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Justin is the author of two chapbooks: Plainsight, from New Michigan Press, and Hum Decode, from Greying Ghost Press.
You can read his work online at Verse Daily, The Huffington Post, The Journal, Sixth Finch, Everyday Genius, Linebreak, and elsewhere.
You can find his work in publications such as Best New Poets, Yemassee, Colorado Review, Portland Review, Poetry Northwest, The Cincinnati Review, and Zone 3, among other journals.
Once again, I'll be reading new work at the Raven Book Store's Big Tent reading series on May 26 at 7 PM. Joining me will be nonfiction writer Pam Grout. Put it on your calendar by saving the date on Facebook, and I'll see you there.
It's been a while since my last update. Here are a few places generous enough to give my poems some space:
Thanks, as always, to the editors of these journals.
A few poems have found their way online since my last update:
Thanks to these publications and their editors for the support.
In honor of National Poetry Month, the Lawrence Arts Center will host its second annual poetry celebration on April 19 from noon to 4:00. There will be books and magazine to buy, and readings by dozens of local writers, as well as an open mic. Join the event on Facebook, and then come say hello this Sunday.
If you're in Lawrence this Thursday, October 16, I'll be reading with Sarah Smarsh and Caleb Puckett at the Raven Book Store as part of that evening's Big Tent Reading Series. Come out, grab some cookies and wine, and spend an evening among the books with us.
Summer has seen a number of my poems published online and in print. Here's where you can find them:
Thanks go out to these publications and the editors who found space for me.
Here's a quick update to point toward some work of mine published in the past few months:
My thanks go to the editors of each for their support.
This Saturday, April 26, poets will be gathering for the first annual Lawrence Arts Center Poetry Fair, in honor of National Poetry Month. Books and chapbooks will be available, and readers will take to the open mic for short readings. The event is free, and starting at noon — stop by.
Next Sunday, April 13, I'll be reading with Denver poets Sommer Browning and Noah Eli Gordon at the 7th Street Taproom for the Taproom Poetry Series. Should be an exceptional late afternoon's worth of poetry. I'll have copies of Plainsight and Hum Decode available, and would love to sign copies and chat. (You can RSVP on Facebook.)
Thanks to Huffington Post for including me in this list of three new poets you should be reading, which includes "History" along with work from the talented Tarfia Faizullah and Emily Van Kley.
My second chapbook, Hum Decode, is officially out. Thanks to Greying Ghost for the time and attention, and for describing the book as such: "Hum Decode is a conversation between the dusty heartbeat of the scape and the overwhelming silence that gives it life." You can buy a handmade, one-of-a-kind copy for $7.
I've provided a few details about both Plainsight and Hum Decode in this Q&A at Speaking of Marvels, a terrific chapbook blog that features interviews with plenty of poets. Take a look.
For those who will be attending this year's Association of Writing Programs Conference, here are a few opportunities for us to run into each other: the Parcel/Sensitive House table at the Bookfair (which will be open to the public on Saturday); a presentation, Transforming Text: Behind the Scenes of a Poem, taking place at the Project Room on Thursday; and K-State's First Annual Rock and Roll Reading, occurring right after at the Central Saloon. See you in Seattle, writers.
Along with the talented Crystal Boson, I've been named a 2014 Langston Hughes writing award winner. Thanks to the judges and the Raven Book Store for its support of Lawrence writers. Crystal and I will be reading at the Lawrence Arts Center on February 1 — Langston's birthday — starting at 7:00 p.m. Please come by to celebrate Langston, his work, and ours on what should be a wonderful night.
Best New Poets editor Jazzy Danziger was in-studio at St. Louis' KDHX last night, talking about the anthology and sharing readings from several of the featured poets, including me. You can listen to the full episode for the next few weeks at the KDHX website.
The Best New Poets blog is featuring interviews with writers included in the anthology. I answered a few questions, and that short Q&A is now online.
Cynthia Reeser has written a review of Plainsight, which is available to read on Prick of the Spindle. Reeser homes right in, saying that a reading session of Plainsight "is like being in transit." Thanks to Cynthia and Prick of the Spindle.
A succinct plaudit from Publisher's Weekly for the Best New Poets anthology: "The poems seem to owe as much to 20th-century traditions as to the spirit of invention, and, as such, are a reminder that contemporary poetry is not only alive and well but continuing to evolve." Hurrah!
Next month, I and three other poets included in this year's Best New Poet's anthology — John James, Lo Kwa Mei-En, and Benjamin Sutton — will be reading at Subterranean Books in St. Louis. I'm excited to meet them, and so should you be. If you live in the area, put it on your calendar and join us.
I somehow missed this: Jeremy Behreandt wrote a splendid review of Plainsight for the August Chap Nook feature over at Coldfront. Among other things, he says that "Plainsight powerfully evokes the intimacy between observer and observed." Thanks to Jeremy and Coldfront for the patient, perceptive take.
I am excited to announce that, along with 49 other talented young poets from across the country, I'll be included in this year's Best New Poets anthology. Brenda Shaughnessy was judge. Thanks go out to Jazzy and her staff of editors. Can't wait to hold this book in my hands!
Proud to say that my manuscript, The Smallest Space We Both Can Take, was named a semi-finalist for the Black River Chapbook Competition. Thanks to the editors at Black Lawrence Press for the recognition, and best of luck to the finalists as they enter a final round of consideration. See all the finalists and semi-finalists right here.
Late last year, I had the chance to talk with Julie Tollefson of KANSAS! Magazine about the Sunflower State and the state of my poetry in it. You can read my interview here. Thanks to Julie, photographer Jason Dailey, Katy Ibsen and everyone else who contributed to this great feature. (There are two other talented transplanted artists, Portico Bowman and Dennis Schiel, interviewed in the full issue, which is out this month.)
Production of spring's issue of Parcel is finally underway. Editing the poetry is a daily pleasure, but I do derive a special something from designing and laying out each issue. This one will feature a fine batch of writers and artists; expect to get yours sometime in May. (Have you seen Parcel's new site?)
In the meantime, I'll let leak the name of our featured artist: Marina Muun, a very talented illustrator from the UK. Check her out!
The online chapbook press that I edited and designed has closed its doors. It was a labor of love for over four years; in that time, I published twenty incredible poets who've all gone on to do amazing things. For many, Blue Hour was home to their first collections, and there's been nothing more gratifying in my life as a poet to see them shoot into the sky from whatever launch pad I was able to provide.
Blue Hour's twenty books have all been collected at the new, simplified site. Please stop by and read — they're all free, as always, and forever more.
I'm happy to report that Greying Ghost Press will release my chapbook, Hum Decode, as part of a 2013-2014 series that includes six additional terrific poets. I've long admired Greying Ghost and their artful, memorable work. Needless to say, I'm over the moon. Thanks to Carl and everyone at GG!
Photo by Tamra Rolf.
Thanks to everyone who came to the Plainsight release party on the 8th. A gallery filled with friends, a few minutes of poetry, and two cans of orange La Croix. What a wonderful night. (Copies of the book can be found at the Raven Bookstore in Lawrence, or online at the New Michigan Press website.)
NewPages was kindly included Plainsight in their New and Notable Books list for December, where they said this: "Runge's collection captures the bleak, the forgotten, the dying, with crisp precision." A belated thanks, NewPages!
The editors of Cricket Online Review were gracious enough to publish one of my poems just a few days ago — it's a part of a terrific issue you can find right here.
Quite pleased to see "454" from Plainsight featured as Verse Daily's poem of the day. Thanks, Ander, and everyone at Verse Daily!
glade |glād|
an open space in a forest.
ORIGIN late Middle English : of unknown origin; perhaps related to glad 1 or gleam , with reference to the comparative brightness of a clearing (obsolete senses of glade include [a gleam of light] and [a bright space between clouds] ).
This year, I've decided to forgo ranking and ordering and instead give you five of everything that stuck out, won the day, hung around, and wouldn't leave me alone. This list admits to limitations in time, inappropriate obsession, and nuclear-level subjectivity. Lastly, movies.
A movie that has parked itself inside of me, out of sight and idling. Its taciturn nature bottles a condensed and corrupted cinematic heroism, which explodes like a shaken New Coke all over your polyester. Ryan Gosling manages to play a simpleton, a psychopath, and a demigod simultaneously. Outrageous in every way.
A film can be good at documenting boredom and be boring, excel at being mean-spirited and end up unlikeable, sulk and then slouch. The Trip yawns, insults, and whimpers, but is in no way sullen or piteous. This is comedy of private invitation, the way only your best friend can make you truly belly laugh. It serves up all the quirks of cabin fever, lets us in on its inside jokes, and juxtaposes depression and self-loathing with unrestrained, stalwart glee.
What a gift this movie is. Herzog can welcome all the spurious talking heads and tangential codas he wants into this world, but the Chauvet Caves stand in the center, solemn, sensuous, unfathomably wise and wild, and Herzog never undermines or undervalues them. His quixotic voiceovers are effectively manipulative, and his close-ups of Chauvet's surfaces, loving and scintillant, like he's photographing Garbo.
Mike Mills resists and submits to some pretty twee impulses, allowing those backed with sincerity to stay, weeding the winks, crafting his own fictionalized true story into a lovely, gentle thing. Fortunately, the film's anecdotal, come-and-go structure and its meta stretches feel adult and honest, unlike (500) Days of Summer's precocious Millenial-core conceits. Not leaden in any way, Beginners is made buoyant by its fond melancholy, and careful, caring performances.
Turns out the best way to say "I wish you could have been there" is by handing out 3D glasses. Photographing cinema's golden age in selfsame hues, Martin Scorsese makes a mind-boggling stereograph of Paris, and piggyback's the audience's discovery of film's dreamlike early days onto Hugo's adventure. A grandfather's warm and maybe overlong nostalgia deserves indulgence, and in this case, a seat in a real live theatre. DVD will not recreate this one quite as immaculately.
This year, I've decided to forgo ranking and ordering and instead give you five of everything that stuck out, won the day, hung around, and wouldn't leave me alone. This list admits to limitations in time, inappropriate obsession, and nuclear-level subjectivity. Next up, albums.
Bon Iver, Bon Iver, Bon Iver (Jagjaguwar)
Flirts with sentimentality, co-opts the past, and applies the obtuse to disorient. The beauty of the music then becomes the anchor and the waves at once. A singular expression, collectively uttered, folded in to the consciousness.
Real Estate, Days (Domino)
As successful as any recent album in evoking nostalgia, but not for childhood or our parents' pasts; Days dredges up night drives from five years ago, the cliffs of my honeymoon, the memory of last weekend.
Feist, Metals (Polydor)
To abuse the comparison, St. Vincent was lauded for her angularity and daring, and Leslie Feist got patted on the head. Metals is experimental because it is a shifted state of mind, not a costume change. This is warehouse-sized, warm music.
Tycho, Dive (Ghostly)
Not like the music they play at massage parlor, but more like the massage itself, with deep tissue drums and the firm fingers of actual instruments. Evocative but not saccharine, infinitely listenable but never nauseating.
Washed Out, Within and Without (Subpop)
Ernest Greene accidentally made a manifesto with "Feel It All Around," a song like a Holodeck. Instead of claiming a happy accident, he's extended the aesthetic, installing turns and quirks, never improving the serendipity of "Feel It" but luxuriating in its cloud.
This year, I've decided to forgo ranking and ordering and instead give you five of everything that stuck out, won the day, hung around, and wouldn't leave me alone. This list admits to limitations in time, inappropriate obsession, and nuclear-level subjectivity. First up, video games.
Jetpack Joyride (Halfbrick)
Put the "endless running" quasi-genre in a hadron collider with obsessive achievement collection, doll clothes, military-style ranking, and vehicles plundered lovingly from science fiction that explode on contact, and you've got twenty hours of bathroom breaks and counting.
Portal 2 (Valve)
This game was easy to procrastinate from playing, inducing a dread equivalent to Mensa entry exam anticipation. Once thrown into the world, even the most twisted gray matter uncoiled at the Serkis-like virtual performances and gobsmacks of über-creative "you're kidding me" moments.
Batman: Arkham City (Rocksteady)
Open-world gaming suffers from a preponderance of busywork, as if the verisimilitude snaps at the lack of a shoe-tying minigame. Arkham City solved this by making the treasure hunt pay for satisfying sidequests, smorgasbording the player with villains (and in doing some evoking every age of Batman besides the self-serious Nolanverse), and offering up an arcade mode centered around the game's muscular fighting mechanic.
Anomaly Warzone Earth (Chillingo)
There's something about a rails-based puzzle RTS on a tablet that makes one think a WarGames sequel, this day and age, wouldn't be totally nonsensical. Coming out the other side of these beautiful dust-palette high-tension death corridors was one of 2011's most consistent gaming satisfactions.
Insanely Twisted Shadow Planet (Shadow Planet Productions)
The squirmy silhouettes of Limbo met Metroidvania exploration and Pixeljunk twinstickery in Shadow Planet, an addictive blast of inky atmosphere. Complaints of a short campaign missed the point, or at least the scenery—each square foot of organic slither and every biotech tentacle made the journey to the next grotesque gargantua a veritable divine comedy.
This article from Richard Russo has been making the rounds today, and it was just the juice I needed to maintain my holiday mission: I have tried my very best to only shop locally this season, and if my resolve holds, it'll be a total success. Not one slashed-to-the-bone electronic apparatus rocketed to my house expedited and overpackaged.
The past year has a taught us that money and only money talks in (and to) this country. If you find that sentiment cynical, I'm sorry, but your own stance on that shouldn't bar you from taking your wallet to the streets. I mean that literally. I promise you, one hour spent browsing at a small shop beats fifteen minutes in a big box or two online.
Lawrence, Kansas, my home, is lucky to have a diverse, family-full, kind of strange, light-bedecked downtown, and being in it has the potential to degunk anyone's perception of riotous shopping donnybrooks. Wherever you live doubtlessly has blocks of small businesses just hoping you'll come in. Some may even have people who open the doors for you, instead of whooshing futuristic automatic ones.
The rules are simple, painless, even benificent. Spend at the places that contribute, not at conglomerates that devour. If you spend a little more than you expected one place, spend a little less somewhere else—or on yourself. Give less junk. Imbue your gifts with meaning and thought. Shop at stores that don't have carts (especially the online versions), so you have to actually carry the things you want to buy. Bring cash. Allow yourself to run out of money, not credit—those enormous beasts don't need more of yours.
I have no clue what I'm getting my father for Christmas—my wife is crocheting him a scarf, so she's set. Instead of rushing to a website, my plan is to wander downtown one night this week, and do something remarkable: look. We're in a season that asks belief of people, and I have faith that something will present itself.
Last night, my girlfriend Kate and I watched Joni Mitchell's American Masters episode available on Netflix. Watch it if you wish to be overwhelmed by one person's capacity for art in its many forms.
Joni, even when chronicled so fastidiously as this documentary does, still makes for a mythic figure, and none of Joni's albums more rarified her than Blue. That segment of the documentary wisely relents to a live performance of "Case of You" that is cathartically harrowing to watch, just as the album is to a listener. It's the reason fans and non-fans refer to her as Joni in every context—the music makes her a wounded ward of its audience, a friend at sea, a deity.
Kate and I discussed how even the first chords of the songs on Blue, which are Joni's invention or at least her province, can cause physical effects for the listener. There's something about the alchemy of Blue that is supernatural, sourceless and unable to be replicated. It's the untangibles of Blue that make it seminal, and it is an album that will never fall out of the popular consciousness.
With landmarks like this, belonging to some other generation, I always try to find a work that sits in a comparable contemporary throne, so I woke up in the next morning with the title of an album in mind and asked Kate what she thought it was. She guessed correctly—For Emma, Forever Ago by Bon Iver.
I'm struck by similarities to both the musical and biographical elements of each. Both albums were generated during a period of removal for both artists, and both historically found solace in the vacant North. Both albums are, foremost, sparse; they are dangerously bare even, which exemplifies the artists' approaches to the material. Both albums are cold, and their tracks are warm cabins you move on to. Both artists took their respective opportunities to assert a sound buttressed by history but built without precedent, and absolutely nothing about them is derivative, only inhabited.
Mostly, each album freezes the listener and crystallizes their moment of their first interaction. This is done through sincerity, which is often not in vogue, or weakly observed, in popular music. Joni's reaction to an obsessed core of listeners and critics ready to dissect and provide indifference was to enter and exit the following decades in forms that were consistent with her identity but never the preferred vintage—just as Blue sounds years ahead of itself, every product of Joni's after Blue, especially Mingus and Hejira, do too. A promise to never change is often made between friends, making evolution for Joni an act of deception.
Bon Iver's Justin Vernon has yet to fully confront these challenges, as he has yet to release a true follow-up to For Emma, but the Blood Bank EP was a indication that Vernon will gradate his sound towards an entirely new hue, much as Joni did. Like her, he has already found support from fans, peers, and stars that wish him to be peers—his presence on Kanye West's latest album echoes the embrace Joni experienced from the jazz world, which saw in her a fellowship of complexity. Vernon's most distinctive mark is a craggy soul vocalism that speaks to the genuine agony sanded from nearly all modern R&B, and for that reason, he will cross borders as Joni did, advancing and alienating in step.
No big preamble here. Let's just get to the discs.
(Actually, they weren't really discs this year—Rdio single-handedly changed my method of musical consumption, exposing me to hundreds of artists on which I wouldn't have wasted torrent bandwidth before. So I guess there's a preamble in here somewhere, but I'm antsy to do this thing.)
Ever seen Poltergeist? Remember when the closet door flings open in a flood of fluorescence and the mother, tied to a rope, enters the white nothing to bring back her child? That's what seeing Snowden live is like, and the sensation is similar with a set of headphones: icy, weightless, awful (in the original sense of inducing awe). This EP is—and I can't believe I'm saying this—a pay-what-you-want affair on their website. Pay handsomely.
Once, I was asked in a coffee shop by a man in tweed to turn this album down, even though I was listening with earbuds. I obliged, but was flattered, pleased that the bleed was distinctive, a disruption. Yes, I supposed: this is the music I listen to when I want the world to know what I'm drowning it out with.
On the official soundtrack, celebrated artists animate the bands of Bryan Lee O'Malley's books however they see fit: Beck's Sex Bob-omb is Meatloaf's Eddie from Rocky Horror, and the cast members dizzily tear through his songs like motorcyclists with head wounds (Sex Bob-omb is my new favorite fictitious band, which is a designation that's been in need of a home since the Spinal Tap universe fell in on itself by being impossibly serious); Broken Social Scene gives us five-second Frankensteins, grunty and bolt-necked; Metric, the sexiest of the bunch, make the Bride electrified, mechanically sultry, and the resulting "Black Sheep" my be my favorite song of the year. T. Rex and Beachwood Sparks covering Sade rep for the non-fiction.
The deluxe version did me in. At 22 tracks, including the Rope & Summit EP, I easily did with this what I would've done with half that—turn it on and blur. The addition of band support to José Gonzalez's equation does a remarkable thing for his song craft by making what was already well-built a streamlined, luxury mode of transportation. Junip marries Gonzalez's Nick Drake folk lilt with proggy hypnosis, and the occasional sentimentalism that would make one's eye's roll in his past catalogue, here, make one's eyes roll back all the way, into a Krautrock trance. Pleasurable, pleasant, yes, please.
"Nostalgia" is quickly dethroning "chicks" as the number one reason to start a band, but it takes more than slap bracelets and a Betamax demo tape—it take verisimilitude. Wild Nothing's debut LP isn't just corny Forrest Gump superimposition, it's more like New Romantic steampunk, convincing and revisionist at once. The production has a flashback ripple and glow, the drums are gated like a cemetery, and Jack Tatum, mercifully, does not ape British with the vocals like other more transparent goth pop costume parties.
Being World's Hugest Indie Band puts Arcade Fire in the witness stand of Cool People vs. Uncool Inc., and they are cross-examined constantly. This album is them neither crumbling into a soft sob—and when that's Funeral, oh, what a beautifully soft sob—nor telling you that you can't handle the truth, which was Neon Bible. This is Arcade Fire being adults about it. To do so, they splinter into many angles, or, dare I say, actors; this is not just a concept album, but a rock opera, acts and pathos and reprises and all. When "Hugest" means this huge, I'm there.
The greatest contribution movie awards season can give us is retrospective, and not just the clap-at-obituaries kind; nominations and broadcasts are often an opportunity to remember what was truly good. In a year such as 2010 that was truly horrible for film, this residual gift really is necessary in order to salvage the last twelve months of cinema.
Top 10 lists are also an opportunity for expedient reflection, and if you mash together the kajillions of them, I think you get as close as you can towards a popular critical sentiment of the year. Metacritic does a nice job of culling the results and giving us ballparks of ballparks; no matter what your perspective is on the ranking and scoring, fractionizing and decimalizing of film, these lists are helpful and, most important to remember, disposable.
Another subsequent value of these lists is a ruthless filtering of all the sludge of the multiplexes—3D everything, IMAX yadda yadda, superhero kaboom—so that we can attempt to find the signal in the noise wash.
Here are a few frequencies I picked up. I claim this list as nothing close to comprehensive, objective, or rhythmic. The best a cinematic community can do is determine which films will persevere, resonate, continue to generate conversation, and age well or be overwhelmingly of their times; below, I've identified six that I think will do that as the gaudy corpus of film in 2010 is left behind.
The consensus this year accurately identifies falsehood as a predominate theme of 2010's filmography. Duplicity, illusion, facade, and subterfuge all informed a bulk of the year's movies in turn, but Banksy's directorial debut serves up all of that in a manner so much fresher than its contemporaries. The documentary format is particularly prone to corruption—it's an easy target because documentaries claim veracity more than other genres, a claim easily criticized, refuted, and made fun. At least some of Thierry Guetta's story has to be true—the verisimilitude of his obsession and oddity is too extensive, and the first third truly does document the street art movement in invigorating fashion—but when it branches off into something fantastical, pathetic, and incoherent (a point which is debatable), truth becomes secondary and the film exists as a big gonzo question posed better than any aesthetics professor could phrase it. Like a nesting doll begun in the center, all members involved continue to find that they are not out of the container of its thought, but that it has just grown. A film as befuddling, frustrating, and fun as any in recent memory.
Histrionic in performance, preposterous in conceit, dazzling in imagery—the same descriptions I would apply to Stanley Kubrick's one foray into pure generic horror, The Shining, I would without hesitation attribute to Shutter Island, a referent-heavy B movie baton passing that both Martin Scorsese and Leonardo DiCaprio have been itching to execute. Marty takes much from Kubrick's playbook, including some needle drop soundtrack work identical to The Shining, and Leo cracks up (or reveals pre-existing cracks) like Jack did when he was trapped somewhere due to inclement weather, too. The bombast is remarkablly genuine, and the gimmick of "gotta watch it again" remarkably compelling, unlike other twist-for-twist's-sake movies of late.
Unlike other films that offer noir's components with interpretive plastic surgery, this is noir at its most broken-down and ugly, skeletal in construction and completely unvarnished in performance. Winter's Bone nails its namesake by having a total mastery of temperature, chiefly the bitter cold of the Ozarks, but also the animalistic steam of violence, threadbare family warmth, and a literal and figural clammy grasp of death. It is difficult to make myth of modern America, and dangerous to do so of the poverty-stricken, but Winter's Bone manages to do so through force of will and absence of opining that is truly a marvel. Debra Granick could carve out a Hollywood consulting career stripping the pretension and pity off of other movies, but I think this directing thing is going to work out for her. (I can only dream of two female directing Oscars in two years.)
This may backfire on me, but I claim to be able to talk anyone out of disliking this movie. Inception doesn't allow for shallow interpretation or shallow criticism, and its convolutions are purposeful, informed, and perhaps best of all, thrilling. While I'm not interested in cataloging every criticism aimed at Inception, I can say this—by no means can a movie be detrimentally "talky" and have so much action, and be this clock-like in construction and have missing gear teeth. Nolan applies with reverence the language of myriad action film sub-genres, from metaphysical sci-fi kung-fu to mod Sinatra heist to 80s brainless shoot-'em-ups, and in doing so, tacitly explains the nature of film as our shared dream lexicon—have you ever thought what your dreams would be like if film and television did not exist?
This year was unstoppably Scott Pilgrim for me, from the conclusion of the graphic novel series that occupied my funemployed summer, to the faithful and frustrating beat 'em up video game, to a soundtrack that played like musical fan fiction. And the movie didn't disappoint. Distilled to the books' most necessary components, as diluvial with candy and color as a sick roller coaster rider, and deserving of every synonym for fun of which one can conceive, Scott Pilgrim was destined to be a failure—too short, too OCD, too childish for today's audiences, who demand bloated and brooding superhero movies (I'm looking The Dark Knight squarely in its coal-mascara'ed eyes). Like the superlative arcade experiences of Gen Y's plugged-in past, this movie will continue to gobble my figurative quarters for years to come.
The only thing sadder and more despicable that the titular character of this Noah Baumbach outing is that these films come too sparsely for Ben Stiller to defend his increasingly indefensible filmography. Luckily, it's enjoyably uncomfortable to watch the former unfold, even if the latter could make one grind his or her teeth to Tic Tacs. Films featuring an unlikeable character unleashed are only effective when the humanity that character tramples glints a little, and Greta Gerwig does; she plays like The Apartment's Shirley MacClane, but without even an elevator to tell her where to go, miserable as an ASPCA commercial but without dispute the film's heart. Rhys Ifans's Ivan serves a dual role of backstory extractor and punching bag, and both are performed without mawkish manipulation. Stiller's Greenberg, through the bad choices and impulses, embodies a frightening eventuality of Generation X's "fuck it" attitude, playing a guy who's furious the rest of the limping world won't give up, too. A film to be read and not felt or fallen into, Greenberg pays off the viewer who can sensitively detach from its reality—a skill at which Greenberg is so terrifically inept.
By now, the above video of a CGI Yogi Bear receiving a shotgun blast to the back by Boo Boo has gone viral. Shock and then convoluted irony are the first few things likely to sweep over a viewer, but I'm convinced that this black-as-pitch homage—not parody—provides another unintentional effect: proof that The Assassination of Jesse James by the Coward Robert Ford is a neglected masterpiece.
Several aspects of this video make it so awkwardly awe-inspiring, and they all point back to the source material's brilliance. It is the melding of raw moviemaking elements—flawless blocking, consummate performances, dreamlike yet aggressive cinematography, and perhaps above all else, a devastating soundtrack—that elicit a response; when mashed with the surrealism of computerized talking bears, the effect is at once discombobulating and blunt in its craft.
Most people I know who have watched this clip are bowled over by the sadness of it. Yes, the substitution of childhood icons for amoral outlaws lends a very obvious "death of nostalgia" undertone to the video. But I firmly believe that it is the syntax of the art, done to such an elite degree in the first place, that packs the punch; it's like hearing Barber's "Adagio" performed by kazoo (okay, maybe that wouldn't be as successful).
Assassination came out in 2007, a year, almost instantaneously to its conclusion, regarded as one of the most astounding for cinema in recent history. No Country for Old Men won the Oscar for Best Picture that year, though it was kept company by There Will Be Blood, The Diving Bell and the Butterfly, Gone Baby Gone, and Zodiac, not to mention 4 Months 3 Weeks and 2 Days, Atonement, Into the Wild, American Gangster, and a bevy of genre pictures that transcended themselves, including 3:10 to Yuma, Hot Fuzz, Juno, Superbad, and on and on and on. These are mostly movies that will age exceedingly well, appreciate in value and esteem, find enviable cult status, or all three. I fear Assassination might be neglected in the appraisal.
That's why this stupid Yogi thing is somewhat of a godsend. Not only does it revel in the language of film spoken so well by Andrew Dominik and his collaborators—it highlights this climactic moment as somewhat of an iconic one, stylistically distinctive and palpably triumphant in its achievements. Boo Boo isn't drinking Yogi's milkshake or yukking it up about baby batter on his hamburger phone. To do so would've parodied exhausted memes unto themselves.
Thus, this clip can be defined as homage—there's no snark, nothing is subverted but the players, and, in its true weirdness, the whole thing is the polar opposite of cliché. I only hesitate for a moment is saying that the video reeks of respect. If Yogi Bear adds anything to the cacophony of cinema, at least it's not purely noise, and thank the stars it's a joyful one, trumpeting a film that deserves it.
Right now, I'm in the process of overhauling the paper forms used at the Kansas Secretary of State's office. There are tons of them, and each with their own eccentricities. The objective of, ahem, formalizing these has been gleefully grueling. Not only do the requirements of the forms dictate their design, but statutes that must be observed, and databases that have been constructed with certain unbudging sequences and inputs.
Anyone who knows me knows that, creative-act-wise, there are no two things I relish more than constraint and orderliness. And yes, I do see this as a creative act. With forms, there is a distinctive Bauhaus indivisibility between form and function that I find beautiful. Their demands often force me to defend any ornamentation I choose to include. With space at a premium, everything must be purposeful. It's a downright delight.
What astounds me is the lack of documentation, theory, or practical exercise available when it comes to printed form design. Forms exemplify pure design principle; one could say that any text on visual assemblage or grid system would do the task, yet I think they're quirky and unique enough to warrant their own focus. They're a great challenge, and one that encompasses aspects of interaction, comprehension, usefulness, aesthetics, pleasantness, tradition, and boiling point.
Online form design has recently seen a wellspring of terrific written work, analysis, and application, but I have a feeling that the need for the printed form won't diminish anytime soon. Okay, I could be dead wrong about that, but until they shut down the last paper mill, people will still be asking receptionists what the date is, scribbling stubborn ballpoint pens in the margins, and signing on dotted lines—and this ubiquitous and often unappealing aspect of modern life will still need a little attention.
Limbo is the first video game by Danish developer Playdead, and it is quite a statement. So much of what makes the game fun and thrilling is derived from what makes it intelligent. It refers broadly and astutely to the spectrum of popular art, from Lord of the Flies and H.P. Lovecraft to Calvin and Hobbes and Roman Catholic theology—all without text or dialogue.
Playdead does this through a deliberately simplistic gameplay mechanic that assumes the player understands the basic function of the platformer genre (you could call it a morbid, noir Super Mario Brothers).
Many games boast immersiveness, but require bogs of exposition and contrived tutorials integrated into the first phase of play. Limbo simply opens a window and, like Dickens' Ghost of Christmas Yet-to-Come, points its bony finger forward.
By now, I could have completed what is an admittedly short experience, if not for my desire to prolong my time in its dangerous and melancholic world (and impress my girlfriend, to whom I'll eagerly hand the controller tonight).
I eagerly snapped up Limbo on its premiere day, even with my dental floss of a gaming budget, because I knew it would be worth the money—not simply for the diversion it would provide for the next day or two, but because of its up-the-ante attitude for what games should do, and not just what they can do.
The interactive entertainment industry has inadvertently and ironically begun to counteract its artistic claims through bloated budgets and pixel pyrotechnics, forgetting that the best works of art are not conceived budgetarily or through marketing (some games, like Red Dead Revolver, can count critical acclaim along with zeros and commas).
Like many established mediums of art—film and books being Perpetrators 1 and 2—video games have fallen into ruts of tired tropes and franchise aspirations to guarantee success. Movies have already begun to feel the backlash, with audiences ignoring rehash cinema and yearning for originality. (You could hear the chant of Inception in the streets for weeks as buzz built the film into a summer savior.)
Games like Limbo continue gaming along the same path as comics twenty years ago, when artists outside of their mainstream fought not only to legitimize their work but recognize the history and conventions of the form.
I was not surprised to see in the credits that Playdead benefitted from a grant given by the Danish government to develop Limbo. In the U.S., the dream of state-supported game design seems as possible as Roger Ebert achieving 100% completion in Castlevania: Symphony of the Night.
It's been a good year for gaming art, and a hard one to ignore for naysayers like Ebert who continue to refute gaming's adult, artistic aspirations. Already a critical darling, I hope Limbo and Playdead see big success, which starts a demand for evocative video-gaming that keeps mature gamers powering up their systems for increasingly sophisticated experiences.
This angers me.
Catch that statement at the end? I'm glad to know that if I create completely derivative, near-plagaristic work, I can expunge myself of all culpability by simply saying that the original artists had nothing to do with it—no "direct or indirect" influence.
In this case, such a statement is pure untruth. Christo and Jean-Claude may have not sat in on creative meetings or served as consultants, but could it be that no one working for BBDO, the advertising firm responsible, didn't raise concern? Don't they have a New York office?
We as Americans are lucky when art enters our cultural zeitgeist. Either BBDO feels that contemporary artistic success consigns large-scale achievements to some compulsory Creative Commons agreement, or that the citizens of the United States are ignorant morons. Obviously, they are not as ignorant as BBDO, or else they would've never placed that laughable legalese at the tail of their rip-off.
Hopefully, now that the iPhone 4 has launched with video call capabilities, BBDO won't have a woman stare into the eyes of all the people in her nation-wide network, one after the other, or, to express the intensity of the iPhone's new high-resolution Retina Display technology, embalm a tiger shark in a vitrine. But I wouldn't put it past them.
Perhaps advertisers need some requisite art history classes before overseeing national campaigns—or at least an understanding that they're not the only ones who have the means and ambition to share evocative images with the masses. As Marshall McLuhan famously said, advertising is "the greatest art form of the 20th century." No, wait, I said that.
(The whole situation reminds me of this. If you have seen "The Squid and the Whale," then you know that, when confronted with taking credit for penning the song, Walt says he "feels as if he could have written it." Good enough.)
One of my greatest unintentional triumphs of the past month has been successfully introducing the beautiful, eerie, masterful, and often ridiculous world of silent film to my significant other. She succumbed to it the same way I did as a child—through Turner Classic Movies, a network that's been incredibly generous towards and with that era of moviemaking.
Every Sunday night, TCM shows a silent film from their vault, often one they had a hand in restoring. I must've been twelve when I saw my first silent film, courtesy of TCM: Greed, one of the countless "lost masterpieces" of the epoch. An epic helmed by Erich von Stroheim, Greed's is a film of enormous aspirations, with budget and ego to match, which inevitably relented to a machete job by the studio after the final product proved too challenging to market. The footage hacked from the director's cut was, of course, swept up and trashed, unseen since the premier.
For preteen me, this just added to the mystique of the film, which felt created by long-forgotten wizardly aesthetes. It is, like all silent films, quite literally a strange document from another time. To see Greed is to see something monolithic and weathered, like eroded Roman architecture. There is no way to understand its scope then, and no way to deny it now, though you must use your imagination to superimpose some of the deleted grandeur.
While the percentage of all silent-era films are lost and unretrievable —the frequent estimation is 80%—an astounding amount of films were made during cinema's golden age, meaning that hundreds of silent pictures are still available today. Seeing Greed led me first to budget-priced, unwatchable copies of seminal silents like Metropolis and Nosferatu, then to the Criterion editions of classic German Expressionism, and eventually to Kino, the true American caretakers of silent film, whom lovingly look after important filmic artifacts like Edison's shorts and the work of the Lumiére brothers.
These films tend to bowl over those who are unprepared for the ingenuity and artistry of what are often stigmatized as histrionic antiques. The artists who were inventing the lexicon of cinema were doing so audaciously. Concepts of montage, optical effects, tracking shots, action set pieces—before they were the conjunctions of film, they were exclamations, in films like Strike!, Waxworks, Sunrise, and Scaramouche.
For decades, if silent film was available, it was in the form of an archival print, frequently downgraded from 35 to 16mm, and devoid of the enhancements an original print may have had; one of the gifts film restoration has given to silent film is the reinstatement of tinting to the negatives. Rarely were these prints "black and white," but multicolored to evoke lighting, time of day, even mood. Some silent films featured moments of hand-painted color, such as the torches of the Basha's approach in Frank Lloyd's The Sea Hawk or shorts like George Méliès' Joan of Arc. Techincolor, still in its infancy and very expensive, was even used for entire blockbusters such as The Ten Commandments and The Black Pirate, or more selectively, as in The Phantom of the Opera's Bal Masqué scene.
And, yes, while the acting style that predominates feels overwrought and telegraphed to modern audiences, most of these films are not meant for nuance—the nature of the films and the medium slanted the characters towards archetype. But silent film also lays claim to some of the finest performances in cinematic history: just look at Maria Falconetti's devastating turn as Carl Th. Dreyer's Joan of Arc, Emil Jenning's in The Last Laugh, or Louise Brooks in the work of G.W. Pabst.
Silent film also had a way of authoring icons, like Brooks, Buster Keaton, Theda Bara, Conrad Veidt. Their faces had graphic qualities, and their directors flanked them in style. Single frames from some of these pictures were pop art from inception, and their visual life continues to influence contemporary culture—just compare the transformation of Maria with Christina Aguilera's cover art (not to mention up-and-coming singer/songwriter Janelle Monae's entire concept). And most Western filmgoers know and respond to the Tramp and his dancing biscuits, Brooks' art deco bob, the sunken, spectral eyes of Dr. Caligari's Cesare.
Assisting my girlfriend with digging through the trunk of these treasures will be a thrill for me. These days, it's easier than ever—Netflix is a worthy resource, our public library has a silent DVD section (to my giddy astonishment), and, as many of these films have mercifully lapsed into the public domain, a healthy selection is available online from the Internet Archive to YouTube. I encourage you to begin your excavation, and update me on your progress. I'll keep readers abreast of my partner's silent education.
This blog marks, to my recollection, the sixth blog I've started in earnest. I say "earnest" because even those blogs I've only managed to populate with one post were ambitiously, enthusiastically conceived—I'm looking at you, online moustache chronicle.
Some of my efforts were valiant: I maintained a fifty-word movie review blog for nearly a year, but the word-count conceit mixed with the challenge to write one for every movie I saw proved too much. It's fitting that His Bowtie is Really a Camera's final post features a review of Raymond Briggs' The Snowman, complete with accompanying image of the titular character, melted. There's an apt metaphor here.
And the web will never let me forget my first weblog, a self-conscious diary of my undergraduate years. Somehow, I just can't seem to clean the cache on that one.
I promise to make this blog different—no high concepts, no format constraints, no personal gush. I am limiting the blog to my observations and opinions on art and culture, but within that fence, I plan to trounce around however I see fit. Also, I have no plans to stick a tombstone over this blog if I go absent for a month or two. In my current idealistic state, I don't see that happening, but if it does, I won't self-flagellate and shut 'er down.
To those who care or can humor me, thanks. I hope this can be illuminating and a little bit of fun.


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Modular Drawer Cabinets
1 Result Found that Includes 6 Products
How can we improve the Search Experience?
- Stanley Vidmar Modular Drawer Cabinet Stanley Vidmar Modular Drawer Cabinet
Multiple product options available
When loads are evenly distributed, these modular drawer cabinets offer a 400-lb. capacity per drawer. They also feature all-welded steel construction, a powder-coated finish, and a single-key locking system. Adjustable partitions and dividers allow configuring compartments to meet specific needs.
Multiple product options available
Price $4,529.00–$4,885.00
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Note: Product availability is real-time basis and adjusted continuously. The product will be reserved for you when you complete your order. More

subset: commoncrawl


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BBB Accredited Business since 03/16/1993
Country Wide Moving & Storage, Inc.Find a Location
Phone: (937) 898-3693Fax: (937) 898-72641001 S Brown School Rd Ste B, Vandalia, OH 45377www.cwms.net
BBB Business Reviews may not be reproduced for sales or promotional purposes.
Request a Quote
BBB Accreditation
A BBB Accredited Business since 03/16/1993
BBB has determined that Country Wide Moving & Storage, Inc. meets BBB accreditation standards, which include a commitment to make a good faith effort to resolve any consumer complaints. BBB Accredited Businesses pay a fee for accreditation review/monitoring and for support of BBB services to the public.
BBB accreditation does not mean that the business' products or services have been evaluated or endorsed by BBB, or that BBB has made a determination as to the business' product quality or competency in performing services.
Reason for Rating
BBB rating is based on 13 factors. Get the details about the factors considered.
Factors that affect the rating for Country Wide Moving & Storage, Inc. include:
- Length of time business has been operating.
- Complaint volume filed with BBB for business of this size.
- Response to 1 complaint(s) filed against business.
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Customer Complaints SummaryRead complaint details
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Customer Reviews Summary Read customer reviews
1 Customer Review Customer Reviews on Country Wide Moving & Storage, Inc.
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Additional Informationtop
Licensing, Bonding or Registration
This company is in an industry that may require licensing, bonding or registration in order to lawfully do business. BBB encourages you to check with the appropriate agency to be certain any requirements are currently being met.Type: unknown
Type of Entity
Contact InformationPrincipal: Mrs. Diana Vann (President)
Number of Employees
Business Category
Movers, Storage Units - Household & Commercial
Products & Services
This company offers moving and packing of household goods on local, intrastate, interstate or international basis.
Industry TipsMoving Companies & Storage (Interstate)
Customer Review Rating plus BBB Rating Summary
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Vanlue OH Real Estate & Homes for Sale
0 Properties Found
The median home value in Vanlue, OH is $76,700.
This is
lower than
the county median home value of $113,200.
The national median home value is $177,414.
The average price of homes sold in Vanlue, OH is $76,700.
Approximately 63.3% of Vanlue homes are owned,
compared to 19.68% rented, while
17.02% are vacant.
Vanlue real estate listings include condos, townhomes, and single family homes for sale.
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These are stories Report on Business is following Wednesday, Feb. 6, 2013.
Follow Michael Babad and the Globe's top business stories on Twitter.
Big Macs and the euro crisis
A new study illustrates just how prices may be adjusting in the troubled region that is the euro zone.
The report released today by the Bruegel think tank, based on The Economist's Big Mac index, suggests that the most troubled countries in the 17-member monetary union are getting a break. With the exception of Italy, for some strange reason.
Economist Guntram Wolff used Economist findings from its famous measure to compare price changes across the major euro nations to the average for the region.
The news, he said, is good.
"Austria and Germany grow above average, while, Greece, Ireland, Portugal and Spain are below average," he said.
The latter four have been at the focus of the three-year old debt crisis that has laid the euro zone low.
"Even France is below average," he added. "So adjustment seems to be working not just for unit labour costs but even real prices adjust."
But in Italy, burger prices have climbed at the fastest pace in the region, but for Estonia.
"A Big Mac costs €3.85 [$5.20 U.S.], while it costs only €3.60 in France and €3.64 in Germany," he found.
"Or to put it in percentages, in July 2011, Italy was overvalued by 2.9 per cent while in January, 2013, it was overvalued by 5.7 per cent relative to Germany."
That's troubling, according to the economist.
"Overall, the Big Mac index shows some adjustment in the euro area in the last 18 months but Italian inflation rates are worrying," he said.
"Labour market reforms that do not translate into lower product market prices are detrimental to consumers and prevent the economy from gaining export strength. Italy needs to apply the right policies to address high inflation."
Report urges action
Canadian consumers feel "ripped off" by higher prices in Canada than in the U.S., says a report by a Senate committee studying price gaps between the two countries, recommending Ottawa review Canadian tariffs and other matters with an eye to reducing the price discrepancies.
"When the Canadian dollar is at parity with the U.S. dollar, Canadian consumers notice that prices here are typically higher than in the United States," says the report released today.
"When Canadians window-shop, on a visit to the United States or online, they notice price gaps, especially on brand-name goods, from Aspirin to running shoes."
But the report concludes that there is no one solution to the problem of price differences after the committee examined pricing of products ranging from ice skates to jeans, automobiles and books, The Globe and Mail's Marina Strauss and Barrie McKenna report.
It recommends Ottawa continue to integrate safety standards between Canada and the U.S. with the intent of reducing price discrepancies "without compromising the safety needs of the two countries."
- 'Ripped off': Senate report urges action on Canada-U.S. price gap
- With the loonie at par, is it fair to charge Canadians higher prices?
Strong day for RIM
The launch of the much hyped BlackBerry Z10 smartphone in Canada on Tuesday was the best debut of any of Research In Motion Ltd.'s previous BlackBerrys, the company said today.
"In Canada, yesterday was the best day ever for the first day of a launch of a new BlackBerry smartphone," chief executive officer Thorsten Heins said in a statement. "In fact, it was more than 50 [per cent] better than any other launch day in our history in Canada."
RIM, which has lost a huge amount of market share mainly to Apple Inc. and Samsung Electronics Co. Ltd., is counting on the new device to win back consumers in a number of developed markets, The Globe and Mail's Iain Marlow writes.
The (ongoing) trouble in banking
Royal Bank of Scotland's chairman repeated a phrase oft heard since the financial crisis as he issued his mega mea culpa today: "We have to fix the culture in the banking industry."
Phillip Hampton was announcing a settlement in the wide-ranging probe over manipulation of key interest rates. He talked, as others have before him, about integrity in an industry that was wounded by the crisis and has lurched since from scandal to scandal, the latest involving the London Interbank Offered Rate, or Libor.
Today's settlement by RBS, once the model for a global bank, involves paying more than $600-million (U.S.) and pleading guilty to wire fraud in Japan, wrapping up a deal with authorities in Britain and the United States related to Libor, Swiss Franc Libor and Yen Libor. The probe, the bank said, found wrongdoing by 21 employees, largely in the latter two rates.
"The RBS board acknowledges that there were serious shortcomings in our systems and controls and also in the integrity of a small group of our employees," Mr. Hampton said.
"This is a sad day for RBS, but also an important one in continuing to put right the mistakes of the past," he added in the statement.
"We have to fix the culture in the banking industry. The most important part of that is focusing our efforts on the needs of our customers and acting with integrity. And it also involves facing up to the bank's past failings, no matter how uncomfortable that is."
Of 21 people involved, according to RBS, six have been fired, including two managers, and six other are being disciplined. Eight left the bank earlier.
"The findings also highlight serious failures in the controls and risk management systems RBS had in place," the bank said.
"However, none of the regulators in question concluded that RBS, as a firm, had engaged in any deliberate misconduct," it added.
"There are no findings that anyone beyond individual traders and, in some instances, their immediate supervisors, was aware of, or instructed, any deliberate manipulation of submissions, nor is there any finding that RBS suppressed Libor submissions at the direction of senior management."
Today's settlement is the latest in a series of black eyes for the banking industry, which emerged from the financial crisis tarred and loathed, and facing new regulations and pressure on bonuses. These have ranged from JPMorgan Chase & Co.'s 'London Whale' to the settlements over foreclosures.
"The integrity of Libor depends on truthful information provided by a select group of some of the world's most important banks," said David Meister, director of enforcement at the U.S. commodity Futures Trading Commission, as he announced the CFTC's part of the settlement.
"The public is deprived of an honest benchmark interest rate when a group of traders sits around a desk for years falsely spinning their bank's Libor submissions, trying to manufacture winning trades. That's what happened at RBS."
- RBS to pay $615-million in Libor fines to U.S., U.K.
- Read the RBS statement
- Streetwise (for subscribers): RBS Libor settlement: The txts traders shud not hav snt
- ROB Insight (for subscribers): With Libor fine, U.K. government inches towards freedom from RBS
- Joanna Slater's Streetwise (for subscribers): 'London Whale' costs Jamie Dimon half his pay
- Banks pay billions over foreclosure misconduct
- Streetwise: HSBC: Too big to jail?
- Banking suffers another blow as scandals pile up
Oil sands project troubled
Canada's Suncor Energy Inc. has taken a hit of almost $1.5-billion on its Voyageur project, a massive oil sands plant that is now at serious risk of cancellation, The Globe and Mail's Nathan VanderKlippe reports.
The $11.6-billion Voyageur upgrader is designed to process 200,000 barrels per day of heavy oil sands bitumen into a lighter oil. The project was 15 per cent built, and Suncor had already spent $3.5-billion, when Suncor halted work in 2009.
"Suncor's view is that the economic outlook for the Voyageur upgrader project is challenged," the company said in a statement last night as it posted a quarterly loss of $562-million or 37 cents a share.
"The partners have been considering options for the project, including the implications of cancellation or indefinite deferral," it added.
WestJet hikes dividend
WestJet Airlines Ltd. today posted a stronger fourth-quarter profit, and boosted its quarterly dividend to 10 cents from 8 cents.
The Calgary-based airline earned $60.9-million, or 46 cents a share, compared to $35.6-million or 26 cents a year earlier, The Globe and Mail's Guy Dixon reports. For the year, WestJet earned $242.4-million, or $1.78, also up sharply from 2011.
January kind to real estate
One month does not a trend make, but sales numbers coming in from across Canada show a January housing market with some spunk still.
"The January home sales results are rolling in across Canada's major cities, and year-over-year growth looks much improved from December's 17.9-per-cent year-over-year dive in the major markets," said economist Robert Kavcic of BMO Nesbitt Burns.
National numbers won't be reported by the Canadian Real Estate Association until mid-February, but local boards have started to post their January results.
As The Globe and Mail's Tara Perkins reports, the Toronto Real Estate Board reported yesterday that sales in January slipped by only 1.3 per cent from a year earlier, following December's year-over-year slump of more than 20 per cent.
Sales in Calgary, meanwhile, the one standout city in the country, picked up steam, climbing more than 15 per cent, and Edmonton registered a gain of 3 per cent.
Notable, said Mr. Kavcic, is that sales of homes over $1-million climbed by 3.5 per cent in January, though there aren't a lot of those.
"The surging equity market certainly isn't hurting the high end of the market," he added.
Having said that, Mr. Kavcic also pointed out that last month's numbers are being compared to a "very weak month" a year earlier, while there was also one more business day factored into the latest sales figures.
Still, the latest January sales come after months of a cooling market, driven lower, deliberately, by a fresh round of mortgage restrictions brought in by Finance Minister Jim Flaherty in July. And even as sales slipped and new listings were hit, prices held up.
But … not so fast, Vancouver.
Vancouver is seen as the one market where a "soft landing" wasn't in the cards. But even there, January's sales decline, of more than 14 per cent, was markedly slower than December's 30 per cent.
Prices in Vancouver have lost 6 per cent from their peak last May, though BMO says that January's drop of 11 per cent in new listings could "ultimately temper the price declines."
- GTA sees 'good start' for 2013 existing home sales
- January chills Vancouver home sales
- David Parkinson in ROB Insight (for subscribers): Consumer debt on track to follow housing's decline
- Vancouver remains second least-affordable market as measure improves slightly
- New listings, sales down as Vancouver residential market cools
- Is the slump in home sales nearing bottom?
- GTA condo, new house price gap soars as policies distort market: industry group
Streetwise (for subscribers)
Economy Lab
- Strong euro as useful as a 'screen door in a submarine'
- China's currency: Are neighbours sidelining global aspirations
ROB Insight (for subscribers)
- With Libor fine, U.K. government inches towards freedom from RBS
- Hollande, France's action man, has euro speculators in his sights
- Consumer debt on track to follow housing's decline
Business ticker
- Cash Store wants hearing after Ontario revokes payday loan licences
- Financially strapped U.S. Postal Service to cut Saturday mail
- Husky profit falls, misses estimates
- TMX wraps up transformative year in the black
- Time Warner profit rises on cable growth
Follow @michaelbabadon Twitter:
- BlackBerry Ltd$10.41+0.09(+0.87%)
- Suncor Energy Inc$34.85-0.09(-0.26%)
- WestJet Airlines Ltd$23.66+0.06(+0.25%)
- Updated September 23 4:00 PM EDT. Delayed by at least 15 minutes.


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Bret Bielema is taking one of Wisconsin's top assistants with him to Arkansas.
Badgers defensive coordinator Chris Ash will join Bielema in the same role with the Razorbacks, Arkansas announced Tuesday night. Ash will remain with Wisconsin through the Rose Bowl Game presented by VIZIO on Jan. 1 against Stanford.
"I am excited to welcome Chris to our staff," Bielema said in a prepared statement. "In the last three years working together, I gained a great respect for the way Chris teaches the game and develops student-athletes. I've followed his career for a long time, and his knowledge of the way we run our program and specifically the defense will be valuable for us moving forward in our transition. Chris helped us improve drastically in our pass defense at Wisconsin where his defenses consistently ranked in the top 25 nationally in all the major categories."
Ash did a terrific job in two seasons as the Badgers' defensive coordinator after taking over for Dave Doeren. Wisconsin's defense ranks in the top 25 nationally in total defense, scoring defense, rushing defense and pass-efficiency defense this season.
His departure isn't a huge surprise, as Wisconsin doesn't have a permanent head coach and Ash appeared likely to be in high demand. There was some talk he'd join Doeren at NC State, but he's off to Hog Country.


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Who better to set off 2013 than Natasha Kmeto? The futuristic soul producer's take on bass heats up with "Dirty Mind Melt," an all-ace 4 track EP seated squarely at the intersection of dance, soul, and experimental electronic music. Think old hotel rooms, neon lights, romantic obsessions, car chases, basement clubs, and a sky filled with commuter hovercraft, all in the course of a single evening. Dedicated fans already know the extent to which these tracks power Natasha's electrifying live show, and we're happy to finally present them to the world at large. You can grab the release from our Bandcamp, where you'll also find t-shirts and tanks featuring the EP cover art, designed by the much-admired LA-based artist Miko Revereza.
Tracklist: 1. Pleasure Delay 2. Dirty Mind Melt 3. Contranym 4. He Loves Me, She Loves Me Not
Dirty Mind Melt will be available 2/19/13 from all digital retailers and our via Bandcamp.


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WILSONVILLE, Ore. — Lamb's Markets, a five-store independent grocer here, has rolled out technology to address "sweethearting" — deliberate non-scans by cashiers — as well as cashiers' mistakes. The ScanItAll video recognition software, from Stoplift Checkout Vision Systems, Cambridge, Mass., monitors all of Lamb's existing security cameras mounted over checkout registers; when a sweethearting incident occurs, the technology flags the transaction, identifying the cashier and the date and ...
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OS hair & make up is run to a consistently high standard with a carefully selected team of top technicians, each of whom has a unique specialisation.
Our team exhibit professionalism & warmth and are friendly and helpful. With no problem too small, they really want your experience and time with us to be special.
Step into our world, explore our site. You'll find out all about the salon and the people that make it a dynamic place that our guest's and friends love and want to frequent time and time again.


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Vintage Ferguson serves up a treat for Linfield
Published 22/09/2008
Good wine matures well — that certainly seems to be the case for two of the Irish League's veteran performers as Noel Bailie and Glenn Ferguson (combined age 76) demonstrated on Saturday at Clandeboye Park when they conjured up as fine a goal as you will see on any stage.
Linfield's third goal in their 5-0 victory over Bangor was a real vintage effort.
From a long throw out by keeper Alan Mannus, Bailie ran forward before hitting a chipped pass to the edge of the Bangor area. Ferguson let the ball fall over his shoulder before hitting his lobbed shot left-footed over the Bangor keeper to dip under the crossbar.
That was in the 78th minute and, as manager David Jeffrey said: "It was a great goal, fit to grace any match, and effectively killed off the contest.
"We are a team in transition at the moment, and we are bringing through a lot of young players as I am effectively looking to build my fourth team at Windsor Park.
"We are looking to players such as Robert Garrett, Mattie Doherty, Johnny Harkness, and Jamie Mulgrew to take up the mantle, and they have superb role models in players such as Glenn Ferguson and Noel Bailie, but Glenn and Noel won't go on for ever and we must build for the future."
It was one of those young talents, 22-year-old Jamie Mulgrew, who scored Linfield's second goal on 27 minutes after a superb nod-on from Ferguson placed the ball in front of him so that he did not have to alter his stride as he ran in to smash home from six yards out.
Mark Miskimmon had begun the move with a clever lofted pass out left to Ferguson just inside the Bangor box, but it was the veteran's delicate touch which made the goal.
Bangor manager Marty Quinn, who with typical candour blamed himself as much as his players for the 5-0 defeat — the second successive such scoreline in Bangor's two home Premiership matches to date.
"I tried to fit some round pegs into square holes," he said. "The players made mistakes, but the buck stops with the manager and I accept my share of the blame."
Mind you, the manager also acknowledged that Bangor didn't get the rub of the green, and it was a piece of bad luck which gave Linfield their opening goal on 16 minutes.
A lofted free kick into the box from the right saw Bangor players David Irvine and Mark Gracey both jump for the ball alongside William Murphy, but it was off a Bangor head that the ball flew past teenage keeper Andrew Plummer from seven yards.
Bangor never let their heads drop, and came back after the re-start with a couple of chances, but Mannus was equal to a couple of Marty Verner 10 yard headers.
Then came that killer goal from Ferguson, and the icing was put on the cake when sub Paul Munster announced his arrival on the Linfield scene with two goals in a minute.
On 84 minutes he was on the spot to slam home from 12 yards after fellow substitute Paul McAreavey's downward header.
Sixty seconds later McAreavey was again the provider with a corner from the left which former Glentoran midfielder Darren Lockhart, now wearing Bangor's colours, mis-headed down to Munster to toe-poke into the net from five yards.
Belfast Telegraph


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Meyer Burger to cut workforce further21. November 2012 | Industry & Suppliers, Markets & Trends, Top News | By: Becky Beetz
Meyer Burger Technology Ltd has announced it will cut around 250 jobs across the group. The Swiss company has already reduced its workforce by around 500 this year. The challenging photovoltaic market conditions have been cited as the reason.
In order to improve flexibility and meet market demands, Meyer Burger has said it will reduce its permanent workforce to around 2,000. This will involve the removal of approximately 250 positions, a spokesperson tells pv magazine, 50 of which will be made at group member Roth & Rau in Germany's Hohenstein-Ernstthal.
In March, Meyer Burger announced it would make cuts totaling 15% in 2012. However, it has already reduced 19% of its workforce, or around 500 employees. Aside from the 50 jobs at Roth & Rau, the spokesperson could not say where the other reductions would be made, or when.
Currently, Meyer Burger is said to be reviewing its overall budget, and the projects and sales forecasts for 2013 of its individual members to see where the cutbacks can be made. It has locations across Switzerland, Germany, the U.S. and Asia.
The aim of the restructuring measures is to increase efficiency and reduce operating costs by around CHF 30 million (€24.9 million, US$31.9 million).
"Various project discussions with customers, among them also in new PV markets in Asia, South America, in the Arab region and in Africa, confirm Meyer Burger's conviction that the long term prospects for photovoltaics continue to be positive," said the company in a statement released.
"However, it remains very difficult to forecast when these project discussions will result in new contracts and when the current overcapacity of solar cell and module manufacturers will be reduced. For this reason, visibility in the overall market remains limited."
For the full year 2012, Meyer Burger forecasts sales of just over CHF 600 million, a negative EBITDA of between CHF 20 million to 40 million. It added, "With the measures being taken as part of the accelerated consolidation and optimisation programme, Meyer Burger aims to reduce the EBITDA break-even threshold in order to achieve a break-even result at EBITDA level already with similar sales volumes as in 2012."
In related news, with the sale of its Chinese manufacturing unit, Precision Tooling & Solar, and the associated holding structure, Roth & Rau has officially completed its CRiSP II restructuring program.
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The inaugural Palmetto Lacrosse Classic is off to a good start and expected to grow, organizer Ward Bitter said Saturday.
The two-day youth lacrosse tournament being played at Hyde Park Farm and Polo Club in Ravenel drew 40 teams, most of them from the southeast but coming from as far as Canada.
Todays final games begin at 8:15 a.m. and are expected to finish by 3 p.m., with champions crowned in five divisions. Players are fifth grade through high school.
We like to start with about 40 teams and then double, triple or quadruple it the next year, said Bitter, who has children playing professionally and collegiately.
We will try to add a girls division next year.
Bitter said the Charleston area was chosen because of its location and its tourism base.


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Assistant fashion designers are responsible for all aspects of the design and creation of new fashion products, as well as updating previous designs. They typically work under the supervision of a fashion designer and specialize in a particular area of design, such as skirts, sweaters, or (more generally) women's apparel.Read More...
Using existing product designs and overall brand style, assistant fashion designers help in all stages of the fashion design process, from silhouette and initial art to design boards and illustrations to trimming. They create initial sketches using ideas brainstormed in creative sessions with the fashion design team, working by hand or using design software. Once a sketch is approved and brought to the fitting stage, they attend fitting sessions and use feedback for possible design revisions. In addition to creating new products, assistant fashion designers modify existing designs and sketches to produce updated products that maintain the brand's position in the market.
Assistant fashion designers generally work in an office environment during regular business hours, with the possibility of overtime for important projects. A typical day for an assistant fashion designer involves sketching new and updated designs, reviewing their work with senior fashion designers and other product teams, and attending fitting sessions to see their finished products and make adjustments to their designs. Research into current fashion trends is also required to ensure the brand keeps up with trends and competitors.
Assistant fashion designers are generally required to hold a bachelor's degree in fashion or have equivalent experience. Some experience in the field is typically desired. A proficiency in design software such as Adobe Photoshop and Adobe Illustrator is required.
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There are some Assistant Fashion Designers — though it's uncommon — that transition into Chief Fashion Designers, where earnings are an average $93K annually. Fashion Designers or Associate Fashion Designers are common next-step roles for Assistant Fashion Designers moving up in their careers; annual pay for Fashion Designers is $15K higher on average, and it's $12K higher for Associate Fashion Designers.
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Rilke and Andreas-Salomé: A Love Story in Letters"Immensely readable...a significant piece of scholarship."—Fred Volkmer, New York Sun He would become one of the most important poets of the twentieth century; she a muse of Europe's fin-de-siecle thinkers and artists. In this collection of letters, a finalist for the PEN USA translation award, the poet Rainer Maria Rilke and Lou Andreas-Salomé, a writer and intellectual fourteen years his senior,
The despised and indispensable Welcome to Woop WoopWelcome to Woop Woop: worst Australian movie of all time, or invaluable cultural artefact? With wild behind-the-scenes stories featuring Rod Taylor, Susie Porter, Johnathon Schaech, Barry Humphries, Stephan Elliott and a drunk clown; the mapping of links to other outback films; and a detailed argument for its place in the national canon, this companion is as vibrant and provocative as the movie
$17.59"In the diaries [Rilke] kept from 1898 to 1900, now translated for the first time . . . the overall impression is that of a genius just coming into his own powers."—Boston Phoenix In April 1898 Rainer Maria Rilke, not yet twenty-three, began a diary of his Florence visit. It was to record, in the form of an imaginary dialogue with his mentor and then-lover, Lou Andreas-Salome, his firsthand
Tunguska, or the End of NatureOn June 30, 1908, a mysterious explosion erupted in the skies over a vast woodland area of Siberia. Known as the Tunguska Event, it has been a source of wild conjecture over the past century, attributed to causes ranging from meteors to a small black hole to antimatter. In this imaginative book, Michael Hampe sets four fictional men based on real-life scholars—a physicist (Günter Hasinger and
$4.99Murder. Mayhem. Misdeeds. In the nineteenth century, Brunswick was a satellite suburb of Melbourne. While the big city boomed, Brunswick was a place of "bricks and pottery, mud and poverty" with the unruliness of a frontier town. This collection of contemporary newspaper stories provides a vivid picture of the seamy side of life in 1800s Brunswick. It includes famous outrages such as the trial and
Great Australian Sport SpeechesDon Bradman on his 'small' contribution to cricket. Roy Masters on getting the best out of the hard men of Western Suburbs Rugby League FC. John Howard on cycling legend Sir Hubert Opperman. Cathy Freeman on lighting the Olympic flame. Phonse Kyne on making sure his players made history for the right reasons. Jeff Fenech hollering 'I love youse all!' to a packed-out stadium. Ranging from the
$5.79From the MCG to the SCG, from golf courses and racetracks, from boxing rings to tennis courts and beyond come the best witticisms, piss-takes, putdowns and observations to ever cross the lips of our favourite players, coaches, commentators and competitors. 'As you slide down the banister of life, you are bound to pick up a splinter or two in your arse.' Vic Rail, horse trainer
Back to the Studio: The Inside Stories from Australia's Best-known Sports CommentatorsThe best, the worst and the most memorable moments from Australia's best-known sports commentators. "I love this book" Peter FitzSimons Without doubt, we Aussies love our sport. We've got passionate opinions about the contest, the players, the refs and umpires - and about the commentators. Love 'em or loathe 'em, their calling of a game or race can lift something ordinary into the extraordinary,
Standing Tall: The Tawera Nikau Storytawera Nikau is an exceptional athlete and veteran of international rugby league at the highest levels, with a faithful following of fans in New Zealand, Australia and the United Kingdom. His career on the field has been spectacular, but events off the field have created an air of intrigue, especially his well-documented antagonism towards fellow Kiwi international Richie Blackmore - to the extent
$16.99Many critics believe Adam Gilchrist is the greatest wicketkeeper/batsman to have played the game, but Adam's huge popularity does not rest solely on his incredible track record. To his millions of fans around the world, it is the way he plays the game - rather than simply the sum of his achievements - that marks him out as one of the best-loved cricketers of his generation. He is both a
Micky O: Hard Work. Determination. And a Little Bit of MagicKnown to fans as 'Micky O', Michael O'Loughlin is a legendary figure in AFL and one of the Sydney Swans' favourite sons. This is the candid and inspiring story of the boy who became one of AFL's greatest players. When Michael O'Loughlin was drafted by the Sydney Swans at just 17 years of age, he was the no. 40 selection and the last player picked. Back then he could not have imagined the


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BEAUTIFUL ONE BDR APT in Chinatown!Stati UnitiNew YorkNew York
Su questo annuncio
Uno spazio in cui gli ospiti possono cucinare
Riscaldamento centralizzato o stufa elettrica nell'alloggio
- True one bedroom with a walk through dressing room/closet
- Separate kitchen with modern appliances
- Giant living room with over-sized sectional that comfortably sleeps a third
- Dining area
- Balcony perfect for morning coffee
- Beautiful Art Deco design with Asian influence
- Central air conditioning
- Hairdryer
- Wi-fi, cable, all included
- Elevator building with washer and dryer in basement
- Located on a quiet street in historic Chinatown, close to subway F,D,B,6,Q,R and N trains.
- Close to many Citibike stations
- Walking distance to Soho, Little Italy, LES and Financial District.
- Sorry, no pets :-(
The Area:
- It's a very quiet yet very central area, it's a great feeling to leave the hustle and bustle to find peace and silence to rest. This is hard to find in a city like NYC.
- There is great food around us, simply the best hand-pulled noodles and dumplings just 5 minutes away on East Broadway between Allen and Essex Street. One can roll out of there for only 6 bucks! Also great little cafes and restaurants on Broome street between Orchard and Ludlow. That whole area is really cute, and you can find great shops there as well.
- Shopping: Canal is a great street to do shopping and it's also a great sight. You can find all the fake purses and watches in the world and also Chinese curiosities. Further North you will find NOLITA, another great shopping area with a ton of little boutiques. It could be a bit expensive but very nice for sure. You will also find a lot of nice little cafes in that area.
From Nolita if you head west, you will find yourself in SOHO, you will find the most famous boutiques and shops in this fashion ruled neighborhood. Prada, Chanel, Louis Vuitton to name a few. A great place to have cocktails and oysters in this hood is LURE (Prince st and Mercer st) they have a great happy hour on fridays between 5-7pm (Half price drinks and $1 oysters) These are some of the areas where you can find great things, but this is Manhattan, the entire island is a shopping mall.
- Nightlife, we are about 10 mins away from the LES where you can find a ton of bars, restaurants and music venues. Closer to us, on Doyers st, is a great prohibition style mixology bar called Apothéke. Great cocktails and they (email hidden) jazz band earlier in the night on Wednesdays. Beside Apothéke there is an underground Mexican restaurant called Pulqueria with great food and a bar with dancing on the weekends. For more dancing there is Chloe 81, on Ludlow st between Delancey and Broome. They have a great British DJ on Saturdays. He plays great Rock and Roll, small place so it does not take much for it to be a great little party.
NO SHOES INSIDE. Please, I know it's kind of annoying but NYC's streets are not the cleanest. Plus we do have a white rug which gets dirty just by looking at it. Take it as part of your cultural experience in Chinatown!
NO SMOKING INSIDE NOR IN THE HALLWAYS/ELEVATOR You may smoke on the balcony.
PLEASE BE MINDFUL OF OUR NEIGHBORS This is a very family oriented building, so please keep noise down in the apartment as well as corridors.
Thank you for understanding
142 Recensioni
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Panos & Eduardo
We are Eduardo and Panos. I, Eduardo, am an Industrial Designer, born and raised in Mexico. I lived in New York for 5 years and now I'm living in Mexico City. And Panos, is an optometrist, living in New York for the last 10 years and spent the last year and a half in Mexico City. I love to travel and have the real local experience. If you come to NYC or Mexico City I can give you all the insight for you to get the local deal as well.


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Find information on migraine and various types of headache on the new migraine search page! As more and more material is being added and updated, you'll want to search for topics that interest you to find out the latest.You can also search drugstore.com for reliable medications and health products.
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MYRTLE BEACH, S.C. -- A wax museum that opened in the 1960s in Hollywood is talking with Myrtle Beach officials about opening a branch there.
The Sun News of Myrtle Beach reported the Hollywood Wax Museum is working to move into the former NASCAR Cafe building off U.S. 17 Bypass.
The city's Community Appearance Board will discuss the museum Thursday, although no plans have been submitted. The earliest the board could vote on it is next month.
Museum spokeswoman Aileen Stein declined to give specifics about the project. Building owners Burroughs & Chapin Co. Inc. declined to comment.
The Myrtle Beach City Council got a first look at the design Tuesday.
In addition to Hollywood, the wax museum also is located in Pigeon Forge, Tenn., and Branson, Mo.


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Go for beer, music and Glockenspiel tonight
There ain't no party like a German Haus party 'cuz a German Haus party don't stop! German Fest starts today at Maier Festival Park.
Discover a new kinda sound at the Miramar Theater tonight - Toubab Krewe is playing and the show starts at 8 p.m. »Read Full Blog Post
Francesco Lecce-Chong lecture, Gathering of Waters Festival, Herb Fai
In tune
Francesco Lecce-Chong, associate conductor of the Milwaukee Symphony Orchestra, will lead people through Dvorak, Schumann and Elgar Wednesday in a lecture at 5 p.m. in the UWM Fine Arts Recital Hall, adjacent to the music building at 2400 E. Kenwood Blvd. Dvorak's "Slavonic »Read Full Article