and day. And did it bother Tom Bailey? Of course it did not; with a father like him, the kids were always bawling anyway. But finally, after an interminable time during which nobody in the house was able to sleep because of the wailing and the tension, Tom Bailey took arms against a sea of troubles and by opposing, ended them.

He said, “You stay here. The others will leave the house. Let them go to my brother, across the way. Tell them not to come back until an hour after dark. NOT. BEFORE.” and she did what she was told, related what she’d been told, they did what they were told, and an hour after sunset they headed back.

She was thin and shaking. She would not speak. She held her hands out, and they were flawless. They have remained flawless to this day, as has her silence.

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“No More Drug War” Filmfest Double Bill

Pivot Legal Society is proud to support

“No More Drug War FilmFest Double Bill”  

The British Columbia Compassion Club Society and the Vancouver Island Compassion Society cordially invite you to the No More Drug War Double-Bill Filmfest featuring two exceptional documentaries exploring very different aspects of our failed drug prohibition: Damage Done: the Drug War Odyssey, directed by Connie Littlefield and sponsored by the National Film Board of Canada; and Waiting to Inhale: Marijuana, Medicine & the Law, directed by Jed Riffe and supported by the Sundance Independent Film Festival.

A community dialogue will follow the screenings with the directors of both films and special guests from Law Enforcement Against Prohibition (LEAP) including former Mayor of Vancouver Senator Larry Campbell (at the Vancouver showing).

When and Where:
Saturday April 14th in Victoria – Roxy Theatre (2657 Quadra Street)
Sunday April 15th in Vancouver – Vancouver International Film Centre (1181 Seymour Street at Davie)

Both locations: 12:30-4:30 p.m. (doors 11:45) Tickets (door only): $10 Regular / $5 Seniors & VICS/BCCCS members.

Special sponsor tickets with reserved seating are also available for $50 each, please call us in advance if you would like to purchase one of these. All proceeds will go to the British Columbia Compassion Club Society (www.thecompassionclub.org) and Vancouver Island Compassion Society (www.thevics.com).

For more information contact:
Victoria: Philippe Lucas, 250-884-9821;
phil at thevics dot com
Vancouver: Rielle Capler, 604-875-0214; rielle at thecompassionclub dot org

We hope to see you there! Rielle Capler and Philippe Lucas

P.S. Special thanks to the following supporting organizations:
The National Film Board of Canada
TIDES Canada Foundation
The Center for Addictions Research of B.C.
Canadians for Safe Access
Creative Resistance
Voices of Substance
Law Enforcement Against Prohibition
Pivot Legal Society
B.C. Persons With AIDS Society
Society of Living Injection Drug Users of Victoria B.C. Civil Liberties Association

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recycling at its best: refill ink cartridges with squid ink!

Those pesky ink cartridges! The printer companies know they’ve got you over a barrel with those damn things; you print things, you gotta get new cartridges, ain’t no way around it except to refill the ones you have, and that’s not very eco-friendly either. Now, thanks to the geek boys at Ink! Is! It! you can refill your ink cartridges from an ecofriendly, biodegradable, natural-source, renewable-resource source.

Squid, baby!

How to milk a Squid in one easy lesson:

quote o’ the day: boredom at the speed of light!

“Every improvement in communication makes the bore more terrible.”

Frank Moore Colby

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