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Artsakh War
Armenians in Calcutta (Kolkata) India celebrating Christmas.
KOLKATA: The Armenian population in Kolkata, numbering about 300 (those who are baptised), celebrated Christmas on Friday.
Unlike other Christians, the Orthodox Armenian Church doesn't celebrate Christmas on December 25. Armenians say that nobody is certain of the exact date of Christ's birth and they prefer to celebrate an Advent Period instead, which culminates in Christmas on January 6. The celebrations started with mass at the Armenian Church of the Holy Nazareth.
"Our mass is slightly different. During the service, the priest has his back turned towards the congregation. He does so as the 'body and blood' of Christ are kept in the Tabernacle on the altar and the priest can't turn his back on God. During service, the crucifix is brought down and used to bless a baptismal font full of water. This is used as holy water throughout the year. The water is also blessed with holy oil. This is the same oil that St Gregory used when he took Christianity to Armenia. The same ingredients have been used to make the oil for over 2,000 years now," said Anthony Khatchaturian, a member of the community.
The priest neither touches the Bible directly (it is wrapped in silk cloth) nor does he read from it. He sings praises unto The Lord instead. The service is always in Armenian.
According to Khatchaturian, the church at Armenian Street was originally named Nazar's Armenian Church after founder Aga Nazar. Over the years, it came to be called the Armenian Church of the Holy Nazareth.
After service, the Armenians got together for Christmas lunch. Over the years, the community in Kolkata has adopted the Anglo-Indian cuisine as most ingredients used in Armenia aren't available here. "One of Bengal's favourite dishes 'Potoler Dorma' has its origins in Armenia. We call it 'Dolma' and use grape leaf to wrap the mincemeat instead," Khatchaturian said.
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Armenian Diaspora
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Entrepreneur, Web Developer, SEO, and Internet Marketing expert. Social Media Manager, Founder of Aypoupen Armenian Website 2013-to date. Founder of Hostitue Marketing Agency Cyprus 2015-to date. Spoken languages: Armenian, English, Arabic, Turkish, Greek, French.
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Shawano Optimist Bike Rodeo
125 Kids participated in the event on Saturday May 11th at Zion Lutheran Church on South Union Street in Shawano.
Special Thanks to all the Optimist Volunteers, plus special appearances by Shawano Fire Department
Shawano Police Department
Shawano Ambulance
Shawano Police Department Licensing Staff
You guys are great!!!!
Shawano Optimists Install New Officers; Present Annual Awards
The Shawano Optimist Club recently celebrated its 42nd anniversary, holding its annual installation and awards banquet, during which officers and directors for the coming year were installed and special awards presented. Jim Liesner, who has served as a board member and vice president in charge of fund raising, and has participated in nearly every club project and fund raiser, was named Optimist of the Year. And for his continued efforts on behalf of the club, including serving as club newsletter editor, Ryan Alexander received a life membership in Optimist International.
Outgoing President Gary Cumberland thanked the club members for their support during his presidency this past year. "It was a great year," Cumberland said. "We had a record year for fund raising, which will enable us to continue our efforts to support our community's youth as well as many worthwhile organizations."
Officers and directors installed by WINUM District Governor Jodi Arriola, were: President-Dan Mauel; Vice President (fund-raising)-Jim Leisner; Vice President (events)-Diane Lohff; Secretary-Dawn Clark; Treasurer-Dawn Knope; Immediate Past President-Gary Cumberland; and directors, Ryan Koenig, Lorine Raddant, Michael Johnston, Brian Morstad, Jennifer Schroeder and Robyn Shingler.
Arriola urged the Shawano Optimists to make it their goal to be an Honor Club and work to get more new members. "The WINUM district is very proud of what you do for the youth of the Shawano community," she said.
Honored for perfect attendance at club meetings and events during the 2017-2018 Optimist year were: Jim Leuenberger-41 years; Jim Black-20 years; Gail Moesch-19 years; Barb Schmid-18 years; Ron Schmalz-16 years; Steve Peterson – 15 years; Ryan Alexander-11 years; Doug Erdman-10 years; Diane Lohff- 9 years; Kay Bloomer and Gary Cumberland-7 years; Dawn Knope-5 years; Lorine Raddant-3 years; Bob Hannes, Greg Parker, and Dan Mauel, – 2 years, and Dawn Clark, Michael Johnston and Jim Liesner – 1 year..
Incoming President Dan Mauel said "It's a great honor to have been selected to serve as your president for the coming year. The Optimist theme for this year is 'Promise Yourself'. I hope all of you will promise yourself to try and make a difference in the life of at least one person in the coming year.
"As far as goals for the coming year, I hope we can achieve Honor Club status," Mauel said. "If we do, it will mean we are adhering to the goals set by Optimist International. I would also like to see an increase in members and have members become more active at club meetings and service projects. And finally I plan to have us review all our activities to make sure they are meeting our goal of serving our area's youth."
The Shawano Optimist Club has been serving the Shawano area since 1976. Annual youth projects include a bike rodeo, Christmas movies for kids, Respect for Law activities, boys' and girls' basketball tournaments, the Mountain Bay Run, a Rose Day fund raiser, a Scholastic Awards Banquet, which has been recognized by Optimist International as one of the top service projects in the nation, as well as basketball and football skills competitions. The funds the Shawano Optimists raise each year are all returned to the Shawano community to support youth activities and more than 30 different organizations.
For information on becoming a member of the Shawano Optimist Club, contact President Dan Mauel, any Shawano Optimist Club member or click the link below.
Member Interest
Farmers Market Appearance–June 29th and July 27th
Tri Star Football–TBA
Optimist Information
Optimist News
Respect For Law
Club News/Notes:
The Shawano Optimist Club has been serving the Shawano area since 1976. Annual youth projects include a bike rodeo, Christmas movies for kids, Respect for Law activities, boys' and girls' basketball tournaments, the Mountain Bay Run, a Rose Day fund raiser, a Scholastic Awards Banquet, which has been recognized by Optimist International as one of the top service projects in the nation, as well as basketball and football skills competitions. The funds the Shawano Optimists raise each year are all returned to the Shawano community to support more than 30 different organizations.
For information on becoming a member of the Shawano Optimist Club, contact President Dan Mauel or any Optimist Club member.
© 2014 - Shawano Optimist Club


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Jo Litson: Scene and Heard
Articles and reviews about the performing arts in Sydney – and occasionally beyond.
Tag Archives: Marcus Graham
Posted on July 3, 2014 by jolitson
Belvoir St Theatre, July 2
Oscar Redding and Ash Flanders. Photo: Ellis Parrinder
At the end of Belvoir's new production of Henrik Ibsen's Hedda Gabler you come out thinking why? Why to many things in the production, but most particularly why cast a man in the title role?
Written in 1890, Hedda Gabler is one of the great dramatic female roles. There are few enough of them to begin with. What's more, she is a strong woman feeling so trapped by a repressive, male-dominated society and unfulfilled marriage that she eventually finds herself in a situation where she believes the only escape is suicide.
A production needs to offer a fresh, compelling insight to justify casting a man in the role – and we don't get that here.
Naturally, there has been a huge amount of interest and coverage around the decision by director Adena Jacobs to cast Ash Flanders as Hedda. Flanders is a co-founder of Melbourne's queer indie theatre group Sisters Grimm, which has gone from cult following to a mainstream presence.
I saw Flanders play a glamorous, alcoholic housewife in Little Mercy, Sisters Grimm's send-up of the "evil child" movies. He did it brilliantly. His performance was poised, very funny and believable within the camp, spoofy world they set up.
However, take him out of that world where he has so much flair and he doesn't look quite so convincing – not on the basis of the choices made in this production anyway.
In interviews, Jacobs has said that casting Flanders "frames the crisis of Hedda Gabler as one of identity, and the problems of difference, rather than solely one woman's drama."
Flanders has said he's "playing Hedda as written, as a person first, then as a woman and below that is the male actor. Adena has been saying you will forget that you are watching a man but at the same time there are moments that we can bring that to the forefront and it becomes something different altogether, hopefully something that is post-gender. Because I think Hedda is almost beyond gender, she is almost a mythical creature."
With his own hair and a little make-up Flanders (who spends much of the production in a swimsuit) looks somewhat androgynous but you never forget that he is a man. There are a couple of moments when he briefly dons a long wig only to quickly toss it aside again. There are titters in the audience at the mention of a possible pregnancy.
At one point he stands naked. It's a somewhat confusing image given the flat male chest but female genitalia ('tuck job' presumably) leading you to question exactly who he/she is supposed to be. Jacobs presumably presents this image of Hedda as both man and woman to underline the universal nature nature of her situation – as one of difference rather than solely a woman's dilemma, as she articulated – but that sense of universality didn't resonate for me in the production.
Clearly there's no point in Flanders playing a woman so convincingly that we think he is one. You might as well cast a woman. But his performance doesn't transcend the novelty of the casting or lend any fresh insight to the play.
His Hedda moves and speaks at one pace. She is forever observing or talking with a quiet, cold detachment, while posing languidly. Instead of the mass of paradoxes and emotional complexity usually associated with her, his Hedda feels flat and one-dimensional. Even when she plays with the pistol or guns down people in a violent video game, it's done without any display of emotion. We never see any vulnerability, she just comes across as icily manipulative. Hedda may be bored, but she shouldn't be boring and she comes perilously close to that here. It's hard to see quite why all the men around her are in her thrall.
What's more, there is precious little chemistry or tension between Flanders and any of the other actors – all of whom seem to be wrestling with characters that feel underwritten in Jacobs' adaptation.
Marcus Graham is the most compelling as Judge Brack, played here as a suave, louche playboy, while Tim Walter's Tesman is a bland, ineffectual, anxious figure. Oscar Redding fires things up briefly as Lovborg, and Anna Houston as Thea Elvstead and Lynette Curran as Aunt Julie bring some warmth to the production. But none of the cast seems really comfortable and you don't feel anything for any of them.
Ash Flanders, Lynette Curran and Branden Christine. Photo: Ellis Parrinder
Jacobs's decision to set the production in a contemporary world is a bit hit and miss.
Entering the theatre there is a strong sense of déjà vu. The set (by Dayna Morrissey) features the interior of a spanking new, soulless house at the back of the stage. Seen through sliding glass doors, it's reminiscent of Ralph Myers's set for Benedict Andrews's The Seagull (along with any number of other glass boxes seen on Sydney stages in recent years). In front of the house is a small swimming pool. A large, flash, vintage car sits to one side of the stage, which inevitably brings Belvoir's 2012 Death of a Salesman to mind.
There are sound issues whenever the actors are inside the house or in the car, with their amplified voices sounding muffled. In the car, it's actually hard to understand some of what is said.
The production starts slowly in silence. A television inside the house shows a film featuring a wedding. (Hedda and Tesman are, of course, just back from their honeymoon). Hedda gazes from the window blankly then lies by the side of the pool with headphones on. The maid (Branden Christine) smokes a cigarette behind the car. Tesman arrives home sweating after a run. Not a word is spoken. It sets up the boredom of Hedda's life – but from there you expect things to start to flare and they don't.
Jacobs's adaptation, which runs 90 minutes without interval, uses a lively contemporary idiom while sticking pretty faithfully to Ibsen's plot (though the script has been ruthlessly pruned). By updating it, however, there are various paradoxes. In a world with television and smart phones wouldn't Lovborg write his precious book on a computer rather than by hand?
So many things like this become distractions, from Hedda's bare bottom beneath a short fur jacket to the maid taking a dip in the pool. Would Hedda really have let her maid do that without asking? And how come when Hedda locks Thea in the car, she's desperate to get out but apparently sleeps through a vital conversation not long after being shut in?
The fact that you sit there asking yourself such questions when you should be immersed in the drama is indicative of how little the production engages. It's a disappointing experience that seemed to promise so much, for whatever the success, or otherwise, of the gender politics at play, the production falls flat as a piece of drama.
Hedda Gabler is at Belvoir St Theatre until August 3
Posted in Theatre	| Tagged Adena Jacobs, Anna Houston, Ash Flanders, Belvoir, Branden Christine, Dayna Morrissey, Henrik Ibsen, Lynette Curran, Marcus Graham, Oscar Redding, Sisters Grimm, Tim Walter	| Leave a reply
Posted on March 15, 2014 by jolitson
Drama Theatre, Sydney Opera House, February 21
Marcus Graham and Alan Dukes. Photo: Brett Boardman
Waves of laughter swept through the opening night audience at Sydney Theatre Company's riotously funny production of Noises Off.
Michael Frayn's 1982 comic masterpiece is a mind-bogglingly clever feat of construction. Add to that Julie Lynch's gloriously OTT, psychedelic 70s costumes (which drew applause of their own) and some superb comic performances, and you have a night of laugh-out-loud mayhem.
The farce-within-a farce (which comes with a very funny program-within-a-program) follows a third-rate company of actors as they tour the English provinces with a lame bedroom farce called Nothing On.
Frayn has peopled Noises Off with a rum bunch. There's the show's backer Dotty Otley (Genevieve Lemon), a one-time "name" who is playing the housekeeper Mrs Clackett and having an affair with Nothing On's temperamental leading man, the younger Garry Lejeune (Josh McConville); the somewhat vacant Brooke Ashton (Ash Ricardo), a blonde bombshell who keeps losing her contact lenses and who is having a fling with the philandering director Lloyd Dallas (Marcus Graham); Belinda Blair (Tracy Mann) who tries to keep things on an even keel but loves a good gossip; an elderly dipsomaniac (Ron Haddrick); and the morose, anxious Frederick Fellowes (Alan Dukes) who needs to be given acting motivations for every move his character makes.
Getting/keeping the show on the road are the timid but conscientious assistant stage manager Poppy Norton-Taylor (Danielle King) who is also involved with the director Lloyd, and the sleep-deprived stage manager/general dog's body Tim Allgood (Lindsay Farris).
Over the course of three acts, we watch the same section of Nothing On as the production gradually disintegrates.
In Act I we see the disastrous dress rehearsal. Act II takes place at a matinee a month later when things are beginning to go wrong – the twist being that it's shown from backstage. Act III takes place at the end of the tour when hostilities between the actors are spilling onto the stage and everything that could go wrong does.
Act I feels a little slow as Frayn sets everything up but from there on the play is like a runaway train.
The unfolding chaos requires absolute precision – which it gets in Jonathan Biggins' very fine production, staged on Mark Thompson's handsome, suitably old-fashioned set complete with the requisite eight doors. The set then spins to show the Spartan backstage area.
Lynch's costumes are a delight: patchwork bell bottom jeans, patterned flares, clinging polyester shirts, frocks with bold geometric designs and platform boots among other wonderfully colourful outfits.
Josh McConville and Genevieve Lemon. Photo: Brett Boardman
Biggins' has elicited priceless comic performances across the board from his excellent cast but McConville is an absolute standout as Lejeune, his daredevil physicality drawing gasps. Lemon is also a hoot, while Graham is "faded charm" to a tee as the droll, exasperated director.
Beneath all the hilarity there is a dark sense of the absurd and the creeping terror of things spiraling beyond our control. We laugh uproariously but we can't help but feel for the characters, trapped in an existential theatrical nightmare, much of it of their own making.
Noises Off runs until April 5. Bookings: http://www.sydneytheatre.com.au or 02 9250 1777
A version of this review appeared in the Sunday Telegraph on March 2
Posted in Theatre	| Tagged Alan Dukes, Ash Ricardo, Danielle King, Genevieve Lemon, Jonathan Biggins, Josh McConville, Julie Lynch, Lindsay Farris, Marcus Graham, Mark Thompson, Michael Frayn, Ron Haddrick, Sydney Theatre Company, Tracy Mann	| Leave a reply
Posted on December 31, 2013 by jolitson
The last day of 2013 seems a good time to look back over what happened on the boards during the last 12 months. Here are some personal arts highlights from Sydney theatre predominantly: productions and people that will live on in my memory long past tonight's Sydney Harbour midnight firework display heralding a new year.
Tony Sheldon, Katrina Retallick and Matt Hetherington in Dirty Rotten Scoundrels. Photo: Kurt Sneddon
It was a pretty patchy year in musicals. My two out-and-out highlights were The Production Company's Gypsy in Melbourne and Dirty Rotten Scoundrels in Sydney.
Caroline O'Connor was phenomenal as Rose, giving us everything we'd hoped for and so much more: a stellar, unforgettable performance that was both monstrous and heartbreaking. For me, it was the musical theatre performance of the year.
Matt Hetherington was impressive as Herbie in Gypsy but really came into his own with a superb performance as the vulgar Freddy Benson in Dirty Rotten Scoundrels. Co-starring with Tony Sheldon – who made a welcome homecoming from the US as the suave Lawrence Jameson, a part tailor-made for him – Scoundrels was a delightful, perfectly cast, stylish, laugh-out-loud production. Amy Lehpamer shone as Christine Colgate and Katrina Retallick was riotously funny in a scene-stealing performance as Jolene Oakes (after another scene-stealing turn in The Addams Family earlier in the year). Scoundrels was a real feather in the cap for up-and-coming producer George Youakim. The show deserved to sell out but despite reviews your mother might write, it struggled at the box office. Instead Sydney audiences opted for the familiar, even when reviews were much less favourable.
Squabbalogic
Confirming its growing value to the Sydney musical theatre scene, indie musical theatre company Squabbalogic led by Jay James-Moody enlivened things immeasurably with terrific productions of Bloody Bloody Andrew Jackson and Carrie with Hilary Cole making an impressive debut as Carrie.
The British arena production starring Tim Minchin, Mel C and Ben Forster really rocked with Tim Minchin in commanding form as Judas – giving a superstar performance, in fact.
ELSEWHERE IN MUSICALS….
The Lion King proved just as stunning visually a second time around but the first act felt flat with the dialogue scenes slowing the action, not helped by some underpowered performances. However, Nick Afoa made a promising debut as Simba.
Premiering in Melbourne, King Kong was an ambitious production and the puppetry used to create Kong himself was breathtaking. In fact, Kong the creature was awesome, the musical's book less so. Esther Hannaford was lovely as Ann Darrow.
Lucy Maunder was the standout in Grease, owning the role of Rizzo. Her moving rendition of "There Are Worse Things I Could Do" was the emotional and musical highlight of the production.
Michael Falzon as Leo Szilard. Photo: Gez Xavier Mansfield Photograph
Michael Falzon was in superb voice as physicist Leo Szilard in new musical Atomic, giving a beautifully wrought performance. In fact, the entire ensemble was terrific. Written by Australian Danny Ginges and American Gregory Bonsignore (book and lyrics) and Australian Philip Foxman (music and lyrics), the structure of the musical could do with some honing but the show has great potential.
I also enjoyed Jaz Flowers and Bobby Fox in the 21st anniversary production of Hot Shoe Shuffle. And what a treat to be able to see Kristin Chenoweth and Idina Menzel in concert at the Sydney Opera House within 10 days of each other.
It was an impressive year in Sydney theatre both in the mainstream and independent sectors with a large number of excellent productions and performances. Never has the discussion among the Sydney Theatre Critics in the lead-up to the Sydney Theatre Awards (to be presented on January 20 at Paddington RSL) been so protracted, agonised and, at times, heated.
Among my own personal highlights were:
Waiting for Godot, Sydney Theatre Company. Directed by Andrew Upton after an injured Tamas Ascher was unable to fly to Australia, this was a mesmerising production full of tenderness, humanity, pathos and humour to match the bleakness. Richard Roxburgh, Hugo Weaving, Philip Quast and Luke Mullins were all exceptional. Wow to the power of four.
Hugo Weaving, Philip Quast, Richard Roxburgh and Luke Mullins in Waiting for Godot. Photo: Lisa Tomasetti
The Secret River, Sydney Theatre Company. Eloquently staged by director Neil Armfield, Andrew Bovell's stage adaptation of Kate Grenville's novel used both English and the Dharug language to tell the story movingly from both sides.
Rosencrantz and Guildenstern are Dead, Sydney Theatre Company. Another fabulous STC production starring Toby Schmitz and Tim Minchin, directed by Simon Phillips on a brilliant set by Gabriela Tylesova that played with optical illusion.
Angels in America, Belvoir. Staging Parts One and Two, this marvellous production directed by Eamon Flack confirmed that Tony Kushner's play is a truly sensational piece of writing that sweeps you up in its epic vision. The fine cast included Luke Mullins, Amber McMahon, Marcus Graham and Mitchell Butel – all superb. (Mullins also gave a fine performance in Kit Brookman's Small and Tired Downstairs at Belvoir. What a year he's had).
The Floating World, Griffin Theatre. A devastatingly powerful production of John Romeril's classic Australian play directed by Sam Strong. Peter Kowitz's performance left you utterly gutted. Valerie Bader was also excellent.
The Motherf**ker with the Hat, Workhorse Theatre Company. The independent scene was unusually strong in Sydney in 2013 and this was one of the real stunners. Directed by Adam Cook in the intimate space at the TAP Gallery, the tough play kept you on the edge of your seat. Troy Harrison and Zoe Trilsbach gave riveting, grittily truthful performances. If you missed it, the production has a return season at the new Eternity Playhouse in September.
Cyrano de Bergerac, Sport for Jove. Sport for Jove's outdoor Shakespeare productions are now a highlight on the Sydney theatre calendar. Damien Ryan's production of Edmond Rostand's sweeping, romantic comedy Cyrano de Bergerac was gloriously uplifting with an inspiring, verbal tornado of a performance by Yalin Ozucelik as Cyrano.
Lizzie Schebesta and Yalin Ozucelik in Cyrano de Bergerac. Photo: Seiya Taguchi
Jerusalem, New Theatre. A wonderful production of Jez Butterworth's brilliant play directed by Helen Tonkin that has justly snared a large number of nominations at the Sydney Theatre Awards.
Penelope, Siren Theatre Company. Kate Gaul directed a tough, challenging, indie production of Enda Walsh's play, set in the bottom of a drained swimming pool, which riffs on the ancient myth. Another clever use of the small TAP Gallery, here playing in traverse.
Sisters Grimm. It was great to see the acclaimed, "queer, DIY" Melbourne company in Sydney with two of their trashy, gender-bending, outrageously funny productions: Little Mercy presented by STC and Summertime in the Garden of Eden as part of Griffin Independent. A hoot, both of them. (How drop dead beautiful was Agent Cleave in Summertime in drag and beard?). Can't wait to see their production of Calpurnia Descending at STC in October.
All My Sons, Eternity Playhouse. The beautiful new Eternity Playhouse, a gorgeous 200-seat venue now home to the Darlinghurst Theatre Company, opened its doors with a fine, traditional production of All My Sons directed by Iain Sinclair with great performances all round, among them Toni Scanlan and Andrew Henry.
OTHER OUTSTANDING PERFORMANCES….
Besides those mentioned above I loved Sharon Millerchip in Bombshells at the Ensemble, Lee Jones in Frankenstein also at the Ensemble, Cate Blanchett in The Maids for STC, Paul Blackwell in Vere for STC, Ewen Leslie in Rosencrantz and Guildenstern are Dead and in Hamlet at Belvoir (where he took over from Toby Schmitz whose performance I also liked very much), John Bell as Falstaff in Bell Shakespeare's Henry 4 and Damien Ryan as Iago in Sport for Jove's Othello.
The Ring Cycle, Opera Australia. I was lucky enough to see The Ring Cycle in Melbourne. It was my first Ring and I was utterly thrilled by it. Numerous visual images will stay with me forever as will performances by Terje Stensvold, Stefan Vinke, Susan Bullock, Warwick Fyfe and Jud Arthur among others. As is his forte, director Neil Armfield brought the relationships to the fore and found enormous emotion and humanity. Conductor Pietari Inkinen, who took over at short notice, harnessed the musical forces superbly. A very special experience.
David Hansen and Celeste Lazarenko. Photo: Keith Saunders
Giasone, Pinchgut Opera. At the other end of the spectrum, small-scale, indie company Pinchgut delivered a sparkling production of Francesco Cavalli's baroque opera with countertenor David Hansen dazzling in the title role.
Cinderella, Australian Ballet. Alexei Ratmansky's beautiful, witty Cinderella was a joy with some meltingly lovely pas de deux for Cinderella and her Prince, divinely performed by Leanne Stojmenov and Daniel Gaudiello. Jerome Kaplan designed the gorgeous costumes and some clever surrealist staging effects.
VISITING PRODUCTIONS AND ARTISTS
How lucky we were to see Angela Lansbury and James Earl Jones in Driving Miss Daisy, the National Theatre's brilliantly bonkers production of One Man, Two Guvnors, Kneehigh Theatre's Brief Encounter, the Paris Opera Ballet's exquisite Giselle, Semele Walk at the Sydney Festival, which gave Handel's oratorio a wacky twist in a catwalk production with costumes by Vivienne Westwood, and firebrand soprano Simone Kermes singing with the Australian Brandenburg Orchestra.
There was much, much more. Barry Humphries' Weimar cabaret concert for the Australian Chamber Orchestra, for example. In the end, too much good stuff to mention it all.
And now, bring on 2014….
Posted in Musical Theatre, Opera, Theatre	| Tagged Agent Cleave, Alexei Ratmansky, All My Sons, Amber McMahon, Amy Lehpamer, Andrew Bovell, Andrew Henry, Andrew Upton, Angela Lansbury, Angels in America, Ash Flanders, Atomic, Australian Brandenburgh Orchestra, Australian Chamber Orchestra, Barry Humphries, Bell Shakespeare, Belvoir, Ben Forster, Bloody Bloody Andrew Jackson, Bobby Fox, Bombshells, Brief Encounter, Caroline O'Connor, Carrie, Cate Blanchett, Cinderella, Cyrano de Bergerac, Damien Ryan, Daniel Gaudiello, Danny Ginges, Darlinghurst Theatre Company, David Hansen, Dirty Rotten Scoundrels, Driving Miss Daisy, Eamon Flack, Ensemble Theatre, Esther Hannaford, Eternity Playhouse, Ewen Leslie, Frankenstein, Gabriela Tylesova, George Youakim, Giasone, Giselle, Grease, Gregory Bonsignore, Griffin Independent, Griffin Theatre Company, Gypsy, Hamlet, Helen Tonkin, Henry 4, Hilary Cole, Hot Shoe Shuffle, Hugo Weaving, Iain Sinclair, Idina Menzel, James Earl Jones, Jay James-Moody, Jaz Flowers, Jerome Kaplan, Jerusalem, Jez Butterworth, John Bell, John Romeril, Jud Arthur, Kate Gaul, Kate Grenville, Katrina Retallick, KIng Kong, Kneehigh Theatre, Kristin Chenoweth, Leanne Stojmenov, Lee Jones, Little Mercy, Lizzie Schebesta, Lucy Maunder, Luke Mullins, Marcus Graham, Matt Hetherington, Mel C, Michael Falzon, Mitchell Butel, National Theatre, Neil Armfield, New Theatre, Nick Afoa, One Man, Opera Australia, Paris Opera Ballet, Paul Blackwell, Penelope, Peter Kowitz, Philip Foxman, Philip Quast, Pietari Inkinen, Pinchgut Opera, Richard Roxburgh, Rosencrantz and Guildenstern are Dead, Sam Strong, Semele Walk, Sharon Millerchip, Simon Phillips, Simone Kermes, Siren Theatre Company, Sisters Grimm, Sport for Jove, Squabbalogic, Stefan Vinke, Summertime in the Garden of Eden, Susan Bullock, Sydney Festival, Sydney Theatre Company, TAP Gallery, Terje Stensvold, The Floating World, The Lion King, The Maids, The Motherf**ker With the Hat, The Production Company, The Ring Cycle, The Secret River, Tim Minchin, Toby Schmitz, Toni Scanlan, Tony Kushner, Tony Sheldon, Troy Harrison, Two Guvnors, Valerie Bader, Vere, Vivienne Westwood, Waiting for Godot, Warwick Fyfe, Workhorse Theatre Company, Yalin Ozucelik, Zoe Trilsbach	| Leave a reply
Angels in America review
Posted on June 13, 2013 by jolitson
Belvoir St Theatre, June 1
Luke Mullins and Paula Arundell. Photo: Heidrun Lohr
Set in the 1980s during the Reagan era and the AIDS epidemic, Tony Kushner's epic, two-part drama Angels in America was a landmark piece of theatre when it premiered in 1991.
First seen in Sydney in 1993, the social and political context has changed but the human dilemmas in the play still resonate powerfully in this very special Belvoir production directed by Eamon Flack.
Subtitled A Gay Fantasia on National Themes, Angels in America tells the cleverly meshed stories of several different characters, connected through other people that they meet either in real life or hallucinations.
In Greenwich Village, a young man called Prior Walter (Luke Mullins) has full-blown AIDS – as does Roy Cohn (Marcus Graham), the real-life, notoriously corrupt Republic lawyer. But where Prior, an ex-drag queen, is out and proud, the aggressive, tough-talking Cohn insists that he is dying of liver cancer because homosexuals have "zero clout" and he therefore cannot be one.
Unable to cope with Prior's escalating sickness, his Jewish boyfriend Louis (Mitchell Butel) leaves him, becoming involved with Joe Pitt (Ashley Zukerman), a closeted, Mormon and protégé of Cohn's with a pill-popping wife called Harper.
Angels in America is a thrillingly daring, imaginative, humanist play that combines political, social, religious and environmental themes with wonderful flights of fancy including an angel who declares Prior a prophet.
Michael Hankin has designed a stark, beige-tiled set, which works brilliantly for a play that moves between Central Park, Antarctica, Salt Lake City, hospitals and heaven among other locations.
On this open space, Flack directs a crystal clear production that flows seamlessly. He uses the space superbly and has choreographed the scene changes with economical precision. Characters in hallucinations arrive and depart with a cheek toss of glitter, while the arrival of the angel is a glorious explosion of colour and sound.
Perched on a stepladder in a slightly underwhelming costume, the first glimpse of the angel is a bit of a letdown after the Spielberg-like build-up to her revelation, but that's a minor quibble.
In every other way Mel Page's costumes, Niklas Pajanti's lighting and Alan John's music add to a superbly staged production.
The casting could hardly be better with all the actors working together as a finely tuned ensemble. Mullins gives a deeply sympathetic performance as Prior that embraces his camp wit, fear and fortitude, while his skinny physique makes the ravages of AIDS-related illnesses painfully believable. It's a performance so truthful it hurts to watch.
Graham is also superb as the demonic Cohn, conveying his physical disintegration so convincingly his face seems to become a stretched death mask.
Marcus Graham as Roy Cohn. Photo: Heidrun Lohr
Butel captures the guilt-ridden angst of Louis, whose mind and mouth are forever racing, while McMahon gives a touchingly warm, sweetly funny, poignant portrayal of Harper, whose fears about the destruction of the ozone layer and Joe's true nature/sexuality tip her into Valium-induced hallucinations.
There are also excellent performances from Zukerman as Joe, Paula Arundell as a nurse and the angel, DeObia Oparei as Belize, a black drag queen who is a friend of Prior's and a nurse caring for Cohn, and Robyn Nevin in a series of roles including a rabbi, doctor and Bolshevik as well as Joe's Mormon mother and the ghost of Ethel Rosenberg who visits Cohn.
Part 1, Millennium Approaches, runs nearly four hours but zips by. It really is a contemporary classic. Part II, Perestroika, feels a little slow to start – but that's in the writing rather than the production.
You can see both parts in one day (which I'd recommend) or separately. Either way, by the end of the seven hours of theatre (plus four intervals), you have gone on an extraordinary journey with the characters. You have laughed and cried with them, and shared their struggles, fears, anxiety, heartaches and joys.
Despite all the world problems canvassed by the play, you feel elated at the end, sharing its defiant optimism.
Belvoir St Theatre until July 14; Theatre Royal, July 18 – 28
An edited version of this review ran in the Sunday Telegraph on June 9
Posted in Theatre	| Tagged Alan John, Amber McMahon, Angels in America, Ashley Zukerman, Belvoir, DeObia Oparei, Eamon Flack, Luke Mullins, Marcus Graham, Mel Page, Michael Hankin, Mitchell Butel, Niklas Pajanti, Paula Arundell, Robyn Nevin, Tony Kushner	| Leave a reply
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Congress and the White House can seem distant from our lives and difficult to impact. How can citizens and small groups make a difference in the way business is conducted in the nation's capitol? How does the system really work and what can we do to make our voices heard?
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home » JIS News » Agriculture
Domestic Production Up 20 Per Cent for January to March
MONTEGO BAY — Preliminary figures show, more than 20 per cent increase in domestic crop production for the first quarter of 2011, over the similar period last year.
Minister of Agriculture and Fisheries, Hon. Dr. Christopher Tufton, who made the announcement at the opening of the Montpelier Agricultural and Industrial Show yesterday April 25 in St. James, said that the official data will be released in another week or two.
He said that the high production figure is indicative of the trend over the last few years.
Dr. Tufton noted that the country's farmers continue to show resilience in overcoming challenges in the sector to achieve growth in production.
He said that despite severe drought, food rains and Tropical Storm Nicole last year, "our farmers…produced the highest volume of domestic output over the last 11 years, and that is something that we have to recognise and commend them for."
"Jamaican farmers produced and produced well, not just in quantity but also in quality. The year before that (production) expanded by some 12 per cent, with more than 500,000 tons of (domestic) produce produced by our farmers across the length and breadth of Jamaica," he noted further.
By BRYAN MILLER, JIS REGIONAL OFFICE


The Institute for Security & Development Policy and the People's Liberation Army's Academy for Military Science invite you to attend the 10th Annual ISDP-AMS Conference, which this year will cover an array of topics relevant to current trends in Chinese and European security.
The PLA Academy of Military Science is a center for military studies and the premier military research organization of the PLA. AMS carries out fundamental research on military science and important issues in defense and armed forces development, drafts and modifies military doctrines, regulations and laws, and provides strategic advice and consultation for military policymakers.
Since 2008, ISDP and AMS have cooperated on various multilateral issues pertaining to defense and foreign policy. The tenth conference will revisit previous conference topics such as conflict management, joint military exercises and terrorism in a contemporary context.
Don't miss this rare opportunity to meet and interact with representatives of the Chinese military, together with European security experts.


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Rita's Italian Ice opening Saturday in Holland
Kate Carlson @SentinelKate
HOLLAND — Italian ice and frozen custard treats in signature red-and-white-striped cups will soon be seen around town when Rita's Italian Ice opens Saturday, Aug 17.
The frozen treat shop famous for its Italian ice, also known as water ice, will open Saturday in Quizno's former location at 12659 Riley St. in Riley Street Plaza. The sandwich shop closed in December 2018.
Holland resident Stefani Nieves owns the Italian ice shop with her mother, Carol Richmond, who also lives in Holland.
"It took us two years to get to this point," Nieves said. "We signed our agreement two years ago, but had a difficult time finding real estate in Holland because business is booming here, so we were really fortunate to find this space."
The Rita's franchise is based in Pennsylvania and has more than 600 locations in 30 states, and a $28 billion stake in the frozen desserts industry. The Holland location will be the second to open in Michigan, joining another Rita's in Sterling Heights.
"We wanted something that was going to be different for the area," Nieves said. "There are tons of frozen yogurt shops and tons of traditional ice cream places, so we wanted to bring a unique product to the area and we thought Italian ice was just that."
Most people in Holland "don't have a clue" what Rita's or Italian ice is, Nieves said, but there are some transplants from Maryland and Philadelphia who are "ecstatic," she said.
The Holland Rita's will be open seasonally from noon to 9 p.m. Monday through Sunday. A drive-thru will be constructed in the off-season.
"We're excited to see just who shows up and see people's reaction when they first try the product," Nieves said. "We love to see that, they're almost shocked at how good it is, so that's really fun."
The Holland location will serve alternating flavors daily of 10 Italian ices, 12 flavors of hand-scooped custard, and four flavors of frozen soft-serve custard.
Nieves and Richmond made the choice to make their store peanut-free. All of the Italian ices are made fresh daily, and most contain real fruit.
"There is not an ice cream place that I know of in the community where people can go with (peanut) allergies," Nieves said. "While we can't guarantee that everything is from a nut-free facility, we won't carry anything in store that has peanuts or nuts."
Nieves said her favorite flavor of Rita's Italian ice right now is s'mores, and her favorite hand-scooped frozen custard flavor is banana cream pie — which has frosting and bananas in it.
— Contact reporter Kate Carlson at kcarson@hollandsentinel.com and follow her on Twitter @SentinelKate and @BizHolland.


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homechevron_right News & Media chevron_right Rhenus Greater China Sets Up New Office in Xi'an
Rhenus Greater China Sets Up New Office in Xi'an
Rhenus will bring innovative solutions and leverage on its global expertise to provide comprehensive support for the customers in Northwest China.
Leading global logistics service provider Rhenus expands its network with a new branch office in Xi'an. Rhenus Greater China deepens its local presence with its first foray into Shaanxi, to strengthen direct support for the country's strategic emerging industries, while bringing its reputed international expertise and innovation to the Northwest area.
The Shaanxi province is known to be home to science-technology innovations as well as high-technology sectors. Since 2018, Xi'an has developed major industrial parks and zones focused on strategic sectors including information technology, electronics, biopharmaceuticals and automobile manufacturing.
The new Rhenus office will offer an expanded range of services, including air, ocean, rail freight and trucking. Energy solutions that include heavy lift handling and transport, rig move and field supply concepts will also be available.
"Xi'an is the heart of the ancient Silk Route and a key city in the modern Belt and Road Initiative. It is also home to numerous high-tech companies, one of our key customer groups. Having an office in Xi'an will allow us to further build on the road and rail freight connections to Europe and improve our overall service portfolio to better support our customers," said Cliff Xu, CEO of Rhenus Air & Ocean Greater China.
With 20 offices and counting, Rhenus Greater China is one of the largest networks in the Asia-Pacific region. Key focus areas include rail freight from China to Europe, cross-border road freight and warehousing solutions. For more information, visit www.rhenus.com/en/cn.
The Rhenus Group is one of the leading logistics specialists with global business operations and annual turnover amounting to EUR 5.4 billion. 33,500 employees work at 820 business sites and develop innovative solutions along the complete supply chain. Whether providing transport, warehousing, customs clearance or value-added services, the family business pools its operations in various business units where the needs of customers are the major focus at all times.
Press contact Rhenus in Asia Pacific
Asia PRWerkz
Lim Wee Ling
[email protected] +65 97 68 68 27


At any one time, the majority of older Australians are not using aged care services. For those who do, the Australian aged care system provides a range of services that support older people—and a small number of younger people with disability—in both community and residential settings.
Commonwealth Home Support Programme (CHSP)—provides entry-level support services (such as personal care, transport, and assistance with food preparation and meals) to help people stay independent and in their homes and communities for longer.
Home Care Packages Programme (Home Care)—offers packages of services at four levels of care to enable people to live at home for as long as possible, with care needs increasing with each increment of level and including clinical services.
Residential aged care—provides a range of care options and accommodation on a permanent or respite basis for people who are unable to continue living independently in their own homes.
Flexible care—in addition to the mainstream programs above, various flexible care programs are available to provide care for special groups or circumstances in mixed settings. Transition Care is the largest of these, providing support for people to return home after a hospitalisation.
The use of aged care services is often considered in terms of a progression of care—from low-level or temporary care, to high-level, permanent care—but this is not necessarily the case. People may enter at any level and their progression through the system is not always linear.
While aged care is often thought of as primarily referring to residential aged care, only a small proportion of older Australians access residential aged care in a given year, with most using community packages (such as CHSP or Home Care).
Since 2013, on behalf of the Australian Government Department of Health, the AIHW has run the National Aged Care Data Clearinghouse (NACDC)—a central, independent repository of national aged care data. The data mostly relate to government-funded aged care programs operating under the Aged Care Act 1997, with a few additions. By facilitating access to data and information for research, evaluation and analysis, the NACDC supports the development of evidence-based planning and practice in aged care. It also works to improve consistency across aged care data sets, through metadata and information management development.
Data and information on aged care in Australia, including from the NACDC, can be found on the AIHW's GEN website.


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New Zealand Fairy Bread Inspired by 'The Unlikely Escape of Uriah Heep'
Wednesday, 14 October, 2020
Food and drinks are some of the easiest ways — and the most fun— to vicariously experience another culture. When you add a great book to the mix, you've got the makings of a perfect evening. In Food+Fiction, we recommend a delicious read and a related recipe so you can try the taste of different destinations in your own kitchen.
This post is part of our Food+Fiction series.
Bring a little magic into your day with a snack that's squishy, buttery, crunchy, sweet, a bit weird, and all-together irresistible.
The food in New Zealand is a reflection of its multicultural population. There are the British-influenced dishes you'd expect from the colonial past, like fish and chips, lamb chops, and meat pies — but there's also international cuisine with an Asian influence (pad thai, chicken tikka masala, sushi), all manner of packaged candy, canned spaghetti (!), and the rainbow-hued snack called fairy bread.
But don't just take our word for it. Here's a dad from New Zealand to explain:
The wonder that is fairy bread is composed of three simple but essential ingredients: squishy white bread, softened butter, and the colored sprinkles known as hundreds and thousands in New Zealand and Australia. If you are wondering what the fuss is all about (as we did), let this Reddit comment supply the answer:
The origins of fairy bread are mired in the dark shadows of dispute. According to some food historians, the first mention of the candy-coated snack was in a write-up about children's birthday party in The Hobart Mercury newspaper in the 1920s. But another legend places in much later, in 1934, when the Sydney Morning Herald published 'A Christmas Dinner with Toddlers' and recommended parents give their kids a 'slice of fairy bread with sponge cake and the usual drink of milk.' It's also plausible that fairy bread is a variation of hagelslag from the Netherlands, which uses chocolate sprinkles instead of rainbow-colored round ones.
We, of course, prefer the literary origin story. In his 1885 anthology A Child's Garden of Verses, Robert Louis Stevenson included a poem called Fairy Bread:
Come up her, O dusty feet!
Here is fairy bread to eat.
Here in my retiring room
Children, you may dine
On the golden smell of broom
And the shade of pine;
And when you have eaten well,
Fairy stories hear and tell.
Whatever the true story might be, fairy bread is now the definitive birthday party food for kids in New Zealand.
In our recommended book The Unlikely Escape of Uriah Heep, our hero Charley has the magical ability to bring characters from books into the real world. As delightful as it might seem to take tea with David Copperfield or ask Heathcliff where he was all those years, there's also a dark side to this power.
Although the story has a shadow side, fairy bread seems like just the thing to celebrate these classic fictional characters as they emerge from the pages of their books into the city of Wellington, New Zealand.
We suggest you brew a cup of tea — or what the heck?! pour a glass of Prosecco — and whip up some fairy bread to snack on while you read this or any of the other books we recommended in our podcast episode New Zealand: Kiwis, Majestic Scenery, and Māori Mythology.
Photo courtesy of Brent Hofacker/Shutterstock
New Zealand Fairy Bread
Makes 24. Prep 10 minutes. Bake 20 minutes.
squishy white bread
butter, softened
multicolored sprinkles
A note about sprinkles: To be authentically Kiwi, you'll want to use round sprinkles like this, rather than the flat kind. But you do you!
Prep. Arrange your workspace with bread slices, sprinkles, softened butter, and a rimmed baking dish or baking sheet.
Butter it up. Spread butter on one side of each slice of bread and place it in the rimmed container.
Add the fairy dust. Coat the entire buttered side of each slice of bread with sprinkles, pressing them gently into the butter.
Make triangles. According to internet scuttlebutt, o be authentic, the bread should then be cut into triangles, preferably four. But again, you do you.
When I first came to Wellington to study law, I came because it was the cultural and creative capital of the country. It was where laws were made, and where art was made. It was where governments rose and fell in the House of Parliament named the Beehive, where lively discussions sparked over coffee in quirky cafés, where students drank to flashing strobe lights in the small hours of the morning… I was eighteen and ambitious, and I wanted to build a life in the city. I didn't need, or expect, to fall in love with it. — H.G. Parry
The Unlikely Escape of Uriah Heep
by H.G. Parry
For as long as he can remember, Charley Sutherland has had a magical ability he's tried to hide: He can bring fictional characters from books into the real world. As you might expect, this gift has unintended consequences, not least of which is the resentment harbored by Charley's beloved older brother Rob. Charley has mostly curbed his powers as an adult, until one day, a conjured character slips out of his control with unsettling and perilous results. Soon, he and the reluctantly recruited Rob learn of a Victorian-era street that exists in the shadows of Wellington, and a big, life-changing adventure ensues. {more}
This literary fantasy (464 pages) was published in July of 2019 by Redhook. The book takes you to Wellington, New Zealand. Melissa read The Unlikely Escape of Uriah Heep and loved it; it wouldn't be on our site if she didn't recommend it.
Top image courtesy of Delphine Ducaruge/Unsplash.
SSoP Podcast Episode 16 — New Zealand: Kiwis, Majestic Scenery, and Māori Mythology
New Zealand is an enchanting blend of colonial and Māori culture — against the prettiest green-and-blue backdrop of mountains and sea you could imagine. It's a place for exploration, all good vibes, and meat pies.
11 Cool Facts You Need to Know about Ngaio Marsh, the Kiwi 'Queen of Crime'
She wrote crime novels with well-drawn characters, sharp prose, and twisty plots — plus put her own spin on 'Hamlet,' drove an ambulance during WWI, and was named Dame Commander of the Order of the British Empire.
16 Instagrammers That Showcase the Stunning Nature & Māori Culture of New Zealand
Craggy mountains, bold blue water, irresistible wildlife, Māori mythology, and super-cute kiwi birds: The stunning images in these must-follow Instagram accounts showcase what makes New Zealand a magical place.
Beef-and-Cheddar Pie Inspired by 'Come on Shore and We Will Kill and Eat You All'
What's not to love about a pie that fits in your hand, is golden and flaky, and is filled with a savory meat-and-cheese filling that will power you through your day and make you as happy as a Kiwi in New Zealand?!
Sweet & Briny Shrimp Salad Inspired by the Novel 'Death By Water'
It's never smooth sailing when the Honorable Phyrne Fisher is involved — but it is always a lot of dangerous and delicious fun. Dine on this delightful shrimp salad while catching up on Phryne's high seas adventures.


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Home NEWS News Key Wisconsin Supreme Court choice could come before April
Key Wisconsin Supreme Court choice could come before April
The primary in February could settle the pivotal question of ideological balance
by Bill Lueders
Supreme Court candidates for 2023
From left: Dan Kelly and Jennifer Dorow will likely draw conservative voters, while Janet Protasiewicz and Everett Mitchell will likely attract liberal support.
The Wisconsin State Journal recently wrote that a vote to replace retiring state Sen. Alberta Darling is set for April 4, the same election "that will determine whether conservatives or liberals hold a crucial majority on the state's high court." The state Democratic Party just sent out a fundraising email in which it said "the hugely consequential Wisconsin Supreme Court election is coming up in April." And the nonprofit news outlet Wisconsin Watch has reported that "Democrats are eyeing the April 4 Wisconsin Supreme Court election as an opportunity to win a majority."
What if they're wrong? What if they're all wrong?
Not about the race being hugely consequential — the upcoming Supreme Court election will likely determine the future of reproductive rights in Wisconsin, now largely inaccessible or threatened, as well as hot-button issues regarding political gerrymandering and the rules that will govern the next presidential election. What they could be wrong about is their assertion that the central issue in this race will be decided in April.
It is entirely possible that the pivotal question of the court's future ideological balance could be settled, once and for all, in the Feb. 21 primary election, likely a low-turnout affair. For this to happen, the total number of votes cast for the two conservatives seeking election to the open seat, Dan Kelly and Jennifer Dorow, would have to be close to each other, as would the number of votes cast for the two liberals, Everett Mitchell and Janet Protasiewicz.
Kelly is a former appointed justice who was defeated in his bid for election in 2020; Dorow is a Waukesha County circuit court judge who recently gained national notice for presiding over the trial and conviction of a man who drove his vehicle into a Christmas parade last year, killing six people and wounding many others. Mitchell and Protasiewicz are circuit court judges in Dane and Milwaukee counties, respectively.
An ideologically determinant outcome, though still a longshot, would be most likely if all four announced contenders — the deadline for filing is Jan. 3, 2023 — were to garner vote totals within the same narrow range, say between 20 and 30 percent. The two candidates on each "side" would have to roughly split the votes between them. With four serious contenders, this is a serious possibility.
Here's one possible outcome: Dorow, 28 percent; Kelly, 26 percent; Mitchell, 24 percent; Protasiewicz, 22 percent. Here's another: Kelly, 30 percent; Dorow, 24 percent; Protasiewicz, 23.5 percent; Mitchell 22.5 percent.
These tallies would lead to a runoff election on April 4 between Kelly and Dorow, meaning that the court's conservative hegemony would be settled at least until 2026, the next opportunity for liberals to regain a seat, short of a resignation or death.
Conversely, if Mitchell and Protasiewicz were the two top vote-getters on Feb. 21, the court's liberal disposition could be secured at least through 2025, when the third 10-year term of liberal Ann Walsh Bradley, the court's longest serving member, expires. (Bradley, 72, has not said whether she will run again.)
"It is conceivable that you could have two conservatives prevail in the primary or you could have two progressives prevail," says Ed Fallone, a Marquette law professor who has run for the court twice, in 2013 and 2020. He thinks the former scenario is more likely; Republicans tend to show up for primaries in greater numbers than Democrats.
In the 2020 Supreme Court primary, held on Feb. 18 of that year, Fallone and Jill Karofsky together received 49.9 percent of the vote, with Dan Kelly, an appointee of Gov. Scott Walker, getting 50.1 percent. Karofsky got far more votes than Fallone, receiving 37.2 percent to his 12.7 percent, and went on to beat Kelly in the April 7 general election, 55.2 to 45.7. More than twice as many votes were cast for Supreme Court that year in the general election (1.5 million votes) than were cast in the February primary (700,000).
There has been only one other four-candidate primary for state Supreme Court in more than 20 years. That was in February 2011, when conservative incumbent Justice David Prosser got about 231,000 votes, and his three challengers — JoAnne Kloppenburg, Marla Stevens and Joel Winnig — split about 188,000 votes between them. Kloppenburg had the lion's share of these, and went on to face Prosser in the general election, losing by a razor-thin margin that went to a recount.
Nearly 1.5 million Wisconsinites cast a vote for Supreme Court in the April 2011 general election, compared to about 419,000 who turned out for the primary.
Fallone, reflecting on the possibility that the critical question of ideological balance in the upcoming Supreme Court election could be decided in the primary, says it is "incumbent on progressives to unite and avoid a split decision."
But who should they unite behind, Protasiewicz or Mitchell? That is something the Feb. 21 primary will decide. Oh, wait ...
Wisconsin Supreme Court Everett Mitchell Janet Protasiewicz Daniel Kelly Jennifer Dorow
Importance of February 21 primary
Excellent article
Deborah Deacon 16 days ago


ORLANDO HEALTH ATTORNEY'S ARTICLE FEATURED ON KEVIN M.D.
Orlando, Fla. - November 1, 2013 - George F. Indest III, President and Managing Partner of The Health Law Firm, shares his knowledge of health law on a prominent health care blog, Kevin M.D. Mr. Indest wrote an article called, "A Lawyer Provides Pain Management Tips for Doctors."
In a time when law enforcement officials are aggressively fighting prescription drug abuse, physicians and all health care providers need to be aware of their ethical and legal duty to ensure that a prescription for a controlled substance is appropriate. Mr. Indest's article provides ideas on how physicians can protect themselves from drug-seeking patients. Click here to read the entire article.
In 1999, Mr. Indest started The Health Law Firm, which now has offices in Central Florida and Colorado. A former Navy JAG Corps attorney, he has practiced law for more than 30 years.
For a downloadable, printable photograph of Mr. Indest, visit https://www.thehealthlawfirm.com/resources/online-press-kit.html.


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Click on a field of study to learn more, or download the Arts and Sciences degree overview.
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Gain valuable hands-on experience working alongside faculty members on scholarly and artistic pursuits and in laboratories. Businesses and industries cite experiential learning as one of the top reasons they prefer to hire Washington State University arts and sciences graduates. Learn more about research opportunities for students.


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Science Astronomy "Fossil Galaxy" was discovered hiding deep within the Milky Way
"Fossil Galaxy" was discovered hiding deep within the Milky Way
Rahul Bhardwaj
Scientists searching through data obtained from the Apache Point Observatory Galactic Evolution Experiment (APOGEE) Sloan Digital Sky Survey have found what they call a "fossil galaxy" hidden away deep within the Milky Way. Scientists claim that the proposed fossil galaxy may have collided with the Milky Way 10 billion years ago when our galaxy was still in its infancy. The fossil galaxy is nicknamed Heracles.
The remains of Heracles account for around a third of the circular halo of the Milky Way. As to why nobody knew that there was a remnant of an ancient galaxy inside our galaxy, it's because of how far inside the Milky Way it is. Researcher Ricardo Schiavon from Liverpool John Moores University claims that in order to locate a fossil galaxy, researchers had to look at the complex chemical composition and motion of tens of thousands of stars.
Looking at the many stars is extremely difficult in the middle of the Milky Way since they are obscured from view by enormous clouds of interstellar dust. APOGEE is perfect for this kind of investigation, as it helps scientists to peer further into the center of our galaxies than ever before. APOGEE helps scientists to see through space dust using near-infrared light, which is not obscured by dust like visible light is.
Finding strange stars in the center of the Milky Way is like finding needles in a haystack. In order to distinguish the Heracles from the stars in the original Milky Way, the team used both the chemical structure and the velocity of the stars as determined by APOGEE.
Researchers suggest that out of the tens of thousands of stars understudy, a few hundred had remarkably different chemical compositions and velocity. Researchers claim that the stars were so far from the stars in the Milky Way that they may only originate from another galaxy. A thorough analysis could allow researchers to map the exact location and history of fossil galaxies.
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A short paragraph on "MY FAVOURITE PLACE".
It's all about the simple things in life....sand, sea and waves.
Sir David Attenborough shares his favourite memory of the ocean as part of #OurBluePlanet. Subscribe to BBC Earth for more amazing animal videos - http://bit.ly/BBCEarthSub *David Attenborough's Favourite Ocean Memory #OurBluePlanet - BBC Earth* David Attenborough relives his first experience of scuba diving and how it impacted his life and understand of the ocean. #OurBluePlanet is a digital project between BBC Earth and Alucia Productions. Join the conversation over on Twitter @OurBluePlanet. Check out the full Our Blue Planet playlist here https://www.youtube.com/watch?v=ryM_s... Watch more videos from BBC Earth: Planet Earth http://bit.ly/PlanetEarthPlaylist Blue Planet http://bit.ly/BluePlanetPlaylist Planet Earth II http://bit.ly/PlanetEarthIIPlaylist Planet Dinosaur http://bit.ly/PlanetDinoPlaylist Check out the other two channels in our BBC Earth network: BBC Earth Unplugged: http://bit.ly/BBCEarthUnplugged BBC Earth Lab: http://bit.ly/BBCEarthLabYouTubeChannel About BBC Earth: The world is an amazing place full of stories, beauty and natural wonder. Explore the official BBC Earth YouTube channel and meet the animals and wildlife of your planet. Here you'll find 50 years worth of astounding, entertaining, thought-provoking and educational natural history documentaries. Dramatic, rare and wild nature doesn't get more exciting than this. Subscribe to be the first to view new animal documentary videos. You can also become part of the BBC Earth community on Facebook, Twitter and Instagram. Here you'll find the best natural history content from the web, exclusive videos and images and a thriving, vibrant community. Want to share your views with the team behind BBC Earth and win prizes? Join our fan panel here: http://tinyurl.com/YouTube-BBCEarth-FanPanel This is a channel from BBC Studios who help fund new BBC programmes.
Davy Couper talks to Anne Barron about his favourite place. Painting by Anne Barron. www.wildaboutart.co.uk Film by Andrew Lindsay.
Exploring my favorite place in Pakistan! Badshahi Mosque!
Please subscribe to my YOUTUBE channel. Do you have a place you want to see in Japan? If available, I will go to shooting.
Kari Williamson talks to Anne Barron about her favourite place. Painting by Anne Barron. www.wildaboutart.co.uk Film by Andrew Lindsay.
Family Vacation at sea world was great, the ocean is my favorite place. Watch movies and enjoyed not going to school!
My favourite place for lunch in Kannur.
It wasn't funny. But, someone dropped their camera into the castle moat in Hijemi Castle. Yikes. Check out my photography on IG at @brendanvanson | The filters I use: https://amzn.to/2EFUwmh At Hijemi Castle, a local photographer dropped their camera gear into the castle moat. It looked like it was a Sony A7R ii and a g-master 16-35mm lens. That must have been painful. I did offer to jump in and get it. But, instead he opted to call for help to dig it out from the castle moat. I hope his camera is ok. Hijemi Castle is a brilliant place. It really is fantastic. In fact, it might be the best place in Japan to see the cherry blossoms. The castle itself is unreal, but the park in front of it is just packed with cherry blossoms. It made for a really fun place for photography. In fact, this might be my new favourite place for photography in Japan. There will be more photography here in Japan tomorrow. Stay tuned to the vlog for the latest!
My favourite place in the world: Positano & Amalfi Coast!


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Q: Why Gurobi generates slack variables? I have the following LP:
max -x4-x5-x6-x7
s.t x0+x1+x4=1
    x2+x3+x5=1
    x0+x2+x6=1
    x1+x3+x7=1

Gurobi gives me the following base B=[1,0,2,10], in my model I have 8 variables and rank(A)=4, but in the base I have variable x10. My question is, why Gurobi generates slack variables even with rank(A)=4? And how to get an optimal base that contains only the original variables (variables from x0 to x7)?

A: The problem is degenerate. There are multiple optimal bases that give the same primal solution. In other words, some variables are basic at bound. This happens a lot in practice and you should not worry about that.
To make things more complicated: there are also multiple optimal primal solutions; so we say that we have both primal and dual degeneracy.
My question is, why Gurobi generates slack variables even with rank(A)=4?
The LP problem, for solvers like Gurobi (i.e. not a tableau solver), has n structural variables and m logical variables (a.k.a. slacks). The slack variables are implicit, they are not "generated" (in the sense that the matrix A is physically augmented with an identity matrix). Again, this is not something to worry about.
And how to get an optimal base that contains only the original variables (variables from x0 to x7)?
Well, this is an optimal basis. So why would Gurobi spend time and do more pivots to try to make all slacks non-basic? AFAIK no solver would do that. They treat structural and logical variables as equals.
It is not so easy to force variables to be in the basis. A free variable will most likely be in the (optimal) basis (but no 100% guarantee). You can also specify an advanced basis for Gurobi to start from. In the extreme: if this advanced basis is optimal (and feasible) Gurobi will not do any pivots.
I believe this particular problem has 83 optimal (and feasible) bases. Only one of them has all slacks NB. I don't think it is easy to find this solution, even if you would have access to a Simplex code and can change it so (after finding an optimal solution) it continues pivoting slacks out of the basis. I think you would need to enumerate optimal bases (explicitly or implicitly).

A: Slack variables are generated because it is necessary to solve for a dual linear programming model and reduction bound. A complementary slackness; Si would also be generated.
Moreover, X0 forms a branch for linear independence of a dual set-up. X0 has the value of 4, slack variables are generated from the transformation of the basis; where the rank is given, to the branch X0 for linear independence.
A reduction matrix is formed to find the value of X10 which has the value of 5/2.
This helps to eliminate X10 inorder to get an optimal base from the reduction matrix.

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Home / Celebrities / Chris Rock confirmed to Host 2016 Oscars
Chris Rock confirmed to Host 2016 Oscars
By Andress Russell on October 22, 2015
Comedian Chris Rock will host the 88th annual Academy Awards. The 50-year-old confirmed the news himself Wednesday morning on his Twitter with a brief message: "Look who's back. #Oscars," he wrote alongside a photo captioned of him holding the golden statue.
Oscar show producers David Hill and Reginald Hudlin announced the news this Wednesday. "Chris Rock is truly the MVP of the entertainment industry," said David Hill and Reginald Hudlin. "Comedian, actor, writer, producer, director, documentarian — he's done it all. He's going to be a phenomenal Oscar host!"
The cunning comic takes over as MC after Neil Patrick Harris hosted last year's telecast, which drew the show's lowest ratings in 6 years — down 16% from the previous year's Oscars.
Hill and Hudlin said they were eager to give the ABC telecast a fresh look. Hill said "The challenge is to make it entertaining so it doesn't seem like a lesson, so the audience cares for people when they get onstage."
All of that seems to be forgotten with the praise the Academy is extending to the multi-hyphenate, who most recently directed Amy Shumer's HBO comedy special after witing, directing and starring in the critically-acclaimed film Top Five.
"We share David and Reggie's excitement in welcoming Chris, whose comedic voice has really defined a generation," said Academy President Cheryl Boone Isaacs. "He is certain to bring his amazing array of talents to this year's show."
Rock had said in his opening sermon: "If you want Tom Cruise and all you can get is Jude Law, wait!"
"I'm so glad to be hosting the Oscars," said Rock. "It's great to be back."
The 2016 Oscars will be held at the Dolby theatre in Hollywood on 28 February.
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