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Charlie Hunnam and Katey Sagal, two of the stars of the FX series 'Sons of Anarchy,' talk with Back Stage correspondent Alan Frutkin about their rough biker ...
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I4U News is feeding your Geek Mind. The Geek Mind is concerned with life, in all its different forms and facets.
The geek mind wants to know about societal and financial issues, both abroad and at home. If a Fortune 500 decides to raise their minimum wage, or any high priority news, the geek mind wants to know.
The geek mind wants to know the top teams in the National Football League, or who's likely to win the NBA Finals this coming year.
The geek mind wants to know who the hottest new models are, or whether the newest blockbuster movie is worth seeing. The geek mind wants to know.Read more.


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Foundation grantmaking focuses on four major program areas.
These programs touch upon a number of major issues.
Each grantmaking program also works within clearly stated geographic parameters or regions.
For general information and resources about philanthropy,
visit our Philanthropy Resources page.
Looking for a specific grant?
This renewal grant provides partial support to the Center for Community Progress to further its mission of combating the negative effects of property vacancy and abandonment in post-industrial urban areas. Headquartered in Flint and with offices in Washington, D.C., the grantee addresses these issues at the federal, state and local levels through a combination of research, policy reform and advocacy, technical assistance and capacity building, and communications programs.
This renewal grant provides partial support for the Genesee Area Focus Fund and its supported organization, the Flint and Genesee Chamber of Commerce, to continue to deliver economic development and education and training services to the greater Flint area. The Flint and Genesee Chamber of Commerce aims to increase business investment, industry diversification, and job creation through its business attraction, retention and expansion services, and entrepreneurial assistance activities. In addition, the organization helps to enhance the area's economic competitiveness and quality of life by providing the community with workforce education, training programs, and special initiative projects.
The Mott Foundation, through its four grantmaking programs, funds selected projects focusing on state-wide economic, workforce, and environmental challenges.
Fueling Positive Change in the Motor City
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subset: commoncrawl


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The Secret of Monkey Island -- and at a discount before LeChuck has his high-def revenge this summer. The classic advent-arrr game is a mere 400 ($5) this week on the Xbox Marketplace -- that's less than a rubber chicken with a pulley in the middle.
A couple Monkey Island Avatar items are also on sale this week. The Cotton Swab is ready to clean 80 ($1) out of your account, while those on Team LeChuck can show it by picking up LeChuck Pirate Hat for 40 (50¢). To see the discounts, you'll have to be logged into an Xbox Live Gold account.
Xbox.com: Add The Secret of Monkey Island: Special Edition to your Xbox 360 download queue ($5)
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Nickelodeon (ended 2000)
Anybody know the name of the mall in which The Tale of the Pinball Wizard was filmed?
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Welcome International Customers
We're excited to share our jewelry collection with you!
Just choose your country and currency to personalize your shopping experience.
We're excited to share our jewelry collection with you!
Just choose your country and currency to personalize your shopping experience.
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Item#: 834663
Update your collection with something unexpected. On this lustrous necklace, 4-9mm cultured freshwater pearls trail toward a cluster of 12-15mm baroque cultured freshwater pearls. Tassel adds 3" to the length. Lobster clasp, 14kt yellow gold necklace.
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14kt 14KT: Karat (abbreviated kt or K) is a unit that indicates the purity of gold in the metal. 14kt is 58.33% gold. In the United States, 14K yellow gold is most favored and used in jewelry. Yellow Gold YELLOW GOLD: Gold is a precious metal with a natural yellow color. It is quite soft and often alloyed with other metals to increase its strength. The purity of the metal is indicated by a unit called a "karat," with 24kt having the highest percentage of natural gold.
Polished POLISHED: A buffed-out finish used to produce a mirror-like shine.
Lobster LOBSTER CLASP: named after the pinching style of the hook, this clasp is often shaped like a lobster's claw. Use your finger to work the lever to open the clasp.
Stone 1:
Cultured Freshwater Pearl CULTURED PEARLS: Likened to the moon, pearls have been valued for their luminous glow and natural beauty for thousands of years. Today, high-quality cultured freshwater pearls make pearl jewelry affordable to all. Pearl is the traditional birthstone for the month of June. (Color: White, Quantity: 61, Shape & Cutting Style: Oval, OVAL: An elliptical shape that resembles an egg. Size: 4-5 mm)
Stone 2:
Cultured Freshwater Pearl (Color: White, Quantity: 8, Shape & Cutting Style: Near-round, NEAR-ROUND: A pearl that visually appears almost round. NEAR-ROUND: A pearl that visually appears almost round. Size: 6-7 mm)
Stone 3:
Cultured Freshwater Pearl (Color: White, Quantity: 32, Shape & Cutting Style: Near-round, Size: 8-9 mm)
Stone 4:
Cultured Freshwater Pearl (Color: White, Quantity: 5, Shape & Cutting Style: Baroque, BAROQUE: is the term used to describe oversized and irregularly-shaped pearls. Baroque pearls add interest and intrigue to classic jewelry styles. Size: 12-15 mm)
All weights and measures are approximate.
Recently Viewed Items
You May Also Like
.25 ct. t.w. Diamond Highway Ring in Sterling Silver
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Set of Three Opal and .22 ct. t.w. Diamond Rings in Sterling Silver
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1.00 ct. t.w. Diamond Ring in Sterling Silver
Super Deal: $395.00
.33 ct. t.w. Diamond Open Loop Ring in 14kt Yellow Gold
Super Deal: $595.00
Sterling Silver Textured Knot Ring
Super Deal: $75.00
Learn More About: Freshwater Pearls Yellow Gold Earring Buying Guide Polished Finish Lobster Clasp Near-round Pearl Near-round Pearl Baroque Pearl


text: ""; ?> El Enamo guitar chords, guitar tabs and lyrics - chordie guitar tabs, guitar chords and lyrics Artists Songs Public booksPublic My songbookSongbook ResourcesDiv Forum Browse artists: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z # -first letter-A B C D E F G H I J K L M N O P Q R S T U V W X Y Z # All songs - change Chordie needs editors! Improve this page El Enamo MusicEl Enamo Songs There was no article about El Enamo in Wikipedia. If you know anything about El Enamo, please contribute to the free encyclopedia by writing an article. El Enamo El Dia Que Vivi (2) play their songs - buy their music - support the artists copyright © 2011 chordie guitar chords 5 popular songs In My Place Coldplay I Don't Want To Talk About It Rod Stewart Summer In The City Lovin' Spoonful Who'll Stop The Rain Creedence Clearwater Revival Bad Moon Risin Ccr


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A Warriors Website
Where the lives of the cats you followed in the books become the real thing; and so much more! Everyone is welcome here, so join in the fun today!
free, forum, warriorclan, warriors, erin, hunter, roleplay, warrior, #cats, tribe, role, play, written, clans
The future's in your paws. Shape it well. Roleplay in a cat Clan of warriors. Based off the Warriors series by Erin Hunter. Takes place during the time before the cats in the books existed.
warrior, clan, #cats, roleplay, riverclan, thunderclan, windclan, shadowclan, good, erin, hunter, warriors, active, portal, forum
The catspawisland forums.
#cats, island, catspawisland, forums
Welcome, kittypet, to Warriors Life. Take a look around, and if you have enough courage, join us. . .
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Free forum : One day your living your life as a normal human. As you make your way to school a sudden blizzard strikes in the middle of summer. Now your stranded in a new world of cats. Join the ranks
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This is a warrior cats forum if you dont know what warrior cats is go and read it then come backi hope you have a fun time here
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RP as a warrior cat!
Free forum : Be the warrior cat that you always wanted to be in this fun forum! Anybody is welcome to join!
A warrior cats roleplay.
It's the great Warrior Cats roleplay, brought directly from Pokefarm to its own site!
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A collective gathering of various internet veterans. Probably centered around cats. Who knows
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A free roleplay site where everyone can join.
Lifeclan is a clan built on the vast meadows and forest of the place these cats call home. It is a lush clan with many cats and many good times. The clan rules well with the warrior code to tank for that, as every cat follows it. They are not like th
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A friendly, new warrior cats roleplay, forum, and general website in which aims to be an active and awesome community with people and roleplayers of all kinds. We are welcoming to anyone interested in the world of Warrior Cats and roleplaying, and we
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text:
Added Aug 16, 2013
by b-ella
Brooklyn, New Yo...
I love this fabric: it's extremely soft and cozy. But I don't love the way the dress itself fits and I think part of the problem is the fabric. It clings and drapes in the wrong way. Initially, the dress was a little looser, but I found it unflattering, so I made it a bit smaller. I find that the neck and the various gathers slump and drape in awkward ways when I move around. Perhaps the pattern would be better with a slightly stiffer fabric, perhaps some sort of wool blend. I also don't think the cowl needs to be quite so loose, and if I were to make the dress again, I would take away a couple of the gathers. It seems to me like there are a few too many.
Heavy cotton jersey.
Aug 17, 2013, 01.20 PMby Deanna31
I think perhaps if you want it to have more drape; leave it looser and add a tight lining, then sew the outer and inner garments together on the side seams- then you'll still have the shape and get the drape ;)
Add to Favorites 1 person added it
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Get ideas and inspiration, find easy to use patterns
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Blue Staffordshire bullterrier
Hello balu is a pedigree blue staffy boy just turned 7months old. his dad is bowser blue eye he comes with full papers and generation papers. Reason for rehoming me and my other half are working very long days saving for a morgage so balu is not gett
- DOB:17 Apr 2014
- Rehome date:12 Jun 2014


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Court battles offer rewards, but stir controversy
After almost a decade, litigation funds, which raise money from investors to finance legal actions, are coming into their own.
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Kukla's Korner Hockey
Another Bad Loss For The Edmonton Oilers
by Paul on 11/22/14 at 08:16 AM ET
Comments (2)
from Robert Tychkowski of the Edmonton Sun,
The Edmonton Oilers sunk to a new low Friday, difficult as that might be to comprehend, having to skate off the ice to a chorus of boos after being badly outworked in a 2-0 home-ice loss to the New Jersey Devils.
Once again, all the skill in the world came up short in the face of superior will, as Team Analytics got steamrolled by an opponent that simply rolled up its sleeves and ground out a victory with hard work, determination and smart hockey.
"We have guys in our lineup, guys like Matt Hendricks and Boyd Gordon, they have a ton of will, it's in their DNA," said embattled head coach Dallas Eakins. "And we have other guys, who we're pushing to go there and they will go there sometimes, but we need them to go there every time.
"That's the challenge, because people are wired a certain way."
Watch coach Eakins post-game below...
Filed in: NHL Teams, Edmonton Oilers, | KK Hockey | Permalink
Video- Sergei Bobrovsky With The Bad Goal Of The Night
by Paul on 11/22/14 at 08:02 AM ET
Comments (0)
The Blue Jackets lost 4-3 in a shootout.
Filed in: NHL Teams, Boston Bruins, Columbus Blue Jackets, | KK Hockey | Permalink
Tags: dennis+seidenberg, sergei+bobrovsky
Video- Johnny Boychuk Hit On Evgeni Malkin
by Paul on 11/22/14 at 07:56 AM ET
Comments (8)
No penalty on the play, thoughts?
Filed in: NHL Teams, New York Islanders, Pittsburgh Penguins, | KK Hockey | Permalink
Tags: evgeni+malkin, johnny+boychuk
Video- Benoit Pouliot Out With A Broken Foot
by Paul on 11/22/14 at 07:45 AM ET
Comments (0)
You can see how the injury occurred at the :22 second mark of this game recap video.
Filed in: NHL Teams, Edmonton Oilers, | KK Hockey | Permalink
Tags: benoit+pouliot
Video- Milan Lucic Stunned With A Punch To The Head
by Paul on 11/22/14 at 07:35 AM ET
Comments (11)
Dalton Prout with one punch...
Filed in: NHL Teams, Boston Bruins, Columbus Blue Jackets, | KK Hockey | Permalink
Tags: dalton+prout, milan+lucic
Leafs Waiting For April?
by Paul on 11/21/14 at 07:16 PM ET
Comments (14)
from Cathal Kelly of the Globe and Mail,
You can understand why Shanahan is keeping out of this. This season was always lost. All he wants to do is get to April. By then, he can torch Carlyle and maybe Nonis, and hire Detroit head coach Mike Babcock.
Babcock is his finish line. In the interim, he needs Carlyle and Nonis to wear this wretched season, but he also needs them to survive it.
Those two objectives only align if the team is mediocre, rather than embarrassingly awful. They're sliding from the former to the latter.
The pressure is mounting on Shanahan to do the thing he least wants – give in to public frustration and fire Carlyle now.
Then he'd have to hire an interim coach. What if that guy won? And the fans fell in love with him? That would screw everything up.
So Carlyle is left dangling, with no word at all from his bosses. Shanahan can't be seen supporting or denying him. Any presser he holds right now is going to be perceived as a vote of confidence or a kiss of death. Probably both. It's an impossible bind.
In the end, all Shanahan can do is hide.
Filed in: NHL Teams, Toronto Maple Leafs, | KK Hockey | Permalink
Los Angeles Kings Will Now Receive Cap Relief Regarding Slava Voynov Suspension
by Paul on 11/21/14 at 04:37 PM ET
Comments (0)
NEW YORK (NOVEMBER 21, 2014) -- The National Hockey League announced today that the existing terms of its suspension of Los Angeles Kings' Player Slava Voynov will be continued indefinitely.
However, in light of the uncertain and potentially extended period of time that the legal process may entail, the NHL and NHLPA have agreed to permit the Kings to replace Mr. Voynov's Salary and Bonuses pursuant to the Bona Fide Long-Term Injury Exception under the terms of the NHL/NHLPA Collective Bargaining Agreement.
Filed in: NHL Teams, Los Angeles Kings, | KK Hockey | Permalink
Tags: slava+voynov
Dallas Stars Trade Brenden Dillon To San Jose For Jason Demers And A 3rd Round Pick
by Paul on 11/21/14 at 03:27 PM ET
Comments (2)
from Mike Heika of the Dallas Morning News,
The Stars continued to shake up their defense Friday, sending Brenden Dillon to San Jose for Jason Demers and a third round draft pick, according to an NHL source.
Dallas already traded Sergei Gonchar to Montreal last week and lost Kevin Connauton to Columbus on waivers this week, so this makes the third defenseman to leave in the first two months of the season.
Dallas Stars release is below...
Filed in: NHL Teams, Dallas Stars, San Jose Sharks, | KK Hockey | Permalink
Tags: brenden+dillon, jason+demers
No Panic In Chicago
by Paul on 11/21/14 at 01:34 PM ET
Comments (1)
from Corey Masisak of NHL.com,
There are not many franchises in the NHL where a 10-7-1 start to the season would elicit varying degrees of panic amongst the fan base, but the Chicago Blackhawks live in that space in 2014.
The Blackhawks have been one of the best teams in the NHL for seven seasons now, winning the Stanley Cup twice and reaching the Western Conference Final twice in the past six campaigns. There is an expectation to be playing in June 2015, or this season will be considered a failure.
So 21 points in 18 games, which as of Thursday morning was only good enough for ninth place in the West, has set off warning alarms in some homes in the greater Chicagoland area. One person who is not concerned? That would be Blackhawks general manager Stan Bowman.
"I think we've played very well, probably better than our record shows," Bowman said Tuesday in Toronto after the League's general managers meeting. "I've been very pleased with our performance. One thing we haven't done until recently is scored a lot of goals, and that has always been a strength for us. We have essentially the same cast of characters back, so that will work itself out. We've been very good defensively. I think we've been No. 1 or 2 in goals against all year, and I think that is going to bode well for us down the stretch."
continued plus the Super 16 Power Rankings with the Blues and Blackhawks in the top 2 spots...
Filed in: NHL Teams, Chicago Blackhawks, | KK Hockey | Permalink
Report- Daniel Alfredsson Won't Play This Season
by Paul on 11/21/14 at 12:43 PM ET
Comments (9)
from Darren Dreger of The Dreger Report,
Three weeks shy of his 42nd birthday, Daniel Alfredsson's comeback bid is about to end.
Sources tell The Dreger Report that Alfredsson has decided not to play this season and while the Red Wings have been informed he is likely done, they have not heard directly from Alfredsson.
Alfredsson has been plagued by an injured disc in his back over the past few years, a lingering problem that he is able to manage off ice, but is continually aggravated by the wear and tear of game action.
continued plus the Toronto stick salute debate...
Filed in: NHL Teams, Detroit Red Wings, | KK Hockey | Permalink
Tags: daniel+alfredsson
« Previous ‹ First < 2 3 4 5 6 > Last › Next »
About Kukla's Korner Hockey
Paul Kukla founded Kukla's Korner in 2005 and the site has since become the must-read site on the 'net for all the latest happenings around the NHL.
From breaking news to in-depth stories around the league, KK Hockey is updated with fresh stories all day long and will bring you the latest news as quickly as possible.
Email Paul anytime at email@example.com
Most Recent Blog Posts
Trade Options For The Edmonton Oilers
Why The World Cup Of Hockey Is A Good Idea
After Montreal's 5-0 Loss To The New York Rangers Last Night
Video- Mike Smith With The Bad Goal Of The Night
Video- Review Of The NHL Games On Sunday
Viktor Tikhonov Dead At Age 84
Reto Berra Not Living Up To Expectations In Denver
Video- How Bad Is It In Edmonton?


text:
Fire Drill at a gassho-style house in Hida no Sato
Many tourists always visit Hida no Sato where a number of important traditional houses and handcrafts are preserved. These include important cultural properties designated by the national government, Gifu prefecture, or the city of Takayama. It is very important to have adequate safety measures such as proper communication, early fire extinction and an evacuation guide to minimize the damage in case of fire. As part of this we conduct fire drills twice a year.
10 minutes by Sarubobo bus from the JR Takayama Station
Hida no Sato(0577-34-4711)
The front approach to Sakurayama Hachimangu is turned into a car free mall with many antique stalls during this event. Also visitors can enjoy local food in the mall. Time: 9:00 - 16:00
20 minutes walk from the JR Takayama Station
Hida Takayama Tourism & Convention Bureau(0577-36-1011)
Traffic Condition (JR train and Highay Bus)
Due to the typhoon that is approaching to the Hida Takayama area, some of JR trains and highway busses have been cancelled.
Jr Trains
Oct 13 (Mon)
To Gifu, Nagoya /Canceled
Hida No. 18 (Dept.16:38), No.20 (Dept.18:39), No. 92 (Dept.17:39)
To Osaka / Partially cancelled between Gifu and Osaka
Hida No. 36
From Nagoya / Cancelled
Hida No. 11(Arr.15:05), No.13(Arr.17:08), No.15(Arr.18:17), No.17(Arr.20:18), No.19(Arr.22:07)
Oct 14 (Tue)
From Osaka / Partially canceled between Osaka and Gifu
Hida No. 25
Highway Bus
Oct. 13
To Kyoto and Osaka / Cancelled
Dept. 14:40 and 16:15
From Osaka / Cancelled
Dept. 16:00
From Nagoya / Cancelled
Dept. 20:30
Oct. 14
From Osaka
Dept. 7:35 and 8:50
Today's air level of the city area of Takayama at 10:00AM on October 8.
SO2: 0.002 < 0.04(environmental standard)
SPM:0.02 < 0.10(environmental standard)
80th Anniversary Events Celebrating the Completion of the Takayama Line
JR Takayama Line, which connects Gifu Station and Toyama Station, was opened in 1934; and it will be the 80 year anniversary of its opening on October 25, 2014.
Various events will be held to commemorate this.
<Special Train Operation: Limited Express Wide View Hida>
・Saturdays, Sundays and public holidays between Saturday, October 4th and Sunday, the 26th
・1 round trip per day
Leaving Nagoya at 10:18am and Arriving in Takayama at 12:58pm
Leaving Takayama at 5:39pm and Arriving in Nagoya at 8:02pm
<Fun Events to Welcome the Special Train>
・Saturdays, Sundays and public holidays between Saturday, October 4th and Sunday, the 26th
・10:00am - 5:30pm
・Food and Product Fair held in front of Takayama Station, and a local mascot will greet the special trains.
<Fun Walk>
・Sunday, October 12: Family fun walk and apple picking (Kuguno Station)
・Saturday, October 25: Tour Hida Takayama's historical "Denshou Kuukan" area and participate in the Trivia Quiz Walk (Takayama Station)
・Saturday, November 8: Walk through colorful autumn leaves and enjoy Hida's fresh seasonal products (Hida Ichinomiya Station)
JR Takayama Line
Takayama City Tourism Division (0577-32-3333)


text:
A essay on " Importance of value in human life" .
Asked by K . Debasrita J...(student) , on 20/11/12
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Start Now with Video Lessons, Sample Papers, Revision Notes & more for Class IX - ICSE
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text:
SQL Server Developer Tools, or SSDT (code-named "Juneau"), represents Microsoft's continued commitment to providing integrated tools for developers targeting Microsoft SQL Server. Those familiar with the previous versions of the Database Project in Visual Studio will find that Juneau is an evolution of those tools for SQL Server, plus many new capabilities and improvements. Juneau provides a unified toolset that combines the projects found in SQL Server Business Intelligence Design Studio (BIDS)—including Reporting, Analysis and Integration Services projects—with the SQL Server Database Project.
While you can install Juneau independently and have everything you need to develop databases for SQL Server, it's also an integral part of Visual Studio, meaning you can now perform your database development in the same environment as your application development. Juneau is available as part of the SQL Server 2011 release (code-named "Denali"), but will also be available with future versions of Visual Studio.
This article focuses on the Juneau Database Project. This project system and its related features provide the tools to edit, compile, refactor and publish databases to specific versions of SQL Server and SQL Azure. In Juneau, there's one database project for all versions of SQL Server, and it can include both Transact-SQL (T-SQL) scripts and code that defines SQL CLR objects. Let's start by taking a look at setting up a database project.
The Database Project is a Visual Studio project enabling offline development of SQL Server databases. A database development team would move to project-based development to enjoy the benefits that this type of development affords the team over developing against a shared live database, including:
The core project system is very similar to its Visual Studio Database Project (.dbproj) predecessor, in which developers express objects declaratively as CREATE statements. For some additional background regarding offline schema development, see bit.ly/raDMNx.
When you first create a database project, it appears empty, like most other projects created by Visual Studio. This means you can add source code and then build and debug prior to checking it into source code control. Unlike most other projects where you must start from source code, a database project can be created from an existing SQL Server database. There are several ways to populate a project with source code, depending on the level of control you want:
The project you create models a database; the database properties (for example, collation) are stored within the project's properties and user objects are stored as source within the project. The database project is the offline representation of your database in source code form.
To introduce the database project, let's start with a new empty database project and walk through its various features. There are several ways to create a database project. Because we'll start with an empty project, just click File | New | Project and then select the SQL Server Database Project, as shown in Figure 1.
Figure 1 Creating a New SQL Server Database Project
Most databases have at least one table, so let's add one now. SQL Server Database Project provides default T-SQL templates for many of the commonly used SQL objects. To create a new object, right-click the project node and select Add | Table, then specify the name of the table in the dialog; we'll use "Customer."
Figure 2 shows what a new table looks like in the new table designer.
Figure 2 The New Table Designer
Like the HTML designer, the table designer defaults to a split-pane view. The designer window contains a graphical representation of the table as well as the table's script definition. No matter which view you choose to work in, your changes will be synchronized with the other view.
Often, direct access to a table is restricted and you'll want to write a stored procedure to give an application programmatic access to the table's data. With this in mind, we'll add a stored procedure called "CreateCustomer" the same way we added the Customer table. The editor opens and you're presented with a default procedure skeleton to populate. This might seem a little daunting because, for many developers, you develop your stored procedures against a live database so you can execute and validate your code as you write it. But don't worry; the database project creates a new debug database to make project-based development much more productive. Within the editor you can select some text and right-click to get the context menu shown in Figure 3.
Figure 3 Executing Project Source Code Against the Debug Database
How does executing the text using Execute Query, without having configured a connection string, work? When any source code is opened, the editor is configured to execute against the debug database when asked to execute the script or selected text. In addition, the debug database is updated when you start debugging (for example, by hitting F5 or Ctrl+F5) to match the source of your database project. Juneau leverages a new feature in Denali called the SQL Server Express LocalDB to provide an instance and databases automatically to develop and debug against. For more information, see "Introducing SQL Server Express LocalDB" below.
Once you've looked at LocalDB and have seen how you can develop stored procedures within your source code, you'll want to know about some other cool features available in the Database Project. A typically unsung hero, IntelliSense inside the project system has been improved based on both SQL Server Management Studio (SSMS) and the Database Project feedback. Many of the changes just smoothed out previous rough edges, but a few are significant:
select t.id from Table1 as t
But pressing a period after you typed:
select t
would have resulted in:
select Table1.
This problem has been fixed by adding "preview mode" to IntelliSense. With preview mode, users will see a set of completions, but they won't get auto-complete behavior until they "activate" the completions (via either the down-arrow or up-arrow key).
When planning Juneau, the team felt it was important to elevate the T-SQL development experience to the level enjoyed by developers in other managed languages. As part of this goal, the editor inside the project system has been enhanced to provide common language features like GOTO definition, find all references, and refactoring directly from the editor by right-clicking on an object definition or reference.
As you know, refactoring databases is a lot harder than refactoring application code because databases have data and a seemingly innocuous name change can amount to many additional changes due to dependencies from other objects—or, worse still, data loss can occur when these changes are deployed. Juneau tracks refactor operations performed inside the project by tracking the changes in the MsdnDemo.refactorlog (in our case) so that it can take those operations into account and generate the appropriate sp_rename or ALTER SCHEMA statements.
In other managed languages, the act of building your project is the final step before running the new code. In database development, the analog would be creating all the database objects in your project within a running instance. To bring full database verification to a database project's build, Juneau leverages another new feature in SQL Server Denali called SQL Server T-SQL Compiler Services. This component provides complete verification of your source code without the need to execute that source against a live SQL Server. To see this in action, add the following code after the CreateCustomer procedure:
create table dbo.ExtendedVerificationDemo
c1 int null,
c2 as c2 + 5
When the project is built, you'll see the following error in the error list and output window:
E:\projects\MsdnDemo\MsdnDemo\CreateCustomer.sql(12,1): Error: SQL01759: Computed column 'c2' in table 'ExtendedVerificationDemo' is not allowed to be used in another computed-column definition.
As you can see, this error message is exactly what you'd see reported by the SQL Server engine—in this case because a computed column can't reference itself. As valuable as this feature is, there are situations where you might need to disable it, for example:
If you run into this type of limitation you can turn off extended verification at the file or project level.
After all the build-time warnings and errors have been addressed, verify that your code actually works.
Once you've built your project, you need to run (and possibly debug) your code before you check it into source code control. You have several options depending on where you are in the development cycle and what you want to do, as indicated in Figure 4.
Figure 4 Options for Verifying Your Code
When your code reaches a stable point, it's time to migrate it to an instance to be tested and eventually used by your customers. Juneau has an incremental update engine that will generate an update script based on the difference between your source and the target database. Although there's one underlying engine, it's exposed in three different ways within Juneau to support migration of your changes, as Figure 5 describes.
Figure 5 Options for Migrating Your Code
To support these three different scenarios, the incremental update engine exposes a number of different options to control behavior. You can expect the defaults for these settings to change over time as the team tunes each scenario. For example, in the design-time case it might make sense for the engine to be more aggressive about ensuring the change is made, and to care less about data loss because it's a debug database. Although there are many options, I'd like to call out a few behaviors and their corresponding options, as shown in Figure 6.
Figure 6 Options for Controlling Updating Behavior
Being able to create an incremental update script is very helpful when migrating changes from a source to a target database. However, as precise as the incremental update script is, sometimes it's challenging to determine exactly what's occurring in the script or to summarize what the script is doing. As an aid to summarizing and understanding what the incremental script will perform, Juneau creates a preview report that highlights potential issues with the actions taken by the script, as well as summarizes the actions taken if the script is executed. For example, you can publish your project to the default LocalDB instance like this:
Figure 7 Publish Database Dialog
When publishing has completed, open the publish step and click on the View Plan link. A report like the one in Figure 8 will be displayed.
Figure 8 The Deployment Preview Report
As you can see, the report indicates that the two tables (we fixed the bug in the ExtendedVerificationDemo table) and procedure we wrote earlier will be created when the script is executed. The highlights section is empty, but you can see that the report will highlight actions that could cause a significant performance impact or data loss. If we had only generated a script rather than publishing, we could use this report to help verify the script prior to execution.
So far, we've talked about ways to use the Database Project to develop our code declaratively outside the context of a running database. All this technology is extremely useful when working in team environments, but sometimes you just want to interact with a live server! Microsoft knows that live servers are important to developers, and it has invested in a rich, developer-oriented, connected experience. To demonstrate, let's open the database to which we just published. To connect to that database:
Figure 9 MsdnDemo Database in the New SQL Server Node in Server Explorer
The first thing you might notice is that the tree looks very similar to the tree in SSMS. It should; the team wanted to limit the amount of relearning necessary when moving to Juneau. You can open a T-SQL Query editor right from the tree and begin writing code as you normally would; this editor is the same enhanced editor we talked about earlier. Unlike some of the SSMS capabilities, the Juneau tree is expressly meant for developer-oriented actions. For instance, if you right-click the table Customer and select Delete, you'll see a dialog that presents the same preview report you saw earlier. However, in this case there's a warning that the procedure dbo.CreateCustomer will be broken if the drop is executed, as shown in Figure 10.
Figure 10 Update Database Preview Dialog
** Warnings
The object [dbo].[CreateCustomer] will be broken if the
change is executed.
** Highlights
Tables that will be rebuilt
Clustered indexes that will be dropped
Clustered indexes that will be created
Possible data issues
** User actions
[dbo].[Customer] (Table)
** Supporting actions
A similar report is created if the table is renamed. In both these cases, before actions are executed, you're informed of the impact of the change; this report allows you to see what your changes will do to the database and what might need to be fixed (or deleted) should you apply the changes.
If you cancel the delete and then right-click on the Customer table and select View Designer, you'll see the same table designer you became familiar with in the project system—except this time it's hosted over the definition of the table retrieved from the server. As you might expect, the designer has a CREATE table statement using the same declarative programming model as the project system. In the designer, rename the Id column to CustomerId and add a second int column called Age. Now if you look in the error list, you'll see a warning that CreateCustomer has been broken by the column rename, as shown in Figure 11.
Figure 11 Error Resulting from Column Rename
To fix this error you can either View Code on the CreateCustomer procedure or just double-click the warning and modify the insert statement to update the column names and supply @param2 as the value for the Age column. At this point, you have two windows (one source, one designer) with declarative object definitions retrieved from the database defining a set of changes to the objects on the server. If you click on the Update Database button, you'll see the now-familiar report that will tell you that the column will be renamed and both the table and procedure will be altered. Execute the script by clicking on Update Database and then navigate to the Customer table in Server Explorer. You'll see the tree update to include the CustomerId and Age columns.
The connected development experience in Server Explorer provides a great deal of power to you by supporting the same declarative programming model and enhancing online changes with real-time warning and error support as you make changes.
Juneau is available in the SQL Server Denali CTP3 release. It will also be available as a standalone Web download, and will integrate into existing installations of Visual Studio 2010 and the next version of Visual Studio. Moreover, Juneau has a separate command-line tools installer for publishing databases without requiring Visual Studio to be installed, and for Team Foundation Server automated-build scenarios.
SQL Server Express LocalDB (or LocalDB for short) is basically the next generation of SQL Express User Instances, but without the need to explicitly manage a SQL Express instance on your desktop. LocalDB doesn't have a background service hosting a named instance; rather, it provides a way for developers to define custom named instances and then interact with them. When a LocalDB instance is started, it runs as a process under the credentials
of the user who started it. For example, if you start a LocalDB instance, in Task Manager you'll see a sqlservr.exe process running under your own credentials. This by itself is cool because it means no setup to debug your T-SQL code! Once the instance is started, it's just like a SQL Express instance. When the instance isn't used for a period of time, it will shut down so that an idle SQL Server instance doesn't consume resources on your machine.
A LocalDB installation comes with a command-line tool that can be used to manage the LocalDB instances you've created. For example, you can create a new LocalDB instance called LocalDBDemo by executing the following:
C:\Program Files\Microsoft SQL Server\110\Tools\Binn>SqlLocalDB.exe create LocalDBDemo
Local Database instance "LocalDBDemo" created with version 11.0.
Once the instance has been created, you can start it using the command-line tool or you can just attempt to connect to the instance through Juneau, SQL Server Management Studio (SSMS) or your application. Because LocalDB instances aren't resident instances, they can't be accessed using the (local) prefix used to address instances on the local machine. Instead, use (localdb); in this example you'd type (localdb)\LocalDBDemo into Juneau to connect to and manage the instance.
When you create a new instance, a new directory is created within your user profile and the four built-in databases (master, tempdb, msdb and model) are placed within this directory. By default, any new databases will go in the instance's directory as the default data path. In our example, the directory is:
C:\Users\user1\AppData\Local\Microsoft\Microsoft SQL Server Local DB\Instances\LocalDBDemo
If you don't want to create a custom instance, you can use the LocalDB built-in default instance named v11.0. To access the instance just register a connection to "(localdb)\v11.0" in Juneau, and the instance will be automatically created for you by LocalDB.
Because LocalDB is new, a patch to the Microsoft .NET Framework 4 is required to use the (LocalDB) prefix when accessing an instance through SSMS or managed application code. Installing Juneau will include this patch. Support for the prefix will be built into the next version of the .NET Framework.
Database developers face a problem similar to what Web developers faced (and which IISExpress solved for them): how to develop and debug code that requires a server to execute without needing to run a full server product locally on the development machine. LocalDB provides a solution for database developers. Because LocalDB is a crucial part of database development, it's installed on your desktop when you install Juneau. When a database project is added to a solution, Juneau creates a new LocalDB instance named after the solution and creates a database within that instance for each database project. Juneau creates the data and log file for each database project in a directory within the project's directory. For more information about LocalDB, see go.microsoft.com/fwlink/?LinkId=221201.
Jamie Laflen is a developer working on SQL Server Developer Tools. He previouslyworked on Visual Studio Database Projects.
Barclay Hill is a senior program manager working on SQL Server Developer Tools. He previously worked on Visual Studio Database Projects.
Thanks to the following technical experts for reviewing this article: Jeffrey Davis, Mike Kaufman, Dave Langer, Genevieve Orchard and Patrick Sirr
A very informative overview. Is there a way to Publish database project changes to a separate target database solely by using command line executables? In our old VS database project, I used VSDBCMD to generate a dbschema file for the target database, then used VSDBCMD to build an incremental update script by comparing the updated projects dbschema file to the dbschema file for the target database. I would like to be able to generate the update script from the command line, where the target database is specified at runtime, and the script is then applied to the target database.
Thanks for the great into. SSDT looks very cool. Is it useful as a replacement for SQL CE?
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text:
Rule #7: You must know when to surrender.
"Daddy, come push me on the swing!" Kanya exclaimed as she waved Izaya over, to where she sat on a swing. Izaya stood from where he was sitting and strolled over to the swing set. "I want to go higher than anyone else!"
"Alright." Izaya said before pushing the swing.
"That's not high enough; I want to go higher than the bar." She said pointing up at the bar holding the swings, while hanging on with her other.
"Why is that?" Izaya said humoring her.
"Because, it's fun being so high up! Everyone else looks like ants, even you Daddy." She giggled, as she swung higher.
"Even me, huh?" Izaya smirked, before pulling her off the swing and spinning around.
Kanya squealed with laughter. "Daddy~ I'm dizzy~" She laughed.
Izaya stopped spinning, and then sat in the swing. "Now what was that about me being an
"When I'm up high everyone is an ant, Daddy~" She laughed, "And I'm a giant."
"Well aren't you kind of small for a giant?" Izaya said, as he swung back and forth in the swing.
"Only to you, because you're a grown up giant."
Izaya laughed, "Well then doesn't that make [Name]-chan~ a grown up giant to."
"I'm telling mommy." Kanya gasped.
"What for?"
"You don't say a mommy is a grown up giant, even if you and me are, saying mommy's a giant is like saying those pants make her butt look big or something."
"And she told you this."
I heard it on TV."
"Well I'm just going to have to monitor what you watch."
"But we watch the same shows."
"Alright, I think it's time for lunch." Izaya stated standing up, as Kanya stood beside him.
"You said we could get ice cream!"
"And we will, but after you eat something, so where to."
I want sushi."
"Okay Russia Sushi it is."
When they arrived in front of the restaurant , Kanya ran ahead of Izaya.
"privyet (pree-vyet) Simon!" Kanya exclaimed, using the only word she knew in Russian, to greet him.
"Well if it isn't little Izaya, you come to eat Russia Sushi." Simon said bending down.
"Yeah, me and Daddy came for lunch!" She beamed. "Mommy had to go somewhere for a few
days, so it's just me and Daddy!"
"Well if Izaya give you any trouble, you let me know."
"I will!"
"Hey what's that about, I would never give my little Kanya-chan~ any trouble?" Izaya said, Kanya laughed as they went inside. "So what do you want?"
any sushi."
"So whatever I get, you'll eat too?"
"Mmhmm." She nodded.
"Well what's something you might want to eat?"
I like Inari, Mommy always puts some in my lunch, and I like Maki!"
"What kind?"
"Cucumber and sometimes tuna."
"Why only sometimes, that's the best kind!" Izaya stated.
"I don't know just depends." She shrugged.
"Well tell you what, I'll get you some Inari and cucumber maki, and I'll get some fatty tuna and I want you to decide which is the best."
"Okay, but you won't change my mind."
"Oh well see." Izaya said ordering their meal, as they sat and waited.
"Hey look who it is." Someone stated, causing both Kanya and Izaya to look around.
"Dota-chin, Erika, Walker, Saburo!" Kanya waved.
"Hey Kanya, how's it been." Erika said.
"Good, me and Daddy are spending the day together, until Mommy get's back."
"[Name] left you two together; you must have made her really mad." Kyohei stated.
"Mmhmm he did." Kanya nodded.
"She'll get over it, besides that just means I get to spend time with Kanya-chan here~"
"You know it be cool if [Name] was actually on some top secret mission." Erika stated.
"Or living a double life." Walker added.
"Double life?" Kanya said confused.
"Okay you two, let's let them eat." Kyohei stated while he and Saburo dragged them away.
"Daddy what does double life mean?"
"Well she said I wasn't allowed to emotionally scar you, but she never said anything about those two." Izaya sighed, as their sushi was placed in front of them. "I'll tell you what it means later, now you have to choose which is better. Be advised that I can ground you for life." Izaya said placing the sushi in front of her.
Kanya ate one of each kind, then thought. "The best one is
Fatty tuna." She stated.
"See I told you." Izaya said proudly.
"I only like it so I can get ice cream next."


text:
By Rick Warren
— May 21, 2014
"God's intent is that through the church, the manifold wisdom of God should be made known." Ephesians 3:10 (NIV)
"One of the main reasons people mess up their lives is that they have no godly friends to give them feedback."
God has not meant for anyone to go through life alone. He made us to live in relationship with other people. So when it comes to hearing God's voice, you need to listen to the people around you. You need a church family and a small group to confirm whether what you sense God directing you to do is true or not. This is the third test question: Are there other people who can confirm what I believe God is saying to me?
If God has genuinely spoken to you, he will confirm it through other mature believers. This idea that we have to do everything on our own is an American idea, not God's. He wants you to share your idea with others for confirmation and listen to their feedback.
And if you feel resistance to the thought of even asking somebody else about your idea, that should be a huge red flag that the idea did not come from God.
The reason God tells us to get advice is because he wants to save us from a lot of things. As it says in Proverbs 11:9, "The wisdom of the righteous can save you" (GNT).
Advice from other mature believers can save you time wasted doing the wrong thing. It can save you from wasting money. It can save your reputation. It can save you from making mistakes.
One of the main reasons people mess up their lives is that they have no godly friends to give them feedback. That is why it is so important to be in a small group with fellow believers who can hold you accountable and give you advice.
The Bible says, "In the multitude of counselors there is safety" (Proverbs 11:14b KJV). If you are not in a small group, you are skating on thin ice and you don't know when you might fall through.
Do you ever feel tired, drained or "beat-up" and just don't know why? That's because every day you're fighting an unseen spiritual war. You can't see it, but its effects are very real. In his 7 session Study Kit "The Invisible War: Winning the Battle of Temptation," Pastor Rick will teach you how to overcome the three predictable types of temptations that Satan uses to entice and defeat you: Passion, Possession, and Position.
Why is everything in life so hard? Why does doing the right thing often feel like a battle? In this new series, Pastor Rick shares insights from God's Word about the unseen spiritual forces working against us; the invisible war between good and evil. This series will help you win the battle within.
Purchase this seriesListen to this series


text:
Sony Cyber Shot DSC HX100V
Topaz Adjust/Photoshop 6.0 with textured layers.
Just another shot of the country life in the area where I reside. It's tough but someone has to do it!
Beautiful capture and processing!!
Thank you hon!
– vigor
Great shot,and post work,…
Thanks my friend!
– vigor
Wonderful work!
Thank you so much!
– vigor
NIcely edited. Great shot
Thank you Jean!
– vigor
What an amazing image Viv; I love it :O)
Thank you Les!
– vigor
Nice shot and cute write!
Oh, thanks my friend!
– vigor
Such a hard life you lead! Great shot Viv
ha ha, yes I do!!! :> Thank you!
– vigor
Super fantastic work!!
Deb, your host
April 9,, 2012
Thank you Deb!
– vigor
nicely rendered Viv
Thank you Dennis!!!
– vigor
Fabulous color and texture work, vigor!!!
Thank you Laurie!
– vigor


text:
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Melissa Anderson on "Nastassja Kinski: One from the Heart" at FSLC
Tony Pipolo on "Cinemas as Found Object: Films and Videos by Vincent Grenier"
St. Louis Museums Temporarily Close After Grand Jury Decision
Njideka Akunyili Crosby Awarded Smithsonian's 2014 James Dicke Prize
Metropolitan Museum of Art Receives Major Gift of Works by African American Artists
Nathaniel Mellors Wins 2014 Contemporary Art Society Annual Award
Sonnabend Gallery to Close Chelsea Site, Lease Space to Lehmann Maupin
Kaitlin Phillips and Sarah Nicole Prickett at the Creative Time sleepover
Andrew Hultkrans on "The Return of Schizo-Culture" at MoMA PS1
Catherine Damman on "Steve Paxton: Selected Works" at Dia:Beacon
Claudia La Rocco on Wendy Whelan's farewell performance for New York City Ballet
Jennifer Krasinski on 600 HIGHWAYMEN's Employee of the Year at FIAF
Hong Sang-soo, Night and Day, 2008, still from a color film in 35 mm, 144 minutes.
AT FIRST BLUSH a routine tale of the infantile adult male struggling to overcome a repressed libido, Hong Sang-soo's aptly titled Night and Day (2008) slowly strays from its surface pleasures to embark on a far more nuanced study of romance, social norms, and identity. By day, Sung-nam (Kim Yeong-ho) is an expat South Korean artist living in Paris. Forced to flee his home and wife due to a marijuana bust, he finds himself a stranger in a strange land, often wandering the streets of France alone or in the company of Hyeon-ju (Seo Min-jeong) and Yu-jeong (Park Eun-hye)—two young and flirty art students who have captured his fancy.
Much as Judd Apatow uses boorish protagonists to spoof the social conventions of dating and monogamy, Hong uses Sung-nam's disorientation as a lens through which he can distill courtship to its most primal urges. Without the familiar etiquette, or gender roles, of Korean culture, Sung-nam flounders as a suitor, fumbling when it comes to such basics as greetings, small talk, and seduction. He turns crude after drinking too much beer, ruins Korean dinner parties by preaching about North Korean politics, and fails repeatedly in his attempts to persuade his dinner partners to join him in the bedroom. His consternation is visible. For their parts, Hyeon-ju and Yu-jeong seem equally uncertain of how to proceed in this foreign setting, flirt without being forceful, and display interest while still playing hard to get. On a day trip away from the city, the girls' anxieties reach a boiling point. Lost in rural France and frustrated, they both break down—an impotent Sung-nam frets in the backseat, eager but unable to help them find their way.
Stripping his film of all stylistic flourishes, Hong gives this romantic tit-for-tat a naturalistic veneer. And by abandoning all music and most close-ups, Night and Day becomes a detached, voyeuristic glimpse of three timid people working themselves up into a regular sexual frenzy. At night, Hong taps an even more compelling theme. Each evening, after playing nice with the girls, Sung-nam returns home to his boardinghouse to call his wife, still trapped in Seoul. Both speak of loneliness and longing; Sung-nam breaks down in tears, even as he neglects to tell her about his new love interests. This appears to be the real Sung-nam, sad and self-loathing—which makes it all the more shocking when he finally makes the return trip home. Back on the streets of South Korea, talking not to giggly coeds but to his measured wife, Sung-nam's mannerisms shift from sweet and innocent to arrogant and irritable. There's a love story here—two in fact—but in Sung-nam's journey back, Hong proves less than entirely invested in dramas of love or sex. He has larger questions in mind: What makes us who we are? And how much say do we have in the matter?
Night and Day screens October 23–29 at Anthology Film Archives in New York. For more details, click here.
Left: Peter Greenaway, Rembrandt's J'Accuse, 2008, color film in HD. Production still. Left: Saskia van Rijn (Eva Birthistle). Right: Peter Greenaway, Nightwatching, 2007, color film in HD. Production still. Geertje Dirks (Jodhi May).
THE ROCK BAND King Crimson once wrote a lovely, lilting song, inspired by and named after Rembrandt's The Night Watch, that celebrated "the worthy captain and his squad of troopers standing fast," "the burghers good and true," and "Dutch respectability." Viewers of the painting, which depicts an Amsterdam musketeer militia in motion, have shared in that nostalgia for more than three centuries, but in the eyes of Peter Greenaway they—we—are "visually illiterate." In Rembrandt's J'Accuse, a companion documentary to his 2006 audiovisual installation Nightwatching and the 2007 feature film of that name, Greenaway rails against our failure to interpret art correctly (one reason cinema is impoverished, he avers) in telling the story of why Rembrandt painted The Night Watch the way he did in 1642.
His forensic examination of the painting, which is housed in Amsterdam's Rijksmuseum, convincingly argues that Rembrandt turned his commission against the influential families who ordered it by accusing the captain and lieutenant at the center of the canvas, and most of the other soldiers depicted, of the murder of the former captain, who had been shot through the eye. The ultimate goal of this conspiracy was to share in the wealth that might follow should Charles I pawn the English crown jewels to the Dutch; the murdered captain had been considered too Frenchified to head the militia during the impending visit of Charles's daughter, Princess Mary.
Greenaway methodically deconstructs the painting, probing thirty-one of the fifty mysteries he found within it, and for much of the film he's a talking head—a lofty yet accessible lecturer/prosecutor—contained in a small panel center-screen. He not only examines the placement and dress of the figures and the significance of the symbolism (a phallic spear, a dead chicken, a dwarfish girl holding a coffee pot) but also analyzes Rembrandt's use of artificial light, contrasts The Night Watch with other militia paintings, and reveals how Rembrandt satirized Italian art. The actors from Nightwatching, including Martin Freeman as Rembrandt, re-create moments from the story (but none of the big dramatic moments), while Saskia (Eva Birthistle), the artist's wife, gives testimony. Greenaway often films the live-action scenes in shadowy settings to echo Rembrandt's chiaroscuro.
Characteristically, Greenaway cuts the screen into moving panels. The effect is playfully ironic and undermines the film's rendering of Rembrandt's tragedy. According to Greenaway, Amsterdam's power elite closed ranks against the painter after 1642, cutting off his commissions and leaving him impoverished. As usual, Greenaway admits no sentiment, merely asking that the case against the conspirators be reopened. Rembrandt's J'Accuse—the first of nine documentaries Greenaway is making about classic paintings—is rigorous and enthralling, but fans of The Da Vinci Code (2006) may find it overly literate.
Peter Greenaway's Rembrandt's J'Accuse plays October 21–November 3 at Film Forum in New York. For more details, click here.
WITHIN THE PAST FIVE YEARS, a boomlet of South American films about domestics has emerged, exploring the fraught push-pull between master and servant: Jorge Gaggero's Live-In Maid (2004), in which una señora, reeling from the economic meltdown in Buenos Aires, owes her employee seven months' back pay; Lucía Puenzo's The Fish Child (2009), which, set in the same city, imagines a teenage bourgeoise and her maid as criminal lovers; and Sebastián Silva's The Maid, an examination less of class clash in its Santiago, Chile, household than of the pathologies of internalized subservience.
Anchored by the courageous performance of Catalina Saavedra as Raquel, the titular domestic, Silva's second film (which he wrote with Pedro Peirano) opens with an awkward forty-first birthday celebration for the devoted servant, thrown by her employers of twenty-three years, Mundo and Pilar Valdez (Alejandro Goic and Claudia Celedón), and their brood of four. Honoring Raquel becomes a fascinating set piece of passive-aggressive dynamics, highlighting the tension surrounding the maid's place within the Valdez family. Is she an indispensable, full-fledged member of the clan, as Raquel—who, beyond the occasional call to her mother, appears to have no family life of her own—believes? Or a beloved caretaker who will nonetheless be forever banished to the kitchen to eat her meals alone? Never an economic or sociological dissection of the inherent imbalance in paying someone to tend to your children and clean up your dirt, Silva's film is instead a psychological one, its protagonist stunted by disordered behavior.
The hazards of Raquel's embrace of her servitude manifest themselves both physically—she suffers from exhaustion and frequent dizzy spells—and emotionally. Often remote, Raquel finds comfort in the three stuffed animals atop her twin bed and in the assiduousness with which she tackles her repetitive labor. She is fiercely territorial and often unlikable; when Pilar hires Mercedes (Mercedes Villanueva), a younger Peruvian woman, to assist her, Raquel responds with sadistic mind games, locking the new employee out of the house and vigorously disinfecting the tub after Mercedes showers. Sonia (Anita Reeves), an older domestic, suffers similar torture.
Sergio Armstrong's handheld camera work skillfully conveys the claustrophobia of the Valdez household, its two-story sprawl shrunken by the suffocating battle of wills between Raquel and teenage Camila Valdez (Andrea García-Huidobro), Raquel and Pilar, Raquel and the new employees, and the Valdez family among themselves. Silva maintains an uneasy tone throughout, leavening the domestic horror with mordant wit. A final-act shift toward hopefulness, spurred by the arrival of Lucy (Mariana Loyola), yet another servant hired when Raquel is bedridden after a bad dizzy spell, at first seems too easy, too contrived. But when the indefatigable Lucy responds to Raquel's usual cruel maneuvers not with rage but with pity—"What did they do to you?"—Silva makes his sympathies (and condemnations) clear. Outwardly kind and frequently overindulgent of Raquel's bad behavior, the Valdez family remind their employee every night that she can never dine at the table with them: Boundaries are dropped only to be rigidly enforced.
The Maid opens October 16 in New York City at the Angelika Film Center. For more details, click here.
Left: Robert Beavers, From the Notebook of . . ., 1971/1998, still from a color film in 35 mm, 48 minutes. Right: Robert Beavers, Early Monthly Segments, 1968–70/2002, still from a color film in 35 mm, 33 minutes.
IN HIS ESSAY "LA TERRA NUOVA," ROBERT BEAVERS elucidates a paradoxical principle that has informed his filmmaking from the earliest days of his career: "Like the roots of a plant reaching down into the ground, filming remains hidden within a complex act, neither to be observed by the spectator nor even completely seen by the filmmaker. It is an act that begins in the filmmaker's eyes and is formed by his gestures in relation to the camera." While the act of filming is distinguished from painting, say, by the mediating apparatus of the camera, filmmaking is nevertheless inexorably tied to the artist's hand. In Beavers's description, the recording device translates interior vision into image by a direct physical action.
The comparison of film with painting provides an insight into Beavers's profoundly physical understanding of his medium, which is underscored by his unorthodox editing methods. Working without an editing table, he cuts his films manually with a splicer. "I memorize the image and movement while holding the film original in hand. . . . There should be almost no need to view the film projected until the editing is completed," he wrote in "Editing and the Unseen." (All of the essays cited here were collected under the title The Searching Measure [University of California, Berkeley Art Museum/Pacific Film Archive, 2004].) The near-complete execution of the entire production process by a single maker has always been a marker of avant-garde film. However, Beavers's approach goes beyond that of standard noncommercial filmmaking, and for the past forty years he has maintained strict control over the production, exhibition, and preservation of his films, which has resulted in one of the most distinctive—and yet underrecognized—bodies of work in cinema.
Born and raised in Massachusetts, Beavers attended Deerfield Academy. In the summer of 1965, at the age of sixteen, he went to New York to do research for a proposed film club at school. In the foyer of the Film-Makers' Cinematheque (then at the Astor Place Playhouse), he encountered avant-garde film luminary Gregory J. Markopoulos, who went on to play a major role in his life. Shortly afterward, he dropped out of high school and moved to Manhattan to pursue filmmaking.
In 1966 Beavers completed his first film, Spiracle, shot in and near a loft on the Bowery where he lived. After two years of working odd jobs, including printing 16-mm film in a lab, he left for Europe in February 1967. Markopoulos, who had become his partner, followed him soon thereafter. The two filmmakers spent the next twenty-five years living and traveling in Switzerland, Greece, Italy, Austria, Belgium, and Germany, tirelessly plying their art, often working under great financial constraints.
Having extracted himself from the New York avant-garde film community before he had established a career, Beavers's work became almost entirely inaccessible between 1974 and 1996, as he declined all public screenings in the US. Instead, he and Markopoulos worked on the realization of the Temenos (Greek for "a piece of land set apart" or "sacred grove"), the elder artist's vision of an outdoor viewing site and archive devoted exclusively to their writings and films. From 1980 through 1986, the filmmakers held annual screenings in a rural spot near the village of Lyssaraia on the Peloponnese, and these became the only way to see their work. (The tradition was revived in 2004, when Beavers presented a part of Markopoulos's late work in the same location for three days in June. [See P. Adams Sitney, "Idyll Worship," Artforum, November 2004.])
From his earliest to his most recent films, Beavers has combined an exacting formal examination of camera movement and framing with richly filmed depictions of people and places encountered in his nomadic life. The structure of his films—including visual rhymes, repetitions, and equivalences—is akin to that of poetry. In Diminished Frame, for example, made in Berlin in 1970, he used a variety of mattes to partially mask the frame in each shot: A black rectangle obscures the view from an elevated-train stop or blots out a group of boys posing in front of the camera on their bikes. In Work Done (1972/1999), which uses colored filters to luminous effect, Beavers constructs a series of metonymic shots—intercutting the image of a block of ice with that of a river, or the felling of a tree with a book being bound.
At the beginning of his career, Beavers often made reference in his films to his own artistic process and to the material conditions of filmmaking, inserting shots of himself, the camera, or his editing table. From the Notebook of . . . (1971/1998), inspired by the notebooks of Leonardo da Vinci and an 1895 Paul Valéry essay on Leonardo's methods, examines Beavers's own mode of working, juxtaposing shots of pages noting ideas for filming with views from his hotel window in Florence.
In his later work, he shifts away from a formal investigation of the filmmaking apparatus toward precisely structured relationships between objects and entities. In AMOR (1980), he sets the recurring motifs of cutting and sewing cloth into a metaphorical relationship with romantic love, and in The Ground (1993–2001) the work of a stonemason is paralleled with the ruins of a tower on the Greek island of Hydra.
The Hedge Theater (1986–90/2002)—combining footage from two earlier projects on the architecture of Borromini and the fifteenth-century Sienese painter Il Sassetta—marks the completion of a cycle titled My Hand Outstretched to the Winged Distance and Sightless Measure. Beavers began to rework almost all of his films in the late '80s, a project that would eventually take him more than a decade. The final versions are typically shorter, and they have acquired newly recorded and edited sound tracks. Encompassing his reedited films from 1967 to 2002, the cycle asserts the clarity and rigor of Beavers's vision.
This piece was originally published in the September 2005 issue of Artforum. The Pacific Film Archive in Berkeley will present My Hand Outstretched to the Winged Distance and Sightless Measure October 13–20 and will host a special conversation between film historian P. Adams Sitney and Robert Beavers on Tuesday, October 13. For more details, click here.
Left: Julius Shulman, Spencer Residence—Richard O. Spencer, 1950, color photograph. Right: Julius Shulman, Solomon R. Guggenheim Museum—Frank Lloyd Wright, 1964, color photograph.
MODERN ARCHITECTURE found its greatest proponent not among its designers and manifestoists, but in a twenty-five-year-old college dropout with a penchant for pictures. Or at least so goes the claim of Eric Bricker's directorial debut, Visual Acoustics (2009), a documentary portrait of the architectural photographer Julius Shulman. In 1936, Shulman, wholly ignorant of anything to do with architecture, accompanied a draftsman from Richard Neutra's office on a visit to Neutra's recently completed Kun residence in Hollywood. Shulman sent his snaps to the architect and unwittingly jump-started a career in architectural photography that would continue—suspended only during the years of postmodernism's ascendance (a movement Shulman despised)—until his death this past July at the age of ninety-eight.
Guided by Neutra and his Los Angeles associates (including his close friend Rudolph Schindler, who had similarly found his way westward from Vienna to work at Taliesen), Shulman became closely associated with modernism's Southern California strain, whose protagonists included Gregory Ain, Raphael Soriano, and Albert Frey. Before descending into tedious encomium, the film, dryly narrated by Dustin Hoffman, offers a few pertinent observations into Shulman's creative relationship with Neutra that effectively encapsulate the story of California modernism. Architect Michael Webb explains that Neutra's quick adoption of Shulman as his personal photographer was pure business strategy, the savvy decision of a "terrific self-promoter." Under Neutra's guidance, Shulman developed a set of photographic techniques tailored to the representation of modern buildings. In the film, an impossibly sharp ninety-three-year old Shulman recounts the architect's disappointment with the budding photographer's even and unnatural illumination of perpendicular walls (an early effort), before he learned to balance artificial and natural illumination, an effect suggestive of a modern interior coextensive with the surrounding landscape. "That's God," credits Shulman while pointing a finger to a sun-drenched exterior wall; "This is Julius," he says, referring to a strobe-lit fireplace reproduced in Taschen's oversize, three-volume edition devoted to his life's work.
The film also records Neutra and Shulman's tiffs: Neutra's insistence, increasingly to Shulman's irritation, on waving eucalyptus branches in front of the camera lens to give the appearance of a view opening from a grove of trees, or Shulman's carload of household items with which he would furnish Neutra's deliberately arid interiors. The latter technique—the constructed appearance of modern living for which Shulman became known—helped feed a growing appetite for modern architecture in consumer publications and home and gardening magazines. Shulman made modernism not only palatable but chic. Breaking with the tradition of presenting the building as an isolated object, Shulman highlighted the building's relationship to its site and, most important, populated his photographs with fashionable inhabitants. Shulman's modernism was, to take a cue from Columbia University's Kazys Varnelis summation of Southern California modernism, "less . . . a societal utopia, and more . . . a personal utopia."
It is this utopia that Visual Acoustic's star-studded cast giddily rediscovers, whether it's Tom Ford describing the "optimism" of the modernist moment in tones of breathless 1-900-number ecstasy, actress Kelly Lynch calling Shulman a "rock star" (twice, for the nonagenarian's failing ears) and enthusing over the parties she's hosted in her experimental John Lautner house, or Benedikt Taschen promising Shulman a monograph "bigger, of course," than Taschen's titles on Nobuyoshi Araki and Leni Riefenstahl. Like the book publishers and art directors the film follows (the Hollywood cinematographer Dante Spinotti re-creates an iconic Shulman photograph in a self-referential, dolly-driven sequence), Visual Acoustics, too, is fascinated more with the image of this architecture than with the buildings themselves. It's an attitude that doesn't perhaps do justice to its subject: a photographer who genuinely loved architecture and who, in a telling moment, contrasts his work with that of the architects he admires. Discussing the photography profession with the Mexican architect Ricardo Legorreta, the usually outsize Shulman deprecates: "It's a good business—let the architects do all the heavy work, and we come in and take pictures."
Visual Acoustics opens October 9 in New York at Cinema Village and October 16 in Los Angeles at Landmark Nuart.
Margot Benacerraf, Araya, 1959, still from a black-and-white film in 35 mm, 82 minutes.
A STUNNING, STRANGELY LIMINAL MOVIE in form and content, Margot Benacerraf's Araya (1959) takes its name from the place where it was shot—a Caribbean peninsula in northern Venezuela where for centuries a closed economy has been supported by the sea. Araya's indigenous population makes its living either by gathering salt from the seemingly inexhaustible marshes or through fishing. The salt gatherers sell what they collect to exporters who arrive every day in cargo boats. They use the money to buy fish (fresh or salted) from the fisherman. Three generations of men, women, and children labor side by side. Almost no one from the fishing or the salt-gathering villages has ever left the peninsula. Once a week, they purchase water from a tanker truck that comes from inland. One woman makes pots—without the aid of a wheel. The soil is so arid and the sun so baking that only cacti and a few stunted trees survive. The trees are dry even before they are cut down for firewood.
In 1957, Benacerraf, a Venezuelan who had studied film at the Institut des Hautes Études Cinématografiques in Paris and had made a short experimental documentary about the Venezuelan artist Reveron (which brought her to the attention of the legendary head of the Cinémathèque Française, Henri Langlois), returned to her home country to scout locations for what she thought would be a fiction film. She found Araya, and the feature she shot there shared the Critics Prize at the 1959 Cannes Film Festival with Alain Resnais's Hiroshima mon amour. It was a moment of boundary-breaking filmmaking in France, but Araya defied categories to the extent that it never received theatrical distribution, although it has been programmed and won awards in various documentary retrospectives in the fifty years since its premiere. Benacerraf abandoned filmmaking after one or two aborted attempts to make another feature and, like two other radical female filmmakers before her—Germaine Dulac and Maya Deren—devoted her energies to creating an infrastructure for film distribution and preservation, founding Venezuela's Cinemateca Nacional in 1966.
Araya is what is often termed a poetic documentary. It depicts the daily labors of the salt gatherers and fishermen in ethnographic detail, but it also employs expressive sound and image elements that exceed or violate the codes of documentary realism. Benacerraf combines audio recorded on location (the voices of the workers, the sound of the waves and of the salt being dredged and cut) with music that surges like the sea and is as harsh as the salt tearing the skin of the people who handle and walk on it. She also employs a voice-over narration (the film's weakest element) that leans toward purple prose and poeticisms (which Benacerraf refers to as "biblical"), and interjects bits of fiction, which are not identified as such. The black-and-white cinematography by Giuseppe Nisoli captures the strange, pitiless beauty of the marshes, the salt pyramids, and the sea. The sound mix is extraordinarily rich. (The press kit describes how Benacerraf asked Raoul Coutard—Godard's favorite cinematographer in the 1960s, then working as a sound-effects technician—to create "the sound of the earth as it expands from the heat of the sun." He responded that the director editing in a nearby studio had just asked him "to produce the sound of a caress." That director was Resnais and the film was Hiroshima mon amour.)
Trailer for Margot Benacerraf's, Araya, 1959.
Despite the dated voice-over prose and the questionable mini-fictions, Araya remains a powerful and suggestive hybrid. Its liminality is not merely a matter of a form located between documentary and fiction: Araya itself was, at the moment Benacerraf made her movie, in transition from primitive past to industrialized future, the derricks, cranes, and conveyor belts of which were only just arriving. Benacerraf shows the machinery but never speculates on how mechanization will affect people who've labored with their bodies and bare hands and need to work to survive. For anyone involved with documentary, Araya is necessary viewing. It would also make a great double bill with Harun Farocki's elegant In Comparison (2009), which screened last week in the New York Film Festival's "Views from the Avant-Garde" sidebar and which depicts brick making and bricklaying in some half-dozen societies.
Araya plays at the IFC Center in New York from October 7–20. For more details, click here. The film was restored by Milestone and will be available on DVD in the near future.