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MANLIUS — Brad Groleau and his St. Bede Bruin teammates got one step closer to their goal of a regional championship on Wednesday.
Groleau scored 17 of his game-high 21 points in the first half and classmate Joe Pyszka added 19 points on 9 of 10 from the field to lead the Bruins to a 77-40 victory over the Bureau Valley Storm in the nightcap of semifinal play in the Class 2A Regional in Manlius.
Next up for St. Bede (23-5) will be Seneca (24-4 ) for the regional title on Friday. The Fighting Irish defeated Hall 42-40 in Wednesday's opening tilt.
"We know what happened last year with Fieldcrest," said Groleau of his team's regional championship loss last season. "We are a very focused team right now. We are on a mission. We are all ready for Friday."
St. Bede coach Mike Kilmartin said a regional championship has been on his mind since the day he took the head coaching job two years ago. The Bruins haven't won a regional title since the 1999-2000 season.
"I've been in a lot of regional championship games and been to state many times and there is nothing like it," said Kilmartin. "I want to do that again and I want to do that at St. Bede. Whether that is going to be possible it remains to be seen. Seneca is good. They have a better record than we do."
On Wednesday, St. Bede showed when they have both their inside and outside game going at the same time they are a team tough to beat.
Pyszka and Groleau got the Bruins rolling in the first quarter. Trailing 7-5 to the Storm after Frank Gebeck hit a fade-away jumper from the baseline, Pyszka scored on consecutive possessions inside to give the Bruins the lead for good.
After that, Groleau caught fire. The lefty sharp-shooter hit three treys in less than a minute and a half, his last one capping a 15-0 run that put St. Bede ahead 20-7. Groleau hit one more three before quarter's end, knocking one down from the left baseline with a hand in his face.
"My teammates were looking for me and once I got one down I kept shooting and got a couple more to go," said Groleau, who finished the night five of nine from behind the arc.
St. Bede outscored the Storm 16-7 in the second quarter to push their lead to 23 at the half. Damin Smith also reached double figures in the opening half, scoring 10 of his 13 points in the first 16 minutes.
"(St. Bede) is a very good team for a reason," said Storm coach Jason Marquis, whose team finished 18-13 on the year. "They have an inside presence and an outside shooting game. They were pretty hot but we didn't do much to contest shots early. I think we were a little bit flat footed."
Sophomores Parker Neuhalfen and Tommy Johnston led the Storm with 9 and 8 points, respectively. Brian Lange, one of 11 seniors on the Storm roster, added 7 points.


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Linked by Eugenia Loli on Sun 3rd Sep 2006 18:54 UTC, submitted by bmeurer
The Xfce development team is pleased to announce that the first release candiate of Xfce 4.4 is now available for download. A lot of bugs were fixed during the last two months and several new features were added. For example the brand new Xarchiver 0.4.0 is included, trash support was added to Thunar and xfdesktop, and the overall memory usage was reduced. See the ChangeLog for a complete list.
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RE[2]: ugly
RE[3]: ugly
by Ringheims Auto on Sun 3rd Sep 2006 21:12 in reply to "RE[2]: ugly"
Can't agree with you on that. I think it's quite nice, being so simple but yet very smart and creativly made. Kinda like something between BeOS, Gnome and Amiga, not too many features but you get things done. Fewer features and layers also means less bugs and more efficient code. On the various systems I've tried XFCE has run faster than Fluxbox, and looked quite a lot better with the default themes. Am using it now on my laptop with XGL and Compiz, and both me and many other people think it's esthetic, clean and easy to use.

subset: commoncrawl


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You are quite the lovely Lady Lucy and you certainly did know just the right person to run to for you great furrever home.
You just radiate charm and poise Lucy sitting so happy in the place where you are so much loved.
You really do look quite a bit like Malcolm the Mighty who joined the Found Cat Hotel last year, and we know that he is quite impressed with you .
There is nothing like a happy Senior Cat to make our day.
WE are all sending our best MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMEEEEEEEEEEEEE EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE EEEEEEEEEEEEEEEEEEEEOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOWWWWWWWWWWWWWWWWWWWW WWWWWWWWWWWWWS To Our ovely English LLady, Lady Lucy our Newest Cat of the Day.


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When the annual question "Are there blossoms yet?" comes during Blossom Festival this year, the answer will at some point certainly be "yes."
Blossom Fest enters a new era in 2012. This year, the Chamber of Commerce puts out the welcome mat for not one but three weekends.
All the details about the 58th annual festival are in the Panorama special section included in this edition of the Hood River News.
Agriculture, recreation, history, art, wine and beer, and plenty of other ingredients for a vibrant community are all on display in the articles and photos in Panorama. Special thanks to local residents who sent in their favorite photos of the Gorge.
As with 2011, the section is now four sub-sections: Blossoms, Community, Reflections and Recreation.
The Recreation section includes a comprehensive calendar, with photos, of spring and summer outdoor sports events, from the kids' triathlon to professional kiteboarding competitions, and biking, hiking, swimming and more.
It's an attempt to mirror the breadth and depth of Blossom Fest itself. Expanding the festival to three weeks certainly reflects the range and diversity of possibilities that is Blossom every year. The festival was always geared to visitors and locals alike, but by expanding it to three weeks, locals will be better able to plan to attend events that serve local community groups.
Craft and quilt shows, pancake breakfasts, a pansy party, a grange blossom dinner, wine and beer tasting are all part of the festivities. Baked goods, preserves, art, yarn, fresh produce - there's something for everyone.
Another dimension to this year's Blossom is that Lions Follies opens on the festival's first weekend, April 13-15.
"Locally people have always honed in on the weekend; while visitors look at coming for the season," noted Chamber Executive Director Kerry Cobb.
So the decision was made to expand the festival to three weeks. That way, people can choose to come when the blossoms are here. Cobb said that next year the chamber plans to add a map to its website showing, in real time, where in the valley the fruit trees are in bloom.
"That's what people want - to see the blossoms," Cobb said. The chamber heard strong support for expanding the festival, and the staff will communicate with merchants, growers and vendors over the next two years to monitor how well the change to three weekends is working.
It's a step that seems to meet more people's needs and interests, and enables to chamber to spend the same amount of on marketing three weekends as it always had for just one.
Blossoms everywhere or not, the festival starts this weekend. In another change, the chamber has built two kiosks to be stationed from 10 a.m. to 4 p.m. Saturday and Sunday of all three Blossom weekends, at exits 62 and 64. That way, people can find magazines, brochures and other information all day both days, whether chamber volunteers are present or not.
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Table of Contents:
This article provides information on "How to Remove and Install the Drum Cartridges on the C5765dn Dell Laser Printer"
The machine displays the following messages when a drum cartridge C, M, Y or K needs to be replaced. When the message is displayed, please contact Dell Technical Support.
If you continue to copy or print without replacing the drum cartridge after the message is displayed on the touch screen, the machine will stop after copying or printing the number of pages shown in the following table.
|Remaining Page Yield
|Please order a Drum Cartridge XX.
|Approx. 10,000 pages.
|You do not need to replace the Drum Cartridge immediately. Order the Drum Cartridge displayed on the screen.
|Drum Cartridge needs to be replaced.
|Replace the drum cartridge with a new one.
More info can be found in the C3760n User's Guide , C3760dn User's Guide or the C3765dnf User's Guide.Back to Top
More info can be found in the C5765dn User's Guide.
If these steps do not correct the problem, please contact Dell Technical Support.Back to Top
Article ID: SLN297584
Last Date Modified: 11/15/2016 05:15 PM
Thank you for your feedback.


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NH Fish & Game holding hearing on proposed shellfish rules
CONCORD, N.H. (AP) � New Hampshire's Fish and Game Department is holding a hearing on miscellaneous rules on scallops, shellfish and a special wildlife transfer permit.
The agency proposes amending a rule on sea scallops to clarity that the 4-inch dredge ring size is the inside diameter of the ring.
The proposal on special wildlife permits is to reflect a change in the law made last year. People under age 16, over 68 and lifetime license holders no longer would need to get the permit.
The hearing will be at 2 p.m. Dec. 11 at the agency's Concord headquarters.


text:
Home > Home, Garden & Office > Kitchen & Dining > Bowknot Swiss Dots Princess Hang Neck Apron Pink
Product Details
- Sweet and cute women apron
- Hang neck style
- Printed bowknot and swiss dots pattern
- Front has an inclined heart shaped pocket decorated with a bow
- Top designed with a peach shaped hollow covered with a big bow-tie
- Keep you clean and good looking while cooking or doing housework
- Material: Cotton + Polyester
- Color: Pink
- Size: One size fits most (height of 1.5-1.7m)
- L x W: Approx. 1 x 0.66 yard / 92 x 60 cm
Package Includes:
- 1 x apron
- Please be reminded that due to lighting effects and monitor's brightness/contrast settings etc, the color tone of the website's photo and the actual item could be slightly different.
- In order to ensure the apron's durability, do not wash by machine, do not use bleach.
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It's beginning to look a lot like Christmas at The Gallery at the Holland in Bellefontaine, Ohio. This unique gallery operated by the Logan County Art League is a marvelous place to find that unique gift for that special person on your Christmas list. The Gallery will even help you and Santa out with our "Secret Santa." Browse the Gallery and find that special piece of artwork that would make your Christmas day complete and fill out a "Secret Santa card" and our little elves will make sure that your wish is made known to the person you select as a recipient of the card.
The Gallery at the Holland displays a wide range of local art and fine crafts: oils, acrylics, watercolors, mixed media, drawings, photography, wood and clay sculpture, holiday arrangements, ceramics and jewelry. There is also a special gifting table where you, the buyer, are able to name your own price. The Holland Theatre's Delft Christmas ornaments are also available at the Gallery.
The Gallery at the Holland is located at 127 E Columbus Avenue in Bellefontaine Ohio. The Gallery is open from 11 a.m. – 3 p.m. Tuesday through Saturday. The Gallery is also extending their hours to be open before the performances of "A Christmas Carol" on November 30th and December 2nd, and during the Christmas Parade and festivities on Saturday December 1st.


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Heavy Industry»Manufacturing & Construction»Construction»Home Building & Improvement
Ukraine Residential Construction: Market UpdateSynopsis"Ukraine Residential Construction: Market Update" presents detailed data on market growth dynamics for the residential construction market in Ukraine. It also provides data on market drivers and indicators, along with leading companies, latest construction projects and industry news in Ukraine residential construction market.Furthermore the report enables readers to examine the components of change in the industry by looking at historic and future growth patterns broken down by segment.It should be noted that a number of sections in this report will link clients to Timetric's Intelligence Centre's (ICs). The information provided in the ICs is for subscribers only and therefore comes at a set cost. With this in mind, the given links should only be treated as references used in order to provide a better data interactivity.SummaryThis report is the result of Timetric's extensive market research covering the residential construction market in Ukraine. It contains detailed data on market dynamics along with latest industry happenings, industry players and happening projects in Ukraine. "Ukraine Residential Construction: Market Update" provides a top-level overview and detailed insight into the operating environment of the residential construction market in Ukraine. It is an essential tool for companies active across the Ukraine construction value chain and for new players considering to enter the market.Scope"Ukraine Residential Construction: Market Update" provides you with the following:
Learn how to effectively navigate the market research process to help guide your organization on the journey to success.


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The Colorado State Patrol is currently investigating a one vehicle accident involving a single fatality that occurred on Colorado 50, about five miles east of La Junta.
A 1989 Ford Ranger, driven by Ronald L. Six, age 62, of Las Animas, Colorado, was eastbound on Colorado 50 when the Ford Ranger went off the right side of the roadway. After leaving the roadway, the Ford Ranger traveled east for before rolling one and one half times, coming to rest facing northeast on its top. The driver and lone occupant of the Ford Ranger was ejected from the vehicle during the roll. The driver died as a result of the injuries sustained from the crash.
At this time, alcohol, drugs, and speed are not believed to be a factor in the crash.


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I'm having trouble with my 1996 Subaru Legacy, 2.2 engine, with 200,000 miles.
There is a leak coming from the right side of the water pump. When the engine is running it becomes a steady drip. I have tried everything I can think of - I've installed a factory gasket, I've made my own gasket and put sealent on it. I don't see any cracks on the block or the pump. The pump has been on the car for 4000 miles. Any ideas would be GREATLY appreciated. Also, we are planning on buying a new Subaru Forester next month. Any thoughts or advice?
Thanks in advance.
Welcome to Ultimate Subaru Message Board, my lurker friend!
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Guest Message by DevFuse
antifreeze leak. :o(
Started by chevylefty , Dec 28 2005 06:26 PM
4 replies to this topic
Posted 28 December 2005 - 06:26 PM
Posted 28 December 2005 - 07:45 PM
You may have a bad pump, a replacement might cure the leak.
Are you keeping this car when you get the Forester?
Are you keeping this car when you get the Forester?
Posted 28 December 2005 - 09:38 PM
i agree. the pump is bad, they dont last forever. Also while your there replace your timing belts (unless they been done recently)
Posted 04 January 2006 - 01:01 PM
Thank-you Suzam and Nipper for the information.......I will be buying the new pump. As of yet were not sure as of yet if we will be keeping the car. When it runs it runs great!
Posted 04 January 2006 - 01:22 PM
Also be sure to get OEM water pump.
Thank-you Suzam and Nipper for the information.......I will be buying the new pump. As of yet were not sure as of yet if we will be keeping the car. When it runs it runs great!
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I have an interesting relationship with the Jak and Daxter series. I went into the first game expecting absolutely nothing, and came away so impressed that I now consider it one of my most beloved platformers of all time.
But was once a whimsical and fairly child-friendly series quickly took a dark turn, as Jak is not only captured at the beginning of the second game, but tortured for two years and turned into a half-mutant dark version of himself. Jak was no longer the cute mute he was in the first innocent adventure -- he was animated, vocal, and angry. This evolution of the formula is just one way Naughty Dog kept the franchise fresh, and relevant.
In other words, you absolutely need to experience this trilogy -- but probably not on the PlayStation Vita.... read more


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Saturday, June 09, 2007
Mr. Toad's Wild (Wheelchair) Ride
Yes, you read that correctly.
According to the AP story above, the man, who suffers from muscular dystrophy, was crossing at an intersection in Paw Paw, Michigan, (which is about 140 miles west of Detroit) when the light changed to green while he was in front of a semi. The semi started moving, the handles got stuck in the grille...and the next thing the poor guy knew, he was hurtling down the highway like some stunt out of JACKASS III.
Thankfully, the story has a happy ending.
A couple of undercover cops happened to see what was happening, pulled over the truck and told the "disbelieving" driver. The man was unharmed although he was taken to the hospital as a precaution (and to clean the massive doody stain out of his underwear).
Can you imagine driving down the freeway with your wife or girlfriend and seeing that?!
REALLY COOL MZONE READER: "Holy shit!"
FORMER ASU CHEERLEADER WIFE/GF: "What?"
R.C. MZONE READER: "I just saw a man. In a wheelchair. Doing 50 on the highway. Stuck to the front of a semi."
FORMER ASU C. W/GF: "Damnit, Paul! What have I told you about drinking and driving?! That is the last three-way we're having with my old sorority sisters if you keep that up!"
P.S. Uh, what the hell are undercover cops doing in Paw Paw, Michigan?
13 comments:
- Chuck said...
The cops were probably just driving through good ol' 2Paw.
- June 08, 2007 8:38 AM
- hutchgoblue said...
or probably on an undercover meth lab assignment. hell, it's van buren county, meth capital of SW Michigan
- June 08, 2007 8:46 AM
- beast in 'bama said...
So is this what you boys do for fun when you put the snowmobiles up for the summer?
- June 08, 2007 9:25 AM
- beast in 'bama said...
One other question: Paw Paw?
I thought we Alabamians had cornered the market on eccentric small town names - Intercourse, Ankle Scratch, Remlap (Palmer spelled backwards), etc.
- June 08, 2007 9:30 AM
- Out of Conference said...
Well, from what I gathered, the poor guy in the wheelchair decided not to get to excited about it. You know, he doesn't like getting carried away.
Ugh - that sucked.
- June 08, 2007 9:55 AM
- Emarcy said...
The cops weren't looking for meth, they were looking for pot, which outside good ol A2 limits is punishable by death.
Anyone heard of Rainbow Farm? Just south of Paw-Paw, two activists were killed and their farm was burned to the ground. If you don't remember, its probly cause 9/11 happened days afterwards.
- June 08, 2007 10:30 AM
- Out of Conference said...
Stephen Hawking just texted, "Space, bitches, space."
- June 08, 2007 2:27 PM
- beast in 'bama said...
I have been informed by my colleagues that I was in error earlier, re: Ankle Scratch.
It's actually Scratch Ankle, Alabama. Thank you, Google Earth.
- June 08, 2007 2:35 PM
- god of the whoppers said...
i am assuming the truck driver not only had a buckstache, but was returning from lane ave, having recently caught his masters degree.
- June 08, 2007 4:25 PM
- Jim Harbaugh Scramble said...
somehow, someway does video exist???
and i believe that the driver was in disbelief, he was probably heffed up on goofballs and looking to stop at a roady's.
- June 08, 2007 4:40 PM
- Peter said...
cops in paw paw, meth obviously
- June 09, 2007 3:10 PM
- zen wizard said...
Thank God he's all right--that is truly a miracle.
- June 11, 2007 1:03 PM
- zen wizard said...
Maybe the cops got a tip that there were Mau Mau's in Paw Paw.
- June 11, 2007 1:04 PM


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Next week Intrada will release Jerry Goldsmith's lively pop-flavored score for the 1968 spy comedy SEBASTIAN, starring Dirk Bogarde, Susannah York and John Gielgud. The CD will include the original 25-minute selection from the Dot LP in stereo, including reworked versions of the Goldsmith cues and one source cue by Tristram Cary (Five Million Years to Earth); the original film version of Goldsmith's 34-minute score in mono; and 18 minutes of unused Tristram Cary material.
The latest release from Kritzerland is a newly remastered CD of Jerry Goldsmith's evocative score for the 1986 sequel POLTERGEIST II: THE OTHER SIDE. This is the fourth release for this score - it was one of the first soundtrack LPs and CDs released by Intrada, in a 30-minute edition. The label later expanded it, followed by a Varese release of essentially the same tracks. The Kritzerland CD is a remastered version of the complete score on on disc plus several alternate tracks on a second disc, and is limited to 1500 units (Kritzerland has already sold out their own copies, but as of this writing it is still available for pre-order at some sites, including Screen Archives).
Jobs - John Debney - La-La Land
Kiss of the Damned - Steven Hufsteter - Soraya
The Matrix Reloaded - Don Davis - La-La Land
Tres 60 - Roque Banos - Saimel
Wyatt Earp - James Newton Howard - La-La Land
Afternoon Delight - Craig Wedren
Closed Circuit - Joby Talbot
Drinking Buddies - Music Supervisor: Chris Swanson
Getaway - Justin Burnett - Score CD due in September from Varese Sarabande
I Declare War - Eric Cadesky, Nick Dyer
The Lifeguard - Fred Avril
One Direction: This Is Us - Simon Franglen
Passion - Pino Donaggio - Score CD on Quartet
September 3
Adore - Christopher Gordon - Varese Sarabande
Gagarin: First in Space - George Kallis - MovieScore Media
Revolution: Season One - Christopher Lennertz - Watertower [CD-R]
Sebastian - Jerry Goldsmith - Intrada Special Collection
The Vikings - Trevor Morris - Sony (import)
Visitors - Philip Glass - Orange Mountain
September 10
Hemlock Grove - Nathan Barr - Varese Sarabande
Jimmy P. - Howard Shore - Howe
Justin and the Knights of Valor - Ilan Eshkeri - Sony (import)
Thanks for Sharing - Christopher Lennertz - Milan
The Ultimate Life - Mark McKenzie - Varese Sarabande
The Ungodly: Music of Carlos Cases - Carlos Cases - Kronos
Windjammer - Morton Gould - Sepia
The X-Files, Vol. 2 - Mark Snow - La-La Land
September 17
Arrow: Season One - Blake Neely - Watertower [CD-R]
Luther - Paul Englishby, songs - Silva
Salinger - Lorne Balfe - Decca
September 24
The Grandmaster - Shigeru Umebayashi, Nathaniel Mechaly - Lakeshore
Killer Crocodile - Riz Ortolani - Kronos
Rush - Hans Zimmer - Watertower
Standing Up - Brian Tyler - Varese Sarabande
October 1
All Is Lost - Alexander - Community Music
Paranoia - Junkie XL - Sony (import)
October 8
Captain Phillips - Henry Jackman - Varese Sarabande
Romeo and Juliet - Abel Korzeniowski - Sony
October 22
Ender's Game - Steve Jablonsky - Varese Sarabande
Date Unknown
Doctor Who: Ghost Light - Mark Ayres - Silva
Doctor Who: Series Seven - Murray Gold - Silva
Getaway - Justin Burnett - Varese Sarabande
The Hour - Daniel Giorgetti, Kevin Sargent - Silva
I, the Jury - Bill Conti - La-La Land
Lines of Wellington - Jorge Arriagada - Disques CineMusique
The Little Girl Who Lives Down the Lane - Christian Gaubert - Disques CineMusique
Los Mundos Sotiles - Pascal Gaigne - Quartet
Man, Woman and Child - Georges Delerue - Quartet
The Miracle Worker - Laurence Rosenthal - Kritzerland
The Paradise - Maurizio Malagnini - Silva
Poltergeist II: The Other Side - Jerry Goldsmith - Kritzerland
Secrets of a Nurse/Island of Crime - Riz Ortolani - GDM
The Star Maker - Ennio Morricone – GDM
August 30 - Conrad Salinger born (1901)
August 30 - Sol Kaplan's score for the Star Trek episode "The Doomsday Machine" is recorded (1967)
August 30 - Emil Newman died (1984)
August 31 - The Sea Hawk is released in theaters (1940)
August 31 - Recording sessions begin for Bronislau Kaper's score for The Swan (1955)
August 31 - Alexander Courage's score for the Star Trek episode "The Naked Time" is recorded (1966)
September 1 - Franz Waxman begins recording his score for Sunset Blvd. (1949)
September 1 - Gil Melle begins recording his score for The Organization (1971)
September 1 - Marc Donahue died (2002)
September 1 - Erich Kunzel died (2009)
September 2 - Armando Trovajoli born (1917)
September 2 - Clifton Parker died (1989)
September 3 - Anthony Collins born (1893)
September 3 - Richard Markowitz born (1926)
September 3 - Bruce Broughton begins recording his score for Glory and Honor (1997)
September 4 - Darius Milhaud born (1892)
September 5 - Don Banks died (1980)
In case anyone has been wondering why this section of the Friday column has recently exploded in length, it's not simply because of films like Only God Forgives and Ain't Them Bodies Saints which have scores that every critic seems to comment on. I used to compile this section by bookmarking a dozen or so top sites (L.A. TImes, N.Y. Times, etc) and checking them every Friday for the latest reviews. Since some of these sites now requite digital subscriptions, I now use Rotten Tomatoes, which allows me access to A LOT MORE reviews -- and also means it takes a lot more time to go through them, which is why some films are now listed in "DId They Mention the Music?" a good two or three weeks after they opened in Los Angeles. As I said, in case anyone was wondering.
AIN'T THEM BODIES SAINTS - Daniel Hart
"It's a tone poem, really, less concerned with conventional action than with exploring themes of love and commitment through understated performances, sumptuous images (Bradford Young did the cinematography), lovely music (Daniel Hart composed the score) and very few words, intoned elegiacally."
Joe Morgenstern, Wall Street Journal
"Mr. Lowery strums the chords of this ballad with skill and sincerity. (The musical score, by Daniel Hart, is too often busy and insistent when the film needs it to be plaintive and spare.) 'Ain't Them Bodies Saints' moves fluidly and gracefully through situations that are hauntingly understated, as well as some that test the limits of credibility."
A.O. Scott, New York Times
"Lowery takes his time and lets us linger over everything in the meticulously crafted frame: the thoughtful camerawork, the impeccable costume and production design. His film is at once gorgeous and gritty; it earned an award at the Sundance Film Festival for the robust and dreamlike visuals from up-and-coming cinematographer Bradford Young, who also shot the recent indie favorites 'Pariah' and 'Middle of Nowhere.' And the highly inventive score from Daniel Hart, a mixture of strings and claps, enhances the rapturous experience."
Christy Lemire, RogerEbert.com
"Such an of-a-piece series of visual monuments in one year means that 'Ain't Them Bodies Saints' has a pretty strong chance of striking some viewers as cliched or affected. Its golden-hour cinematography and persistent awe-and-wonder score sit precariously between stirring and obtrusive, inspiring and derivative."
Thomas Hachard, NPR
"The soundtrack aches with love and pain, an ethereal blend of bluesy folk-rock. Lowery cites 'McCabe,' seasoned by Leonard Cohen's minor chords, as inspiration."
Betsy Sharkey, Los Angeles Times
"Having put his Malick fetish to much better use as an editor on 'Upstream Color' -- to which he applied the time-and-space-traversing ellipticism of 'The Tree of Life' -- Lowery leans heavily here on his collaborators, especially 'Pariah' cinematographer Bradford Young and composer Daniel Hart (whose banjo-and-strings score is a blatant Nick Cave imitation)."
A.A. Dowd, The Onion
"There is a palpable undercurrent of quiet desperation that runs through the picture, whose somber tone and slow pacing (made all the more moving by the ebb and flow of a sublime score by Daniel Hart and some stylistic nods to Terrence Malick) have a gritty, American ring to it. 'Ain't Them Bodies Saints' doesn't register very deeply as a love story, but there is no doubting that it is an act of love."
Matthew Kassel, New York Observer
"Buoyed by the rustic drone of Daniel Hart's score -- itself highly redolent of Nick Cave and Warren Ellis's recent work -- 'Saints' drifts along like a raft on a river until its final movement, more violent and visceral than anything in Malick's canon."
Sam Adams, Time Out New York
"Make no mistake, this is a finely postured, technically proficient marvel, one that delicately collates and balances the excellent work of its collaborators (including Young, composer Daniel Hart, its suitably solemn cast), but for all its earnest dialogue and lens flare-filled diorama of Texan landscapes, 'Ain't Them Bodies Saints' is damned by its overly laminated rigorousness."
Nick McCarthy, Slant Magazine
"Aided by a deft score from Daniel Hart and some breathtaking photography by Bradford Young, Lowery paints a striking picture of young love in exile, fuelled by the opposition of the outside world."
Eddie Harrison, The List
"There are so many things right with 'Ain't Them Bodies Saints' that it feels churlish to pick on the few things that are wrong. But unfortunately, a few miscalculations can go a long way with a story this simple and elemental. For all its heavenly cinematography -- from the sun-dappled exteriors to the moody, painterly interiors -- and for all the lilting, ethereal drive of its music, the film's insistent undercutting of its narrative does its characters a disservice. There should be a cumulative power to these story lines: Bob has been waiting a long time to get back to Ruth, and Ruth has been waiting for him and fending for herself for too long. Imagine a more patient, absorbing narrative that could have given these experiences (and these talented actors) some room to breathe, allowing us to feel the weight of her decision when she effectively rejects him."
Bilge Ebiri, Vulture
"Clearly, Lowery watched his Malick, but also 'McCabe and Mrs. Miller' and 'Bonnie and Clyde.' He has made a loping and lovely romance, steeped in tragedy, with a Texas twang. (The music, full of pulsing strings, pedal steel, and emphatic percussion, adds a whole other dimension to the film.)"
Stephen Rea, Philadelphia Inquirer
"Perhaps it is not such a dramatic thing to say after all -- that 'Ain't Them Bodies Saints' is not a movie. Here we have a work that highlights the difference between a movie and a film. These two entities are, obviously, not binary opposites, but one could argue that the feeling of a film -- brought about with careful attention to cinematography, score, and character development (all handled here with unique style and aplomb) -- sits with the viewer long after the credits roll. Even with omissions in the narrative that inspire in the viewer a longing for more, 'Ain't Them Bodies Saints' is a true film. And that longing may in fact be the very foundation of Lowery's work -- the reason it is more feeling than movie, more cinematic emotion unfolding on screen than anything else."
Shannon M. Houston, Paste Magazine
"The limited action and percolating intrigue that rises from the ashes of the early shootout is propelled by a fantastic soundtrack from Daniel Hart. The score, which blends plucked guitars, bowed fiddles and hand claps, is more folk music than country. Which brings us to that title. 'Ain't Them Bodies Saints' is a bit of a mouthful. But once you see the movie, it makes perfect sense."
Matthew Odam, Austin American-Statesman
"While spiritually indebted to Terrence Malick -- and yes, it possesses its fair share of the filmmaker's sun-kissed photography and the like -- it would be far too simple and reductive to just pass this film off as nothing more. While perhaps a distant cousin, with deviating concerns and personal preoccupations, it's ultimately a very different, darker beast (there's just as much Cormac McCarthy tenor in there, if not more). Hickory smoked and sunstroked, Bradford Young's tremendous eye makes for some breathtaking and dusty gorgeous visuals, feeling tactile and lived-in. And just as sublime, and another MVP of the picture's below-the-line talent, is probably Daniel Hart's haunting and moody score. Cripple-creek fiddles pluck away anxiously, cellos drone, banjos twang out with ghostly notes and violins cry into the night sky, creating a sonorous musical backdrop for this brooding picture to lay its ten gallon hat on."
Rodrigo Perez, The Playlist
"Daniel Hart's haunting musical score, a blend of symphonic minimalism and bluegrass, is a major contributor to mood and atmosphere in a movie that has the dreadful fatalism of a folk song and the spiritual undertow of Tolstoy or Tarkovsky."
Andrew O'Hehir, Salon.com
"David Lowery's film, starring Casey Affleck and Rooney Mara as entwined, young Texas bandits in the '70s, is an elegiac tone poem, beautifully shot by cinematographer Bradford Young, memorably scored with strings and handclaps by Daniel Hart and enlivened by a distinct rhythm unusual for such a well-trod genre."
Jake Coyle, Associated Press
"There's nothing new here. Ryan Gosling's 'The Place Beyond the Pines' recently covered some of the same ground. But it's all written, spoken, photographed and edited with such care -- the soundtrack features violins, twangy string music and hand-claps -- that 'Ain't Them Bodies Saints' feels like a fresh and poetic treatment of a prosaic story that should be utterly worn out by now."
Roger Moore, McClatchy-Tribune News Service
"'Ain't Them Bodies Saints is lovingly rendered thanks to gorgeous photography from cinematographer Bradford Young and lived-in period detail from production designer Jade Healy and art director Jonathan Rudak. (Daniel Hart's wistful music only heightens the spell.)"
Tim Grierson, Screen International
"Those keen on Coen brothers-style confrontations had better look elsewhere, however. Though they are clearly an inspiration, Lowery's impressionistic approach feels looser relying on pretty pictures (courtesy of Bradford Young's resplendent, honey-toned lensing) and a swelling string score to create a hypnotic effect."
Peter Debruge, Variety
"On top of this is an emphatically original score by Daniel Hart that employs an enormous variety of unusual motifs that impressively coalesce into a memorable whole that doesn't use typical country or Southern music as a crutch."
Todd McCarthy, Hollywood Reporter
THE CANYONS - Brendan Canning
"Director Paul Schrader's 'The Canyons'" opens up with images of what appears to be a post-apocalyptic world for cinema. Cameras glide over ghost towns of dilapidated, dying and dead movie theaters, backed by a haunted and menacing electro score. The suggestion implied is that cinema is coming to an end. Blending Schrader with Ellis' concave sensibilities, with a budget of less than $300K, with the aforementioned leads, 'The Canyons' is more go-for-broke experiment than it is a film, and those disparate elements hardly ever coalesce into something potent (Brendan Canning's throbbing, Giorgio Moroder-inspired score remains the movie's only consistently consequential element)."
Rogrigo Perez, The Playlist
"Brendan Canning's eerie score and the occasionally nifty camerawork can't bypass the gratingly lo-fi production values and a lifeless atmosphere."
Eric Kohn, indieWIRE
"Gratuitous lighting effects aside, the guerrilla shoot seems to have reinvigorated Schrader, and the result is his most stylish picture in years, probably since 'Auto Focus.' Shot in sleek widescreen HD by John DeFazio, with a pulsing, Giorgio Moroder-esque electronic score (credited to Brendan Canning and the Canadian duo Me and John), the movie's surfaces gleam as attractively as its toned and tanned bodies, the latter constantly framed small against vast canvases of Oceanside bluffs, Sunset Boulevard traffic and hazy nighttime skies. This, Schrader seems to be saying, is the flame to which the moths are drawn, even if it is ultimately no more than a flickering illusion. The phrase Pauline Kael once used to describe Schrader's aesthetic springs readily to mind: 'apocalyptic swank.'"
Scott Foundas, Variety
"Shot in a straightforward way that falls leagues short of the sleek elegance of Schrader's first tango with love and money in Southern California, 'American Gigolo,' 33 years ago, the film looks OK considering its micro-budget, although the electronic score sounds tinny."
Todd McCarthy, Hollywood Reporter
CUTIE AND THE BOXER - Yasuaki Shimzu
"The visual pleasures of the film, which the filmmaker shot elegantly, include charming little animations of Noriko's wall-size cartoons. The musical pleasures flow from Yasuaki Shimizu's remarkable score, which includes a Bach cello suite as you've never heard it before."
"At a certain point, though, Heinzerling backs off a little, and the film suffers for it. While evident love and affection continues to sustain this marriage, the film softens conspicuously in the third act, leaving the Shinoharas as more a frisky old married couple than partners dealing with ever-refreshing tensions. Yet the overall impression of artists asserting themselves at home and in their work is rendered with complexity and style, aided by an avant-jazz Yasuaki Shimizu score that knocks the film off a more conventional axis. 'Cutie and the Boxer' chronicles a marriage that's extraordinary in many ways, and ordinary in one -- it's a constant work in progress."
Scott Tobias, The Dissolve
"'Cutie and the Boxer,' like all truly noteworthy films, takes you by surprise with its unexpected twists and revelations. It's a documentary about painting, but evocative music moves it along."
Marsha McCreadie, RogerEbert.com
"The striking score by avant-garde sax man Yasuaki Shimizu is a big plus."
Alissa Simon, Variety
"Appropriately, given the film's colorful subject matter, Heinzerling visually captures the energy of these people and their art. Ushio's transformation from a slight and mild-mannered figure to a ferocious shirtless wild man pummeling the canvas is eye popping. On the other hand, the grace of Noriko's work is communicated with whimsical, black and white animation as her drawings come to life. And Yasuaki Shimizu's Japanese-tinged, understated score beautifully accents the action. Because Cutie and Boxer resists easy sentimentality, its view of life and love is all the more powerful."
James Greenberg, Hollywood Reporter
THE GRANDMASTER - Shigeru Umebayashi, Nathaniel Mechaly
"The operatically scored film is similarly either in motion or at rest. The fight scenes -- choreographed by Yuen Wo Ping -- have two speeds as well, slow-motion or quicksilver blur, but are equally athletic and balletic."
Duane Dudek, Milwaukee Journal Sentinel
"The story purports to be based on the life of Ip Man, who in his later years became Bruce Lee's teacher. But no life ever went by so gorgeously, or played out against such a lush string soundtrack, with a little 'Casta Diva' and a little Ennio Morricone thrown in."
Craig Seligman, Bloomberg News
"Here, as in Mr. Wong's earlier films, his sumptuous excesses -- the lush music, the opulent rooms, the seductive drift, the thundering blows -- both help tell the story and offer something more."
Manohla Dargis, New York Times
"Shigeru Umebayashi's sweeping classical score sometimes swells above the action and dwarfs its impact, but the use of regionally specific songs as period markers helps counter that effect."
Maggie Lee, Variety
THE MORTAL INSTRUMENTS: CITY OF BONES - Atli Orvarsson
"Atli Orvarsson's unmemorable score is supplemented with snippets of Bach's Goldberg Variations, which tie into one of the script's better gags."
Justin Chang, Variety
SHORT TERM 12 - Joel P. West
'The only misstep -- apart from the unappealing title -- is a denouement that's way, way too upbeat. But you can forgive Cretton for wanting to end on a harmonious note. The score by Joel P. West is so gentle it's as if the composer doesn't want to bruise the characters. It's the kind of music that sweetens what we see without falsifying it, and it cuts to the movie's humanistic core. 'Short Term 12' leaves you shaken but not bereft. Short-term love, it suggests, can be everlasting.'
David Edelstein, Vulture
"Instead of manipulating with music, composer Joel P. West supplies just enough score to open up the possibility of deeper identification."
THE WORLD'S END - Steven Price
"The novelty has worn off Wright and Pegg's shtick a bit, but even the reiterated gags (the characters must traverse garden fences … again) are still funny -- winks to their fans rather than lazy writing. For all their horsing around, the truth is Wright is an accomplished filmmaker who embeds story in the very mechanics of cinema. He uses cinematographer Bill Pope's imagery and Paul Machliss' editing as deftly as dialogue to tell jokes and wields Steven Price's score and a cool, largely '90s soundtrack to not only convey mood but advance the narrative."
Annlee Ellingson, Paste Magazine
YOU'RE NEXT - Jasper Justin Lee, Kyle McKinnon, Mads Heidtberg, Adam Wingard
"Turns out 'You're Next' isn't a slave to horror-movie conventions after all -- rather, it's having tongue-in-cheek fun with conventions while playing up to them, complete with a killer retro '80s-horror synth score and a gruesome finale that recalls the excess of Peter Jackson's 'Dead Alive.'"
Barbara VanDenburgh, Arizona Republic
"'You're Next' seems purposefully designed to get a rise out of the yell-back-at-the-screen crowd, with its host of not-particularly likable characters, its forays into surreal comic exchanges (at one point, the victims discuss sending someone to run for help and argue over who's the fastest runner), and its bits of sensationalistic violence (one dude gets a blender to the head). But the constant blasts of music that accompany the jump scares merely serve to smother the shock, drawing attention to how awkwardly directed it all is."
"The gore, while not overwhelming, is likely too heavy for some viewers, but the overarching tone that this is all in fun should induce more smiles than squirms, especially when the '80s horror synth score kicks in right around the third act."
Luke Y. Thompson, Topless Robot
"There's also a few nods to the genre's past, including John Carpenter's synth-driven score to 'Halloween.'"
Kirk Baird, Toledo Blade
"But the real badass of 'You're Next' is the tanned and whippet-tough Erin, played by Vinson, an Australian starlet best known for dancing with a Slurpee in 'Step Up 3D.' (That's no insult -- 'Step Up 3D' is fantastic.) Thanks to a tough Outback upbringing 10,000 miles away from the prep schools that sheltered her cowardly, bearded boyfriend, Erin is the only girl who didn't wear heels to dinner, and the only victim who knows how to fight back. Not that her blue-collar heroics are appreciated by anyone besides the audience: When she bashes a villain's brains on the floor, the aghast family looks at her as though she's used the wrong fork. As Erin battles to stay alive, the minimal, 'Halloween'-esque score slowly starts to sound like an applauding didgeridoo.'
Amy Nicholson, Village Voice
"Assembly is sharp, with the strong original score undermined only by a brief late foray into self-consciously cheesy 1980s synth sounds."
Dennis Harvey, Variety
Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
August 30
FIGHT CLUB (Dust Brothers)
LIFEFORCE (Henry Mancini) [Cinematheque: Aero]
THE SHAWSHANK REDEMPTION (Thomas Newman) [New Beverly]
August 31
IT'S A MAD, MAD, MAD, MAD WORLD (Ernest Gold) [Cinematheque: Aero]
THE SHAWSHANK REDEMPTION (Thomas Newman) [New Beverly]
September 1
THE GREEN MILE (Thomas Newman) [New Beverly]
THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES (Ron Goodwin) [Cinematheque: Aero]
September 2
THE GREEN MILE (Thomas Newman) [New Beverly]
September 3
FRANCES HA, GREENBERG (James Murphy) [New Beverly]
THE HARDER THEY COME (Jimmy Cliff, Desmond Dekker) [Arclight Hollywood]
NICKELODEON (Richard Hazard) [LACMA]
September 4
BREAKFAST AT SUNRISE, CAMILLE [Silent Movie Theater]
FRANCES HA, GREENBERG (James Murphy) [New Beverly]
September 5
FRANCES HA, GREENBERG (James Murphy) [New Beverly]
THE HARDER THEY COME (Jimmy Cliff, Desmond Dekker) [Cinematheque: Aero]
September 6
ACCATONE (Carlo Rustichelli), MAMMA ROMA (Carlo Rustichelli) [Cinematheque: Aero]
CLOSE ENCOUNTERS OF THE THIRD KIND (John WIlliams) [Silent Movie Theater]
CLUELESS (David Kitay) [Nuart]
PATHER PANCHALI (Ravi Shankar), APARAJITO (Ravi Shankar) [AMPAS]
PITCH BLACK (Graeme Revell) [Silent Movie Theater]
September 7
CLOSE ENCOUNTERS OF THE THIRD KIND (John WIlliams) [Silent Movie Theater]
THE DECAMERON (Ennio Morricone), SALO, OR THE 120 DAYS OF SODOM (Ennio Morricone) [Cinematheque: Aero]
September 8
CLOSE ENCOUNTERS OF THE THIRD KIND (John WIlliams) [Silent Movie Theater]
JACKIE BROWN, 52 PICKUP (Gary Chang) [New Beverly]
THE GOSPEL ACCORDING TO ST. MATTHEW (Luis Bacalov) [Cinematheque: Aero]


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'24 Minutes of Le Spurs' sink Blazers
SAN ANTONIO Through March and early April, when the San Antonio Spurs were in the throes of a 19-game win streak, they were as close to unbeatable as it gets in the NBA.
That's the way the Spurs looked in the first half Thursday night at the AT&T Center.
With 70 points -- 41 in the second quarter -- they put the Trail Blazers on the critical list early again, then struck the fatal blow late in a 114-97 victory to take a 2-0 lead in their Western Conference semifinal playoff series.
What a show it was in the first half.
San Antonio ran an offensive clinic, displaying the crispness, precision and stamina of a winning Alfa Romeo at the 24 Hours of Le Mans.
Call it the "24 Minutes of Le Spurs."
The Spurs shot .577 from the field, sank 7 of 10 shots from 3-point range, had 19 assists on 30 baskets, scored 17 fast-break points and made only three turnovers leading to zero Portland points.
Even with Tony Parker starting the game 1 for 8 from the field, the Spurs put a 70-spot on the Blazers and matched the Portland franchise record for most points yielded in the second quarter of a playoff game.
Gregg Popovich was pleased but in no mood to gloat about it afterward.
"Sometimes you score a bunch of points, sometimes you don't," San Antonio's coach of the year said. "We moved the ball. We played with each other. We kept a good pace. We play better with pace rather than just walking it up. We did that pretty well."
Portland stayed close early, despite making 2 of its first 13 shots, same as in Game 1. San Antonio led only 29-26 after the first quarter, and the margin was 31-30 when the Spurs turned it on with a splashy 21-4 run. Suddenly, the Spurs' advantage was 52-34 with 7 1/2 minutes still left in the quarter.
"The onslaught at the beginning of the second quarter was the turning point," Portland coach Terry Stotts said. "It happened pretty quickly."
The first-half fizzle brought back memories of Tuesday's series opener, when the Spurs spurted to leads of 29-16 after one quarter and 65-39 at halftime.
"We got off to a good start compared to last game," said Portland's Nicolas Batum, who collected 21 points and nine rebound in his 44 minutes. "But the first five minutes of the second quarter, we let them do whatever they wanted. We didn't stop them. They made 3's, got offensive rebounds the crowd got into it, and it was tough to get back into the game after that."
The Blazers, who trailed 70-51 at the break, did get back into it, though.
The Spurs played tentatively at the offensive end in the third quarter, scoring only 17 points, but the Blazers managed only 20, entering the final period behind 87-71.
Portland gradually trimmed the deficit. When Batum converted a lob pass from Wesley Matthews at the rim, San Antonio's lead was 95-86. Moments later, Batum's 3-pointer cut the margin to 99-91 with still 5:37 on the clock, and the Spurs faithful among the sellout crowd of 18,581 stirred uneasily.
Then San Antonio's Boris Diaw, who has been big in both games of the series so far, answered with a 3 to increase the spread to 102-91. That kicked off a 13-2 run that stashed the game into the win column for the defending Western Conference champions.
"We were good in spots, but we weren't close to playing our best game," Stotts said. "We were good in the first quarter and for a long period of the second half. But that second quarter, the lead just ballooned. You get down like that and you're fighting an uphill battle."
The Blazers were better offensively than they were in the opener, but only Batum (9 for 13 from the field, 3 for 5 from 3-point range) was really in sync. Damian Lillard (19 points, five rebounds, five assists) was 8 for 20 from the field and 1 for 6 on 3-point attempts. LaMarcus Aldridge struggled through a terrible shooting night (6 for 23), finishing with 16 points and 10 boards.
San Antonio again used Parker on Lillard and 6-11 center Tiago Splitter on Aldridge, getting plenty of help in the Spurs' one-for-all, all-for-one defensive system.
"The guys guarding (Lillard and Aldridge) did the best job they could," Popovich said. "You just try to make them work hard. We did that. They didn't make shots. Part of it was the defense, but they also had open shots they just missed."
Seven Spurs scored in double figures, led by small forward Kawhi Leonard, who knocked down 8 of 9 shots from the field -- 4 of 4 on treys -- and had 20 points and five rebounds in only 28 minutes.
"Kawhi has just gotten better as each month has rolled along," Popovich said. "He looks confident. That's the way we want him. He has a nice touch. He enjoys playing defense. He hits the boards for us. He's a darn good all-around player."
Sometimes, Leonard has deferred to Spurs' veterans Parker, Tim Duncan and Manu Ginobili at the offensive end.
"We tell him to be more aggressive," Parker said. "We say, 'Don't worry about us. We'll find our stuff.' It was the same thing for me and Manu when we first arrived (at San Antonio). They had Timmy and David (Robinson) and Steve Smith, and they were pushing us to be more aggressive."
Parker couldn't hit his shot early but made 7 of his last 11 attempts to finish 8 for 19 from the field. He had 16 points, 10 assists and five rebounds in his 38 minutes, serving more as a distributor, especially in the first half.
"That's his job, and he did it well," Popovich said. "He directs things for us out there, like any point guard is supposed to. Though his shot wasn't falling, he stayed aggressive, he stayed in the game, he found teammates and did a good job defensively."
Portland went most of the way with the 6-5 Matthews defending Parker, picking him up in backcourt and crowding him at every opportunity.
"Matthews is a great defender," Parker said. "He plays physical. He's going to make me work hard. But I had some good looks. Kawhi was shooting great. The whole team was playing great. The ball movement was great. I didn't want to force it. I was just trying to be patient, trying to find my teammates."
San Antonio's bench was superb, scoring 50 points for the second straight game. The Spurs reserves have outscored their Portland counterparts 100-37 in the series. Ginobili, who was 0 for 6 in the opener, was only 7 for 18 from the field but contributed 16 points, five rebounds and four assists. Diaw, Marco Belinelli and Patty Mills combined for 32 points on 12-for-14 shooting, including 4 for 5 from 3-point range, off the bench.
"We'd not have this homecourt advantage if not for the play of those guys," Popovich said. "They've done a wonderful job all season long, and they're continuing to do it."
The series returns to Portland for the next two games, starting Saturday night at the Moda Center.
"It's going to be even harder," Parker said. "We did our job. We won the first two at home. A playoff series starts when you win one on the road.
"We'll be playing in one of the NBA's toughest arenas. (The Blazers) play very well at home. They have a great crowd. We have to play the same kind of defense we've played these first two games. We want to get one in Portland."
The Blazers now must win four of five, including at least one in San Antonio. It starts with getting the first one Saturday night at the Moda Center.
"We have a bunch of competitors," Stotts said. "They want to win. They know we can play better.
"It's frustrating to lose, to get blown out in Game 1 and not quite have enough in Game 2. But I know we'll be ready for Game 3."
Twitter: @kerryeggers


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One of my co-workers is selling the following:
"Consew 206RB-1 Industrial Sewing Machine with several big spools of thread and 3 rolls (brown, red, and beige) naugahide-type material. $500 for all."
Didn't know if any of you hardcore DIYers would be interested. Several big spools of thread is an understatement; it's a big Rubbermaid tub full of spools and it looked like some parachute material (her husband was a chute maker in the Navy) in there as well.
I went over and took a picture:
It has been very well kept and comes with everything you see plus, the tub o' thread and the naugahide-type material.
Let me know if you're interested and I'll put you in touch with her.


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Did you read today's front page stories & breaking news?
From the Wires
UNFI Comments on Teamsters Local 117 Union Situation
By: PR Newswire
Dec. 13, 2012 06:15 PM
PROVIDENCE, R.I., Dec. 13, 2012 /PRNewswire/ -- United Natural Foods, Inc. (Nasdaq: UNFI) said today that it is pleased that members of Teamsters Local 117 have voted to end its strike and return to work. The company also confirmed that the Union has agreed to meet with them back at the bargaining table with a federal mediator next week. UNFI looks forward to continuing negotiations, and is hopeful for a resolution that is fair and equitable for all parties.
Because of the Union's decision to strike and in order to continue to service customers, UNFI was put in a position of having to hire permanent replacement workers after Union members walked out. The company will welcome back as many members of the Union as it can accommodate to reach full staffing levels.
Additional Background
The Union never brought UNFI's latest proposal to its members for a vote. The company's most recent offer included a 10.8 percent wage increase over three years, as well as the acceptance of several union proposals. UNFI has made numerous concessions during the months of negotiation and believes that the latest offer it presented to the union is fair, reasonable and competitive.
UNFI has historically had a good working relationship with Teamsters Local 117 for the last 22 years, and its approach at all times in the negotiations has been to work collaboratively to ensure it reaches an agreement that is in the best interest of its associates, its customers and its business.
About United Natural Foods
United Natural Foods, Inc. (http://www.unfi.com) carries and distributes more than 65,000 products to more than 27,000 customer locations throughout the United States and Canada. The Company serves a wide variety of retail formats including conventional supermarket chains, natural product superstores, independent retail operators and the food service channel. United Natural Foods, Inc. was ranked by Fortune in 2006 – 2010 and 2012 as one of its "Most Admired Companies," winner of the Supermarket News 2008 Sustainability Excellence Award, recognized by the Nutrition Business Journal for its 2009 Environment and Sustainability Award and chosen by Food Logistics Magazine as one of its 2012 Top 20 Green Providers.
For more information on United Natural Foods, Inc., visit the Company's website at www.unfi.com.
SOURCE United Natural Foods, Inc.
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12 States Have Very High Obesity Rates [AUDIO]
A new report from the Centers for Disease Control and Prevention shows 12 states now have very high obesity rates. Amy Richards reports. Wyoming's unemployment covered payroll increased by $78.2 Million in the fourth quarter of 2011, according to David Bullard, Senior Economist with the Research and Planning Division of the Wyoming Department of Workforce Services. Click past jump to listen to Wyoming Radio News.


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When Tyler Loos finally got a chance to suit up for the Northern Illinois Huskies, he made quite an impression.
Loos, a 2010 Sterling High School graduate, was named to the Mid-American Conference second-team offensive unit Wednesday morning. Voting was conducted by the league's coaches.
The 6-foot-5, 282-pounder manned the all-important left tackle position for a prolific NIU offense that is averaging 40.5 points through 12 games.
Loos was one of five new starters
across the line that helped pave the way for junior quarterback Jordan Lynch's 3,861 yards of total offense, with 39 TDs. Lynch is the subject of a school-driven
Heisman Trophy campaign.
"It was my goal to get some kind of mention on the all-conference team, whether it was first team, second team or third team," Loos said. "To get on the second team, that was pretty cool."
Loos got a call from his offensive line coach, Rod Carey, at about 9:30 Wednesday morning. Messages from his high school coach, Greg King, and father, Breck, followed.
The Huskies (11-1), champions of the MAC West Division, are preparing for the league championship game Friday against East champ Kent State (11-1) at Ford Field in Detroit. Unfortunately for Loos, he won't be making the trip.
In the final minute of the team's West Division-clinching 31-24 win over Toledo on Nov. 14 in DeKalb, Loos suffered a broken tibia and fibula in his right leg. He underwent surgery at 4 a.m. the next morning.
A redshirt as a freshman in 2010, Loos missed the entire 2011 season due to a torn anterior cruciate ligament and meniscus in his left knee suffered the first week of fall camp. He had started the first 10 games this season before going down against Toledo.
Loos anticipates being able to walk without crutches in about 6 weeks. Then he'll begin preparations for the 2013 season. His time with the team now is spent in occasional meetings and in the training room.
He does see three of his teammates every day. He rooms with Lynch and two of his fellow offensive linemen, Jared Volk and Matt Krempel, in a house just off the NIU campus.
During a phone interview, Lynch poked his head inside inside Loos' room to see if he was coming to dinner.
"The guys, they're pretty good about taking care of me," Loos said. "If I need something to drink or eat, they're usually able to help me out. I'm just looking forward to getting healthy and getting back on the field."
Lynch became the third consecutive NIU player, joining Chandler Harnish in 2011 and Chad Spann in 2010, to be named the league's MVP. He was joined on the first team by wide receiver Martel Moore, defensive linemen Sean Progar and Alan Baxter and defensive back Jimmie Ward.
Loos file
High school: Sterling
College: Northern Illinois
Year: Junior
FYI: Starting left tackle for NIU football team. ... Named second team all-conference. ... Suffered broken leg on Nov. 14 against Toledo


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Is that on a roof?
The picture in my avatar is of the Houston Ship Channel and was taken from my backyard. I like to sit outside and slap mosquitos while watching countless supertankers, barges and cargo ships of every shape and size carry all sorts of deadly toxins to and fro. It's really beautiful at times.....just don't eat the three eyed fish....
¯`·.¸¸ .·´¯`· .¸>÷÷(((°>
`·.¸¸..· ´¯`·.¸ ¸.·´¯` ·.¸>÷÷(((°>
.·´¯`· .¸>÷÷(((°>
No. On the ground.
Thats just sweet
I dont warranty Tinkeritus
if they had moved it 2' to the right, they could have blocked both those doors........................slackers
It`s better to be silent and thought the fool; than speak and remove all doubt.
Whats worse the AC install or the Gas meter and gas piping?
Why does no one PAINT! the pipe in the US?
Ya it looks like these hacks forgot their tape measure pipe cutter and bender and their common sense at the bar on lunch
Im curious if the meter or condenser was installed first? Thats just awesome!
Awesome, the meter placement is cool, is that the line set just hanging out in the middle of nowhere?
Hope none of those doors are ever needed as a means of egress in case of a fire!
RSES Member.
Mainstream Engineering Certified.
HVAC/R PM Technician.
410A, & GREEN HVAC/R Technician.
Indoor Air Quality Master Technician.
NATE Core.
Working not as to please men but to the Glory of Christ my KING.
Must have been a wall where the meter sits. Looks like the place is being demolished.
No demolishing here. historical area like an old town from 1900's. Saw it while i was making repairs to another unit.
Forum Rules


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Tortured by military, Mali jihadists in custody say
By The Associated Press
This article was published February 1, 2013 at 6:46 a.m.
TIMBUKTU, Mali Three suspected jihadists arrested in the days since they liberated the town of Timbuktu said Friday that Malian soldiers were torturing them with a method similar to waterboarding.
The three are being held in an earthen cell in what remains of the military camp in Timbuktu, which was liberated earlier this week by French and Malian soldiers after nearly 10 months under the rule of radical Islamists.
The men, who were tied together with a turban and one handcuff, all acknowledged to The Associated Press having been members of the al-Qaida-linked group known as Ansar Dine, or Defenders of the Faith.
"To force me to talk they poured 40 liters of water in my mouth and over my nostrils, which made it so that I could not breathe anymore. For a moment I thought I was even going to die," said one of the men, who gave his name as Ali Guindo and said he was from a village near the central Malian town of Niono.
"I sleep in the cold, and every night they come pour freezing water over me. "
All three prisoners described similar treatment. Their account could not be independently verified. Soldiers holding the three asked reporters to leave after initially allowing journalists to speak with them.
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Critics scores range from 0 to 100, with higher scores indicating more favorable reviews.
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Metascore®Mixed or average reviewsbased on a weighted average of allcritic review scores.
Chris Rock was busy directing, producing, co-writing and starring in this light comedy. Given his hilarious stand-up routines, one wishes he had spent a little more time on the script.
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This is silliness of such a special grade, performed with such zest, that it makes you forgive and even forget the movie's foolishness and borderline incoherence.
The key term here is "fairy tale," because, although the movie occasionally tries for dramatic moments, they're overplayed, undercooked, and divorced from reality.
An imperfect movie, but not a boring one and not lacking in intelligence.
Rock and Mac exult in the kind of highly charged verbal and physical antics that are star-turn rewards for performers currently at the tops of their games.
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Iffy for 14+
Chris Rock runs for president.
What Parents Need to Know
Parents need to know that this movie has some raw humor that may be troubling or offensive to some audience members. A woman breaks up with her fiance by telling him that he is bad in bed and "I've had better sex with guys who have spina bifida." A beautiful woman on the candidate's staff is a prostitute hired to be available so that there will not be any sex scandals (though Mays turns her down). There are jokes about drinking and drugs (though Mays refuses to accept campaign contributions from a man who markets malt liquor to minors). There is a lot of hitting and slapping that is supposed to be comic and jokes about assassination attempts.
Violence: Comic violence, a lot of slapping and punching
Sex: Sexual references including prostitution
Language: Some very strong language
Consumerism: Not an issue
Drinking, drugs and smoking: References to drinking and drugs, smoking
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The creative writing minor emphasizes small workshop classes in fiction and poetry, offered at three levels and culminating in a creative project in the senior year. Courses are also taught in memoir, screenwriting and creative nonfiction. Limited to 15 participants, these workshops focus on finding and developing the strengths of each student's writing while providing instruction in technique. Peer critique and readings in contemporary literature—often involving visits to campus by accomplished writers of our time—are at the heart of the program.
The minor requires six courses and is compatible with any major. Read more.
Students also have opportunities to give readings, edit and contribute to the campus literary journal, The Dickinson Review, and enter the annual Academy of American Poets student poetry contest. The program sponsors visiting writers who attend workshops, give readings and meet with students. The Belfer Reading Series brings prominent writers for campus readings. The Stellfox Visiting Scholars and Writers Program provides special opportunities to meet distinguished contemporary authors who spend several days in residence at the college.
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Foremost American poet Naomi Shihab Nye discussed culture, writing and the students and faculty she met as 2017-18 Stellfox honoree.
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Poet-in Residence and Professor of Creative Writing Adrienne Su earns a spot in "Best American Poetry" for the fourth time.


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Luke summarizes Jesus' activity by juxtaposing teaching (4:16-30) with miraculous activity (4:31-44). Jesus' teaching evokes both wonder and rejection, two reactions that continue in our contemporary world. This passage's events take place mostly on one day; only the introductory overview, the synagogue speech and the concluding verses move outside this narrow time frame. The section could be summarized by the title "A Few Days in the Life of Jesus." While up to this point the Gospel's events have moved quickly, jumping months and years at a time, now the pace winds down to give us a slow-motion look at Jesus. Those who study narrative tell us that when time decelerates in the presentation of an account, important events are being related. That is certainly the case here.
In the midst of people's rejection, there is also cosmic struggle as Jesus encounters hostile spiritual forces in 4:40-41. Jesus is always dealing with the reality behind the scenes of everyday life. The passage closes with reflection about Jesus' mission in Luke 4:42-44. He must preach God's kingdom. Jesus must explain how his rule and God's promises come in stages and how he overcomes forces hostile to humanity and to God (10:9, 18; 11:14-23; 17:20-21; 24:44-49; Acts 2:16-38; 3:14-26; 10:34-43).
This short summary makes two simple points. First, Jesus is still led by the Spirit (Jesus returned to Galilee in the power of the Spirit). Second, he is drawing attention to himself through his teaching, as he taught in their synagogues, and everyone praised him.
Galilee, lying in the northern region of Israel, served as the major ministry center for Jesus. The headquarters of this ministry was Capernaum, the city mentioned in Luke 4:31. It was because of Jesus' teaching that his fame began spreading throughout the region (so also 4:31; 5:3, 17; 6:6; 11:1; 13:10, 22, 26; 19:47; 20:1, 21; 21:37; 23:5). This is the first of several reports about the popular interest, curiosity and excitement being generated by Jesus (4:22, 28, 32, 36-37; 5:15; 7:17). What message could possibly generate so much interest? The next passage reveals the nature of Jesus' claims and provides initial answers to this question.
Have you ever waited a long time for something? As you see it draw near, anticipation rises. Do you remember the turning points as you moved from dating to engagement and then marriage, the anticipation of graduation, a work promotion, the purchase of a house, the arrival of a child? The moment, when it comes, is full of joy and the emotion of the realization of what had been anticipated.
God had promised the decisive demonstration of his salvation for his people for a long time. Now Jesus turns to declare the day has come; opportunity is present. After almost two thousand years of promise, stretching all the way back to Abraham, Jesus claims that the promises of a prophet like Isaiah are now being decisively realized.
But as in many great moments, questions arise. Is this really it? Have we moved from the days of promise to the time of the beginning of realization? Is God at work to fulfill his promise? Jesus' synagogue declaration brings a moment of decision for those who hear his claims. A snapshot of his entire ministry flashes in this brief exchange. Jesus offers much, but the crowd questions what is on offer. In the tension of the contrast, Luke's readers are left to choose sides.
The piety of Jesus' parents continues in Jesus, as on the Sabbath day he went into the synagogue, as was his custom. Unfortunately this is the first of several sabbath events that will end in controversy (4:31-37; 6:1-5, 6-11; 13:10-17; 14:1-5). Jesus' piety is not like that of the Jewish leadership. The controversies raise the question who represents God and his way--a major thematic concern in Luke's portrayal of Jesus.
Yet despite the tension, Jesus does not attempt to separate himself from Judaism. Rather, he presents his mission as the natural extension and realization of Israel's hope. As Jesus hopes to show, the time of fulfillment has come. The opportunity to share in and experience release according to God's promise has come this very day (v. 21).
To appreciate the account, it helps to understand the order of an ancient synagogue service (m. Megilla 3--4; m. Berakot 2). To have a synagogue service required the presence of ten adult males. At the service, the Shema was recited (Deut 6:4-9), followed by prayers, including some set prayers like the Tephillah and the Eighteen Benedictions (m. Berakot 2:2). After this the Scripture was read, beginning with a portion from the Torah (Gen--Deut) and moving next to a section from the Prophets. Instruction then followed. Often the speaker linked the texts together through appeal to other passages. The service then closed with a benediction.
Jesus appears to speak during the reading of the Prophets. He reads from Isaiah 61:1-2, a passage that promises the coming of God's salvation. His commentary, unlike most sermons, is brief, declaring simply, "Today this scripture is fulfilled in your hearing." The claim is so great that we need to work through the elements of the Old Testament passage carefully.
The passage starts with Jesus' claim that the Spirit of the Lord is on me. Jesus claims to be directed by God to minister and preach. The details follow, but interestingly, the reader of Luke's Gospel knows more about what this means than Jesus' original synagogue audience would have known at the time. The first hearers would have heard a claim for a divinely directed ministry, but they may not have realized that at his baptism Jesus had been anointed not just for a prophetic ministry but as Messiah. Readers of Luke have the memory of the anointing fresh in their recall. Jesus' remark recalls 3:21-22. His statement, along with what follows, shows that he is both an anointed Son and a prophetic figure. He reveals God's will and brings God's promise.
In the synagogue speech, the next line gives the goal of the anointing: to preach good news to the poor. This theme has already received attention in Mary's hymnic burst of praise in 1:51-53. Theologians today debate the significance of what Jesus said. Does this verse and those that surround it resonate with themes of political liberation for the oppressed? Is Jesus supporting class struggle? Luke's use of the term poor in chapter 1 and beyond makes it clear this is not only a socioeconomic reference. On the other hand, neither is class excluded from Jesus' concerns. In 1:50-53, the reference to "the humble" is surrounded by descriptions that indicate the spiritually sensitive character of the poor. Luke 6:20-23, too, compares the trouble the poor face in this world to the experience the prophets of old faced. So the text Jesus reads is not a carte blanche endorsement of the poor, nor is it a political manifesto. This hope extends only to the spiritually sensitive poor, to the responsive. The passage recognizes that often it is the poor who respond to God's message and embrace it with humility (1 Cor 1:26-29; Jas 2:5). They tend to sense their need and have no delusions of power, control and independence. They are what the Old Testament called the 'anauim "the pious poor," also called "the afflicted" (2 Sam 22:28; Ps 14:6; 22:24; 25:16; 34:6; 40:17; 69:29; Is 3:14-15; Amos 8:4; Bammel 1968:888).
For those looking to God for hope, Jesus was the answer. To respond to God, one must be open to him. For those in need of God, Jesus has a message of good news. Luke loves to emphasize that a potential audience for this message can be found among the poor. His social concern expresses itself fully through the details of what Jesus said at the synagogue--details the other Gospels lack. But this social concern is concerned with spiritual realities, not political ideologies.
So Jesus is sent to proclaim freedom for the prisoners and recovery of sight for the blind, to release the oppressed. Luke 4:31-44 makes clear that the oppression in view here is mainly spiritual. Forces stand opposed to humanity that pull down and bring sin, pain and pressure. Being under demonic oppression is like being trapped in a prison of pain and despair. Jesus offers release from such pain and dark despair. That is what his miracles picture and point to, the reality beyond the act of the miracle (11:14-23).
Jesus' words, then, work at two levels simultaneously. He will heal the blind, but that also pictures the coming of light to those in darkness (1:78-79). The healing of the blind man in 18:35-43 also pictures what Jesus does for Zacchaeus in 19:1-10. Jesus is the physician who comes to heal the sick (5:31-32). Eventually the ministry of Jesus will bring total restoration and release to the creation (Rom 8:18-39; Rev 21--22), but in the meantime, deliverance means release into forgiveness and relationship with God.
Jesus' statement that he liberates the oppressed makes it clear that he is more than a prophet; he effects salvation. The allusion here is to Isaiah 58:6. Isaiah 58 calls on Israel to respond to God by fasting with a life of ethical honor to God (esp. 58:13-14). The prophet rebukes the nation for having failed to live up to the call of its sabbath worship. What Jesus promises here is a release that will result in his providing what the nation had failed to provide. In fact, many of the sabbath controversies in Luke have to do with Jesus' providing such release despite complaints about the sabbath timing of his healings. But Jesus replies that no time is more appropriate than the sabbath for such healings (and what they picture; 13:16).
This is why Jesus has come to proclaim the year of the Lord's favor. Here the allusion is to the jubilee, the year of cancellation of debts (Lev 25:8-17; Sloan 1977:39-41). What happened in that year, when debts were canceled and slaves were freed, pictures what Jesus brings for those who respond to his message of hope. Jesus builds on the picture of Isaiah's ministry, which also proclaimed such hope, and notes that what the prophet had proclaimed Jesus is fulfilling.
In sum, Jesus makes three points: (1) Jesus is anointed with the Spirit. (2) He is the prophet of fulfillment who declares good news. This office is what theologians have called "the eschatological prophet" or "the prophet like Moses," because Jesus proclaims the arrival of a new era of salvation, functioning as a prophet-leader. (3) Jesus is the one who brings release as well as the one who proclaims it. He is Messiah. This final idea helps to explain the blind man's insight into what he has been hearing about Jesus when in 18:35-43 he calls out to the Son of David for healing. The Son of David brings not only a future rule but also present release from sin and a reversal of the effects of Satan's presence in the world (11:14-23). In short, this is the beginning of the fulfillment of God's promise, and Jesus is the source of that fulfillment.
Jesus' claim that "today this scripture is fulfilled in your hearing" places both listeners and readers in the position of having to make a choice. No fence-sitting is possible. Jesus' teaching is not some ethical instruction detached from his person. He is the promise of God. Either he brings God's promise or he does not.
The crowd does reflect on the claim; they are amazed and perplexed simultaneously. They spoke well of him and were amazed at the gracious words that came from his lips. They recognized a persuasive speaker in their midst, but his pedigree gave them pause. Isn't this Joseph's son? How could he be the promised one of God? Knowing their thoughts, Jesus responds. In the Gospels, when someone thinks and then Jesus speaks, his words usually carry rebuke (7:39, 49-50; 11:38-39).
Jesus replies in three ways. First, he cites a proverb that indicates they want him to prove it. "Show me" is their basic response to his claim. Yet after the evidence is produced, there will still be doubt. Miracles, as powerful a testimony as they are to Jesus, in the end never convince one who does not want to come to God (16:31). People must be willing to hear the Word of God and receive it before they will see anything as God's work.
Second, Jesus quotes the proverb that a prophet is not honored in his home. This remark reveals Jesus' understanding of Old Testament history. He knows how repeatedly God's messengers were rejected. This theme will also surface continually in Luke (11:49-52; 13:32-35; 20:10-12: Acts 7:51-53). God's message is often met with rejection. The proverb also serves as a prediction that for many in Israel Jesus' ministry will fit into this tragic mold.
Third, Jesus recalls the history of Israel in the period of Elijah and Elisha (1 Kings 17--18; 2 Kings 5:1-14). The history lesson is a warning. That period was a low point in the nation's life, when rejection of God was at an all-time high and idolatry and unfaithfulness ran rampant. So God moved his works of mercy outside the nation into Gentile regions, as only a widow in Sidon and Naaman the Syrian experienced God's healing. The price of rejecting God's message is severe: mercy moves on to other locales. It is quite risky to walk away from God's offer of deliverance. This exchange reveals the basic challenge of Jesus' ministry: the choice he presents carries high stakes.
The crowd does not seize the opportunity. Rather, Jesus' warning angers them. The suggestion that Gentiles might be blessed while Israel reaps nothing leaves them fuming. Such displeasure at the accountability implicit in the gospel message is echoed in Acts (7:51-59; 13:46, 50; 22:20-22). Many respond similarly today when they realize that the gospel is a matter of "take it or you will be responsible to God for the consequences."
Jesus departs, despite the crowd's efforts to seize him and remove him from the scene. People can try to turn their back on Jesus and do away with him, but he always will be sojourning in their midst.
Opportunities for God's work are also opportunities for tragedy. That is what is pictured in Jesus' synagogue visit. The promise's arrival was a great, historic moment, an occasion to enter into God's rich blessing. But blessing refused is tragic. The crowd's response is the first of many moments of opportunity lost in the Gospel. It is another step in a paradise lost. The gospel brings a choice--and choice has consequences.
These verses contain several quick snapshots of Jesus' public ministry during one day in the Capernaum region. The sequence highlights his miraculous activity, the most distinctive aspect of his ministry. Since these are the first miracles Jesus performs in Luke's Gospel, here we should stop to look at how miracles function for Jesus.
First, miracles are real events that evidence Jesus' authority. Since the Enlightenment it has been popular to question the possibility of miracles, because nature has been viewed as a closed world of cause and effect. But the most difficult miracle of all was the resurrection, yet its reality is the only way to explain how the disciples who were so distraught at the cross became bold proclaimers of Jesus' vindication after the third day. In sum, if a resurrection is possible, the other miracles are a piece of cake. Can God actively intervene in his creation? The testimony of the resurrection and the other miracles is that he can and does with sovereign exercise of his power. And Jesus' consistent exercise of such power testifies to his unique access to God. As Jesus will note, if his power is not from Satan, then it must represent the presence of the "finger of God" (11:14-23).
Second, miracles are audiovisuals of deeper realities. In other words, they are not merely events for events' sake, they picture something more important. This point can be seen in two key miracles. In 5:1-11 Jesus leads four fishermen into a great catch of fish. Yet immediately Jesus makes the point that from now on they will be fishers of persons. The miracle pictures ministry. Another example comes in 11:20, where Jesus says that if he casts out demons by the finger of God, then the kingdom of God has come upon his audience. Here he is not speaking merely about the miracle of 11:14, but about all of his activity. The miracles picture a deeper reality about Jesus' authority.
In all the debate about whether miracles are real (or even whether they still occur through spiritual gifts within the church today), we in the West have lost their pictorial value, which is their major point. Those of us who live in the industrialized, philosophically sophisticated West might profit from listening to the testimony of many in the Two-Thirds World who appreciate the symbolism that these texts contain. Numerous passages show Jesus discouraging people from focusing too much on his miraculous activity (Mt 12:39; Mk 8:12; Jn 6:26-27). Sometimes he performs a miracle and asks that it not be divulged (Lk 8:56). Why does he do this? Possibly because he knows the meaning of the miracle will be lost if people focus on the event itself. In the rush to take and experience what Jesus has to offer, people can easily forget the One all the miracles point to.
Third, miracles unveil the deep cosmic struggle between the forces of evil and Jesus. If we ask what the miracles show, it is Jesus' sweeping authority. These events, especially those involving demonic forces, reveal hand-to-hand combat (Eph 6:10-12). The miracles pull back a curtain, as it were, so we can glimpse the behind-the-scenes battle within creation.
Armed with these three observations about miracles, we can appreciate even more what Luke 4:31-44 represents. Jesus tackles demons and disease to show he possesses the key to life. That authority and exercise of cosmic power is why he can speak of his mission being about the kingdom of God in 4:43. Jesus' authority shows the presence and concern of the rule of God on behalf of those who turn to God in a time of need.
This introductory summary of Jesus' ministry begins in verses 31-32 highlighting his teaching in Capernaum--his message had authority. As Jesus teaches in a city that will become his headquarters, the masses are aware that rather than citing what the rabbis had said in the past, Jesus speaks directly about God and his will. The following verses make an additional point: there is more to Jesus' authority than his ability to preach the Word; he can show the presence of God's power.
Jesus' first miracle involves a man possessed by a demon, an evil spirit. Demons are mentioned twenty-three times in the Gospel of Luke, but most of the references (fourteen) occur between here and 9:50, in the discussion of Jesus' Galilean ministry. It is clear that the man is threatened directly by this possessive force. Some in Judaism believed that demonic control of humans would end on the Day of the Lord (1QM 1:10-14; 14:10-11; Fitzmyer 1981:545-46). Judaism taught that demonic power would be crushed in the messianic age (Testament of Zebulon 9:8; Assumption of Moses 10:1), and Jesus says as much in 7:22-23. Here is the second face-off in the battle between Jesus and the forces of evil. With Satan already defeated in the first encounter (4:1-11), his underlings are the opponents here. Both the nature of the times and the victor are revealed in the battle.
Given the descriptions of this condition in the Gospels, it seems clear that demon possession, whatever one calls it, is the direct exercise of demonic power from within a person. If something is "exorcised" or asked to depart (v. 35), then something was present that needed removal. Mark 5:1-20 indicates how such possession can become very self-destructive. The New Testament suggests that one can distinguish between possession and sickness (Mt 4:24; Lk 4:40-41; 7:21; 9:1; 13:32), yet some overlap in terms of external manifestations can exist (Lk 8:29; 9:39; 11:14; 13:11, 16). By appearances, then, it can be hard to distinguish certain kinds of sickness from possession. Possession tends to manifest itself in very erratic behavior or physical impairment (Mk 5:1-20; Lk 8:29; 9:39, 42; 11:14; 13:10-17). The concept of possession itself (or, better perhaps, having an unclean demonic spirit, as the Greek of v. 33 puts it) indicates that the destructive and hostile force in control of the person lies inside the person and takes control of him or her from within.
Another way the New Testament lifts the veil on spiritual forces is through the dialogue that accompanies miracles. In this first miracle in Luke, the demon asks whether Jesus of Nazareth has come to destroy us. Who is meant here--all demons, or the demon's complete influence over the man so the two are tied together? If it is the former, then the point is Jesus' authority over all evil spirits, a significant admission early in Jesus' ministry. If it is the demon's strong connection to the man, then the demon thinks Jesus cannot destroy him without destroying the human he possesses. In effect, the remark, though it is posed as a question, poses a challenge. Given the note in the next verse about the man emerging from the exorcism unharmed, the latter sense seems slightly better here: the demon does not think he can be challenged without the man's being harmed as well.
But why does the demon name Jesus and call him the Holy One of God? Possibly the naming of Jesus is an attempt to gain the advantage by uttering his true name in the midst of the approaching supernatural confrontation. On a literary level, the naming serves to make clear who the combatants are--an interesting recognition by the forces opposed to Jesus that he is on the side of God. The naming makes it obvious that a battle of cosmic proportions is under way. Though it is hard to be certain about the demon's motive in naming Jesus, his remark serves to identify the significance of the battle. Jesus meets the challenge and removes the presence and power of evil on the man without destroying the man himself. What a picture of Jesus' power!
So the confession by the demon is very important. Jesus is the Holy One of God. In the Old Testament, this title or one similar to it was given to Aaron (Ps 106:16), Samson (Judg 13:7) and Elisha (2 Kings 4:9). In the context of Luke's story we know that Jesus is holy because of his regal authority (1:31-35), a point reinforced in 4:41, when the Son is called the Christ. As James 2:19 suggests, demons have knowledge about God but fail to respond to that knowledge. Here is a case of evil having great angst in the presence of active righteousness. Evil cannot stand up to righteousness when righteousness takes a firm stand. Any victory it may appear to have is fleeting.
Jesus rebukes the spirit and prevails. The term used here may well reflect Semitic terms for calling evil into submission (Fitzmyer 1981:546). In addition, Jesus silences the demonic spirit. Why does he do so? Does he want to avoid any suggestion that he is a revolutionary against Rome (Stein 1992:163)? Does he simply want his works to speak for themselves (7:18-23)? Were only certain types of proclamation appropriate for Messiah? So Longenecker (1970:71-74), who notes similar hesitations in the claims of the Qumran Teacher of Righteousness and Simeon ben Kosebah suggesting a Jewish expectation on this question.
Of all the options, the most likely is that Judaism taught that Messiah should only engage in certain types of self-proclamation. Perhaps also there is concern that the title Messiah would be understood with too political a force (Stein's view noted above). More than one reason may lie behind Jesus' command.
Regardless of the exact reason, Jesus' authority prevails, even though the demon tries to injure the man upon departing by throwing him down (Mk 1:26 mentions convulsions).
The story of this healing closes as the crowd asks, "What is this teaching?" In their amazement they recognize that something very unusual has occurred. They see that Jesus approaches evil forces with authority and power. A hierarchy of power is being displayed--what could it mean, and where does such power come from? Luke leaves the miracle as an event to ponder. The demon's confession suggests the answer, as do subsequent events: this Jesus is the Holy One of God, and his power exceeds that of the forces of evil. Needless to say, news of the event spreads far and wide.
Jesus' power over evil is not limited to spiritual forces. His healing of Peter's mother-in-law shows his authority over disease, and thus by implication his authority over life. The story is told simply. Jesus merely rebuked the fever--a verb that almost personifies the illness. Luke's unique use of the phrase he rebuked (epetimesen) parallels verses 35 and 41, linking the events of the day around the theme of Jesus' power (both verses use the same Greek verb). Immediately the woman's health returns. Again, Jesus' actions reveal special authority.
As the sabbath passes, Jesus continues to heal. People with all sorts of maladies show up. Both sick and possessed come. The healings described earlier are not one-time coincidences. Jesus possesses the power to heal consistently. Note that the order in verses 40-41 (healing, then exorcism) reverses the order of verses 31-39. The pairing shows how Luke wishes Jesus' ministry to be seen. It is a ministry of mercy to those in need, fighting to overcome evil with compassion. Jesus' compassion is pictured by his laying on of hands. In his touch are power and presence. People flock to him because they sense that compassionate element in his work. By the way Jesus reaches out to them, they know he cares.
The exorcised demons recognize his authority. They confess Jesus to be the Son of God. Luke explains that this means they knew he was the Christ. Only Luke makes this comment. Jesus' regal, anointed authority extends to overcoming the forces of evil.
When at the break of day Jesus departs, the crowd follows and tries to keep him in Capernaum. Yet again Jesus speaks of his mission: "I must preach the good news of the kingdom of God to the other towns." This is why Jesus has been sent. The content of this kingdom message is seen in what Luke has already supplied (4:16-30): Jesus fulfills the promise. When John the Baptist raises the question again later, Jesus' answer points to such fulfillment (7:18-23). Jesus does not proclaim who he is; he lets events explain who he is. For him, actions speak louder than words. He is more than an ethical instructor or a psychologist; he has power to overcome the forces of evil that plague humanity. His ministry is not designed for a little corner, but it extends far and wide to take the message out to others. So Jesus takes his message and ministry to the other synagogues of Galilee.
Previous commentary:
Galilean Ministry: The Revelation of Jesus
About this commentary:
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