Friday, March 26, 2010

Dear Chicago, Nite Nite...

Dear Chicago, from Mess Hall
I love you. Unabashedly, with devotion, and always. You have millions of faces and voices. You are daring but Midwestern. Homegrown, yet futuristic. Surprising and comfortable, with streets that curve, but always with your eye on the lake.

My darling Chicago, you are the city of my dreams, but, as both you and I know, you have a lot of room for improvement. I mean, I do, too - I'm not one of those spaces that's going to sit here in judgment of you and insult you over dinner. But so many people have used and abused you.

The things you've given away for free: your public spaces, your generous moments, your research labs and archives, your libraries and moments of rest - all are fading, few and far between. Chicago, I love these gifts, and I want to see more of you through them!

Why do you give these special moments to commerce? Why must I wade through tired missives from snake oil peddlers, when I'm only craving to hear you huskily whisper “Urbs in Horto, Sweetheart,” in my ear?

Chicago, I remember some of your past suitors. I was in love with them, too - the nomadic Culture in Action series which sprung that ghost neighbor to me, Flood (from those people in Haha); the risky and exciting space that excised its pigeons and became Axe Street Arena; the intimidating force that was Randolph Street Gallery. The ever-changing histories of the Experimental Station and the Resource Center keep my gait strong and my head high, too.

I'm running in place trying to catch up with all your memories of the other love letters that have soaked that space in your heart where places like me clamor for attention. There were many before me and hopefully many will come after. Chicago, I hope you feel like I do - that love and culture are not bound to economies of starvation but always push forward abundance.

I try to appeal to many sides of you-the loud music enthusiast, the budding amateur teenage chef, the workshop junkie, those who crave quiet moments, those who crave social conflux. I try to mirror the place in your heart that you've allowed me to stay in: the RP, as I call it.

Rogers Park has been a great place for me - four blocks west of your vast ocean of a lake, right next door to a blistering highway of your public transport, down the street from many other spaces and places that love you like I do.

This is what I offer you: unlimited moments of social experimentation. Free sharing of skills and resources. Exhibitions of projects, research, and work. Listening. Eating. Discussing.

I know there's no way I can give you everything you want every moment of the day. But please: hang out with me every once in a while. Check out my date book. It's full of events that have nothing to do with each other and have everything in common all at once. It's full of moments that mean something to me and my keyholders-moments that I hope are meaningful and wonderful for you, too.

I remain your

Mess Hall

P.S. I'm a storefront space in the Rogers Park neighborhood just southwest of the Morse stop on the Red Line. My keyholders have included Ava Bromberg , Brett Bloom , Dan S. Wang, Marc Fischer, Mike Wolf, Jane Palmer, Marianne Fairbanks, Sam Baldwin Gould, and Salem Collo-Julin - of which the latter transcribed this note from my wheezy dictation. I've hosted events ranging from two-hour investigations of personal record collections, trading and barter days, and potluck brunches, to overviews of projects in the worlds of mapping, walking, food technology, and sound. Alan Goldberg, my landlord, accepts a tiny rent fee from my keyholders in exchange for having something like me in his building. My keyholders offer every event free of charge to the public, in the spirit of Alan's arrangement. You can meet me at 6932 North Glenwood Avenue, in the city of my dreams, or athttp://www.messhall.org .

Guilty Pleasures

Is This Why We Are Teaching Artists with MAT's For Backup Ammunition ; )?


Teaching Artist Wish List

To be compensated in a way that recognizes professionalism, education and experience.


To be compensated for prep time, as other contract professions do (designers and therapists, for example).


To have work throughout the school year, not only the last 8 weeks.


To have teachers, administrators, and principals invest in long-term Arts In Education programs and not look for quick projects.


To have cultural organizations with Arts In Education programs recognize the professionalism of Teaching Artists and not continually pay the same rate year after year even though the Teaching Artists demonstrate excellence and mastery.


To have cultural organizations value Teaching Artists as integral to their mission and not rationalize that Teaching Artist can pay taxes, health insurance and transportation on less than $50 an hour.


To not have to hustle for funding and residencies every year.


To not be held hostage to flavor of the month pedagogies and emperors with no clothes on.


To be paid in a timely fashion.


To be able to work with teachers enrolled in certification programs in schools of education to foster the team-teaching collaborative environment with artists.


There are great strides that need to be taken in teacher education to take advantage of the opportunity of Arts In Education and nourish it in a way that will allow for the optimal educational experience for the students.


To offer professional development to arts administrators who have forgotten the value of art, Teaching Artists, and what really goes into implementing Arts In Education: living wage fees, prep time, research, travel, and opportunities for reasonably priced health, disability, and liability insurance.


To educate cultural organizations and arts administrators with the message that they are there to support the Teaching Artist as well as the school.


To educate cultural organizations that push their programming instead of understanding the potential of Arts In Education for school reform and for the professional career of a Teaching Artist.


To provide professional development for community organizations who work with Teaching Artists on fees, Teaching Artists, program assessment.


To have funders meaningfully address the training, the lack of work, and how hard it is to earn a living as a Teaching Artist.


To have more connection with fellow Teaching Artists across the country.

MMMMM....The Helga Steppan Yellow of the Helga Steppan White or.... JeongMee Yoon Blue or JeonMee Pink....



Choosing monochrome home decorating is difficult.....


New Home Decorating Ideas - Should I Go Pink or Blue?



Ok, so I can't take full credit, I must give thanks to the artist, JeongMee Yoon. Thanks Lady Lady!


How Cool is This (But what's with the $25 registration fee?!?!)


Who We Are

The Chicago Arts Educator Forum is a network of arts organizations, teaching artists, and arts administrators who are working together to provide professional development and networking opportunities for the field.

The Forum is led by an advisory committee (see list at right). Chicago Arts Partnerships in Education (CAPE) is acting as the group’s fiscal agent. If you would like to get involved by serving on the advisory committee, please email Merissa or Nicole.

CAEF is grateful to everyone who participated in our October 2009 A**ESS THIS! forum and survey. At our upcoming April forum, we will have some updates about assessment as well as exciting new steps for sharing our work with the larger arts education community.

C³: Community, Creativity & Collaboration
A Day of Exploration of Some of Chicago's Arts Education HOT TOPICS

Friday, April 2, 2010 • 9:30 a.m. - 4:00 p.m.
Roosevelt University, 430 S. Michigan Avenue, Chicago
Congress Lounge, 2nd Floor


Please join the Chicago Arts Educators Forum for a day-long conference devoted to the following discussion topics:
• How can we best utilize the creative capital in a community to address
violence prevention?
• How does our community leverage 21st century skills to promote arts education?
• How can we create a sense of community between outside arts providers and
in-school specialists?

The C³ forum will include:
• morning discussion groups designed to give an introduction to the topic and an
opportunity to brainstorm on how our community of educators can be proactive
moving forward;
• afternoon workshops designed to give participants an opportunity for hands-on
exploration of the topics through art-making;
• a live performance by a Chicago arts organization to remind us why we are
in this field.

Lunch will be provided. Parking is available in adjacent lots, and is not included in the registration cost.

Open to:
• teaching artists
• arts organization education directors
• teachers
• principals
• executive directors
• others working in the arts education field

The C³ forum is sponsored by The Lloyd A. Fry Foundation.

Tuesday, March 23, 2010

HOW DO MAKE THIS HAPPEN IN WITH YOUNG PEOPLE IN CHICAGO?!?

I'm really interested in creating a Culture Jamming project with high school teens as part of my thesis project. Where might I begin? It's not going to be with queer youth; although as an activist and ally I would love to. Any idea for models on Culture Jamming project - historical and present - that you recommend?!?

Queer West Shout Youth Program


“ShOUT is an Unconference”

The Program offers Lesbian, Gay, Bisexual, Transgender, Transsexual, Intersexed, Queer, Questioning and Two-Spirited (LGBTTIQQ2) youth and their friends and allies (ages 20 to 30 something) residing in West-Central Toronto with a focus on Parkdale, an innovative series of live monthly events that aim to stimulate a needed community dialogue on a wide range of pertinent topics to them.

Each month a wide range of topics pertinent to young adults with an emphasis on the theme of gender and sexuality in the arts and in culture in doing so, ShOUT! provides a safe, supportive and enriching context in which its participants can foster new knowledge, skills, and above all, meaningful relationships in their community.

ShOUT! Queer West Young Adult (Un)Conference Series
Presents…
MAKE CULTURE JAM!!


Anyone with something to contribute or with the desire to learn
is welcome and invited to join the discussion on…
Guerrilla Art, Media-Making and Creative Resistance

“As consumers of empowerment, our autonomy is only expressed through the act of choosing. By creating new choices for ourselves, and expanding opportunities for empowerment outside of the consumer sphere, we can be activists in the best sense of the word.”
~Carly Stasko

In her article, Action Grrrls in the Dream Machine,
Part of Turbo Chicks: Talking Young Feminisms (Sumach Press 2001)


Using the culture-jamming inspiration of our participating guerilla artists and independent media-makers, our discussion tonight will focus on a plethora of subversive expressions (zine-making, graffiti, stencil and sticker art, print, performance and blogging, are a few examples) through which marginalized folk exert their voices and insert themselves into a cultural landscape where they are seldom seen, heard or validated.
Together, we will explore the extent to which these creative practices work as a “queer” tactic of resistance and as a process of personal and political transformation and healing.


Discussion Sparkers

1) First and foremost, what exactly IS a Culture Jam?
(hint: think about the multiple meanings of “jam” as a metaphor for what a culture jam might aim to accomplish)
i—a sweet preservative, ii—a predicament, iii—a blockage wedged into the machinery

2) What makes a particular Jam successful and why? Do all examples of parody and satire necessarily count as jams?

3) Feminist artist and academic, Allyson Mitchell, has called writings on public spaces by lesbians and feminists and other forms of political graffiti “emergency story-telling”. Why do you think the impulse to tell our stories is so urgent? In what ways does the exercise of personal narrative, which we see in a variety of jamming mediums (including zines, and blogs) function as a potent political tool?

4) What is a “zine”? The “DIY-Movement”? and “craftivism”? and what is their relationship to an anti-corporate/anti-capitalist politic and sub-culture?

5) Many jammers and independent cultural producers, work to reconfigure, denaturalize, mess with, and “queer” conventions that dictate who gets legitimate space carved out in urban environments, who really belongs there, and whose voices are authorized to speak and be heard. Considering this, how are the artistic processes and methods used by jammers as important as the messages themselves that they communicate?
For example, think about why a jammer would choose a particular site (either physical, visual or virtual) as the setting for their jam. Why is it significant that zines are often hand-written rather than typed? How can scissors and glue be political tools as much as they are crafting instruments? How does a xerox machine function to legitimate the illegitimate?

6) Some critics may see zine making and blogging and artistic expression in general as merely a narcissistic catharsis for the self indulgent, rather than as a form of politics. To what degree can the various creative resistance practices we’ve discussed, actually be reframed as a valid form of activism, despite that that they may not enact policy change directly?

7) Toronto culture jammer, and media tigress, Carly Stasko, implied in the opening epigraph (see above) that empowerment is a commodity to be consumed. What does she mean by this? How can we develop a critically queer eye for the ways in which LGBT lifestyles are being co-opted by those in power? At whose expense do certain identities and bodies gain visibility?


Sarah Pinder (Presenter)

Sarah Pinder is a writer, teacher and recovering academic living in Toronto. A zine-maker of nearly 10 years, her work has been shortlisted for the Expozine Small Press awards, as well as NOW Magazine’s Best of Toronto. She has been published in the anthology She’s Shameless, invisible city, Canadian Woman Studies, and Room. You can also find her zines in the Distroboto art vending machines around Montreal. Once an editor for Existere magazine, Sarah now writes for Broken Pencil. Follow her here: bitsofstring.wordpress.com
Jaclyn Isen, shOUT! Project Director

Jaclyn Alia Isen (Moderator)
Queer West Vice President and Shout Project Director


Saturday, March 13, 2010

Taking on Postracialism by Rinku Sen

©Taryn Wells - "Paint By Number" 2003

Something happened in the months leading up to and including the election of Barack Obama as the President of the United States, something that people working for racial justice could see coming at us like a tornado. The word “postracial" cropped up on cable news, in OpEd columns and, finally, at kitchen tables and around neighborhood bars. The rise of a man of color, indeed a black man, to the most influential political position in the world symbolized that the country had resolved its racial issues. Democratic party triumphalism fed this notion – not only did we beat back the GOP, but we also made history!


Postracialism grows out of the trope of colorblindness, but is even more aggressive in resisting racial justice standards. Like post-feminist, it implies not just a destination – a society that doesn’t use race to judge people - but asserts that we have arrived at that place. Postracialists are more hostile to changing structures and rules to address persistent racial disparities, which appear nowhere in the “postracial” story.

The Right began preparing this updated attack as soon as it appeared that Obama had a chance of winning the Democratic nomination. After the candidate’s February 2008 speech on race, which alluded only vaguely to structures and rules, Newt Gingrich released a long written response asserting that the GOP cares about racism too, but finds no answers in the policy solutions of the left. A return to personal responsibility, presumably including the responsibility not to be individually racist, was the way to go.

In a May 2008 column, for the Chronicle of Philanthropy, William Schambra, director of the Bradley Center for Philanthropy and Civic Renewal at the conservative Hudson Institute, called out a number of groups working to end “structural racism" (including mine) as un-American hacks akin to Jeremiah Wright. “Senator Obama ultimately decided that Mr. Wright's ‘incendiary language’ — language so similar to that thrown about freely by structural-racism theorists,” wrote Schambra, “reflected ‘views that have the potential not only to widen the racial divide, but views that denigrate both the greatness and the goodness of our nation.’” If Obama himself dismissed structural theories of racism, then they must really be over the top.

Look for Impact, Not Intention

The mythology of postracialism, like colorblindness, is terribly difficult to counter because it is so intuitive and aspirational. It makes sense at a gut level that if people endure hardship because of their racial identities, canceling out the importance of those identities solves the problem. What better marker of progress could there be than a black President? The ease with which Americans adopted this frame certainly points to a deficit in the body politic - its inability to acknowledge the depth of the racial gap and its true causes. But, to complicate matters, it also speaks to Americans’ positive desire to not be racist. The first works against us. The latter, however cynically we might view it, provides an opening that we have to take to expand the constituency of people who will act for racial justice.

Unfortunately, this desire is based on an incomplete definition of racism. The average American, of any color, sees racism as intentional, explicit action of one individual against another. The many examples of such racism reinforce this definition daily, and sometimes in very high profile ways, as in the cases of media figures Don Imus, Glenn Beck and Lou Dobbs. A purely individual definition of racism obstructs sustained collective action. If hateful is “just how some people are,” and if we outlawed explicit racism through civil rights laws, then, the logic goes, we’ve done all we can as a society.

Interpersonal racism is down while structural racism gathers strength
But this is only one way in which racism works. It has terrible effects, from lost education to death, but it is enabled by rules and structures that appear on the surface to be race-neutral. In my work, institutional racism refers to discriminatory treatment, unfair policies, practices and patterns, and inequitable opportunities and impacts in discrete entities (such as a school or district). Structural racism is the cumulative effect of the racism of multiple institutions over time. Racial justice, then, connotes equitable opportunities, treatment, impacts and outcomes for all. We need people to work toward not just new attitudes and actions, but also new practices and policies. In moving the institutional and structural frames, my organization emphasizes the impact – which we can track through data – rather than the intention of the people making and implementing these policies and practices, which is virtually impossible to pin down.

Most Americans have no idea that these other levels of racism are at work. This is why Rich Benjamin, the author of Searching for Whitopia and himself a dark-skinned black man, concludes after two years of visiting and living in the whitest communities of the United States that interpersonal racism is down even while structural racism gathers strength. These communities welcomed him quite happily, Benjamin notes, socializing easily, taking him hunting, sharing their real estate porn with him. But they also used various rules and regulations to create all-white enclaves and saw no contradiction between the two. Such rules might include zoning laws that separate high-end and affordable housing, or public transportation budgets that privilege drivers and commuting professionals while forcing their nannies and gardeners to travel many hours each day.

Replacing Stale Stories, Building New Frames

Most Americans, then, don’t see racism as a system enabled by rules and structures. They have no idea that when we lay seemingly race-neutral policies on top of the history of explicitly racist policy, the racial gap remains in place or grows. Racial justice activists make far too many assumptions about what people know, and often take a berating tone that doesn’t invite many new people to the conversation.

At the Applied Research Center (ARC), we focus entirely on institutional and structural racism (while recognizing the other kinds) and take as remedial an approach as the audience requires. Not focusing on rooting out the individual racist, while it lets some bad people off the hook, does help those audiences put aside their fear of being called racist long enough to entertain some actual solutions. If there is opportunity for one-on-one or small group conversation with someone operating from a postracial frame, I usually begin by asking questions. What does postracial mean to you? Is it possible that progress on some fronts doesn’t mean we’ve moved entirely past race? Is being postracial really the goal, or is something else required to actually unify the diverse population of the United States?



We generally lead with stories rather than with data. The common response to “we are now postracial” is “no, we’re not, look at all the statistics,” which doesn’t work very well. Social psychologists tell us that human beings carry dominant frames in their heads. Frames are systems of thinking that are triggered and upheld not by data, but by images, stories and archetypes. When people are confronted with facts that disrupt their dominant frame, they dismiss the facts rather than the frame. So, a rebuttal that starts with data is bound to work only with people who are already convinced. The only way to trigger a competing frame in the same brain is to engage people in a different story.

For example, in the debate over who belongs in the United States, people who are immigrants are usually represented as criminals (by conservatives) or as workers (by liberals). Neither frame acknowledges the full range of contributions coming from this community; neither builds support for truly forward-looking policy. So ARC represents immigrants as more than a pair of hands available for picking, cleaning and writing computer code. In The Accidental American, I tell the story of Fekkak Mamdouh, a Moroccan-born waiter who arrived without documents in the late 1980s, and his success in building the Restaurant Opportunities Center of New York. Through Mamdouh’s life – complete with childhood, marriage and the emotional conflicts that accompany his transformation from waiter to organizer – the reader sees immigrants of color as civic and cultural actors rather than just as victimized workhorses.

We need an alternative to postracialism, and, by implication, to colorblindness. For now, ARC uses “racial consciousness” as a bridge to the larger frame of racial justice. We place a heavy emphasis on solutions that improve life for communities of color, while discussing how they support low income people, women, the elderly – in short, placing racial justice at the center of a compassionate, inclusive and effective society. Great transformations are possible in this political moment as never before, even in the midst of enormous rhetorical and practical challenges. Putting those transformations in motion requires people who care about racial justice to develop sophisticated skills in storytelling, as well as in analysis, advocacy and organizing.

Rinku Sen is the President and Executive Director of the Applied Research Center, a racial justice think tank, and the publisher of ColorLines, the magazine on race and politics.

Arne Duncan to Investigate Civil Rights Failures in Schools

Racewire Blog

JULIANNE HING

Arne Duncan to Investigate Civil Rights Failures in Schools

arne-duncan-teacher.jpgOn Monday, Secretary of Education Arne Duncan gave a speech in Selma, Alabama—to coincide with the 45th anniversary of Bloody Sunday—announcing that the civil rights division of the Department of Education is going to start investigating civil rights transgressions in schools.

The Washington Post is reporting that the Office of Civil Rights is planning to conduct 38 so-called “compliance reviews” of more than three dozen issues. Duncan and the OCR’s assistant secretary, Russlynn Ali, acknowledged that civil rights infractions in schools had long gone unpunished. The OCR investigations are meant to determine whether policies are in place to protect students and what impact those policies have on students. Duncan announced that the investigations will focus on discrepancies in unfair disciplining of students of color, and racial disparities in college-prep course offerings in high schools.

Duncan showed he’s been doing his homework when he cited troubling statistics—that half the dropouts in the United States come from just twelve percent of high schools. But 75 percent of Black and Latino students come from those schools. That Black students without disabilities are three times as likely to be expelled as their white peers, and that Black students with disabilities are twice as likely to be expelled as their white counterparts.

The Wall Street Journal hinted that these investigations would eventually be used to enforce civil rights law among schools that receive federal funding, especially the highly coveted $4.35 billion “Race to the Top” money that is expected to go out to states soon.

All this is welcome news, to be sure. But it's ironic that the same Arne Duncan who wants to defend kids of color and fairness in education also wants to reform schools by bolstering charter schools, a move widely seen as a further disinvestment of public education. Even though charter schools have achieved some serious (and legitimately fantastic) wins for students of color, they're not the cure-all they're sometimes credited as being.

Indeed, the UCLA Civil Rights Project recently declared charter schools a "civil rights failure." Duncan's also a big fan of the dramatic tactics that call for the total shutdown of struggling schools and mass firings of teachers. His plan for education reform also includes new teacher pay structures that link pay to performance, and new teacher evaluation methods that judge performance on students' test scores.

But is this the kind of education reform kids need, or just the dismantling of public education? How exactly Duncan expects to hold schools accountable for enforcing civil rights law while he continues to tout education policy that doesn't help the students of color who need it most is still uncertain

Thursday, March 4, 2010

We're on our way...

WASHINGTON – At least 50 same-sex couples lined up to apply formarriage licenses when city offices opened Wednesday as the unions became legal in the nation's capital.

Cheering erupted from the crowd when the first couple signed in at the city's marriage bureau inside the Moultrie courthouse, just blocks from the U.S. Capitol. Because of a mandatory waiting period of three business days, however, couples won't actually be able to marry in theDistrict of Columbia until Tuesday.

Court officials have been told to expect up to 200 people. They plan to have five people taking applications instead of the usual two.

Sinjoyla Townsend, 41, and her partner of 12 years, Angelisa Young, 47, claimed the first spot in line just after 6 a.m. They are alreadydomestic partners in the city, so they are converting the partnership into a marriage license.

"It's like waking up Christmas morning," Young said. "It's really like a dream come true."

Mike and Tobey Slagenweit-Coffman of Arlington, Va., had a civil union in Vermont and a big church wedding in Minnesota, but wanted to get legally married in D.C. Tobey Slagenweit-Coffman said allowing same-sex marriages in the nation's capital is historic.

"It's signaling definitely a change in the mood of the country," he said.

Washington will be the sixth place in the nation where gay marriages can take place. Connecticut, Iowa, Massachusetts, New Hampshire and Vermont currently issue licenses to same-sex couples.

To deal with the expected crowd Wednesday, the marriage bureau will bring in temporary employees to help, courthouse spokeswoman Leah Gurowitz said.

"Everybody who wants a marriage license is going to get one. It may take a little longer, but they will get their license," Gurowitz said.

The marriage bureau has changed its license applications so they are gender-neutral, asking for the name of each "spouse" rather than the "bride" and "groom." And at civil marriage ceremonies to be performed in the courthouse, a booklet for the official performing the marriage now reads, "I now pronounce you legally married" instead of "I now pronounce you man and wife."

A marriage license application costs $35, and the marriage license $10. Couples who are already registered as domestic partners in the city can convert their registration into a marriage license by paying the $10 fee.

Supporters expected the day to be festive. A District of Columbia councilman who introduced the gay marriage bill planned to hand out vanilla and chocolate cupcakes to the first 200 couples in line.

Terrance Heath, 41, planned to be at the courthouse with his partner, Rick Imirowicz, 43. The two have been together for 10 years and have a 7-year-old and a 2-year-old.

"My husband has always been my husband to me, but having that legal recognition, that legal protection, makes it easier to deal with any number of situations," said Heath, a writer and blogger. "If you tell people you're married, you don't really have to explain much beyond that."

The couple, who live in Maryland, plan to marry Tuesday.

The gay marriage law was introduced to the 13-member D.C. Council in October and had near-unanimous support from the beginning. The bill passed and D.C. Mayor Adrian M. Fenty signed it in December. But because Washington is a federal district, the law had to undergo a congressional review period that expired Tuesday.

Opponents, however, are still attempting to overturn the bill in court.

___

On the Net:

Superior Court of the District of Columbia marriage bureau:

http://www.dccourts.gov/dccourts/superior/family/marriage.jsp

Wednesday, March 3, 2010

MAT Love


Hello World!

It's sunny and I like it. Make the cold not so bad....

It's March, and I like it....

I'm productively getting work done, and I like it....

My Mom and Dad are nice to the world (and me), and I like it....

I'm beginning to understand my colleagues and I like them, and I like it...

I am healthy, and I like it...

I'm going on a study trip to Brazil (and got financial aid!) and I like it...

Sometimes I get sad but I'm resilient, and I like it...

I get to collaborate on projects with the students and teachers at the Multicultural Arts High school, and I like it...

I know what true despair is and I am no longer there, and I like it...

I have a wonderful support network, and I like it....

I'm learning so much my brain feels funny, and I like it...

I am truly blessed with so many blessings, and I like it...

I am truly grateful to be blessed with so many blessings, and I like it....

I know the importance of gratitude, and I like it....


Isn't great that sometimes a nice chat with a nice MATer can really brighten your day. I was have some difficulty dealing with a difficulty (one of those in which the expression "you gotta take life on life's terms" is a necessity) and received some real understanding. I had a nice chat with person with a genuinely good nature and good heart. A person who has the kind of patience I admire and strive for. I'm still dealing with a difficult difficulty, but I feel better and hopeful and am back on track. Simple. Nice. Honest. Kind-hearted. Chat.

Thanks Kane!