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1. WINK IDENTITY

  • Published: 2012-05-11T14:31:06+00:00
  • Duration: 14
  • By AXT

2. Digital Thinkers - Awwwards Conferences

  • Published: 2018-05-16T16:52:56+00:00
  • Duration: 35
  • By TAVO
Digital Thinkers - Awwwards Conferences

FULL PROJECT. https://www.behance.net/gallery/62250151/Digital-Thinkers-Conf The friends of AWWWARDS called us again, this time it was for the complete creation of the image & identity of the event, both for the web, by the hand of the ADORATORIO guys, and for the offline image of the event, print and editorial. The concept of these two conferences, Berlin and San Francisco, was DIGITAL THINKERS. We took care of materializing that concept with an explosion of colors and geometric shapes, making a wink to the banding effect that we have suffered so much digital designers with gradients.


3. REEL quebue _ MOTION & DESIGN _ 018

  • Published: 2018-05-16T11:58:13+00:00
  • Duration: 60
  • By Pablo Quevedo
REEL quebue _ MOTION & DESIGN _ 018

quebue is also, art direction, brand logos, motion graphics, layout, design, animation, visual identity Lover of the simplicity, the magic, the artistic wink, the roundness of the characters and the things, the tranmpatojo and the emotion and the soul From the idea to your table & More Music: Beautiful Land _Nina simone © RCA Records, 1960.


4. Emily Oberman: All good design has a level of wit

  • Published: 2015-03-24T12:25:21+00:00
  • Duration: 218
  • By Design Indaba
Emily Oberman: All good design has a level of wit

The designer of numerous “Saturday Night Live” identities talks about the role of humour in her work. Graphic designer Emily Oberman is known in the industry for her good sense of humour. “I think all good design has a level of wit,” says the Pentagram partner, who recently created the identity for Saturday Night Live’s 40th Anniversary series. “It helps you make an emotional connection to your audience: wit reaches across, reaches out of the computer to whoever is interacting with it and helps make something more human.” Oberman’s work extends from the outright hilarious in Saturday Night Live to the “subtle wink” in her identity for On Being with Krista Tippett, a radio show and podcast series delving into issues of belief and meaning. Oberman is best know for her work in the entertainment industry and has designed three identities for different series of Saturday Night Live, including the design of a new book published to celebrate its 40th anniversary. “I think for some people they don’t even realise it’s changing, I think they just think the technology is changing,” says Oberman of the television show’s opening sequence. “But for us it is reinventing it everytime. And I enjoy that challenge.” Oberman also talks about joy of a new challenge, like On Being, and how working on a brief unlike anything you have done before forces you to try things a little differently. “I love when I learn something, when I am a smarter person at the end of the project.”


5. Big Fuel Motion Design Reel

  • Published: 2012-08-04T14:22:22+00:00
  • Duration: 51
  • By S.J. DeLuise
Big Fuel Motion Design Reel

As a Senior Art Director at NYC social media powerhouse, Big Fuel, I helmed the animation of all corporate identity pieces touting Big Fuel's boundless aptitude in the social medium, as well my own in motion design (wink). Here is my 3-year anthology of Big Fuel motion graphics.


6. O Big Wet O Mother

  • Published: 2009-12-05T13:01:18+00:00
  • Duration: 248
  • By jessy junior
O Big Wet O Mother

*One cohesive {audio} clip was randometrically permuted to diffuse an identity apart from its GESTALT component. This sacrilege was subsequently repeated with a {vision} clip. *Whilst these disparate permutations weren't initially intended to unify, particular elements materialised & haphazardly served harmonious. *The PERPETRATOR: a [Proposition] incapable of containing/storing ITSELF as data, hence condemning it to susceptibility. (WINK-WINK)


7. HEEERE’S BRODINSKI - Title 5/5

HEEERE’S BRODINSKI - Title 5/5

HEEERE’S BRODINSKI Identity, illustrations & animation titles of “HEEERE’S BRODINSKI”, a documentaryweb-serie on konbini.com, about french DJ/Producer Brodinski. It’s a wink to amerindian geometric patterns (not to mention Pendleton Oregoner style), that Brodi particularly likes. There are 5 different intro title designs (and 15 episodes). (2011)


8. Typographics: Entertaining Typography with Emily Oberman

Typographics: Entertaining Typography with Emily Oberman

This talk took place on Friday, June 17th as part of Typographics in The Great Hall at The Cooper Union, NYC. Design for the entertainment industry should be, well, entertaining both when you are making it and when you are experiencing it. Whether it’s a book cover, a TV show open, a film title or a website, it needs to have that extra wink that helps further the story. Emily will discuss how typography is often at the core of those stories - and how sometimes the best part of designing a typeface is naming it. Emily Oberman is a multidisciplinary designer whose work encompasses brand identity, motion graphics, publications, packaging, advertising, and websites. A native of Yonkers, New York, Emily studied design and filmmaking at the Cooper Union School of Art in New York City. After graduation she joined the legendary design studio M&Co., working with Tibor Kalman to create work for Knoll, Wieden & Kennedy, (the much-missed) Restaurant Florent, and Talking Heads, for whom they made the award- winning music video for “(Nothing But) Flowers.” With Kalman as creative director, Emily was the original designer for the launch of Benetton’s critically acclaimed magazine, Colors. Before joining Pentagram, Emily cofounded the design studio Number Seventeen, in 1993 which was open for (coincidentally, perhaps) seventeen years. Emily’s work is unique in that it blurs the line between promotion and design— often using language and humor to make an emotional connection. Her clients have included Benetton and NBC Universal (designing brand identities for “30 Rock,” “The Tonight Show Starring Jimmy Fallon,” and “Saturday Night Live,” for whom she has done the opening title sequence for 19 years, as well as a new coffee table book). Recent projects include the branding and opening sequence for Tina Fey’s “Unbreakable Kimmy Schmidt”, the branding, packaging and website for Snoop Dogg’s line of marijuana products, the strategy and branding for Film Independent, the “LA Film Festival”, the identity and show packaging for the “Independent Spirit Awards”, the strategy and branding for the Minneapolis Institute of Arts (Mia) and the identity and website for This American Life. Emily’s work has been recognized by Communication Arts, the AIGA, the Type Directors Club and the Art Directors Club, among others. In 2004 she was awarded the prestigious Augustus Saint- Gaudens Award for distinguished alumni from her alma mater, Cooper Union. She has served on the national board of AIGA and as president of its New York chapter. She has taught in the graduate program of Yale University School of Art, as well as at Cooper Union and Parsons The New School for Design.


9. Tom Tlalim - The Body

  • Published: 2011-08-03T10:18:58+00:00
  • Duration: 538
  • By ct
Tom Tlalim - The Body

Tom Tlalim: The Body Text: Excerpts from from the poetic encyclopaedia of the world - volumes related to the body. the mouth - a round muscular tissue organ. a hole through which we eat, drink, breathe, talk, get sexually aroused, suckle on our mothers breasts, taste, show emotions, give head, smoke, choke, it can close, open, whistle, create all sorts of noises, the mouth is a sound filter for the voice, wind and many other items. it can evoke peoples feelings, create and perform laughter. it is a lubricant. the eyes - a pair of round balls situated in two holes in our head, surrounded by muscles, the eye is capable of rapid motion, embedded in lids it can open and close. our eyes, wink, flap eyelashes sleep, show emotions, be tired. in the center of the eye is the pupil. - a multicolored organ with a lens that reflects light. at the back of the eyeball lies a retina, the retina absorbs and translates light for the brain to understand. the eyes look. the hands - two long jointed organs coming out of the shoulders jointed bones covered with flesh, veins, skin dermis, epidermis, hair at the tip of the hand is the palm, at the tip of the palm are five fingers jointed bones covered in flesh, veins, skin, at the tip of the fingers are the fingernails. the arms, elbows, palms, fingers and nails work as a complex dynamic system so that we could hold, caress, scratch, pet, squeeze, punch, construct, fix, destroy, move, open doors, hand-calf, hand grenade, hand-in. they are executors. the heart - fully functioning as long as we live and vice verse, it is a biological clock, a muscular pump that contracts and expand repetitively at a somewhat steady beat. situated in our chest, the heart can safely work as it is protected by a cage of chest-bones the heart is a timing regulator for our blood stream. it can slow down or speed up, warm or cool us, excite or tire, make us horny, miss a beat, sleep, it is an engine. the ears - cannot shut like the eyes they are obliged to translate sound to the last vibrating air molecule. sometimes at the cost of their own lives two ears are six parts outside and inside the sides of our head they hear intensity, derive frequency, direction, and send everything as electricity the ears are sound filters, compressors, expanders, direction tellers they are designed to react to high volume screams, blasts, planes, talking. even languages they don't understand. they are caves full of hair. the skin - a pierced fabric, a living tissue suit that grows to fit and protect a home for veins, nerve tips, hair, fat, oil, water microscopic animals, the skin lubricates contracts, opens and closes itself, regulates temperature the skin lets us keep things inside it, stay clean, get dirty, touch, it dies and is reborn can be soft like a baby or hard like a soldier's feet. the skin is a breeding ground for thousands of microbes, fungi bugs and such. we're not alone in our skin. skin can tear, make shoes, purses, boots, belts, coats, drums, whips, and furniture. it is a cover. the uniform - green fabric in shape of pants, shirt, coat, jacket. black or brown leather boots, a cap, a helmet, a rifle, an identity chain. hold a national symbol, it protects our skin from the sun. it give us a degree, and reminds us we are army property. while holding the gun we can shoot only when told to do so. or in case of self defense, first go for the legs and then for the heart. my uncle's uniform was sent to my father. covered in blood. it is fear. © Tom Tlalim 2003 All rights reserved With thanks to Joost Nieuwenburg, Guy Harries, Chen Wagner.


10. In Conversation, Yohji Yamamoto

In Conversation, Yohji Yamamoto

To coincide with the retrospective exhibition of Yohji Yamamoto’s work at the V&A, SHOWstudio.com showcases a unique discussion between three collaborators who helped shape the visual identity of Yamamoto in the 1980s. In this 50-minute film shot in the V&A's Norfolk House Music room, art director Marc Ascoli, fashion photographer Nick Knight and graphic designer and art director Peter Saville are in conversation with London College of Fashion curator Magdalene Keaney. Transcript: Nick Knight: I think that to see the work that we did in context, you have to look at the fashion magazines of 1986 and see what was going on in those fashion magazines. It was about a million miles away from what we did. Peter Saville: Unfortunately, it is the beginning of where it all goes horribly wrong. I mean the coherence and the cohesion between what Yohji was doing on the other side of the world and then Marc's position in Paris and then the part of the UK culture that Nick came from and then the part that I came from is beginning of what you would call convergence, what we do now call convergence. But it was, in a way, a quite positive and utopian convergence at that time. Marc Ascoli: That's true. PS: Nick introduced me into the system, that bit came next ... you do that bit ... Nick, just finish that bit. NK: So I'll do my version of the history. I completed a hundred portraits through a woman who ran a model agency, a very good model agency, called Z Models. She used to find all the most interesting models - not the mainstream models ... all the best models. She also looked around for different talent. Marc knew her, he asked her who was interesting in London at the moment and she introduced my work to Marc. Then Marc and I got on and he liked my work and I went across to Paris and Marc said OK, so do the photographs, I'll art direct them, but who can create the - who can do the graphic design? PS: Who said that? You said that? NK: Marc said that. So I said well, there's somebody who I've worked with over the past couple of years on and off, and I introduced Marc to Peter. PS: So there was a convergence of mood between the three of us. All three on exactly the same wave length and it comes out in those first two catalogues. NK: I knew a small amount about Yohji Yamamoto. He represented the beginnings of something very exciting but slightly away on the horizon. The world of fashion that I knew at the time - I was interested in the world of people like Lee Barry, Taboo, Michael Clark - very extreme. You're talking about people who were taking almost performance art into fashion. So that was the sort of world that I was looking at and was attracted by. When Yohji Yamamoto first came along it really was a distant star, something exciting and appealing on the horizon. So in 1985 when Marc first came to see me, it was really a long way off, it hadn't really quite got to London. It wasn't really part of the fashion vernacular, it wasn't what was going on, it wasn't part of mainstream fashion. The reason I fell in love with it and the reason I ended up believing in it so firmly is it represented a very interesting vision of women. Previously in fashion women had been represented overtly sexually, especially in fashion imagery. You have got to think about what went on in the 1970s, with people like Wangenheim, Bourdin ... It was an overtly sexual way of behaving and that was represented in photographers who chose fashion photography to talk about their sexual orientation or their sexual desires. And that was the mainstream. And I always felt really uncomfortable with that. When Yohji arrived, here was somebody proposing fashion which wasn't about women articulating their sexuality as a primary way of behaving and that was what attracted me to it. I thought this is actually to do with seeing women as intellectual beings and not seeing them as sexual beings. It was enormously different to what was going on at the time and I thought it was enormously interesting. Magdalene Keaney: So kind of starting to really hone in on the production of the catalogues and your work together. Again, we've talked around this a little bit. Can you describe the tension, if there was one or alternatively the joy of the kind of functionality of what a look book or a fashion seasonal catalogue is as a document. NK: I have to stop you there, Magda. There's a big difference between a look book ... MK: OK, the functionality of the catalogue, so either the tension or the joy, the other end of it between the kind of function ... PS: No joy - do you remember any joy? MK: Between the functionality of the catalogue as a document or a commercial product, which it is in some way ... or it operates in a commercial way. PS: I mean it's a work, a collective work of it's own ... this is a new way, not really done before. They were innovations in themselves. NK: As I understood it, there was something that Yohji Yamamoto had created with Marc to send to the opinion leaders, to the actors, to the architects, to people at the top of industry and fashion. So ... there were only 300 made or 500 made ... there weren't many. They were sent to the opinion leaders at the time and they were a pure vision of that designer's, or Yohji Yamamoto's, dreams, his aspirations, what he found exciting. So they were a pure communication of his desires. PS: A catalogue or catalogues will have existed for all kinds of clothing makers, so ... exactly ... what Nick's describing is another way to understand the purpose and therefore the existence of one of these catalogues. MA: And also I think it's another chance for the people who are interested by the designer, like Yohji or somebody else, but especially for Yohji, to see how interesting is his work. After the show you have something going out from the house to explain with another angle, the fashion of the season. NK: But they were sent to very few people, weren't they? MA: Yes. It was not 500, you said 500, no ... 2,000 - 2,500. MK: How would you contrast that to other catalogues ... the mainstream of fashion catalogues that were being produced? PS: The only catalogues that would have been produced would be in the same way that you would get a catalogue for car parts or kitchen equipment or rainwear or footwear. Catalogues which were 'trade' catalogues - trade catalogues have existed for quite some time. But catalogues as a vehicle of purely an idea or image - I mean no-one was shopping from these catalogues. NK: It's a very specific and very inspired marketing strategy in terms now that you send your pure vision created in a very artistic way to the people at the top of the ... to the opinion leaders. Of course there were catalogues, Littlewoods catalogues ... those sorts of catalogues had nothing to do with it, but fashion houses were not using this way of communicating. They were taking out advertising campaigns printed in magazines, that's not how Yohji decided to do it. PS: Past advertising campaigns that attempted to do the work of advertising. NK: So this is a different way of communicating ... PS: Not the communication of ideas. MK: So what was the development between the first and the second women's wear catalogues - from the silhouettes and the little bit of colour into full colour - that's one of the most obvious ... PS: Colour? He made him do colour [points to MA & NK]. MK: I was talking about the need for development and different ideas from, as you said, you weren't signed for Yohji ... so the ideas change. NK: The point is that we had to re-evaluate. Marc's big thing was that you have to kill off your darlings. So we felt we had a success ... PS: 'Kill off your darlings' - I've never heard that expression before. MA: I was trying to go further, not to go further, but to change the feeling of the pictures ... MK: So I was noting to Nick that to me one of the most obvious, very obvious shifts between the first women's wear catalogue and the second is the colour. NK: Well done, Magda for getting us back on track! PS: That's definitely, an evident shift. MK: There's a few things around that I want to talk about. One is that I read that Yohji said 'We can see the colours in a black and white photograph, we don't need any colour in photography'. Also he's spoken a lot about the importance to him of shape and form and silhouette which I think is really important in the first catalogue. Can you just talk a little bit about the use of form and silhouette and then - so I guess the first catalogue. This is the first catalogue, obviously. The second catalogue looks quite different. I just want to talk about the tension between the use of colour and silhouette and form. NK: Yohji's fashion was very largely black at the time. There was some colour in it, but very small bits ... it stayed very largely black during our time working for him. But the first two catalogues - that's actually the second catalogue - the first catalogue was a men's catalogue and there was no colour in it whatsoever, so it was just black and white. It was square like a record. The idea was that if you want these highly composed, very structured compositions, we were turning - we were following the lines of his fashion, the very graphic elements within his fashion - we were trying to express them visually. The only piece of colour was on the women's catalogue of that season which was a red bustle. As I was saying to you earlier, Marc would always say 'You've done this, so show me something new'. So the next season we purposely took the opposite point of view. So OK, let's work with colour. The idea was that the men's colour catalogue was all very beautiful, delicate, subtle, rococo-type colours ... very whimsical ... and the women's catalogue, I'm right in thinking that went with that, was almost like, as if these men had created these paintings. It was done like - taking Yohji Yamamoto's collection which actually referenced Christian Dior ... and having colour filled paintings - paintings that the men had produced. PS: I think, Nick, that challenge that Marc proposed that season to continue but to go to colour, actually it was one of the most important challenges put in contemporary visual culture, because it set Nick a problem which led to that colour formula. NK: So how to make colour as strong as black and white. Give me technicolour colour. PS: It was technically radical - up a scale of radical. It was like a kind of quantum leap forward that was Nick's response to Marc's 'We need colour'. MK: You've described your discovery of the process as an accident ... NK: I don't think it was an accident at all ... PS: When someone first did it, it might have been an accident. NK: It's an accident in the way that Lee Miller exposing Man Ray's film to light was a solarisation accident. This technique of taking colour transparency film and developing it through a colour negative developer produces a high contrast colour negative. That had been used very early in the 1970s in advertising a couple of times, but never taken off. And as I said earlier on, the overwhelming trend in colour fashion photography or colour photography in general had been seeking realism and therefore ... PS: And transparency. In all commercial professional photography up until 1986 had become transparency. I was working as an art director doing a certain amount of work and I didn't really know if there was anybody who even did colour negative any more. Everything was transparency. Nick's shifting of photo culture across to colour print pretty much then - it kind of creates a new situation that runs - it actually runs right through - it takes you through to PhotoShop. NK: If you're looking at an almost accepted term of photography as a search for realism and a search for realistic colour, at the point where we start using photography and having prints made rather than colour transparencies, are looking for a manipulative way to treat the image. Then you're back into a school of photography which does touch to Man Ray, to Blumenfeld and then later it turns towards the idea that a photographer or image maker can change the moment that he or she takes a photograph. And that's what we have now with PhotoShop and other manipulative ... MK: This again is the idea of not the literal ... sort of following on from that this is a kind of a formal proposition, I guess. I want to discuss with Nick and see what you guys all think. I love this book too - this is Penn's 'Woman with Roses' one of my favourite fashion pictures of all time. John Szarkowski, the legendary curator at the Museum of Modern Art in New York wrote brilliantly about this picture. And he says, 'Perhaps the essential nature of this picture can be more clearly seen if one covers with a sheet of paper the model's beautiful and seemingly tiny head. It is possible that only a modern viewer would be able to identify what remains as representing a woman's body rather than a silhouette of an orchid or a scarified tribal priestess in ceremonial headdress'. And he goes on to describe the true subject of the photograph as 'the sinuous, vermicular, richly subtle line that describes the silhouetted shape.' I just thought that was really important in relation to your ... NK: It's interesting that you've quoted him saying that. There's a difference here. This is a picture taken by Irving Penn of his future wife. I would have thought the primary source of inspiration would be that man's relationship to that woman. MK: I think it's fundamentally important in that picture, yes. NK: Fundamentally important. MK: Very much so. NK: This, you can see, isn't about my relationship to Sarah Wingate, who's in the picture, it isn't about that, it's primarily about my relationship to Yohji Yamamoto and his oeuvre. Where I would take it slightly different from how Peter put it, I think the clothes do tell a narrative. I think the subject matter comes from the clothes. The narrative of a fashion photograph is imbued in the clothes and is given off by those clothes. So I'm following the narrative that the clothes are already dictating to me and I'm not wanting to personalise this in silhouette. I'm not one to enter into some sort of supposed relationship between photographer and model. I'm purposely negating that and there's a very strong point when I started this - I didn't want to have that presumption that I had any emotional relationship to the girl in the clothes. The relationship I had was between myself and the clothes. There's a vast difference between those two photographs. PS: The thing with the clothes was that some lent themselves to that more than other ones. That particularly lends itself to a sculptural assessment, but also it's like notes to play at a particular time. I mean there isn't ... art does not continuously re-invent itself in forms that art has never been. There's a certain amount - like music - there's a certain amount of elements and aesthetic expressions that we make and they rotate. It's just that the order in which they rotate is never the same. Even when fashion repeats itself, it's never quite the same, so that's why that 70s coat that your mother had in the wardrobe isn't really quite right in the 90s because it's ... even fashion itself is never the same. There is a certain kind of palette of aesthetics that we re-work and re-work. From an imagery point of view, we can probably go and put several sculptures and paintings that precede the Penn, so Penn is only the accumulation of work until that point. Still the interesting thing is the difference between Irving Penn working in New York in a kind of rarified existence - whose dress is it? Is it a couture dress? Do we know whose it was? Is it Balenciaga? It's kind of interesting because that's so removed ... even Yohji's work is the beginning of making that kind of spirit available to other people. You know you could walk into a shop in Paris and buy this. Anybody could. And interestingly, even there you couldn't walk into Balenciaga - it's not so easy to just do that. And people wouldn't, even if they could, they wouldn't. They would be afraid to walk in to the shop. So this is all part of a kind of, sort of socio-cultural evolution and the quotes and the references ... I mean, sometimes it's very knowing. There would be times that we would do things and ... the reference is part of it, it's a knowing reference, that's the quotation. Sometimes it was to show something that you thought wasn't known, but another part of it is also to show something that is in some way familiar - to say, we sort of see it in this world. MK: Nick, I'm interested in what you said about this sense of not wanting to have an emotional connection to the model present in the images, but another thing actually I felt, particularly in the first catalogue, there is a kind of tension between a sort of poetic, intuitive quality and formalism. And images like this - the last picture of this model and her expression and smile and stuff. I felt, do convey a kind of ... like an emotional intuitive - that sort of balance of, in a sense, that some of the formality and the silhouettes ... NK: There's an interesting story - hopefully it's an interesting story, but maybe it isn't - we were onto the next season, the next catalogue. I photographed Naomi Campbell. Naomi Campbell was a young girl, 16 or 17 at the time. In all the pictures her face is in silhouette, all blurred or moved. After 3 or 4 days of photographing Naomi, she realised that actually I'm just taking away her personality every time. Because she's a clever girl, she finds a way of reintroducing her personality. So for the last picture, I was photographing a dress from there down [indicates waist], Naomi clamps an apple between her knees which gives the whole picture her whimsicality, it's her personality and she's found another way of expressing her personality and that taught me a very interesting lesson on including her. I wasn't including my relationship between the model and myself. I didn't think it was appropriate, I didn't feel confident to do that and it went against a lot of what we talked about, how I was reacting against photography at the time. So for me it was a lesson in this slightly kind of obstinate way of 'I'm not going to photograph the models, I'm not going to show their faces, I'm not interested in that, I'm interested in the clothes, the clothes are amazing'. Then suddenly Naomi forced her way into that and made me re-evaluate that position and it's again how you change when you work. PS: It's a learning curve, isn't it? MK: I think perhaps in the 'Susie Smoking' ... Susie Bick ... there's the page where she ... there's kind of like a wink isn't there, between her eyes closed and eyes open, there's like a playfulness with the model ... PS: I don't know if he shot it for that, but that's also partly when you have the material, another part of it is what the relationship is ... it's Marc's idea .. but it's the fact that there were two pictures, so the possibility is in the entire process because there was no predetermined number of pages or number of pictures, there was nothing that we had to follow so therefore, even after Nick had done the pictures, and then he had all the opportunities through printing and colour to introduce more, other possibilities, then we had all the possibility of how many pictures we took and what we did with those pictures. The relationship between those ... you're right the Susie one is a little bit of kind of animation, like a flip book moment between those two, but we did that because we could. No-one's saying 'We've already had that dress, so we won't give another page to it. None of this. You don't see that in a magazine even because somebody will say, 'We've given a page to that'. MK: We've talked in a really interesting way about the ethos of the collaboration, we've spoken in a really interesting way about that, but I think it would be nice to just pull into the discussion some of the specific images, of which you've done a little bit, but I've got a couple of points of reference that I'll just bring up with you and if you'd like to ... so the third women's catalogue, the Spring/Summer 1988. Again, as one point of departure, it's shot against black. So can we talk about that? MA: Let's say the truth - the collection was really difficult in the timing of the fashion world, because we are not only doing only imagery, we are doing also what makes them interesting in this catalogue it was also ... I don't have all the words of Peter ... we assume fashion also. And it was actually, the collection I think was very ... like paysanne with only dark colour. It was starting the explosion in Paris of Christian Lacroix, can you imagine? Colour ... PS: There's like a rural ... where did he come from? Provence ... Provencal? Like a 'compagne' kind of thing. MA: Christian Lacroix is the starting of the fashion house. We go back, stop with the Japanese dark ... not stop with the Japanese, but the girl look, more girly. The show was not a big success, I remember. It was not like ... people said ... PS: Also it was the beginning of couture being hip again. MA: Yes, voila! Tu appelle tres bien. C'est ca. And we found the solution - it's true. We did something where always me - and I'm sure Nick and Peter - had the feeling that we had a couturier on our hands and also Yohji is a very strong couturier. He has an incredible sense of cutting and we decide to do like couturier pictures in a modern way, not in a retro way. That was a departure in that idea, to react inside this big heart with flowers and we had big hats on this one. And we decided to show these hats in a very contemporary couture. The size was big, you don't see hats any more. It's incredible. PS: It was a summer collection. NK: It was two visions of summer, wasn't it? PS: Yes, well the oddest thing was ... the men's thing was another thing which was in a way more like a kind of post-war kind of movie moment with the colouring, but for the women's thing, there was more attention to detail for the objects - to look at the clothes and the hats as things, but then you shot it all ... the first fundamental challenge was that you shot it all - the two of you, both of you - you shot it all against black. And then they bring the pictures to me afterwards in London, I look at the pictures - they're amazing, they're fantastic. I said to Marc, 'These are beautiful, but it's very black for spring/summer'. Then he looked at me and then he had a genius idea, a genius concept when then we followed. Do you remember what you said? MA: I can't remember. PS: He said 'Yes it's a summer catalogue, summer photographs, Peter, but during the eclipse. It's summer, it's a summer collection in the eclipse of the sun. So this was the idea. This is how we then made the cover - the cover was inspired by the corona of the sun. It was a nice idea. MA: You forget sometimes! NK: I remember it as being summer in space. MA: Summer in space and also a very funny thing, we would like to put also dark eyes on the girl. Remember we put a lens, black contact on the girl, but we couldn't make the picture because she looked too much like a zombie. At the end we stopped the idea ... too black. NK: It was a Space 2001 reference, the idea of the sunlight in space, the black contact lenses, but we took out the black contact lenses. The men's catalogue was the balloons catalogue - at the same time, was that the same season? PS: The red shirt ... colour ... Gary Cooper ... NK: If my memory's correct, the corresponding men's campaign ... I might be wrong ... that was sort of a Hollywood version of summer, a Hollywood musical version of summer. Everybody happy, everybody laughing. Of course that hadn't been seen before in Yohji Yamamoto clothes - people didn't laugh, it was very serious. This was a kind of laughing, sweating, all the things you hadn't seen traditionally with Yohji Yamamoto. MK: How does the making of the men's and the women's catalogue ... did you make the women's first and then the men's or were they done at the same time? MA: I think we ... I don't know ... I don't remember ... NK: It's was always in reference to each other, but not necessarily ... MA: We shoot five days for the men's and five days for the women's. PS: The showing of the collections is at such different times, the original collection, so the mood can shift dramatically. Yes, this is what's for men ... sometimes there was an evident correlation between some men's clothes and the women's clothes, but at other times there was no ... I remember, because Nick and I went to the show of the men's collection and we were a little bit 'Oh, la, la' what is it? Afterwards Marc gave a brief, he said, 'It's fiesta, it's Yohji in fiesta'. MA: Voila! We always find ideas. It's true that the freedom we have with Yohji is to give you the opportunity to interpret his clothes in a way where it's working. He was not like dictating. The modernity he has is like I do this collection, we show the show in this way, but after - make a good interpretation. Surprise me. NK: He wanted to publish, out of the men's catalogues ... he said, why did you publish the balloons, the cockrels, the still lifes and the flowers ... PS: The voodoo picture, it's a great picture ... NK: So he was never saying it was just the clothes, it was about ideas - you show me my dreams or ... PS: I think it's fair to point out that even though there was like a dialogue in the work with Yohji, Yohji did not sit with Nick and Marc the day before a photo shoot and give them some kind of brief or direction. I think that Marc had some conversation with Yohji, but probably not much because a couple of years later when Marc wasn't there and I had to do something for Yohji on my own, there was no dialogue. I said, 'Yohji would you talk about it?' and he said, 'No, I want to go home to Tokyo'. He'd go out of the room, turn back and say, 'Surprise me' and [clicks fingers] he's gone. And that would be it. When Marc would go to Tokyo with the pictures, you didn't know for sure what's going to happen. MA: It was the exciting part, that. MK: Another image I really like is the men's Autumn/Winter 1988/89. The front cover is a black guy and he has like a white face - and that was done with Linda Cantello, the make up artist. And I love also the image inside of the black model with the face painted. I just thought that was a nice starting point to talk about your work photographically, but also with someone like Linda, the collaboration and what that added to the production. NK: Technically that's a shift from medium format photography to 10x8 photography, which is a big shift. For a photographer it's a big shift because you go from a camera that you can look through and see the image being taken to a camera where you almost certainly can't move it. It's like a big television on a lamp post, you really can't work with it. So you tend to work in a different way ... PS: And you never go back. NK: No, you don't. You set the bar as high as you possibly can and then ... MK: That was the first that you did ... NK: That was the first 10x8 catalogue. But it also starts to inscribe a different relationship between yourself and the sitter. So instead of sitting here having a camera between us, I'm looking here and you're looking here, I have the camera here and I'm holding the cable for it and I'm looking at you, so there's nothing between us any more, which is a much more personal way to work with somebody. So it's a different way of working. MA: Extraordinarily good for the clothes ... also, to be honest, this collection sold very well inside the store after this catalogue. Actually it was a very important moment for men's fashion. MK: And then working with someone like Linda Cantello ... you've also worked with incredible hair artists on the catalogues. Can you tell me about the idea of the streak, the white ... PS: Yes, what was that all about? NK: I can't remember, no, to be very truthful, I can't remember. MA: I remember a funny story ... I remember the streak, the big white thing, he cannot move at all because if he moved ... it would crack. The last shoot he started to laugh, like crazy and everything went ... but I don't know if you remember ... PS: Nick, with people like Linda and others - did you and Marc or did Marc create also a little bit of freedom, a bit of autonomy for them to step into? Some guidance but then not absolutely this is what you have to do? NK: No. I don't think there's any point in working with people in that way. In the same way that the relationship between ourselves and with Yohji, with the team of hair and make up you have a certain amount of freedom and a certain amount of encouragement to let them indulge and to find ... PS: The problem with so much of the work is that there's no spaces for anyone to bring anything to it because it's been predetermined and approved by a committee. On the shoot you can see a better way to do it, but you can't do it that better way because it's been approved this way and nobody can bring anything. The models brought something, everybody brought something to the work. NK: These are sessions that happen over the course of five days and five nights. So you enter into the studio and you're there for a week. And you might do nothing the first day or nothing you want to look at. And you might do nothing the second day. The catalogue with the cover of Susie Smoking, I think we worked for five days, maybe longer and we only produced the images at the end of the last day. So that freedom allows people to find something new and spontaneous. That's what's happening now - it's a very different way of working now. Now shoots are reduced down to one day, it's all pre-planned and it's not quite the same. There are other times when you can take it back even further. PS: There was very little prerequisite of what you had to shoot. I've been on shoots when you must do this bag, you must do this coat and yes we like it, but maybe not, but you must do all these things. There were one or two pieces that Marc would know were valuable to be in the thing ... MA: But also I had the feeling that he'd done things that were relevant to show very well. He was the first to show that sort of trend and I think it was important, his fashion also, because it was like explaining ... because he was designing something important ... But if we don't succeed on these important clothes, we don't do it, at the end, because we want is the best picture. If the picture is good, we don't think so much about the clothes. PS: Sometimes all the way through the entire process, the whole editing, Marc would say 'I have to have this picture because it's important ... I have to have this picture'. Finally, there would be a solution that didn't really include this picture, but he liked this look so he said 'Tant pis - bye, bye' - forget this picture now which was so important ... NK: It's a different way of working. If you take it back a little bit further, take it back to the beginning of the 70s and how photographers and fashion worked at that time. Someone like Bob Richardson who as I understand it, would go away with stylists for two weeks to somewhere hot and sunny - so you had two weeks of models, stylists and photographer creating some sort of world to live in and that's where the photographs come from. In the 80s we had five days in a white studio in Paris creating the world ... now you have a situation that you've got one day and a bag must take 75% of the picture. That's a very different way to create imagery. PS: It's what we talked about earlier - it's not about making a statement now, it's about something else. MA: Because it's advertising. It's not imagery any more, it's advertising. That's the point and it's nothing more, the freedom of nothing. MK: OK. I've got two more questions - do we have time for two more? The first is for you Nick and it's about I guess what I think of as this being quite an extraordinary moment in the history of photography. Because if one thinks about the history of fashion image making, I often think that key moments are linked to technological innovation - smaller cameras, faster film and I suppose the most contemporary development is the digital revolution. If you think about that as being early 1990s, this is right before that. Now in one sense we've spoken about your use of colour and colour processing and so I think that in some senses you as an artist ... the digital revolution is irrelevant in a sense that you would have continued working in an experimental process-driven way. But I think, obviously, the digital revolution then became really important to your - not to your independent vision as an artist - but you've used that in a particular and strong way. So I just sort of wanted you to comment about that, if you could, about that moment right before this big change. NK: In one way, Magda, it isn't important. It's a bit like asking you what pen you're writing with. It's what you're writing that's important, not what you choose. Photography largely comes from a world of people who love equipment and they love lenses and they love technique and they love all that. It's never where I've come from with it, so I've never really cared very much how I get the image, whether it's through a photo booth or a 10x8 camera. That's one way of answering it and a lot of that's very true. Actually it's about the message, it's not about the medium. Photography's a strange medium, in that it defines itself by its technique. I would imagine the same's not true of painting or sculpture or anything else. Photography is largely defined by that. On the other hand there is something that I think we mentioned before, there is inherent in what my work and the work that I did with Yohji, Peter and Marc, is that there is a degree of accepting that the moment that the shutter goes off isn't necessarily the defining moment that the picture is created. You have the time before that and time after that. There's particularly the time after that, where you can alter how that image is perceived, so in the post productive state. That's become very obvious now in times of PhotoShop and how we can move things around. That's always been the case. And what I'd argue very strongly is that actually is a whole process from the moment of conception to the moment of completion which is important. We shouldn't focus on that particular 125th second, or whatever it is. It's actually a point when a photographer doesn't see anything, it's when the flash goes off and you're blinded by an over stimulation of the retina or it's the moment where the shutter goes black. So actually that's where we all concentrate and look for the decisive moment and everything. Actually it's the one moment when we don't see. So I would argue very strongly that we should look much more widely on the whole of the process, with the people we work with, the relationships we have are more important than the cameras we use. PS: You used to do a lot in post production anyway, even before it was digital. The whole printing and development thing. You did that in a way that technology now works, but you did it by hand. NK: Some of the printing techniques which were created at a lab called BDI - BDI Colour Labs - I spent many, many hours and days with Marc and Peter, many years of my life was spent there, but that was creating colour printing which is really quite amazing. By taking a colour negative and then printing it darker and darker and darker and darker, then taking selectively different areas and masking that print and doing effectively what we do now with PhotoShop, but as sort of an old fashioned printing technique. And a similar sort of thing with black and white. So a lot of that is expanding that moment and packing that moment into the image as it is recorded. MA: Actually this picture would take 2-4 months minumum. With pre-production ... it's incomparable, for example, with what we are doing now because the technique is different. Also people shoot very quickly and the change is like that [clicks fingers]. NK: As a season's work, I would work for Yohji Yamamoto and for ID Magazine with Simon Foxton. They'd be my only two clients over six months. So I wouldn't be interested - I felt completely fulfilled creatively, so I wasn't searching to have 101 clients. Also I couldn't find another client I wanted to work for. PS: And also it's worth pointing out that this body of work and us, the three of us in general, we bridged the transition from analogue to digital. All of the digital interventions and introductions we saw coming in. I mean I sat at a machine called a Sytex which is a computerised reprographic machine, in 1985. That was the first time that I saw an image that I had physically altered. NK: It's funny you should mention that because that's exactly when I did it as well. With the portraits that we did for ID we squashed them on Sytex ... PS: Nick and I did lots of projects through the latter part of the 80s, the whole plant power thing that we did on the Paintbox, do you remember that day when we had a refab picture? We had one of Brian's prints and there was a screen and we found things inside the print that you couldn't see with the naked eye. All of the innovations and developments that have come, we've kind of worked with them as they came in and we've sort of kind of anxiously seen the possibilities of what you could do with these things. All of the digital stuff came in to fulfill mechanical processes. The digital stuff was not introduced for creative purposes, it was introduced for mechanical processes. The one time Nick and I worked for several days on a huge Paintbox computer, we saw all of the creative possibilities of in a way hijacking the machinery, which we then subsequently put to creative purpose with some things. PhotoShop now works in ways very similar to how Paintbox worked. So we sort of watched it come in and saw the possibilities of it as we worked with it. NK: That being said, Magda, the picture you put on the floor a while ago of the black silhouette with the red bustle - was exactly what the camera recorded. That was the transparency that ... MA: It was exactly like that. NK: There was no pre-production or post-production effect - that's exactly what came out. So I'm not saying that therefore we must do that, I'm just saying that's something one should feel is completely within the realms of creating an image. MK: Thank you, that's great. My last question and it's kind of a bit of fun in a way, kind of maybe, well the first part maybe. Was there anything else that you thought you could or should have done at the time and in retrospect? And I suppose this is slightly ... humour me, but if you three were - if it was kind of happening now, if it was the three of you, what would you do? If you could do it now, if you had that freedom? NK: Fashion film. PS: Ten years ago we had that conversation and only this very morning I heard someone ... Ten years ago Nick and I sat and had a conversation about motion image and fashion and what the internet and what new media might offer to fashion. NK: And you always said imagine Yohji Yamamoto's red coats moving. PS: And it's taken ten years for it now to become ... it was a David James interview this morning where he says that the future of fashion is film. I read that this morning. I turned to Anna and said 'Not much point in being more than ten years ahead of your time ... ten minutes ahead of your time, as opposed to being ten years ahead of your time.' It took ten years ... I mean Nick has waited and pursued, patiently, the entire show studio project for a decade. To see it just begin to become evident and kind of realistic, it's taken ten years. Can I just say one thing about a lady called Madame Ishikawa? In the realisation of these catalogues we received, and it's pertinent to me because it was my studio that did the art work, in the creation of all of these catalogues we received 100% - 200% support from Yohji Yamamoto Company. Never, ever, ever did they fail on fulfilling the specification that we requested. Designers always go for what they hope for. They say let's ask for this and we'll settle for something less. We would ask for these things - I asked for the catalogues to be thread sewn, for them to have dust covers, for them to be this kind of paper ... and they always fulfilled it. There was only one occasion and it was with that black catalogue that we discussing, that I received a fax the lady that Marc referred to as Madame Ischikawa, head of production, she sent me a fax saying 'Peter Saville, thread sewn not possible this time'. And I turned to Brett Wickens who worked with me, and said 'they've finally realised how much this costs'. And I wrote back to Ishikawa and I said, 'I understand, is it a problem for the budget?' which it would be, thread sewing catalogues is crazy - thread sewing is expensive ... I hadn't even thought of it, but Ishikawa wrote back and she said that 'No, it's not a problem for budget, but black thread for sewing books not possible'. Then she said, 'But we source black staples'. I was just stunned by that. We hadn't thought of it. The entire catalogue in black was then going to have white thread. They were amazing in their support. Yohji wanted it and so they did it. They fulfilled it, which was amazing. MK: Thanks Peter. Aside from fashion film, was there anything at the time that you felt - I wish we'd done this or if we had another season? PS: We talked about forming an agency at one point - do you remember that? Yes, we did. At one point in the late 80s it become evident ... because there was no agency in the world that could do fashion ... there's still no agency that can do fashion. Agencies operate on interpreting the trends to the mainstream. It's fashion that sets the trends. It's very difficult for an advertising person to sit down in front of a visionary fashion person, but we thought it would be interesting to create an agency that to some extent understood the process of advertising for fashion. We talked about it, but we didn't do it. MK: Thank you. Thank you so much for your time and thoughts.


11. Larry Halloran on HB2372 interview on KAKE

  • Published: 2011-03-17T02:17:11+00:00
  • Duration: 954
  • By Bob Bowser
Larry Halloran on HB2372 interview on KAKE

What we DIDN't see... the good stuff hit the cutting room floor so they could EMPHASIZE "the color of one's skin" which is NO where to be found in the Bill. www.kslegislature.org/li/b2011_12/year1/measures/hb2372/ Larry's Testimony in Support of HB 2372 Testimony of Larry Halloran in support of HB 2372; Chairman Kinzer and Members of the House Judiciary Committee, We ask for your support of HB 2372; An Act concerning immigration; requiring verification of employment eligibility and making other amendments concerning immigration. The fundamental question today is not illegal immigration itself. If we are a nation of laws and are faithful to our obligations as citizens or legislators then we will rightfully conclude that the rule of law is the bedrock foundation of our society and passage of this legislation should require little debate. I would not dispute that employer and citizen alike have found the blind eye beneficial to their pocket book but financial gain, open borders or humanitarian compassion are not acceptable substitutes for the rule of law. Yesterdays benefit (however perceived) is today's liability as our citizens find themselves struggling to meet the increased burden of illegal immigration on our society that cannot be measured in financial terms alone. The blessings and benefits of America are bountiful. But, if they are to be preserved for our posterity and those seeking the benefit of citizenship they must be secured by principled adherence to our state and federal Constitutions. Illegal immigration is a festering cancer that damages both our society and those unlawfully seeking employment. It creates the necessity for a second society operating under the radar that inhibits the necessary assimilation of new immigrants into the America family. We are no longer concerned with a few thousand illegal immigrants that could be easily absorbed but rather tens of millions that now tax the limits of our social networks. It is past time for the half measured approaches, nod and wink policies and felonious excuses of citizen, employer and legislator alike related to the employment eligibility of illegal immigrants are put to rest. It is time that a lawful approach to employment eligibility verification becomes the rule for all employers and the accepted social norm for all citizens. Of even greater importance is that you, the citizen legislator, honor your oath of office and uphold the rule of law. Our Founders studied the laws and customs of many nations (both failed and existing) and took from them guidance for our Constitution that best protected a free people and society. For over 200 years, our Constitution has served as the legal binder for our citizens and those wishing to assimilate into a free society. Today, many seek to dilute the authority of our Constitution through substitution of unlawful privileges that in essence establish an equal but separate society within our borders. A society that stands in stark contrast and in opposition to the fundamental necessity of assimilation at the expense of individual liberties guaranteed to all by our Constitution. Such practices serve to disadvantage the citizens and legal immigrants that play by the rules and adhere to our laws by granting unearned favor to the illegal immigrant. Surely, we are all aware of the inequities, consequences and unquestionable failures of equal but separate jurisprudence practiced at times within our own society. To turn a blind eye or foster such practices is treasonous to our founding principles, documents and the faith of those who gave all to defend and preserve the greatest grant of freedom ever known to man; America. The challenges before us in preserving the free society and America are indeed great but do include a provision for national suicide. Tolerance does not beget equal but separate in a free society but instead requires assimilation through shared core values and equal application of the laws Thank you for your favorable support of HB 2372, your service and the defense of freedom for all. Respectfully, Larry Halloran, Chairman Wichita - South Central KS 912 Group Mulvane, KS 67110 Testimony of Lana Reed in Support of HB 2372 Testimony Of Lana Reed Provided Pursuant to K.S.A. 75-2973 Kansas Whistleblower Act On The HB 2372 Before the House Judiciary Committee "Under the current SRS system Kansas taxpayers are having millions of dollars stolen from them through fraud. Perhaps worse Kansas citizens, who are footing the bill, are being denied benefits that illegal aliens are approved for. The SRS system works for the illegal aliens and the illegal aliens know how to work the system...." p.12 Representative Lance Kinzer, Chairman Thursday, March 10, 2011, 3:30 p.m. 785-296-7692 Table of Contents Executive Summary. Fraud in the Kansas SRS System.. Hiding Illegal Aliens and Fraud. Types of Fraud. Fake Documents. Legitimate SSNs. Multiple Identities. Living the Good Life. Is it really the good Life?. Who is benefiting from this illegal labor?. Cost for Fake Documents. Proration: Special Treatment of Illegal Aliens Over Kansas Citizens. Three Strikes You're Out. Over Whelming the System.. Don't Rock the Boat. Conclusion. Executive Summary I was employed by the Social and Rehabilitation Services (SRS) for two and ½ years. During that time I witnessed overwhelming levels of fraud and corruption resulting in the waste of millions of tax payer dollars. Most the fraud was conducted pursuant to policies of the SRS which required employees to turn a blind eye to fraud and abuse of the welfare system in a magnitude of millions of dollars. The policies in use at the SRS discriminated against Kansas citizens and law abiding immigrants in favor illegal aliens. Over this period of time the "Proration" policy, which provided benefits to illegal aliens that were denied to citizens and legal immigrants, just for Johnson and Wyandotte Counties, cost taxpayers $2,276,544.00 annually. On a daily basis I witnessed the use of fraudulent documents as well as the fraudulent use of multiple social security numbers not yet "assigned" to an individual. The frontline SRS case workers are being overwhelmed by the increase of usage of the system by illegals aliens. When I started my case load was suppose to be 130. It actually was more in the range of 160. By the time I left it had increased to over 260 or a 63% increase. This was in spite of the fact the bilingual caseworkers had increased from two, me and one in Wyandotte, to six, a 400% increase, by the time I left the SRS. As the performance standards remained the same over this two and one half year period the only way to maintain the required performance numbers was to sacrifice the fraud detection and verification procedures. This meant that the fraud detection and verification would have to be minimized or skipped altogether or the caseworker could not meet achieve the number of cases they were required to process (approve). Ninety-Nine percent (99%) of my families were illegal aliens with citizen children. Less than 10 families had legal permanent residence. Virtually all of whom used fraudulent documents or fraudulently used documents to support their application for assistance. Fraud in the Kansas SRS System Witness Background I was employed as a bilingual Human Service Specialist at theSocial and Rehabilitation Services (SRS) assigned to the Johnson County Kansas office in Overland Park, KS from 7/2008 to 10/2010. I determined eligibility for food assistance, TANF (Welfare), and Medicaid/Medicare/ SOBRA. (SOBRAS are emergency medical which mainly consisted of primarily paying 100% for illegal alien labor and delivery, and emergency services such as gall stones, heart attacks etc.) I also determined eligibility to pay for child care for the citizen children so the illegal alien parents could work illegally. Hiding Illegal Aliens and Fraud In the SRS system illegal aliens were coded as "DF" (fraud) prior to 1997. This code counted their full gross income in determining benefits. In an explanation to me on why we now prorate income instead of counting the full gross like citizens for Food Assistance, I was told the federal government did not allow coding permanent residence that hadn't been here 5 years as DF (fraud) [i] since they were here legally. So instead of using "DF" for illegal aliens and coding "DI" for permanent residents we had to begin using a "DI"[ii] code for both. [iii] Types of Fraud Fake Documents Of my cases eighty three per cent (83%) had false Social Security Numbers (SSN) a majority of which had not yet been" issued by the Social Security Administration". The remaining 17% were paid in cash which we had to use written statements on the amount. There was no way of proving exactly how much money they were making. We had to accept a customer statement that they had no bank account or were paid in cash as true. My former clients would sometime have more than 2 or 3 social security cards but only report one for benefits so they wouldn't go over the gross limit. Right before I left in October, in an exact incident as this one, I was told to call it "client error" when I encountered it instead of prosecuting it as fraud. Even after we spent tax dollars having an investigator find this person working at two jobs and had an open and shut case. Upon doing the required SSN check on SWSS (Soc Securities database) the SSNs would come up as "impossible", "surnames" don't match, no Bendex etc. But mostly they would come back with no "return message at all". When finding multiple SSNs for one individual I would enter that information in the alias screen with all the names, birth dates and SSNs they use. I do not have a number at this time for how many of my caseload used multiple SSNs, but that can be obtained from SRS reports. The number is significant. Most caseworkers didn't have time or even knew how to put that info in the computer system (It is a cumbersome system from 1987) so most of these false SSNs are hard copy and buried in the files. I also ran SAVE[iv] on Permanent Residents cards. One instance the man in the waiting room had a woman's card. He had superimposed his photo. He readily admitted it was fake and per policy I used it for the mandatory photo ID. It is a standard practice to request all false ids and socials to determine wages in order to determine eligibility. On occasion I would see a fake driver's license, however due to the hologram that is difficult to fake. And it wouldn't matter anyway because I was required to use it for photo ID. Most volunteer the documents are fake and they say the SSN ("No es bueno" It isn't good) They know and have been coached that the federal law doesn't allow a social worker to report their fake documents or status to immigration. The policy made a caseworker complicit in their illegal activity. Legitimate SSNs Some had "legitimate" SSNs showing wages of people in other States which clearly indicates identity theft. This was few and far between. When doing wage verifications using the "Work number" which indicates where in the US the given SSN showed wages. I would see a person's wages from another State. I was told to disregard those and process anyway on the check stubs they gave me. The Client stated they weren't a private investigator in Texas, an engineer, an insurance salesmen etc. so those wages were not used in determining benefits. We had to accept the word of someone committing identity fraud as truth. Multiple Identities I spent 30 minutes with the Olathe Police Dept. trying to verify if an absent parent was really absent and on the list for deportation. He had 7 names and 3 different birthdates. I was assured that what he was convicted for he would definitely be deported. The wage earner was indeed absent. I had an illegal alien parent molest their 13 year old child. The child was taken away and could only return if the parent wasn't in the home. The parent skipped town and now they probably have another name in another State starting another family where the abuse can continue. It was very difficult to determine who was in the lobby to see me because our receptionists didn't speak Spanish and the name they were giving on their "ID" was not the name they gave us on their account. This happened on a daily basis. I accumulated 150 Instant messages with the front desk in a 6th month period of me going to the lobby for people that were not in my caseload, or to find out who they were and what they wanted. Per policy I had to be in the lobby within 15 minutes to meet customer service expectations even though most came without an appointment. They could be using their mother's last name, their father's last name or another name entirely. The IDs again didn't match what was in our system. Sometimes IDs didn't match the birthdates. I gave these instant messages to my management through the grievance procedure with KOSE because to continue to go to the lobby and take care of my increasing caseload was getting very challenging and impossible to do well. It is difficult to run the "look ups" and "checks" when I had to run to the lobby for anyone who showed up with no appointment. If a citizen came in with that many aliases or giving a different name than was on their ID they would be investigated for fraud or arrested. Living the Good Life When confronting a client about their bank statement showing Southwest Airline tickets and a balance higher than $2000, which is the maximum an applicant to have to receive benefits per policy, they said they kept the family's money in their bank account, it wasn't all theirs. Since we take an "average" I had to approve their application. At their interim review they dutifully kept it low but they had $150 shoes bought on PayPal. Their minimum was within the guidelines they was approved. One of my permanent resident's families was actually convicted for fraud with a $16,000 overpayment. They originally indicated $0 income, no bank accounts. We have to take "client statement" as true. They applied and were approved for everything. Food Assistance, TANF, Medicaid, Child Care. They should never have been approved. They owned a duplex part of which was rented out in Wyandotte County. They lived in Johnson County in a home paid for by their family members. That duplex was unreported income. They were fraudulently receiving Social Security money from a family member who died in Central America. Coroners in other countries do not have to report deaths to social security. The only reason it was found out, was because I sent the investigator out to check household composition for a suspected absent parent wage earner in the home. The illegal "lover" absent parent was there with their mutual child. The spouse filed for divorce and the financial information became public record which our fraud dept used to prosecute the fraud and the overpayment. The above relates to an individual, the term "they" is for gender masking. The only way the State of KS can recoup these huge overpayments is to hope they apply for assistance again so we can deduct a percentage out of their benefits dollars. In other words they make payments on their prior fraud. The recoupment rate on fraud on my caseload otherwise is very low. The policy to recoup after giving money out in "error" costs the State of KS in the millions. With caseloads increasing, a caseworker doesn't have time to do "look ups". Additionally requesting fraud investigation were frowned on in my last couple of months at SRS for lack of investigators on both the English Caseloads and Spanish speaking caseloads. Is it really the good Life? 80% of my caseload suffered at some point with abuse and domestic violence. The husband can beat them "What are they going to do call the police and get deported?" Some don't know how to drive or speak enough English to get around. They just endure the abuse. Employers and Landlord can and do abuse them. Again... "What are they going to do call the police and get deported?" To not enforce our laws is to allow exploitation of people who have made themselves vulnerable to bullies, thugs and crooks. As parents we teach our children that rules are there for a reason and to protect us. I had a client with 6 citizen children that had a lump in her breast. Even if the Komen foundation could give her a free mammogram who would pay for the expensive cancer treatments? Is it better to watch her die with no treatment or have those 6 children parceled out in the system as wards of the State when they dies? I had a client who gave birth naturally in Mexico no problems, turned out they discovered they was allergic to latex while giving birth here. They coded. The State of KS paid for Labor and Delivery under SOBRA but the hospital had to eat the cost for 3 months in a coma. Who is going to pay for her ongoing therapy? One client was dragged 20 feet by a tractor. Who pays for his external colon? Is that a medical emergency covered under SOBRA? The Workman's comp didn't want to pay because. "How were they certain it was from the tractor accident? If a citizen gives birth or has a medical emergency without insurance they are 100% responsible for their hospital bills. There is no SOBRA for citizens. Citizens go bankrupt paying medical and hospital bills. That is a citizen's only choice. Who is benefiting from this illegal labor? I naively asked one of my clients why they didn't come in legally. They told me, "No le dan visas a gente como nosotros". They don't give visas to people like us. We don't have land or money. They is right. We would consider them risks to being wards of the State. They would wind up at SRS. And they would have to pass a test in English to become citizens. How can they do that if they can't read or write English or Spanish? I asked her how much it cost to get across the border they said $2000 per person. If you believe like I do that 30,000,000 people are here illegally that is 60 billion dollars. So you can get perspective, that dollar amount is equivalent to the GNP of the country of Bolivia. If you believe our official government figures of 9-12 million, then that is still 24 billion dollars in human trafficking. Who is benefiting from illegal labor because it isn't the citizen's of the United States. And you have to ask how does a person who can't read or write pay $2000 per person. Cost for Fake Documents Applicants have told me they can get a false SSN for $50.00 and a false Passport or Permanent Resident card for $500-1000. I did not see false passports however I was told that was the going rate. When I asked them how they knew they were not buying someone else's number they told me they had a "maquinita" a machine that showed it wasn't being used by someone else. And they were right. What are the odds that a caseload of 265 families, that the majority of those using false social security numbers are also unassigned? In other words this is not"guessing" or using random numbers. Proration: Special Treatment of Illegal Aliens Over Kansas Citizens Under United States Department of Agriculture (USDA) regulations the states have the option to base welfare benefits (for food assistance) illegal aliens on Gross Income, which is the method used for U.S. citizens, or to "Prorate" income of the illegal aliens. Kansas has chosen the Proration option. I was told these decisions are bureaucratic they are not done by legislation. The illegal alien proration for food assistance makes illegal aliens with citizen children eligible for food while citizens with the same amount of income and household composition (number of people in the household) are denied such benefits. There is no incentive to become a permanent resident, if they did they would fall under the same rule as citizens and not have their income prorated causing them to exceed the income limit for food assistance. There is no illegal alien proration for citizens and someone with legal status. We always count the full income for citizens and permanent residents who have been here for more than 5 yrs. There were incidents where permanent residents would receive food assistance up until they reached their five years then they had to be told they were now over income because they had legal status here. Put yourself in the caseworker's shoes while trying to explain that. It was standard policy to take falsified documents, permanent resident cards, as long as the ID had a picture matching the client. Mostly I used their countries' Voter ID or their country's driver's license for photo ID. Although not required for expedite, I always asked for a birth certificate and SSN of citizen children for ID. In fact it was important to keep track of all the socials they used so we could determine benefits for them. I was officially trained to do look ups on all children's social security numbers as well to see if there were any wages on them. I had 3 year olds flipping burgers etc. Mostly I had people with multiple socials. This made it really difficult to determine exact gross income. This fact and the illegal alien proration for food assistance made "denying" for over income very rare. In fact most of my day was spent approving applications and reviews. I rarely denied anyone. Under the proration method illegal alien households consistently receive benefits that households of Kansas citizens are denied . Under the proration method the ratio of legal to illegal members of the household is used to reduce the gross monthly income which determines benefit eligibly and amounts. A household comprised of one illegal alien mother with a child born in the United States, who are considered a U.S. citizen, the proration is 50% so the gross income of the household is reduced by 50% for purposes of determining if the household is eligible for food assistance and how much. 100% of the gross income of households comprised of only U.S. citizens is considered in determining benefits. This has the effect of excluding the U.S. citizen households for benefits. Also under the USDA regulation if the applicant cannot prove or refuses to prove their status i.e., provide documents of such, they are considered illegal aliens. This encourages citizens to lie about their status and discourages illegal aliens from trying to obtain a legal status as it would exclude them from or reduce their welfare benefits. TAF grants[v] are also prorated for illegal aliens but never for citizens. Although TANF money is not available to illegal aliens, it is allocated to them through the proration of the TANF grants which increases the benefits to the citizen children. Thus allocating money to illegal aliens that is illegal for them to have to boost benefits to the household. Thirty per cent (30%) of my cases were over the gross income limit for food assistance The proration allowed them to receive the benefit while citizens of equal household composition would be denied. I came up with an approximate cost of this policy and gave it to my manager in 2009. The cost for my cases and the other three bilingual case workers in Johnson and Wyandotte counties amounted to approximately $2,276,544.00 annually in benefits that if they were citizens would never have been issued at all. When I told my boss that nationally this could equate to billions of dollars he jokingly replied "is that all?" The proration still exists. Nothing was done about it. He said "Call my congressmen". Which is what I have been doing for the last 2 years. Three Strikes You're Out The policy is 3 frauds and no more assistance. What this equates for citizen families is the wage earners no longer get assistance from the State of KS but their eligible children still do. Each time they are convicted of fraud their benefits cease for a period of time. There is no punishment for illegal alienfraud because the proration already is designed to exclude part of the wage earners income. However, when coded DF the system counts all the income and excludes the adults. The illegal alien family does not really experience any financial difference. They can and do get another social reapply for food assistance with less income and we are required to approve their application if they have citizen children. The attitude became why spend tax dollars to send an investigator out when they are going to get benefits anyway? The policy should not be 3 strikes you are out but one and you are done... Over Whelming the System When I started with the SRS in 2008 I was the only bilingual worker for the Overland Park SRS office. By the time I left in 2010 SRS had added a total of three bilingual workers and Wyandotte County was up to three as well. This was a 500% increase in less than three years. This system punished the diligent employee who wanted to not only do their job right but do the right thing. Our processing requirement was to have more than 93% of the food assistance applicants correctly processed in thirty days. This should be enough time to run checks and verify wages etc. However, due to the high attrition (my team completely turned over 100% from 2 years ag0) constant reassigning of cases, the caseloads went beyond burdensome making maintaining "statistics" for performance based evaluations and doing "fraud" checks next to impossible. As a result most of the applicants were not properly checked. Even if I sent out the investigator and found another wage earner, the proration guaranteed that the income wouldn't be all counted and after the rent deduction, the standard utility deduction etc the family would be approved anyway. When I first started I had a cap of eight new applicants per week. The last year they uncapped me and I had to take whoever walked in the door. If 8 walked in one day (and they did) I had to take them. Originally I was told my caseload would be 130. My caseload hovered around 160 when I was capped. Uncapped my caseload went to over 260, almost a 63% increase in cases. Of course the performance standard was not changed. And, things only became worse. The last months I worked for SRS so many English Caseworkers were leaving that I was required to take English cases. English workers had had enough of the caseloads, high expectations and the fraud and were leaving in record numbers. This was very stressful since I was only trained on the illegal aliens with citizen children and I was not accustomed to Work Programs for citizens receiving benefits. Citizens are required to comply with work programs to get TANF. My citizen children's parents (illegal aliens) who received TANF were not required to do work programs. I rarely had clients on TANF. Over 95% of my caseload was working compared to 40% unemployed in the English Citizen Caseload. The illegal alien proration for food assistance allowed two wage earners to work and still get benefits. My clients didn't need vehicle money, job coaching, interview clothes etc to get a job. The only time they didn't have a job was in the winter when landscaping/construction was down. When the weather got warmer they would immediately get off TANF and return to only food assistance and child care for benefits so they could continue to work illegally. Getting jobs was no problem for my caseload that was their objective when they crossed the border. In essence the SRS subsidized the wages of the illegal aliens, allowing them to get by on a reduced wage, and otherwise help them to work illegally in this country at the expense of taxpayers and citizens who could not afford to work at the same wage without the government subsidy. Don't Rock the Boat I felt because I started questioning the Illegal Alien proration, I got a target on my back. Most caseworkers didn't want me to rock the boat they were trying to get to retirement or become vested. But secretly the caseworkers hoped my Union grievances on the lobby policy would succeed since they were hopelessly overloaded. The lobby policy, was a customer service expectation of getting out to the lobby within 15 minutes of a client coming in whether they had an appointment with us or not. This seriously ate into the "look up and verify" procedure time. Making fraud easier to miss. The caseworkers in SRS are given very little respect by management or the clients. It is a thankless job. I admire those State employees. It is unbelievable what they have to endure in order to make a living. It is because management did not listen to my protests on the proration and the fraud that I joined the Union where I was guaranteed my grievances could be documented and heard. Management doesn't listen to workers suggestions because they don't respect the workers. It is of utmost importance to relay that I felt I was required to go along with fraud in order to keep my job there. Management certainly didn't listen to what I was saying or take it seriously and they denied every grievance and especially didn't listen to KOSE (State Employee Union) grievances. If you don't listen then how are you going to fix a problem? At some point one realizes SRS management did not want to fix the problem at all. Conclusion Under the current SRS system Kansas taxpayers are having millions of dollars stolen from them through fraud. Perhaps worse Kansas citizens, who are footing the bill, are being denied benefits and assistance. The SS system works for the illegal aliens and the illegal aliens know how to work the system. Under the SRS system Kansans were treated as second class citizens in their own country by the government that was supposed to be working for them and was spending their money. SRS denied citizens benefits that were readily provide to illegal aliens. Citizens were punished for fraud but illegal aliens were not affected by the "punishment" with the current policies in place. Even the law abiding legal immigrants were put at a disadvantage compared to the illegal aliens. A system that rewards illegal activity only begets more illegal activity. Thank you for the opportunity to testify. Respectfully Submitted, Lana Reed ________________________________________ [i] Wage earning aliens who are here legally as permanent residence do not get benefits under federal for five years. However the children get benefits whether they are legal are not. They get a proration (DI) [ii] DI means [iii] DI is also used for citizens who are under a work penalty in TANF (welfare). Again wage earners are coded DI, but the children still get benefits. [iv] SAVE is a system to verify the validity of a permanent residence card. (Immigration/Homeland Security) SRS Gives Preference to Illegal Aliens over Kansas Citizens; Has Policy to Ignore Fraud Cost Taxpayers Millions? SRS Gives Preference to Illegal Aliens over Kansas Citizens; Has Policy to Ignore Fraud Cost Taxpayers Millions? By Richard Fry I attended the hearing yesterday (3/10/11) on the Kansas omnibus "immigration" bill HB2372. This bill was largely drafted by current Secretary of State Kris Kobach. The bill includes an Arizona SB1070 type provision, tightens up the providing of benefits to illegal aliens, implements E-verify for state contractors and holds dishonest and unfair businesses accountable for "recklessly" violating the law by hiring illegal aliens. As usual the supporters of the bill were outnumbered. The proponent conferees (those giving "testimony") were outnumbered 3 to 1 and the attendees at least 2 to 1. Of course many of the opponent conferees and attendees were lobbyist or representatives of trade groups. It was disappointing to have the Unified Government of Wyandotte County represented by a paid lobbyist. Citizens as Props Conservatives Outnumbered Again As usual there was speculation as to why the supporters of progressive principles (global citizens and open borders) were able to outnumber those who stood for the rule of law; Constitutional governance and fiscal conservatism were once again out numbers. Part of the problem was the very late notice of when the hearing would be held. Most only received notice of the hearing on Tuesday or Wednesday. Not much notice if you are trying to reshuffle your work scheduled or arranging to have your kids picked up from school. Although this was a particularly short notice the hearings are almost always too short to accommodate the average citizen. Sometimes it feels as if we "conservatives" are still the props in the conservative politicians' play rather than the main character with our politicians in a supporting role, as it should be. As with most factors relating to these types of issues there is a double standard anyway. In the 2010 session there were dozens of conferees supporting the Tenth Amendment Resolution (TAR) and only one conferee who testified against it. Likewise, of the over 500 attendees I did not see one person opposed to the TAR. However, at every opportunity the committee chairman, Tim Owens, mentioned that those present were the outspoken voices (loud mouths) for the measure but that there were many silent voices that opposed it and they, the politicians, had to represent the silent voices as well. Of course I have never heard Senator Owens plea for the "silent" voices before and certainly not for a conservative cause. SRS gives preference to Illegal Aliens over Citizens and Approves of Fraud An interesting development was the testimony of a former SRS caseworker who testified about the SRS policy to ignore fraud and to discriminate against citizens in favor of illegal aliens in awarding benefits. In determining eligibility for benefit the SRS considers the entire gross wages of the household, at least for citizens. Apparently Kansas has adopted an OPTION for illegal aliens whereby they "prorate" some of the income the illegal alien (make illegally) to the illegal aliens and some to the "citizen" kids of the illegals. They only count the income allocated to the kids as the household income thereby reducing the gross income and making some illegal households eligible for benefits when a citizens household would be denied benefits and giving the illegal household more benefits that a citizen's household with the same "gross" gross income and the same number of people in the household. This is clearly preferential treatment for illegal aliens over U.S. citizens and law abiding immigrants. The witness estimated that this "proration" costs Kansas taxpayers over 2.7 million dollars per year just in Johnson and Wyandotte counties. The witness noted that 83% of their caseload had false Social Security Numbers (SSN) and a majority of these had "unassigned" SSNs i.e., valid SSNs that had not yet been assign to an individual by the Social Security Administration. This sounds like an inside job to me. As a matter of SRS policy the case workers had to accept fraudulent documents and were required to code fraud (DF) by illegals as noncompliance with SRS internal requirements for those seeking employment (DI). Also whereas citizens caught in fraud were prosecuted and suffered a loss of benefits the illegals really suffered no real loss of benefits. And it goes on and on. When the caseworker brought these issues to management they showed no concern and no changes were made. Perhaps there wasn't any concern because it was a waste of your money, my fellow citizens, not "management's". I don't want those types of people working for me. The Usual Suspects Of course the lobbyist or other representatives of the contractors and builders association, the hotel and entertainment industries, the agricultural industry including the ranchers were well represented and the various Chambers of Commerce. Yes representatives of those who are widely known to be the biggest users and abusers of illegal aliens. It was the same old story: e-verify will cost too much to implement and maintain (evidence shows otherwise), it will subject business to unfair scrutiny and fines and this is a matter for Congress. First, the U.S. Supreme Court has ruled that immigration is limited to who gets into the country, under what conditions and who and how they leave. Immigration authority does not extend to regulation and / or licensing of business, employer - employee relations, who drives, who has to pay what tuition etc. these are powers left to the states under their general police power. So no it is not a federal matter. I do not know why no one challenges these progressive folks on this assertion. Second, in the 1982 case of Pyler v Texas the Supreme Court noted that Congress had been neglecting the immigration issue for thirty years. That has been almost thirty years ago, so Congress has neglected the illegal alien problem for almost sixty (60) years. In 1986 when the first Amnesty was given to illegals (there have been at least six since then) the estimated population was about 3.4 million. Now most experts agree it is between twenty and thirty million. Reality check! Congress is not going to address this problem unless forced to. Third, it's unfair to honest businesses and their employees to allow the unscrupulous businesses to get an unfair advantage by using illegal aliens as their labor force. I doubt if there are any honest companies in the house framing, roofing and sheet rocking businesses anymore. Other industries are under attack. Fourth, they do not address all the other costs we citizens have to endure because of the presence of illegal aliens. Many of the costs are not financial. What cost do you put on the deterioration of our society and culture due to the breakdown of the rule of law, the almost 90,000 deaths here of our fellow citizens, and the stealth implementation of Spanish as our second language. Conclusion Once again a lot of our public servants are not listening to what "We the People" want. They are trying to do what they think is best for us, the world or who knows what else. The bottom line is we citizens are tired of being treated as a second class citizen in our own state and country and having to foot the bill to boot. The reason we have not made more progress with our efforts to take back control of our government is not enough Americans are informed or involved. There is no longer a good reason for them to not be getting better informed and more involved. There are way too many people ringing the warning bell on what is going on to not invoke sideliners duty to investigate for themselves. At this point they should be considered greedy, lazy or plain un-American. Perhaps we should start directing some of our heat their way. Second, we continue to play the other side's game. Most of us want to continue to be politically correct and excessively civil. Some are afraid if we get too assertive we will be called an angry mob, kooks, Astor-turf, tea baggers, racist, and right- wing extremist and so on and so forth. Wake up they are already doing that. Some say if we get too assertive with our politicians they will not help us or do what we ask. Wake up! Most of them are not doing anything for us now. Even Christ displayed some good ole righteous indignation on occasion and I think we should as well. "Cry Me A Rio Grande - Kansas" Although this article was written in 2010, little has changed with regard to the opposition to HB 2372 this year, it is just a different day at the same old place and it was the Senate that killed SB 458 two years before SB 1070 was introduced in Arizona. Will the Kansas House now fold to Big Business and Special Interest groups that do not have the interest of Kansas Citizens at heart? Larry From the NOlathe Blog By: Ken Dunwoody http://nolathe.net/2010/09/08/cry-me-a-rio-grande-kansas/ Cry Me A Rio Grande Kansas! September 8, 2010 by nolathe During the last several months, I can not think of one day when I turned on the news that the Arizona Immigration Law SB-1070 requiring enforcement of Federal Immigration Laws wasn't in play somewhere. A Time Capsule might look like this: 􀁺 Localized demonstrations of illegals demanding the same rights as "other citizens" 􀁺 Demonstrators denigrating the U.S. Flag and raising the Mexican National Flag 􀁺 Boycotts of Arizona business and activities (even by schools) 􀁺 Support for SB-1070 from other States (except Kansas) 􀁺 President of Mexico files protest of discrimination 􀁺 U.S. Attorney General files suit against Arizona (SB-1070) 􀁺 U.S. Secretary of State complains to United Nations on SB-1070 Even here in Kansas we watched as Co-Author of SB-1070 and candidate for Kansas Secretary of State Kris Kobach invited America's Sheriff Joe Arpaio to Olathe. Following threats of protests the event was moved to a more secure facility in Overland Park and even there experienced protests and a bomb threat. A 'State summation' of the bill reads "The bill would require all state officials, agencies, and personnel to fully comply with and support the enforcement of federal immigration laws. The bill would also require all law enforcement officers to inquire into the citizenship and immigration status of any person arrested for a violation of state law or municipal ordinance, regardless of the person's national origin, ethnicity, or race. If an arrestee is determined to be an alien, the bill would require the officer to verify if the alien is lawfully present in the U.S. with the Bureau of Immigration and Customs Enforcement (ICE) and cooperate with any request made by ICE to detain or transfer the alien to the custody of the federal government. The bill would also prohibit any official or agent of a state, county, or city law enforcement agency from being restricted from information regarding any individual or exchanging the information with any other federal, state, or local government agency. Also, the bill would prohibit state, county, or city law enforcement agencies from discouraging officers to ask individuals their citizenship or immigration status." So what does all this have to do with Kansas and why would I chose to write about it again as I have clearly shown in previous postings that our Kansas elected government is very pro-illegal immigration? Well, once again a reader of NOlathe has supplied some great material to pursue but please first read these two posts as preparation: 1. http://nolathe.net/2010/02/17/kansas-senate-funds-illegal-immigration/ 2. http://nolathe.net/2010/02/18/topeka-the-ultimate-one-party-town/ Let's start with the 'State summation' above, it was written by Duane A. Goossen, Kansas Director of the Budget on February 27, 2008 regarding Kansas SB-458. http://www.kslegislature.org/fiscalnotes/2008/458.pdf Huh? I thought we were talking about illegal immigration enforcement in Arizona? How did we end up here? Well, two years before Kris Kobach co-authored Arizona SB-1070 he co-authored Kansas SB-458. Wait until you see who testified in opposition of Kansas SB-458 http://www.kslegislature.org/bills/2008/458.pdf I think one could easily predict "lawn care", "construction", "law firm" companies and any organization with Hispanic in the title to be listed in opposition. Take a look- Verbal Testimony- Opposing SB458 1. Wichita Independent Business Association, President and Kansas Independent Business Coalition President, Tim Witsman. 445 N. Waco Street, Wichita, KS 67202 2. Artistic Designs Lawn and Landscape Inc. HR Manager, Nestor Leon. PO Box 860576, Shawnee, Kansas, 66286. 913-888-7320 3. Catholic Diocese of Dodge City, Sister Gemma Doll 4. Hermes Company, Inc. Dalton Hermes, owner 5. Julie Frady 6. Kansas Board of Regents, Reginald L. Robinson, President, and CEO. 1000 SW Jackson, Suite 520, Topeka, KS 66612. 785-296-3421 7. Kansas Catholic Conference, Arch Bishop Joseph F. Naumann, D.D, 6301 Antioch, Merriam, KS 66202. 913-722-6633 8. Kansas Chamber of Commerce, President and CEO, Amy Blankenbiller. 835 SW Topeka, Blvd, Topeka, KS, 66612. 785-357-6321 9. Kansas Farm Bureau, Terry D. Holdren, National Director 10. Kansas Grain and Feed Assoc. Duane Simpson, CEO/Vice President. 816 SW Tyler, Suite 100, Topeka, KS, 66612. 785-234-0461 11. Kansas Independent Oil and Gas Assoc. David M. Dayvault, President, Abercrombie Energy, LLC. CFO, 800 SW. Jackson St. Suite 1400, Topeka KS, 66612 12. League of Kansas Municipalities, Sandy Jacquot, General Council. 300 SW 8th Ave. Topeka, KS, 66603. 785-354-9565. 13. Johnson County Government, The Johnson County Board of County Commissioners, Steward J. Little, PhD, Little Government Relations. 800 SW Jackson, Suite 914. Topeka, KS 66612. 885-235-8187. 14. MO/KS American Immigration Lawyers Association, Angela J. Furguson, Chairman. 15. Public Health Dept. Director, Joseph M. Connor. 619 Ann Ave. Kansas City, KS, 66101. 913-321-4803. 16. Central Plains Development, Owner, Robert A. Snyder. 3620 Sunnybrook, Wichita, KS. 67210. 316-312-3583. 17. Our Lady of Guadalupe Catholic Church of Topeka, Sister Maria Luz Hernandez 18. Society for Human Resource Management, Director of Governmental Affairs, Michael P. Aitken 19. The Mdivani Law Firm LLC, Emily Haverkamp, Immigration Attorney. 7007 College Blvd. Suite 460, Overland Park, KS. 66212 913-317-6200 [email protected] 20. The Mdivani Law Firm LLC, Mira Mdivani, Immigration Attorney, 7007 College Blvd. Suite 460, Overland Park, KS. 66212. 913-317-6200. 21. Kansas Business Coalition, Ally Devine Written Testimony- Opposing SB458 1. United Methodist Women of the Kansas East Conference, President Sue Littrell, and Social Action, Susan G. Fowler. 2. Heritage Lawns LTD, Wes Ory, President 3. Wichita Area Builders Association, President/CEO Wess Galyon 4. Artistic designs lawn and landscape, Inc. Duane Lukowsky, PO Box 860576, Shawnee Kansas, 66286, 913-888-7320 5. Associated General Contractors of Kansas, Associate Government Affairs Director, Eric Stafford, 200 SW 33rd Street, Topeka, KS 66611, 785-266-4015 6. Associated Builders and Contractors, Inc. HOA Chapter, Jim Kistler, President and CEO, 6950 Squibb Road, Suite 418, Mission, KS, 66202 913-831-2221 7. Dominican Sisters of Great Bend Kansas, Sister Rene Weeks, OP President 8. Grass Roots Inc. President, Lance Shelhammer, II. Olathe KS. 9. Topeka Kansas Chamber of Commerce, Christy Caldwell, Vice President Government Relations. [email protected] 10. Hispanic Chamber of Commerce of Greater Kansas City, President and CEO, Carlos Gomez. 11. Home Builders Association of Greater Kansas City, MO. 600 E. 103rd St. Kansas City, MO 64131. 816-942-8800 12. Home Builders Association of Greater Tulsa, Oklahoma, Paul Kane 13. Social Security Administration, Assistant Inspector General for the Office of Audit, Steve Schaeffer 14. Justice and Peace Center, Sisters of St. Joseph, Sister Esther Pineda, CSJ. Concordia, KS, 15. Kansas Building Industry Assoc, Inc, Executive Director, Chris Wilson 16. Kansas Business Coalition, Amy Blankenbiller 17. Kansas Cooperative Council, Executive Director, Leslie Kaufman, PO Box 1747 Hutchison, KS, 67504. 785-233-4085. [email protected] 18. Kansas Corporation Commission, Mathew A. Spurgin, Litigation Council. 1500 SW Arrowhead Rd, Topeka, KS 66604, 785-271-3100 19. Kansas Families for Education, Executive Director, Kathy Cook. 15941 W. 65th Street, #104 Shawnee KS, 66217. 913-825-0099 20. Kansas Manufactured Housing Assoc. Executive Director, Martha Smith. 3521 SW 5th Street, Topeka, KS 66606, 785-357-5256. [email protected] 21. Kansas Pork Association President/CEO, Tim Stoda. 2601 Farm Bureau Rd. Manhattan, KS, 66502. 785-776-0442. [email protected] 22. Kansas Restaurant and Hospitality Association, Don Sayler, President/CEO, 3500 N. Rock Road, Building 1300, Wichita, KS, 67226. 800-369-6787. [email protected] 23. Kansas Society of Human Resource Management - State Council Wichita Society of Human Resource Management, Trinidad Galdean, 8301 E. 21st Street North, Suite 370, Wichita, KS, 67206. 316-609-7900 24. Kansas National Education Association, Mark Desetti. 715 SW 10th Ave. Topeka, KS 66612. 785-232-8271. 25. Kansas League of United Latin American Citizens, Policy and Advocacy Director, Elias L.Garcia. 26. Community Activist, Topeka, Nancy Ochoa. 27. Overland Park Chamber of Commerce, Vice President of Government Relations, J Kent Eckles. 9001 W. 110th Street, Suite 150, Overland Park, KS, 66210. 913-491-3600. 28. Sisters of Charity of Leavenworth, Member of Leadership Team, Sister Linda Roth 29. The Builders Association and Kansas City Chapter, AGC, Director of Governmental Affairs, Dan Morgan. 632 W. 39th Street, Kansas City, MO. 64111. 816-531-4741. 30. The Kansas Contractors Association, 316 SW 33rd Street, Topeka, KS. 66605. 785-266-4152 [email protected] (written) NEUTRAL/INFORMATIONAL TESTIMONY 1. Kansas Dept. of Health and Environment, Division of Health Cindi Treaster, Director Farm worker, Refugee and Immigrant Health 2. Kansas Association of Chiefs of Police, Ed Klumpp (written) We find that Kansas cities (League of Kansas Municipalities), Johnson County Board of Commissioners, Overland Park Chamber of Commerce and the Social Security Administration are PRO-ILLEGAL IMMIGRATION? Okay, it's still up to a vote, so how did our Kansas Senators vote on SB-458? The Kansas Senate with a Republican Majority must surely respect the Kansas Republican Party Platform and vote in support of SB-458 right? REPUBLICANS VOTING YES [2011 Update] Jim Barnett, Emporia. Les Donovan, Wichita. Tim Huelskamp, Fowler. [U.S. Congress] Nick Jordan, Shawnee. Phil Journey, Haysville. Ralph Ostmeyer, Grinnell. Peggy Palmer, Augusta. Mike Petersen, Wichita. Dennis Pyle, Hiawatha. Mark Taddiken, Clifton. REPUBLICANS VOTING NO [2011 Update] Barbara Allen, Overland Park. Pat Apple, Louisburg. Karin Brownlee, Olathe. [Kansas Secretary of Labor] Terry Bruce, Hutchinson. Pete Brungardt, Salina. Jay Scott Emler, Lindsborg. [Majority Leader] Carolyn McGinn, Sedgwick. Steve Morris, Hugoton. (President) Roger Pine, Lawrence. Roger Reitz, Manhattan. Derek Schmidt, Independence. (Majority Leader) [Kansas Attorney General] Vicki Schmidt, Topeka. (Assistant Majority Leader) Jean Schodorf, Wichita. (Assistant Majority Whip) Ruth Teichman, Stafford. Dwayne Umbarger, Thayer. John Vratil, Leawood. (Vice President) Susan Wagle, Wichita. Dennis Wilson, Overland Park. David Wysong, Mission Hills. REPUBLICANS NOT VOTING Julia Lynn, Olathe. DEMOCRATS VOTING YES Jim Barone, Frontenac. Mark Gilstrap, Kansas City. DEMOCRATS VOTING NO Donald Betts, Wichita. Marci Francisco, Lawrence. Greta Goodwin, Winfield. David Haley, Kansas City. Anthony Hensley, Topeka. Laura Kelly, Topeka. Janis Lee, Kensington. Chris Steineger, Kansas City. So to all you Kansans that firmly support Arizona SB-1070 and want to vote those bums out that oppose it, how about we start with Kansas SB-458 and vote our own bums out first! Real Change has to start in our own backyards. Until then, Cry Me a River Kansas! I'll start with bum-ett Karin Brownlee who's only contribution on illegal immigration was to make it illegal for illegal aliens to be forced to pay union dues. You think I'm kidding?


12. Red Wine Pictures

Red Wine Pictures

Identity for the film company that is a wink and a nod to the elixir that good ideas come from


13. Wink Bingo TLC Ident - Ep17 v08

  • Published: 2018-01-18T16:56:54+00:00
  • Duration: 10
  • By The Kitchen

14. Recipe . Wink Bingo . TLC Ident

  • Published: 2016-09-26T16:56:27+00:00
  • Duration: 40
  • By alfie hale
Recipe . Wink Bingo . TLC Ident

I edited these while working with advertising agency Recipe.



16. VA Puts Veterans at Risk for Identity Theft

  • Published: 2014-02-17T17:04:24+00:00
  • Duration: 226
  • By Ryan Kruger
VA Puts Veterans at Risk for Identity Theft

WINK News Call For Action Investigator Ryan Kruger exposed how the Department of Veteran Affairs how left millions of veterans vulnerable to identity theft.


17. let_set_go

  • Published: 2018-06-23T11:53:30+00:00
  • Duration: 23
  • By mohanapriya
let_set_go

Custom wink let you to get customized product at minimal time and affordable cost bulk orders are also invited and delivered on-time. Trust is our identity we provide our tireless services.


18. Wink visual identity and packaging

Wink visual identity and packaging

Fikra's visual identity and packaging for Wink's false eyelashes and glitter.


19. Wink Bingo TLC Ident - Ep88 v08

  • Published: 2018-01-18T16:57:42+00:00
  • Duration: 10
  • By The Kitchen

20. Wink Bingo TLC Ident - Ep29 v09

  • Published: 2018-01-18T16:57:23+00:00
  • Duration: 10
  • By The Kitchen