text:
Borough of Alpine, NJ
Ch 5 Assistance, Board of
Ch 8 Borough Council
Ch 12 Court, Municipal
Ch 15 Departments
Ch 19 Emergency Management
Ch 22 Environmental Commission
Ch 32 Joint Purchases and Contracts
Ch 35 Land Use Procedures
Ch 36 Length of Service Award Programs
Ch 41 Ordinances
Ch 48 Police Mutual Aid
Ch 71 Auctioneers
Ch 76 Brush, Weeds and Yard Waste Disposal
Ch 79 Building Construction
Ch 82 Buildings, Moving of
Ch 85 Buildings, Unfit
Ch 88 Burning, Open
Ch 97 Construction Codes, Uniform
Ch 103 Driveways
Ch 114 Filming
§ 114-1 Findings.
§ 114-3 Permits.
§ 114-4 Rules and regulations.
§ 114-5 Fees.
§ 114-6 Exemptions.
Ch 123 Food Establishments
Ch 131 Hazardous Materials
Ch 135 Hunting
Ch 140 Landscapers, Licensing of
Ch 142 Licensing
Ch 150 Mopeds
Ch 158 Parking
Ch 161 Parks and Recreation Areas
Ch 162 Background Checks
Ch 170 Property Pending Foreclosure, Registration of
Ch 177 Signs
Ch 185 Soil Fill and Soil Removal
Ch 191 Storm Sewers
Ch 212 Vehicles, Impounded
Borough of Alpine, NJ / Part II, General Legislation
Chapter 114 Filming
Ord. No. 791
Filming Amendment
[HISTORY: Adopted by the Borough Council of the Borough of Alpine as § 7-7 (Ord. No. 451) of the 1970 Revised General Ordinances. Amendments noted where applicable.]
Licensing — See Ch. 142.
The Borough of Alpine has been the site of occasional television, video and movie filming.
[Amended 11-24-1998 by Ord. No. 549]
Such filming has created certain problems which require special regulation.
Such regulation is necessary to preserve the public health, safety and welfare.
For the purposes of this chapter, the following terms shall have the meaning set forth:
The taking of still or motion pictures, either on film, video tape or similar recording medium for commercial or educational purposes, intended for viewing on television, in theaters, on data communication systems or for institutional use.
Any and every public street, highway, sidewalk or square, public park or playground or other public place within the borough which is within the jurisdiction and control of the borough.
Required. No person shall film or permit filming within the borough without first obtaining a permit therefor. Before any permit is issued, the person requesting the permit shall notify by certified mail, return receipt requested, all property owners located within 200 feet of the location of the proposed filming, with proof of mailing to be submitted to the Borough Clerk. The notice shall include the date, time and location of the proposed filming, shall be sent not later than 10 days prior to the date of the filming and shall advise the property owners to contact the Borough Clerk of any objections.
Permits shall be obtained in the office of the Borough Clerk during normal business hours. Applications for such permits shall be in a form approved by the Borough Clerk.
The application shall set forth the location of such filming and the date or dates when filming shall take place.
The application shall be accompanied by a permit fee as hereinafter set forth.
Film permit applications shall be received in writing in the office of the Borough Clerk not later than 10 days prior to filming date.
[Added 11-24-1998 by Ord. No. 549]
The application shall be accompanied by a $5,000 escrow in cash, cashier's check or certified check, to cover the cost of any damage to curbs, streets or other municipally owned property as determined by the Borough Engineer, any reasonable legal and engineering fees and all fees which may be incurred under § 114-5, except for the permit fee of $1,000 which is in addition to the said escrow. All costs and fees shall be deducted from the escrow. Upon completion of the filming, any unexpended escrow shall be returned to the person applying for the permit. If the escrow is insufficient to cover all costs and fees, the applicant, upon written notification from the Borough Clerk, shall immediately deposit additional funds into the escrow account to cover said costs and fees.
Number required. One permit shall be required for each location.
Duration. One permit shall allow the applicant to film outdoors or indoors on one day within a period not later than 10 days, after the date of issuance of the permit, provided that each such date on which filming is to take place shall be specified in the permit and further provided that the maximum number of days on which filming may be authorized in any calendar year for premises located in a residential zone shall not exceed four without a waiver, pursuant to Subsection I.
Inclement weather; delay in filming. If a permit is issued and, due to inclement weather or other good cause, filming does not in fact take place on the dates specified, the Borough Clerk may, at the request of the applicant, issue a new permit for filming on other dates subject to full compliance with all other provisions of this chapter. No additional fee shall be paid for this permit.
Issuance.
No permit shall be issued for filming at a particular location in a residential zone within the borough which would permit filming at such location on more than four days during any one calendar year, unless a waiver is obtained in accordance with Subsection I.
No permit shall be issued for filing upon public lands within the borough unless the applicant for such permit:
Provides proof of insurance coverages for bodily injury for any one person in the amount of $500,000 and for any aggregate occurrence in the amount of $1,000,000.
Agrees, in writing, to indemnify and save harmless the borough from any and all liability or damages resulting from the use of such public lands.
Denial of permit. The Borough Clerk may refuse to issue a permit whenever (s)he determines, on the basis of objective facts after a review of the application and a report thereon by the Police Department and by other borough agencies involved with the proposed filming site, that filming at the location and/or time set forth in the application would violate any law or ordinance or would unreasonably interfere with the public's use of public lands, unreasonably interfere with the use and enjoyment of adjoining properties, unreasonably impede the free flow of vehicular or pedestrian traffic or otherwise endanger the public's health or welfare.
Appeal of denial; waiver of requirements.
Any person aggrieved by a decision of the Borough Clerk denying or revoking a permit, or a person requesting relief pursuant to Subsection I, may appeal to the Mayor and Council. A written notice of appeal setting forth the reasons for the appeal shall be filed with the Borough Clerk. An appeal from the decision of the Borough Clerk shall be filed within 10 days of the Borough Clerk's decision.
The Mayor and Council shall set the matter down for a hearing within 30 days of the day on which the notice of appeal was filed. The decision of the Mayor and Council shall be in the form of a resolution. Such resolution shall be approved by the Mayor and Council at the first regularly scheduled public meeting of the Mayor and Council after the hearing on the appeal, unless the appellant agrees, in writing, to a later date for the decision. If such a resolution is not adopted within the time required, the decision of the Borough Clerk shall be deemed to be reversed and a permit shall be issued in conformity with the application or the relief pursuant to Subsection I shall be deemed denied.
Waiver of requirements. The Mayor and Council may authorize a waiver of any of the requirements or limitations of this chapter and may authorize filming other than during the hours herein described, may extend the duration of a permit beyond 10 days, may permit filming at a particular location in a residential zone on more than four days during any one calendar year or may waive any other limitation or requirement of this chapter whenever it determines that strict compliance with such limitations will pose an unreasonable burden upon the applicant and that such a permit may be issued without endangering the public's health, safety or welfare.
The holder of a permit shall take all reasonable steps to minimize interference with the free passage of pedestrians and traffic over public lands and shall comply with all lawful directives issued by the Alpine Police Department with respect thereto.
The holder of a permit shall conduct filming in such a manner as to minimize the inconvenience or discomfort to adjoining property owners attributable to such filming and shall, to the extent practicable, abate noise and park vehicles associated with such filming off the public streets.
The holder of a permit shall avoid any interference with previously scheduled activities upon public lands and limit, to the extent possible, any interference with normal public activity on such public lands. Any overnight parking arrangements must be requested and approved in advance by the Alpine Police Chief at the time of the filing of the application for the permit. Only designated borough-owned property shall be considered for this use. The use of the borough-owned school parking area may not be used if the same shall interfere with the regular school use of the said parking area.
The holder of a permit shall take all reasonable steps to minimize the creation and spread of debris and rubbish during filming and shall be responsible for removing all equipment, debris and other rubbish from the filming location upon the completion of filming or the expiration of the permit, whichever comes first.
Filming shall be permitted only Monday through Friday between the hours of 8:00 a.m. and 7:00 p.m. or sundown, whichever is earlier in residential zones.
The holder of a permit shall notify the Fire Chief 24 hours before filming takes place and permit the Fire Chief to inspect the site and the equipment to be used. The holder of a permit shall comply with all firesafety instructions issued by the Fire Chief.
The holder of a permit for filming on public lands shall hire, at such person's sole cost and expense, a minimum of two Alpine police officers for daylight and nighttime duty as determined by the Chief of Police, which officers will be present at the site at all times during the filming.
Automobiles, trucks and all other vehicles owned, leased or used by the holder of a permit for either residential or public land filming shall not park the same on more than one side of the street.
The fees, which shall be paid to the Borough Clerk in advance of the filming and issuance of the permit, are as follows:
Filming permit: $1,000.
Filming permit for filming on public land: $1,000. [NOTE: Incidental use of a public sidewalk or street which does not result in a closing of the street or sidewalk to public use shall not be considered filming on public land.]
Filming permit for nonprofit applicants filming for educational purposes, including public land: $25.
Daily fee for inspection of site, floor load measurement/footing and set inspection by the Building Inspector: $100.
The charge for each police officer shall be at overtime rates for a minimum of four hours.
For each police vehicle as required and determined by the Chief of Police for each eight-hour shift or part thereof: $100.
Any police equipment used by the Police Department as deemed necessary by the Chief of Police shall be charged at a reasonable rate as determined by the Chief of Police.
The charge for each Department of Public Works employee shall be at overtime rates for a minimum of four hours.
Any supervision or inspection by employees of the Department of Public Works must be conducted before 7:00 a.m. or after 3:00 p.m. during normal working days. The rate for each employee conducting said supervision or inspection shall be at the regular overtime rate of 1 1/2 times the individual worker's salary.
The charge for the Health Inspector to make a septic inspection, portable facilities inspection and catering (food) inspection: $100.
Daily fee for the Fire Official to inspect the site for fire lane approval, equipment, fire protection inspection (exits, etc.) and an inspection on the day of filming: $100.
In the event the Fire Official requires fire equipment to be at the site, the charge for each vehicle for each eight hours day or part thereof: $200.
The charge for a standby or active fire fighter as determined by the Fire Official shall be at the overtime rate for a Department of Public Works employee for a minimum of four hours.
If a firesafety permit is required, the fee shall be charged in accordance with Chapter 119 of the Revised General Ordinances.
The provisions of this chapter shall not apply to the filming of news stories within the Borough of Alpine.


Pure + simple is a holistic-inspired, natural and organic spa that blends Eastern and Western skin-care philosophies to create a perfect mélange of services and skin-care products. Three rooms provide treatments tailored to each client's individual skin type, providing a customized experience. Services focus on facials: sea-salt microdermabrasion, LED light treatments, and IPL Photo Facials; full body services include IPL hair removal and waxing. Signature services are relaxing and rejuvenating, like the Urban Renewal Facial which incorporates a massage and a two-step mask procedure. The contemporary interior features a retail area that showcases more than 10 lines of natural and organic products from around the world, with specialized product formulations that yield professional results.


What is the future of work? What will be the most consequential changes in the world of work and workers, and what anxieties and possibilities will they produce?
More specifically, are robots going to take over all work? How do we prepare the workforce of the future? How should governments and corporations respond, and what are the models for governance? What creates meaning in a world of temporary work? How will demographics change the future of work?
In the midst of technological, generational, global, and policy changes, the time is now to address these critical questions and many other related ones.
"The Future of Work and Workers," an ongoing project based at CASBS, explores the sources and implications of the ways in which work is changing globally. The project considers the effect of technological changes, skill preparation, and the norms and practices of different generations and groups throughout the world.
Since 2014 the principal organizers, CASBS director Margaret Levi and technology forecaster/Stanford consulting professor Paul Saffo, have convened working groups at CASBS on several occasions (with more to follow) to explore the issues. Attendees have included journalists, entrepreneurs, foundation officers, and academics from a variety of disciplines. Among them are current CASBS fellows Natasha Iskander, Louis Hyman, Phyllis Moen, and Maureen Perry-Jenkins; former fellows Katherine Isbister and Margaret O'Mara; former CASBS visiting scholar (and New York Times science writer) John Markoff; CASBS board members John Seely Brown and Mariano-Florentino Cuéllar; and Stanford faculty members Woody Powell and Melissa Valentine. The initial meeting was co-sponsored by the Watson Institute for International Studies at Brown University, while subsequent meetings have been supported by the Rockefeller Foundation.
The project is much more than a talkfest. Levi envisions output of fruitful research and ideas that warrant the establishment of scholar residencies at CASBS that last from a few weeks to a full academic year.
"The Future of Work and Workers" project also involves a publishing partnership with Pacific Standard. Nearly 100 contributors recruited specifically for the project – business and union leaders, social scientists, technology visionaries, activists, journalists, and public officials – posted articles to a dedicated PS web site page on a near-daily basis beginning in August 2015 and extending through the year, with occasional new articles appearing in 2016. Each article, hyperlinked, also appears with its corresponding author below. The editor of the series is Glenn Kramon, an editor for the New York Times for more than a quarter-century who supervised or edited ten Pulitzer Prize-winning reporters. Among the many authors contributing to the PS series are U.S. Senator Mark Warner, Uber CEO Travis Kalanick, AFL-CIO president Richard Trumka, Washington Post columnist Harold Meyerson, Udacity CEO Sebastian Thrun, CASBS fellow Yi-Huah Jiang, and several members of "The Future of Work and Workers" project. A book compendium of many of the pieces is under discussion. In addition, the future of work was the cover story for the November/December 2015 print issue of the magazine.
Pacific Standard's editor-in-chief, Nicholas Jackson, stresses the importance of the collaboration in advancing the discussion.
The analytics show that the articles have reached (as of February 2016) more than 345,000 viewers, with some of the most popular pieces earning well over a thousand shares on social media platforms. Authors have been interviewed on NPR, C-SPAN and cited by dozens of media outlets. Jackson appeared on C-SPAN's "Washington Journal" program to discuss the publishing part of the project.
The future of work and workers received still more attention in April 2016, as part of the final installment of the CASBS 2015-16 public symposium series. On Tuesday, April 19, 2016, CASBS fellows Louis Hyman and Natasha Iskander gave a joint talk on "The History of Catastrophe and the Future of Work," followed by a question and answer session. C-SPAN filmed the symposium for airing at a later date. Learn more about the symposium and watch CASBS full video coverage here.
Iskander's take on the project provides a clue as to what symposium attendees experienced.


Northeast OH – After yesterday's blog post, I am sure that some people were wondering why a HELOC gets zero from a foreclosure. Let me explain why.
When a property is foreclosed upon, it is auctioned on the courthouse steps. Let me give you a scenario where a homeowner owes the following on the property.
First Mortgage is owed $200,000.
Second Mortgage is owed $40,000.
So a total of $340,000 is owed on the property. Now, what if it only sells for $150,000 on the courthouse steps. Who gets that $150,000?
The first mortgage does. The second mortgage wouldn't get a dime unless the property sold on the courthouse steps for more than $200,000. The HELOC wouldn't get any money unless it sold for more than $240,000.
This is why a second mortgage gets so little money from a foreclosure. Historically, second mortgages were loaned for the top 20% of the property value. The lower 80% was the first mortgage.
In most cases, the attorney fees, foreclosure costs, delinquent property taxes, and other fees would bring the first mortgage's total up to around 100% of the property value.
This is why in most cases a second mortgage rarely gets any money from a foreclosure. Of course there are other variables that can change things, but this is how it usually works.
Thinking about a loan modification?Our Northeast OH loan modification kit will show you how to reduce your mortgage payment, keep your home, and get back on your feet. Send me an e-mail at iandymorris@gmail.com to request a Free Copy. Or, click here to request a copy.
o Andy Morris specializes in loan modification assistance and short sales in Northeast OH Ohio. Northeast OH Loan Modification Help, Northeast OH Short Sales, Northeast OH Short Sale Realtor, Rocky River Short Sales. Rocky River Loan Modification Help, Rocky River Short Sale Realtor, Bay Village Loan Modification Help, Bay Village Short Sales, Bay Village Short Sale Realtor. Avon OH Loan Modification Help. Avon OH Short Sales. Avon OH Short Sale Realtor. Avon Lake Loan Modification Help, Avon Lake Short Sales, Avon Lake Short Sale Realtor. North Ridgeville Loan Modification Help. North Ridgeville Short Sales, North Ridgeville Short Sale Realtor. Sheffield Lake Loan Modification Help, Sheffield Lake Short Sales, Sheffield Lake Short Sale Realtor. Columbia Station Loan Modification Help, Columbia Station Short Sales, Columbia Station Short Sale Realtor. Grafton Loan Modification Help, Grafton Short Sales, Grafton Short Sale Realtor. Northeast OH Short Sales. Northeast OH Realtor.


Lenore was appointed Executive Director in 2010. She joined NMS as the Director of Training and Organizational Development in 2008 after nearly fifteen years as an NMS senior affiliated consultant. She has worked with a diverse cross-section of San Diego's nonprofit sector in her twenty-five years of experience, including several years as Communications Director for Planned Parenthood of San Diego and Riverside Counties. A native San Diegan, Lenore holds a Masters of Education from the University of San Diego and is an alumna of LEAD San Diego.
Christiana Tasto has worked in the nonprofit sector since 2001, directing youth development and diversity programs in community-based organizations, including the Boy Scouts of America and the YMCA, where she created and presented programs on youth character education, life skills, STEM and diversity. In her role as Director of Learning at Nonprofit Management Solutions, Christiana has facilitated professional development programs on a variety of topics, held interim executive position, and provided executive coaching as well as facilitating NMS core workshops. Christiana holds a Masters of Arts in Psychology, and is currently working on a certification as a Behavior Change Specialist.
Stephanie rejoined NMS as the Finance Manager in March 2016 having originally joined NMS in 1998. Before leaving in 2015 she held the position of Operations & Training Manager. Stephanie is a native San Diegan, residing in North County.
Deanna joined the NMS team after benefiting from its valuable professional development services and resources for many years as a nonprofit professional. Deanna is a graduate of the NMS Certificate in Nonprofit Management Program, as well as Virginia Tech, where she earned a degree in Communications. Deanna has worked in the nonprofit sector for more than 14 years in roles such as Director of Development, Program Coordinator, Marketing Coordinator, Event Planner, and Grant Writer. She pulls from this diverse background to build and deepen connections between NMS and our nonprofit community.


text:
import chalk from 'chalk';
import { prompt } from 'inquirer';

import isFilledArray from './isFilledArray';

const { green } = chalk;

/**
 * Ask to choose existent files to clone.
 *
 * @export
 * @param {string[]} existentFiles Existent files.
 * @returns {Promise<string[]>}
 */
export default async function askChooseFiles(
	existentFiles: string[]
): Promise<string[]> {
	let fileChoices = existentFiles.map(file => ({
		name: file,
		value: file,
		checked: true
	}));

	let answers = await prompt([
		{
			type: 'checkbox',
			name: 'chosenFiles',
			message: `Which files that you want to ${green('ConfC')}?`,
			choices: fileChoices
		}
	]);
	let chosenFiles: string[] = isFilledArray(answers.chosenFiles)
		? answers.chosenFiles
		: [];

	return chosenFiles;
}

redpajama_set_name: RedPajamaGithub


"Spring Seed Packets - Tulip, Lavender, Basil, Sage " Handmade Wood Sign home decor with frames. Come ready to hang.
Sign is approximately 5x6 ( mini ). Approximately 6.5x7.5 including the frame. Also in 10x15, 11.5x16.5 with frame. Slight size variances can occur. If you would like this sign in a different size, please fill out the Custom Sign Request Form.


Dishonored is Bethesda Softworks latest piece of art, which I would say is a combination between the mechanics of Assassins Creed and Deus Ex. No official gameplay video or detailed information about the game have been announced, but what's recently confirmed is its release date and the box art above (which looks insanely incredible). So heads up guys, Dishonored is set for a release on the 9th of October on the Xbox 360, PS3 and PC.
For more information on the game, and our thoughts on it, visit here.


text:
Q: How to show the console (command line) when using .exe that was made with cxFreeze? I have a python script that I wanted to make .exe, I used cx_Freeze but now it runs in the background and I have to close it with the task manager.
I want it to show the cmd like in the Python version, is there anyway to do that?
Adding something to my code or something like that?
Thanks!

redpajama_set_name: RedPajamaStackExchange


In caregivers, are you talking about clinicians/physicians involved in the loss or family members who took care of you during/after?
Hi -- sorry to be unclear. Actually I was referring to nurses, doctors, social workers, pastoral care, funeral directors, etc.
Personally, I had an experience at the time with the head OB nurse where the way she approached me made a huge difference in my ability to let down and show my emotions. I will never forget how kind she was and how she knew right away what I needed from a caregiver.
Conversely, our priest was too busy to come to the hospital because he had a staff meeting and then forgot to come later. He told us it did not matter what we did in terms of last rites, baptism, burial, cremation, etc. Even though it was just one person not being very sensitive, it helped set into motion a series of events that lead to Kathleen's body being lost at the hospital. Twenty-seven years later, as a family we do not have a place we can go and feel like we are spending time with her. I am certainly not blaming him for all this, but I do believe that if he had done a better job, there would have been a MUCH greater chance it would not have happened.
The most I could offer (because honestly, every, every, everyone who rallied around us was truly wonderful) is how important it is for the doctors and nurses to feel comfortable sharing their emotions and their feelings. What happened with our son was really tragic and unexpected, so I think it hit them all pretty hard and instead of holding it all in so they could remain 'professional', they shared their tears and their confusion and their hearts with us. From the second my OB called for me to be prepped for emergency section to the second I left the hospital, my husband and I were literally covered in prayers and scriptures and kind words and concern.
For my husband specifically, I was SO grateful that they were physical with him. They held his hand as they told him anything. They put their arms around his shoulder as they led him somewhere. My son had to be med-evaced to Georgetown and my husband went up there to be with him (I was still recovering from the surgery and trying to make it there) and he was all alone. He said one of the most meaningful things the staff did was hug him. Someone came up to him, as he held our dying son, and asked, "Has anyone hugged you?" I am forever, forever grateful for that.
My pastor and several other people from church came immediately (even though my pastor was late for service!) and nurses who had been with us the day before but were off the next day came out simply to see us and love on us more. My husband is a Marine and he saw more of them cry in those subsequent days than he'd ever seen men cry in his life.
The social worker from the hospital called a day later, and a couple after that--told us about all the resources available and still leads the infant loss group we attend monthly. She gave email and phone numbers and is always accessible, even 10 months later!
I could go on and on. We were really blessed. I'm glad you have this opportunity...you are right--those minutes and hours and days after make such a difference!
Wow....you are both incredibly fortunate to be able to have such positive memories of a difficult time in your lives. I hope I can share your story at the conference to let them know what a difference they can make. Thank you for sharing it.
Hi Tim, I am so very sorry for your loss of your precious baby! I think that this is great you have a blog for fathers. My husband really searched high and low for something like this after we lost our newborn baby boy in 2005. I created an online outreach for mothers who have lost babies/children and have included a page for fathers. Would it be okay if I included your blog into my new page "When Father's Grieve"? God bless you for doing this blog, my husband expressed to me in our time of loss that men do grieve differently than women which I really had to learn and understand. I am going to add your blog button to my blog on the site as well! My current site is moving so I will just give you the link to the soft launch of the new site. God bless you!
I just found your blog! I am going to show this to my husband. Thanks for writing!
I know you already spoke, but I wanted to share our experience.
We had a miscarriage at 15 weeks. It was in many ways like a delivery- water broke, the midwife came & cut the cord (since the placenta didn't deliver for a few hours). We held and love and named our baby.
One small, but very meaningful gesture was that my midwife brought us pumpkin bread when she came for a follow up. That's her traditional gift for new parents. I loved how it was an acknowledgement that we didn't just have a miscarriage-- we HAD a BABY.
Also, the funeral home that performed the cremation kept the tiny blanket he was laying on and the little hat we made for him. They wraped the envelope with his ashes in the blanket. I was touched that they would be so tender.


Imogen first learned how to create her own website to promote her own Alexander Technique practice in Wilmington, Delaware. She took two online web design courses and then set to work. Her goal was to have a clean, professional look, with easy-to-digest information on each page.
She enjoyed the creative process so much that when Robert Rickover, Alexander teacher and creator of The Complete Guide to the Alexander Technique, approached her regarding the possibility of designing websites for other Alexander teachers, she jumped at the chance.
Imogen started designing websites using html code. It was becoming, however, more and more apparent that many of her clients wanted to be able to edit their sites themselves, rather than be reliant on Imogen to make the updates for them. Imogen understood this need well – it was, in fact, the main reason she learned to design websites for herself.
WordPress was the answer. Originally a blogging platform, it has now become a comprehensive content management system. It can be used to create websites, blogs, or a combination of the two.
And the great thing is, you can edit the content yourself without needing any specialized knowledge.
In the summer of 2011 Imogen took another online course to familiarize herself with the ins and outs of designing with WordPress. Although WordPress sites are actually blogs, Imogen learned how to turn them into proper websites (of which this website is an example!). Of course, a blog can easily be incorporated if desired by the client! For this reason, and all the added functionality, Imogen now uses WordPress for her own Alexander Technique website at www.ImogenRagone.com.
To date Imogen has created over 100 websites for Alexander Technique teachers in three continents – recently these have all been designed using WordPress. Imogen now uses the WordPress platform for all her sites. Even if you don't want to do any editing yourself, or have a blog, a WordPress site offers state-of-the-art design and function.
And, if you do want the ability to easily do updates yourself – or have a blog as part of your site – a WordPress site is the perfect solution.


Relax Bedding handcrafted allergen avoidance bedding systems offers the highest quality allergy protection for you and your loved ones while you sleep. Relax Bedding are 100% cotton and 100% organic cotton. Naturally woven cotton fibres only - NO plastic, NO vinyl, NO membranes. Relax Bedding is doctor recommended and clinically proven, providing the highest degree of comfort and protection available for allergy, asthma and atopic dermatitis patients. Relax Anti-Allergen Bedding products help with symptoms, get to the root of the problem, and allow you to cut down on medication costs.
Carstens, Inc. is a family owned business in the Pacific Northwest. We've been manufacturing home decor and children's product since 1988. We pride ourselves on our unique, high quality, rustic-themed designs. From our original plush bear footstool, which we still carry, Carstens has grown to over 800 products, including 34 bedding collections.
Resthouse Sleep Solutions was founded by Chris Manley and Dawn Howlett at the end of 2013. We desired quality organic products for our home, but we found they weren't that readily available. We offer quality organic rubber tree latex and wool sleep products, including mattresses, pillows, linens and duvets. We also carry support materials for those looking to understand how to improve their sleep issues, including books, guided sleep meditations and relaxation tools. Chris has over 20 years experience in the mattress industry, and Dawn worked behind the scenes at Banyen Books for 23 years. Our experience told us that people weren't getting the help they needed to solve their sleep issues. We seek to provide information and quality products to address these issues, all under one roof. Our Purpose Our desire is to use our work experience and skills to help people. To incorporate our belief in respectful listening and transparent communication. To help folks find what they need in a relaxed and peaceful environment. To offer quality solutions that are also not harmful to the health of people or the environment. We want to take the guess work out of purchasing organic products by only pairing with properly certified companies that have parallel values and purpose. All of our products meet stringent guidelines of the top environmental agencies including GOTS (Global Organic Textile Standard), B Corporation, GreenGuard, Green America; to name a few. We've had countless people say to us that they just aren't good sleepers, as though there is no solution. We want to make it easy for people to sleep. We ask a lot of questions and have a lot of options to share.
We help individuals and service providers find the best bidet toilet seat for their needs. We offer dozens of models from 11 manufacturers to fit all budgets, styles and needs. Call us toll free if you have any questions prior to purchase. Our business is helping you take care of your business with dignity and hygiene.
Just like humans, dogs and cats need regular grooming sessions in order to look and feel their best. However, some pets are less than cooperative, turning bath time into a wrestling match, and some owners are nervous about performing tasks such as trimming nails, removing tangles or cleaning ears.
Whether you're looking for the latest in bath accessories and products or hunting for luxurious custom bedding, you'll find a wide range of Victoria, BC bedding and bath manufacturers and retailers on our Professionals pages.
One of the most common problems in bathrooms is lack of storage space. Buying a bathroom vanity at your local building supply store may be the answer, but for more challenging storage solutions, you'll want to contact a Victoria, BC bedding and bath manufacturer or retailer that specializes in custom storage options and unique bathroom furniture and accessories.
From heated towel bars to shower curtains, use the Houzz Professionals listings to find Victoria, BC bedding and bath retailers with budget-friendly bathware and modern bath accessories. Some bathroom remodelers specialize in affordable equipment like grab bars, safety tubs and showers and other bathroom accessories designed for those with different physical needs. Does your bathroom need converting or upgrading for special needs?
Is it time to wake up your master bedroom with some new bed linens? Since that very first white sale in Philadelphia's John Wanamaker and Co. department store in 1878, January has always been a good month to buy bed linens. Those looking for hand-crafted custom bedding and draperies can find a Victoria, BC company that makes and sells quality bed products. Many bed and bath retail outlets sell a smaller selection of exclusive brands.


Texas pitcher Frank Francisco threw a chair at a fan in a lower box seat to the left of the Rangers' bullpen along the right-field line in the ninth inning of a game against the Athletics in Oakland on Monday night.
The incident boiled over as Texas reliever Doug Brocail was seen screaming at a male fan, and the pitcher had to be restrained by his teammates and bullpen coach Mark Connor. Others also had to be held back.
Francisco then tossed the chair at a fan. The chair hit one man in the head, then bounced and clobbered a woman in the face and broke her nose.
Security ran to the scene and a small section of fans was cleared from their seats. The incident caused a 19-minute delay. Dave Rinetti, vice president of stadium operations, stood in front of that section for the remainder of the game.
"Tonight, it went over the line," Rangers manager Buck Showalter said. "It was a real break from the normal trash you hear from fans. We've had problems about every time we've come here."
There was talk between the umpires and managers of suspending the game, clearing the stands and forfeiting the game.
Major league baseball's commissioner's office said Tuesday it was investigating.
Rinetti said afterward that the woman, not yet identified, was being treated at a hospital for facial cuts and a broken nose, and was considering pressing charges. Francisco was escorted by police out an alternate stadium exit after the game and into a car waiting on the field. No arrests were made at the time, but it was reported Tuesday that the woman is considering pressing charges.
Brocail declined comment, and Francisco wasn't around the locker room afterward.
Showalter said reliever Carlos Almanzar had to come out of the game after having an asthma attack because of the incident.
"I don't know what happened, but I don't think anyone is happy about it," Texas pitcher Francisco Cordero said.


"10 by 2" our new duo jazz CD!
Saxophonist Robert Kyle has become known for his unique warm sound, melodic style, and his ability to harmoniously cross musical borders. He is fluid in many styles & has a particular love for Jazz, Brazilian & Afro-Cuban music. His lyricism and passion are evident in whatever situation he finds himself. His performance & recording credits include work with Cee Lo Green, Natalie Cole, Michael McDonald, Jason Mraz, Chaka Khan, Michael Bolton, Linda Ronstadt, Carole King, Kenny Loggins, Brenda Russell, Lou Rawls, Guinga, Chico Pinheiro, Seu Jorge, Googoosh, Babyface and many more.


text:
What Women Say to One Another: Sheila Heti's "How Should a Person Be?"
By Chris Kraus
CANADIAN WRITER SHEILA HETI'S breakthrough novel How Should a Person Be? recounts the author's faux-epic quest for a personal life; or more specifically, a life that will support and engender a kind of writing she can believe in. How Should a Person Be? was written from 2005 — when Heti was 28 — through 2012. Her beautifully crafted short-story collection, The Middle Stories, had been published four years prior. Ticknor, her first novel (a historical fiction revolving around the relation of a 19th-century biographer towards his subject) had just been published in the United States by Farrar, Straus and Giroux under then-editor Lorin Stein. As a young, married woman writing intelligently and poetically about "serious" subjects that had little to do with her own experience, Heti was poised for a distinguished career as a writer of "difficult" high literary fiction.
But then things broke down. As "Sheila," the protagonist of How Should a Person Be? tells it, she'd been commissioned to write an original play for a Toronto feminist theater company and found that she just couldn't do it. Not only was the plot she'd submitted horribly contrived, she didn't know anything about women! As she writes: "… the whole time I was married, I was concerned only with men — my husband in particular. What women had to say to one another, or how a woman might affect another, I did not know."
And thus begins Heti's quest. To describe How Should a Person Be? as a faux-epic isn't to say that her struggle is fake. Quite the reverse. Heti, who studied playwriting and theater rather than creative writing, is intensely aware of the dialectic that binds art with artifice. In this book, she channels all of her gifts — as a playwright, philosopher, a Jewish stand-up comedian, a writer of precise lyrical prose, and a great blow-job artist — towards her efforts to answer the titular question, which, in the spirit of that same dialectic, is at once coy and profoundly serious. Doesn't every real work of fiction pose the same question? Just as Mary McCarthy's The Company She Keeps (written at the same age) was an explosive and thrilling rejoinder to the serious, male coming-of-age saga exemplified during her era by Sartre's The Age of Reason, Heti's book exuberantly appropriates the same, otherwise tired genre to encompass female experience. How Should a Person Be?'s deft, picaresque construction, which lightly-but-devastatingly parodies the mores of Toronto's art scene, has more in common with Don Quixote than with Lena Dunham's HBO series Girls or the fatuous blogs and social media it will, due to its use of constructed reality, inevitably be compared with. What is an epic quest for a girl? Exiled from the epic's universal narration, Heti is aware of pitfalls. She lays out her cards in the Prologue:
One good thing about being a woman is we haven't too many examples yet of what a genius looks like. It could be me. There is no ideal model for how my mind should be. For the men, it's pretty clear. That's the reason you see them trying to talk themselves up all the time … I'm thinking of you, Mark Z., and you, Christian B. You just keep peddling your phony-baloney genius crap, while I'm up giving blowjobs in heaven.
Leaving her marriage as abruptly as Elizabeth Gilbert's in Eat Pray Love (and riding, like Gilbert, a groundswell of inner torment), Heti will abandon, return to, and ultimately finish the play in the form of this novel. In the process, she will train as a hair stylist; briefly move to New York; apprentice herself to, and then leave, a Dominant BDSM partner who she meets in the art world; consult a Jungian analyst; and forage the urban landscape for commercial signage that might offer a clue to her destiny. But most importantly, she'll become friends with "Margaux," a character drawn, or, in the case of this novel, literally transcribed, from the real-life painter and artist Margaux Williamson.
It is this friendship that drives the book's narrative. And for all of the wildness contained in Heti's account of her struggles, the book is perfectly composed within the classical structure of five-act dramatic narrative. When, after a long, frightening courtship conducted mostly on email, the two finally become friends, Sheila's world opens up. Entranced by her new friend's assurance in the face of her continual self-doubt as a painter, Sheila seizes upon the idea of recording their conversations. Purportedly, she does this as a playwriting aid, thinking that transcribing their conversations will give her some clues as to how female characters talk to each other. But really, Sheila's goal is to annex Margaux's soul (or her "sould," as Heti continually mis-types it). And this intent — perceived by the wise and exceptionally patient Margaux — triggers the book's third-act crisis.
After a three-day trip to Miami Art Basel, during which Sheila buys the same yellow dress as her friend, Margaux rebels in an email: "i should have been clearer in the store about how it made me uncomfortable … i really do need some of my own identity. And this is pretty simple and good for the head." Stunned, Sheila retreats. For several weeks, the two friends don't see each other. Sheila's search for a soul, any soul, becomes increasingly frantic. Finally Margaux appears to offer a reconciliation: "…boundaries, Sheila. Barriers. We need them. They let you love someone. Otherwise you might kill them." Reunited, the two begin a cycle of prolific painting and art-making by day, fuelled by nightly inebriation. Margaux makes Sheila a generous tape in which she records her observations on fame and rewards, presence and beauty, which Sheila proceeds to transcribe and weave into a story. When Sheila asks Margaux to read this new work, her friend feels the extent to which she's been violated, with her whole being. She paints herself as the fat, chubby-cheeked Buddha; a grotesque manifestation of the sage Sheila's portrayed. And then she stops painting.
Devastated by the damage she has done to her friend, Sheila finds that remorse can be one of the most powerful animating emotions. During a masterfully played and genuinely searching Dark Night of the Soul, she ponders:
In the beginning, the gods gave us liberty; in the end, we discovered cheating … We have found that, in our freedom, we have wanted to be like coke to the coke addict, food to the starving person, and the middle of the night to thieves … [There are] three ways the art impulse can manifest itself … When we try to turn ourselves into a beautiful object, it is because we mistakenly consider ourselves to be an object, when a human being is really the other two: a gesture, and a reproduction of the human type … And the cheater breaks her own heart.
Sheila departs for New York in the (faux) hope of becoming an Important Artist, flees to Atlantic City and returns home to Toronto where, at the end of a very long Act Three, she reconciles with Margaux. The last two acts come tumbling down. Sheila obliquely breaks up with her sadist (who, while a sexual genius, is a very bad artist) by, for the first time in her life, willfully making herself unattractive. And — as if by reward from the same gods she'd summoned during that long night before leaving Toronto — Margaux acknowledges that Sheila's appropriative work is, in fact, an homage. All Margaux asks is that Sheila finish the play as a compensation for both of their sufferings. And it need not be a literal play! And then the curtain comes down, followed by a short, sweet finale.
Heti's use of real art-world names, real events, real conversations and correspondence, owes a large debt to the work of the late Kathy Acker, which, due to our short cultural memory, might be obscured by the tedious arguments for and against the "generational narcissism" of social media. Like Acker, she is a brilliant, original thinker and an engaging writer. But whereas Acker's work was written mostly in scabrous rage, Heti's world-view is more conciliatory. Throwing fragments of chaos into the air and arriving at order, Heti's work mimics a Shakespearean form, while Acker's métier was closer to the bloody and bawdy revenge dramas of John Ford and Christopher Marlowe.
Perhaps it's no coincidence that while Acker's recorded life took place in New York, London, Berlin and San Francisco, Heti remains near the place where she was born, in Toronto. As she writes in the Prologue: "My hope is to live a simple life, in a simple place, where there's only one example of everything." Despite their prolific drinking and drugging, Sheila and her friends are, at bottom, quite wholesome: they hold most of their conversations during walks, they ride their bikes to each other's houses. Through related activities, Heti has done a great deal to bestow the glamour of a large international city upon the art-friends who appear in How Should a Person Be? cameos. Heti's Toronto is a place where artists and writers support each other's efforts. In 2011, she collaborated with Margaux Williamson's partner Misha Glouberman on The Chairs Are Where the People Go, a kind of self-help book published by Farrar, Straus and Giroux. Earlier this year in Toronto, to participate in a panel discussion on female sex writing she'd organized with Margaux Williamson and the writer Tamara Faith Berger, I visited her in the modest but lovely apartment she shares with her boyfriend, a cat and a large, tame peach rabbit. We ate tortellini while outside, early perennials popped out of snow banks.
Recommended media:
Jon Cotner on Chairs are Where the People Go by Sheila Heti and Misha Glouberman
PODCAST: Tom Lutz interviews Sheila Heti and Misha Glouberman
"Reality Hunger": on Lena Denham's Girls
How Should a Person Be?
By Sheila Heti
Published 2012-06-19 00:00:00
Amazon.com IndieBound
Reality Hunger: On Lena Dunham's "Girls"
By Jane Hu
The Questionnaire: Misha Glouberman
By The Questionnaire
PODCAST: Philosophical Improvisations
By Tom Lutz
Philosophical Improvisations
By Jon Cotner
It's Good To Be Pragmatic: An Interview with Helen DeWitt
By Lee Konstantinou

redpajama_set_name: RedPajamaCommonCrawl


text:
XI from '12: [No. 2] An epic USA-Canada Olympic semifinal
Dan Lauletta
The USA-Canada 2012 Olympic semifinal will go down as one of the greatest games ever played. (Photo by Stanley Chou/Getty Images)
When Alex Morgan headed home the latest goal ever scored in a women's FIFA competition she not only added a brick to her rapidly growing legacy, she decided one of the classic games ever played in women's soccer and the sport as a whole. The Olympic semifinal between the United States and Canada contains all the elements of a classic sporting event. It was an important match played between border rivals in an iconic arena that included a transcendent individual performance, three comebacks, a controversial penalty, and a dramatic finish.
The U.S.-Canada series has not always been competitive enough to create a rivalry based on anything besides the 5,500 miles of border that separates the countries. But on August 6, 2012, at famed Old Trafford in Manchester, England, the mood was as chippy as it was dramatic, never more so than the moment Melissa Tancredi stepped on Carli Loyd's face while the U.S. midfielder lay on the ground in the 55th minute.
Tancredi got away with her transgression, but that was hardly the most talked about refereeing decision on the evening. Canada led 3-2 in the 77th minute when goalkeeper Erin McLeod was dubiously called for holding the ball too long. The U.S. was awarded an indirect free kick from inside McLeod's area. The Canadians appeared to have cleared the ball but a penalty was called after Megan Rapinoe's drive glanced off Marie-Eve Nault's hand. Abby Wambach converted the penalty bringing the U.S. from behind for the third time.
The impetus for the Americans playing from arrears all game long was Christine Sinclair. The 29-year old striker was born to score goals, having done it at every level up to and including the international stage. Never before though, had Sinclair played so splendidly in such an important contest. She broke early U.S. momentum with a goal on 22 minutes courtesy of sublime footwork and finishing in close.
When Rapinoe's corner sneaked through Lauren Sesselman's legs for an equalizer in the 54th minute, it looked like the U.S. had seized momentum they would carry to the gold medal match. Sinclair was far from done, though. Taking a pass from Tancredi—who by the 67th minute should have been sent off for the Lloyd incident—Sinclair redirected it with her head past Hope Solo for a 2-1 lead. Rapinoe came to the rescue again three minutes later, settling a ball in the top corner of the penalty area and cracking it in off the far post with a perfectly struck shot that goes down as one of the best Olympic goals scored in the men's or women's tournament.
Canada's 2-1 lead had lasted all of three minutes but so too did any safe haven for the United States. In the 73rd minute, Sinclair got on the end of a corner and completed the hat trick with another header that left Solo helpless. However, the match turned out from that point. Christine Sinclair had sewn up one of the great individual efforts ever put forth in a global women's soccer tournament.
Four minutes later the sequence began that saw the U.S. get a third equalizer inside of 26 minutes. The world waited for the U.S. to break their northern neighbors and find a game-winner but it proved elusive. The Canadians were hanging with the Americans not only with impressive soccer but through a fierce will to win that never faded. When Wambach missed a sitter late in regulation and found the crossbar late in extra time it was looking like it may not be the U.S.' day.
Penalty kicks loomed when, three minutes into stoppage time of the second extra time, Heather O'Reilly lifted the cross into the area that Morgan finished by poking it too high for McLeod to reach but just under the crossbar for the 4-3 U.S. victory.
The United States eventually won the gold medal. Canada returned three days later in Coventry and won the bronze on a goal deep into regulation stoppage time by Diana Matheson.
The bronze medal and epic semifinal brought a heroine's welcome for Sinclair and her mates upon their return to Canadian soil. A year earlier they had crashed out of the World Cup having scored a single goal against seven conceded in consecutive losses to Germany, France, and Nigeria. Their coach, Carolina Morace, left Germany pleading for ways to find new female soccer players in Canada.
This time, under the direction of John Herdman, the Canadians played world-class football and Sinclair became one of the country's most beloved athletes practically overnight. The Olympics ignited a women's soccer flame in Canada that has a chance to burn through the 2015 World Cup that they will host. And though they did not win gold, the 2012 Olympic team will forever be linked with the U.S. for enthralling the world with two of the most invigorating hours of soccer most of us have ever seen.
XI from '12: [No. 3] Alex Morgan
XI from '12: [No. 1] USWNT wins Olympic gold medal


text:
Summary of Moby Dick
This Edition: 1851
Looking for the book?
We have the summary! Get the key insights in just 10 minutes.
Literary Classic
Stories of ill-fated ships and their legendary captains have long pervaded human culture, both high-brow and popular: Think Richard Wagner's opera The Flying Dutchman, or the Disney concoctions The Black Pearl and Captain Sparrow. But arguably none are more iconic than the Pequod and its Captain Ahab, the grimly obsessed whaleman chasing his white whale. Herman Melville's Moby Dick is many things – a portable whaling museum, a pitting of man against nature, and a symbolically rich tale by a literary master. Moreover, readers can understand the Pequod as Melville's America in microcosm, a political and cultural conceit that offers continued relevance today. The legacy of this great American novel is enduring and vast, including the long-lived symbolism of the white whale and even the ubiquitous coffee chain Starbucks, named after Ahab's first mate.
Take-Aways
Moby Dick was Herman Melville's most successful work and defined him as a literary master – though not until well after his death.
A motley whaling crew and its mad captain, Ahab, pursue a revenge mission against the white whale Moby Dick. The cunning whale severed Ahab's leg on a previous voyage, driving the captain to obsession and hatred. Despite various dark warnings and cautionary tales they hear along the way, the crew engage in a three-day confrontation with the whale that ultimately wrecks their ship and drowns nearly everyone. Only the lone survivor, Ishmael, lives to tell the harrowing tale.
In creating Moby Dick, Melville pursued his philosophy that "it is better to fail in originality than succeed in imitation."
Melville's intense friendship with author Nathaniel Hawthorne significantly shaped the book's development, which is why Melville dedicated Moby Dick to Hawthorne.
Moby Dick blends symbolically rich fiction and poetry with the minutiae of 19th-century whaling science and etiquette, elements of stage plays and monologues, and sermon.
This cautionary tale of a mad commander who leads his crew to tragic death reveals the dangers of tyranny.
The novel explicitly discusses the tension or interplay between fate, chance and free will.
Prophecies, omens and talismans appear throughout the story and often reveal the diverse, arbitrary nature of human perception.
Moby Dick was Melville's nuanced response to Ralph Waldo Emerson's transcendentalism.
"Call me Ishmael."
Ishmael is a penniless Manhattanite who answers the ocean's strong call and seeks out his first whaling voyage. After missing his connection to Nantucket to join a whaling ship there, he idles in New Bedford, Massachusetts, for the weekend. His search for cheap lodgings in the dreariest part of town brings him to The Spouter Inn. Within, in the jaws of a whale-shaped bar, appears the old bartender, aptly named Jonah.
The inn is full, but Ishmael avoids returning to the bitter cold by agreeing to share a bed with aloof, brawny harpooner Queequeg. Ishmael is terrified of his comprehensively tattooed roommate who stays out late selling an embalmed human head. After spending the night fearing that Queequeg, a cannibal, will kill him, Ishmael wakes the next morning embraced in the hug of the slumbering harpooner.
Ishmael keeps sailing tradition by attending the Whaleman's Chapel before his voyage. Sailor-turned-chaplain Father Mapple delivers a seafarer's sermon about Jonah's disobedience toward God, the man's punishment and repentance within the great whale, and, finally, his deliverance. Back at The Spouter Inn, Ishmael warms to Queequeg's authenticity. The two men bond while smoking a pipe together – so much so that Queequeg declares them "married."
"The great floodgates of the wonder-world swung open, and in the wild conceits that swayed me to my purpose, two and two there floated into my inmost soul, endless processions of the whale, and mid most of them all, one grand hooded phantom, like a snow hill in the air." (Ishmael)
Queequeg reveals that on his native island, he was a king's son. It was his plan to explore the West and bring its art and culture to his people. Yet when he arrived in Sag Harbor and Nantucket, he concluded that humankind was evil everywhere and thus chose to keep his native beliefs and habits. Like Ishmael, he's an outcast. The new friends commit to making their next seaward adventure together. On a schooner to Nantucket, their cross-cultural friendship draws curious stares and jeers. But the mood quickly changes when Queequeg steadies a dangerously untethered boom and even rescues a boy washed overboard.
The Pequod
Though Queequeg is the seasoned whaler, the harpooner explains that his god, Yojo, wants Ishmael alone to pick the ship they'll join. Ishmael finds three ships gathering crews for three-year voyages and chooses the Pequod – named for an extinct tribe of native people from Massachusetts – because of its nostalgic, weathered appearance and custom outfitting. On the ship, Ishmael meets the Pequod's Quaker part-owners. After signing on to the crew, Ishmael regrets not investigating his new captain with the name of an evil biblical king: Ahab. One of the owners explains that Captain Ahab is an educated, good man who became melancholy after losing his leg to a monstrous whale, fulfilling a prophecy from his infancy.
Later, as they return from signing Queequeg onto the Pequod's crew, Ishmael and Queequeg meet a ragged sailor, Elijah, who delivers obscure hints and warnings about the well-being of their souls, Captain Ahab and their upcoming voyage. Days pass, and finally the ship summons its crew for departure. In the early morning mist, Ishmael vaguely sees other sailors approaching the vessel – his fellow shipmates, he assumes. But Elijah reappears and rankles the two men by suggesting they won't find the sailors on the boat. Indeed, when the two friends board, the ship is deserted except for a sleeping rigger. Captain Ahab is on board, they soon learn, but won't leave his cabin.
On Christmas Day, the ship heaves seaward, yet Ahab still hasn't surfaced. Ishmael becomes acquainted with the ship's officers: the prudent, dutiful first mate Starbuck; the carefree, jocular second mate Stubb; and the short, aggressive hunter Flask, the third mate. While Queequeg serves as Starbuck's harpooner, the Native American Tashtego harpoons for Stubb, and the tall African Daggoo assists Flask.
"In looking at things spiritual, we are too much like oysters observing the sun through the water, and thinking that thick water the thinnest of air."
After days at sea, Captain Ahab shows himself. The grim, greying captain with a leg of carved whalebone bears a scar down his face and neck. In the passing days and nights, he lingers moodily on deck. One morning, he suddenly shouts for his men's attention: They are in whale territory, he announces, and all the crew must keep watch for a white one.
On whaling waters, Captain Ahab abruptly orders the crew to gather. He offers a gold coin to the man who spots a white-headed whale with a wrinkled forehead, a crooked jaw and three holes in its tail. The three harpooners recognize the whale by description; it's Moby Dick, they tell Ahab. The captain vows to pursue Moby Dick through the flames of hell to get his revenge. And that revenge, he emotionally tells the crew, is the true purpose of their voyage. Starbuck calls it blasphemy and madness to seek vengeance on an animal for behaving instinctually. But the captain returns that his suffering is a prison, and the white whale forms its walls. Whether the whale is evil or merely the agent of evil, it has become the target of Ahab's hatred, he says. Starbuck relents, outmatched by Ahab's madness. The captain hammers the coin to the mast and makes his crew take an oath to join his vengeful mission.
Some time later, a member of the ship's night crew hears a cough from the hold and claims there's a mystery passenger aboard, yet unseen. Meanwhile, though unhinged, Ahab understands that revealing his ship's strange, secret mission to pursue Moby Dick could leave him vulnerable to mutiny. So he engages the crew in their normal whaling occupation as he charts a course to intercept the white whale.
Soon, someone spots the first whale of the voyage – though not a white one. As the crew rush to their three respective boats, five unfamiliar men materialize, led by a Parsee harpooner, Fedallah. The five new men fill the spare boat with the captain. Ahab's remaining crew and officers are agog, and Ishmael suddenly recalls the shadowy sailors he saw the morning of the ship's departure.
"There is no quality in this world that is not what it is merely by contrast. Nothing exists in itself."
As the four whaling boats quietly wait for the whale and its pod to rise again from the deep, a thick mist descends. A squall approaches. However, Starbuck spots a rising hump, and commands Queequeg to throw his harpoon. The squall hits, the harpoon glances off the whale and Starbuck's boat capsizes. Amid the squall, bailing is futile. Starbuck's men can no longer see the Pequod or the other boats, so they light a lantern and grimly hope for rescue. At last, they see their ship and are saved. Ishmael's initiation into whaling is complete.
One night, Fedallah spies a whale spout from the masthead. Strangely, no one sees a second spout. Just days later, the midnight spout appears again, but once more it disappears without trace. The spout appears to lure the ship onward, and some of the crew attribute it to Moby Dick. The ship sails in eerily pleasant weather until it enters stormy seas filled with strange, vague creatures. Sea ravens appear and begin landing on the ship, as if it's deserted. And still the midnight spout haunts the crew. Eventually, the Pequod nears another craft, the Goney – the sailing term for "albatross" – which is bleached white and streaked red with rust. As the ships pass, the Pequod's crew shout out a question about the white whale, but the other ship's crew can't hear, and the Goney sails directly away.
However, another passing sperm-whaler, the Town Ho, soon brings a tale of Moby Dick to the Pequod. A cruel, jealous officer's persecution had spurred one crew member of the Town Ho to plot murderous revenge – but the white whale beat the crewman to it. When the officer hunted the white whale, the animal seized him in its jaws and took him below.
"In landlessness alone resides the highest truth, shoreless, indefinite as God."
Toward Java, Daggoo thinks he spies the white whale, and the ship lowers its whaling boats, but the white creature is a giant squid – purportedly, the sperm whale's only food. Some of the crew interpret this rare sight as another omen, but Queequeg says it means they'll encounter a sperm whale soon.
Deaths, Prophecies and Talismans
Indeed, a tranquil sperm whale soon surfaces before the ship, and the crew set to their boats. Tashtego harpoons the creature. Lance in hand, Stubb violently takes the whale's life. They tow the corpse back to the ship, where Ahab, now aloof and unsatisfied, disappears to his cabin. Stubb celebrates his conquest by dining on whale steak. Alongside, in the ocean, sharks take to the corpse. The next day, the crew behead and strip the blubber from the shark-bitten corpse. They hang the whale's head from the boat and toss the remaining heft to the sea. Like the floating corpses of other whales, it will become an object of superstition for passing ships.
Presently, the Pequod encounters another Nantucket whaling ship, the Jeroboam, which is beset by an epidemic. A crew member of that ship believes he is the archangel Gabriel and commands a following as a prophet. Gabriel warned his own ship against hunting Moby Dick, believing the whale is God incarnate. A Jeroboam officer ordered the harpooning of Moby Dick anyway – and the whale struck the chief mate, who then fell to his death in the sea.
"All evil, to crazy Ahab, were visibly personified, and made practically assailable in Moby Dick. He piled upon the whale's white hump the sum of all the general rage and hate felt by his whole race from Adam down."
At the Straits of Sunda, the Pequod rejoices in spotting seemingly thousands of sperm whales traveling together. But as the Pequod chases the whales, pirates give chase to the ship. The Pequod outspeeds its pursuers, and on Starbuck's lowered boat, Queequeg harpoons a whale. The stricken animal drags the boat into the frantic whale herd. The boat's inhabitants survive and get their whale. Yet, despite the great herd and many wounded whales, the Pequod takes just one more among them. Meanwhile, the crew has come to view the gold coin that Ahab nailed to the mast as Moby Dick's talisman.
The Pequod's crew asks the next passing ship about the white whale, and the unfamiliar English captain holds up a prosthetic arm in response. He lost the limb while pursuing the white whale and, unlike Ahab, vows he'll never seek revenge. Returning to the Pequod, Ahab splinters his ivory limb, refreshing his misery. He orders the ship's carpenter to make a new one.
Confronting Death
Soon after, when Starbuck gently admonishes Captain Ahab for neglecting a leak among the whale oil casks, the stormy captain points a loaded musket at his first mate. Starbuck says the captain should be wary of himself, not his officers. Ahab, suddenly reflective, agrees. Queequeg searches deep in the ship for the leak's source, and the work makes him feverishly ill. The harpooner thus commissions his own coffin but rallies back to health.
"The white whale swam before him as the monomaniac incarnation of all those malicious agencies which some deep men feel eating in them, till they are left living on with half a heart and half a lung."
The ship reaches the Pacific Ocean, and Ahab commands the ship's blacksmith to weld him a new harpoon for Moby Dick. The Pequod passes a ship experiencing good luck, which for a day seems to rub off: Ahab and his crew take four whales. But soon after, Ahab dreams of hearses. Fadallah prophesizes that the captain can die only after seeing two hearses on the sea: one not made by "mortal hands," and the other of American wood. Only hemp could kill the captain, adds the prophet.
Suddenly, a typhoon hits the Pequod. Lightning strikes the mastheads, generating St. Elmo's fire [sparks of candlelike, bright plasma]. Ahab grasps the masts' lightning rods to show his fearlessness and defiance. Starbuck cries out, drawing their attention to Ahab's newly welded harpoon: It has caught fire amid his sea-wrecked whaling boat. God is against their mission, Starbuck warns. The first mate begs to return home. Many of the crew support returning, but Ahab brandishes the burning harpoon, threatening any sailor who breaks his oath of hunting the white whale. Presently, the storm calms, and Starbuck approaches the captain's cabin to report the weather. He finds the captain sleeping and contemplates whether to shoot Ahab to save the crew. However, he can't bring himself to violence.
After passing an isle of shrieking seals that unsettles the crew, the ship enters Moby Dick's territory. A crew member, possibly dozing, falls into the sea from his masthead lookout and drowns. The ship loses its life preserver trying to save him, so the crew decides that Queequeg's unused coffin must be adapted as a replacement. The next day, a ship called the Rachel reports that it saw Moby Dick just the day before and is still searching for a boat of men who'd harpooned the whale. The captain's 12-year-old son is on the missing boat, and the father begs Ahab to help him search. But Ahab refuses.
"But in pursuit of those far mysteries we dream of, or in tormented chase of that demon phantom that, some time or other, swims before all human hearts; while chasing such over this round globe, they either lead us on in barren mazes or midway leave us whelmed."
While passing a ship giving a funeral for a whaleman lost to Moby Dick, the Pequod is "baptized" by the splash of the corpse entering the sea. Shortly after, Ahab regards his reflection in the ocean and for a moment grasps the madness of his mission. He directs Starbuck to stay alive by remaining on ship when Moby Dick appears. Starbuck nearly persuades Ahab to give up his doomed whale hunt by speaking of their respective families, but Ahab returns to his belief that the hunt is fated.
At dawn, the ship follows the powerful scent of a sperm whale, and Ahab soon spies Moby Dick. The captain has won the gold coin. The ship's whaling boats lower, except for Starbuck's. The white whale soon dives deep, and the boats await its surfacing. Sea birds flock to Ahab's boat, and the man sees a white figure hurtling up from the depths. The whale strikes, then grips Ahab's boat in its jaws. As Ahab rushes to respond, Moby Dick bites the boat in half, forcing the captain into the sea. Frenzied, the white whale circles the wreckage, with Ahab its epicenter. At the last minute, the Pequod intervenes, scaring off the whale.
"In his fiery eyes of scorn and triumph, you then saw Ahab in all his fatal pride."
The next day, as the ship's crew think they see a far-off spout, Moby Dick bursts out of the water near the Pequod. The crew and Ahab race to their boats. The whale charges the three boats open-jawed. All three harpooners snare the whale, but its frenetic movements cause the lines to tangle. Stubb's and Flask's boats dash together. The whale charges Ahab's boat from below, sending it spinning above the waves. Victorious again, Moby Dick swims away, dragging the whalers' lines with him. Ahab's ivory limb is destroyed. The boats are lost – and so is Fedallah. Ahab muses that the Parsee was prophesized to die first but reappear before Ahab could die. Throughout the night, the crew prepare the spare boats.
On the third day, Ahab is again the first to spot Moby Dick. Before lowering his boat, he calls Starbuck near to shake hands, bringing the first mate to tears. On the water, sharks swarm Ahab's boat and oars, but he pushes on. Starbuck, observing, has intimations of his own death. Suddenly the waters churn, and Moby Dick breaches and damages two boats. Tied to the whale's back among the ropes and lances is the dead Fedallah. Ahab realizes that this is Fedallah's prophesized return and the first hearse, but the captain has yet to see the second hearse that signals his death.
"Ahab leaned over the side and watched how his shadow in the water sank and sank to his gaze, the more and the more that he strove to pierce the profundity."
Moby Dick again swims away, and again Ahab pursues – now the only boat on the water. He nears close enough to the whale to drive in an iron, but the line breaks. The white whale changes tactics and charges the Pequod itself. Ahab tries to follow, but his boat is damaged. The ship's crew see the charging whale and experience their last wishes and regrets. The whale strikes a hole into the ship, and Ahab realizes the Pequod is the second hearse of Fedallah's prophecy.
Seeing that he won't have the dignity of going down with his ship, the captain darts his harpoon at the whale. But the quickly tightening line – the hemp from the prophecy – wraps around Ahab's neck and springs him from the boat. Nearby, the Pequod sinks rapidly, the harpooners still in the mastheads. As Tashtego goes under, he continues to hammer Ahab's red flag to the main mast, securing a live hawk that pecks at the flag. Only Ishmael, the accidental bowsman of Ahab's boat, survives the suction of the sinking ship. When its coffin life-preserver pops back to the surface, he finds refuge there. Days later, the Rachel rescues him, enabling him to share the grim tale.
About the Text
Structure and Style
Moby Dick is a diverse, patchwork novel befitting the ragtag crew of the Pequod. The book uniquely mixes symbolically rich fiction with 19th-century science, elements of stage plays and monologues, and sermon. Entire chapters devoted to the minutiae of whaling science, instruments and etiquette interrupt the narrative flow. Though the novel begins in first-person narration – through the eyes of Ishmael – the sailor unpredictably switches to second-person narration or, at times, disappears from the story altogether. Such is the case for several chapters that manifest as soliloquies by Ahab, Starbuck, or others. The story slowly builds to a climax via the "gams," or social meetings, with nine passing ships that tell foreboding stories or offer symbolic warnings.
In this novel, Melville's writing style incorporates seafaring vernacular, eloquent prose and scientific treatise. Much of the writing is verbose, with long, complex sentences that hang on numerous dependent clauses. Melville plays with alliteration and also embeds in his writing biblical and mythological allusion, returning repeatedly to the bible's story of Jonah and the whale. The author coins many of his own phrases, such as "isolatoes," to describe the isolated, solitary men who come to join the Pequod's crew.
Moby Dick was a late Romantic, or even an early Symbolist, work that some consider a response to Ralph Waldo Emerson's transcendentalism.
Ahab and Ishmael espouse transcendentalist ideas and seek absolute truth, but such truth remains elusive. Instead of revealing truth, nature ultimately brings destruction.
Prophecies, omens and talismans appear throughout the story and often reveal the diverse, arbitrary nature of human perception. For instance, when the crew spies a giant white squid, many view it as an omen, but Queequeg, who believes sperm whales eat giant squid, is cheered by the sighting.
The dangers of tyranny and the importance of democracy are central themes in the story, driving much of the plot. Ahab's mad tyranny results in widespread death and destruction.
The novel explores the tension or interplay between fate, chance and free will. Whereas Ahab justifies his mad mission because he believes he's "the Fates' lieutenant" and acting without free will, Ishmael conceives of a framework wherein humankind exercises some free will within fate's confines, and subject to chance.
Early in the book, Ishmael recounts the story of Narcissus, who, gazing at his own reflection in a pool, drowns reaching for the "image of the ungraspable phantom of life." Complementing this imagery, at the end of Moby Dick, "Ahab leaned over the side, and watched how his shadow in the water sank and sank to his gaze, the more and the more that he strove to pierce the profundity."
Race surfaces throughout the story, first in the diversity of the ship and its friendships, but also in the all-white command of the ship. Moreover, Melville leans heavily into the noble savage trope.
Division and Expansion
When Herman Melville was writing Moby Dick, from 1850 to 1851, he lived in a polarized country and a time of American expansion. The pro-slavery South and largely abolitionist North were at odds. In a decade, the nation would engage in civil war. In September of 1850, the United States passed the Fugitive Slave Act as part of a compromise between the North and South. The law aimed to prevent Southern slaves from escaping to the North by requiring citizens even in free states to return a runaway slave. Abolitionists called the act the "Bloodhound Act" because of the dogs the law allowed slave owners to use to hunt down those seeking freedom.
At the same time, the United States was globally expanding its political and commercial reach and learning to understand its changing identity and power, factors that play heavily in Melville's Moby Dick.
In 1849, Melville expressed his disappointment with Ralph Waldo Emerson's "transcendentalisms, myths and oracular gibberish." Two years later – after 18 months of writing – Melville published Moby Dick, which responds to Emerson's transcendentalism while drawing on Melville's personal experience as a neophyte whaler aboard the Acushnet. On a previous voyage, the Acushnet had had a first mate named Edward Starbuck, who was mysteriously discharged. Other characters from the novel reflect whalers whom Melville met. The 1820 sinking of the Essex was also a source of inspiration. Melville personally met the Essex's captain, who lost his ship to a sperm whale. And in the late 1830s, whalers reportedly killed a fierce albino sperm whale named Mocha Dick near the Chilean island of Mocha.
Melville's reading of Shakespeare and intense, years-long friendship with author Nathaniel Hawthorne significantly influenced the book's development, adding complexity to the work. Melville ultimately dedicated Moby Dick to Hawthorne. When the two authors met, Hawthorne was famous and Melville, 15 years younger, was struggling after his successful debut of Typee. Melville formed a quick bond with Hawthorne, even relocating his family to the Berkshires to become the older man's neighbor. Melville remained there through the US release of Moby Dick – a last-minute change in title from The Whale – in 1851. Before the book release, Harper's New Monthly Magazine published the chapter titled "The Town Ho's Story."
Legacy and Reviews
Melville's letters indicate that Hawthorne approved of Moby Dick, yet it was never commercially successful during Melville's lifetime. Indeed, Melville struggled through the remainder of his novel-writing career and finally turned to poetry. Originally, the British edition of Moby Dick didn't contain an epilogue and thus neglected to explain how Ishmael survived, contributing to poor British reviews. The negative British reviews heavily influenced the American reception.
By 1876, all of Melville's books were out of print. However, decades later near the centennial of Melville's birth, literary scholars reevaluated his work. US critic Carl Van Doren included an article about Melville in a history of American literature in 1917, initiating a Melville revival. D.H. Lawrence and other authors and critics helped recast Melville as a great American writer.
Herman Melville was born in New York City in 1819. His family was descended from Revolutionary War officers and participants in the Boston Tea Party. Melville eventually joined the merchant marines, the US Navy and a South Seas whaling ship, occupations that would give shape to his first novel, the romantic adventure Typee: A Peep at Polynesian Life, published in 1846. The debut was successful, and Melville published Omoo: A Narrative of Adventures in the South Seas the following year. Also in 1847, after a short courtship, Melville married Elizabeth Knapp Shaw, daughter of Massachusetts' chief justice. Melville had four children with Shaw. After publishing three more novels – Mardi: And a Voyage Thither, Redburn: His First Voyage, and White-Jacket – to tepid critical response, Melville published Moby Dick. The tragic epic was a commercial flop, and by 1865, Melville had given up trying to earn a living through his writing, though he continued to write poetry until 1876. Starting in 1866, Melville served as a customs inspector in New York for 20 years. His books were out of print by 1867. That year, his son Malcolm accidentally shot himself and died. Compounding the tragedy, Melville's second son Stanwix died in a hospital in 1886 after a prolonged illness. These events contributed to Melville's depression, which lasted many years. On September 28, 1891, while completing the new novel Billy Budd, Sailor, the 72-year-old Melville died of a heart attack. Literary scholars revived his work – including his late-life poetry and books – starting in the late 1910s, and today, Melville's Moby Dick continues its reign as a great American novel.
This literary classic summary has been shared with you by getAbstract.
We find, rate and summarize relevant knowledge to help people make better decisions in business and in their private lives.


My account "ccjotform13" was locked due to suspected phishing. The only form is of a job application for a video game clan. Not sure what set the phishing censors off in this one.
I've attached a screenshot to help. Thanks a bunch!
Your account is now unsuspended. Apologize for any inconvenience.


Sites that Linked This Week!
Remember that Roth IRA post Tuesday? It was part of the Roth IRA Movement at Good Financial Cents. See the roundup, here.
Sites With Articles We Liked!
Control Your Cash harrumphs at the harrumphers who harrumph at where you buy things. Seriously.
Over at Invest it Wisely? An article about the real dangers of over-diversification.
At Money Trail, an article on saving money during Spring Break.
As a first born born to two first borns, I read with great interest the article at I Am 1 Percent on the Birth Order Book.
JT at Money Mamba spits in the face of common financial advice (with reason, not saliva!) with an article on being a debtor.
Darwin at Darwin's Money asks What's So Wrong With a 60 Hour Workweek? As a white collar worker? I can't help but agree!
Andrea at So Over Debt asks if you are proactive or reactive.
Jen at Master the Art of Saving also recently mastered the art of improving her credit score (well, her husband's…). Read the strategy!
My hero Nelson at Financial Uproar wrote about shorting Canadian real estate. All I know about Canadian RE comes from me playing the games on the following sites: Crack Shack or Mansion and Crack Shack or Mansion Part II.
I do think there is a drop off. Maybe it's the result of spring weather??
As hypothesized on the Wise Bread forum – people watching basketball?
Weird. Maybe they'll be back in tax season.
Thanks for including a link to our post! Hope your tiling project goes well. Can't wait to see pictures.
The wall looks great but my hands are a mess! Modified thinset and sanded grout… I should have worn glove, heh. It's painful to type!
No pictures yet – we're waiting on the bullnose tiles, but I have everything up and the shower is now usable (!).
Maybe I'll just post a picture of my fingers? They are currently torn apart – I probably could have sanded each one for 20 minutes to get a similar effect?
Woah, the hell happened to your theme man… what's with the pink and the animals??
A sudden break out of common sense?


Art History Professor Ken Allan published "'Radio-Mastery of the Ether': Wallace Berman, Mysticism and Meaning in the 1960s" in Wallace Berman: American Aleph, edited by Claudia Bohn-Spector (D.A.P./Michael Kohn Gallery). The book is being published on the occasion of an exhibition at the Michael Kohn Gallery, Los Angeles, CA, of the work of Wallace Berman, one of the most influential, yet lesser known, American artists of the post-World War II era. The exhibition, which runs from May 6 – June 25, 2016, surveys his work from the late 1940s until his accidental death at age 50 in 1976.
"My essay puts Berman's interest in the language of mysticism and the impact of print media and electronic technology in dialogue with other major artists of the period, including Robert Rauschenberg and Robert Smithson," Allan said. He was supported in his research by a College of Arts and Sciences Faculty Summer Research Fellowship.
Allan, who received his PhD from the University of Chicago, joined the faculty in the College of Arts and Sciences in 2006. He focuses his research on the rise of the Los Angeles art scene in the 1960s and issues such as urbanism and spectatorship in postwar American art. He has presented internationally on modern and contemporary art and was a member of the advisory committee for Getty Museum exhibition "Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950-1970. Allan is currently working on a book, Object Lessons: Experiencing Pop Art in 1960s Los Angeles.


text:
Sunday, January 9, 2000 Wide Angle
Remaking a Classic
By Ervell E. Menezes
THE THOMAS CROWN AFFAIR is a remake and I was wondering why so soon as I vividly remember the Steve McQueen-Faye Dunaway original, and I loved it. But checking with my scrapbook I saw it was over three decades ago. It is understandable why they gave Dunaway the brief cameo of a psychiatrist but all said and done that was a more powerful film. It was also known for its 360 degree pan of the camera which was I think repeated in Love Story.
In the original film Thomas Crown was essentially a bank robber. In this Crown (Pierce Brosnan) is a playboy and collector. One moment he'll be golfing, another yachting. He is a connoisseur living in high places. All the drop of a hat (or should we say skirt?) he can jet to the Caribbean with some ravishing female. Yes, he has a yen for women and this conforms with the Bond image of Pierce Brosnan.
Enter Catherine (Renee Russo) and she's a brilliant woman detective. Known as "bell-bottoms and bounties" it is obvious that she likes men but she is unable to keep them around. Will Thomas Crown be an exception? Known for her professionalism, can this be the ultimate test? Shades of "Entrapment," it is a repartee-strewn screenplay' but though Russo makes an impressive entry she isn't able to match Faye Dunaway as a seductress, not to speak of Steve McQueen who was at that time one of the most-sought-after male stars in Hollywood.
Their chemistry worked better but as far as locales and high living is concerned, this is flashier. Director John McTiernan zooms in on these aspects and cinematographer Tom Priestly does an excellent job with the cinematography. Then the special effects make the fare glitzy and good performances by both Brosnan and Russo further embellish the film. There are other cameos too and if you've not seen the 1960s film you won't know that you're missing. It is worth seeing anyway.
"Bulworth" is an excellent political farce and considering that Hollywood does not revel in political films it is most welcome. Warren Beatty may be a good actor but I like him better as a director. Yet, he hasn't directed a film for over a decade. I think Reds was his last. In the 1970s he made Parallax View which dealt with politics and the media.
As Senator Jay Bulworth, Beatty is contesting the primary election as a Democrat. The year is 1996, and Clinton is the Presidential candidate. Bulworth hasn't slept for days and is heading for a nervous breakdown. In this frame of mind Bulworth arranges his own death by hiring a hit man to assassinate him during the final campaign weekend. He takes a 10-million insurance policy by which his daughter will benefit.
Boozing all the way back to Los Angeles he finds new strength because of his self-planned assassination. He finds the freedom to speak honesty. In Beverly Hills he berates the film industry for its "Jewish lobby." Discarding his written speeches, he speaks ex-tempore, from the heart as it were and wins loud applause from the audience. In the process of course, he exposes many skeletons in the Democrat cupboard.
Spending a wild night with the blacks he gets close to Nina (Halle Berry), a black with sinister motives which he is unaware of. It is at this juncture he wants to call off the assassination plan but he is unable to contact the hit man. What begins as a normal political drama soon descends into farce. Suddenly Bulworth in a trance is reciting verse, rap style. There are some hilarious lines and at one time even his car raps along with him but in the midst of this farce his visit to the black quarter is wrought with some touching moments. When a white cop tries to bully a group of blacks, Bulworth intervenes and makes him apologise to the blacks. "I've waited all my life for this moment," says a kid who is witness to the incident.
Slowly but surely Bulworth is falling in love with Nina and this worries his campaign managers. The emaciated-looking Beatty fits the role like a glove and he doesn't hesitate to wallow in sycophancy dished out to him. When a car backfires he ducks, thinking it is an assassination effort. Can he change the course of history ? Just when it seems so, the inevitable happens. It is the calm before the storm and the impact is stunning.
Beatty is excellent in the lead role. He may no longer be the Hollywood stud he once was but his acting skills have only sharpened with age and in Halle Berry he has found a first rate actress. Oliver Platt, Paul Sorvino and Jack Warden provide some good cameos but it is essentially Beatty and Berry who corner the glory. Don't miss Bulworth.


Find our hot exclusive Stacks and Stacks promo codes for April 2019 here. These coupons offer big discounts which is significantly lower than original retail prices. Most of these Stacks and Stacks promo codes expire soon, so bookmark this page today and save big.
Favorite Stacks and Stacks discount: Save more and spend less! Free Shipping on over 30,000 Items. Stacks and Stacks coupon codes from WizPromos.com means significant savings.
Stacks and Stacks coupons: Redeeem this special discount offer while it lasts. 37% off Ornament Keeper Was: $84.99 Now: $61.95 and Free Shipping. Exclusive Stacks and Stacks sale.
Favorite Stacks and Stacks coupon code April 2019: Up to 37% off Jumbo Folding Shopping Cart and Free Shipping. .
Stacks and Stacks discount: 34% off Compact 12 Tote Home Organizer Was: $147.99 Now: $110 and Free Shipping. Apply this promo code at check out for instant savings. .
Latest Stacks and Stacks promo code: Now enjoy substantial discounts on your order. 33% off Shoe Cabinet Was: $172.99 Now: $129.95 and Free Shipping. .
Latest Stacks and Stacks promo code: Get more value on your order using this deal. 32% off Wooden Drying Rack Was: $135.99 Now: $103 and Free Shipping. .
Stacks and Stacks discount: Up to 28% off Plate Rack and Free Shipping. .
Stacks and Stacks coupons: 27% off Over the Door 12 Pair Shoe Rack with Hooks Was: $50.99 Now: $39.99 and Free Shipping. Apply this promo code at check out for instant savings. Exclusive Stacks and Stacks sale.
Stacks and Stacks.com promotion: Get more value on your order using this deal. Bed Risers 12" Legs Was: $122.99 Now: $90.99 and Free Shipping. Obtain significant savings now.
Latest Stacks and Stacks promo code: Shop and save with this exclusive offer. Collapsible Clothes Drying Rack Was: $75.99 Now: $56.99 and Free Shipping. .
Favorite Stacks and Stacks coupon code April 2019: Follow this link to receive quick discounts on your order. Non-Electric Surface Mounted Wood Ironing Board in Cabinet Was: $182.99 Now: $135 and Free Shipping. .