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Home > World Regions > Asia Pacific News > Senior officials from Malaysia and Singapore to meet at joint seminar
Senior officials from Malaysia and Singapore to meet at joint seminar
By Winnie Agbonlahor on 16/10/2015
Photo Credit: PSD Singapore. Mr Peter Ong Head of Civil Service Singapore with Tan Sri Dr Ali Hamsa Chief Secretary to the Government of Malaysia.
Senior civil servants from Singapore and Malaysia will come together this weekend to discuss innovation and productivity at a joint event aimed at strengthening both countries' ties.
The seventh joint seminar, which is themed 'innovation and productivity – unleashing public sector potential for greater success', is taking place in Kuching, the capital of the Malaysian state of Sarawak on Borneo, from today until Sunday.
A 27-strong delegation of permanent secretaries, deputy secretaries and other senior officials, as well as Singapore's high commissioner to Malaysia, will be hosted by Tan Sri Dr Ali Hamsa, chief secretary to the government of Malaysia, and his 40-strong delegation of Malaysian secretary-generals, director-generals, state secretaries and other senior officials.
This weekend's event will include meetings between the Singapore delegates and their respective counterparts, friendly golf and bowling games, and an official dinner hosted by the chief minister of Sarawak.
It will also include the 38th annual Malaysia-Singapore Public Service Games – first held in 1973 and last took place in Singapore in 2014 – which aim at providing an opportunity for senior civil servants from both countries to get to know each other better and enhance the relationship of the two civil services.
Head of Singapore's civil service Peter Ong said today: "The Civil services from both countries enjoy a close working relationship.
"We share the same goal of building a strong and innovative Public Service to serve our people and there is great potential for us to collaborate and learn from each other.
"Such annual exchanges between public sector leaders also allow us to deepen our bilateral ties.
"I thank Tan Sri Ali for hosting the Singapore delegation, and look forward to renewing our friendship."
BorneoCivil servicegovernanceleadershipMalaysiaPeter OngPolicy & GovernancePublic ServicePublic Service GamesPublic servicesReformSingaporeTan Sri Dr Ali Hamsa
About Winnie Agbonlahor
Winnie is news editor of Global Government Forum. She previously reported for Civil Service World - the trade magazine for senior UK government officials. Originally from Germany, Winnie first came to the UK in 2006 to study a BA in Journalism & Russian at the University of Sheffield. She is bilingual in English and German, and, after spending an academic year abroad in Russia and reporting for the Moscow Times, Winnie also speaks Russian fluently.
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Title: GOD BLESS AMERICA: ONE FIFAGATE AQUITTAL.
For six weeks or so I have followed the FIFAGATE TRIAL with NY Post and other media in Brooklyn at The Eastern District of New York courtroom of judge Pamela Chen. Five weeks of testimony and 5 days of jury deliberation. Just before Christmas the jury returned verdicts of GUILTY on two of three South American former soccer officials.
GUILTY...Jose Maria Marin, the 85 year old former Brazilian Football Federation president,.. GUILTY.. Juan Napout..of Paraguay. SHOCKED, they were immediately put in handcuffs by plain clothed US Marshalls who showed their official badges and led them down the stairs and straight to prison for Christmas with cheese sandwiches. They had been under house arrest in their luxurious Manhattan apartments. The jury asked for more time to consider the one count of racketeering concerning the third defendent , 60 year old Manuel Burga, former Peruvian Football President.
The day after Christmas the jury returned and was deadlocked and he was found NOT GUILTY, had his ankle tag removed and was waiting for his passport to be returned before flying home to Lima. US prosecutors had sought to expose a culture of greed and corruption among the powerful politicians in FIFA.. " God Bless America, thats all I can say" . He said that he would go home and resume his career as a lawyer, after interrupting it with 15 years as a football executive. I wonder which was the most lucrative?? "My history in soccer is finished" he said, " I'll go back to the law".
All three had been arrested in 2015. Prosecutors accused them of agreeing to take millions of dollars in bribes from businessmen seeking to lock up lucrative media rights or influence hosting rights for the FIFA World Cup and other FIFA controlled tournaments. Burga was the first of over 40 official and entities to be aquitted into investigations that uncovered hundreds of millions of dollars in bribes and kickbacks. 24 have so far already pleaded GUILTY and many helped the prosecutors in the hope of a reduced sentence.
FIFA has now stated that they will try to recover millions in ill gotten gains. Burga's lawyer Bruce Udolf stated " I would submit to you that never has more been made of less evidence".
Earlier in the trial Burga unnerved the government's star witness, a former marketing executive from Argentina, by directing a threatening gesture, slicing his fingers across his throat. His lawyer said that he was just scratching himself. Neverless, the judge tightened his house arrest conditions. Also during the trial one Argentinian businessman who had admitted guilt walked in front of a train in the suburbs of Buenos Aires and committed suicide.
One VERY BAD GUY who " escaped the noose", was FIFA's No 2 for many years, JULIO HUMBERTO GRONDONA former President of The Argentinian FA from 1979 until his death in 2014. From 1988 he was Vice President of FIFA.. and IN CHARGE OF FINANCE...HORRIBLE !! He was an anti-semite and long time anti British ....beside being a crook !!. He wanted part of every tournament kick back and received $1 million from Qatar for his vote for the 2022 FIFA WORLD CUP.. and probably not the only person who was successfully bribed.
In 2003 in response to a journalist's question about refereeing standards in Argentina he said " I do not believe a Jew can ever be a referee at this level. It's hard work and you know, Jews don't like hard work". Jews don't like it when it gets rough". In 2014 his son Humberto was found guilty of reselling World Cup tickets.
I briefly met him in the AFA office on a quick visit in the mid '80s. During my first visit at the FIFA 1978 World Cup I went to matches in Buenos Aires, Cordoba and Mendoza. The VERY BEST referee at the 1970, 1978 and 1982 World Cups was my very good friend ABRAHAM KLEIN, a Jewish and Israeli referee whose house in Haifa I was a guest in for a week many years ago. I first net him at the Camino Real hotel in Guadalajara, Mexico in 1970 where he was in a nearby room. He was chosen by referee boss Ken Aston to referee the England v Brazil group match at Estadio Jalisco, which the Brazilians won 1-0 , due to his superb fitness in the humidity and altitude, and there was also the famous Gordon Banks save from Pele. I was there.!!
Late news today: VITALY MUTKO, Russia 2018 boss has stepped down from that role and also his position as President of the Russian Football Union..from the latter position for six months while he contests his lifetime ban by the International Olympic Committee (IOC), for his role in the Russian state-run doping scandal at the 2014 Sochi Winter Games. He plans to file his appeal to the Court of Arbitration for Sport next Tuesday in Lausanne.
He has been replaced as head of the World Cup Organizing Committee by Alexei Sorokin. Mutko still retains his position as deputy Prime Minister.


Music In Africa is an information and exchange web portal dedicated to the African music sector. Initiated by the Goethe-Institut together with Siemens Stiftung and partners from across the African continent, Music in Africa's vision is to be the leading source of information in and for the African music sector.
Music In Africa (www.musicinafrica.net) is easily the fastest growing information and exchange web portal dedicated to the African music sector, reaching thousands of people every day. A non-profit initiative, Music In Africa has a mission to support the African music sector through information exchange and collaboration. With access to seasoned music journalists and researchers from across the world, Music In Africa offers a unique range of quality and useful information about the sector. The main content sections include a Directory where you can find and connect with thousands of professionals who operate in the sector, including but not limited to musicians, funders, record labels, managers and publishers; a Magazine section (featuring dynamic content such as news, overviews of African music scenes, feature articles, reviews, and gig guides; a Resource section (with practical tools for music professionals) and an Education section offering quality tutorials and other educational content. Music In Africa publishes content in French and English and has five regional offices in Kenya, Nigeria, South Africa, DRC and Senegal.
Initiated by Goethe-Institut together with Siemens Stiftung and partners from across the African continent, Music In Africa's vision is to be the leading source of information in and for the African music sector.
A community-driven portal, Music In Africa offers innovative tools to allow all informed users to contribute and moderate content in a professional way. Musicians and music operators are able to enlist and create their own profiles. More importantly, Music In Africa is not for music professionals only but for all interested in the African music sector. Anyone who wants to become a contributor is able to register and produce content for the site seamlessly.
The Music In Africa initiative has led to the establishment of the Music In Africa Foundation (MIAF), a pan-African organisation with operations across the continent. MIAF was established in 2013 and registered in 2014 as a non-profit organisation, in terms of the South African Nonprofit Organisations Act, No. 71 of 1997. It is a pan-African organisation whose membership base is mainly music professionals, organisations and businesses who are actively involved in the African music sector. In addition to the Music In Africa portal, the Foundation runs various offline developmental projects such as instrument building and repair, the ACCES music conference, mentorship programmes, artist mobility funding, lobbying, conferences and other related initiatives.
The Music In Africa Conference For Collaborations, Exchange And Showcases, or simply ACCES, is the ideal platform for music industry players from across the continent to exchange ideas, discover new talent and accelerate the shaping of the vibrant music sector on the continent. ACCES was launched in 2017 and is held in a different African city every year. The event attracts delegates from over 40 countries each year and is spread over three days, offering a dynamic programme of training workshops, panel discussions, presentations, live performances, networking sessions, exhibitions and visits to key music industry hubs in the host city. Wherever it is held, ACCES presents unique opportunities for the local industry to showcase its musical works to a diverse audience while fostering business exchange and the creation of a strong network of music professionals on the continent.
In 2015 the Music In Africa Foundation introduced a range of artist training and mentorship workshops which are mostly executed under the banner Steps to a Professional Music Career, in partnership with the Goethe-Institut. The four-day workshop is aimed at young professionals including, but not limited to, musicians, music managers, producers and distributors, who wish to learn key aspects of the music business to improve their careers. Countries that have hosted these workshops include Namibia, Burkina Faso, Senegal and DRC.
As a way of addressing artist mobility challenges on the continent, Music In Africa introduced a mobility funding programme through its MIAConnects project in 2017. The programme supports artists and festivals financially to facilitate tours nationally and regionally. In the initial phase (2017-18) this initiative strategically focuses on artists in seven countries affected by conflict (Chad, Mali, Niger, Nigeria (North), Somalia, South Sudan and Sudan). The MIAConnects project is supported by the German Federal Foreign Office and Siemens Stiftung.


Technical Q and A for classic motorcycle maintenance and repair.
Q: I have a 1972 BSA B50MX that was under water for 72 hours or more back in 1997 due to a river flood in Dallas, Texas. The owner couldn't turn it over after several attempts, and at that point he just quit and sold it to me. He impressed upon me the main bearings were steel and must be replaced. It's been on the back burner ever since. I'm hesitant to turn it over to someone without knowing what it really needs. I believe I could do it, but I also know older bikes have tricks you don't get in manuals. Do you have any suggestions?
A: Jerry, this sounds like something that won't respond to my usual mix of solvents to free up an engine. You will probably have to use Evapo-Rust or Metal Rescue or something similar and allow them time to work their magic. Remove the spark plug and fill the cylinder and also fill the sump via the rocker boxes and pushrod tubes. Give it a week or so and drain the sump so as to not hydro lock the engine when trying to turn it over. Pull off the primary cover and using a proper sized socket on the crank nut, gently try turning the engine over. If it moves at all reverse the ratchet and go back the other way. Carefully working back and forth you should be able to free the engine enough to get things rotating. Don't go too far though. Once you have the piston and crank bearings loose, you'll have to do a complete overhaul as those main bearings will be useless from corrosion, as will many other moving, rotating and sliding parts.


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Initials SG ist eine Tragikomödie von Rania Attieh und Daniel Garcia, die am 28. April 2019 beim Tribeca Film Festival ihre Premiere feierte und am 19. September 2019 in die argentinischen Kinos kam.

Handlung
In Buenos Aires während der Fußball-Weltmeisterschaft 2014. Sergio Garces, der bislang nur für Schmuddelfilme vor der Kamera stand, will es in die richtige Filmwelt schaffen, bislang erhielt er aber nur ein paar kleine Nebenrollen. Der Mittfünfziger hat eine Vorliebe dafür, in seiner Unterwäsche herumzusitzen, Bongs zu rauchen und zu viel zu trinken. Zudem hat er ein Problem damit, seine Wut in Zaum zu halten. Als er in der Hitze des Gefechts nach einem Fahrradunfall jemanden verprügelt, wird er auf Bewährung verurteilt und zu einem Antiaggressionstraining verdonnert.

Etwa zur gleichen Zeit lernt er die amerikanische Filmregisseurin Jane kennen, die genau auf einen solchen Typ Mann steht. Da passt es gut, dass Sergio in seinem Aussehen und seinem gesamten Auftreten dem berühmten französischen Schauspieler Serge Gainsbourg ähnelt, dem er nacheiferte. Er hat sogar ein Album von Gainsbourg gecovert, zu einer Zeit, als er berühmter war, und unter dem Pseudonym Initials S.G. veröffentlicht. Doch in diesen Tagen verfolgt ihn das Pech weiter, und so muss er irgendwie die Leiche eines Drogendealers loswerden, den er ermordet hat.

Produktion

Regie führten Rania Attieh und Daniel Garcia, die auch das Drehbuch schrieben. Die Filmmusik stammt von Bill Laurance und Maciej Zieliński.

Die Rolle von Sergio Garces wurde mit Diego Peretti besetzt. Die US-amerikanische Schauspielerin Julianne Nicholson spielt die Filmregisseurin Jane.

Der Film wurde am 28. April 2019 beim Tribeca Film Festival erstmals gezeigt. Am 19. September 2019 kam er in die argentinischen Kinos.

Rezeption

Kritiken
Lorry Kikta von Film Threat schreibt, auch wenn Sergio auf den ersten Blick wie andere Antihelden aus Stoner-Movies wirke, so wie Jeffrey Lebowski aus The Big Lebowski, sei er jedoch nicht so gutmütig wie The Dude, auch wenn der Ton von Initials SG Kikta an den Film von Joel Coen erinnert. Es gibt einen allwissenden Erzähler, und viele verrückte Dinge passieren Sergio, mit denen er nicht klar kommt. Auch erwähnenswert sei es, dass der Film während der Weltmeisterschaft spielt, als Argentinien gegen Deutschland spielte, weil Sergio und ganz Argentinien auf den Sieg Argentiniens gehypt sind. Besonders Sergio fühlt sich persönlich mit dem Sieg verbunden, da er glaubt, dass er es auch tut, wenn die Mannschaft gut spielt, und umgekehrt. Auch die Namen der beiden Protagonisten, Sergio und Jane, seien kein Zufall, nicht nur wegen Serge Gainsbourg, sondern auch wegen Jane Birkin. Auch Buenos Aires beschreibt Kikta dabei als eine eigene Figur im Film. In Initials SG passiere so viel, und alles hänge irgendwie zusammen, so dass man keine Sekunde wegschauen könne. Die Art und Weise, wie Rania Attieh und Daniel Garcia so viel Action, Drama und Heiterkeit in einen 90-minütigen Film gepackt haben, sei wirklich meisterhaft, so Kikta, und ihr Drehbuch unglaublich und einfach genial.

Auszeichnungen
Tribeca Film Festival 2019
 Nominierung als Best Narrative Feature (Rania Attieh und Daniel Garcia)
 Auszeichnung mit dem Nora Ephron Award (Rania Attieh)

Weblinks

 Initials SG im Programm des Tribeca Film Festivals (englisch)

Einzelnachweise

Filmtitel 2019
Argentinischer Film
Libanesischer Film
US-amerikanischer Film
Filmdrama
Filmkomödie
Stoner-Movie

redpajama_set_name: RedPajamaWikipedia


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RECORDING: Recording Artist And Songwriter Sylvia Brooks' anticipated Release 'Signature' On May 30th!
By March 14, 2022 MusicLeave a Comment on RECORDING: Recording Artist And Songwriter Sylvia Brooks' anticipated Release 'Signature' On May 30th!
Since her captivating debut in 2009, jazz vocalist Sylvia Brooks has displayed a gift for inhabiting different personas, with a subspecialty in film-noir inspired femmes fatale. On this—Signature (Rhombus Records)—her fourth album, she embraces the most challenging role of all, defining herself with a set of beautifully crafted original songs…
Les Brown – b. 1912

redpajama_set_name: RedPajamaCommonCrawl


With a lilting accent and an unhurried pace, Ed Blaze waxes humorous on topics ranging from culture clashes to growing up in Tanzania. He often turns his razor-sharp wit on the topics of relationships and human sexuality—two subjects particularly fitting for his Valentine's Day Comedy Show.
Ed Blaze and Friends finds the consummate comedic host presenting an array of hilarious comics at the Hilton Boston/Woburn (2 Forbes Road, Woburn, MA 01801). Blaze, who rose from humble beginnings in Tanzania to opening for, Dave Chappelle, Bill Cosby, Jim Gaffigan and Ralphie May, delivers jokes on a wide array of topics — including African culture, politics, pop culture, race and human sexuality. Ed Blaze and Friends features a revolving lineup of other stand-up comedians — a mixture of headliners who have been featured on STARZ, BET, Comedy Central and HBO — ready to bring their A-game to make you laugh.


Katherine is an award winning gifted psychic, medium, and energy healer. She was listed in The 50 Top Mediums in the US 2016 book by Jennifer Diamond. In her private practice at the Healing Essence Center in Concord, she specializes in spirit communication, and psychic intuitive readings. "I have been working with Katherine for over 15 years. I admit, initially I was skeptical. However, after my first reading I was both convinced and delighted."
"Katherine is incredibly astute and the outcome of her readings are eerily accurate."
Hello! I'm Katherine Glass. I come from a lineage of psychic sensitives, healers and truth seekers. I am also directly related to Ralph Waldo Emerson. I was born in the caul, (also known as the veil) long considered to be a sign of true psychic ability, I have been using my gifts to bring help and healing to others for over 20 years. I am a graduate of the Barbara Brennan School of Healing, and Sharon Turner's Awakenings Clairvoyant Program, and have trained at the Arthur Findlay College in Stanstead, England. Psychic intuitive readings and mediumistic readings are given in person, or by telephone and on Skype. I also give group demonstrations and readings for families.
Katherine is the co-founder of the Healing Essence Center in Concord, MA.
and hosts the tv series 6TH Sense and Beyond. "Opening the Spiritual world to the world." Episodes can be viewed on YouTube worldwide.
I met Katherine on a plane flight from Asheville, NC to Charlotte, NC. We chatted, exchanged personal background, and Katherine gave me a great deal of critical information while on that flight. Katherine is a warm and open woman and that came across immediately. I have a severe disease that causes constant exhaustion. After chatting with Katherine for a half hour, my exhaustion disappeared That was amaxing to me and i was able to make the rest of my brural trip awake and with badly energy.
I recently had a phone reading with Katherine. She is just such a joy to talk to. So genuine and kind and caring! It was at a time when I was needing some insight and direction. I was in a bit of a funk when I spoke to her, and she gave me the most wonderful, insightful guidance. She immediately connected with my grandmother, who is always with me. Katherine delivered some amazing advice and messages, and she did so in such a fun and caring way. She is such a treasure!
I recently had an in-person reading with Katherine Glass. It was a wonderful, insightful experience. She is a very warm, friendly, nurturing, and inspirational person. Although it was a psychic reading, I even received messages from loved ones who have passed on. Katherine has given me much to think about as I work to change and improve my life. Her acquaintance is a real blessing. Many thanks!


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Posteado por: Carli C4 | mayo 6, 2016
by Carlos Centurion
Making English the official language of the United States has been a political issue for quite some time, but in recent years, due to a surge in immigration that has sparked nationalistic sentiments; the quest to nationally formalize the language has taken an increasing powerful form. Proponents of the measure claim that English is an imperative symbol of national unity and that having more than one language utilized at the state and federal levels is a direct threat to the homogeneity of the country. They propose eliminating bilingual voting ballots and bilingual education, among other things. They sustain that immigrants from all groups must adhere to mainstream "American" values, integrate, and absorb this culture without providing their own social or linguistic contributions.
Opponents of making English the official national language of the United States contend that this type of measures are racist and xenophobic and are particularly directed at the increasing (and threatening in terms of numbers) Hispanic population. Some of these scholars affirm that eliminating bilingual education would be a direct attack on minorities and that making English official will only bring problems and not many benefits to those seeking the measure. They furthermore allege that a bilingual society does not pose a threat to national unity, and that Hispanics are indeed learning English and assimilating to "American" mainstream culture at comparable rates to other immigrant groups.
The present study will examine both sides of the issue and mutually analyze the validity of arguments in favor and against making English the official language of the nation. It will additionally discuss if such measure has any chance of ever been practically implemented by the federal government and the prejudicial and or beneficial effects that such a measure would have for "mainstream Americans" and minority groups. The author believes that proposals such as the ones discussed in this investigation are intrinsically prejudiced and are strictly directed at minorities that persist on having their own cultural and linguistic identities and object integrating to the mainstream "American" society and adopting its values. The author furthermore considers that forcing immigrants into adopting these values and abandon their national identities and languages is immoral and discriminative, and will result in increased national disunity and more social, cultural, and racial predicaments than benefits to the United States.
One out of three "Americans" believe that English is the national language of the United States, this is not the case; in fact this nation has no official language. English is nevertheless the de facto language of the country since ninety seven percent of the population claim to be able to speak it at a moderate to expert level. Unlike many other nations, the constitution of the US does not mention this subject, mainly because the founders were not concerned with linguistic matters; since a vast majority of them were Anglo-Saxons, they did not feel that it was important to officially declare that their language needed to be the one of the nation. "[T]o these English-speakers, language legislation would have seemed a trivial concern" (Magner, 406).
Throughout the history of the United States, declaring English the official language and prohibiting the use of other competing tongues has not been a dilemma because past immigrants have adapted quickly to "American" values and culture and have absorbed and utilized the de facto language of the land without putting a fight. Nevertheless, in recent decades, a major increase in Mexican and Latin American immigration has sparked grave controversy and calls for declaring English the sole language of the nation, since according to the proponents of these measures, these groups are not like previous immigrants; they refuse to speak English and want to impose their values over "American" or Anglo-Saxon principles and ideals. Moreover, statistics have shown that in the near future Hispanics as a group will continue to increase in size at a disproportionate level; this adds to the fears many people possess of having a new ethnic majority in this country. Lastly, these new immigrant groups are provided with a number of benefits, such a bilingual education, bilingual voting ballots, and many other bilingual services that infuriate people who fear the power that such a vast amount of people could have on "American" values and culture. As a result of many of these issues, the English as the official language movement was born in the nineteen eighties in order to try to stop the influence of these immigrants and force them to use English and be part of "American" mainstream society.
The utilization of multilingual voting ballots throughout the United States is one of the key issues that the English as the national language movement is trying to proscribe. The organization claims that providing this service vastly harms national unity. "There have been numerous complaints about the use of bilingual ballots both for the complications they introduced into the electoral process, but more importantly […] they encourage ethnic divisions" (Magner, 410). Moreover, proponents of English as the official language argue that these machines that provide voting ballots in dissimilar languages are very costly and they are paid with taxpayer funds. Lastly, they insist that a key requirement for everyone that becomes a citizen of the United States must be that they are proficient in English. If this was the case, the need for these machines would not exist.
A second crucial matter advanced by the proponents of English as the official language of the United States is the elimination of bilingual education mainly because "[t]he presence of non-English speakers on our streets and in our classrooms tends to generate friction and resentment" (Heller, 12). Once more in the name of national unity, they proclaim that education should be solely in English and that the only time that another language should be used is when this is utilized to teach English to recent immigrants. Furthermore they insist in that teaching in the students' native language makes it difficult for them to learn English and makes them dependent on their original tongue; isolating them further from other native students. "[The current system] dragoons children into bilingual programs that reinforce the students' dependency on their native language and then makes escape impossible" (Magner, 410). By prohibiting bilingual education, recent immigrant children and teenagers would not be able to learn diverse subjects in their native tongues and would be forced to attend regular classes without any linguistic assistance. "Students would not understand instructions in subjects like science or math until they became proficient in English" (Califa, 309).
Lastly, a third vital concern advanced by advocates of English as the US' formal language involves employment. They believe that a key occupational requirement should be proficiency in English and that people should be denied of the right to work if they do not possess this skill. They furthermore insist that English should be the only language spoken in the workplace and that people should be disciplined and even terminated for speaking their native tongue in their place of work. They seek to reverse a guideline adopted by the Equal Employment Opportunity Commission in 1987 which states that "a rule requiring employees to speak only English in the workplace was a burdensome condition of employment" (Califa, 310). A reversal of this law would negatively affect millions of workers, especially Hispanic, that are not proficient in English or that utilize their native tongue as a medium of communication when they are working.
The goals and objectives of the English as the official language of the United States' movement are straightforward. Our analysis now focuses on the reasons underlying these desires and the rationale behind attaining the aforementioned policy changes. National unity and patriotism are often cited by the members of the movement in question as the main reasons why they seek to establish English as the official language and diminish the impact of other tongues, principally Spanish. Keeping the United States safe from other cultural and societal influences is extremely significant to the movement, especially during an epoch where Hispanic immigration is very high and "it is believed that a reconquista or re-conquest of the American Southwest, a territory once belonging to Mexico, is well underway [and cannot be stopped] unless Mexicans assimilate the values, beliefs, and language of the United States" (Gershon, 1523). To the members of this movement, being an American patriot signifies waging a war against this new menace to US values and the way of life of the people of this country.
To most Anglo-Saxons and members of English as the official language of the United States movement, being patriotic is deeply attached to recognized "American" values and especially the English language. Therefore patriotism is one of the main reasons why they support the elimination of competing languages and cultures that are not aligned to the traditional ideals that they seek to defend. The highest threat to this way of life is obviously Spanish and the solid Hispanic culture; because of this, "proponents of the English-Only movement typically single out Spanish-speaking Latinos as the main impetus for their activities" (Gershon, 1524). They generally assert that this group of immigrant is the most problematic because they do not want to integrate to the regular "American" culture and prefer to promote their own way of life and language. Extensive research has discovered that Anglo-Saxons who identify themselves as being patriotic, generally favor English only policies because they see this language as a core value of the United States that unifies the nation. "As such, high levels of patriotism are likely to coincide with a desire to preserve and protect American culture, identity, and community" (Gershon, 1527). In the minds of these "patriots" the United States is immerse in a cultural war against a competing set of values and way of life that requires them to focus all of their attention and efforts into combating this threat. Research has suggested that most Latinos are also patriotic, but to them patriotism generally does not have the same meaning. They do not see English as a key part of being patriotic and believe that a mixture of identities and ways of life is more reflective of "American" values, culture, and civilization than a homogenous society that rejects external influences. It is because of these facts that a vast majority of members of the English as the official language of the United States movement are Anglo-Saxons that hold and support the aforementioned ideals and beliefs.
The English as the official national language movement has not achieved a federal law as of yet but they are continually trying to accomplish this objective. "[Law makers in Congress] have proposed in both houses joint resolutions that would amend the Constitution, making English our official language" (International Journal of, 1). The movement's success in many States has proven that numerous people agree with them and are willing to support their proposals in the voting booth. According to US English, to date, thirty states have adopted English as the official language statutes (US English website). The issue is being pushed in other states and even though a federal law does not seem likely, due to the many personal freedom violations that are attached to the propositions, the movement's leaders feel that the battle will be won state by state. The American public at large seems to agree with many of the proposals presented by the movement. "On public opinion surveys, large majorities consistently support the idea of making English the official language and providing government services, such as election materials, only in English" (Schilddkraut, 446). These state laws have not been rebutted by courts or challenged whatsoever. As a result of these legislative victories, the opponents of the English only movement intensively try to fight these ideas, since although they have not become federal law, they are slowly making the country "officially English" one state after another.
The English only movement has many detractors who consider that the ideals advanced by the group are discriminatory and racists in practice and theory. They furthermore consider that their fears are unfounded and that Hispanics do not present a menace to traditional "American" values as supporters of the group proclaim. Moreover, opponents of the organization in question consider that advancing the policy changes proposed by English only will deeply harm immigrants in the United States and will not bring positive outcomes for anyone. Instead of creating national unity, detractors assert, implementing these policies will create deep racial, societal, and cultural divisions between recent immigrants and other groups. In their minds, the US is similarly involved in an intense cultural war and they should concentrate their efforts in defending the right of immigrants to conserve their traditions and to not be forced to speak a language and follow a culture that they do not want to adhere to.
The idea that Hispanics do not want to speak English and do not want to integrate to mainstream "American" society is challenged by opponents of the English only movement. "Hispanics are acquiring English-language proficiency at the same rate as other immigrants, a fact which undermines the movement's basic assumption to the contrary" (Califa, 295). It seems on the surface that the group wants to preserve their language and customs at all costs but if examined deeply, Hispanics are indeed assimilating "American" values at comparable rates to other immigrant groups. In many instances it does not look this way because Hispanic immigration is constant and the newcomers portrait their own culture and traditions as expected; but the ones that have been in the United States for over one generation adapt to the US' way of life rapidly, just like any other group. "The McCarthy and Valdez Study showed that the classic three-generation model of language acquisition is present for Hispanics" (Califa, 314). This signifies that a majority of Hispanics prefer English and mainstream US values by the third generation. As a result, detractors of making English the official language of the United States sustain that Hispanics and specifically the Spanish language are not a threat to the American way of life, its culture, and mostly Anglo-Saxon traditions and that putting these laws into practice would not benefit anyone. "For most members of the majority language group in the United States the tangible personal costs and benefits of bilingual government or 'official English' are neither clear nor substantial" (Citrin, 1).
Critics of English only's prepositions furthermore declare that eliminating bilingual voting ballots and education could be detrimental to many Hispanics and a direct attack against them as an ethnicity and culture. They claim that bilingual ballots are utilized by citizens that are proficient in English but prefer to obtain their information in their original language. Not providing them with the information they want to obtain in their tongue could keep many voters from actually participating in democracy. "Hispanics are learning English despite the prevalence of bilingual ballots. English-Only ballots would only serve to disenfranchise Hispanics-which may be the intended effect" (Califa, 317). Eliminating bilingual education is controversial because it has been demonstrated that it will be significantly harder for recent students to adapt to their new classrooms if their language is not utilized to assist them in this early adaptation. Furthermore, there is no scientific proof sustaining that students who are instructed in their native language are more inclined not to learn English and isolate themselves from the rest of the students. "Within one to three years, the majority of students are in 'regular' classes conducted entirely in English. […] The shift from Spanish to English is inexorable; bilingual programs do not impede the acquisition of English" (Califa, 319). Based on these facts, it seems that the English as the official language movement is trying to fix a problem that does not exist: "English is not under attack, it is overwhelmingly the language of our government; immigrants want to learn English; and instead of promoting unnecessary divisive policies, we ought to simply help immigrants to learn English" (Marshall, 7).
Lastly, antagonists of the movement in question assert that English only proposals are racist and xenophobic, since they target an ethnic group because of its language and customs. They furthermore declare that even though they deny it, the organization targets Hispanics and its main concern is eliminating their power and influence in "American" society. "The English-Only movement is actually an expression of the underlying insecurity about and prejudice towards Hispanics" (Califa, 294). A raise in legal and illegal immigration from Mexico and Latin America has sparked this nationalism, opponents argue, in part because these new immigrant tend to perform jobs at lower wages, therefore "taking" employment away from "real Americans". It has been proven that sentiments against Hispanics and their linguistic influences are more prevalent in people who are in the lower strata of the socioeconomic scale. To their opponents, "[t]he English-Only movement is fueled by cultural insecurity and prejudice against Hispanics. […] They are frightened by Hispanic immigration and the possibility that Anglos will lose political dominance" (Califa, 347). Claims of racism and xenophobia appear to be the toughest criticism against the English as the official language of the United States movement.
The English only movement's proposals appear to be xenophobic and prejudiced in nature and practice, especially against Hispanics. Forcing people to adopt a new culture and forbidding them from using their language and customs goes against freedom of speech and essentially everything that the United States stands for. Prohibiting bilingual voting booths is not consistent with basic voting rights and seeks to disenfranchise a group of people based on their ethnicity and culture. Trying to censure bilingual education will be detrimental to recent immigrants who seek to adapt to their new country. They will be forced to study numerous subjects in an unfamiliar tongue; this will eventually contribute to academic deficit and social isolation. Lastly, waging a war against Hispanics, just because they are coming to the United States in vast numbers and their culture and language are considered a threat by the racial majority is racialist, deplorable, and iniquitous. In the author's belief, it seems that the English only movement is trying to fix a problem that does not exist in the first place: Hispanics are not trying to impose their culture in the United States, to the contrary, after a couple of generations they are factually abandoning their original traditions and embracing customary "American" values, including the English language. The leaders of these movements comprehend this, but notwithstanding choose to expand their cause and cleverly prey on Anglo-Saxons' "patriotism" in order to advance an unrelated racist agenda that seeks to debilitate Hispanic influence and power and pretends to force them to succumb to the racial majority in cultural, social, and linguistic terms. For all of the abovementioned reasons the author believes that these movements are an embarrassment to the United States and make a mockery of the liberty and self-determination that this exceptional nation is supposed to signify.
English only proposals are slowly taking the country by storm, one state after the other. The laws advanced by the movement prohibit bilingual education, bilingual voting rights, and many other bilingual services that are vital to recent immigrants. These propositions specifically target Hispanics, for they are the largest non-Anglo group in the United States and their culture, language, and traditions are categorized as a menace to "American" values by the influential racial majority. The movements' antagonists argue that laws prohibiting people from exercising their culture and language are chauvinistic in nature and should not be allowed in a country that promotes individual freedom. The author sides with these detractors and proclaims that the propositions advanced by these organizations that are trying to establish English as the official language of the United States are deplorable since they prove to be prejudiced against immigrants, especially Hispanics. Veiled beneath the linguistic façade, an inequitable political and societal agenda exists that seeks to limit the impact and power of the Hispanic culture and the Spanish language in order to maintain the preponderant and arrogant Anglo-Saxon societal status quo that has dominated the United States for nearly two hundred and thirty nine years.
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Tag Archives: Cindi Blank Taylor
GUYS AND DOLLS Opens at LPAC on April 1st!
Posted by Carol Kassie in Clients, Lauderhill Performing Arts Center, MNM Theatre Company, Uncategorized
Abe Burrows, Alex Van Hasselt, Alexandria Thomas, Alison Podolsky, Amanda Eisele, Amber Mandic, Andrea Guardo, Ashley Rubin, Bobby Peaco, Broadway at LPAC, Caiti Marlowe, Cindi Blank Taylor, Colleen Pagano, comedy, Frank Loesser, Geoffrey Mergele, Guy Haubrich, Guys and Dolls, James Skiba, Jamie Brothman, JB Green, Jo Swerling, Jonathan Eisele, Jonathan Van Dyke, Jordon Armstrong, Justin Lore, Justin Thompson, Kat Gold, Larry Buzzeo, Leah Sessa, LPAC, Manny Zaldivar, Marcie Gorman, Michael Harper, Michael Kreutz, Michael Materdomini, MNM Theatre Company, musical comedy, Musical Theatre, Norita Bandel, North End Theater Company, Penny Williams, Randall Swinton, Sean Davis, Tommy Paduano
MNM Theatre Company
The City of Lauderhill and
North End Theater Company
"If you have ever searched Times Square to find that vanished Broadway of lovable gangsters, wisecracking dolls and neon-splashed dawns, you must not miss … Guys and Dolls."
~ Frank Rich, The New York Times
LAUDERHILL, FL: Sky Masterson, Nathan Detroit, Sarah Brown, and of course Miss Adelaide… these names are often familiar to Broadway aficionados of all ages. Guys and Dolls, the third joint production to be presented by MNM Theatre Company, the City of Lauderhill, and North End Theater Company will bring these iconic characters (along with Nicely Nicely Johnson, Harry the Horse, Angie the Ox, and others) to life on the Lauderhill Performing Arts Center (LPAC) stage from April 1st through April 16th.
Set in Damon Runyon's mythical New York City, and considered by many to be the perfect musical comedy, Guys and Dolls has won multiple Tony, Drama Desk, Olivier, and Critics' Circle awards since it debuted at the 46th Street Theatre (now the Richard Rodgers Theatre). With music and lyrics by Frank Loesser (How to Succeed in Business Without Really Trying, Most Happy Fella) and the book by acclaimed humorist Abe Burrows and award-winning writer Jo Swerling, the show received unanimous rave reviews when it opened on November 24th, 1950.
"There is only one defect – but a serious one – about the musical, Guys and Dolls, which opened at the 46th St. Theatre last evening," John Chappman of the New York Daily News wrote on November 25, 1950. "And I might as well report it now and get on to happier things: The big trouble with Guys and Dolls is that a performance of it lasts only one evening, when it ought to last about a week."
The story focuses on gambler Nathan Detroit as he tries to find the cash to set up the biggest craps game in town while the authorities breathe down his neck. Meanwhile his girlfriend, nightclub performer Miss Adelaide, laments that they have been engaged for fourteen years. Nathan turns to fellow gambler, Sky Masterson, for the dough, and Sky ends up chasing the strait-laced missionary Sarah Brown as a result. Guys and Dolls takes us from the heart of Times Square to the cafes of Havana, Cuba, and even into the sewers of New York City, but eventually, everyone ends up right where they belong.
Marcie Gorman
"This show has been on my bucket list for a long time," says MNM Theatre Company's Producing Artistic Director and CEO Marcie Gorman. "The music, the characters, the book, Runyon's New York – Guys and Dolls is 'theatrical Nirvana'. And I'm so thrilled we can present it to a brand-new audience at LPAC."
Jonathan Van Dyke
"Guys and Dolls for me is the quintessential NY theatrical experience," says the production's director, Jonathan Van Dyke. "The score and characters are so vibrant, and I have really been looking forward to putting this together with MNM."
Van Dyke's talented South Florida-based cast includes Sean Davis as Sky Masterson, Caiti Marlowe as Sarah Brown, Leah Sessa as Miss Adelaide, Larry Buzzeo as Nathan Detroit, Tommy Paduano as Nicely, Nicely, Geoffrey Mergele as Benny Southstreet, Alexandria Thomas as Rusty Charlie, Michael Kreutz as Arvide Abernathy, James Skiba as Lt. Branigan, Norita Bandel as General Cartwright, Kat Gold as Agatha, Michael Materdomini as Harry the Horse, Manny Zaldivar as Angie the Ox, Randall Swinton as Joey Biltmore, and Colleen Pagano as Big Jule.
Rounding out the Guys and Dolls cast are Ashley Rubin, Amanda Eisele, Alex Van Hasselt, Alison Podolsky, and Michael Harper.
Bobby Peaco is the production's Music Director, and Jonathan Van Dyke and Jonathan Eisele are the show's Choreographers. Scenic Designer and Scenic Artist is Cindi Blank Taylor, Lighting Designer is Guy Haubrich, Sound Designer is Justin Thompson, Costume Designer is Penny Williams, Props are by Jamie Brothman, and Wigs are by Justin Lore. Guys and Dolls' Technical Director is JB Green, Production Manager is Jordon Armstrong, Stage Manager is Amber Mandic, and the Assistant Stage Manager is Andrea Guardo.
Guys and Dolls will run from April 1st through April 16th, 2022. Tickets are $45 to $65 and are available online at www.lpacfl.com or by calling 954-777-2055.
Lauderhill Performing Arts Center recommends that masks be worn in the building.
The Lauderhill Performing Arts Center is located at 3800 NW 11th Place (33311), in the Central Broward Regional Park on the Northeast corner of Sunrise Boulevard and State Road 7. For more information about LPAC visit https://www.lpacfl.com.
For more information about MNM Theatre Company (www.mnmtheatre.org/) and North End Theater Company and/or the Broadway at LPAC series, please contact Carol Kassie at carol@carolkassie.com / 561-445-9244
Book by Abe Burrows and Jo Swerling
Music and Lyrics by Frank Loesser
Based on the Idyll of Sarah Brown and characters by Damon Runyon
Tickets: $45-$65
For tickets: www.lpacfl.com or www.mnmtheatre.org or
Thursday, Friday, & Saturday at 7:30 pm
Wednesday, Saturday, & Sunday at 2 pm
All performances at
3800 NW 11th Place
Sean William Davis, Caiti Marlowe
Leah Sessa, Larry Buzzeo
Tommy Paduano, Alexandria Thomas, Geoffrey Mergele
Geoffrey Mergele, Larry Buzzeo, Tommy Paduano
Tommy Paduano
Leah Sessa, Caiti Marlowe
Larry Buzzeo
Colleen Pagano
Geoffrey Mergele
Ashley Rubin
Michael Materdomini
Allison Podolsky
Alexandra Van Hasselt
Caiti Marlowe
James A. Skiba
Manny Zaldivar
Michael Kreutz
Norita Bandel
Leah Sessa
Michael Harper
Amanda Eisele
Randall Swinton
Alexandria Thomas
Sean William Davis
Jessie Dez
SISTER ACT (A Divine Musical Comedy!) at the Lauderhill Performing Arts Center February 18 – March 6, 2022
Posted by Carol Kassie in Clients, Lauderhill Performing Arts Center, MNM Theatre Company
Alex Jorth, Alexandra Dow, Allan Napier, Amber Mandic, Andrea Guardo, Anthony Campisi, Ariela Pizza, Ashley Rubin, Bill Brewer, Casey Sacco, Charlie Alguera, Cindi Blank Taylor, Clifford Spulock, Colleen Pagano, Dalia Aleman, Don Jose, Elissa Solomon, Elizabeth Sackett, Francine Birns, Gabriella Saramago, Geoffrey Mergele, Heather Simsay, James White III, Jamie Brothman, Jaonda Carter, JB Green, Jordon Armstrong, Justin Lore, Justin Thompson, Karen Hagerty Cohen, Kate Delaney, Lauderhill Performing Arts Center, LPAC, Marcie Gorman, Meg Frost, Michael Ursua, MNM Theatre Company, musical comedy, Musical Theatre, Nia Bourne, North End Theater Company, Penny Williams, Sahid Pabon, Sister Act, Vallery Valentine
To present
"This is a musical that hits all the right spots, achieving something close to Broadway grace."
~Mark Kennedy, Associated Press
LAUDERHILL, FL: Musical theatre audiences love big, splashy musical numbers. And what could be better than those? Big splashy musical numbers… with nuns! Sister Act, which will open at the Lauderhill Performing Arts Center (LPAC) on February 18th and run through March 6th, is chock full of both! The show is the second joint production of MNM Theatre Company, the City of Lauderhill, and North End Theater Company, following their recent critically acclaimed production of Grease.
After witnessing her gangster boyfriend commit murder, Disco Diva Deloris Van Cartier is put into protective custody in the one place the cops are sure she won't be found – a struggling Philadelphia convent. Disguised as a nun, but constantly at odds with the rigid lifestyle and old- fashioned Mother Superior, Deloris eventually takes on revamping the convent's out of tune choir, with energizing and surprising results.
Based on the 1992 hit film and featuring music by Tony Award-winner and eight-time Academy Award-winner Alan Menken (Beauty and the Beast, Little Shop of Horrors, Newsies) and lyrics by Glenn Slater, Sister Act's musical numbers run the gamut from old fashioned Broadway-type show tunes, to Gospel Music, to 70s R & B, to early disco, to rap.
Michael Ursua
"With a fantastic score by Alan Menken and all the beloved characters from the film, Sister Act is the perfect show to welcome audiences back to the theatre," says the show's director Michael Ursua. "It's a beautiful story about coming together. It reminds us that we as human beings are more similar than we are different. With a cast of 25, fabulous sets and costumes and an 8-piece band, this uplifting musical comedy will leave you happy and hopeful… Can I get an amen?!"
Vallery Valentine
Ursua's talented South Florida cast includes Dalia Alemán as Mother Superior, Ariela Pizza as Sister Mary Robert, Heather Simsay as Sister Mary Patrick, Colleen Pagano as Sister Mary Lazarus, Bill Brewer as Monsignor O'Hara, Don Jose as Curtis Jackson, James White III as Eddie Souther, Allan Napier as TJ, Joshua Roland-Bramkamp as Joey, Charlie Alguera as Pablo, Javonda Carter as Michelle, Meg Frost as Tina, and Vallery Valentine as Deloris Van Cartier.
"I am extremely excited to play the role of Deloris, and to work with MNM," Valentine says. "Being an independent R&B artist for the past 15+ years, I can relate to Deloris's character and her story (the hardships of trying to "make it" in this industry). Also, it's just a really fun role. I actually think our personalities are almost 100% identical – I get to show my comedic side – not only my voice. For me to be offered this role was truly divine intervention!"
Rounding out the Sister Act cast are Sahid Pabon who will act as the show's dance captain, Elissa Solomon, Casey Sacco, Geoffrey Mergele, Elizabeth Sackett, Kate Delaney, Karen Hagerty Cohen, Gabriella Saramago, Francine Birns, Ashley Rubin, Alexandra Dow, and Nia Bourne.
Anthony Campisi is the production's Music Director and Alex Jorth is the show's Choreographer. Scenic Designer and Scenic Artist is Cindi Blank Taylor, Lighting Designer is Clifford Spulock, Sound Designer is Justin Thompson, Costume Designer is Penny Williams, Props are by Jamie Brothman, and Wigs are by Justin Lore. Sister Act's Technical Director is Johnbarry Green, Production Manager is Jordon Armstrong, Stage Manager is Amber Mandic, and the Assistant Stage Manager is Andrea Guardo.
Sister Act will run from February 18th to March 6th, 2022. Tickets are $45 to $65 and are available online at www.lpacfl.com or by calling 954-777-2055.
Lauderhill Performing Arts Center requires that masks be worn
in the building at all times.
This press release, along with the show logo and actor headshots, can be viewed online at TBA
February 18 – March 6
Music by Alan Menken
Lyrics by Glenn Slater
Book by Cheri Steinkellner & Bill Steinkellner
Additional Book Material by Douglas Carter Beane
Based on the Touchstone Pictures Motion Picture, Sister Act, written by Joseph Howard
Nia Bourne
Alexandra Dow
Alex Jorth
Ariela Pizza
Bill Brewer
Dalia Aleman
Gabriella Saramago
Heather Simsay
James White III
Sahid Pabon
JaVonda Carter
Francine Birns
Elizabeth Sackett
Allan Napier
Karen Hagerty Cohen
Joshua Roland-Bramkamp
Kate Delaney
Meg Frost
Charlie Alguera
Elissa D. Solomon
Anthony Campisi
Vallery Valentine, Bill Brewer, Dalia Aleman
Dalia Aleman, Vallery Valentine
GREASE to Run at the Lauderhill Performing Arts Center January 21 – 30, 2022
Posted by Carol Kassie in Lauderhill Performing Arts Center, MNM Theatre Company
Alexandra Dow, Amber Mandic, Andrea Guardo, Angela Morando Taylor, Ashley Rubin, Brian Pedra, Caryl Fantel, Cindi Blank Taylor, Cliff Burgess, Clifford Spulock, Dorian Quinn, Eytan Deray, Grease, Jennifer McClain, Jessie Dez, Johnbarry Green, Jonathan Van Dyke, Jordan Gonzalez, Jordon Armstrong, Justin Lore, Justin Thompson, Larry Buzzeo, Lauderhill Performing Arts Center, LPAC, Marcie Gorman, Meg Frost, Michael Harper, Michael Materdomini, MNM Theatre Company, musical comedy, Musical Theatre, Nia Bourne, Penny Williams, Ryan Michael James
North End Theatre Company and
The City of Lauderhill
"Perhaps more than any other musical, Grease embodies those seven words most commonly heard in the theater just before the curtain rises: 'Sit back, relax, and enjoy the show.'"
~ Syracuse.com
LAUDERHILL, FL: Grease, the rollicking rock 'n roll musical that is both an homage to the idealism and the music of the 50s, and a satirical look at teenagers' universal and age-old desire to be provocative and rebellious, is the first joint production of MNM Theatre Company, North End Theatre Company, and the City of Lauderhill. Grease will open on January 14th at the Lauderhill Performing Arts Center (LPAC) and run through January 30th.
At Rydell High School the 'T-Birds' are acting tough and stealing hub caps, and their gum-snapping, chain-smoking 'Pink Ladies' are looking hot in bobby sox and pedal pushers. But at the heart of Grease is the romance between top Burger Boy hot-rodder Danny Zuko and sweet 'new girl in town' Sandy Dumbrowski. Can Danny maintain his 'cool dude' status and still make Sandy his girl?!
Grease has become one of the world's most popular musicals and has a cult-like following – especially among teens. The show's book, music, and lyrics are by Jim Jacobs and Warren Casey, and the show features such iconic classics as "Summer Nights", "Hopelessly Devoted to You", "Beauty School Dropout", "Greased Lightning", and "Look at Me, I'm Sandra Dee".
The show debuted Off-Broadway on February 14, 1972, at the Eden Theatre in New York City, and transferred to Broadway's Broadhurst Theatre, and later to the Royale Theatre, closing on April 13, 1980 after a record-breaking 3,388 performances. The film adaptation of Grease premiered in 1978 and over forty years later remains on the list of the top 10 highest grossing movie musicals of all time.
"Grease is still the word, and I can't wait to take everyone back to 1959 and Rydell High," says the show's director, Jonathan Van Dyke. "We are so excited about this dynamic cast and sharing this nostalgic show with fans and perhaps introducing patrons to their first Grease experience."
Van Dyke has populated Rydell High with an impressively talented cast: Dorian Quinn will play Danny Zuko and Jessica Fernandez has been chosen to play Sandy Dumbrowski. Other cast members include Jordan Gonzalez as Rizzo, Ashley Rubin as Frenchie, Caiti Marlowe as Patty Simcox, Kat Gold as Jan, Meg Frost as Marty, Ryan James as Kenickie, Brian Piedra as Doody, Michael Harper as Roger, Michael Materdomini as Sonny, Alexandra Dow as Cha-Cha, Eytan Deray as Eugene, Jennifer McClain as Miss Lynch, and Larry Buzzeo as Vince Fontaine.
"I love this show!", says MNM Theatre Company's Producing Artistic Director and CEO, Marcie Gorman. "Grease, to me, is the perfect way to begin our new relationship with North End Theatre Company and LPAC. It's upbeat, it's fun, the songs are so recognizable, and it appeals to audiences of all ages. It's 'greased lightning!'"
Desorae Giles-Smith, City Manager for the City of Lauderhill agrees: "The City of Lauderhill is looking forward to an amazing 2022 Broadway season in partnership with MNM Theatre Company and North End Theater Company," she says. "We are so pleased to be a part of bringing our community high-quality musicals and entertainment, and Grease is sure to continue that tradition when it opens at the Lauderhill Performing Arts Center in January."
Carbonell and Silver Palm Award-winner Caryl Fantel is Grease's Music Director and Angela Morando Taylor is the show's Choreographer. Scenic Designer and Scenic Artist is Cindi Blank Taylor, Lighting Designer is Clifford Spulock, Sound Designer is Justin Thompson, Costume Designer is Penny Williams, Props are by Jaimie Brothman and Jacob Altman, and Wigs are by Justin Lore. Grease's Technical Director is Johnbarry Green, Production Manager is Jordon Armstrong, Stage Manager is Amber Mandic, and the Assistant Stage Manager is Andrea Guardo.
Grease will run from January 21st – January 30th, 2022. Tickets are $45 to $65 and are available online at www.lpacfl.com or by calling 954-777-2055. Subscriptions to the Broadway at LPAC series (Grease, Sister Act, and Guys and Dolls) are also on sale, and various subscription packages are available.
Lauderhill Performing Arts Center recommends that face coverings be worn.
Book, Music, and Lyrics by Jim Jacobs and Warren Casey
Wednesday, Thursday, Friday, & Saturday at 7:30 pm
Saturday & Sunday at 2:00 pm
Caryl Fantel
Eytan Deray
Brian Piedra
Jordan Gonzalez
Ryan Michael James


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This article is teaching you how to correctly remove Burning Monkey Mahjong Solitaire 2.0 in Mac OS X. Before performing the removal, let's get to know more about Mac OS X, so that we will be able to safely, completely remove Burning Monkey Mahjong Solitaire 2.0.
So, how should we correctly, completely remove Burning Monkey Mahjong Solitaire 2.0?
Step 1: open the Activity Monitor, and search for the processes related to Burning Monkey Mahjong Solitaire 2.0, then quit them one by one.
Step 2: Check whether Burning Monkey Mahjong Solitaire 2.0 has its own built-in uninstaller. If it does, we use it. How to find its uninstaller?
Step 3: If Burning Monkey Mahjong Solitaire 2.0 doesn't have its own uninstaller or you can't find it, the operations can be a bit complicated.
3.1 In the upper-right corner of your screen, click the Magnifier icon to open Spotlight Search. Type "Burning Monkey Mahjong Solitaire 2.0" in the box, and you will see the related folder(s)/file(s). According to the result, respectively drag it (them) to the Trash.
Performing the above steps should perfectly remove Burning Monkey Mahjong Solitaire 2.0.
How to Remove Burning Monkey Mahjong Solitaire 2.0 with MacRemover?
2> Run it, select Burning Monkey Mahjong Solitaire 2.0 in the list of installed applications, then click the "Run Analysis" button.
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4> After the analysis, click "Complete Uninstall" to perfectly remove Burning Monkey Mahjong Solitaire 2.0.


How and why reptiles thus classified? What a herpetologist is based in deciding whether a reptile fit into either group? These are difficult questions and not even the real experts are in complete agreement. To move on and understand, accept the most supported theories. As we say, strictly speaking reptiles Sauropsida fall into the clade that includes Anapsid and diapsid (note that currently this also adds to the birds). The synapsidos (mammals and reptiles with mammalian characters) are not going to be included in this group, although in earlier times as well.


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Stone molding falls off Ohio University stadium; fix planned
COLUMBUS, Ohio (AP) Ohio University is working on repairs to its stadium after an 8-inch-thick piece of stone molding fell from the building's exterior onto a sidewalk.
The university has removed other similar moldings, and work is underway to stabilize the brick wall before the team's home opener Sept. 3.
No one was hurt when the 2 +-by-4-foot piece fell from Peden Stadium's southwest corner last month. A door and a cabinet of audio and video equipment were damaged.
The school says the molding was on part of the stands built in 1929, and the support system under the stone apparently failed. Areas around some stands were blocked off as a precaution.
The university plans to start construction in March on a long-term repair that's not yet designed, with completion scheduled for August.


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Tanglewood Learning Institute ShopTalks
Presented by Boston Symphony Orchestra at Linde Center Studio E, Lenox MA
ShopTalks
7pm Sundays, June 30 – August 25
ShopTalks are weekly conversations among conductors, composers, and performers that contextualize and enrich your concert experiences. Through these candid, informal discussions, artists share their passion for the arts, their struggles and successes, and their vision for the future of classical music.
PURCHASE FULL PACKAGE $125
Ryan Speedo Green
Ryan Speedo Green is an American bass-baritone who performs for major opera companies around the
Ryan Speedo Green is an American bass-baritone who performs for major opera companies around the world and whose journey from a tough upbringing in Virginia to the stage of the Metropolitan Opera is chronicled in Sing for Your Life: A Story of Race, Music, and Family by Daniel Bergner. He has been a member of the Ensemble of the Wiener Staatsoper since September 2014.
Wendall K. Harrington
Award-winning "Queen of Projections" Wendall K. Harrington is considered the nation's leading designer and has created notable works for Broadway, Off Broadway, opera, ballet, and live concerts including The Who's Tommy. She was design director and editor-at-large for Esquire Magazine, and in addition to a busy design career, leads the MFA program in Projection Design at the Yale School of Drama.
Thomas Wilkins, H. Robert Reynolds and Dr. Harvey Young
Thomas Wilkins is the Boston Symphony Orchestra Germeshausen Youth and Family Concerts Conductor, Music Director of the Omaha Symphony—a position he has held since 2005–and Principal Guest Conductor of the Hollywood Bowl Orchestra.
H. Robert Reynolds conducts the Young Artists Wind Ensemble at Boston University Tanglewood Institute, is Principal Conductor of the Wind Ensemble at the University of South California, and Director Emeritus of University Bands and Arthur Thurnau Emeritus Professor of Music (Conducting) at The University of Michigan. He has also conducted the Detroit Chamber Winds and Strings for more than 25 years.
Dr. Harvey Young is Dean of the College of Fine Arts at Boston University, the award-winning author of seven books, and a commentator on popular culture for a variety of media outlets. He is president of the Association for Theatre in Higher Education and has served as Trustee/Board Member of the African American Arts Alliance of Chicago, American Society for Theatre Research, Northlight Theatre, and Yale Club of Chicago.
Avner Dorman & Asher Fisch
Avner Dorman, composer and conductor, is an alumni of the Tanglewood Music Center. His Double Concerto for Violin and Cello receives its U.S. premiere with soloists Pinchas Zukerman and Amanda Forsyth in the Shed on August 3. Dorman is music director of CityMusic Cleveland Chamber Orchestra and Associate Professor of Music Theory and Composition at the Sunderman Conservatory of Music at Gettysburg College.
A renowned conductor in both the operatic and symphonic worlds, Asher Fisch is celebrated for his interpretative command of core German and Italian repertoire of the Romantic and post-Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers. Since 2014, he has been the Principal Conductor and Artistic Advisor of the West Australian Symphony Orchestra. His former posts include Principal Guest Conductor of the Seattle Opera (2007-2013), Music Director of the New Israeli Opera (1998-2008), and Music Director of the Wiener Volksoper (1995-2000).
Erika Fox, Hilda Paredes, Chaya Czernowin & Zoë Martlew
Award-winning composer Erika Fox was born in Vienna of Hungarian/Romanian parents and emigrated to England as a war refugee. Her highly distinctive musical style is a result of a childhood suffused with music of Eastern European origin and many of her works show a natural affinity for theatre and stage. Since the 1970s, her music has been regularly performed at festivals, the South Bank, Wigmore Hall, and has been broadcast in the UK and internationally.
Firmly established as one of the leading Mexican composers of her generation, Hilda Paredes has made her home in London since 1979, and her music is now performed widely around the world. She has been commissioned by soloists, ensembles, and orchestras around the world and is a frequent guest lecturer and composition teacher at notable universities around the world.
Chaya Czernowin's compositions have been performed throughout the world, by some of the best orchestras and performers of new music. She was professor of music at UCSD, and the first woman to be appointed composition professor at the University of Music and Performing Arts in Vienna, Austria (2006–2009), and at Harvard University, where she is the Walter Bigelow Rosen Professor of Music.
Cellist, composer, performer, educator, media commentator, the increasingly un-categorisable Zoë Martlew performs and records around the world as soloist and with some of the world's most renowned contemporary music ensembles, improvisation, film, electronica, multi-media, pop and rock artists, dance, and theatre companies.
Margo Garrett & Thomas Martin
Margo Garett, an award-winning collaborative pianist and vocal coach, has premiered more than 35 new works and has an extensive discography. Formerly co-director of the Collaborative Piano Department at the New England Conservatory and faculty member at The Juilliard School, she is currently a faculty member at the Tanglewood Music Center and Music Academy of the West.
Thomas Martin holds the Stanton W. and Elisabeth K. Davis chair as Associate Principal and E-flat Clarinet, Boston Symphony Orchestra and Principal Clarinet, Boston Pops Orchestra. He has premiered a number of works, including a new clarinet sonata written for him by Sir André Previn, and has appeared as a soloist with the Boston Symphony Orchestra and Boston Pops.
Giancarlo Guerrero & Morris Robinson
Giancarlo Guerrero is a six-time GRAMMY® Award-winning conductor now in his tenth season as Music Director of the Nashville Symphony. The Costa Rican, Nicaraguan-born, US-based conductor is also Music Director of the Wrocław Philharmonic at the National Forum of Music in Poland and Principal Guest Conductor of the Gulbenkian Orchestra in Lisbon, Portugal.
Former all-American college football player and now leading opera bass, Morris Robinson performs to great acclaim in opera houses all around the world. He was the first African-American artist to sign with a major classical record label and the 2015/16 artist-in-residence for the Atlanta Symphony Orchestra, and is currently an artistic advisor for the Cincinnati Opera.
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In the end, Dalriada Robotics club walked away with first prize for their project presentation. They had to present an innovative idea to a panel of judges from industry and academia. Special mention must go to our talented new recruits for their excellent presenting: Caolan McKendry, Alicia Cooke, Megan Schofield, Lauren Bell and Anna Graham.
After this success, however, there was still more to come. Our senior members Claire Mulholland, Claire Crawford and David Linton showed their experience by placing the team joint first on the robot challenge. At the end of the competition, it was a tie between Victoria College, Magherafelt High and Dalriada. Needless to say, all were very excited at the potential of automatic qualification to the UK finals in Loughborough. In the end, though, the judges had to take an average score which placed Dalriada as runners up.
A brilliant day was had by all and thanks goes to all our team members and also to NIE for sponsoring us through the years and covering our entry costs.
« Geographical Association Worldwise Quiz 2014	» Countdown Fun!


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2022 Book Review: Us Against You
Us Against You by Fredrik Backman
A Contemporary, 2017 by Washington Square Press, 448 Pages
There are a lot of characters in this one (again, as there were in the first book in this duology, Beartown) so it can feel muddled in a few spots. I will say that I felt like this was the intention.
Emotional (again). More than once I had tears in my eyes or found my heart racing. Not an inherently bad thing, just worth mentioning.
Content warning: teenage sex (implied), underage drinking, violence, gay bashing, mentions of rape. All used in context of the storyline, all addressed by the author. But avoid them if you must.
What I Did Like:
Again, as it was with Beartown, this is a beautifully told story of an entire town. You get a feel for the entire town and it becomes the main character of this story. It's a brilliant technique to make the town the MC and something I can't remember seeing done before.
Emotional. I realize I also said that for something I didn't like, but if you come into the story knowing it's contemporary and it will bowl you over with emotion, it's a good ride. The emotions feel real and raw, they're shocking but they're important. You feel the right things at the right time and that is the sign of a good contemporary story.
Confronting bias. This duology (beginning with Beartown) is epic simply because the author puts the town in a difficult situation and you, the reader, watch them confront their biases in big ways. Something is the catalyst, but that one thing is not what the story is really about. It's a powerful commentary about the way we treat each other wrapped up in a book about a hockey team.
Who Should Read This One:
Obviously, if you loved Beartown, get this one. It's a beautiful continuation of the town and its story.
Contemporary fans who like hard hitting emotional books that make you think about your life and how you treat others will adore this duology and should immediately get both.
Contemporary fans will have a new favorite. It's amazing and well written.
4 star book, 4 star review, amreading, audiobook, book review, bookreview, library, writers who read, writerswhoread
March 2022 Reading Stats
2022 Book Review: With the Fire on High


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Le  (ou U-195) est un sous-marin allemand (U-Boot) de type  utilisé par la Kriegsmarine pendant la Seconde Guerre mondiale.

LU-195 est construit sur le même principe de structure que l'U-180, les deux seuls U-Boote de type . Doté à l'origine de six moteurs diesel comportant deux axes propulseurs, pour leur procurer une vitesse plus élevée, ces derniers ont été remplacés après sa première patrouille à partir de  par deux moteurs diesels conventionnels au type IX à la suite de problèmes récurrents de surchauffe et de fumée noire de combustion. Ces tubes de lancement de torpilles seront également enlevés et est équipé d'un schnorchel. Il est alors conçu et affrété pour des missions longues, spéciales, confidentielles ; avec une cargaison possible de  de fret.

 Historique
Il quitte le port de Kiel pour sa première patrouille le  sous les ordres du Kapitänleutnant Wheinz Buchholz pour une mission dans l'Atlantique au large de l'Afrique du Sud. Après  en mer et deux navires marchands coulés pour un total de  et d'un navire marchand endommagé de , l'''U-195 rejoint la base sous-marine de Bordeaux le .

Sa deuxième patrouille part de Bordeaux pour un transfert vers l'Asie au sein de la meute de combat ou groupe Monsun.

Il navigue la plupart du temps dans les eaux asiatiques. Le  sous le commandement du capitaine (Oberleutnant) Steinfeld, lU-195 transporte douze fusées V-2 aux Japonais. Le U-219 aurait également livré une partie de cette cargaison, ainsi que de l'uranium pour un projet atomique japonais (message en  ou purple (pourpre) décrypté par les États-Unis), commandé par le Général en chef de la  de l'air, Toranouke Kawashima en juillet 1943. Les deux U-Boote arrivent à Jakarta en décembre 1944, sont arraisonnés en août 1945 et tenus au secret par les Alliés.

L'''Unterseeboot 195 est perquisitionné par les Alliés à Surabaya en Indonésie en , avant d'être sabordé dans le cadre de l'opération Road's End. Il est renfloué puis démoli en 1947.

Certains membres de l'équipage allemand furent capturés par les forces militaires hollandaises à Malang (Java oriental) le .

Affectations successives
  du  au  (entrainement)
  du  au  (service actif)
  du  au  (service actif)
  du  au  (service actif)

Commandement
 Kapitänleutnant Heinz Buchholz du  au
 Oberleutnant zur See Friedrich Steinfeldt du  au

Patrouilles

Note : Oblt. = Oberleutnant zur See - Kptlt. = Kapitänleutnant

Navires coulés
L'Unterseeboot 195 a coulé deux bateaux marchands pour un total de  et a endommagé un navire marchand de  au cours des trois patrouilles ( en mer) qu'il effectua.

Voir aussi

Références

Articles connexes
 Liste des U-Boote de la Seconde Guerre mondiale

Liens externes
  U-195 sur le site Uboat.net
  U-195 sur le site U-boot-archiv.de

Bibliographie

  (la guerre secrète du Japon).

Nom de bateau
Bateau lancé en 1942
195
195
195
195
Navire construit à Brême
Sous-marin japonais de la Seconde Guerre mondiale
Navire démoli en 1947
Navire coulé comme cible


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Q: ationDoes console.log() impact on performance in nodejs server in production mode? When i test my Rest API using bench-rest npm package. At first i tested with console.log and without console.log and i realize that without console.log it is 2-3 times faster than with console.log. I just need to confirmation about this.

A: Surely any calls to console are expensive and thus should not be used in production mode. It's best to use any proper logger like winston for example!

redpajama_set_name: RedPajamaStackExchange


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Has Donovan Olumba Earned The Final Cornerback Spot?
Kelley L Cox-USA TODAY Sports
Heading into the final week of the preseason, many anticipated that the Cowboys cornerback depth chart was just about set. Of course, we all know the locks at the top of the roster, but corner Charvarius Ward seemed to have earned the final secondary spot.
Then, surprisingly, the Cowboys decided to deal Ward to the Kansas City Chiefs in an effort to bring in some more offensive line depth. This move makes a ton of sense, especially considering the injuries across the Cowboys offensive line, but it did open up a roster spot in this cornerback group.
That final spot is coming down to three corners in particular: Donovan Olumba, Duke Thomas, and Marquez White. And while it feels like Thomas has been around the Cowboys forever, and Marquez White is a former sixth round pick by Dallas just one year ago, it's Olumba who has earned that roster spot this preseason.
During the preseason finale against the Houston Texans, Donovan Olumba seized his opportunity. The former undrafted free agent showed off his length and athleticism, and displayed just why he fits the mold which Kris Richard targets in his players.
Bobby Belt on Twitter
Donovan Olumba finished the preseason tied with Chidobe Awuzie for most pass breakups on the team.
As mentioned by Bobby Belt, Olumba finished the preseason tied for first in most pass breakups on the team. Tied, of course, with arguably the best cornerback on the roster, second year player Chidobe Awuzie.
Donovan Olumba uses all of his 6'2" frame in coverage, and is aggressive enough when breaking on routes to make plays on the ball. He plays with a toughness which Kris Richard values highly in cornerbacks, and has the strength and length to keep up with wide outs throughout their routes. Of course, he isn't going to be a number one corner any time soon but Olumba has certainly proved he's deserving of that last cornerback spot.
In the past the Cowboys have struggled to find defensive back with these skills, but as of late they have put a premium on finding corners who play aggressively and look to get their hands on the ball.
It looks like this emphasis is paying off all across the defense, from the very top of the corner depth chart to the very bottom.
Related Topics:2018 PreseasonCornerbackDonovan Olumba
Cowboys 2018 Roster Projection: Final Edition
Cowboys en Español: Proyección Final del Roster de 53 Jugadores 2018
Die-hard Cowboys fan from the Northeast, so you know I am here to defend the 'boys whenever necessary. Began writing for a WordPress Cowboys Blog, and have been with ITS since 2016.
The Ringer Names Byron Jones, La'el Collins As Potential Trade Bait
Counting the pockets of Cowboys star players has become a favorite activity of the national media this offseason, as everyone tries to figure out how Dallas will structure the deals for their young players over the course of the next year.
While trying to figure out what the new deals will look like, it's worth reflecting on how well the team did on some of their past negotiations. The Ringer released an article this week naming the most underpaid veteran on each NFL roster, with Tyron Smith earning that honor for the Cowboys.
Smith, who signed his extension with the team back in 2014, is under the deal until the 2024 season. That 8 year extension was lucrative at the time for sure, but as the salary cap rises and other offensive tackles have gotten paid, it looks more like a bargain deal for Dallas by the second.
"A long contract is a bad deal for an elite player in a league in which revenue grows handily. The salary cap was $133 million in 2014, but it's $188.2 million for 2019. So while the Cowboys have 41.5 percent more money to spend, Smith hasn't had a raise in five seasons. The Cowboys essentially locked up one of the best tackles of his generation for his entire career."
When put like this, you can see just what a steal of a contract the Cowboys signed Tyron Smith for. Smith is inked for the entirety of the prime of his career, and has very little leverage for a holdout given how many years still remain on this deal.
On the field, Tyron Smith remains one of the best left tackles in all of football, even if back issues have forced him to miss some time over the last two seasons. Smith should remain a top contributor for the Cowboys for at least a few more years, all of which will come at a bargain for a Cowboys team looking to execute some salary cap gymnastics next offseason.
The Cowboys duo of young linebackers took the NFL by storm in 2018.
Rookie Leighton Vander Esch and former second round pick Jaylon Smith played well above expectations, as for the first time in years Dallas did not face a significant drop off in defensive production when Sean Lee was out and injured.
These young linebackers are the cornerstone of a run defense which should be among the league's best going forward, and Pro Football Focus agrees. Well, somewhat agrees.
PFF ranked all 32 run defenses heading into the 2019 season, slotting the Cowboys 13th overall. Better than half the league, but not quite top 10.
https://twitter.com/PFF_Cowboys/status/1151155572059717632
PFF's reasoning behind this ranking certainly makes sense, as they credit the young linebacker duo without mentioning much of what will be in front of them helping to stop opposing running games.
"The Cowboys' run defense begins and ends with the league's best young linebacker duo. Leighton Vander Esch ranked third in run-stop percentage as a rookie while Jaylon Smith checked in at 29th."
The playoff loss in Los Angeles has left a bad taste about the Cowboys' interior defensive line in a lot of mouths, but I do think they've improved the unit this offseason. Signing Christian Covington and drafting Trysten Hill was a nice start to do so, but having Maliek Collins healthy and Antwaun Woods back for a full season will also go a long way.
Interestingly enough, two of the Cowboys divisional foes came in ranked above them on this list. Washington was slotted as the 12th best run defense, while Philadelphia was placed at number 8. Both teams' units deserve respect, of course, but this further highlights how difficult it could be to run the ball in the NFC East this season.
While I hate simply throwing this term around, analytics suggest that passing is what wins games in the NFL. Passing and stopping the pass, I should say.
With strong run defenses in their division, the Cowboys will need to maximize their passing game efficiency if they want to repeat as NFC East champions.
Matthew Lenix
Amari Cooper changed life for the entire Dallas Cowboys offense in 2018. Finally, Quarterback Dak Prescott has the number one option at wide receiver he's desperately needed since his rookie campaign. Now, after half a season and multiple playoff games under his belt in Dallas, Cooper is set to have a monster year. Here are three specific reasons why.
1. Culture
Head Coach Jason Garrett has established a certain way of doing things in Dallas since taking over in 2010. His constant search for the RKG or "Right Kinda Guy" as he puts it has the culture in the locker room at a very positive and productive place. As criticized as he is, justifiably or not, he has his team all on the same page. This is something Cooper has been trying to find since he entered the league in 2015. An organization with the right mindset in order for him to perform and maximize his skill set. After being traded to Dallas, Cooper opened up in November about being unhappy during his days in Oakland.
"I wasn't really happy in Oakland or anything like that. But when I sat and thought about it [Monday} night, I thought about the fact that they traded me away. I don't know how to feel about it," Cooper told Yahoo Sports.
This may seem small to others considering these players make millions of dollars right? Well, it doesn't change the fact that they're human. When you feel unappreciated you don't play to the best of your abilities. Shortly after the trade, Cooper talked about how he's been different since putting a star on his helmet. "I feel like it did change me, as far as having that chip on my shoulder. Not that I wasn't passionate before, but playing with more passion, trying to intentionally have fun out there. It definitely has changed me, in terms of me going out there and just having fun with it," Cooper said. A change of scenery was just what the doctor ordered for Cooper and the Cowboys.
2. The other weapons around him
The Cowboys aren't just Amari Cooper or bust at the wide receiver position. Michael Gallup and Randall Cobb provide more challenges for defenses on a weekly basis. Gallup has firmly locked down the number two spot on the depth chart. It took a while for him to establish chemistry with Dak Prescott, as they would misfire on several big plays during the first half of the season. Nonetheless, by seasons end things started to pick up, and he finished with 33 receptions for 507 yards and 2 touchdowns. In the playoffs, he scored a touchdown in the Cowboys Wild Card win over Seattle. The next week against the Rams he performed well even in defeat, with 6 receptions for 119 yards. He's got speed, size, and versatility. Now with a full season and two games of playoff experience under his belt, I look for even more production from Gallup, as a possible breakout star.
Randall Cobb is a much-needed upgrade in the slot for the Cowboys. Unlike former receiver Cole Beasley, Cobb can line up inside or outside. Giving new Offensive Coordinator Kellen Moore a bigger bag of tricks at his disposal. Now, he can lineup Cooper inside or outside and play with a plethora of different looks, keeping defenses off balance because of the uncertainty of how the Cowboys will attack through the air.
Then, of course, there's Ezekiel Elliott. The two-time rushing champion is the tone-setter on offense and dictates how defenses will attack. With Cooper being such a threat in the air you basically have to pick your poison. 8-9 man fronts against the run can make you vulnerable to play action down the field or quick slants with Cooper's exceptional route running. The more productive Elliott is the more honest it keeps opposing defenses, opening up more opportunities in the passing game. Averaging 101.2 yards per game for his career, second all-time to Hall of Famer Jim Brown, Elliott can make create even more opportunities for Cooper in 2019 with a full season of playing time together.
3. Motivation
Amari Cooper is currently looking to sign a long-term deal with the Cowboys. Preferably, both sides would like to get this deal done before the season starts considering he's in the last year of his rookie contract that is set to pay him 13.9 million in 2019. However, it isn't just a new deal that motivates Cooper heading into the new season.
"It's kind of a weird situation, just being that I've never been in this situation before, talking about a contract. But also, I'm under a fifth-year option, so I'm not too familiar with it. I really don't ask my agent many questions. I'm not really worried about it that much. I'm more focused on actually playing and really earning the respect and then the contract," Cooper said.
Being motivated by earning respect is a very mature approach from Cooper. Now, add that to the fact that I'm sure he wants to firmly put his name alongside Julio Jones, Antonio Brown, DeAndre Hopkins, Odell Beckham Jr, and Michael Thomas as the best receivers in the game, you have a fully motivated number one option heading into the new season.
Amari Cooper has already made three pro bowls, but now there's another level for him to reach. In just nine games last year with the Cowboys he caught 53 passes for 725 yards and 6 touchdowns. Also, he caught another 13 on 18 targets in the playoffs for 171 yards and a score. He's in the right culture, he has a number of other weapons around him and he has multiple reasons to be motivated heading in the new season. With a full offseason of building chemistry with Dak Prescott, I see Cooper taking that leap to the All-Pro level in 2019.