By Doro Hoffman
By Doro Hoffman
LAS VEGAS – O.J. Simpson has appealed to the Nevada Supreme Court to overturn his convictions for armed robbery and kidnapping during a confrontation in a Las Vegas hotel room with two sports memorabilia dealers.
The appeal arrived Tuesday at the Supreme Court in Carson City.
The former football star, actor and advertising pitchman asks the high court to throw out his conviction on grounds that include judicial misconduct, insufficient evidence, a lack of racial diversity on the jury and errors in sentencing and jury instructions.
The document criticizes the trial judge, Clark County District Court Judge Jackie Glass, and accuses prosecutors of improperly asking questions about allegations of witness intimidation in front of the jury.
“Cumulative error … was so egregious and prejudicial that the defense could not get a fair trial,” Simpson attorneys Yale Galanter and Malcolm LaVergne wrote in seeking the reversal.
Appeals in Nevada can take more than a year. Supreme Court spokesman Bill Gang said there was no way to know when the justices might rule.
“The amount of time it takes depends on the number and complexity of the issues raised,” Gang said.
Simpson, 61, maintains that he was trying to retrieve property stolen from him when he and five other men confronted the two sports collectibles peddlers in a Las Vegas casino hotel room in September 2007.
Simpson and a co-defendant were convicted last October and sentenced in December. Simpson got nine to 33 years in state prison. He is housed at a prison in Lovelock, about 90 miles east of Reno.
Chris Ware (born December 28, 1967) is an American comic book artist and cartoonist, best-known for a series of comics called the Acme Novelty Library, and a graphic novel, Jimmy Corrigan, the Smartest Kid on Earth. Born in Omaha, Nebraska, he resides in Oak Park, Illinois as of 2007.
Ware’s art is eclectic in its influences, and largely reflects his love of early 20th century American aesthetics in both cartooning and graphic design, shifting through dozens of artistic styles from traditional comic panels to advertisements to cut-out toys. Although his precise, geometrical layouts may appear to some to be computer-generated, in fact Ware works almost exclusively with “old-fashioned” drawing tools such as paper and pencil, rulers and T-squares. He does, however, sometimes use photocopies and transparencies, and employs a computer to color his strips.
His work shows tangible influence from early cartoonists, like Winsor McCay and Frank King (creator of Gasoline Alley); especially in its layout and flow. Outside the comics genre, Ware has found inspiration and a kindred soul in artist and sculptor Joseph Cornell, both men sharing a need to capture items of nostalgia, grace, and beauty within “boxes.”
Ware has said of his own style:
” I arrived at my way of “working” as a way of visually approximating what I feel the tone of fiction to be in prose versus the tone one might use to write biography; I would never do a biographical story using the deliberately synthetic way of cartooning I use to write fiction. I try to use the rules of typography to govern the way that I “draw”, which keeps me at a sensible distance from the story as well as being a visual analog to the way we remember and conceptualize the world. I figured out this way of working by learning from and looking at artists I admired and whom I thought came closest to getting at what seemed to me to be the “essence” of comics, which is fundamentally the weird process of reading pictures, not just looking at them. I see the black outlines of cartoons as visual approximations of the way we remember general ideas, and I try to use naturalistic color underneath them to simultaneously suggest a perceptual experience, which I think is more or less the way we actually experience the world as adults; we don’t really “see” anymore after a certain age, we spend our time naming and categorizing and identifying and figuring how everything all fits together. Unfortunately, as a result, I guess sometimes readers get a chilled or antiseptic sensation from it, which is certainly not intentional, and is something I admit as a failure, but is also something I can’t completely change at the moment.”
As a child Damon Soule (b. 1974) became so engrossed in his drawing that it became a distraction; at age 16 he dropped out of school opting for the immediacy of GED. At 19, with $300, a packed bag of clothes, and small box of art supplies, Damon moved to San Francisco, CA and enrolled in the Interdisciplinary Program at the San Francisco Art Institute.
In 1996 Soule became the Art Director and Co-founder of FIT skateboards and Civilian Clothing. After art directing the brands for a number of years, he sold his portion of the business to pursue art full-time.
Soule’s paintings and drawings have been featured in group exhibitions in San Francisco at 111 Minna Gallery, White Walls, Punch Gallery, Southern Exposure Gallery, Rizzoli Gallery, Culture Cache, New Langton Arts (I Dart SF, 2003) and Yerba Buena Center for the Arts (Outside Art, 2002). Recent shows also include New Works by Oliver Vernon and Damon Soule at BLVD Gallery, Seattle (2007); Green Art Exhibition at Robert Berman Gallery, Santa Monica (2007); and Stories From the Wonderland at Dorothy Circus Gallery, Rome, Italy (2008).
Damon hasn’t shown in San Francisco since ’06. His show Amused Loon ran to praise reviews at Joshua Liner Gallery in New York City Oct ’08.
Oct ’08 interview
There are many reasons to love living in California, but ranking high among them are the avocados. Sure, you can find avocados everywhere these days. But only here can you find any variety.
For the most part, when you’re talking about commercial avocados, you’re talking about Hass. And truth be told, it really is about as good as anything out there. But sometimes you want to try something a little different.
In Southern California farmers markets right now, you can also find Fuertes, Bacons, Zutanos and Pinkertons. The first three are Mexican avocados, which are usually harvested from January until May. They tend to be smooth-skinned and a little lighter green; they also usually are lower in fat. Hass and Pinkerton have a Guatemalan heritage. They are usually rounder in shape, with a pebbly skin that’s darker in color; especially right now, at the peak harvest, they are lusciously high in fat.
How to choose: Really ripe avocados will give when they are squeezed gently. Use your palm, not your fingers. Usually, you’re better off buying avocados that are quite firm, even hard, and ripening them at home. It’ll take only a couple of days, and it will keep you from getting stuck with fruit that’s been badly bruised by overenthusiastic shoppers.
How to store: Keep avocados at room temperature until they are fully ripe. Once they’ve been cut open, they need to be consumed quickly — the flesh blackens within hours when exposed to air (this is ugly but harmless).
How to prepare: If you’ve got really good avocados, even guacamole is too complicated. Instead, peel and pit the avocado and crush it onto warm toast. Sprinkle with salt and season with a good grinding of black pepper.
– LA Times
Radio / Rural Electrification Administration, 1937
Lester Beall (American, 1903–1969)
The electrification of America was a national priority during the Great Depression, with special emphasis on improving rural areas. Seen as an essential step in raising the standard of living for millions of Americans struggling with economic crisis, a number of government agencies set out to provide rural Americans with electrical power. Lester Beall’s posters for the Rural Electrification Administration, a federal agency dedicated to serving rural communities, illustrated in bold, graphic terms the advantages of electricity. Other posters in this series extolled electric light, plumbing, and washing machines, all examples of the improved quality of life made possible through electricity. Beall’s graphic designs, typically in bright, primary colors, rely on interrelated words and visual images for their impact.
– From the Metropolitan Museum