<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>City ArtsCity Arts | City Arts</title>
	<atom:link href="http://cityarts.info/feed/" rel="self" type="application/rss+xml" />
	<link>http://cityarts.info</link>
	<description>New York&#039;s Review of Culture</description>
	<lastBuildDate>Sat, 18 May 2013 00:47:04 +0000</lastBuildDate>
	<language>en-US</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.5</generator>
		<item>
		<title>What Julianne Knows</title>
		<link>http://cityarts.info/2013/05/17/what-julianne-knows/</link>
		<comments>http://cityarts.info/2013/05/17/what-julianne-knows/#comments</comments>
		<pubDate>Fri, 17 May 2013 16:12:05 +0000</pubDate>
		<dc:creator>Armond White</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Alexander Skarsgard]]></category>
		<category><![CDATA[armond white]]></category>
		<category><![CDATA[David Siegel]]></category>
		<category><![CDATA[Joanna Vanderham]]></category>
		<category><![CDATA[Julianne Moore]]></category>
		<category><![CDATA[merchant-ivory]]></category>
		<category><![CDATA[Onata Aprile]]></category>
		<category><![CDATA[Scott McGehee]]></category>
		<category><![CDATA[Steve Coogan]]></category>
		<category><![CDATA[Terrence Malick]]></category>
		<category><![CDATA[Vanessa Redgrave]]></category>
		<category><![CDATA[Vittorio DeScia]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=9358</guid>
		<description><![CDATA[How an actress&#8217; indie career takes a Jamesian path Julianne Moore has unintentionally foundered her acting career in insufferable films like Savage Beauty, HBO&#8217;s Game Change, The Kids Are Alright, Crazy Stupid Love, Chloe, Blindness, Children of Men, I&#8217;m Not There, Freedomland, Hannibal, The Hours&#8211;why go further? It&#8217;s been a long time since Moore challenged Meryl Streep for versatility and showed even better taste (in An Ideal Husband, Cookie&#8217;s Fortune, The Big Lebowski, Short Cuts, Vanya on 42nd Street, The End of the Affair, A Single Man, The Myth of Fingerprints, The Lost World). This list of business shows her dedication; the bad films were not bad because of her acting, just her judgment in choosing unreliable directors. (You know who they are.) Moore&#8217;s gambling has caused her to lose pace with her talented rivals, the lucky Streep and the even luckier Tilda Swinton. It&#8217;s a struggle for Moore to regain her old promise but it flickers in What Maisie Knew. The ambitious-but-unreliable directing team Scott McGehee and David Siegel have made a not-bad modern-day adaptation of Henry James 1897 novel about the spiritual effects of divorce on the girl child who is witness to her parents&#8217; sparring. Moore portrays the mother [...]]]></description>
		<wfw:commentRss>http://cityarts.info/2013/05/17/what-julianne-knows/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Play Thing</title>
		<link>http://cityarts.info/2013/05/17/the-play-thing/</link>
		<comments>http://cityarts.info/2013/05/17/the-play-thing/#comments</comments>
		<pubDate>Fri, 17 May 2013 15:53:09 +0000</pubDate>
		<dc:creator>Gregory Solman</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Craig Zisk]]></category>
		<category><![CDATA[Dan Chariton]]></category>
		<category><![CDATA[Gregory Solman]]></category>
		<category><![CDATA[Julianne Moore]]></category>
		<category><![CDATA[Michael Angarano]]></category>
		<category><![CDATA[Nathan Lane]]></category>
		<category><![CDATA[Stacy Chriton]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=9356</guid>
		<description><![CDATA[Theater imitates television in The English Teacher As the most aggrieved writer in modern movies, Michael Angarano recovers from the novel-stealing trauma of Gentlemen Broncos for a return bout against the play-bowdlerizers of The English Teacher, a high-school comedy with only a little more edge than an after-school special, but some admirable trouping by the leads and in the wings. Jason Sherwood (Angarano) has failed NYU’s writing program and returned to his Pennsylvania home town to lick his wounds and sponge off his exasperated father, Tom (Greg Kinnear), a doctor and divorcee. Jason startles his former high school English teacher Linda Sinclair (Julianne Moore), prompting pepper spray followed by an effusive apology and a fateful ride home. Linda has seemingly graded (and typically failed) her last unsatisfactory dates. She’s reached the dreaded point of the wrinkled upper lip that no makeup can hide, outdated glasses, and desperate workouts, starting to settle in to a spinster’s life with a Victorian narrator in her head (a voice literalized in a too conventional framing device). She responds to Jason’s resignation to failure with self-esteem boosting, offering to critique then begging to mount his rejected play, to which writers Dan Chariton and Stacy Chariton [...]]]></description>
		<wfw:commentRss>http://cityarts.info/2013/05/17/the-play-thing/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Mumblehattan</title>
		<link>http://cityarts.info/2013/05/15/mumblehattan/</link>
		<comments>http://cityarts.info/2013/05/15/mumblehattan/#comments</comments>
		<pubDate>Wed, 15 May 2013 11:38:36 +0000</pubDate>
		<dc:creator>Armond White</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[agnes varda]]></category>
		<category><![CDATA[Anna Karina]]></category>
		<category><![CDATA[armond white]]></category>
		<category><![CDATA[Greta Gerwig]]></category>
		<category><![CDATA[Jean-Luc Godard]]></category>
		<category><![CDATA[Mickey Sumner]]></category>
		<category><![CDATA[Noah Baumbach]]></category>
		<category><![CDATA[Peter Bogdanovich]]></category>
		<category><![CDATA[Sting]]></category>
		<category><![CDATA[White Stillman]]></category>
		<category><![CDATA[Woody Allen]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=9354</guid>
		<description><![CDATA[Decoding Noah Baumbach’s Frances Ha Frances Ha runs a very long 84 minutes. It offers an obnoxiously self-satisfied portrait of a young white New Yorker&#8211;played by Greta Gerwig&#8211;running out her parent’s stipend, roommating with other New York hipsters, sometimes skipping the pond to Paris, all the time pursuing her goal to be a professional dancer, even though she demonstrates no aptitude for it. You gotta love her, is writer-director Noah Baumbach’s biased position. Frances Ha is Baumbach’s love letter to Gerwig, his current paramour (she was the ingenue in his film Greenberg who replaces Jennifer Jason Leigh in the protagonist’s affections). Yet Baumbach is the one American filmmaker with the least aptitude for showing love on screen after William Friedkin—yet Friedkin has skills in the opposite direction. Once again aping the self-absorption made fashionable (though never popular) by the Mumblecore indie film movement of young hipsters, Baumbach’s title refers to Andrew Bujalski’s early Mumblecore release Funny Ha Ha. Baumbach uses Gerwig, that movement’s female icon, to express his own confusion of artistic-pursuit with social-climbing&#8211;which here comes off as ambivalent misogyny. Probably because Baumbach never examines his own hatefulness, he expects others to view it affectionately. The embarrassing spectacle of Frances/Gerwig [...]]]></description>
		<wfw:commentRss>http://cityarts.info/2013/05/15/mumblehattan/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Kitaj Under Cover</title>
		<link>http://cityarts.info/2013/05/15/kitaj-under-cover/</link>
		<comments>http://cityarts.info/2013/05/15/kitaj-under-cover/#comments</comments>
		<pubDate>Wed, 15 May 2013 11:25:34 +0000</pubDate>
		<dc:creator>Melissa Stern</dc:creator>
				<category><![CDATA[Museums]]></category>
		<category><![CDATA[Visual Art]]></category>
		<category><![CDATA[David Hockney]]></category>
		<category><![CDATA[Melissa Stern]]></category>
		<category><![CDATA[R.B.Kitaj]]></category>
		<category><![CDATA[Richard Hamilton]]></category>
		<category><![CDATA[W.B. Yeats]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=9352</guid>
		<description><![CDATA[New exhibit judges an artist by his books When I visit someone’s home I am drawn inevitably towards their bookshelf. You can always learn something about a person by the books they read. The idea of creating a portrait through books, or to be precise, through the covers of books that someone has read is the central conceit behind the seminal project by R.B. Kitaj entitled, “In Our Time: Covers for a Small Library After the Life for the Most Part.” It is a portfolio of 50 screen-prints produced in 1969, 33 of which are currently on display in “R.B. Kitaj: Personl Library”at The Jewish Museum. Kitaj was an artist full of big ideas. He was an early British pop artist, working at the same time as David Hockney and Richard Hamilton. While Kitaj was primarily a figurative artist this specific project would later be seen as a sort of bridge from the 60’s into the era of 70’s conceptual art. While often sensual and emotional, Kitaj’s work was always overflowing with intellectual questions and riddles. The notion that a person is the sum total of the books they’ve read, the information they’ve taken in, and by extension the choices they’ve [...]]]></description>
		<wfw:commentRss>http://cityarts.info/2013/05/15/kitaj-under-cover/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Knee Deep in 20/20 Experiences</title>
		<link>http://cityarts.info/2013/05/15/knee-deep-in-2020-experiences/</link>
		<comments>http://cityarts.info/2013/05/15/knee-deep-in-2020-experiences/#comments</comments>
		<pubDate>Wed, 15 May 2013 11:10:33 +0000</pubDate>
		<dc:creator>Ben Kessler</dc:creator>
				<category><![CDATA[Jazz, Popular and Other]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Al Green]]></category>
		<category><![CDATA[ben kessler]]></category>
		<category><![CDATA[Justin Timberlake]]></category>
		<category><![CDATA[Taylor Swift]]></category>
		<category><![CDATA[Timbaland]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=9349</guid>
		<description><![CDATA[Timberlake defines himself and today’s pop Justin Timberlake’s enduring commercial, critical, and street-level success can perhaps best be explained with an insight from Sigmund Freud: There is no “negative” in the unconscious. Ironically, though, in our messed-up culture JT’s shameless lack of negativity must be defined negatively. In other words, JT demands to be known by what he blessedly is NOT. Ever since his emergence as a solo artist with Justified (2002), JT’s charisma has made for great showbiz by dramatizing the impact of black pop culture on the mainstream. At the beginning of his solo career, he certainly benefited from opposition to Eminem’s purely negative co-optation of hiphop. JT’s new album The 20/20 Experience corrects our current view of pop culture by reversing negative trends, including those advanced by less imaginative artists aping his success. Take Taylor Swift’s recent hit “I Knew You Were Trouble.” Swift’s succession of singles supposedly inspired by high-profile breakups follows the JT template that won him success with the kiss-off tracks “Cry Me a River” (2002) and “What Goes Around…Comes Around” (2007). But Swift’s song’s breakup is both romantic and musical: She parts ways with the country-western milieu “Trouble” was clearly meant for and [...]]]></description>
		<wfw:commentRss>http://cityarts.info/2013/05/15/knee-deep-in-2020-experiences/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>From Zoom to Whoosh</title>
		<link>http://cityarts.info/2013/05/10/from-zoom-to-whoosh/</link>
		<comments>http://cityarts.info/2013/05/10/from-zoom-to-whoosh/#comments</comments>
		<pubDate>Fri, 10 May 2013 14:18:04 +0000</pubDate>
		<dc:creator>Armond White</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[armond white]]></category>
		<category><![CDATA[Baz Luhrmann]]></category>
		<category><![CDATA[carey mulligan]]></category>
		<category><![CDATA[F. Scott Fitzgerald]]></category>
		<category><![CDATA[Joel Edgerton]]></category>
		<category><![CDATA[leonardo dicaprio]]></category>
		<category><![CDATA[Peter Jackson]]></category>
		<category><![CDATA[Tobey Maguire]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=9345</guid>
		<description><![CDATA[Baz Luhrmann’s attention-deficit Gatsby is not Great The ad campaign for Baz Luhrmann’s The Great Gatsby is pretty snazzy, the movie itself is a mess. The poster’s anachronistic Art Deco silver-gold letters on a black grid evoke the chrome of shiny old Dusenbergs plus the velvet casing of jewelry boxes. It’s about luxury and that’s what the media response (foregrounding Luhrmann’s $125 million budget and hyping Jay-Z’s irritating hip-hop music score) respects above movie content. When we talk about this Great Gatsby, the event and advertising hype are more meaningful than the film. It signifies a transfer in cinema’s cultural impact from narrative enjoyment to the transient processes of commercialism. Interest in this film derives from political and cultural forces exemplified by advertising, not F. Scott Fitzgerald’s 1925 novel which romanticized working class 1920s bootlegger Jay Gatsby (played by an aged, agitated Leonardo DiCaprio) whose social-climbing obsession centers on Daisy (Carey &#8220;Cry-baby&#8221; Mulligan), the flame of his youth now married to rich, bigoted lout Tom Buchanan  (Joel Edgerton, cartooned). Fitzgerald’s tale here loses its trenchant all-American subject. Luhrmann trades the story of Gatsby’s personal striving for another pointless exercise in excessive computer-generated gimmickry and pop-culture hodge-podge. Media shills, ignorant of film [...]]]></description>
		<wfw:commentRss>http://cityarts.info/2013/05/10/from-zoom-to-whoosh/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Recall and Response</title>
		<link>http://cityarts.info/2013/05/07/recall-and-response/</link>
		<comments>http://cityarts.info/2013/05/07/recall-and-response/#comments</comments>
		<pubDate>Wed, 08 May 2013 02:59:01 +0000</pubDate>
		<dc:creator>Armond White</dc:creator>
				<category><![CDATA[Theater]]></category>
		<category><![CDATA[armond white]]></category>
		<category><![CDATA[Cicely Tyson]]></category>
		<category><![CDATA[Cuba Gooding]]></category>
		<category><![CDATA[Geraldine Page]]></category>
		<category><![CDATA[Horton Foote]]></category>
		<category><![CDATA[Jean Genet]]></category>
		<category><![CDATA[Jeff Cowie]]></category>
		<category><![CDATA[Jr.]]></category>
		<category><![CDATA[Lillian Gish]]></category>
		<category><![CDATA[Peter Bogdanovich]]></category>
		<category><![CDATA[Rui Rita]]></category>
		<category><![CDATA[Vanessa Williams]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=9343</guid>
		<description><![CDATA[Cicely Tyson brings realness to The Trip to Bountiful Broadway’s new Black (or non-traditional cast) production of The Trip to Bountiful comes alive when Cicely Tyson as Carrie Watts, an elderly Texas widow longing to return to her titular hometown, stands up and sings a church hymn in a desolate bus station. It is the chestnut “Blessed Assurance” and as Tyson prances and sings, the audience spontaneously joined in. Was it a response to the actress and her legacy of cultural landmarks (Sounder, Roots, The Autobiography of Miss Jane Pittman, East Side/West Side) or gospel’s call-and-response tradition that veteran Black performers and audiences bring to Broadway? It was a surprising&#8211;and unexpectedly satisfying&#8211;moment; unscripted by playwright Horton Foote whose synthetic Southern doggerel treats the human condition like bolts of preprinted fabric. Familiar ideas about family, aging and the passing of time are cut and stitched into ready-made, second-hand drama&#8211;the half-tragic equivalent to a sit-com. But there’s Tyson as Carrie Watts, the role that originated by Lillian Gish and that won Geraldine Page an Oscar. This occasion forces one to realize the paucity of roles for older actresses (Tyson is 80), especially Black actresses. Tyson seizes the vehicle to communicate her principled [...]]]></description>
		<wfw:commentRss>http://cityarts.info/2013/05/07/recall-and-response/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Suspending Reality</title>
		<link>http://cityarts.info/2013/05/07/suspending-reality/</link>
		<comments>http://cityarts.info/2013/05/07/suspending-reality/#comments</comments>
		<pubDate>Wed, 08 May 2013 02:50:42 +0000</pubDate>
		<dc:creator>Elena Oumano</dc:creator>
				<category><![CDATA[Galleries/Gallery Beat]]></category>
		<category><![CDATA[Visual Art]]></category>
		<category><![CDATA[Dara Young]]></category>
		<category><![CDATA[elena oumano]]></category>
		<category><![CDATA[Harlan Berger]]></category>
		<category><![CDATA[Peter Ruprecht]]></category>
		<category><![CDATA[Yarrow Mazzetti]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=9341</guid>
		<description><![CDATA[Burning Man collaborative art comes to Wan-Der-Lust The six artists behind “Wan-Der-Lust,” a month-long (now through May 15) mixed-media pop-up exhibit on the ground floor of 72 Wooster Street, announces its mission in a black painted scrawl over the entrance: “Wanderlust is about the primal impulse for exploration. The work assembled expresses a freedom pulsing through the body blood. The collective narrative in this exhibition is informed by journeys unknown; inspired by the moment.  The work is meant to inspire a state of constant flow and transformation. Through these works on paper, canvas, photography, sculpture and furniture, we express the human craving for discovery. Welcome to Wanderlust. We invite you to suspend in your reality.” Since art of necessity involves exploration, transformation, and discovery, perhaps more to the point is photographer Peter Ruprecht’s observation that this show embodies the “Burning Man ethos of collaboration brought into the real world.” Photographers Reka Nyari and Ruprecht; artists Jody Levy and Arten Mirolevich; sculptors/furniture makers Dara Young and Yarrow Mazzetti; along with Harlan Berger of Centaur Properties, the developer hosting “Wan-Der-Lust” before 72 Wooster is sold, met at Burning Man and formed a camp that creates art alongside others as part of the [...]]]></description>
		<wfw:commentRss>http://cityarts.info/2013/05/07/suspending-reality/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Michael Bay’s Hype Machine</title>
		<link>http://cityarts.info/2013/05/03/michael-bays-hype-machine/</link>
		<comments>http://cityarts.info/2013/05/03/michael-bays-hype-machine/#comments</comments>
		<pubDate>Fri, 03 May 2013 20:53:34 +0000</pubDate>
		<dc:creator>Armond White</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Adian Lyne]]></category>
		<category><![CDATA[Anthony Mackie]]></category>
		<category><![CDATA[armond white]]></category>
		<category><![CDATA[Dwayne Johnson]]></category>
		<category><![CDATA[Ed Harris]]></category>
		<category><![CDATA[Mark Wahlberg]]></category>
		<category><![CDATA[Michael Bay]]></category>
		<category><![CDATA[Michelangelo Antonioni]]></category>
		<category><![CDATA[oliver stone]]></category>
		<category><![CDATA[ridley scott]]></category>
		<category><![CDATA[Todd Solondz]]></category>
		<category><![CDATA[Tolny Scott]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=9339</guid>
		<description><![CDATA[How Pain &#38; Gain pumps up the American psyche Michael Bay sees like an ad-man gone wild— glorifying everything&#8211;a vision that corresponds to the age’s consumerist sensibility: greed and the need for speed. In Pain &#38; Gain this style—and it is a genuine style, not fake flashiness like Trance or Side Effects—expresses the lusty and acquisitive desires of its lead characters, gym rats and thieves Daniel Lugo (Mark Wahlberg), Paul (Dwayne Johnson) and Adrian (Anthony Mackie) and their coarse, avaricious kidnap victim Victor Kershaw (Tony Shaloub). The trio of this gorilla-muscled caper comedy plots to take the tough-conniving immigrant Kershaw’s wealth. Even the late-arriving law-bringer, private detective Ed DuBois (Ed Harris), is served by Bay’s visually extravagant view of peaceful American luxe; retiree DuBois inhabits the dream despoiled by restlessness and selfishness. Bay’s signature trope—an up-tilted 360-degree pan—provides the kinetic equivalent of traveling up (never down) the grooves of a screw. His swerve hyperbolizes upward mobility, all-American aspiration. Such shots let Bay study his subjects while also exalting them, catching the self-infatuated ambition of Daniel and crew, Miami’s Sun Gym Gang. “I believe in fitness.” Daniel says, his faith in physicality comes from a real-life 1995 kidnap scheme involving a [...]]]></description>
		<wfw:commentRss>http://cityarts.info/2013/05/03/michael-bays-hype-machine/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Consciousness Without Conscience </title>
		<link>http://cityarts.info/2013/05/03/consciousness-without-conscience%e2%80%af/</link>
		<comments>http://cityarts.info/2013/05/03/consciousness-without-conscience%e2%80%af/#comments</comments>
		<pubDate>Fri, 03 May 2013 15:23:05 +0000</pubDate>
		<dc:creator>Gregory Solman</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[Eric Gautier]]></category>
		<category><![CDATA[Gregory Solman]]></category>
		<category><![CDATA[Olivier Assayas]]></category>
		<category><![CDATA[Simon Ley]]></category>

		<guid isPermaLink="false">http://cityarts.info/?p=9336</guid>
		<description><![CDATA[Olivier Assayas looks back without anger  If Something in the Air is not a personal recollection of filmmaker Olivier Assayas’ odyssey through a revolting Europe, the evocative imagery and the least cliché period soundtrack in movie history—the sangfroid specificity of it all—makes for a convincing, if rather distant Portrait of the Artist as a Young Man. Assayas would have been about 16 years old in 1971, when his sponsored character Gilles (Clément Métayer) indifferently receives Pascal pensées pitting nothingness against the infinite (“between us and heaven and hell there is only life, the most frail thing in the world”) by day, and participates in the street antics of a French high-school protest movement by night. With all but one of their parents as conspicuously absent as in Peanuts comics, Gilles and his fellow travelers have been drafted by May ’68 hangovers, Le Secours Rouge, intent on radicalizing (and using) youth attracted to the sex, drugs and wild life, mimicking American hippies and rationalizing the supercilious Marxist pose. After escaping the charge of riot police on motorbikes against body-armored provocateurs —a scene at once modern and atavistic Romanesque—the teens settle for school graffiti and pamphleteering, then graduate to Molotov cocktails and [...]]]></description>
		<wfw:commentRss>http://cityarts.info/2013/05/03/consciousness-without-conscience%e2%80%af/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>

<!-- Performance optimized by W3 Total Cache. Learn more: http://www.w3-edge.com/wordpress-plugins/

Page Caching using disk: basic
Database Caching 2/5 queries in 0.028 seconds using disk: basic
Object Caching 954/957 objects using disk: basic

Served from: cityarts.info @ 2013-05-21 04:01:07 -->