July 06, 2014 | Permalink
Above: Sascha Radetsky
UPDATE: Sascha's farewell curtain call is now on YouTube, but there was another five minutes of applause and more bows after the clip ends.
Thursday July 3rd, 2014 - I met Sascha Radetsky in 2011 when my friend Kokyat and I covered a rehearsal of a duet entitled LIFT, choreographed by Edwaard Liang, in which Sascha was dancing with Sonja Kostitch; the piece was shown ten days later at the annual Dancers Responding to AIDS gala. Sascha was so friendly and gracious after the rehearsal: I'll always remember the conversation we had that afternoon, and the feeling of having met a dancer whose heart was as big as his talent.
When the casting for the current ABT season came out, "COPPELIA Reyes/Radetsky" immediately caught my eye: thinking that - both as indivduals and as a couple - Xiomara and Sascha would be ideal in this ballet, I circled the date (my birthday) in red. I knew I would be there tonight, long before it became known that this would be Sascha's farewell.
The music of COPPELIA holds a special place in my heart: it's the only ballet I ever danced in, and whenever I hear themes from this melodically rich Delibes score, I'm carried back to that long-lost Summer of 1974 which I spent on Cape Cod with my first male lover, working for an amateur ballet company. Who would have thought that - 40 years on - I'd be immersed in the New York City dance scene and be able to count a number of the most prominent dancers and choreographes of the day among my friends?
ABT's candy box settings frame this sweet ballet well enough; they've been in use for years but there's really no reason to scrap them for something different. A few traces of end-of-season fatigue from the orchestra scarcely mattered, and the Company looked to be in fine shape, giving an extra dose of vitality to their dancing in honor of Mr. Radestsky who is obviously a much-loved and admired colleague.
Alexei Agoudine was a lively Dr. Coppelius, with a number of pratfalls. This production puts the Czardas in Act III (I'm used to seeing it in Act I); it was led with authority by Christine Schevchenko and Blaine Hoven. The Mazurka, right where it should be, featured Adrienne Schulte squired by Sascha Radetsky, with Ms. Schevchenko and Mr. Hoven joining in the lively dance.
In the Act III solos Dawn and Prayer, the costuming was a distraction: nothing kills a ballerina's line like an Empire waistline. Nevertheless, Devon Teuscher danced very attractively as Dawn and Luciana Paris rendered the celestial music of Prayer with beautiful phrasing and presence.
Above: Xiomara Reyes
Whilst recalling such iconic Swanhildas as Gelsey Kirkland and Patricia McBride, I'm happy to say that Xiomara Reyes was well nigh perfect in the role. Petite and saucy in her lovely opening waltz, the ballerina showed both her temper and her romantic inclinations in developing a wonderful chemistry with her leading man. After neatly dispatching the thespian demands of Act II, Ms. Reyes went on to some truly impressive dancing in the final act, with a luscious set of fouettés in the coda of the wedding pas de deux.
There can't be a more natural balletic actor than Sascha Radetsky; he simply inhabited the role of Franz from the moment he walked onstage (to a wave of applause from the crowd). As the boy who wears his heart on both sleeves - one for his Swanhilda and one for the distracting doll on the toyshop balcony - Sascha endeared himself to the audience in his portrayal of Franz's charming dilemma. Charismatic but free of vanity, Sascha's performance was a natural meshing of dancer and role. Cutting loose with some virtuoso pyrotechnics in the Act III variation and coda, Sascha's dancing took flight, buoyed by the admiring bravos of the audience.
The ovation at the end was as expected: loud and long: it seemed that neither the audience nor his colleagues wanted to let Sascha go. Loved seeing Maria Kowroski, Wendy Whelan, Joaquin de Luz, Gillian Murphy and Ethan Stiefel all joining in the celebration; and Sascha's wife, Stella Abrera (in a knockout black frock) elicited whoops of delight from the crowd when she appeared onstage to present her husband with a bouquet and a kiss. Even after many bows and much cheering - with the bow lights off, the curtain firmly closed and the house lights blazing - the fans continued yelling "Sascha! Sascha!" until finally the danseur came out alone one last time, receiving the acclaim with his dazzling smile.
The Next Phase: Sascha, who became widely known outside the immediate sphere of classical ballet when he appeared in the 2000 film CENTER STAGE, returns to acting in the in-production Starz TV series FLESH AND BONE which is currently filming in Brooklyn and scheduled to premiere in 2015. Something tells me he'll be dancing a few combinations along the way.
July 04, 2014 | Permalink
Above: Joshua Beamish and Wendy Whelan rehearsing for RESTLESS CREATURE; photo by Christopher Duggan. Click on the image to enlarge.
Tuesday July 1st, 2014 - RESTLESS CREATURE, Wendy Whelan's programme of four duets danced by the ballerina with four prominent choreographers as her partners, prepares for its London launch (on July 22nd, 2014). Details here. The production travels to the Vail International Dance Festival (August 6th, 2014); further details of the American tour will be forthcoming.
This evening at Manhattan Movement and Arts Center, I had my first sampling of RESTLESS CREATURE (aside from some lovely video clips) as Wendy and Josh Beamish worked in the studio on the duet that Josh has created for them. They are in the detailing phase of the process, and they have a perfect rapport. Another Josh - Josh D Green of Stephen Petronio's troupe - was also in the studio today, shadowing Mr. Beamish and trying out some of the partnering with Wendy.
A well-crafted musical collage accompanies the dancing. The choreography has the trademark Josh Beamish qualities - a persuasive mixture of stylization and lyrisicm - in which the vocabulary of classical ballet is spoken with a contemporary accent. Stately, intimate, witty and tender by turns, the duet - with solo passages for each dancer woven in - ends with an elegant waltz.
As everyone who reads my blog knows, Wendy Whelan is at the epicenter of my dance world; her dancing inspires and delights me. And if I am feeling blue, just thinking of her performances or of some of the funny and lovely little encounters we have had over the past several seasons makes me smile. I feel so fortunate that her career and my time following dance have intersected so perfectly. Watching her today, I felt my heart skip a beat...yet again.
Before heading to London for RESTLESS CREATURE Wendy Whelan is scheduled to appear with New York City Ballet during their season at the Saratoga Performing Arts Center (July 8th - 12th, 2014) dancing Robbins' GLASS PIECES and two Christopher Wheeldon duets: AFTER THE RAIN and THIS BITTER EARTH.
July 02, 2014 | Permalink
Above: Dancer Elizabeth Brown rehearsing for New Chamber Ballet in January 2014, shortly before she was injured. Photo by Amber Neff.
*****Update: SUCCESS!!! Elizabeth Brown has reached her goal in her Indiegogo campaign to raise money to help with the the costs of her post-injury medical treatment and to offset the loss of wages during her recovery period. Thanks to all who contributed!*****
I became familiar with Elizabeth Brown's dancing through her work with Miro Magloire's New Chamber Ballet. Strong in both technique and musicality, Elizabeth stands out among the vast array of New York City-based dancers for her unique personality and her ability to colour her dancing with a range of hues that other dancers might find elusive. Both in performance and rehearsal, I have always been drawn to her distinctive qualities.
Above: rehearsing while on tour in Germany; photo by Itsaso Garcia Arcos
Earlier this season, Miro conveyed to me the news that Elizabeth had sustained a serious injury while taking class. The immediate upshot was that she missed the impending New Chamber Ballet performances, and - as she is a founding member of the troupe - it was quite unusual not to see her in the familiar setting of the City Center Studios.
Just recently I ran into Elizabeth at Miro's season finale performances (almost not recognizing her with her new hairstyle) and she told me she'd been writing about the experience of being injured. I asked if she would be willing to share her story with readers of my blog and she agreed, and also sent me some photos to accompany her narrative:
"Five months ago this week, I fell in a dance class at Steps and tore the Lisfranc ligament in my left foot.
In March, I had a metal plate and one long screw put in my midfoot to stabilize the bones while the soft tissue healed.
(Post-procedure photo by Elizabeth's husband, David Hudec)
That hardware was then removed in early June. I have been thinking a lot about my experience as an injured dancer and what it means to become suddenly immobilized. I have never had something so all-encompassing happen to me before. I cried and cried at the surgeon's office when he told me I had no choice but to have surgery. I was terrified of what the future might hold. I had already been on crutches for one month at that point and would have another two months to go. Everything I did on crutches was inherently dangerous which made me incredibly protective of my foot. For three months, I as trapped inside my apartment, unless someone was there to help me navigate the stairs. Consequently, I had to take that time off from teaching Pilates and missed the rest of the season with New Chamber Ballet.
(After the second surgery)
During this time, people often asked me if I had caught up on a lot of reading. In truth, it was actually quite difficult for me to concentrate on much of anything other than getting around my house and resting. I spent much of those early months in a constant state of worry and depression. At first I thought I would read and stretch and do all the other things I never seemed to have time for, but when it came down to it, I didn't want to do anything. Then I felt guilty for not being productive enough. I don't know if dancers are just predisposed to being self-critical or if they learn to be that way from the very nature of their work, but I had found a way even in injury to be hard on myself. I suppose it's a difficult habit for me to break. Eventually, I tried to let myself off the hook and just allow myself to do the things I felt like doing, even if that meant nothing. I did a lot of nothing. I thought a lot of thoughts. I questioned everything. I avoided things. Was I avoiding certain things because I was not actually interested in them?
And what about the hardship I had imposed on my husband, Dave? While crutches are an amazing invention and gave me what little mobility I had, they can be a huge nuisance. Even in our small Brooklyn apartment, it was a pain to go from room to room. And don't forget that I was no longer capable of carrying anything. Want a glass of water or a snack and you are home alone? Be prepared to get creative. That alone put a huge amount of stress on Dave. He had to cook and clean and work forty hours a week. I am tremendously grateful for the amazing support Dave has shown me; I know that we are doing this, not just me.
As the worry and self-doubt piled on, I began to question my entire dance career. Did my years dancing in a small company and taking my favorite ballet class even count as being a "real" dancer? Taking three months off of work, not to mention the bi-monthly X-rays I needed, put all of our goals on hold. It would have been easier if I had a big contract and a big stage to dance on. I seriously considered just quitting. What does it mean to have this kind of injury at thirty-two, as a freelancer? I am so proud of my work, but unfortunately, the reality in New York is that dance does not pay my bills. Some people would say it is time to settle down and make a living. I tried to not let these questions consume me--I can't say I was always successful.
Slowly, I began to accept my predicament. I grew accustomed to my own vulnerability. I learned to be patient. I taught myself to knit and became a bit temporarily obsessed--I would knit for eight hours straight. It helped take my mind off things and it was refreshing to learn and create again. It was fulfilling to hold my creations in my hand and to use them and wear them--you cannot hold your dance career in your hand. As I began to relax, I finally had time to process my thoughts and feelings. I didn't realize how difficult it was for me to relax until I was forced to do so. I had a very hard time with this, yet I wanted to give myself over to the experience. Some say, an injury can be a gift, a time of reflection and growth. Perhaps this is true. However, an injured person--believe me when I tell you this--is not necessarily capable of this depth of enlightened thought; there was much darkness and doubt. I realized that before the injury I would use my busy schedule as an excuse to be curt or unfair. It was a way to cut corners and avoid uncomfortable aspects of my life. It's hard to hide from yourself when your day consists of lying around knitting or watching television alone.
(On the road to recovery)
Time slowly passed, my friends came to visit, and my spirits began to lift. Eventually, I graduated to wearing a walking-boot and was able to start putting a bit of weight on my foot. I was liberated! Being able to leave the house on my own, to simply go down the street was brilliant. I began working again at the Pilates studio two days a week. I started slow and things went well. I was feeling more like myself again. After a month of gingerly getting around my neighborhood I was able to be more physical and could manage the train in and out of the city. Eventually, the NCB director, Miro Magloire, invited me to help as another set of eyes in rehearsal and the resident choreographer, Constantine Baecher, asked me to help revive a work that I had originated with him. It was such a joy to be back in the studio, this time assisting, again finding new ways to create. In a way, I had never felt more a part of the company. I was thankful and proud that Miro and Constantine were so positive in wanting me there. Their support helped me reconnect with the company and to the dancing that I sorely missed.
As I write this, I am wearing two sneakers for the first time since January. I don't think I can fully describe how strange it is to be walking on two feet unassisted. My left foot feels weak and thin from atrophy. It's as if the bones of my left foot are closer to the floor than those of my right foot, which in turn gives me the sense that my left leg is longer, or has more weight on it, than my right leg. My foot is still quite stiff, so I am forced to take short steps, but I love having my two feet back! This newest progression keeps me motivated and hopeful. This entire injury saga has changed me throughout. I am now eager to put the rest of the pieces together."
July 01, 2014 | Permalink
Above: Pacific Northwest Ballet principal Seth Orza and New York City Ballet principal ballerina Maria Kowroski performing Balanchine's APOLLO with Tom Gold Dance on their June 2014 tour to Bulgaria; photo by Ani Collier.
Tom Gold has sent me some of Ani Collier's photos from his Company's recent performances at Sofia, Bulgaria:
Seth Orza in APOLLO
Maria Kowroski in Robbins' CONCERTINO
New York City Ballet's Daniel Applebaum and Savannah Lowery in Twyla Tharp's JUNK DUET
The ensemble in Tom Gold's LA PLAGE
Pacific Northwest Ballet principal ballerina Carla Korbes with New York City Ballet's Andrew Scordato and Devin Alberda in LA PLAGE
Carla Kotrbes and Seth Orza in Tom Gold's GERSHWIN PRELUDES
While in Sofia with Tom's troupe, our beloved Maria Kowroski was the subject of a photoshoot.
In the week leading up to the tour, photographer Nir Arieli and I had stopped in at one of Tom's rehearsals: read about it here.
June 30, 2014 | Permalink
Above: Michael Tomlinson, Caroline Kehoe, and Shiho Tanaka of Jennifer Muller/The Works in a Carol Rosegg photo from Jennifer Muller's jazzy dancework WHEW!
Click on each image to enlarge.
WHEW! had its world premiere performances recently at New York Live Arts on a programme shared by three choreographers: Jennifer Muller, Jacqulyn Buglisi, and Elisa Monte. Read about the performance here.
Seiko Fujita (foreground), Michael Tomlinson (background)
June 29, 2014 | Permalink
Friday June 27th, 2014 - Boston Ballet have been celebrating their 50th season with performances at Lincoln Center this week. Tonight's programme looked so tantalizing on paper, and it turned out to be a magnificent evening overall: Vaslav Nijinsky's Afternoon of a Faun, George Balanchine's Symphony in Three Movements, Jorma Elo's Plan to B and Jiří Kylián's Bella Figura were all superbly danced by the Boston troupe.
When visiting companies bring Balanchine to New York, I sometimes wonder if it's a good idea. Can't you bring us something we don't see all the time? But understandably, other companies are proud of their Balanchine and want to show off their abilities. Boston Ballet did a great job with The Master's Symphony in Three Movements, even bringing their own orchestra to play the score. And Boston Ballet has strong Balanchine ties: he became Artistic Advisor to the Company in 1963, gifting them with more than seventeen of his ballets as a gesture of support.
Curtain up, and I immediately found Shelby Elsbree in the diagonal. The ballet surges forward, with delightful performances by Misa Kuranaga and Jeffrey Curio - the high-bouncing couple - and Rie Ichikawa and Bradley Schlagheck. In the ballet's central pas de deux, Lia Curio and Lasha Khozashvili excelled. The audience, fortified by a contigent of Bostonians, gave liberal and much-deserved applause to the dancers.
Boston Ballet had brought their production of Vaslav Nijinsky's Afternoon of a Faun to Fall for Dance in 2009 and I was mesmerized by it. Seeing the Leon Bakst backdrop and costumes again this evening provided a tangible link to the history of ballet and to that scandalous night over a century ago when Faun set Paris on its collective ear. Tonight, Altan Dugaraa embodied the exotic beauty of the Faun, his mystique and his longings, and Erica Cornejo was the Nymph, miming with stylized perfection. So grateful to have had another opportunity to see this production.
In 2006, I experienced Jorma Elo's work for the first time at the New York City Ballet's premiere of Slice to Sharp. Slice received the longest ovation of any new work I've encountered at the ballet over the years: endless curtain calls and a state of euphoria among the crowd. Boston Ballet's performance of Mr. Elo's Plan to B had something of the same a dynamic pungency about it. Illuminated by a large glowing screen stage right, six dancers reveled in fantastical choreographic patterns, flinging themselves into off-kilter leaps and flying across the stage, arms whirling like windmills in a tornado. Dusty Button, Whitney Jensen, Bo Busby, Jeffrey Cirio, John Law, and Sabi Varga danced thrillingly and were deservedly cheered for their jaw-dropping virtuosity.
Alas, I am afraid Jiří Kylián's Bella Figura was not really to my liking. Returning from the intermission, we find the dancers already onstage...warming up? Or is it a choreographed passage to start the ballet? Either way, it's pretentious. Purgatorial and several minutes too long, the Bella Figura seemed to be more about the staging than anything else: black curtains endlessly re-arranged, a complex lighting scheme, flaming braziers bringing a taste of Hell to the stage, dancers coming and going almost randomly. The dancing was of course remarkable, and there are some very attractive passages, most especially when the topless dancers in long red skirts dance in unison. But it seemed to go on and on.
June 28, 2014 | Permalink
Thursday June 26th, 2014 - Cherylyn Lavagnino Dance presenting a programme entitled Darkness, Shadows, Silence as part of the Danspace Project at St. Mark's Church. It was rather stuffy inside the church on this summer evening, but the music and the dancing soon took my mind off any such concerns.
Tonight's first ballet is perhaps my favorite of Cherylyn's works that I have experienced to date: TRYPTYCH is set to music by Francois Couperin and danced in bare feet. It opens with Claire Westby, invoking the dance from the mezzanine above. The four couples enter and commence a series of ensemble dances meshed with fleeting solo, duet or trio passages, the women wearing soft grey frocks and the men clad in simple dark costumes. Some of the phrases for the four women draw to mind the sisterly ensembles of Isadora Duncan. TRYPTYCH is spiritual though not heavy-handed: ritualistic yet human.
I very much enjoyed the expressive interaction between Cherylyn's beautiful dancers in this work: Giorgia Bovo, Selina Chau, Giovanna Gamna and Christine Luciano seemed deeply immersed in the music, and their partners - Michael D Gonzalez, Elliot Hammans, Travis Magee and Adrian Silver - came and went with a sense of quiet urgency. The ballet seems to draw to a lovely closing, but there is a pendant still to come.
Scott Killian's score for the final movement of TRYPTYCH alludes to Couperin yet is distinctly contemporary. An excellent duet for two men - Travis Magee and Elliot Hammans - gives way to another duet danced by Selina Chau (now on pointe) and Adrian Silver. The work ends with Ms. Westby in a benedictive phrase. This appended final movement at first seems somewhat unrelated to what's gone on before, but Ms. Lavagnino and her dancers draw it convincingly full-circle in the end.
Two movements of Cherylyn Lavagnino's Schubert ballet TREIZE EN JEU were presented: this is a ballet for large ensemble wherein the dancers from TRYPTYCH are joined by Kristen Stevens, Eliza Sherlock-Lewis, Lila Simmons, and Justin Faircloth. Set to Schubert's E-flat major trio, opus 929, the work displays the choreographer's sense of structure, with a particularly memorable 'pacing' motif at the opening of the second movement as two phalanxes of dancers approach from opposite sides of the stage. Once again the individual personalities of the dancers played a vital element in the success of the piece. My only reservation was that the women's costumes seemed too sporty and contemporary for the musical atmosphere: I would have addded long, gossamer black skirts.
Back in April, I visited Cherylyn's studio where the works presented this evening were in rehearsal. And in the ensuing weeks I have read Kim Thúy's novel, RU, from which Cherylyn's newest work draws its inspiration. RU is a contemporary-style ballet set to a commissioned score by Scott Killian.
The novel by Kim Thúy, which describes a young woman’s life as a post-Vietnam War political refugee, revolves around cultural dislocation and the struggle for identity. T’ai Chi's passive resistance serves as gestural influence for the choreographer, and Christopher Metzger's costumes for the women are reminiscent of the traditional Vietnamese áo dài dress: they are clad in white, with red accents indicating the bloodshed of war.
Ms. Thúy's novel is more like a book of poetry: each page contains only a few sentences (or, at most, a few paragraphs) describing in no specific order the details of escape from Asia to Canada, the cultural shock of this transplantation, and the writer's emeging personality as a wife and mother. The choreography moves the female ensemble across a darkening landscape, suggesting their furtive escape from war and the formation of new bonds as their former lives are left behind. The men, bare-chested, can seem threatening or protective by turns.
In RU, Cherylyn Lavagnino and Scott Killian have summoned up the atmosphere of the novelist's poetic vignettes yet the ballet also takes a wider view of displaced peoples, their exposure to abuse and treachery, and their assimilation into new cultures. I look forward to seeing this piece again in the future.
June 27, 2014 | Permalink
Wednesday June 25th, 2014 - The New York Philharmonic presenting the final programme of their 2013-2014 subscription season at Avery Fisher Hall; over the past two weeks, the orchestra have offered the first four Beethven piano concertos with Alan Gilbert on the podium and Yefim Bronfman at the Steinway. Tonight Mr. Bronfman played the 5th ('Emperor') concerto as the concert's finale; earlier in the evening, he was joined for the Triple Concerto by the Philharmonic's soon-to-retire concertmaster Glenn Dicterow, and the principal cellist Carter Brey join Mr. Bronfman. This same programme will be repeated on June 26th, 27th, and 28th, the final evening marking Glenn Dicterow's farewell performance with the Philharmonic.
The Triple Concerto (1804) opens with a traditional Allegro in which the solo voices are introduced one by one: the cello, then the violin, and finally the piano. In the Largo which follows (and is rather short), the concerto finds its heart with a melody, introduced by the cello, which displays the expressive richness that characterize the greatest passages of Beethoven's works. Without pause, the final Rondo alla Polacca commences; again the insistently repeated phrases of the cello are prominent. This rondo features joyful themes seemingly inspired by Polish folk music, with lively shifts from major to minor.
The performance, though thoroughly enjoyable, somehow never really developed a rapport between the three solo players, mainly due to the fact that Mr. Bronfman, of necessity, had his back to his string-playing collegues. Mssers. Dicterow and Brey were able to communicate directly with one another, whilst Mr. Bronfman was left in his own (beautiful) world.
Following the intermission, Yefim Bronfman's playing of the 'Emperor' concerto this evening was a superb finale to this NY Philharmonic Beethoven Concerto Festival. This majestic work was given a vibrant performance by the pianist and the artists of the Philharmonic, all wonderfully woven together by Maestro Gilbert's baton.
By this Saturday, Mr. Bronfman will have played on thirteen evenings over a three week period: an exhausting schedule, yet the pianist's playing seemed awesomely fresh and vital tonight, with his uncanny mastery of dymanics always giving a shimmer to the sound. For all his technical brilliance, Bronfman's playing also has a noble, heartfelt quality that makes his playing so deeply satisfying. The waves of applause that have engulfed him at each of these concerts have been very moving to experience. And it's to our good fortune that he will be back at Avery Fisher Hall in late October 2014 playing the Bartok 3rd with Alan Gilbert on the podium. The dates are already on my calendar.
June 26, 2014 | Permalink
Maggie Shipstead's ballet-based novel ASTONISH ME draws its title from something Serge Diaghilev reportedly used to say to his dancers: ""Etonnez-moi!" The novel will make a good Summer read for balletomanes who will likely enjoy getting to know book's characters who are based (loosely or otherwise) on Gelsey Kirkland, Mikhail Baryshnikov, Natalia Makarova, George Balanchine and Suzanne Farrell, among others.
In the novel, a young American ballerina named Joan is rather mysteriously tapped to assist the great Russian dancer Arslan Rusakov in defecting to the West in 1975. A romance between the two follows, but Arslan eventually ends up with Ludmilla, his Russian lover who has also defected. Joan gives up her dancing career and settles into a solid but conventional marriage. But as her son Harry grows up, he displays a remarkable natural affinity for ballet and he plunges headlong into that world, meeting and being mentored by his idol, Arslan Rusakov.
The novel is at its most convincing when dealing with the world of ballet and with the devotion, disappointments, amours, addictions and quirks of the various dancers who people the story. Chapters dealing with Joan's life away from ballet are a bit tedious, but as Harry's career seems poised to take off, she is drawn back into the center of things. What might be considered the 'big revelation' of the story will in fact be rather obvious to alert readers way before it occurs to the characters involved.
One interesting aspect of the story is that the 'Balanchine' character, here called "Mr. K", succumbs to AIDS.
The ending of the novel is somewhat under-mined by the convention of having the various interactions of the characters and the inter-twinings of their lives danced out in a ballet; I kept wishing that Shipstead could have found a more vivid way of drawing the threads of the story together, providing us with a less predictable denouement.
Despite some reservations, the book is very well-written and definitely worth checking out.
June 25, 2014 | Permalink