lakecountrybeer.com

Monday, November 21, 2005

The international entry mail art show SAT: An Exhibit of Chairs was put on display Friday in Brampton, Ontario, Canada. Held in the Fridge Front Gallery at the Shoppers World Brampton mall, SAT is a diverse collection of artworks focusing on a generally mundane object, the chair.

Works in the show range from realism to abstract, dadaism to surrealism, post-modern to collage.

While some of the entries were submitted directly to Visual Arts Brampton, most came from a previous exhibit. Organized by Pati Bristow, No place to rest, chairs you can’t sit on ran at Shopping Trolley Gallery West and Seaman’s Library at Foothill College, both in Los Altos Hills, California, earlier in 2005. Guest curator Nicholas Moreau was unaware of the similarly themed exhibit, held so soon before. The theme for SAT was based on that of a 1987 juried art show organized by Visual Arts Brampton at the now-defunct Chinguacousy Library Gallery.

Works in Visual Arts Brampton’s showing of the exhibition are from 17 countries including Belgium, Brazil, Canada, Finland, France, Germany, Ireland, Italy, Japan, Netherlands, Norway, Pakistan, Romania, Spain, Uruguay, the United Kingdom, and the United States of America.

This is Visual Arts Brampton’s third mail art show. In 1999, Susan Williamson created The Great Canadian Mail Art Show for Artway at Bramalea City Centre; the show was so successful that the Art Gallery of Peel adopted it in 2001. The concept of a mail art show was revived in 2004 by Moreau, held at the new Artway Shoppers World. The Snail Mail World Postcard Art Show has been held annually since.

Visual Arts Brampton’s Fridge Front Gallery primarily hosts artwork by youth from its kids classes, and from schools in Brampton and Oakville. In contrast, the nearby Artway Gallery hosts artwork by professional and amateur adult artists from across Peel. VAB has successfully sought permission to create a third display space in Shoppers World, in the Zellers corridor. The space will host shows of mail art and works on paper year-round. The planned “World Art Gallery” will be the first ever permanent display space for mail art.

Saturday, February 5, 2005

On Saturday NATO and Afghan troops located the wreckage of the Kam Air Boeing 737 missing since Thursday.

Afghan interior ministry spokesman Latfullah Mashal announced the discovery. “The debris of the plane was found around 25 kilometers east of Kabul in a mountainous area called Band-e Ghazi.”

The jet had been enroute to Kabul from Herat when it was diverted due to heavy snow. The crew then sought clearance to land across the border in Peshawar, Pakistan before it lost contact with air control. 104 persons are reported to have been aboard, including 8 crew members; there are no signs of survivors reported.

The weather conditions have hampered search and rescue efforts. NATO-operated helicopters located the crash site. Afghan police and units from Afghanistan’s foreign peacekeeping force are investigating the scene of the crash, according to Mr. Mashal.

Saturday, June 2, 2012

Phoenix, Arizona — Last weekend, Phoenix fans of comics, science fiction, horror, fantasy, cos-play, anime and manga, Society for Creative Anachronism, and more, marked a milestone as the city held its tenth annual Phoenix Comicon at the Phoenix Convention Center. The event — which is entirely the work of more than 700 volunteers according to coordinator Colin Aprill — generated around US$5 million for the “Valley of the Sun” during its four-day run. Wikinews was there.

As one unknown source from the crowd was overheard saying, “It’s all about the fans.” Descending into the hall by escalator gave a sense of the scale to the creativity in the center. Fans could be seen scattering about in a flurry of motion on their way from one event to another and producing their own spectacle, most in costume, on their way.

This year the four-day convention in the Valley was estimated to set a new attendance record as 30,000 visitors showed. Most were clothed in costumes that transformed themselves into Batmans, creeper box heads, furries, Lady and Knight couple, pirates, pixies, Star Trek officers, Star Wars’ Empire troopers, Superwomen, and zombies. One of the most common activities at Comicon was people taking photos of each other while they took turns posing or snapping shots.

The Camp family stopped intermittently to have their photos taken by others. The Camps were led by eldest brother Jim “Batman” Camp. He attended Comicon with his sister Tina “Good Witch” Camp, who brought her daughter Katie “Super Woman.” Sibling Tony Camp, who attended with his daughter Stella “Bat Girl,” was said to be “the instigator” behind the family’s turnout at Comicon. “You get to be dressed up and can act goofy, and you don’t feel weird because everybody is dressing up, too,” said Tony about the family-friendly event.

The exhibit hall was filled with artists and merchants selling comic books, trinkets, memorabilia, wares and keepsakes. Amidst the shoppers, the photo opportunities continued to attract the most attention. For all the star-studded autograph booths and an artist alley with famed comic book artists, the most fun was simply enjoying the presence of other fans in costume.

The Thirteenth Floor Haunted House took advantage of the photo-op activity by supplying monsters “Nemesis” and “Collosus” for more of this activity. Manager Tim Pugsley says the company owns five out of the top 1300 haunted houses in the United States. The monsters’ human counterparts remained anonymous on purpose. “The characters don’t get ruined that way,” said a handler.

Montana E. had his picture taken with “Nemesis” by friend Joey Deihl, while Eddie Deleon and young Raquel Munguia posed with “Collosus.”

Fans also gathered Saturday for a flash mob event, in which people danced or acted to Michael Jackson’s mega-hit song “Thriller”. An entertainment group calling themselves “The Zombie Chicks” attended the flash mob and then later drifted in trance through the exhibitor hall of the convention center. “We’re here for the performance, not for the stuff,” said Tori Hoganson, who pointed like a bored consumer at the trinkets in a stall. She was careful to use as few words as possible to speak her mind out of character before going back mindfully to her mindless performance. She was accompanied by her friends, who in human form are known as Emmalaine Wright and Lyle Yanak. The group was watched closely and held at bay by “The Keeper” Ben Fondren, who lurked nearby as a faceless shadow.

The fans also turned out to see big stars, like William Shatner, who portrayed Captain Kirk in the original Star Trek series; LeVar Burton, who is synonymous with the ship’s engineer Geordi La Forge in Star Trek: The Next Generation; or Jon Bernthal, who was the sometimes hero and sometimes anti-hero Shane Walsh in the TV series The Waking Dead.

Father and son John and David Phelps, who are both Star Trek fans, attended the event together and were excited to see Shatner. “He can be funny, but he’s also fun to laugh at,” said John Phelps with a smile. His son David liked to laugh at Shatner when the artist attempted to sing. Shatner has had an alternative “tongue-in-cheek” career singing hits such as “Common People” on the 2004 album Has Been.

Hunter Lewis got Jon Bernthal’s autograph, which came penned with the message, “I F@&#’in hate Zombies.” Zombies were the main source of the angst that bedeviled characters in his hit TV show. Hunter’s friends Justin Rose, Ryan Scola and Taylor Fagen also met with Bernthal in the autograph line. This was just one of many examples of how friends and family were bonding and sharing together in the spectacle throughout the convention center.

There were also breakout sessions for classes, performances, gaming, and crafts. Nyki Robertson Crosby, a.k.a. “Lady Thunder,” who is the matriarch of one of the largest houses for the Society for Creative Anachronism in the Phoenix area, sponsored a class on creating a “Basic T-shirt Tunic” so that anyone who wanted to attend an S.C.A. event in costume could fit in with a minimal investment in time, effort and money. She said the secret is to create a costume that could be one someone would wear between 600–1600 A.D. “We’re the Society of Creative Anachronism and not the Society of Creative Accuracy,” Robertson Crosby said.

The Phoenix Comicon was carnivalesque in its look and feel. And it spread well beyond the convention center as knights and Wonderland characters and more walked the streets of Phoenix and lunched and dined with the “civilians”. The civilians were the ones who kept asking, “What’s going on?”

They may have been “out of towners” visiting the “Valley of the Sun” between May 24–27, because after ten years, Phoenix now has an established tradition.

This year’s largest Comicon is to be Comic-Con International San Diego 2012, July 12–15 in California.

Wednesday, May 11, 2016

Comply or Die, the racehorse who won the 2008 Grand National has died at the age of 17. His death was announced by his former trainer, David Pipe. He died over at the weekend in Gloucestershire, where he had been staying with jockey Timmy Murphy. He was cremated on Monday and his ashes will return to Murphy.

Murphy was the jockey in the saddle when Comply or Die won the 2008 Grand National. Speaking to the Press Association, he spoke about the horse’s death. He said, “He was part of the furniture at home so it’s very sad. He gave me the greatest day of my career, obviously that can never be taken away. He paraded at Cheltenham and Aintree and was getting ready to do some dressage in the summer. I’m not actually sure how he died, to be honest, but it wasn’t nice to come home to. He was cremated on Monday. He was a happy horse and he was also very clever.”

During his racing career he made £798,809 in prize-money after winning a total of eight races.

The 2008 Grand National victory was his greatest achievement and he almost matched it when he came second place in 2009. He retired in 2011 but remained active, often being paraded at race grounds such as Aintree and Cheltenham. He also participated in some hunting activities. Pipe said, “Since his retirement he had been a lead-horse at Timmy Murphy’s establishment before trying his hand at dressage, a discipline in which he had proven very successful”.

Tributes have been paid to Comply or Die on social media by horse racing fans with several tweeting their appreciation and memories.

Monday, June 25, 2007

Team New Zealand have defeated Swiss syndicate Alinghi in the second race of the 32nd America’s Cup Challenge on Sunday, making the overall score equal with one win for each team.

Team New Zealand, racing with NZL-92, crossed the start line three seconds ahead of Alinghi’s yacht, SUI-100. But Alinghi led the race at the first mark by 13 seconds, though near the ending of the race, Team New Zealand managed to overtake Alinghi to lead the final leg of the race by 28 seconds.

Former Alinghi and Team New Zealand skipper, Russell Coutts said that the latest win for Team New Zealand will act as a big boost for them. Ray Davis, Team New Zealand after-guard, said, “It’s been huge for the team to get a win on the board in the America’s Cup. It has been a long time coming for Emirates Team New Zealand.”

Dan Cowie, Team New Zealand trimmer, said, “As we said yesterday there are two very even boats out there. We didn’t learn a whole lot more today.”

The next race is scheduled for tomorrow, Monday being a race-off day.

The last time Alinghi and Team New Zealand fought for the America’s Cup was when Team New Zealand was defending the trophy in Auckland, New Zealand.

The past three consecutive America’s Cup challenges have been all whitewash victories, and five of the last six challenges have also been whitewashes.

Thursday, December 1, 2011

Today saw Edinburgh’s Scottish National Portrait Gallery reopen following a two-and-a-half-year, £17.6m (US$27.4m) refurbishment. Conversion of office and storage areas sees 60% more space available for displays, and the world’s first purpose-built portrait space is redefining what a portrait gallery should contain; amongst the displays are photographs of the Scottish landscape—portraits of the country itself.

First opened in 1889, Sir Robert Rowand Anderson’s red sandstone building was gifted to the nation by John Ritchie Findlay, then-owner of The Scotsman newspaper and, a well-known philanthropist. The original cost of construction between 1885 and 1890 is estimated at over 70,000 pounds sterling. Up until 1954, the building also housed the Society of Antiquaries of Scotland who moved to the National Museum of Scotland buildings on Chambers Street. The society’s original meeting table now sits in the public part of the portrait gallery’s library, stared down on by an array of busts and phrenological artefacts.

Wikinewsie Brian McNeil, with other members of the press, received a guided tour of the gallery last Monday from Deputy Director Nicola Kalinsky. What Kalinsky described as an introduction to the gallery that previously took around 40 minutes, now takes in excess of an hour-and-a-half; with little in the way of questions asked, a more inquisitive tour group could readily take well over two hours to be guided round the seventeen exhibitions currently housed in the gallery.

A substantial amount of the 60% additional exhibition space is readily apparent on the ground floor. On your left as you enter the gallery is the newly-fitted giant glass elevator, and the “Hot Scots” photographic portrait gallery. This exhibit is intended to show well-known Scottish faces, and will change over time as people fall out of favour, and others take their place. A substantial number of the people now being highlighted are current, and recent, cast members from the BBC’s Doctor Who series.

The new elevator (left) is the most visible change to improve disabled access to the gallery. Prior to the renovation work, access was only ‘on request’ through staff using a wooden ramp to allow wheelchair access. The entire Queen Street front of the building is reworked with sloping access in addition to the original steps. Whilst a lift was previously available within the gallery, it was only large enough for two people; when used for a wheelchair, it was so cramped that any disabled person’s helper had to go up or down separately from them.

The gallery expects that the renovation work will see visitor numbers double from before the 2009 closure to around 300,000 each year. As with many of Edinburgh’s museums and galleries, access is free to the public.

The expected significant increase in numbers has seen them working closely with the National Museum of Scotland, which was itself reopened earlier this year after extensive refurbishment work; improved access for wheelchair users also makes it far easier for mothers with baby buggies to access the gallery – prompting more thought on issues as seemingly small as nappy-changing – as Patricia Convery, the gallery’s Head of Press, told Wikinews, a great deal of thought went into the practicalities of increased visitor numbers, and what is needed to ensure as many visitors as possible have a good experience at the gallery.

Press access to the gallery on Monday was from around 11:30am, with refreshments and an opportunity to catch some of the staff in the Grand Hall before a brief welcoming introduction to the refurbished gallery given by John Leighton, director of the National Galleries of Scotland. Centre-stage in the Grand Hall is a statue of Robert Burns built with funds raised from around the British Empire and intended for his memorial situated on Edinburgh’s Calton Hill.

The ambulatories surrounding the Grand Hall give the space a cathedral-like feel, with numerous busts – predominantly of Scottish figures – looking in on the tiled floor. The east corner holds a plaque commemorating the gallery’s reopening, next to a far more ornate memorial to John Ritchie Findlay, who not only funded and commissioned the building’s construction, but masterminded all aspects of the then-new home for the national collection.

Split into two groups, members of the press toured with gallery Director James Holloway, and Nicola Kalinsky, Deputy Director. Wikinews’ McNeil joined Kalinsky’s group, first visiting The Contemporary Scotland Gallery. This ground-floor gallery currently houses two exhibits, first being the Hot Scots display of photographic portraits of well-known Scottish figures from film, television, and music. Centre-stage in this exhibit is the newly-acquired Albert Watson portrait of Sir Sean Connery. James McAvoy, Armando Iannucci, playwright John Byrne, and Dr Who actress Karen Gillan also feature in the 18-photograph display.

The second exhibit in the Contemporary gallery, flanked by the new educational facilities, is the Missing exhibit. This is a video installation by Graham Fagen, and deals with the issue of missing persons. The installation was first shown during the National Theatre of Scotland’s staging of Andrew O’Hagan’s play, The Missing. Amongst the images displayed in Fagen’s video exhibit are clips from the deprived Sighthill and Wester-Hailes areas of Edinburgh, including footage of empty play-areas and footbridges across larger roads that sub-divide the areas.

With the only other facilities on the ground floor being the education suite, reception/information desk, cafe and the gallery’s shop, Wikinews’ McNeil proceeded with the rest of Kalinsky’s tour group to the top floor of the gallery, all easily fitting into the large glass hydraulic elevator.

The top (2nd) floor of the building is now divided into ten galleries, with the larger spaces having had lowered, false ceilings removed, and adjustable ceiling blinds installed to allow a degree of control over the amount of natural light let in. The architects and building contractors responsible for the renovation work were required, for one side of the building, to recreate previously-removed skylights by duplicating those they refurbished on the other. Kalinsky, at one point, highlighted a constructed-from-scratch new sandstone door frame; indistinguishable from the building’s original fittings, she remarked that the building workers had taken “a real interest” in the vision for the gallery.

The tour group were first shown the Citizens of the World gallery, currently hosting an 18th century Enlightenment-themed display which focuses on the works of David Hume and Allan Ramsay. Alongside the most significant 18th century items from the National Portrait Gallery’s collection, are some of the 133 new loans for the opening displays. For previous visitors to the gallery, one other notable change is underfoot; previously carpeted, the original parquet floors of the museum have been polished and varnished, and there is little to indicate it is over 120 years since the flooring was originally laid.

Throughout many of the upper-floor displays, the gallery has placed more light-sensitive works in wall-mounted cabinets and pull-out drawers. Akin to rummaging through the drawers and cupboards of a strange house, a wealth of items – many previously never displayed – are now accessible by the public. Commenting on the larger, featured oils, Deputy Director Kalinsky stressed that centuries-old portraits displayed in the naturally-lit upper exhibitions had not been restored for the opening; focus groups touring the gallery during the renovation had queried this, and the visibly bright colours are actually the consequence of displaying the works in natural light, not costly and risky restoration of the paintings.

There are four other large galleries on the top floor. Reformation to Revolution is an exhibition covering the transition from an absolute Catholic monarchy through to the 1688 revolution. Items on-display include some of the Scottish National Portrait Gallery’s most famous items – including Mary Queen of Scots and The Execution of Charles I. The portrait-based depiction of this historical age is complemented with prints, medals, and miniatures from the period.

Imagining Power is a Jacobite-themed exhibition, one which looks at the sometime-romanticised Stuart dynasty. The Gallery owns the most extensive collection of such material in the world; the portraiture that includes Flora MacDonald and Prince Charles Edward Stuart is complemented by glassware from the period which is on-loan from the Drambuie Liqueur Company which Kalinsky remarked upon as the only way Scots from the period could celebrate the deposed monarchy – toasting The King over the Water in appropriately engraved glasses.

On the other side of the upper floor, the two main naturally-lit exhibitions are The Age of Improvement, and Playing for Scotland. The first of these looks at societal changes through the 18th and 19th centuries, including Nasmyth’s 1787 portrait of the young Robert Burns and – well-known to past visitors to the portrait gallery – Raeburn’s 1822 depiction of Sir Walter Scott. These are complemented with some of the National Gallery’s collection of landscapes and earliest scenes from Scottish industry.

Playing for Scotland takes a look at the development of modern sports in the 19th century; migration from countryside to cities dramatically increased participation in sporting activities, and standardised rules were laid down for many modern sports. This exhibition covers Scotland’s four national sports – curling, shinty, golf, and bowls – and includes some interesting photographic images, such as those of early strong-men, which show how more leisure time increased people’s involvement in sporting activities.

Next to the Reformation to Revolution gallery is A Survey of Scotland. Largely composed of works on-loan from the National Library of Scotland, this showcase of John Slezer’s work which led to the 1693 publication of Theatrum Scotiae also includes some of the important early landscape paintings in the national collection.

The work of Scotland’s first portrait painter, the Aberdeen-born George Jamesone, takes up the other of the smaller exhibits on the east side of the refurbished building. As the first-ever dedicated display of Jamesone’s work, his imaginary heroic portraits of Robert the Bruce and Sir William Wallace are included.

On the west side of the building, the two smaller galleries currently house the Close Encounters and Out of the Shadow exhibits. Close Encounters is an extensive collection of the Glasgow slums photographic work of Thomas Annan. Few people are visible in the black and white images of the slums, making what were squalid conditions appear more romantic than the actual conditions of living in them.

The Out of the Shadow exhibit takes a look at the role of women in 19th century Scotland, showing them moving forward and becoming more recognisable individuals. The exceptions to the rules of the time, known for their work as writers and artists, as-opposed to the perceived role of primary duties as wives and mothers, are showcased. Previously constrained to the domestic sphere and only featuring in portraits alongside men, those on-display are some of the people who laid the groundwork for the Suffrage movement.

The first floor of the newly-reopened building has four exhibits on one side, with the library and photographic gallery on the other. The wood-lined library was moved, in its entirety, from elsewhere in the building and is divided into two parts. In the main public part, the original table from the Society of Antiquaries sits centred and surrounded by glass-fronted cabinets of reference books. Visible, but closed to public access, is the research area. Apart from a slight smell of wood glue, there was little to indicate to the tour group that the entire room had been moved from elsewhere in the building.

The War at Sea exhibit, a collaboration with the Imperial War Museum, showcases the work of official war artist John Lavery. His paintings are on-display, complemented by photographs of the women who worked in British factories throughout the First World War. Just visible from the windows of this gallery is the Firth of Forth where much of the naval action in the war took place. Situated in the corner of the room is a remote-controlled ‘periscope’ which allows visitors a clearer view of the Forth as-seen from the roof of the building.

Sir Patrick Geddes, best-known for his work on urban planning, is cited as one of the key influencers of the Scottish Renaissance Movement which serves as a starting point for The Modern Scot exhibit. A new look at the visual aspects of the movement, and a renewal of Scottish Nationalist culture that began between the two World Wars, continuing into the late 20th century, sees works by William McCance, William Johnstone, and notable modernists on display.

Migration Stories is a mainly photographic exhibit, prominently featuring family portraits from the country’s 30,000-strong Pakistani community, and exploring migration into and out of Scotland. The gallery’s intent is to change the exhibit over time, taking a look at a range of aspects of Scottish identity and the influence on that from migration. In addition to the striking portraits of notable Scots-Pakistani family groups, Fragments of Love – by Pakistani-born filmmaker Sana Bilgrami – and Isabella T. McNair’s visual narration of a Scottish teacher in Lahore are currently on-display.

The adjacent Pioneers of Science exhibit has Ken Currie’s 2002 Three Oncologists as its most dramatic item. Focussing on Scotland’s reputation as a centre of scientific innovation, the model for James Clerk Maxwell’s statue in the city’s George Street sits alongside photographs from the Roslin Institute and a death mask of Dolly the sheep. Deputy Director Kalinsky, commented that Dolly had been an incredibly spoilt animal, often given sweets, and this was evident from her teeth when the death mask was taken.

Now open daily from 10am to 5pm, and with more of their collection visible than ever before, the Scottish National Portrait Gallery will change some of the smaller current exhibits after 12 to 18 months on display. The ground-floor information desk has available five mini-guides, or ‘trails’, which are thematic guides to specific display items. These are: The Secret Nature trail, The Catwalk Collection trail, The Situations Vacant trail, The Best Wee Nation & The World trail, and The Fur Coat an’ Nae Knickers Trail.

Saturday, September 9, 2006

Ralph Bucky Phillips, a long-time New York fugitive, has been caught. He was arrested on Friday in Warren County, Pennsylvania at about 8:15 pm ET. He was unarmed and unhurt when he surrendered. The police had cornered him in a field just over the Pennsylvania border. The police had moved closer to Phillips. Just before nightfall, 25 SWAT officers and 12 dogs swept through a field where he was suspected to be hiding. He gave up at around 8:00 pm local time. Phillips surrendered, with his hands up in the air.

“A few of my guys had spotted him in an open field, the helicopter zeroed in on him,” said Lenny DePaul, commanding officer of the US Marshals Service fugitive task force. “Very good news,” he said.

Friday’s search started just before 2:00 am.

Phillips looked dirty and exhausted in a photo of him in the back of the police car. He spoke with one-word answers, answering “yes” when asked if he was Ralph Phillips, and also if he had received a copy of the federal complaint charging him with unlawful flight to avoid prosecution.

Phillips was taken to a jail in Buffalo. He will appear in court today, facing a charge of attempted murder in connection with the shooting of a state trooper on June 10.

Sunday, October 21, 2007

Torture proliferates American headlines today: whether its use is defensible in certain contexts and the morality of the practice. Wikinews reporter David Shankbone was curious about torture in American popular culture. This is the first of a two part series examining the BDSM business. This interview focuses on the owners of a dungeon, what they charge, what the clients are like and how they handle their needs.

When Shankbone rings the bell of “HC & Co.” he has no idea what to expect. A BDSM (Bondage Discipline Sadism Masochism) dungeon is a legal enterprise in New York City, and there are more than a few businesses that cater to a clientèle that wants an enema, a spanking, to be dressed like a baby or to wear women’s clothing. Shankbone went to find out what these businesses are like, who runs them, who works at them, and who frequents them. He spent three hours one night in what is considered one of the more upscale establishments in Manhattan, Rebecca’s Hidden Chamber, where according to The Village Voice, “you can take your girlfriend or wife, and have them treated with respect—unless they hope to be treated with something other than respect!”

When Shankbone arrived on the sixth floor of a midtown office building, the elevator opened up to a hallway where a smiling Rebecca greeted him. She is a beautiful forty-ish Long Island mother of three who is dressed in smart black pants and a black turtleneck that reaches up to her blond-streaked hair pulled back in a bushy ponytail. “Are you David Shankbone? We’re so excited to meet you!” she says, and leads him down the hall to a living room area with a sofa, a television playing an action-thriller, an open supply cabinet stocked with enema kits, and her husband Bill sitting at the computer trying to find where the re-release of Blade Runner is playing at the local theater. “I don’t like that movie,” says Rebecca.

Perhaps the most poignant moment came at the end of the night when Shankbone was waiting to be escorted out (to avoid running into a client). Rebecca came into the room and sat on the sofa. “You know, a lot of people out there would like to see me burn for what I do,” she says. Rebecca is a woman who has faced challenges in her life, and dealt with them the best she could given her circumstances. She sees herself as providing a service to people who have needs, no matter how debauched the outside world deems them. They sat talking mutual challenges they have faced and politics (she’s supporting Hillary); Rebecca reflected upon the irony that many of the people who supported the torture at Abu Ghraib would want her closed down. It was in this conversation that Shankbone saw that humanity can be found anywhere, including in places that appear on the surface to cater to the inhumanity some people in our society feel towards themselves, or others.

“The best way to describe it,” says Bill, “is if you had a kink, and you had a wife and you had two kids, and every time you had sex with your wife it just didn’t hit the nail on the head. What would you do about it? How would you handle it? You might go through life feeling unfulfilled. Or you might say, ‘No, my kink is I really need to dress in women’s clothing.’ We’re that outlet. We’re not the evil devil out here, plucking people off the street, keeping them chained up for days on end.”

Below is David Shankbone’s interview with Bill & Rebecca, owners of Rebecca’s Hidden Chamber, a BDSM dungeon.