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1979 Ferrari 512 BB (Carburatori) Giallo with Nero interior. (Was originally Silver exterior when sold on July 10, 1979 by Luigi Chinetti) 1 of only 929 Cars... More
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'What's Bugging You' about your health? (0)
11/20/14 •
Tenesha Hughes Staff Writer It's your health and the Jackson State University Health Center wants you to learn it, know it, and live it. During the annual fall health forum: What's Bugging You?, held on Nov. 17, students, faculty and staff gathered in the Student Center to discuss issues surrounding the Ebola virus, influenza, STD's, [...]
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Jackson State Tigers lend a paw to those in need (0)
11/20/14 •
William Kelly Staff Writer Many organizations at Jackson State University are showing Tiger pride through service and giving during the holiday season. Organizations including MADDRAMA Performance Troupe, JSU National Association for the Advancement of Colored People (NAACP), RUF, the JSU Football team and the Class of 2017 have committed to giving back to community and [...]
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11/20/14 •
"What are you looking forward to during Thanksgiving break?" Compiled by Tamarick Johnson
Cherish the time you have with your family! (0)
11/20/14 •
Kris Campbell MC 301 Contributor/Staff The holidays are here and families are reuniting everywhere to celebrate life and special occasions. Tables will be filled with delicious dishes from oven roasted turkey and ham to macaroni and cheese and so much more. Many of us will definitely be putting on the pounds. But what do the [...]
Community College can offer bridge to higher education for students (0)
11/20/14 •
Mia Brooks MC 301 Contributor/Staff One of the biggest concerns for American families today is how to pay for college. The rising costs of tuition at four-year universities have driven families to find other routes to higher education. Community colleges were designed to expand students' access to higher education. But in recent years, they have [...]
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Era Vulgaris - Queens of the Stone Age
- Band Name: Queens of the Stone Age
- Record Label: Interscope
- Release Date: Jun 12, 2007
User Score
Universal acclaim- based on 171 Ratings
User score distribution:
Positive: 156 out of 171
Mixed: 7 out of 171
Negative: 8 out of 171
Review this album
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May 28, 2013The public knows how to listen. The Metacritic puts them over the criticism is appropriate, in order to raise or lower the value of an album (Village Voice-30??). Do not believe what these guys shove here!
Many people will follow them, because in reality does not listen music, unfortunately most are well on Metacritic thankfully is not the case, but I believe it would be a good bores up, if it were not such asses to vote here too.
talking about the album over itself, just a song I did not enter the ear and this is the 3 & 7 which happens to be single, but I do not like, only the last few seconds of the song are worth listening to is too commercial for my ears… Expand
Jul 1, 2013I thought Lullabies to Paralyze was a disappointing album, truthfully. It lacked the QotSA charm and style and seemed rather bland in general. In order to make a triumphant comeback, the QotSA needed to adopted a new and fresh angle on their classic style. And this is exactly what they did.
Era Vulgaris is one of the best QotSA albums around. Everything about it is unique and downright awesome. There's a certain buzzy/fuzzy noise that makes everything sound low budget, but that's just the style they adopted, and it's awesome.
Songs like "Sick, Sick, Sick" and "3s and 7s" are some of the band's best songs to date, however other more obscure songs like "I'm Designer" also have become some of my favorites.
Quality music all around. The only songs that are lacking are "Battery Acid" and "Misfit Love". Other than that, everything is golden.… Expand
Feb 6, 2014It pains me to say that this is "my least favourite QOTSA album", but it probably is. I say this as if it's a bad album, but it really isn't, it's a brilliant album, it's just not as good as their old stuff, which is a pretty stupid insult to be honest.
If Lullabies To Paralyze was a strange forest fairytale dusted with desert blues courtesy of Billy Gibbons, Era Vulgaris finds the band holed up in an abandoned funkhouse in the centre of a shady copse, waiting for some strange sexually-contracted fever to pass.
Homme's ever-catchy formula remains, but the mood is uneasy and brooding, with tracks such as 'Sick, Sick, Sick' revealing a venomous new band that's finally learned to separate business and pleasure.
Era Vulgaris is Homme's fifth Queens album, and like the others, it's intricately crafted, meticulously polished and ruthlessly efficient in its pursuit of depraved rock thrills.


text: July 4th Parade in Southampton, NY View full-size image < previous next > Is this photo a winner? "We are waiting to perform in the July 4th Parade, We won the best band award, thanks to our fab drumming and your T shirts" - http://sambaboom.com - BOOM (Mar 19, 2010) Share this photo on: Twitter Facebook Pinterest Similar Photos: 4th of july | new york | parade | fun | band orchestra music | bands performance group | southampton | best band Feeling inspired? Visit the CustomInk Design Lab to start your own group order. Design Your Own


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Yohan Blake interviewed by GQ about his watches, Usain Bolt, more
Jul 23, 2013, 3:59 PM EST
Yohan Blake likes to read "The Notebook" while listening to soft Michael Jackson music, quotes what he thinks is Muhammad Ali before races and is called the "Socks Man" back home.
These tidbits and more were revealed by the Olympic silver medalist in the 100 and 200 meters in an interview with GQ.
Let's start with the "Socks Man" nickname. GQ asked Blake, 23, to name the last stylish item he purchased.
"Pretty socks," he said. "They call me 'Socks Man' back home because my feet are always pretty in my colored socks. I love to get them from different stores all over the world. The last pair I bought was in Canada. They were a mix of pink, orange, blue, gray. I like to have a mix as I always wear different socks at the same time."
Blake is known worldwide for another nickname — "The Beast." He said in the interview most people think he's "a living and walking beast," but they shouldn't be afraid to approach him.
Blake also said he listens to reggae while training, but at home he enjoys Jackson and reading his "love novel" — "The Notebook."
Of course, there was also a question about Usain Bolt.
"Some might say Bolt has made a career out of peacocking on the track when he wins … "
To which Blake answered: "That's different — he's very nervous. He does all of that to get that nervousness away. Trust me. It's a release."
Blake on his pre-race routine:
"Sometimes I say, 'fly like a bird, sting like a bee,' to get myself like Muhammad Ali to get a hold of myself."
Of course, that's not quite Ali's famous line.
The GQ story also talked about Blake's famous $500,000 watch publicized last year. Blake has upgraded to a new watch with a beast claw covering its face.
Blake, the reigning world champion in the 100 meters, pulled out of August's world championships earlier this month due to a hamstring injury that's plagued him since the spring. He has since been ruled out for the rest of the season by his manager.
Bolt's autobiography title contradicts title of earlier Bolt book
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Booth newcomer TeeFLii knows how to finish off the year on a strong note. In addition to signing a major label deal with Epic Records, Tee was also recently named "Best R&B Singer" by the LA Weekly staff in their new Best Of LA issue. To celebrate his many accomplishments, TeeFLii lets his hair down with a raunchy, fun remix of his current single This D**k. Tee's smooth, sung/rap hybrid style is accompanied by the equally as x-rated, catchy work of guests Tyga and Jadakiss. The contributions of all three overly-charismatic artists are fused together thanks to the clapping, whispering board work of the ever-popular DJ Mustard. While this effort is TeeFLii's first solo feature at The DJBooth, his guest work with Booth regular Krondon can be heard here.
TeeFLiiTygaJadakiss R&B/PopClub
Written by Lucas G. on 10/4/13
Submit your Rating
Epic Records
First DJ Booth Appearance:
"7 Eleven" (2013)
Total DJ Booth Features:
5 Songs
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The marketing departments for many of our artistic communities have identified easy access to audiences for fun musicals, gimmicky adaptations and emotionally trending sob stories. [How soon before the immersive audience experience, Ebola: The Musical?] All these promotional handles, unfortunately I'm afraid, too often actually just divert attention from good storytelling and cover up half-baked productions.
So, when a universally resonant story, staged simply and honestly with subtle, sophisticated performances comes along, theatre lovers should pay attention.
The SpeakEasy Stage Company's production of Bad Jews at the Calderwood Pavilion through Nov 29 is just such an opportunity.
Gentiles might assume there's nothing for them in this story about "family, faith and legacy," but they'd be very wrong.
The three young cousins brought together in an Upper West Side studio for the mourning of their Holocaust-surviving grandfather's death, grapple with big questions of identity, community, and self-projection. The context might be Judaism, but the substance is universal: Who am I? Where am I going? How am I connected?
This is pretty modern reasoning and Bad Jews is very much a story of this time. Daphna (Alison McCartan), born Diana and planning to start rabbinical training in Israel after graduating from Vassar in the spring, reminds us that it's easier to be Jewish now than ever before. Indeed, she claims 22% of Nobel Prize Winners are Jewish. [I have not independently verified this, but it sounds right. . .]
Cousin Liam (Victor Shopov) integrates his Jewish privilege with a very different guise: devoting his life to studying Japanese and assuming the title "Jew" only when it might help him win an argument about the Mideast peace process.
Their polarizing identities result in some astounding, tour-de-force soliloquies. With language so smart and biting, performances so virtuosic, I couldn't help but join in a spontaneous eruption of applause at the conclusion of one Victor's especially gripping take-downs of Daphna.
What seems in my mind to make Bad Jews especially rich though is the room it gives to quieter, more subtle characters and performances.
Liam's younger brother Jonah (Alex Marz) spends most of his time on stage playing a video game or sleeping. He has very few lines, in fact. And yet is as fully embodied and pivotal and colorful a character as his much louder brother and cousin.
Liam's girlfriend Melody (Gillian Mariner Gordon) is perhaps a little flatter than the rest, but that somehow only adds to her Midwestern gentile interloper status.
There's definitely cleverness here — I loved the simple staging incorporating a hallway – but it's not cleverness or even group affinities that makes Bad Jews work.
Much like a good life, Bad Jews is simple and honest and masterful.
by Joshua Harmon
directed by Rebecca Bradshaw
Performing at the Stanford Calderwood Pavilion
through Nov. 29
Jonathan Simcosky blogs at jonathansimcosky.com.
Photos courtesy of speakeasystage.com]]>
Then again dubiousness is just that at which Geurilla Opera, the ensemble-in-residence at The Boson Conservatory, excels.
With exquisite musicianship, thoughtful dramaturgy, and no-holds-barred risk taking, Guerilla consistently makes the mundane interesting, even operatic.
In this case, two composers freely adapted librettos from the same source material, a 1950 informational film, called "Let's Make a Sandwich." Each opera-etta is presented twice, with separate stagings by two directors, resulting in a sandwiching of an operatic sandwich about a sandwich.
A sandwich is, of course, never just a sandwich, and that abiding truth is especially apparent in this rich territory. How interesting it is to compare how the two composers found different meanings in that same 1950s tuna rarebit and then how the two directors presented those perspectives differently.
Another abiding truth: interestingness covers a multitude of sins. While one cannot deny these compositions shied too often from beauty, the stagings played too much to shock, and performances didn't always necessarily fill the small Zack Box Theatre, one could not help but be overwhelmed by the creative potential, technical facility, and fun.
Where else might one more dramatically confront the circularity (sandwiching?) of life than in a scene where young Sally gives birth to an heir as Mother is suffocated by the director and father of all?
When else might we more clearly recognize the power of perspective and the multiplicity of meaning embedded in objective reality than in this enjambment of multiple creators' creations, apart from everyday life?
If a sandwich is not just a sandwich, an opera, not just an opera, what then is life?
"Let's Make A Sandwich"
Sept 26-27, 2014
Guerilla Opera
The Zack Box at the Boston Conservatory
Jonathan Simcosky blogs at jonathansimcosky.com.
Photos courtesy of guerillaopera.com]]>
The Peabody Essex Museum (PEM) in Salem is on a West Coast–East Coast roll with yet another great exhibition originally mounted at the Los Angeles County Museum of Art (LACMA). On the heels of the delightful California Design, 1930-1965: Living in a Modern Way, which also began at LACMA, PEM visitors are now treated to Calder and Abstraction: From Avant-Garde to Iconic, on view through January 4, 2015. Conceived at LACMA under the direction of Stephanie Barron, PEM is the only other venue for this exhibition.
Alexander Calder's innovative and playful abstract sculptures became increasingly popular during the twentieth-century, to the point where his work represented the United States in international exhibitions (for example, at the 1952 Venice Biennale; the 1967 Montreal Expo; the 1968 Mexico Olympics). In a time when abstract painting was still often maligned by viewers with comments like, "my kid could do that," Calder (1898-1976) succeeded in getting that same public to like monumental, abstract sculpture.
Yet while the public liked him, he seemed at times too easily digestible to the professional cadre of art historians and critics, and remained what Stephanie Barron calls "a guilty pleasure" among professionals. After Calder took first prize in sculpture at the '52 Venice Biennale, where European critics celebrated him, Clement Greenberg, America's premier critic of abstract art and a champion of abstract sculptor David Smith (who was eight years Calder's junior), acidly wrote that Calder "provides the kind of modern art one is prepared for. There is novelty – even if it is only mechanical – and an abstractness that seems racy and chic."
With one hand Greenberg giveth faint praise, but with several fistfuls he taketh away. Alleging that Calder makes art "one is prepared for," which merely "seems racy and chic," Greenberg accused him of the worst sin: being too easy. How come?
In a January 2014 interview with the Financial Times, the director of London's National Gallery, Nicholas Penny, voiced several thoughts on contemporary and modern art that might shed some light here. Penny said, "Self-consciously modern art of the first two-thirds of the 20th century was never meant to be popular, the whole notion of the avant-garde was that it wouldn't be for the people. Great painting historically has always been for the minority but the idea of the avant-garde was that only a minority of the minority would like it."
…that only a minority of the minority would like it… That was definitely not Calder's aim.
Calder's problem, in the eyes of certain critics, was that he was popular too soon and too often. Most of the avant-garde was of course deliberately oppositional and defiant, aiming to create work for which viewers were not prepared. If faut étaper le bourgeois was the cri du coeur the twentieth-century avant-garde had inherited from Baudelaire and Rimbaud. And it stuck, escalating into sexual subject matter (Surrealists) and radical politics (practically everyone, but just take the Dadaists as an example). Calder in contrast didn't seem to be interested in shocking anyone, at least not rudely. His work seemed bent on playfulness and approachability: by 1998 (on the centenary of his birth), his reputation was sealed when Time Magazine's Robert Hughes dubbed him "the Merry Modernist."
It all started with his Circus (which this exhibition studiously avoids, focussing instead on Calder's mature abstraction). The Circus, which consisted of miniature figures animated by the artist in performance-like sessions, and which eventually grew to encompass five suitcases that Calder could take on tour, first brought him to the attention of fellow artists in Paris. Calder had moved to Paris in 1926 and he used the "circus performances" as well as his innovative wire portraits (often of famous people, like Josephine Baker) to network with a wide range of the Paris-based avant-garde. Then an October 1930 visit to Piet Mondrian's Paris studio changed his approach. Here was an artist working in the most rigorous, ascetic abstraction to date. Only primary colors, no mixed colors (green was considered especially awful), precise, and yet (as anyone who has seen Mondrian paintings in person will attest) sensual, too. Calder left the studio, wowed. "How fine it would be if everything moved," he noted. "Why must art be static? You look at an abstraction, sculpted or painted, an entirely exciting arrangement of planes, spheres, nuclei, entirely without meaning. It would be perfect but it is always still. The next step is sculpture in motion."
It was of course extremely helpful that Calder had actually studied engineering in the years before deciding to take up the "family trade": his father and grandfather were both sculptors, his mother a painter. But as a youth, he didn't seem to want a career as an artist, and fell into engineering instead. Fortunately, he didn't last there, yet no doubt it was good luck that, as the inventor of the mobile, his physics textbooks had taught him about problems involving weights, counter-weights, and balance.
Creating sculptures that move became an aesthetic and engineering problem Calder was eminently poised to solve. The joy of watching spheres and discs move through space, tethered and therefore balanced while also expressing force and counter-force, is now experienced by babies everywhere when their eyes track crib-side mobiles. Calder invented the mobile (for which Marcel Duchamp suggested the name; later, Jean Arp suggested stabile for Calder's ground-mounted sculptures).
PEM's exhibition presents a wide range of Calder's mobiles and some stabiles, which vary from table-top size to much larger, and which all are enhanced by careful lighting that allows for moving shadow play. Take Eucalyptus (1940), a tall mobile which commands its surrounding space. Suspended, it hovers, which emphasizes its freedom from the ground. Both viewer and sculpture are vertical, but while we viewers are rooted, the sculpture is free, balancing in a seemingly different kind of gravitational field. Or consider the careful fine-tuning of weights and shapes in works like Red Disc (1947) and Orange Under Table (c. 1949), which each balance on a single point no bigger than a thumbprint.
With its focus on mature abstraction, the exhibition tries to reorient our gaze on Calder's modernist achievements. It's not the easiest of tasks in large part because it depends on the viewer committing to look at individual works for a relatively long time – babies have more time to look at mobiles than we do, apparently. We live in an age when most museum visitors spend mere seconds on each work, which underscores just how high a bar this exhibition is trying to set with its efforts to slow visitors down. There's a wonderful story about Albert Einstein seeing Calder's work in 1943, and remarking, "I wish I had thought of that." What's often left out is that Einstein's remark came after looking at one work for over forty minutes. (I therefore highly recommend taking a curator-led tour, which will encourage closer study of some of the pieces.)
The exhibition really highlights how, in his mature work (post-Mondrian studio visit, post-Circus), Calder altered viewer expectations of sculpture: no longer figurative, it could be abstract. No longer built from solid masses, it could be made of lines and flat shapes. No longer anchored to the ground or a pedestal, it could float in the air or attach to a wall in unexpected ways. All of these changes directly contradict Greenberg's claim that Calder merely provided novelty and was just giving us art for which we are prepared. It suggests instead that it was critics and viewers who had to change, too – an arguably slower but more profound change in preparation than any one-off étaper (shock) can effect.
Consider this: eager to exhibit in Paris again after World War II finally ended, Calder showed at the Louis Carré Gallery in 1946. Jean-Paul Sartre wrote the catalog, noting that historically art suggests other things than itself, but that Calder's art suggests nothing other than what it is. The mobiles "signify nothing, refer to nothing other than themselves. They simply are: they are absolutes." This is heavy stuff, coming from an existentialist who has just been through the hell of war and occupation. But it makes sense when, like Einstein, you're willing to spend forty minutes contemplating a piece. In a sound-byte world, however, you're more likely to make off with an analogy: just a few years ago, the Pace Gallery curators tried to capture Calder's beauty by referring to "the Audrey Hepburn effect," connecting Calder's "fine level of balancing" and "unbelievable arcing lines" with "the image of the cigarette holder on the Breakfast at Tiffany's poster and the line of Hepburn's arms."
Sartre no doubt rolled his eyes, as did Greenberg. But Calder probably laughed and made another mobile.
Yule Heibel lived in Beverly during the 1990s while teaching art history in Cambridge. In 2002, she moved to Victoria, BC, home-schooled her kids, and read Jane Jacobs. Back on the North Shore since 2012, she is passionate about fostering vibrant urban development that gets people out of their cars.]]>
Shawn Fitzgerald grew up on Cape Cod but has called the Boston and North Shore areas his home for the better part of his life. Shawn has written theater reviews and interviews for The Cape Cod Times and has written film reviews and feature articles for TheHDRoom.com since 2005. Recently, Shawn studied photography and graduated from Boston University's College of Communications. He has photographed events for WGBH television and Christianity Today magazine. His favorite films are Schindler's List, Lawrence of Arabia, The Godfather, Jaws and Almost Famous. His favorite bands/musicians include The Beatles, Radiohead, Bruce Springsteen and Nick Cave and the Bad Seeds. Shawn currently resides in Melrose but is planning on calling Salem his home in the near future. You can see more of his work, including the rest of this event's photos on his website or facebook]]>
Jacques Brel is Alive and Well and Living in Paris first premiered off Broadway in 1968 in Greenwich Village where it enjoyed critical acclaim, SRO audiences, and a record-breaking five year run.
The work is still widely produced and beloved by audiences who remember original recordings of Brel's thoughtfully provocative songs by such diverse performers as Frank Sinatra, Ray Charles, Petula Clark, Barry Manilow, and David Bowie. I've heard reports of audience members leaving in tears (the good kind).
A simple, spare set creates space for a live band and four talented performers to interpret and illuminate Brel's poignant work, often incorporating a modern sensibility: the rhythmic typing on a laptop keyboard in "Bachelor's Dance" or the invocation of Baghdad at the end of a litany originally originating with Carthage and ending with Saigon in "The Bulls".
Each performer embodies one of the far-ranging spirits of Brel's oeuvre. From Shana Dirik's joie to Jennifer Ellis's earnestness; Doug Jabara's stoicism contrasts with Daniel Robert Sullivan's playfulness. Their individual distinctiveness is a strength for the solo numbers, but causes some problems when an ensemble sound is desired.
New to Brel, I found myself at first attempting to grasp every detail, nuance and allusion, of which there are many. This effort eventually led to a sort of fatigue, as the text is rich in symbolism, emotion, and narrative, so at some point I simply let the beautiful and evocative sounds wash over me, especially during "Ne me quitte pas," the only song sung in the original French. This is not to say one way of experiencing Brel is more enjoyable than another.
"One of the greatest songwriters who ever lived," Brel eventually retired to Hiva-Oa in the Marqueses Islands, escaping the limiting Western European bourgeois expectations he wrote so much about.
The Atlantic waves crashing against Gloucester's Rocky Neck might have more in common with Brel's northern European upbringing than his south Pacific retirement. Nevertheless, the GSC manages to manifest a little bit of Bohemia despite our bourgeois tendencies.
Jacques Brel is Alive and Well and Living in Paris
Through July 6
Shawn Fitzgerald grew up on Cape Cod but has called the Boston and North Shore areas his home for the better part of his life. Shawn has written theater reviews and interviews for The Cape Cod Times and has written film reviews and feature articles for TheHDRoom.com since 2005. Recently, Shawn studied photography and graduated from Boston University's College of Communications. He has photographed events for WGBH television and Christianity Today magazine. His favorite films are Schindler's List, Lawrence of Arabia, The Godfather, Jaws and Almost Famous. His favorite bands/musicians include The Beatles, Radiohead, Bruce Springsteen and Nick Cave and the Bad Seeds. Shawn currently resides in Melrose but is planning on calling Salem his home in the near future. You can see more of his work, including the rest of this event's photos on his website or facebook]]>
What if, however, the most obvious thing of all – that Turner translated into visual art a quintessentially British Maritime Character – hadn't yet been fully explored? That's the thesis posited by Christine Riding, senior curator and head of arts at the National Maritime Museum, part of the Royal Museums Greenwich, London, who organized Turner and the Sea. The exhibition, also co-curated by Dan Finamore, is now on view until Sept. 1, 2014 at the Peabody Essex Museum in Salem (its only venue outside of Greenwich).
Marine painting (scenes of maritime activity, ships, fishing, and weather events) was an established genre well before Turner's day. It was part of Landscape genre, a lesser category in the hierarchy of genres. History painting was regarded as the most exalted in this hierarchy, which ascended from Still Life at the bottom, to Landscape (including Marine scenes), to Genre Scenes of Everyday Life, to Portraiture, and finally to History.
In that top tier, History painting told edifying stories meant to inspire civic and national pride, personal and religious virtue, and of course heroism. Initially based in Biblical and Classical stories, it expanded in the late 18th-century when the heroic exploits of war and global exploration furnished modern stories that could be adapted to History painting.
Enter the ambitious if low-born J.M.W. Turner, son of a Cockney barber, who from the age of 17 took formal lessons at the Royal Academy. By 1796, when he was 21-years old, he showed his first work at a Royal Academy public exhibition, in a room hung floor-to-ceiling, cheek-to-jowl with paintings. It was a great honor to be accepted into the show, but also a conundrum: how does one get noticed on those crowded walls?
Turner chose to debut by paying homage to Marine painting with Fishermen at Sea. This is also the painting that visitors face as they enter the first of the six museum galleries that comprise Turner and the Sea. Note that Turner didn't launch with a History painting (and risk critical ridicule for overreaching at too tender an age), yet his choice of the Marine theme in retrospect shows us that he's aiming for the top.
A dramatically moonlit but cloudy night sky proves Turner's mastery of the nocturne. The moon coldly illuminates the scene, and the water on which the fishermen in their boats labor is recognizably oceanic, its texture and the topography of its waves believably realistic. Right away Turner shows us that he understands the genre and has mastered it, but he's already also pointing to Marine painting's future purview. In Turner's hands, it will tell heroic stories absent the usual actors, and it will become as powerful as History painting.
If Turner translated into visual art a quintessentially British Maritime Character, he did it by turning that character into an Heroic Actor. Recall that Britain was at war with France by 1793, when Turner was in his late teens. Aside from a very brief lull, the two nations would remain at war until 1815 when Turner reached his forties, and Britain's naval power was always paramount in winning over the French. While Marine art belonged to the lower-ranked Landscape genre, it rose in importance during this time as it depicted the naval battles that transfixed the nation.
Turner was right there at this juncture, growing into mature adulthood while Britain and France waged war. Note that already in Fishermen at Sea, the lowly workers are doing the heroic work of feeding the nation during a time of war – heroic, because like the soldiers and sailors fighting on land and sea, these men risk their lives in contested and dangerous waters.
Subsequent Turner seascapes lifted Marine Art into a realm equal to History Painting. He did this both by depicting actual historical scenes and by imbuing them with a Romantic persona – his own, often enough, sometimes helped along by references to epic poetry. This ennobled scenes that previously would have been classed with the lesser genres.
Consider just two other works in the exhibition: The Battle of Trafalgar, 21 October 1805 (1822-24) and Staffa, Fingal's Cave (1831-32). When it came to naval battle scenes, Turner's contemporaries typically aimed for historical accuracy, with ships often facing off in serried ranks. But there did exist a dramatic, formula-altering precedent: Lord Howe's action, or the Glorious First of June (1795) by Philip de Loutherbourg. And this painting became the foil against which Turner had to set off his own representation of a naval battle when he was commissioned to paint a companion piece. In The Battle of Trafalgar, Turner consolidates events in one image, with elements rearranged to satisfy the composition, not just the record. The dead and dying tumble forward toward the viewer, proof of man's battle not only with other men, but with the sea itself. A breaking mast represents Nelson's death, a ship's flags spell out one of his last words, "duty." We see an aspect of that British Maritime Character manifested in the heroism of naval battle, which Turner makes vicariously available to viewers who are positioned as though experiencing the scene from one of the ships.
He also lets us experience that character as the sublime, but it's a sublime mixed with the modern, specifically industrial elements at that time proliferating in Britain. Take Turner's Staffa, Fingal's Cave, which he painted after
traveling to the Hebrides on the advice of Sir Walter Scott. While there, Turner reported being caught in a fierce storm, and for his painting he chose to capture the moment when the sun at last broke through the horizon. But what sort of ship do we see silhouetted against the threatening sky, a ship that has survived against the elemental storm? It's a steamship, a product of the modern industrial age, and a symbol of man's conquest of nature. Any and every contemporary viewer would recognize the juxtaposition as awe-inspiring: nature (specifically, the ocean) and man (of an Industrial Age mettle), facing off in a way that was primal, yet ultimately modern.
Staffa, Fingal's Cave became the first Turner work bought by an American. A fitting transplant, as the United States developed its own sublime Landscape painting movement, the Hudson River School. Its artists made landscape expressive of the divine, a summing up in paint of Manifest Destiny. If the British have a Maritime Character tied to geography, history, and imperial might, we Americans, agog at the grandeur of this continent, claimed Manifest Destiny.
The exhibition touches on this in the final gallery, which is split between the two themes "Making Waves" and "Atlantic Crossing." In the latter we find a work by Edwin Frederic Church, Coast Scene, Mount Desert (1863), painted during the Civil War and intended as a fundraiser for the Union. The wall plaque notes that "The sea pounds relentlessly on a bold American headland, the artist's metaphor for national resilience in crisis." Resilience and a claim to Manifest Destiny could well describe the American character, and Turner is one of its artistic inspirations. His sublime land- and seascapes, and his ability to turn nature into an Heroic Actor capable of expressing a nation's aspirations, continued to find resonance on this side of the Atlantic for several more decades.
Turner and the Sea is now on view through September 1, 2014 at the Peabody Essex Museum. Produced and originally on exhibit at the National Maritime Museum, part of Royal Museums in Greenwich, London, the exhibition contains over 100 works spanning Turner's fifty-year career. PEM is the show's sole US venue.
Yule Heibel lived in Beverly during the 1990s while teaching art history in Cambridge. In 2002, she moved to Victoria, BC, home-schooled her kids, and read Jane Jacobs. Back on the North Shore since 2012, she is passionate about fostering vibrant urban development that gets people out of their cars.]]>
Inside Prime: Behind the Signs is a selection of photographs taken by participants during a behind the scenes tour of the Prime Building held in March 2014. The Prime Building, a signature structure in the district, served as a factory during Lynn's shoe era and has since transitioned into a work space for local artists, collectors, and designers. People pass by the Prime Building daily, but few know its great history or the amazing sign collection held within its walls.
In an effort to engage curious minds and spotlight Lynn's historic architecture, DTLCD invited people a one of a kind opportunity to tour the Prime Building and discover the treasures inside. Participants learned directly from Prime Building owner, Dave Waller about the property and viewed his immense collection of restored signs.
Armed with disposable cameras, guests were encouraged to capture of what they found most intriguing during the tour. The results of their photography were curated into this exhibition. The reception will include light refreshments, an opportunity to see the work for the first time and a short program spotlighting the artists.
Event Co – Producers, Doneeca Thurston and Brian Denahy, said "As our first program offering, we really wanted to create a unique event for participants. Touring the Prime Building was exactly what we were hoping for, but Mr. Waller's large collection of antique and neon signage was the icing on the cake. "
Emily Ruddock, DTLCD Director, said: "This type of interactive event was a wonderful way to discover a part of Lynn's rich culture. The Inside Prime: Behind the Signs exhibit is a means of sharing that experience beyond those who took the tour. We are thankful to Mr. Waller for warmly welcoming us into his space and generously sharing his passion for collecting. One of the goals for the DTLCD is programming events like the Prime Building tour that showcase our district and provide opportunities for residents of Lynn, the North Shore and the Greater Boston area to create art.
Dave Waller, owner of the Prime Building, said: "I thought signs were cool because kids didn't collect them and it seemed rather unusual. Over the years, as the collection grew, I began appreciating the design, the craftsmanship and history behind them. I lend my signs to restaurants and museums as often as I can because I believe they should be appreciated by the public."
About DTLCD
The Downtown Lynn Cultural District engages Lynn residents and visitors in a revitalized urban experience that has arts and culture at its core. DTLCD is the result of a productive city – wide collaboration. These artists, residents, business owners, non – profit leaders and city officials know downtown Lynn as a vibrant cultural hub, where the city's creative voice is shared with local residents and regional tourists. The Massachusetts Cultural Council agrees. In 2012, the MCC named downtown Lynn as one of the first state recognized arts and culture districts in Massachusetts.
What's this you ask?
Oh, just a night at the opera.
The Guerilla Opera.
Since 2008, Guerilla Opera has been the ensemble in residence at The Boston Conservatory and responsible for staging some pretty adventurous, ground breaking work.
Currently, that work is the world premiere of "Gallo," a fable in one act, by award-winning composer Ken Ueno and Metropolitan Opera director Sarah Meyers.
A couple things, I've come to expect from Guerilla productions: extraordinary musicianship and courageous creativity.
When I was asked to remove my shoes before entering The Zack Box Theater and warned of audience participation ahead, I was not phased. Nor was I surprised to seat myself on an elevated boardwalk surrounding a central beach/stage of cheerios.
When an eighteenth century Portuguese aristocrat crawled out from beneath the orchestra at the conclusion of the overture? Why not?
Guerilla Opera places a lot of trust in their audiences. They trust that we'll understand the difficulty and complexity and artistry of performing an original, avant-garde opera so beautifully. They trust that when a kite's string is threaded through my fingers on its ascent through the fingers of half a dozen other members of the audience, I won't drop it or let it grow too slack or taut.
Most courageously, they trust that we'll understand what in the world it's all supposed to be about.
I hope the notes given to me at dress rehearsal, were abridged from those available in the regular performance program, because my description of an existentialist narration of the story of the chicken and the egg told by a Portuguese aristocrat was woefully shallow.
It wasn't until my sixth or seventh rehashing, that I learned of the legend of the Rooster (or in Portuguese, "Galo") of Barcelos: the emblem of Portugal, a beloved story of supernatural justice.
I suspect there was more going on with the cheerios than immediately met the eye as well. Cheap and lightweight. Their shape suggests a molecular structure and their scent evokes the sweetness of childhood.
Eventually, inevitably, we laid our sweetly singing countenor rooster to rest, returning him whence he came, reclining amongst strangers, resting on a bed of cheerios.
His legend lives on in the stories we tell of our experience of him, and of course, inevitably, in the physical remains of the cheerios that I'm still finding in the pockets of my cardigan and the collar of my shirt.
A fable in one act
Music and libretto by Ken Ueno
Through May 31
Jonathan Simcosky blogs at jonathansimcosky.com.
Photos by Liz Linder Photography]]>
If your preferences for Shakespeare trend toward the pure, historical or academic, the American Repertory Theater's latest production of The Tempest is probably not for you.
If, however, you (like the Bard himself?) enjoy experimentation, complexity and transgressing any and all boundaries real or imagined, get thee to Cambridge!
This Tempest is illuminated with the illusions of mononymous Las Vegas magician Teller, accompanied by the folk-stylings of Tom Waits and Kathleen Brennan, and enhanced with extraordinary movement by Pilobolus.
Staging The Tempest poses some real challenges for traditional companies. How to portray Prospero's magic? What about the storm? And casting the half-man Caliban? Very tricky.
The first two complications are easily solved by simply making the production a magic show, which sounds ridiculous until you start thinking about it (and realize that of course there are direct allusions to illusion in the text).
Indeed this line of thinking spawned the Harvard University Freshman Seminar "Theater and Magic," co-taught by A.R.T. artistic director Diane Paulus. For their final creative project , students were asked to "Transform a text while keeping its fundamental integrity." Practically, this means they selected a scene from a play, incorporated illusion where there wasn't any, and told a story from start to finish, enkindling the soul of a canonical play with their imagination. A good reminder of what the theater does.
And Caliban? Here he's played by two actors, smeared in rust-colored body paint, sharing each other's body weight (i.e. crawling all over each other) and speaking in unison. So creepy. So beautiful. So other-worldly.
I found myself seated on the first row of the Loeb Theater, which is not normally my preference. However, for this night my proximity afforded a chance to glimpse nimble fingers, trailing threads, and bulging table cloths. The causes of levitating bodies, multiplying cards, and incredibly nimble bodies, were suggested, though never revealed.
The A.R.T. has been developing quite a reputation for developing productions that go on to critical and commercial success on Broadway (see Pippin, The Glass Menagerie, All the Way, etc). I have every reason to believe that this Tempest will blow away that Great White Way.
William Shakespeare's
The Tempest
Adapted and Directed by Aaron Posner and Teller
Magic by Tell / Music by Tom Waits and Kathleen Brennan
Movement by Pilobulus
through June 15
My suspicion is that most of our experiences in the theatre are commercial or community. Either we're watching a big-budget production carefully calibrated to extract maximum dollars or a warm-hearted showcase of amateur talent, where the audience's entertainment is secondary to the performers'.
Rarely do we get the opportunity to see theatre that is truly experimental, breaking boundaries, upending expectations, asking "what if?" and "why not?" and "what is it?"
One venue where such experimental experiences are de rigeur is Oberon, the second stage of Cambridge's American Repertory Theater. A recent artist residency program makes it the three-year home too of Liars & Believers a company which "creates original live performances which move the heart, challenge the mind and feast the senses."
Through May 11, they're experimenting with the Greek myth Icarus, transporting that tragic family saga to a depression era Midwestern traveling sideshow. Think "No-Bones Magee," dancing girls, and "The Monster Maze."
What I think about when I think about experimental theatre is how often it's a type more than a challenge.
Many of those "experimental" tropes are indeed on display in this Icarus: you can order a signature cocktail and wander around with the roving musicians; a classic myth is transposed to a disorienting setting with questionable fidelity to the original; there are puppets.
But there's something else too that when glimpsed is quite striking and frankly rather traditional: beauty.
When Icarus (Lukas Papenfusscline[!]) opens his mouth to sing a ballad to his beloved Penny (Liz Tancredi), the sound is fantastically sweet, eclipsed only by Penny's own, which is nothing at all compared to the visual fantasy of the two of them flying away in their diaphanous flying machine.
Trying-too-hard audience engagement is over-shadowed by clever dialogue. Sometimes bizarre puppetry is forgotten in light of evocative body movement. Forced accents are forgiven on the merit of a deeply moving reflection on what responsibility children might have to parents.
In fits and starts, bits and pieces, here and there and "did you see that!?" Icarus achieves LAB's mission of creating new expansive, boundary-breaking theatre.
So what thoughts do I think when I think about LAB's Icarus: real, good ones.
Conceived and Directed by Jason Slavick
Music and Lyrics by Nathan Leigh
Puppetry Direction by Faye Dupras
Written by the LAB Ensemble
May 1-11 @ 7:30 pm. Doors open and preshow begins at 7 pm.
OBERON, 2 Arrow St, Cambridge
Tickets from $25
Shawn Fitzgerald grew up on Cape Cod but has called the Boston and North Shore areas his home for the better part of his life. Shawn has written theater reviews and interviews for The Cape Cod Times and has written film reviews and feature articles for TheHDRoom.com since 2005. Recently, Shawn studied photography and graduated from Boston University's College of Communications. He has photographed events for WGBH television and Christianity Today magazine. His favorite films are Schindler's List, Lawrence of Arabia, The Godfather, Jaws and Almost Famous. His favorite bands/musicians include The Beatles, Radiohead, Bruce Springsteen and Nick Cave and the Bad Seeds. Shawn currently resides in Melrose but is planning on calling Salem his home in the near future. You can see more of his work, including the rest of this event's photos on his website or facebook]]>
The second photograph neatly illustrates why the exhibition should start with 1930, for California (sunny SoCal especially) became ground zero for a population and housing boom, for Americans escaping the Great Depression, for European émigrés escaping Nazi terror, and for modern industries and their technologies readying a deep and lasting imprint on American – and global – culture.
During the thirty-five years between 1930 and the exhibition's endpoint, 1965, a remarkable efflorescence of design adapted to California's edenic climate emerged. Divided into four chapters, Shaping, Making, Living, and Selling, the exhibition presents over 250 examples of Californian Mid-Twentieth Century Modern design, most of which focuses on the home, its furnishings, and its inhabitants. Although California design is thoroughly informed by leading edge technologies (Hollywood film, as well as advanced wartime materials research and development), its impact was on lifestyle. And for those who couldn't actually afford it, on aspirational lifestyle.
Thus we see examples of residential architecture using new technologies that enable floor to ceiling windows, steel framing, and plastic components (skylights, for example), which in turn allow architects to advance a new
"indoor-outdoor" lifestyle attitude. Living rooms open up to patios that open onto swimming pools that reflect the big sky and desert beyond. Especially noteworthy in this regard is the 1948 Donnell Ranch, where Thomas Dolliver Church designed the first kidney-shaped swimming pool in response to specific site requirements as well as the client's appreciation of abstract art. New materials allow furniture to move more easily from outdoor to indoor and back again. Architectural pottery and planters by La Gardo Tackett exist happily outside, or move inside to function as sculpture.
These ideals are vividly illustrated by the exhibition's Case Study Houses, a programmatic approach to residential architecture sponsored by Arts and Architecture Magazine in its January 1945 issue. While the housing boom that occurred after World War II also had a more affordable "homes for heroes" impetus, the Case Study Houses could be rather grand – in a stripped-down, minimalist mid-century way. Case Study House #22 (also known as The Stahl House), illustrated in the exhibition by Julius Shulman's iconic photograph, shows just how luxe new California design could be: dramatic floor-to-ceiling glass walls on three sides and steel under-girding allow the house to be cantilevered dramatically over what looks like a cliff that, quite literally at one's feet, gives way to Los Angeles far below.
In a less dramatic but perhaps more far-reaching way, other material innovations made California design accessible (and affordable) to the masses. Take molded plywood, for example. Initially explored prior to the end of WWII by Charles and Ray Eames as a material for furniture, it wasn't a feasibly affordable mass-consumer product until the US Navy agreed to explore the process for the manufacture leg splints (designed by Eames) for wounded servicemen. Mass production techniques developed under the military in turn translated to furniture production – and the molded plywood chair remains in production to this day. By the same token, plastic and fiberglass, materials used by the military, translated into consumer goods, notably fiberglass surf boards, which in turn made the aspirational lifestyle embodied by the California surfer dude (and dudette) into a very real and affordable consumer item.
While the influence of German and Austrian design thinking is evident in much of California Modern's stripped down, streamlined lack of ornamentation (recall Adolf Loos, a major influence on Bauhaus philosophy, who – in
reaction against his own 19th century inheritance of over-decoration, clutter, and tacked-on building façades – famously decreed that "ornament is crime"), California designers, whether American-born or fugitives from war-torn Europe, allowed for a much softer, organic look. Gone were the often rigid geometries and the pure primary colors of European modern design, instead replaced by an emphasis on organic, undulating shapes as well as the pastel colors that only California's endless sun could mix.
California design was populist by necessity (all those new, freshly prosperous consumers needed houses, needed furniture, needed clothing, cars, and recreational outlets), but it was also terribly glamorous. As Virginia Postrel writes in her book, The Power of Glamour, glamour is "a form of nonverbal rhetoric, which moves and persuades not through words but through images, concepts, and totems. …By binding image and desire, glamour gives us pleasure, even as it heightens our yearning. It leads us to feel that the life we dream of exists, and to desire it even more." It is, in other words, eminently suited to conveying the aspirational lifestyle choices of millions, whether Californian or not.
How fitting, then, that when you enter the Peabody Essex Museum, you'll see on your immediate left a brilliantly glamorous 1964 turquoise fiberglass Avanti sports car, parked in the atrium for the duration of the California Design exhibition. Or when moving further into the museum's atrium, you'll encounter Foo, a glamorous 1936 aluminum Airstream camper-trailer ("an airplane without wings" born of innovations in the aircraft industry) that captures the aspirations of a "just pick up and go" freedom. Finally, when you leave the exhibition itself, you'll pass through the last chapter, fittingly centered on Selling.
Without the concerted effort to disseminate (that is, sell) the aspirational lifestyle embodied by California design, would it have remained a niche glamour product? It's something we can't answer since Hollywood movies ensured from the beginning that glamorous styles went not just around the country, but around the world. And by the time the Cold War was in full swing, the power of California design, the enticing way it could beckon millions to aspire to just such a lifestyle, proved useful in the US government's propaganda tool kit. International traveling exhibitions demonstrated, as the show's curator Wendy Kaplan put it, "how fabulous it was to be capitalist and how fabulous it was to be American." The first such international exhibition was in 1959. By 1964, the US was in full cultural superiority throttle when American Pop artist Robert Rauschenberg took First Prize at the Venice Biennale.
Pop Art is beyond the purview of the California Design exhibition, although toward its end the show leaves the viewer to ponder Robert Arneson's Dadaistic but also prototypical Pop Art ceramic, No Deposit No Return (1961), a "vase" that's not a vase. It has no function, it's sealed at both ends, and it even uses words to proclaim its anti-functional status. Nearby we also see Sister Corita Kent's yellow submarine (1967), which uses the Beatles's famous song lyrics to create an iconic "Make Love, Not War" poster. Arneson's piece signals the end of an era in which designers were happy to work together with industry, to work toward making mass-produced objects accessible to ever-larger numbers of consumers. Now, however, the designer-craftsman, formerly compliant with consumer culture, instead morphs into the fine artist who creates non-functional, and often anti-establishment, work.
The Sixties put the kibosh on many California aspirations in other ways, too. For one thing, it's clear that California Modern is deeply suburban, a car-culture designed for the many who would live in tidy bungalows neatly arrayed in the SoCal desert, with easy highway access to the beach. But the suburbs didn't continue to satisfy the kids coming of age: they congregated in messier cities, whether Berkeley, San Francisco's Haight-Ashbury, or points East. Former Steely Dan founder Donald Fagan put it well in his quasi-autobiographical album, The Nightfly. His song The New Frontier captures the mood – that moment of shifting from the suburban cocoon to a bigger world. Describing a party at the parental bungalow (complete with "a dugout that my dad built, In case the Reds decide to push the button down"), the hero is looking for the right embodiment (a girl, naturally) of The New Frontier:
Introduce me to that big blonde
She's got a touch of Tuesday Weld
She's wearing Ambush and a French twist
She's got us wild and she can tell
She loves to limbo, that much is clear
She's got the right dynamic for the New Frontier.
It all sounds great, except for the chorus: "Well, I can't wait till I move to the city, Till I finally make up my mind, To learn design and study overseas…"
Escape from Suburban Nation already lurks at the back of the coming generation's mind, a generation perhaps ironically primed by the sheer magnitude of wealth embodied by California design to take its aspirational birthright to the next "Me Decade" level.
California Design, 1930-1965: Living in a Modern Way is on view now through July 6, 2014 at the Peabody Essex Museum. Originally conceived and exhibited at LACMA (Los Angeles County Museum of Art), the exhibition has toured Tokyo, Auckland, and Brisbane. It concludes at the Peabody Essex Museum, its only North American venue outside of L.A.
Yule Heibel lived in Beverly during the 1990s while teaching art history in Cambridge. In 2002, she moved to Victoria, BC, home-schooled her kids, and read Jane Jacobs. Now back on the North Shore, she is passionate about fostering vibrant urban development that gets people out of their cars.
Featured Image: Stahl House (Case Study House #22), Hollywood Hills, 1959-60, Taken 1960; Printed 2011. Inkjet print. Framed 21 x 17 in. Los Angeles County Museum of Art. © J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute (2004.R.10).]]>
The following groups were involved with this fantastic project. Click any of the names to see their work on Facebook!
Big Ol' Dirty Bucket, Qwill, Salem Arts Festival,Social Palates, We_are_salem, Salem Public Space Project,Beverly Hills High School AP Art Department, Peabody Essex Museum, Eternal Lotus Fire Collective, Siren of the Circle,Spiral Glyphics, Family Fuego,
Shawn Fitzgerald grew up on Cape Cod but has called the Boston and North Shore areas his home for the better part of his life. Shawn has written theater reviews and interviews for The Cape Cod Times and has written film reviews and feature articles for TheHDRoom.com since 2005. Recently, Shawn studied photography and graduated from Boston University's College of Communications. He has photographed events for WGBH television and Christianity Today magazine. His favorite films are Schindler's List, Lawrence of Arabia, The Godfather, Jaws and Almost Famous. His favorite bands/musicians include The Beatles, Radiohead, Bruce Springsteen and Nick Cave and the Bad Seeds. Shawn currently resides in Melrose but is planning on calling Salem his home in the near future. You can see more of his work, including the rest of this event's photos on his website or facebook]]>
Shawn Fitzgerald grew up on Cape Cod but has called the Boston and North Shore areas his home for the better part of his life. Shawn has written theater reviews and interviews for The Cape Cod Times and has written film reviews and feature articles for TheHDRoom.com since 2005. Recently, Shawn studied photography and graduated from Boston University's College of Communications. He has photographed events for WGBH television and Christianity Today magazine. His favorite films are Schindler's List, Lawrence of Arabia, The Godfather, Jaws and Almost Famous. His favorite bands/musicians include The Beatles, Radiohead, Bruce Springsteen and Nick Cave and the Bad Seeds. Shawn currently resides in Melrose but is planning on calling Salem his home in the near future. You can see more of his work, including the rest of this event's photos on his website or facebook]]>


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St Thomas Creations Stafford 4" Center Medium Pedestal Sink Basin
This elegantly shaped Stafford sink features a large oval bowl for daily use. Versatile form allows this sink to mix well with any style that you are wanting to create in your bathroom. The sleek, smooth design made of vitreous china ensures the safety and quality of the Stafford sink. This construction helps protect against scratches and makes it easier to keep clean.
St Thomas Creations Stafford 4" Center Medium Pedestal Sink Basin
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|Installation Type: Pedestal Sink
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|Number of Faucet Holes: 3
|Country of Manufacture: Mexico
|Installation Required: Yes
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St Thomas Creations Stafford 4" Center Medium Pedestal Sink Basin
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OUR SKU # STC1339Stafford 4" Center Medium Pedestal Sink Basin is also sometimes listed under the following manufacturer numbers: 5137.042.01, 5137.042.02, 5137.042.06, 5137.042.13, 5137.082.01, 5137.082.06


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Master Class: World Economic Outlook
Oct 10, 2012
IE Master Class with prof. Gonzalo Gaspar
The world has been going through important economic changes in recent decades, and the economic crises of this new century are accelerating preexisting trends. This session will start with a long-term perspective of economic growth, and will then review the present economic environment worldwide, discussing the potential future implications of a changing world.


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Jenkins and other Continuous Integration (CI) can be used to automate the process of code integration, making the build and release management easier, faster and more reliable. These tools make the development process smooth, reduce code errors, increase the productivity of the developers and optimize the deployment and delivery of the software solution.
A system can last for 5 or 10 or even 20 or more years. But the life of specific lines of code, even of designs, is often much shorter: months or days or even minutes when you're iterating through different approaches to a solution.
This post will walk you through the basic usage of Viper. It is intended for people who are new to the Go programming language (I am just starting out myself). This is because the purpose isn't Viper per se, but the process of doing some of the basics in Go.
The event store can be replicated by using a replicated journal implementation, e.g. Cassandra. However, there is one piece missing: clustering the broker itself.
Today I'd like to introduce a new series of posts named Untangling Concepts.
Have you ever been told that in your network serverX can only be reached by a serverY via SSH?
This post is part of the "Legacy Code to Testable Code" series. In the series we'll talk about making refactoring steps before writing tests for legacy code, and how they make our life easier.
One of the reason why Mongo is gaining a lot of momentum in the industry is the ease of use. Just download the package, start mongod and you are done
I have learned a lot when working on JsonUnit. Here are some of the lessons.
I had the pleasure of sitting down with Reena Mathew and Dave Mangot of salesforce.com to discuss their upcoming talk at DevOps Enterprise in San Francisco (October 21 - 23), and their journey into the heart of DevOps. Salesforce.com was recently ranked the most innovative company by Forbes Magazine for a record fourth consecutive year.
Make sure you didn't miss anything with this list of the Best of the Week in the Mobile Zone (October 25 - October 31). This week includes tutorials on converting your legacy code and creating a Docker-based RabbitMQ cluster.
Aaron talks with Avi Cavale (CEO of @BeShippable), about utilizing Docker containers for Continuous Integration/Delivery
This post is part of the "Legacy Code to Testable Code" series. In the series we'll talk about making refactoring steps before writing tests for legacy code, and how they make our life easier. It continues the last post on accessors.
In my hunt for the mysterious DevOps practice, I've been let down. DevOps are hard to find. When you find them, they do not exactly do what you think they should do.
The re-invention of the IT department is well underway. The end result will put technology at the core of every organization. By combining agile-development techniques and a hybrid public-private cloud methodology, companies realize the benefits of new technologies and place IT at the center of their operations.
I have been trying to create a Docker based RabbitMQ cluster on and off for sometime and got it working today - fairly basic and flaky but could be a good starting point for others to improve on.
Estimation is difficult. Most people aren't good at it–even in mundane situations. But, why are software development estimations usually off by so much?
This post is part of the "Legacy Code to Testable Code" series. In the series we'll talk about making refactoring steps before writing tests for legacy code, and how they make our life easier.
A new solution for snapshot image compare in CI. Integrate into existing UI automation to avoid regressions in the look & feel of your UI application. Simple to use, allows to defined what parts of the image to compare, If it lives up to it's offer, regression testing is about to be reinvented
Make sure you didn't miss anything with this list of the Best of the Week in the DevOps Zone (October 17 - October 24), including theories on logging, git submodules, and thoughts on localized strings.
Recently I was tutoring juniors during a training session. One of the task was to write a class that can dwarwle maps based on some string key.
I suspect that the correlations between methods/tools and confidence are pretty weak. Time to market is key, and teams try to balance quality and time to market. Better approaches to testing and driving quality may not drive higher quality software at release time, but rather bring forward the release.
Drone, Packer, Ansible, Docker... we associate a litany of names with continuous integration and continuous deployment. But when it comes to building a toolchain that seamlessly transitions our applications from a developer's editor to a running server, we often have to rely on our wits. My team has invested heavily in building an awesome CI/CD system based entirely on top-shelf open source tools. Here's what our solution looks like.
I'm sure you have heard "knowing is half the battle," and sometimes when in the weeds, you cannot spend the time to reflect on what has happened and what is coming. Knowing what you will face will help you brace and prepare in advance. Here is the list.
Discover best practices and the most useful tools for building the ideal integration architecture.


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TRC Recreation LP Super Soft Buoyancy Belt
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About the ManufacturerTRC Recreation manufactures and markets a complete line of quality recreation-related products inspired by innovation and integrity. Soft and comfortable, these long-lasting products offer unique floating designs that are practical, durable and enjoyable. Perfect for the pool, beach, lake and spa.
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