Archive for July, 2009|Monthly archive page

Fear The Pushtun Bogeyman Or Scaring Children As An Imperialist Habit

In Essays On Embedded Photojournalism, Essays Related To Pakistan, Journalism, Our Wars, Photography on July 28, 2009 at 9:29 am

Juan Cole is the Richard P. Mitchell Professor of History at the University of Michigan.

He is the author of Engaging the Muslim World. He has a regular column at Salon.com. and writes the Informed Comment blog.

He has now written what I think is the first piece that connects modern day American imperialist paranoia in Afghanistan to 19th century British imperialist paranoia in Afghanistan. In a piece called Armageddon On Top Of The World: Not! he reminds us that:

What most observers don’t realize is that the doomsday rhetoric about this region at the top of the world is hardly new. It’s at least 100 years old. During their campaigns in the northwest in the late nineteenth and early twentieth centuries, British officers, journalists and editorialists sounded much like American strategists, analysts, and pundits of the present moment. They construed the Pashtun tribesmen who inhabited Waziristan as the new Normans, a dire menace to London that threatened to overturn the British Empire.

He goes on to remind us that:

In fact, few intelligence predictions could have less chance of coming true. In the 2008 parliamentary election, the Pakistani public voted in centrist parties, some of them secular, virtually ignoring the Muslim fundamentalist parties. Today in Pakistan, there are about 24 million Pashtuns, a linguistic ethnic group that speaks Pashto. Another 13 million live across the British-drawn “Durand Line,” the border — mostly unacknowledged by Pashtuns — between Pakistan and southern Afghanistan. Most Taliban derive from this group, but the vast majority of Pashtuns are not Taliban and do not much care for the Muslim radicals.

Lets repeat that statement once again: Most Pushtuns are not ‘Taliban’ nor ‘Islamic Radicals’. That there are fringe lunatics with guns and an overbloated rhetoric of armegeddon that is given undue and unjustified attention by scabarous and weak minded journalists and photographers is a crucial issue we prefer not to discuss.

It would be the equivalent of an Al Jazeera reporter insisting on covering the USA only from the eyes and from the hot-air rhetoric of militia groups in montana and nebraska, or the lunatic-fringe christian evangelical congregations in Florida!

The fact remains that bandying about the bogeyman makes for easy journalism, easy photography and easy sales. Fear sells. We know this well. The unfortunately an entire people, the Pushtuns, have been demonized, humiliatated, murdered, displaced and criminalized.


Mir Abbas Khan returns to his home destroyed by Pakistani Army bulldozers and helicopter gunfire. Near Kalooshah, South Waziristan

In 2004 I was in Waziristan, and spent a month there with the tribes that were being lassoed into Pakistan’s desperate attempts to appease the American war-gods. The story eventually appeared in print in Mother Jones magazine. Titled Frontier Justice its most prescient part was the conclusion that writer Malcolm Garcia wrote – based on an interview I had done inside Waziristan:

Consider … Mir Abbas Khan, in the photo on the opposite page. Look at his eyes, his ruined home, and back to his eyes—full of fear and hurt, but mostly rage.

Indeed, consider Mir Abbas Khan’s face and his eyes….and his rage. An innocent Waziri, Ahmedzai tribesman whose entire life was torn to shreds because he happened to be in the path of American and Pakistan military power games. This is in 2004 and Malcom and I argued back then – an argument that got me in trouble with Homeland Security the one time they picked me up at Miami Airport for a 3 hour intense questioning, that it is inhuman, immoral, illegal and a clear violation of their human rights and rights to justice to kill them with impunity and from thousands of feet in the air.

The Pushtuns are not ‘a tribe’, or ‘a mass’, they are individuals and these individuals, their lives, their families are what we are crushing and killing in the blood-laden fields of South Afghanistan and the tribal areas of Pakistan. We have made animals out of them, reducing them to mere objects that we kills, see in the distance and attempt to blow away. Our embedded photographers continue this trend, showing the Pushtuns as alien to us, distant from our humanity, their passions, emotions, sufferings, and humiliations unknown and unfelt by us.

“Asim”, his eyes looked at me pleading, ‘”is it not possible for you to imagine that we too can act only because we are human?”, I was with Waziri madrassa students in Peshawar in 2008, as they were trying to explain to me how life for them and their families had become a living hell since 2003 as the Afghan conflict began to spill over.”Sometimes we too, knowing that it is against our laws, our beliefs and our Koran, act because we are just human beings!”. His face tightened as if about to implode “I want to kill because I may have seen my brothers body parts torn all over a room – I want to kill not because I am a fanatic, but becuase I am a brother” He looked at ‘Is that no possible for us?” I had no answer for him. We sat there in the silence, a dark madrassa dorm room, about 20 other students sitting around me, and just thought about what we had just heard.

We are precipitating a genocidal campaign against an entire people because we can’t be bothered to see them as human beings.

This war, which perhaps we once tolerated and remained quiet about, has lost its mooring, and we have lost our moral compass.  It, like Iraq, is a dishonorable war, that is being fought dishonorably and will bring nothing but dishonor to those who plan it and fight it.

Open See – Another Jim Goldberg Scream

In Photography on July 27, 2009 at 9:27 am
Open See: Jim Goldberg

Open See: Jim Goldberg

I love Jim Goldberg’s work. His new book is fabulous and best of all, complicated. Jim continues to employ his seemingly random photographic methods using all sorts of different formats, borrowed images and even scratching and writing on the photographs themselves.

Open See:Jim Goldberg

Open See:Jim Goldberg

I have noticed a lot more photographers doing this – I even remember one well known photographer working on his prints on the terrace of the Hotel Pams during Visa Pour L’image, painting away on the prints with blood mixed in water. There, on the terrace, in full view of a curious public, it appeared an artifice. But I digress.

Jim’s work is informed by a far stronger, determined and clear vision. He is again a photographer whose technique and method I may not want to emulate, but I respect and admire them for what they produce. He remains one of those rare photographers where the whole is far more than the sum of the parts. You can see samples of the book’s images on the Magnum website, but it is obvious that it is the book that you want to possess and not merely glance at the images.

Many may not, some may not remember, but one of the pioneers of the ‘touched’ photograph was a the American photographer by the name of Peter Beard. Beard did a lot of commercial work, even a cheesy calender shoot for Pirelli tyres, but he always did it in his own way. Less his commercial efforts, I found his more personal works far more compelling and exciting, particularly because of the incredibly complex, free wheeling and intriguing scribbles and sketches that covered the images.

Peter Beard: Hippo And The Hand 1955/2006

Peter Beard: Hippo And The Hand 1955/2006

I believe I read an interview with him where he argued that the image is incomplete until and unless the photographer has worked on it. This comment reflects an old fashioned idea of the need for the human touch and frailty on what is otherwise a purely mechanical product. Perhaps Beard did not value this instinctive, creative side enough and felt the need to push the works even further. Or that the spectrum of his creativity extended itself beyond the framing of the image and to the final image which appeared in his mind as he captured the negatives. It is however a process that produces unique objects, much like Jim Goldberg’s work which appears to continue this very practice of the ‘worked on’ image.

Yes, Your Taste In Music Sucks Or What MTV Erases!

In Musings On Confusions, Poetry, The Daily Discussion on July 26, 2009 at 5:24 pm

That can either be me talking about you, or your judgment of what I listen to these days. So enjoy it regardless!

The Carolina Chocolate Drops are an old style, talented, string band carrying on the tradition of some of the greatest string musicians from North and South Carolina. Tell me that Rhiannon Giddens voice isn’t simply hair raising!

The next videos is from the brilliant documenta/film called Searching For The Wrong-Eyed Jesus – A tour of the American south through its music and its people.

I loved this film so much that I have been listening to the likes of Jim White, Wovenhand, Johnny Dowd, Mellisa Swingle, and The Handsome Family ever since!

This scene from the film, an interview with Lee Sexton, should be a photograph! I remember watching it the first time and thinking that I would love to have been there to shoot the moment – that perfect artificial light, the beautiful window beam, that perfect and magnificent presence of age and experience embodied in this man. The scene only gets better in the second session when a younger man joins him in the interview – this is a beautiful photographic moment! This is an American light!

David Eugene Edwards – the lead singer of what was once 16 Horsepower and now, more recently Wovenhand was also introduced to me by this film. This is Christian music but seriously spiritual music. Not the cheesy, mass produced, muzak you find in religious bookstores. This is the sound of the belief of the South and in it one begins to see and understand a certain side of America that we often ignore what with our obsession with things New York, LA or Chicago!

Then there was the beautiful Melissa Swingle who appeared in a short clip on the film and stole my heart! Well, my musical heart with the striking, jagged, interupted voice that had so much vulnerability in it that one could not help but be smitten. She lead for the band Trailer Bride, which has disbanded and now she is with a band called The Moaners – hard,, southern rock that I am not such a big fan of. But Melissa remains a wonderful talent – see her song on the film itself!

Moving on: Adem – brilliant, individual singer, you have to listen to. His new album ‘Takes’ is a must:


There will be more in the near future!

And What Did You Hear, My Blue Eyed Son

In Musings On Confusions, Poetry, The Daily Discussion on July 25, 2009 at 9:28 pm

No words. Just music. Thanks to DuckRabbit for reminding me as well of one of my favorite Dylan songs.

Where did this music go? Where did these words go? Where did this voice go? Doesn’t our generation deserve this as well?

I wonder.

Joseph Rodriguez & The Documentary Eye

In Uncategorized on July 25, 2009 at 8:24 pm

Joseph Rodriguez may be one of the last great classical documentary photographers working in America today. I can think of only a few others who represent a similar passion and commitment to telling the human stories. Brenda Ann Kenneally and Eugene Richards come to mind. I was fortunate enough to have Joseph as a mentor in my early years. I could still use him, but I know he has neither the time or the energy to mentor a photographer living thousands of miles away!

Joseph was featured in a rather interesting little book called Witness In Our Time: Working Lives of Documentary Photographers, that also included personal and in-depth interview with the likes of Mary Ellen Mark, Sebastiao Salgado, Eugene Richards, Susan Meiseles, Graciela Iturbide, Dayanita Singh, Fazal Sheikh, and Antonin Kratochvil – a who’s who of great documentary photographers.

Here is a new piece that he has been working on. It is part of a series of stories Joseph is producing on the American prison system.

Notice that Joseph shoots human beings, not art objects or light or geometry or such. Human beings. His eye is drawn to gestures, movements, expressions and emotions. Its classic and its personal.


India As Fiction

In Background Materials on July 25, 2009 at 7:12 pm

I don’t have an exhaustive list – Indian literature is just too extensive and too diverse. I also have not read her writers in anything other than English and Urdu. That may still not represent a significant portion of India’s literary output. But India loves her books – anyone going to Kerala or walking into cafes in Calcutta will know what I mean. In fact, there was a Le Monde Diplomatique essay about the Kerala publishing industry and the love of books there called Kerala: Mad About Books.

Sixth on the list of seven objectives of Kerala’s communist-led state government’s literacy mission is “provision of facilities for library and reading rooms for creating an environment conducive for literacy efforts and a learning society”.

The grassroots level activism that brought about the literacy movement continues in the form of publishers like KSSP (Kerala Sastra Sahitya Parishad), which was formed in 1962 to publish scientific literature in Malayalam. Today KSSP continues its practice of door-to-door sales and Kala Jathas (literacy rallies). According to KK Krishna Kumar, its former president, KSSP publishes around 60-100 titles and sells books worth Rs 10-15m ($200,000-$300,000) every year.

Anyways, there have been rather ‘famous’ names winning awards recently some of whom are actually worth reading. Kiran Desai’s The Inheritance of Loss comes to mind. Adiga’s White Tiger does not!

Of course, the late, great Salman Rushdie’s Midnight’s Children, Shame, and the very popular (though less read) Satanic Verses. I believe that Rushdie has died as a writer since his move to the USA (no necessary connection), but the three works mentioned here remain masterpieces. Certainly Midnight’s Children can be accused of overwhelming the modern Indian novel with its innovation and audacity. Regardless, it remains a pivotal pieces of work.

Amit Chaudari is a beautiful, intelligent and sensitive writer. His Freedom Song and the more recent The Immortals are worth the effort.

Amitav Ghosh, whose In An Antique Land, is one of the most beautiful books I have read in a long, long time. It has (we are all adults here), truly one of the most evocative and sensual descriptions of a dance  – I had ever read! Ghosh’s prose is precise, concise and visual, an eye that concentrates on the essentials of the action, something that all photographers can learn from. Here is how he describes the scene, on a hot evening, in the remoteness of a village in remote Egypt:

It was long past sunset now, and the faces around the bridal couple were glowing in the light of a single kerosene lamp. The drum-beat on the wash-basin was a measured, gentle one and when I pushed my way into the center of the crowd I saw that the dancer was a young girl, dressed in a simple, printed cotton dress, with a long scarf tied around the waist. Both her hands were on her hips, and she was dancing with her eyes fixed on the ground in front of her, moving her hips with a slow, languid grace, backwards and forwards while the rest of her body stayed still, almost immobile, except for the quick, circular motion of her feet. Then gradually, almost imperceptibly, the tempo of the beat quickened, and somebody called out the first line of a chant, khadnaha min wasat al-dar, ‘we took her from her father’s house’, and the crowd shouted back, wa abuha ga’id za’alan, ‘while her father sat there bereft’. Then the single voice again, khadnaha bi al-saif al-madi,we took her with a sharpened sword’, followed by a massed refrain, wa abuha makansh radi, ‘because her father wouldn’t consent.’

The crowd pressed closer with the quickening of the beat, and as the voices and the clapping grew louder, the girl, in response, raised and arm and flexed it above her head in a graceful arc. Her body was turning now, rotating slowly in the same place, her hips moving faster while the crowd around her clapped and stamped, roaring their approval at the tops of their voices. Gradually, the beat grew quicker, blurring into a tattoo of drumbeats, and in response her torso froze into a stillness, while her hips and waist moved even faster, in exact counterpoint, in a pattern of movement that became a perfect abstraction of eroticism, a figurative geometry of lovemaking, pounding back and forth at a dizzying speed until at last the final beat rang out and she escaped into the crowd, laughing.

Amitav Ghosh, from In An Antique Land

Qurratullain Haider penned in Urdu quite possibly the great Indian novel, River of Fire, and later did her own translation of it into English. A classic, and a must read indeed. It is vast in its scope and truly amongst the regions great books.

Upamanyu Chatterjee wrote what I think is also a great Indian novel, English, August – about a young Indian man forced by circumstance to take up a job in a middle-of-nowhere town with the Indian Civil Service, and longing to do nothing more than smoke pot and sleep! It is perhaps one of the finest studies of the divide between those who are called to serve as civil servants, and the communities they are expected to administer. And it is laugh-out-loud hilarious to boot!

Mulk Raj Anand has written a wonderful book called Untouchable.

Or Mukel Kesevan’s interesting attempt at a partition era book called Looking Through Glass.

I think someone mentioned Rohinten Mistry earlier (recently famous for being stopped repeatedly at airports by our fine, intelligent  Homeland Security officers while he was on a USA book tour. He cancelled it and returned home!) and his A Fine Balance is a heartbreaking but beautiful read.

Arundhati Roy’s The God of Small Things has to be mentioned if only because I am a huge fan.

Pankaj Mishra’s brilliant and poignant The Romantics is perhaps one of the most insightful books about how an Indian student living int he city of Vatanasi (Benares), an albeit intelligent, educated and liberal Indian, views the tens of thousands of foreigners who mill about India ‘discovering’ themselves or exploring ‘spirituality’.

And the list of some other fascinating writers would include: Gita Mehta, R.K.Narayan, Ardashir Vakil, Bapsi Sidhwa, Ved Mehta – just getting started!

By the way, William Dalrymple’s recent works on India, though largely non-fiction (The White Mughals, The Last Mughal) are in fact fascinating historical studies written with the flair of a fiction writer. His earlier works on India including City of Djins are also fabulously fun to read. But certainly, The White Mughals remains one of my favorites because it explores the deeply heterodox social, political and cultural life of the Indians and the British before the rapid turn around of affairs with the arrival of the Evangelical Christian orientated, and far more racist (a connection between the two propensities I am not so sure about!) colonial administration post-1857.

Basically, Indian writers are ‘hot’ and in fact, so are Pakistani writers. South Asian fiction, that being written in English, is very popular with new talent emerging every month it seems. Tyrewala, Gasgupta, Mohamad Hanif, Mohsin Hamid, Daniel Moinuddin and many others.

Phew lots to read!!


Disasters – The Journal of Disaster Studies, Policy And Management

In Background Materials on July 24, 2009 at 9:01 am

I was sent a link to a fascinating magazine that concentrates on aftermath and reconstruction issues in the wake of conflict, disasters and other such events. I thought I would share it with you:

Disasters – The Journal of Disaster Studies, Policy And Management

there are some interesting articles, each of course, providing rich material for ‘aftermath’ works for documentarians and photographers. i don’t know the magazine too well and am looking through it now. but it addresses a lot of critical issues that would be fascinating to examine. there is a large number of essays on post-tsunami issues, many of them touch on what would make excellent documentary work. ironically, most of these issues are missing from media coverage. but of course!


Anthony Suau: Quiet, Serious, Profilic, Focused

In Uncategorized on July 21, 2009 at 1:55 pm

I don’t Anthony, but I do remember him for a little book he produced as we were preparing to wage war on Iraq. I don’t think a lot of people bothered with it, what with the hysteria and patriotic jingoism of the period. But Anthony went ahead and produced this little book called Fear This. 41A1M926SKL._SS500_I recommend you look it up. I don’t know how well it sold, but I suspect that given the atmosphere of the period, probably not a whole lot (I hope I am wrong). But what it did represent was an individual photographer’s response to the times. Here was a major, mainstream magazine photographer who held on to his individual sense of right and wrong, and very cleverly, in a quiet, civilized way, choose to say something about it.

Anthony Suau also won a World Press Photo award this year. Here is a short video of him. I also post this to show you what working with as little equipment as possible can be a powerful way to allow your individuality and voice to come forward. You are forced to rely on your skills, mental and physical, to compensate and adjust to overcome what first appear to be limitations.

I will post a few other videos in the coming hours/days. They will repeat the same mantra; simple equipment, sophisticated eyes, and a mind that is seriously seeing.


What To Bring…Some Thoughts

In Background Materials on July 21, 2009 at 10:09 am

I had wanted to put together a well thought out, rigorously professional list of things to bring to India. I have been trying to do just that for a couple of days now. But each time I do the list just seems completely artificial and pointless. We are all different, and have different preferences. We all know what we have to have with us to make our photographs, and to be comfortable while working and resting. Clothes, toiletries, something fun to read, a couple of notebooks and a pen (preferably a fountain pen – more on that later!), a good pair of slippers. What else does a photographer need? Josef Koudelka famously said that 2 shirts and 2 pants are more than necessary and then its just a matter of going. Perhaps a bit ascetic, but he sets the bar for the minimum required.

I in fact do usually travel with just 2 pants and perhaps 3 shirts! I don’t know why, but I have a serious aversion to baggage. Even for a 6 week India trip I will not have enough to require checking my bags at the airport counter. Perhaps it is some need to feel that I can just pick up and leave a place any time I want, to roam without concern about my belongings and to be able to walk without exhaustion to any destination once I have disembarked from a bus or train. It is also the reason why I rarely carry heavy camera equipment, or even a laptop! A couple of camera bodies, a couple of lens, perhaps 40 rolls of film and i am off!

August is a beautiful month in Ajmer – it rains. This is no ordinary rain. This is India’s summer rain, considered a gift of the heavens. It cleanses the city, energizes the people, compels children to laugh all day and play carelessly in pools of waters. I remember this rain from my childhood. Karachi would seath in June and July, and August would bring relief in the form of downpours that millions anxiously waited for. The city would be bought to a standstill – water would collect everywhere, roads would back up, electricity would fail sometimes for hours, offices would be closed, schools too (yes!), and every one would be left to do nothing but….play! It was the greatest time of the year and the only one I remember when my mother would become a girl and rush out into the rains to run and laugh!

Fear not; its not monsoon that destroys our ability to be out and make pictures.

August is rain in Ajmer. Just remember that. It is a unique time for the city which is otherwise hot, dry and near impossible to work in because the heat just cuts through your skin and squeezes your lungs!

Ajmer is also where you can find anything you will need as far as daily needs are concerned; clothes – the light kurta is a near perfect piece of clothing for hot weather and very cheap. it is light and simple and found everywhere. It is also appropriate in that it will automatically erase any concerns about appropriate attire and so on. If you are passing through Delhi you can find fabulous ones at Fab India and other such places. I pick a few up each time I arrive and then just wear them out during my travels. Basically what I am saying is that you need not drag a lot of heavy stuff for fear of not being able to find things in India. Yes, of course, that silk full length, off-shoulder/Armani tuxedo may need to be packed if you feel you must!

Some people bring a lot of exercise equipment. This is tricky as jogging on the streets of India is not recommended – the pollution alone can kill you, if the traffic will not! I do yoga in my room – its easier, requires no extra equipment and ensures that I do not have to fear an unknown neighborhood. I am sure that there are gyms somewhere in the vicinity, but I seriously doubt if you will have time for, or that we will allow you time for, body toning and aerobics. Just so you know. Photographers are also very proud of their beer bellies and lack of stamina. Marks of honor!

I would also suggest that you keep your camera equipment to the bare essential. If you must know I only work with 2 lens – both fixed focal length. A 50mm and a 35mm. That is it. I find that people carrying a lot of different lenses are attempting to hedge against ‘unexpected’ circumstances and hoping that some lens combination will be available to capture every situation. The fact of the matter is that you can never get all the pictures you want. You will never be able to capture it all in all its infinite variety and variations. The best strategy is to select the equipment that best allows you to get most of your images. And since we will be working on close documentary work, you are best off bringing your simplest lenses, and putting aside long zooms and so on. But of course I am simply suggesting this because different people have different ‘equipment comfort’ levels. Certainly less is more in my book Besides, lugging around large camera bags to your subjects and sites is a bit of a pain. Not only does it draw a lot of unnecessary attention, but it can be an impediment to your ability to get others to relax around you.


The European AC Plug

Electricity can be tricky and particularly in the rainy season it can be fickle. Do bring a small torch to find your way to and from the toilet. I have a silly little one in my mobile phone and it works just fine. We are not out in the tundra here – just something that can help you navigate without breaking any bones.

Wall plugs are mostly European compatible, so all your Americans will need adaptors please. Best that you come with these, though I am sure they can also be found in Delhi or Ajmer. India uses a 2-pin plug though I have seen some very strange variations on this as well. My European plugs work fine though I know that the Indian plug is just a slight variation on this model.  The India variety has 3 round pins – the lower 2 actually fit the European plug. There are plenty of light weight adaptors available – Belkin has a nice and easy one that I have found to always work in India though I am not sure the one I have is still being produced. Note, most all digital cameras and laptops have dual-voltage capability so you needn’t worry about this. Power surges can be an issue, but I recommend that we by a surge protection power strip once we are in India for those of you worried about such matters.

Extra batteries for your camera are always a good idea. You may be working away from the hotel and it would be better that you have a backup.

Bring a toothbrush please. Thank you.

Bring light, cool, cotton clothing. I know people love those fancy nylon hiking pants with more zips than a space suit. Ok, I guess you can bring these if you want. Light shoes. Scarves may not be too fashionable. The girls should bring something to cover their heads – yes, a scarf because it is decent and respectable to do so when entering mosques, shrines, and temples. And perhaps even when meeting elders – it is a sign of humility and courtesy to cover your head. Not a must, just a thought.

Lip balm. Mosquito repellent. Imodium (yes, come on, be prepared!). Deodarant. All are necessary. All can be bought in India.

No fanny packs please! Ok, that is just a pet peeve that has no real logical reason. Lets just say its a question of taste!

For a more serious, well thought through, point by point list talk to Sam. I saw that he has one hell of a packing list on his blog from Uganda :) I am sure he will remind me of the 20 most important things I completely forgot!

I will update this one as other thoughts come up. But the general rule is; keep it simple and don’t over do the whole thing. If you forget something you can always find it in Ajmer.

Oh, yes, fountain pens. Do you realize that ball point pens place incredible pressure on your wrists and arms? It is one of the reasons why people do not write with them for any length of time. A fountain pen however flies over paper, and is a joy to write with. You can buy these very cool, cheap, disposable (if you must!) fountain pens in India. I love writing with them and find that I actually write a lot just to feel the pleasure of the pen moving over paper. I hope to get a quality one this time around. So chuck that Bic and pick up a fountain pen, take your notes in your fashionably cool Moleskins (yes, we do need some style) and feel the joy of writing again!

(Coming up in the next post; why the LP will reconquer audio playback again, crushing this fad called the CD!)


Proven: The Apollo 11 Moon Walk Was A Hoax!

In The Daily Discussion on July 20, 2009 at 8:00 pm

If there was ever any doubt, this video erases them!

To be uploaded soon; video of my lunch date with Sasqautch which was rudely interrupted by an alien abduction attempt!