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HubArts.com http://www.hubarts.com/weblog/ News & comment on Boston arts and culture en-US 2016-11-12T09:20:20-05:00 Leonard Cohen http://www.hubarts.com/weblog/2016/11/leonard-cohen.html Roe cares about fewer residents of the Tower of Song than I do. I'm not sure how she formed her affection for the work of Leonard Cohen, but I'm glad she did, not least because she took me to see...
Roe cares about fewer residents of the Tower of Song than I do. I'm not sure how she formed her affection for the work of Leonard Cohen, but I'm glad she did, not least because she took me to see him four or five years ago, a mesmerizing Boston show near the end of his last major tour. It seems entirely appropriate that he died in the fall, the season that finds the beauty in death and decay. His brilliant lyrics tackled mortality and other essential facts of existence that artists with less zen about them address only superficially if at all. His gravelly voice and measured tempos match the gravity of the subject matter, which is one reason why I seldom listened to him before Roe fell for him. I still take him in small doses or at carefully chosen times; he's not the guy you put on to drive your dog to the beach or to get motivated for that morning commute. But he found the beauty in all of it, too. I was thinking about him when I looked up and saw this on the day after he died.

 Joel Brown 2016-11-12T09:20:20-05:00 Island light http://www.hubarts.com/weblog/2016/10/island-light.html You've got about a month to get down to Salem and see American Impressionist: Childe Hassam and the Isles of Shoals at the Peabody Essex Museum. It's the first exhibition in more than 25 years to focus on his work...
You've got about a month to get down to Salem and see American Impressionist: Childe Hassam and the Isles of Shoals at the Peabody Essex Museum. It's the first exhibition in more than 25 years to focus on his work from visits to the tiny archipelago visible a few miles off the New Hampshire coast. If you grew up in the southeast corner of the the Granite State, as I did, you've probably visited the Isles of Shoals and sailed around them. If you also grew up with a print of Hassam's At Dusk (Boston Common at Twilight) hanging over the couch, as I did, you may have Hassam's perspective deeply implanted in your brain. Even if neither is true, this is a show very much worth seeing. Co-organized with the North Carolina Museum of Art in cooperation with the Shoals Marine Laboratory, the exhibit runs through Nov. 6.

Beginning in 1886, Dorchester native Hassam visited the isles often for three decades, mainly in summer, hanging on his friend poet Celia Thaxter's porch on Appledore and painting what he saw. There's not much of man here, aside from sailboats in the distance, as like a good impressionist he focused on foliage, landscape and the ever-present sea. The main subjects here are Thaxter's famous garden (Thaxter published An Island Garden in 1894 with illustrations by Hassam) and the rocky shore.

Many of the  images embody impressionism as it's most commonly thought of, as sun-dappled and dreamy as the Giverny of Monet. Some of these are just pretty, but others are beautiful in a deeper way. (Below: Childe Hassam. Poppies, Isles of Shoals, 1891. Oil on canvas. National Gallery of Art, Washington. Gift of Margaret and Raymond Horowitz. Image courtesy National Gallery of Art.)

A few paintings use more vigorous lines that inject craggy landscapes with mysterious life in a way that reminded me of Van Gogh. (Below: Childe Hassam. The Laurel in the Ledges, Appledore, 1905. Oil on canvas. North Carolina Museum of Art, Raleigh. Promised gift of Ann and Jim Goodnight.)

At the end of the exhibit, there's a sample of the watercolors Hassam made late in his relationship with the islands, which are very different and surprisingly modern in their use of the simplest gestures and almost abstract components. There's a boldness in the best of these that's missing from the "prettiest" paintings in the show. (Below: Childe Hassam. The Cove, 1912. Watercolor on paper. Wichita Art Museum, Wichita, Kansas. John W. and Mildred L. Graves Collection.)

PEM has installed rocking chairs and a table of postcards near the end of the exhibit, a nod to the island experience. There's also a selection of 12 black-and-white photographs of Appledore today by Alexandra de Steiguer. Both are the sort of curatorial flourish that seems de rigeur in the modern museum experience, but they're superfluous. Hassam's best paintings carry us to Appledore in a more profound way that needs no such help.
 Joel Brown 2016-10-10T13:06:53-04:00 'Miss Julie' at the Modern http://www.hubarts.com/weblog/2016/09/miss-julie-at-the-modern.html I've written a few times about Harbor Stage Company in Wellfleet, a handful of actors who decided to do things the old-fashioned way on the Cape: all by themselves. They've gotten a lot of good ink from the Globe and...

I've written a few times about Harbor Stage Company in Wellfleet, a handful of actors who decided to do things the old-fashioned way on the Cape: all by themselves. They've gotten a lot of good ink from the Globe and elsewhere for their shows, and now they've brought this year's early-summer production, "Miss Julie," to the Modern Theatre at Suffolk University so you can take a look without driving south. This is Strindberg, dark and explosive, with sexual politics and 1880s-style class divisions, and quite good. Check out my Globe review. FYI, it's only around through next weekend.
 Joel Brown 2016-09-17T08:37:35-04:00 Memba my Brian Dennehy interview? Well... http://www.hubarts.com/weblog/2016/09/memba-my-brian-dennehy-interview-well.html You might remember my Globe interview with Brian Dennehy about Eugene O'Neill, Provincetown and Tennessee Williams. Dennehy was appearing in Ptown at a fundrasier for the 11th annual Provincetown Tennessee Williams Festival which, as I noted in the story, is...
You might remember my Globe interview with Brian Dennehy about Eugene O'Neill, Provincetown and Tennessee Williams. Dennehy was appearing in Ptown at a fundrasier for the 11th annual Provincetown Tennessee Williams Festival which, as I noted in the story, is themed Eugene O'Neill and Tennessee Williams: Beyond Success, "examining how each of the Pulitzer Prize-winning playwrights found that their more challenging work had a hard time getting a fair shake from critics and audiences." Well, the Festival is upon us, Thursday through Sunday, and this Globe story by friend Don tells everything you need to know.
 Joel Brown 2016-09-09T12:30:00-04:00 Huntington staying put http://www.hubarts.com/weblog/2016/06/huntington-staying-put.html The week's big news in Boston arts was a pact between the Huntington Theatre Company and the developers who'll be taking over the block of Huntington Avenue where the BU Theatre sits, a pact that will allow the company to...
The week's big news in Boston arts was a pact between the Huntington Theatre Company and the developers who'll be taking over the block of Huntington Avenue where the BU Theatre sits, a pact that will allow the company to stay. Mayor Marty Walsh came to make the announcement to applause and cheers from a couple of hundred people including a number from other theater companies. The HTC will have to raise $60+ million for renovation of the theater and adjacent space to the west, while the developer builds a new mixed-up high rise to the east. Details here in my story for BU Today, although the second-most applause came when Huntington Managing Director Michael Maso said there will be more women's restrooms when the project is finished. BU, meanwhile, we spend the $25 it made from the sale of the theater to build a new theater complex on Commonwealth Avenue, right across from the College of Fine Arts.
 Joel Brown 2016-06-13T07:26:10-04:00 Talking O'Neill with Dennehy http://www.hubarts.com/weblog/2016/05/talking-oneill-with-dennehy.html Today the Boston Globe features my interview with Brian Dennehy, who will be the honored guest this weekend at the annual fundraising gala for the Provincetown Tennessee Williams Theater Festival. Dennehy has acted in Williams plays but he's best known...
Today the Boston Globe features my interview with Brian Dennehy, who will be the honored guest this weekend at the annual fundraising gala for the Provincetown Tennessee Williams Theater Festival. Dennehy has acted in Williams plays but he's best known as an interpreter of Eugene O'Neill, and I talk to him about that work, which has taken up much of the last 10-15 years of his professional life. I had to leave out his candid and funny talk about something else he and O'Neill have in common, which is an overfondness for the bottle. Suffice to say he has a story about being brought home in a shopping cart. (Photo courtesy Goodman Theatre.)

 Joel Brown 2016-05-31T07:06:00-04:00 Young composers at BU http://www.hubarts.com/weblog/2016/05/young-composers-at-bu.html Recently, on the day job, I was one of seven people in a drab room at BU's College of Fine Arts for an experience that only I found extraordinary. One of the others was a sound guy. Four of them...
Recently, on the day job, I was one of seven people in a drab room at BU's College of Fine Arts for an experience that only I found extraordinary. One of the others was a sound guy. Four of them were the alt-rock-band-looking, 50% beardo JACK Quartet, one of the nation's premiere contemporary-music ensembles. The violinists, violist and cellist sight-read their way through a twisty new composition full of jagged tempo changes, twists and turns. They kept stopping for mistakes and wry commentary, eventually playing the piece through twice.

The seventh person in the room was the composer of Experiment in String Quartet, a ponytailed BU freshman named Daniel Collins. That's right, I said BU freshman.

Collins is one of a couple of dozen undergraduate composition students in the music department, and I profiled him and others in this BU Today feature, accompanied by Jackie Ricciardi's pictures and a video by Jason Kimball.

Photo by Jackie Ricciardi shows Collins, in white shirt, with cellist Kevin McFarland and violist John Pickford Richards of the JACK Quartet.
 Joel Brown 2016-05-25T05:24:15-04:00 Magic Mikes? Not the kind you think http://www.hubarts.com/weblog/2016/03/magic-mikes-not-the-kind-you-think.html James Waldron lives on Plum Island, designs web sites by day, and plays harp in a blues band on weekends. In his spare time, he tears apart old old microphones for parts and builds new, custom microphones for other harmonica...
James Waldron lives on Plum Island, designs web sites by day, and plays harp in a blues band on weekends. In his spare time, he tears apart old old microphones for parts and builds new, custom microphones for other harmonica players, like that guy in the Who. I profiled his business/obsession for the Boston Globe.

"You want to cup your hands to control the sound," he says, demonstrating. "A bullet-shaped mike is easy to hold when you're cupping your hands. And if you make a tight container around it. . . "

He begins to blow. The sound blasting out of the speaker is part wail and part bellow, with a ragged edge of distortion. It's James Cotton, Little Walter, or Junior Wells, mojo fully workin'.

After a few bars, Waldron puts down the harmonica and says mildly, "That's the sound people want."
 Joel Brown 2016-03-09T13:06:43-05:00 Love means never having to give a bad review http://www.hubarts.com/weblog/2016/02/love-means-never-having-to-give-a-bad-review.html I wasn't super excited to see "Love Story" stars Ali McGraw and Ryan O'Neal return to town in "Love Letters." Stunt casting, meh. But they turned out to be really good. And I had fun writing this Boston Globe review....
I wasn't super excited to see "Love Story" stars Ali McGraw and Ryan O'Neal return to town in "Love Letters." Stunt casting, meh. But they turned out to be really good. And I had fun writing this Boston Globe review. Where else ya gonna read a piece that says both "OMG, srsly?" and "epistolary"? Pic by Jason Gillman
 Joel Brown 2016-02-14T09:00:16-05:00 I eat oysters right from Duxbury Bay, you just read about it http://www.hubarts.com/weblog/2016/02/i-eat-oysters-right-from-duxbury-bay-you-read-about-it.html The best assignment I've had in my now almost year-old job at Boston University was to spend a day on the water in Duxbury with John Brawley, an oyster farmer who sold his harvest to famed Island Creek Oysters, his...
The best assignment I've had in my now almost year-old job at Boston University was to spend a day on the water in Duxbury with John Brawley, an oyster farmer who sold his harvest to famed Island Creek Oysters, his neighbors on the bay, before starting his own Sweet Sound label. This story and the terrific pictures and accompanying video by my colleagues at Bostonia magazine should give you a real feel for how hard he works. I hope between the lines you also get a salty sense of how delicious the oysters were that sunny late autumn day.
 Joel Brown 2016-02-09T12:59:00-05:00 Up on the roof...of the Boston area http://www.hubarts.com/weblog/2015/12/up-on-the-roofof-the-boston-area.html OK, it's not exactly arts, but you'll enjoy my BU Today story on Brian Fitzgerald, chief weather observer at Blue Hill Observatory atop Great Blue Hill. He's got to drive up that lonely mountain road every day, rain snow sleet...
OK, it's not exactly arts, but you'll enjoy my BU Today story on Brian Fitzgerald, chief weather observer at Blue Hill Observatory atop Great Blue Hill. He's got to drive up that lonely mountain road every day, rain snow sleet whatever, to keep records continuous at the nation's oldest weather station. Cydney Scott's photos are great too. I visited on a beautifully warm, sunny October day, and I did what most people do and hiked up there, rather than drive. For those who heard about the deer hunt that went on there this past week, I asked and he and his dog were both wearing blaze orange.
 Joel Brown 2015-12-04T07:18:32-05:00 'Dunces' on tap at the Huntington http://www.hubarts.com/weblog/2015/11/dunces-on-tap-at-the-huntington-.html It arrives amid much change for BU and the Huntington, but here's my BU Today preview of the latter's A Confederacy of Dunces, starring Nick Offerman and based on John Kennedy Toole's novel that, if conversations of the last weeks...
It arrives amid much change for BU and the Huntington, but here's my BU Today preview of the latter's A Confederacy of Dunces, starring Nick Offerman and based on John Kennedy Toole's novel that, if conversations of the last weeks are accurate, everyone read in college and remembers fondly without having picked up since.

 Joel Brown 2015-11-19T05:31:00-05:00 Worst direct-mail marketing ever? http://www.hubarts.com/weblog/2015/10/worst-direct-mail-marketing-ever.html Database dumbassery made unintentional hilarity out of a mailing from an outfit called the Danbury Mint yesterday. Fortunately my spouse is a sane, non-jealous type. The rather elaborate mailer promised an item "as unique as the love you share," namely...

 Database dumbassery made unintentional hilarity out of a mailing from an outfit called the Danbury Mint yesterday. Fortunately my spouse is a sane, non-jealous type. The rather elaborate mailer promised an item "as unique as the love you share," namely a heart-shaped diamond-and-birthstone pendant with all the subtlety of a Super Bowl ring, "only" $69 plus shipping and handling. I am supposed to give it to my love for Christmas, customized with our names and birthstones. In a classy touch, the mailer included a sheet of  birthstones sticker to help me denote ours correctly on the order form. And the elaborate, glossy, multi-part mailer even included several images of the item with our names engraved, to commemorate a love that will be "together forever...today, tomorrow and always."

And the names engraved were Joel and Frances.

"Who's Frances?" my wife - Rosemary - demanded to know.

With a smile, thank god.

Yes, the dipshits at the Danbury Mint wanted to commemorate forever a love that doesn't exist. Expressing their heartfelt desire to honor our loving bond in gems and gold - with a 90-day satisfaction guaranteed return policy - they got my wife's name wrong. And it's not just like they misspelled it. They gave me a whole new spouse.

"You're keeping it?' Roe asked when I failed to toss the thing in the recycle pile, mildly annoyed until I explained that it would make a swell blog post. I could, I suppose, concoct an outraged think piece about the impersonality of computer-driver marketing, the whole garbage-in/garbage-out syndrome as it applies to romance-driven direct mail and so on. I figure this might have something to do with the other Joel Brown in the next town over, but I'm too lazy to look up his wife's name. I am planning on checking my credit card expenditures, though, too.

But all I really have to say is, Danbury Mint, THANKS A BUNCH for exposing my SECRET SECOND FAMILY. All those exhausting years of subterfuge and racing back and forth, blown for this exclusive offer that's not available in any store.

I'll take two please, and we'll talk about the engraving.
 Joel Brown 2015-10-03T06:48:00-04:00 "Book of Mormon" opens in "South Park" http://www.hubarts.com/weblog/2015/09/book-of-mormon-opens-in-south-park.html Got a last minute Globe assignment to step in and review the opening of "Book of Mormon" at the Colonial, a third-time-around touring production that somehow I hadn't seen before. Hilarious, heartfelt and so, so filthy. A truly terrific mix...
Got a last minute Globe assignment to step in and review the opening of "Book of Mormon" at the Colonial, a third-time-around touring production that somehow I hadn't seen before. Hilarious, heartfelt and so, so filthy. A truly terrific mix of the "South Park" creators' worldview with the Broadway polish of the "Avenue Q" guy. Fantastic attention to detail and a story that keeps moving forward, without a trace of the eat-your-peas feeling of so many touring warhorses.

 Joel Brown 2015-09-13T07:20:15-04:00 "Waitress": Get it while you can http://www.hubarts.com/weblog/2015/08/waitress-get-it-while-you-can.html You may still hear faint grumbling in the Boston theater world about how Diane Paulus has turned the American Repertory Theater into a Broadway launch pad, but there were Tonys for "The Gershwins' Porgy and Bess" and "Pippin." There may...

You may still hear faint grumbling in the Boston theater world about how Diane Paulus has turned the American Repertory Theater into a Broadway launch pad, but there were Tonys for "The Gershwins' Porgy and Bess" and "Pippin." There may be more for "Waitress" - one anyway, if Jessie Mueller stays in the title role, singing Sara Bareilles' songs. Read my Boston Globe review of "Waitress" here. The show is already set to move to Broadway in the spring, but you have until Sept. 27 to see it at the Loeb Drama Center in Cambridge. 617-547-8300, www.americanrepertorytheater.org
 Joel Brown 2015-08-24T06:42:30-04:00 Get thee to the Peabody Essex for Benton http://www.hubarts.com/weblog/2015/06/get-thee-to-the-peabody-essex-for-benton.html There are some masterpieces in "American Epics: Thomas Hart Benton and Hollywood," now at the Peabody Essex Museum. But just about everything is worth seeing, and a lot of it is essential, at least if you care about Twentieth Century...
There are some masterpieces in "American Epics: Thomas Hart Benton and Hollywood," now at the Peabody Essex Museum. But just about everything is worth seeing, and a lot of it is essential, at least if you care about Twentieth Century American art. Put together by PEM curator Austen Barron Bailly, it's the first major show in 25 years dedicated to Benton (1889-1975) and will be at the museum in Salem through Sept. 7.

There's a whole storyline about Hollywood running through Benton's career, best explicated by Seb Smee in the Globe. Connections to the movie business are literal as well as stylistic. The most dazzling is "Hollywood" (below) a 56"x84" tempera and oil painting that resulted from a Life magazine commission and a month Benton spent hanging around Hollywood studios. The final work is a deep focus mural with about eight things going on at once, a co-mingling of artifice and gritty reality that doesn't quite make literal sense in the same way that Hollywood doesn't make sense. The black smoke rising from a fire in the background echoes the smoke plume in Benton's 1927 "Boomtown," also in the exhibition, but there's something incrementally more ambitious and strange in "Hollywood."

Thomas Hart Benton, Hollywood, 1937-38. Tempera with oil on canvas, mounted on board, 56 x 84 in. The Nelson-Atkins Museum of Art, Kansas City, Missouri. Bequest of the artist. Photo by Jamison Miller. © Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY.

 Benton's earlier American Historical Epic series (1920-28) is here, hung along the curving walls of a dazzling red room. Benton's critique of early American history, notably its brutality, rendered the series something less than popular in its day. The downside is that only nine of the 14 large paintings could be secured for the exhibit, so high-quality reproductions (unframed) are mounted alongside the real thing. That decision might be criticized by purists, but the overall impact is so potent it's hard to argue. This is work that needs to be seen together, and it's hard to imagine a better display.

Following the Hollywood trail, you'll want to see Benton's promotional art for John Ford's screen adaptation of The Grapes of Wrath, but it's illustration, not really competition for the stunning paintings. I see all sorts of echoes or influences in Benton's work, from the skewed Americana of his contemporary Grant Wood to the heroic figures of Soviet art to some strange clouds that seem to leak right out of a Dali.

In Benton's 1920 "People of Chilmark (Figure Composition)" (below), a group of men and women in bathing gear rassle a small sailboat in topsy-turvy surf. One of them holds a medicine ball. What exactly is going on here? Looking just at the facts, it might be a pleasant afternoon's frolic on a Cape Cod beach where Benton spent some summers, but the composition and the dark sky suggest something far more tumultuous. It's hard to identify exactly why it seems like such a terrific painting. But does anyone else see a faint echo of "Watson and the Shark" here?

 Thomas Hart Benton, People of Chilmark (Figure Composition), 1920. Oil on canvas, 65 5/8 x 77 5/8 in. Hirshhorn Museum and Scuplture Garden, Smithsonian Institution, Washington. Gift of the Joseph H. Hirshhorn Foundation. Photo by Cathy Carver. © Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY.

There are not many you could call "bad" paintings in this show, although the one painted as a promotion for the Burt Lancaster film The Kentuckian seems like kitsch compared to most of what's on display. But if you want to see something truly crazy ... there are two or three of WWII-era propaganda paintings that depict Axis soldiers as subhuman monsters that you will see in your nightmares for days. One has Jesus on the cross being run through with a metal pole by a handful of these creatures while he is also strafed by a Nazi fighter plane, blood dripping down, an angular tableau like some evil inversion of the flag-raising on Iwo Jima. It may not be "good" art, but it's one of the images here that will stick with you.
 Joel Brown 2015-06-28T14:27:44-04:00 Hey "Buffy" fans, tried "Orphan Black" yet? http://www.hubarts.com/weblog/2015/05/hey-buffy-fans-tried-orphan-black-yet.html For my friends who haven't started binge-watching Orphan Black yet, I thought of this analogy: It's like Buffy the Vampire Slayer, except Xander is gay and competent, and Sarah Michelle also plays Willow, Cordelia, Bad Willow, Anya and Faith. Yes,...
For my friends who haven't started binge-watching Orphan Black yet, I thought of this analogy: It's like Buffy the Vampire Slayer, except Xander is gay and competent, and Sarah Michelle also plays Willow, Cordelia, Bad Willow, Anya and Faith.

Yes, she occasionally fights with herself.

Tatiana Maslany stars as Sarah Manning, a rough-edged young single mom who learns that she has sisters. A lot of them. She is the result of a cloning experiment hatched by a dark conspiracy. And it's only through sister power that she can fight back. Maslany also plays Cosima (dreadlocked, organic, lesbian scientist), Helena (abused Eastern European capable of ultra violence) and Alison (Stepford wife with a comically twisted side and a dopey husband). The sisters ("SEEStras" in Helena's pronunciation, which the others sometimes adopt) interact all the time through the magic of television, and are so stunningly well differentiated you will forget it's the same actress. Their end-of-season-2 dance party is a wonder to behold. Maslany also plays Rachel, a leader in the conspiracy. Props also to Jordan Gavaris, who plays Felix, Sarah's Xanderesque sidekick, a sometime hustler and artist manque, sarcastic and frequently exasperated as he cares for more and more seestras.Worth a look, I'm tellin' ya. Oh, and it's Canadian.

Photo: Tatiana Maslany as, clockwise from top left: Sarah, Alison, Helena, Rachel and Cosima. From Wikipedia.
 Joel Brown 2015-05-30T08:13:00-04:00 Thomas Hart Benton hits Salem in June http://www.hubarts.com/weblog/2015/04/thomas-hart-benton-hits-salem-in-june.html The Peabody Essex Museum is one of three museums that has organized a major exhibit of Thomas Hart Benton art seen through the prism of the movie industry. American Epics: Thomas Hart Benton and Hollywood is supposedly the first major...
The Peabody Essex Museum is one of three museums that has organized a major exhibit of Thomas Hart Benton art seen through the prism of the movie industry. American Epics: Thomas Hart Benton and Hollywood is supposedly the first major traveling Benton exhibit in 25 years, and gathers more than 100 works, including paintings, murals, drawings, prints and illustrated books, pairing them with clips from Hollywood movies "to take visitors on a journey through America's myths and into its national character." The exhibit runs June 6-Sept. 7 at PEM, before moving on to the The Nelson-Atkins Museum of Art in Kansas City, Missouri, and the Amon Carter Museum of American Art in Fort Worth, both of which co-organized it. The complete press release is after the jump. (Image: Thomas Hart Benton, Self-Portrait with Rita, about 1924. Gift of Mr. and Mrs. Jack H. Mooney. Photo courtesy of National Portrait Gallery, Smithsonian Institution/Art Resource, NY. Art © T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY.)

PEM PRESENTS FIRST MAJOR THOMAS HART BENTON EXHIBITION
IN MORE THAN 25 YEARS

American Epics: Thomas Hart Benton and Hollywood

EXHIBITION TRAVELS TO FOUR MUSEUMS NATIONWIDE

On view at PEM June 6 to September 7, 2015

SALEM, MA – The Peabody Essex Museum (PEM) presents the first major traveling exhibition about American painter Thomas Hart Benton (1889-1975) in more than 25 years. American Epics: Thomas Hart Benton and Hollywood explores how the motion picture industry influenced and ignited Benton's creative imagination. Melding Old Master European painting traditions with Hollywood's cinematic and production techniques, Benton reinvented 20th-century American narratives and captivated the public with his signature brand of visual storytelling. As lead organizer of American Epics: Thomas Hart Benton and Hollywood, PEM hosts the exhibition from June 6 through September 7, 2015. The exhibition then travels to The Nelson-Atkins Museum of Art and the Amon Carter Museum of American Art, PEM's collaborating partners on the exhibition. The Milwaukee Art Museum serves as final venue for the national tour.This major reevaluation of Benton's art -- the first since 1989 -- gathers more than 100 works, including the artist's paintings, murals, drawings, prints and illustrated books. The exhibition pairs curated clips from Hollywood movies with Benton's art from the 1920s through the 1960s to take visitors on a journey through America's myths and into its national character.

WHY HOLLYWOOD?

Benton wanted to become the major American artist of his time. He trained in Chicago and Paris and was a member of New York's artistic vanguard, but by his mid-20s, Benton had yet to make the kind of defining contribution to the art history of the United States that his ancestors, U.S. Senator Thomas Hart Benton and John Charles Fremont, had made to the nation's political history. Casting about for work and opportunities, Benton became a set painter on silent film productions in Fort Lee, New Jersey — the nation's "first Hollywood." "Benton developed a modern cinematic painting style to communicate epic narratives as memorably as the movies of his day," says Austen Barron Bailly, PEM's George Putnam Curator of American Art. "He wanted to capture the feel of motion pictures on canvas: the illusion of three-dimensional space, rhythmic motion and the glow of projected light." To achieve this, Benton adopted techniques used by 16th-century Italian painters to sculpt and illuminate clay models before sketching the forms to work up a final painting. Early filmmakers also adopted these Old Master techniques to study scene composition. Benton's meticulous artistic process parallels the storyboard-to-final-take methods developed by the film industry. Benton became acutely aware of the motion picture industry's rising influence and mass appeal. Themes of cultural identity,westward expansion, prejudice, tolerance and the American Dream were given epic treatment on movie screens, and Benton sought to paint them. Like the movies, murals are a form of public art, so Benton embarked on a self-commissioned, independently produced mural series, American Historical Epic. This sweeping series painted between 1920 and 1928 runs to more than 60 feet in length and appears in the exhibition. Benton selected episodes from American history familiar from 1920s silent films, but he depicted the nation's past in unconventional ways to engage the  hot-button issues of the day: citizenship, race relations and national identity. As Benton explained, "history was not a scholarly study for me but a drama." Simultaneously, Benton started traveling regularly around the country in search of distinctly American subject matter. Like Hollywood, he recognized typecasting as a way to transform individuals into a cast of American characters and personalities, among them Yankees, bootleggers, musicians and cotton pickers. Inspired by his characterizations, 20th Century Fox commissioned Benton to create a series of lithographs in 1940 to promote John Ford's filmed adaptation of John Steinbeck's best selling novel The Grapes of Wrath. Benton's celebrated mural cycles such as America Today (1930-31, The Metropolitan Museum of Art, New York) defined him as a public artist and made him famous. His self-portrait appeared on the cover of TIME magazine in 1934. In 1937 he published his autobiography, An Artist in America, and LIFE magazine sent him to Hollywood on assignment to portray the industry at the height of its Golden Age -- when two-thirds of Americans went to the movies every week. The artist made it clear that he was interested not in celebrity culture, but in the stories being told on the big screen and how they were produced behind the scenes. Of his time in California, Benton wrote: "I am not a Hollywood news column fan, and I have not read any books about the place. I know it only through the direct experiences of an artist interested in making pictures of America and American things."
A CAST OF HEROES AND HEROINES

Benton believed that ordinary people played just as vital a role in the making of history and myth as historical figures, or movie stars. With exacting detail and immersive scale, his 1937-38 painting Hollywood captures the realities of a bustling film set: a scantily clad actress stands  goddess-like in the center as workers scurry around her operating booms, lights and hydraulic lifts. During his month-long assignment in Hollywood, Benton used more than 400 graphite sketches to create 40 finished ink-and-wash drawings. The exhibition includes more than a dozen of these revealing  images, which closely describe the culture, mechanics and politics of the film industry.

When America was drawn into World War II, Benton rapidly produced Year of Peril, a mural series intended to issue a "wake-up call" to his fellow countrymen and women. "War Art Creates Sensation" is the title of the 1942 Paramount Newsreel featuring Benton and these propaganda paintings. Informed both by Hollywood motifs and the artist's personal memories of seeing soldiers departing for war, Benton paintedShipping Out in 1942. The composition recalls the final scene of the acclaimed anti-war movie from 1930,All Quiet on the Western Front, when each soldier turns to lock eyes with the viewer and bid a final farewell.

In the 1950s and 60s, Benton revisited the American West and began painting landscapes of the Great Plains, the Grand Tetons and the Rocky Mountains. This "grand scenery," as Benton called it, inspired him  to explore the visual vocabulary of Hollywood Westerns and to think of his palette as akin to the bold tones and rich saturation of Technicolor. Benton's final Hollywood commission was a 1954 promotional painting for The Kentuckian,starring Burt Lancaster as "Big Eli" and Donald MacDonald as "Little Eli." Accompanied by their faithful hound, the characters are shown mid-quest as they head westward to establish a new life outside civilized society. The distant undulating landscape of the West beckons the travelers to this mythic realm, where blue skies, freedom and a new beginning await.

PUBLIC DISCUSSION DAY | FRIDAY, JUNE 5 | 10 am–4 pm | FREE with admission

Thomas Hart Benton and American Storytelling: Explore the art of American storytelling from the perspectives of film critics, scholars of American art and culture, production designers and writers. This program features presentations, conversations and moderated panel discussions to consider the epics that inspired Thomas Hart Benton and Hollywood — cultural identity, westward expansion, race relations, war and the American Dream. Participants include, among others,  production designer Charles McCarry, Benton expert Erika Doss, exhibition catalog author Jake Milgram Wien, American art scholar and guitarist Leo Mazow, and Jessie Benton, the artist's daughter. Reservations by June 4. Visit pem.org/calendar for details.

OPENING DAY CELEBRATION | SATURDAY, JUNE 6 | 11 am-4 pm | FREE with admission

MUSIC PERFORMANCE: Craig Edwards & Friends | Noon–1:30 pm | Atrium

Craig Edwards plays a broad range of American roots music, the soundtrack popular during Thomas Hart Benton's heyday. Enjoy traditional fiddle styles including Appalachian old-time, blues, bluegrass, Cajun and swing.

PRESENTATION: In Conversation with Curators of Art and Film | 2–3 pm | Morse Auditorium

Join Austen Barron Bailly, the exhibition's curator and PEM's George Putnam Curator of American Art,and film expert Matthew Bernstein as they explore the connection between Benton's art and Hollywood, as well as their collaboration and Bernstein's role as film curator for the exhibition. Bernstein and Bailly segue to a discussion of The Grapes of Wrath as expressed in Benton's art and the film directed by John Ford. Reservations by June 2.

FILM: The Grapes of Wrath | 3:30–6 pm | Morse Auditorium

The Grapes of Wrath is John Ford's most famous black-and-white epic drama — the classic adaptation of John Steinbeck's Pulitzer Prize-winning novel illustrated by Thomas Hart Benton. This film, starring Henry Fonda, captures the impact of a mid-1930s drought and the Great Depression upon one representative family — the Joads. Introduction by film expert Matthew Bernstein. 1940, 129 minutes. Reservations by June 2.

EXHIBITION PUBLICATION

A 256-page publication edited by Austen Barron Bailly and published by Peabody Essex Museum and DelMonico Books • Prestel accompanies the exhibition. American Epics: Thomas Hart Benton and Hollywood is features in-depth essays, full-color images and a richly illustrated  timeline. Available in the PEM Shop and online at pemshop.com.

 EXHIBITION TOUR

Peabody Essex Museum | Salem, Massachusetts | June 6, 2015 - September 7, 2015

The Nelson-Atkins Museum of Art | Kansas City, Missouri | October 10, 2015 - January 3, 2016

Amon Carter Museum of American Art | Fort Worth, Texas | February 6, 2016 - May 1, 2016

Milwaukee Art Museum | Milwaukee, Wisconsin | June 9, 2016 - September 5, 2016

EXHIBITION CREDIT

American Epics: Thomas Hart Benton and Hollywood is organized by the Peabody Essex Museum in collaboration with The Nelson-Atkins Museum of Art and the Amon Carter Museum of American Art. Austen Barron Bailly, PEM's George Putnam Curator of American Art, is lead curator for the exhibition. Margaret C. Conrads, Director of Curator Affairs at the Crystal Bridges Museum of American Art, and Jake Milgram Wien, independent curator and historian, serve as co-curators. Matthew Bernstein, Professor of Film and Media Studies, Emory University, serve as consulting film curator.

 The exhibition was made possible in part by Bank of America and a major grant from the National Endowment for the Humanities: Celebrating 50 Years of Excellence. The National Endowment for the Arts and Carolyn and Peter S. Lynch and The Lynch Foundation provided generous support. Christie's provided in-kind support. The East India Marine Associates of the Peabody Essex Museum also provided support.

 Joel Brown 2015-04-20T15:16:00-04:00 Shockheaded and then some http://www.hubarts.com/weblog/2015/03/shockheaded-and-then-some.html Saw Company One's Shockheaded Peter at the Modern on Friday night and ... whoa. For starters, the Steven Bogart-directed production is the most visually dazzling thing I've seen from C1. Taken together with their entirely different yet equally impressive production...
Saw Company One's Shockheaded Peter at the Modern on Friday night and ... whoa.

For starters, the Steven Bogart-directed production is the most visually dazzling thing I've seen from C1. Taken together with their entirely different yet equally impressive production of The Flick in the same house not long ago, Shockheaded Peter suggests that it's really time to find the troupe a regular home outside the confines of the BCA basement where they usually perform. Bogart shares credit with set designer Michael Anania, costumer Miranda Giurleo, puppet-and-mask maker Eric Bornstein and others. But this show, with its fold-up set and crazy creatures, is literally something to see.

If you liked Bogart's Cabaret at Oberon a few years back, I'd draw this connection: the decadent-and-worse Europeans in that show were probably warped in childhood by having Heinrich Hoffman's The Struwwelpeter read to them at bedtime. Hoffman's collection of very-bad-things-happen-to-misbehaving-children tales forms the basis of this show, originally created for the stage by Julian Crouch and Phelim McDermott with songs by the Tiger Lillies. Bogart brought in Walter Sickert and his Army of Broken Toys to make the music, has choreographed the whole thing to a T and come up with something quite entertainingly over the top and dark, dark, dark.

I agree with most of what Don Aucoin wrote in the Globe. This is part Grand Guignol, part Kafka, part drunk-Disney-animator-revenge-fantasy. The tale of poor Shockheaded Peter, his terrible parents and his return from the crawlspace is woven through seven or eight other largely wordless vignettes, fairy tales with unhappy though fitting endings. Sickert sits with a keyboard and guitar at the side of the stage, a big, black-clad presence growling out songs like the love child of Dr. John and Rob Zombie. Most of the talking is done by Alexandria King (top picture, by Paul Fox via C1) as the MC, whose interesting, multilevel presence simultaneously suggests a slinky, devilish carnival barker luring us in and a past or possibly current victim warning of the cruel fates that await us. Standout among the others is Brooks Reeves (bottom picture, also by Paul Fox) as Peter's craven dad. A few moments could be a little more linear, perhaps, but this one will stick in your head.

Do not miss.
 Joel Brown 2015-03-22T11:35:58-04:00 Look back in anger and awe on the winter of 2015 http://www.hubarts.com/weblog/2015/03/look-back-in-anger-and-awe-on-the-winter-of-2015.html Buffy looks pretty small there, doesn't she? Contrary to what Seinfeld teaches us, shrinkage is not always a bad thing. In the last few days, the snowbanks have finally begun to melt, and the insane winter of 2015 has begun...

Buffy looks pretty small there, doesn't she? Contrary to what Seinfeld teaches us, shrinkage is not always a bad thing. In the last few days, the snowbanks have finally begun to melt, and the insane winter of 2015 has begun to loosen its grip on our streets and our psyches, our lives. "Good riddance" barely begins to scratch the surface of our feelings, and it will be a while before the damage, literal and otherwise, is fully erased. I guess one reason I'm writing this is to try to put a frame around how bad it was, for those who weren't here or for the digital scrapbook. Slipping and sliding around neighbor Brian's first fire pit of the year on Saturday night, I realized we were finally going to have to come up with a new topic of conversation. There is, weirdly, a sense of anticlimax. Stockholm Syndrome for the season that held us hostage? We New Englanders love our dramas. We're prone to the sense that the fates are picking on us in particular, and the last time we grumped this much about it was before 2004, back when the Red Sox and we were cursed.

Here in Newburyport, we've felt even more singled out. Every weather forecast from late January through February seemed to put us in the ironically named "jackpot." We broke records for snowfall before Boston, with something like 110". They had the worst of it on Plum Island, which looks deceptively bucolic from my bed this morning, a pretty line of lights a couple of miles away on the eastern horizon. This article details the islanders' nightmare, often cut off from the mainland, their water and sewer system frozen, hungry coyotes roaming the streets. But it hasn't been a picnic on Boardman Street either. In fact, it was sometimes dangerous.

The endless shoveling, over and over and over. (Thanks again, Mike and Brian, for being so generous with your labor and your snowblowers. The storm's one upside has been the way most people pitched it to help those who needed it.) The shoveling-induced aches, pains and hospital visits. The parking ban that lasted, with minimal interruptions, for more than a month, resulting in endless jockeying and disruption of plans. The sheer mass of snowbanks that piled higher and higher, turning our existence into a sort of trench warfare, like a wintry version of Paths of Glory. (Kids, look out for plows when you're making that snow fort.)  Mail delivery canceled, trash and recycling going uncollected.The treacherous travel, by car or by foot, turning the simplest errand into an odyssey. Menacing icicles hanging overhead and ice dams sending meltwater leaking into houses. (Neighbor Tom hanging out our bedroom window again and again to make war on his eaves.) And scariest, we all have those modern furnaces with the low-to-the-ground exhaust pipes. Despite everyone's best efforts, for two different neighbors blocked chimneys resulted in pre-dawn carbon-monoxide emergencies on Arctic-cold mornings. And that was just on our block.

That picture of Buffy up top was taken in the Newburyport snow farm on the south bank of the Merrimack River, in Cashman Park at the foot of our street. On and off for weeks, our snowbank-narrowed, quiet little street was a route for convoys of huge dumptrucks heaped with snow from elsewhere in town and headed to the park. On our street, the mounds were so high, backyard fences no longer contained our neighbors' dogs. Roe thought one of them delivered the dead crab she found Buffy chewing on in our yard one day, perhaps lifted from their trash, but no one ate crab that week. Someone suggested it had been dropped by a seagull, a omen, a plague sign.

How thoroughly the snow and cold infiltrated and disrupted our daily existence. It's not a tornado or a Hurricane Katrina, of course. But it has also had economic effects, disproportionately hitting workers, as detailed well in this article. The Blizzard of '78 became a legend because of primitive meteorology that enabled its sneak attack, and conditions that created terrible flooding and wave damage along the coast. The winter of 2015 - with four tent-pole storms each dropping feet of snow - has the MBTA as its special sidekick, its accomplice. The transportation system's near-total failure made everything so much worse for so many people.

I started a new job in February, in Boston, and from the time it became a possibility, back in balmy December, I pictured myself taking the T on snowy days instead of driving. The day the extent of the T's collapse became clear (Feb. 3, the day after a storm) also happened to be my "final interview" at HR. My round-trip commute was something like seven and a half hours for what turned out to be a 25-minute chat, ending, happily, in an offer. But, intent on being on time, I took an early, early train on my frigid first day at the new job (Feb. 17, the day after a storm), leaving Newburyport at 7 a.m. only to arrive at Kenmore around 10 a.m., already an hour late for work and still more than a mile of snowy sidewalks from my new desk. I was standing in the huge and increasingly angry shuttle-bus line under the Citgo sign when I heard someone grumble in frustration that they'd just walk - and I looked over to see that it was my new boss. We got to work another half-hour of slipping and sliding later.

Naturally I spent much time my first couple of weeks writing about the shuttering and eventual re-opening of the T's street-level Green Line, which runs right past my office.

At this point, anticlimax looks pretty good.
 Joel Brown 2015-03-12T05:49:42-04:00


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Gottlieb Memorial Hospital Also Wins Silver Award in Heart Care
MAYWOOD, Ill. -- For the fourth year in a row, Loyola University Medical Center has won a Get with the Guidelines® Stroke Gold Plus Quality Achievement Award from the American Heart Association/American Stroke Association.
And Gottlieb Memorial Hospital, part of the Loyola University Health System, won the Heart Failure Silver Quality Achievement Award.
The Gold award is given to hospitals that achieve 85 percent or higher adherence to all stroke performance guidelines and 75 percent or higher compliance with six of 10 stroke quality measures. These measures include aggressive use of clot-busting drugs, blood thinners, cholesterol-reducing drugs and smoking cessation. The measures are aimed at reducing death and disability and improving the lives of stroke patients.
Gottlieb won the Silver award for reaching an aggressive goal of treating heart failure patients with 85 percent compliance for one year to core standard levels of care.
Get with the Guidelines® employs the "teachable moment" right after a patient has had a stroke. Studies have found that teaching patients how to manage risk factors while they still are in the hospital reduces the risk of a second heart attack or stroke.
Loyola provides evidence-based specialized stroke care from a multidisciplinary team of stroke experts 24 hours a day, seven days a week. Loyola is certified by the Joint Commission as an Advanced Primary Stroke Center.
Stroke is the third-leading cause of death in the United States and a leading cause of serious, long-term disability. On average, someone suffers a stroke every 45 seconds; someone dies of a stroke every 3 minutes; and 795,000 people suffer a new or recurrent stroke each year, according to the American Heart Association/American Stroke Association.
The 4.5 hours after a stroke are critical. Loyola's emergency stroke team uses CT scans, MRIs and other tests and procedures to quickly determine the best treatment.
"When a stroke occurs, every second counts," said stroke specialist Dr. José Biller. "Time is brain. The faster we can diagnose and treat patients, the better the outcome." Biller is chairman of the Department of Neurology, Loyola University Chicago Stritch School of Medicine.

subset: commoncrawl


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Disclaimer:I do not own Naruto or any of its respective characters. This fanfiction is for entertainment purposes only. (Mostly my amusement.) However, if I DID own Naruto, it would be called "Neji and Hinata: Byakugan Babies Galore!" That has a nice ring to it...
Author's Note:This is the first part of a Oneshot series detailing the events from now until the end of the Chuunin Exam. Herein lay what happens roughly two weeks after Why. Please tell me what you think. I've been working on this fic for nearly as long as I've been writing Gifts, so I am surprised that this first part finally decided to be finished. My fics have a mind of their own, and often I am left begging for their inspiration to return. I think this turned out well. How about you?
Tension I
The steaming water fell in waves over the flushed, reddened body of the petite kunoichi. Hinata held her face up, allowing it to saturate her indigo tresses. She squinted her eyes, hoping the barely tolerable heat would wash her clean of the taint her cousin had left behind with his constant, overbearing focus.
He never stopped. He was always watching her, always sneaking up on her. She shuddered. Why? Why was he doing this to her?
So much had changed in their relationship over the last four years. Hinata wasn't even sure if he was the same person anymore. So much hatred and rage lived inside of him, and she was forced to consider if it had always been there. Perhaps, in the past, he was simply better able to mask it.
She stepped closer to the showerhead, placing her palm on the wall opposite her. The water streamed down her back as her head hung low, in defeat. Things were getting out of hand. Neji was a bomb set to explode at any second. That was why she stayed away from him. That was why she snuck out of the Hyuuga compound at every chance; just to be alone, without his eyes trained on her so fiercely.
When did it happen, this drastic change in his personality? Was it Sasuke? Her two year betrothal to the Uchiha spare? Or, was it something else? Perhaps her growing need to spend time with her genin team? Neji never liked the idea of her spending copious amounts of time with Aburame Shino and Inuzuka Kiba. But, they were her comrades, and she owed it to them to train as often as possible.
She stifled a sob. It was probably a combination of things. So many things that she'd lost track long ago. Hinata clutched her head with both hands, trembling beneath the falling water. He hated her. He hated her entire family; the entire Main House. Even though the Main and Branch Houses shared the same Hyuuga blood and lineage, that simple truth would never be enough for him.
She sank to her knees in the bathtub. She couldn't take this anymore; this horrible fear and anxiety. Her hands fell away from her head, and she grimaced as her tears were carried away by the steaming water. There was nothing left for her to do. She had gotten nowhere, except pinned between iron and stone. She released a frustrated breath. If the Clan was the iron, then certainly Neji was the stone.
A slight creak was heard from her bathroom door, and Hinata whipped her head around, peering through her translucent shower curtain. The image was distorted, but unmistakable.
She quickly backed up against the tub, wrapping her thin arms around her breasts in an attempt to conceal what he could so plainly see. "N-N-Nii– "
"Shhhh," he cut her off with a single finger pressed to his lips. "Hinata-sama..." He approached the bathtub, and his hands fell limply at his sides.
Hinata bit into her index finger, eyes widening in terror. What was he doing in here? Why was he stalking her? She shifted herself as far beneath the showerhead as she could get, desperately hoping that the near scalding liquid would somehow deter him. She was not so lucky, as he drew the curtain back, standing over her in naught but a pair of loose fitting cotton pants. His hair was down around him, shrouding him in darkness, and he had the most excruciatingly cruel smirk playing across his lips.
"Niisan..." She rolled up into a little ball, turning her face away from the broad hand reaching for her.
Neji cupped her cheek firmly, turning her head back to meet his fiery stare. "Do not turn away from me," he said. "I need to look into your eyes. I need to see."
"S-See what, niisan?" It was hard to look at him like this, leaned over her with one hand planted against the wall behind her, and the other holding her captive. He was halfway in the bathtub, and the water passed through his sepia locks, causing them to cling to his face and well-toned chest.
He smiled. "I need to see the truth."
Neji climbed fully into the tub, with blatant disregard for the heat, and the drawstring pants hanging loosely from his hips. He straddled her against the smooth porcelain, then took her lips with his own.
"Hinata-sama..." He whispered into her cheek. "Don't fight me," he said. "Please don't fight me anymore. I need you..." He trailed small kisses along her jaw, then down her throat and across her collar bone. "It's killing me, being away from you."
"N-Neji-niisan," Hinata sobbed, as he attended to the sensitive spot behind her earlobe. "Go away," she pleaded. "Just leave me alone..."
"No– never," he clutched her wrists and buried himself in her neck. "You are mine, Hinata-sama, now and forever."
"Please, please leave me alone!"
"I cannot," he nibbled on the rim of her ear, "because I know you– I know you want this." He trailed a hand down her throat, and onto one swollen breast. "So, just let me, Hinata-sama. Just let me do this..." The hand working her breast descended further, while the other fisted her hair. He drew soft circles around her navel, and grazed her stomach with his fingernails. She stiffened, and he squeezed her torso with his thighs. "Don't fight. Relax," he soothed.
The water, combined with his fervor, made the whole ordeal unbearable. Hinata pushed at him, but he pushed back, completely undeterred by her struggling. What was he going to do to her?
Neji's wandering hand slipped between her thighs, into the soft indigo curls and slick folds of her flower. He released her hair with the other hand, clutching her throat, instead. His breath was heavy against her face, and he nuzzled his nose into her cheek.
"Aishiteru, Hinata-sama," he whispered. "Aishiteru, aishiteru..."
"No... no... no... no..." She sobbed.
Neji slid two fingers inside her warmth, exploring slowly, while his tongue worked inside her ear. The grip on her throat was firm, and she was still as a statue, hating every shiver that coursed through her body. Why? Why couldn't he just leave her alone?
"Stop... stop..." Hinata squeezed her eyes shut, blocking out his image. Neji kissed her again, thrusting his tongue inside her mouth, coaxing hers with playful twists. His fingers slid in and out of her easily, while his thumb teased her jewel. Her hips bucked to meet his thrusts, and the deep rumble in his chest sounded his amused chuckle.
"Be honest," he grazed his teeth along her jaw. "You don't really want me to stop." She felt his erection growing against her stomach, and she whimpered when his hips started moving against her. "Gods, Hinata-sama! I want you so badly!" He gasped. "Pleasuring you is my only desire. Please, I'm begging you not to fight. Just let it happen..."
Hinata stared into his cloudy, lustful gaze, as the water poured down upon them. "Don't hurt me," she pleaded. "Neji... please don't hurt me..."
"Never," he assured his Heiress. "I would never hurt you, Hinata-sama. Everything that I do to you, is for your pleasure." He smiled. "And mine."
His fingers moved a little faster. Hinata relaxed her muscles, as the shower's heat cascaded over her body, and a new, sublime warmth pooled within her. Her lips began to quiver, and her breath was quick and shallow. Neji smirked as he watched her submit. The hand around her throat tightened, while his eyes roved her curves, before settling on the action between her thighs.
He licked his lips, as the force of his thrusts increased. "Only I can do this to you. No one else can make you feel this way," he groaned. "You feel so good, Hinata-sama. So beautiful, so tight and hot." He trailed his tongue around her parted mouth, and her eyes fluttered back. "You sweet, tempting nymph..." They were both panting now. "Siren... enchantress..." He released her throat, then tangled his fingers in her hair. "The way you flutter through the halls, the way you blush... So innocent, and graceful, and pure..."
His adoring words and constant movement between her legs was building a deep pressure below her belly. Hinata could barely focus on anything other than the tight coil of potential within her. It was the same feeling as the last time; bliss beyond anything she could imagine– and it kept building.
Neji's mouth descended to hers, where he devoured her first squeal of delight. "Niisan..." She moaned desperately, when his lips left to explore her neck and breasts.
"Mmmmm," he savored the taste of her reddened skin. The hand in her hair came down, to slide into his soaked pants. He pulled his hard, aching cock free of the fabric, and began to stroke himself along Hinata's stomach. "Yes! So perfect... so fucking beautiful!" He slammed his fingers inside of her, burying his knuckles deeper with each thrust. Faster, harder. He tugged his at his length, squeezing and pinching the head. "Gods!" The tiny kunoichi beneath him bit hard into her lower lip, eyes clenched shut. A high-pitched squeal sounded from the depths of her frame. Soon, it became a scream of unbridled pleasure.
"Niiiiiissssaaaannn!" She sobbed and gasped, while her body trembled through no will of her own. Neji pressed his forehead against her, sliding his fingers out of her womanhood and replacing them inside her mouth.
"Suck!" He demanded. "Suck your sweet juices from my fingers!" His teeth chattered and his body trembled. His breath was harsh, ragged as his own climax neared. Unsure of what to do, Hinata shyly wound her tongue around his fingers. Her taste was not unpleasant, as the Heiress tried to do what she was told. Neji watched her with such intensity, she wondered if she would melt beneath the fire of his gaze.
Then, he kissed her, as his seed shot out of him, onto her breasts before being washed away by the steaming water.
Neji slouched onto her, wrapping her up in his arms. "I'm sorry," his voice strained. "I'm sorry... I just... I needed you." He searched her eyes. "I love you so much."
Hinata did not cry this time. She did not tremble or cower, or scream.
"I forgive you," she whispered. "But it will not happen again." He met her eyes, and saw a glimpse of strength he never knew existed. "Turn off the water," she commanded, and he complied. "Get off me."
She didn't know what to think, or what to feel. He had forced himself on her again. And again, she had enjoyed the feel of his fingers inside of her. Did that make her a whore? Did it make her impure or immoral? She didn't know. All she knew, was that she wanted him to leave– and never return.
Neji climbed out of the tub, tucking his wilting organ back into his pants. "Shall I fetch a towel?" He asked, shifting on his feet.
Hinata rolled her eyes. "Just get out," she said, rising.
"Hinata-sama," he began. "I just want you to know how much I love you," he stepped forward.
The Heiress held her arm out to stop him. "Stay away from me," she snapped. Her eyes were wide and empty. "Go back to your room now, and I won't tell my father."
Neji swallowed, watching her curl her arm around her body, trying to hide her nakedness. She clutched onto the shower curtain, while stepping out of the tub. He pulled a towel from her rack and handed it over to her. Hinata looked at the towel for a moment, then flung it in his face.
"Why are you still here?" She hissed.
"I'm sorry," her cousin said, backing out of the door. "I am so sorry, Hinata-sama."
"Just get out!" She screamed. "Go away! Go away, go away!" She slumped to the floor, and Neji draped the towel across her shoulders. Hinata sobbed into her hands, while he wrapped her up and carried her to bed.
He peeled her covers back, then set her lightly down, before pulling the sheet and thick comforter over her body. He knelt down beside her, clasping her hand in his.
He pressed his forehead onto her knuckles. "How do I make this right?" He asked.
"You don't," she snatched her hand away. "Just leave, Neji-niisan, or I will tell my father."
He stood, glancing down at her a moment longer. "As you wish, Hinata-sama," he said, and walked out through the door separating their rooms.
Hinata watched him go, watched him shut the door and listened to the key turning the lock. He had come through that door. He had used that key. Her eyes narrowed. Never again. The Heiress sank into her bed, snuggling deep within the covers. Her locks were changing tomorrow, and her protector wasn't getting a key.


text:
Originally posted on Project Spurs | Last updated 2/8/13
San Antonio Spurs shooting coach Chip Engelland has helped numerous Spurs players with their shooting over the years. Former Spur Steve Kerr has raved about Engelland and the proof is in the pudding with Spurs all-star guard Tony Parker, who transitioned from a one-dimensional point guard whose main weapon was penetrating and finishing in the paint. With Engelland's help, Parker has developed a consistent, reliable jumper that has been effective off screens and has extended his range out to the three-point line. Now Engelland is helping another European import, Nando De Colo. A video on De Colo's YouTube channel has him working pregame with Engelland from shooting spot-up outside jumpers around the floor to shooting off the dribble and working on his decision making to either pull up for the shoot or drive. De Colo's shot is hardly bad, but with the benefit of Engelland's tutelage, any improvement would be more than welcome.
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Ryan Bingham, Southern Drive, Dedringers
Ryan Bingham would probably fare better if he didn't call Austin home; Lord knows there's a crap-ton of Americana, alt-country and folk artists traveling around Texas—probably too many. And in that glut, it's easy to see how a talented singer-songwriter like Bingham might get lost in the shuffle. Especially if his cred ain't up to speed.
And that's the knock on Bingham. Without a close listen, you might even dismiss the accessibility of the songs on his major-label debut—last year's Mescalito—as clichéd. But here's the thing: Bingham's songs aren't accessible because he's just another faker in the scene; his songs are accessible because, when you listen to them, you can hear how heartfelt they are, you can see the stories hidden within them. The opening tracks on the husky-voiced singer's Mescalito, "Southside of Heaven" and "The Other Side" are all the sample you'll need; he's a roadhouse rocker trapped in a folk singer's mind. And while he might not be shaking up the scene, he sure is honing it admirably.
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Shade Page 2
"Then get inside; it's freezing." Bai Li stepped aside with the door to let him in. She trained an ear on his footsteps to tell when he was out of the way of the door, but she was surprised to hear a second pair of footfalls shuffle-clicking in behind Graghn. Her hand shot out to halt them both. "Wait, wait--who's there? There's someone--"
"That's who I need a favor for," Graghn said sheepishly. "I'll explain everything, I swear. I just need to borrow your basement for a day or two."
She lowered her hand and glared skeptically. "Why my basement?"
"She's a Shade."
"A what--? Just get inside." She waved the two farther into the entryway, shut the door, and led the heavy bootsteps and clacking shuffles into the kitchen. Her hand found the doorway, and she made a habit-honed turn toward the stove by the wall.
"I don't want to bother you," said Graghn. "She won't have to stay here long, trust me."
"The last time you said 'trust me,' it ended up with me having to tell a bunch of angry harlequins why you and your buddies were trapped on the courthouse roof. I want a thorough explanation." Bai Li shoved a few logs into the stove and flourished her hands. When she pointed, fire leapt from the logs, rushing warmth into her face, but she frowned. She was clumsy with that spell; she hoped her familiar was asleep so he wouldn't notice their mana draining. Standing up straight, she kicked the stove grating closed. "Pull up a chair," she said, grabbing one for herself from the mismatched dining set.


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The first event of the penultimate day of the Olympic swimming trials picked up yesterday where it left off on Friday. Still high from the battle between Steve Parry and James Hickman over 200m butterfly, which Parry won by a fraction in a desperately close race, the two faced each other in the semi-finals of the 100m event.
The first event of the penultimate day of the Olympic swimming trials picked up yesterday where it left off on Friday. Still high from the battle between Steve Parry and James Hickman over 200m butterfly, which Parry won by a fraction in a desperately close race, the two faced each other in the semi-finals of the 100m event.
With another packed crowd witnessing some of the best racing of the week, a fatigued Parry was touched out in the first semi-final by Beckenham's David Bennett, who won in 54.40sec. But there was no mistake from Hickman, who sprinted to victory a few moments later in 53.50.
Hickman is the better sprinter of the two, and his best of 52.87 ranks him sixth in the world, but the 200m is still the event where the best chance for a medal lies for both men.
Throughout the week, swimmers who have been selected to the team are presented with a mock-up of a passport to accompany their medals, called the 'Passport to Sydney'. The first two recipients last night were Portsmouth's Margaretha Pedder and Georgina Lee from Birmingham, who finished over four seconds clear of the field in the 200m butterfly.
Swimming stroke for stroke, Lee just held on to win by 0.23sec in 2:11.36.
"I'm excited and relieved to have my place on the team," she said. "I have taken a year off to concentrate on swimming before going to university, but I may be rethinking my plans." The men's 100m freestyle produced high drama. As all eight swimmers raced in a line across the pool, it was not just about first and second. The extra incentive was the additional places on offer for the 4x100 relay squad. In the final charge for the wall, Cardiff's Mark Stevens had the longest reach, stopping the clock in 50.44. But with just 0.32sec separating all eight finalists, there is every chance that Jamaican Sion Brinn, who finished fifth, will be selected to the British team, four years after representing Jamaica in the Atlanta Games.
The women's 200m backstroke has been the most eagerly anticipated race of the week. Three swimmers have played pass the parcel with the British record in the last month and of course, only two of the three can go. In the semi-finals, Helen Don Duncan, 19, sliced nearly a second off the record which 18-year-old Jo Fargus set in Helsinki three weeks ago. Fargus, in turn, took it from Portsmouth's Commonwealth champion, Katy Sexton.
Times however, will count for nothing as, quite simply, the first two to finish will receive their passports to Sydney.
Sexton is starting from a position of strength, having already been selected over 100m, and can swim free of the pressure of making the Olympic team. But Don Duncan's record of 2:11.73 places her sixth in the world and any of the qualifiers therefore could be looking at a final place in Sydney.
Karen Pickering set a best time of 55.63sec in the first semi-final of the 100m freestyle. Pickering is already selected for Sydney, her fourth Olympics, but to swim this event she will have to win today's final. She will have to beat Alison Sheppard, the sprint specialist, and Karen Legg, who defeated Pickering in the 200m on Thursday.
Britain's two medallists from Atlanta, Paul Palmer and Graeme Smith, both qualified for the final of the 1500m. Smith's best time of 15:02.48 ranks him third behind two powerful Australians and if either, or both, can be the first Briton to break through 15 minutes, they will have every chance of a medal in Sydney.Reuse content


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An Advice of Imaam Sufyan Ath-Thawri- Do not attach your heart to the worldly life; have Wara and leave the doubtful matters
Abdul-Azeez Al-Qurashee (rahimahullaah) said:
I heard Sufyaan (rahimahullaah) saying: It is incumbent upon you that you do not attach your heart to the worldly life (i.e. a blameworthy attachment as opposed to seeking one's needs) and you are not eager for its attainment (i.e. the eagerness that leads to sin, transgression, greed etc), and Allaah will make you see the concealed affairs of the worldly life (i.e. its corruption, true reality, worries etc when we are attached to it in a blameworthy manner).
It is incumbent upon you to have Wara (i.e. apprehensive fear – that type of fear that will keep you away from those affairs that are doubtful and thus may affect you in the afterlife) and Allaah will make your giving account on (the day of judgement) less burdensome.
Leave what makes you doubt for that which is not doubtful; leave those affairs that resemble the truth but are falsehood in reality and your religion will be safeguarded.
Hilyatul Awliyaa 7/20


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Morning play
Sparrow flitted along, with her friend Cassia. They wove through the trees of the wood, playing hide-and-seek amongst the lush vegetation. They danced with early morning sunbeams, shook dew from tree leaves and took turns diving into Honeysuckle and Buddleja for their morning nectar.
"Did you ever wonder," asked Sparrow when they stopped for a rest by their favourite pool, "about the tales the elders tell?"
Cassia giggled and shook her head. "Not at all. They're called stories for a reason."
"But haven't you ever thought, what if they're true?" Sparrow insisted. Cassia leapt up and did a somersault over the pool, scooping up water to drop on Sparrow's head.
"Why should I be bothered if they are?" Cassia said hovering over the pool. Sparrow rose up beside her, splashing Cassia. Cassia giggled and shook the water off.
"But they sound so exciting!" Sparrow said. "If the whole world outside is like that..." She sighed.
"You're being daft!" Cassia told her, and wizzed off higher into the tree tops.
"Well your hair is daft!" Sparrow called after her, a smile still on her face.
"Your dress is daft!" came Cassia's faux-mocking reply from above. Sparrow took off after her again.
Up in the green of the tree tops there was no sign of Cassia. Determined not to give up on their friendly argument Sparrow called out again.
"But what about adventure?" she said.
"What about them?" came Cassia's voice. Sparrow spun around looking for her.
"Don't you want some?" Sparrow said.
"Why should we go out there for them." Cassia said and Sparrow turned to see her friend dart behind a branch. She darted after, but Cassia had vanished again. "We can have plenty of adventures right here."
"But..." Sparrow tried to find an answer. Just then a horn rang out. Cassia flew out from behind the trunk of the tree, a startled look on her face.
"That's the assembly horn," she said surprised. Sparrow nodded.
"I guess we should get back," she said. "I wonder what's up?" Cassia shrugged and the two Fairies darted off towards their main village.


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This content can be bought using AIChE Member Credits. If you are a member and want to purchase with your Credits, please click here to log in. Or, click here to purchase the content using money.
Return to A Little Knowledge is a Dangerous Thing - Unexpected Reaction Case Studies Make the Case for Technical Discipline


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Grundig Finearts R 1000 DPL
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Doctor insights on:
Footling Breech Presentation Ultrasound Third Trimester
What sort of disorder is a footling breech presentation at delivery?
Malposition: If the baby's foot is in position to be the first thing to come out of the vagina - it is in a footling breech presentation. The safest way to deliver in that case is a cesarean delivery. ...Read more
Sonogram (Definition)
An ultraound, also known as a sonogram, is a painless and relatively inexpensive imaging test that utilizes sound waves instead of ionizing radiation. There are no side effects. Ultrasound can give us two-dimensional, and in some applications three-dimensional, images of structures and organs in virtually any part of the body. In addition to diagnostic uses, such as evaluating abnormalities in the abdomen, pelvis, and breast, ultrasounds are commonly used to guide needle and catheter placement in a variety of surgical ...Read more
Footling breech at 30 weeks.What are chances of her changing to cephalic? I have sme minor uterine synechiae near my cervix n scarring in cervix? :(
Depends- what did : your doctor say? In some cases, 'going on all fours' meaning a position that looks similar to doing the cat/or dog yoga position (without arching your back) on hands and knees will belly hanging down, can allow the fetus to have enough potential space to rearrange itself, its own positioning in the womb to not be breech, not necessarily an old wive's tale. Other times, u need the doctor to assist. ...Read more
What is footling breech fetal position?
Bottom 1st-foot xtnd: The footling breech position is an unusual one. The bottom faces the birth canal (head up at the top of the uterus), & usually one leg is extended into the birth canal. ...Read moreSee 1 more doctor answer
29wks pregnant and have an inert fear that bubs cord will prolapse/get stuck and i wont know. She is footling breech and anterior placenta? scared :(
Bag of water: Cord prolapse is a known complication of a footling breech presentation but the bag of water must be broken for this to happen. You could ask your doctor if there is any reason to suspect that you would be at risk for preterm labor or preterm rupture of membranes. Many babies are breech at 29 weeks with only a tiny percent staying that way at term. ...Read more
What to do if I'm 38 weeks pregnant and discovered at 37 weeks baby is footling breech. had scan whichtop too. any way to identify babys position?
Exam: Your OB will be able to determine this through physical exam. Just keep your next appointment. Call the office to confirm when he or she wants to see you again. ...Read moreSee 1 more doctor answer
How common are cord accidents/prolapse/compression with footling breech at+after 28 weeks of pregnancy? is footling breech dangerous during pregnancy?
28 weeks: Many many pregnancy are footing breech at 28 weeks. That does not matter, what matters is breech presentation near term (after 36 weeks.) Good wishes. ...Read more
28wks pregnant. Found out at ob appt today baby is footling breech.Ob wants to monitor cervix fortnightly.Is this dangerous?Scared of cord prolapse?
OK to monitor: Though I wouldn't be so concerned about your cervix unless it were open or if there were concern about preterm labor, it is reasonable to regularly see your obstetrician for prenatal care. Ultrasounds to evaluate your baby's position and switch from breech to cephalic are important and just b/c it's breech now doesn't mean it'll be breech later. See your doctor ASAP if you have pain/discharge. ...Read more
Why would a fetus turn to footling breech?
Breech: A small percentage of fetus' r breech in the 3rd trimester. Presentation is based on fetal movement. Sometimes a baby is breech because the bony structure of the pelvis is contracted and never allows the fetal head to become engaged in the women's pelvis. ...Read moreSee 1 more doctor answer
Baby was footling breech since 24wks.Recently turned cephalic at 32wks yesterday.Is it likely she will stay that way till birth now?Wat can I do?
Be patient: A fetus assumes whatever position the uterus and chance allows, with more variability early and less as it approaches term. From now until term, increasing size forces less change in position as the uterine wall becomes stretched to accommodate baby. Although there is a chance she can still flip, it is less than earlier.There is little if anything you can do to influence the final position. ...Read more
Footling Breech Presentation (Definition)
Footling breech presentation is the abnormal positioning of a baby before the baby is born. Instead ...Read more
Breech Presentation (Definition)
Breech presentation is defined as a fetus with the buttocks or feet closest to the ...Read more
- Talk to a doctor live online for free
- What is the result of ultrasound third trimester in footling breech presentation?
- Is breech presentation a symptom of footling breech presentation?
- Is footling breech presentation a symptom of breech?
- Ask a doctor a question free online
- Footling breech presentation ethnicity
- Footling breech presentation gender
- Footling breech presentation
- Labor and delivery footling breech presentation
- Talk to a gynecologist online for free


text: Windows 7 Ultimate SP1 Multi (x86/x64) 2012 | 2.97 Gb/3.85 Gb These assemblies are based on the original British images. Optional integrated Russian, german, hebrew, Ukrayinsky language packs. Systems with updates on July 10, 2012. Disabled UAC, Hibernation. Upon completion of the installation automatic activation. More changes took place, the system clean, tested for validity by Microsoft. System requirements: - 32-bit (x86) or 64-bit (x64) processor with a clock speed of 1 gigahertz (GHz) or higher; - 1 gigabyte (GB) (32-bit) or 2 GB (64-bit system), memory (RAM); - 16 gigabytes (GB) (32-bit) or 20 GB (64-bit system) hard-disk space; - DirectX 9 graphics device with WDDM driver version 1.0 or higher. Additional requirements to use certain features: - Access to the Internet; - Depending on screen resolution for video playback may require additional memory and a more modern graphics hardware; - For optimal performance, some games and programs may require a graphics card compatible with DirectX 10 or later versions of it; - Some of the features Windows Media Center may require a TV tuner and accessories; - Technologies for Windows Touch and Tablet PCs require specialized equipment; - For the home team needed a network and computers running Windows 7; - To record DVD-ROMs and CD-ROM requires a compatible optical drive; - For the BitLocker technology requires the TPM (TPM) 1.2; - To function BitLocker To Go requires a USB-flash memory devices; - For Windows XP Mode requires an additional 1 GB of RAM and 15 GB of free hard disk space; - To listen to music and working with sound audio needs. What is the difference 32 of the 64-bit OS?: For the average PC user is the following: - If the PC is set to or less than 3GB of RAM, it will be enough regular, 32-bit OS; - If installed in a PC 4GB or more RAM, you have to put the 64-bit OS. How to burn a disk image (using Nero Burning ROM): - Start Nero Burning ROM, covering pre-launch window for the selection of the project, select the menu "Recorder" - "Burn Image"; - In the window that appears, find the necessary disk image and open it. Then select the recording parameters (recording speed to choose the minimum, mandatory) and write the image to disk. Installation (in brief): - Set in the BIOS on the first drive, that is, started to boot from it, rather than from the hard drive ...; - When you see the inscription "Press any key ..." (To be written in Latin) - Press ...; - Then follow the instructions, select the bit OS installed; - Select the hard drive, format it and install the system. Version of "Max" - ideal for use in the office. First, it supports applications created for older versions of Windows - such as a favorite by many XP, you can work with familiar programs and at the same time enjoy the benefits of the new Windows 7. Second, you can easily connect to the corporate network and configure remote access to corporate resources. Third, the "Maximum" version is a function of backup and restore, which allows you to make backups of important files. Fourth, the "maximum" supports 35 languages: working at a computer, you also can learn some foreign language. Finally, in this version of Windows 7 uses a powerful system for protecting your data - feature BitLocker encrypts data stored on your hard drive. Features of assemblies: - Automatic activation upon completion of installation; - The maximum proximity to the original images; - Integration of the latest updates (at the time of assembly). The assemblies are based on the following images: - En_windows_7_ultimate_with_sp1_x86_dvd_619077; - En_windows_7_ultimate_with_sp1_x64_dvd_618240. Integrated language packs: - Russian; - German; - Hebrew; - Ukrayinsky. Deleted: - Nothing is deleted. Disabled: - UAC (User Account Control); - Hibernation (Hibernate). Activation: Upon completion of installation get activated and registered on the Windows 7 Ultimate SP1. Updates: Installed updates on July 10, 2012, inclusive. Additional Information: The assemblies tested for performance. There was also replaced the standard screen installer, system performance is not affected. More detailed information on the screenshots. Checksums x86 image:[/b] CRC32: 76EB7AE0 MD5: 8BA87776FF949558ADF83E6282803A56 SHA-1: 9F1F1FB8E60299C23A51451848EBB0885F3425B2 Checksums x64 image: CRC32: D396DD66 MD5: 6A4C9EC69E86D67755747F86D4B5EB15 SHA-1: 32DDBE67C0BD95ACA8992E30F8078F1506BD269B Enabling | reg code: not required Language: English, Russian, German, Hebrew, Ukrayinsky File Format: Iso Platform / OS: x86/x64 Size of archive: 2.97 Gb/3.85 Gb (Buy premium account for maximum speed and resumming ability !! ) Download From Extabit Code: http://extabit.com/file/28cjefkevk6et/26.07.Multi.Ult.86.rar http://extabit.com/file/28cjefkevjh4l/26.07.Multi.Ult.64.rar


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USM, An EMCOR Company Operations & Maintenance Supervisor in Biloxi, Mississippi
Job Description
About Us:
EMCOR Government Services offers an experienced single-source solution for meeting the routine and mission-critical needs of federal, state, local and other government organizations. By combining our expert professional technicians, commercial best practices, extensive facilities knowledge and strong commitment to reliable, responsive service, we enable our government clients to achieve consistently high-performance facilities, on-time projects and long-term value.
Job Title: Operations and Maintenance (O&M;) Supervisor
Job Summary: EMCOR Government Services has an immediate need for an O&M; Supervisor in Biloxi, MS. The O&M; Supervisor shall be able to direct, monitor, and oversee contractor staff necessary to execute all scheduled maintenance requirements.
- The O&M; Supervisor shall be technically qualified in the field of Healthcare Facilities Management and Construction.
- Minimum five years of experience in hospital operations and maintenance and a minimum experience of two trades.
- Minimum five years of experience in supervision.
- An American Society for Healthcare Engineering (ASHE) Certified Healthcare Facility Manager (CHFM) current certification is required or must have a CHFM within six months of employment.
- Must have formal training related to Joint Commission standards (Environment of Care / Life Safety Code standards).
We offer our employees a competitive salary and comprehensive benefits package and are always looking for individuals with the talent and skills required to contribute to our continued growth and success. EOE M/F/Vet/Disabled
Job Title: Operations & Maintenance Supervisor
Date Posted: 10/13/2016
Location: Biloxi, MS
Job Type: Full-Time Regular
Position Id: EB-1904443270


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|Message view
|« Date » · « Thread »
|« Date » · « Thread »
|"Nicolas Betheuil" <Nicolas.Bethe...@europe.adp.com>
|Cluster & connection pooling
|Wed, 17 Nov 2010 13:09:47 GMT
Hi, I hope this question is a bit less obvious than my last one. When i read the wiki article on clustering, i understand that some parts of the repository.xml must be configured to point to the same location and others should not. I begin to be dubitative when it explains that worspace level have to be private and FileSystem (there is also a FileSystem configuration under Workspace configuration bean) have to be shared. When i see read the sample section of ConnectionPooling, everything is shared even Workspace and Versionning. Does the sample in ConnectionPooling is OK with the Clustering doc or not ? Thanks in advance for your lights http://wiki.apache.org/jackrabbit/ConnectionPooling http://wiki.apache.org/jackrabbit/Clustering
|View raw message


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100% verified reviews
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The family area was lovely. Splash pad and kiddie pool was a ton of fun. The no noise rule didn't apply to wedding listening to people yell and scream all hours. With the others puking out back was real classy. Also people driving on the roads did not do the max 10. People were driving very fast.


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TagsAngular Angular.js Angular2 AngularJS completion css dart debug debugger debugging Docker EcmaScript 6 editor eslint Flow Grunt gulp html javascript JSX karma live edit Meteor node.js npm offer PhpStorm productivity react react-native refactoring Release spy-js tracing TypeScript unit testing Vue webinar webpack WebStorm WebStorm 9 WebStorm 2016.2 WebStorm 2016.3 WebStorm 2017.1 WebStorm 2017.2
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WebStorm 2017.1 Early Access Preview
Today we start the Early Access Preview for WebStorm 2017.1 (EAP). Download WebStorm 2017.1 EAP, build 171.1834.8, here and install it side by side with your current stable WebStorm. No active subscription is required. Since we released WebStorm 2016.3 a … Continue reading
Posted in Early Access Preview Tagged Angular2, eslint, karma, Mocha, WebStorm 2017.1 36 Comments
WebStorm 11 Early Access Program
We are starting the Early Access Program for WebStorm 11, our next major release. Go ahead and download WebStorm 11 EAP now! UPD: Read about the new features added in the next EAP build: WebStorm 11 EAP, 142.3805: improved HiDPI … Continue reading
Posted in Cool Feature, Early Access Preview Tagged Angular.js, JSX, Mocha, node.js, react, TypeScript 93 Comments


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The catch? Apart from Verizon's ETF, "if you do not activate or extend a line of service in connection with this device, or if your service is canceled or disconnected before 181 consecutive days, AmazonWireless.com will charge you $250 per device, plus applicable taxes." Looks like Amazon is not very fond of backsies.
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Home >> 20mm Thread Male to Male Pipe Fitting 2 Way 90 Degree Rotary Water Flow Control Diverter Metallic Angle Valve
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"Vivid. Gripping. Undeniably potent. Almost Midnight barrels along like a hot rod on a twisty Ozarks road...a fast, furious read that leaves one plagued by disturbing toughts every time one manages to pause before turning another page." The Kansas City Star on ALMOST MIDNIGHT
"Crisp, informative and evocative . . . Compelling, vibrant, rich with winning details about scuffling life." The Washington Post on ALMOST MIDNIGHT
"Engrossing…disturbing noirish undertones and undeniable spiritual flair." Kirkus Reviews on ALMOST MIDNIGHT
"Cuneo handles these saints and sinners with equal aplomb." Playboy on ALMOST MIDNIGHT
"A richly detailed exploration…Cuneo's writing does not flinch." St. Louis Post-Dispatch on ALMOST MIDNIGHT
"Cuneo's detailed descriptions of the virtues (loyalty, self-reliance, faith, family) and negatives (violence, chemical dependency, lawlessness) of the Ozarks' culture not only fleshes out Mease's personality but also vividly portrays this overlooked area of Americana. Cuneo's skillful writing allows him to convey the romantic notions of Mease's outlaw ways and travels on America's back roads, while never romanticizing the violence or the hand-to-mouth living…One cannot help but appreciate Cuneo's in-depth, interwoven stories of Mease and the Ozarks." Publishers Weekly on ALMOST MIDNIGHT


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A CIA worker is lured back into interrogation when a major attack is about to happen in London.
May 8, 2017 | Categories: Reviews | Tags: 2017, Action, Adelayo Adedayo, Akshay Kumar, Aymen Hamdouchi, Brian Caspe, Cinema, Dan Bradford, Jessica Boone, John Malkovich, Lee Nicholas Harris, Michael Douglas, Noomi Rapace, Orlando Bloom, Phillip Brodie, Raffaello Degruttola, Review, Thriller, Toni Collette, Tosin Cole, Unlocked | Leave a comment
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Download PC games new latest full
|Word SearchWord Cross Read reviews, rate games, download free trials/versions.
Word Cross
Reviewed by Yuri Storchak
Genre and what to do:Word game. Welcome to Word Cross that offers you to take part in never-seen word fun. The task is to fill in the grid using given words. The grid has initial letters in it that are starting points for solving a puzzle. When you click on a box word, the matching words are highlighted, so you need to decide which one to pick up. There are to ways of solving the puzzle: the first is to fill in the whole grid with matching words; the second way is to guess the phrase. Each level contains a popular saying that should be guessed. Numerous power-ups, hints, and two game modes . Timed and Timeless make the game appealing to wide range of players.
Style and atmosphere inside the game:Word Cross is a unique mixture of word game with crossword that brings you tons of fun, helps to increase vocabulary and develops logical thinking. It features colorful detailed graphics, appropriate sound effects and repetitive electro music. All in all, Word Cross is an exciting game with unique game concept and captivating game play that appeal to fans of both word and puzzle games.
player'S REVIEW
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