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Tag Archives: Brisbane Powerhouse
With Covid still causing disruptions, I was surprised to ultimately make it along to over 100 shows again this year. Here are my highlights from the 2022 Brisbane theatre year.
1. The Normal Heart (Ad Astra)
The Queensland premiere production of Larry Kramer's largely autobiographical "The Normal Heart" was absolutely absorbing and inspirational in its unflinching look at the horrific time in our history that was the start of the AIDS epidemic.
2. A Girls Guide to World War (Musical Theatre Australia)
Inspirational, also, was Musical Theatre Australia's tell of the true story of some amazing women forgotten by our history. The February show, which was my favourite then for most of the year, was richly rewarding in both its entertainment and education about the courageous and compassionate real life humanitarian adventurers at the core of its story.
3. Holding Achilles (Dead Puppet Society and Legs On The Wall)
My 2022 Brisbane Festival highlight, the grand Dead Puppet Society and Legs On The Wall co-production was an exquisite world-class design-led theatre experience, as much a celebration of the craft of storytelling as a retell of one of the Western canon's oldest narratives
4. The Sunshine Club (Queensland Theatre)
Queensland Theatre's bright revival of Wesley Enoch and John Rodgers' joyful musical was a historical work of a particular time, but also a story of love, hope, heartbreak and the shared humanity of these emotions, easy to watch and love.
5. 42nd Street (Queensland Conservatorium)
There was much to also love about Queensland Conservatorium's massive musical production of "42nd Street" as its assured performances, quality orchestrations and show-stopping ensemble production numbers captured the spirit of the show's era and also the grand musical genre.
6. Oliver! (Savoyards)
Savoyards excellent musical revival was full of highlights and everything needed to entertain its audience around the troublesome aspects of "Oliver!" to a resonance of resilience and hope.
7. The Last Five Years (La Boite Theatre Company)
La Boite's two-hander share (in two different directions) of the ill-fated five-year relationship of aspiring artists was certainly clever in its alternate musical narration, however, was also slick in its use of space and tight in its telling thanks to the moving performances of its charismatic performers and musical stylings of its varied, bitter-sweet score.
8. Mary Poppins (Disney and Cameron Mackintosh)
The Disney spectacle that came to life on the Lyric Theatre stage was a celebration of imagination, and, thus, an unforgettable production that could easily be seen again and again, making for a "Mary Poppins" anew for the whole modern family.
9. Seven Methods of Killing Kylie Jenner (La Boite Theatre, Darlinghurst Theatre Company and Green Door Theatre)
Just before the floods came, there was this fierce and furious coproduction, sharp in its satire of cancel culture and appropriation in a viral world, but also wickedly humorous.
10. First Casualty (Queensland Theatre)
The hard-hitting storytelling of Queensland Theatre's landmark blockbuster season closer was elevated by an epic soundscape and dynamic lighting to take us into a world not previously seen on stage…. the last days of Australian troop involvement in Afghanistan.
And of particular note….
Best Drama – The Normal Heart (Ad Astra)
Also the most moving and thought provoking production of 2022, Ad Astra's "The Normal Heart" allowed us to bear witness to each stage of the play's centrepiece romance as it played out in unfiltered vulnerability, raw anger, complex beauty and undeniable love, against the backdrop of a community living in fear of AIDS.
Best Comedy – Hidden in this Picture (Villanova Players)
The one act "Hidden in this Picture" (from the pen of Emmy Award-winning playwright Aaron Sorkin), which appeared as part of Villanova Players' intermezzo series, was full of over and over again laugh-out-loud moments emerging from the increasing hyperbole in share of what was essentially a duologue inset with simple interjections.
Best Cabaret – Women in Voice
The 2022 outing of this Brisbane institution was the best yet in its curated program of different musical styles from its empowered female performers.
Best Dramatic Performance – Vivien Whittle – Gaslight (Growl Theatre)
Whittle was simply wonderful as the vulnerable, tormented and humiliated Bella, whether bustling about in fleeting, naive belief that all is well or blubbering in flustered confusion after being raged at by her psychologically-torturous husband Jack.
Best Comic Performance – Troy Bullock – Hidden in this Picture (Villanova Players)
Meanwhile, Bella's gaslighting husband Troy Bullock gave the funniest performance as a first-time director Robert, intent on obtaining an Oscar-winning shot in for his movie's final scene, until three cows make appearance along with the hundreds of extras.
Best Musical Performance – Priyah Shah – Oliver! (Savoyards)
Shah's show of strength but also vulnerability ensured that her Nancy was not just a kindly, but a complex character and her strong vocals left the "Oliver!" audience equally impressed in rollicking tavern sing-a-long and torch song numbers alike.
Best duo – Marcus Corowa and Irena Lysiuk – The Sunshine Club (Queensland Theatre)
The chemistry between Corowa and Lysiuk was not only evident in their protagonists' duets, but warmed the audience into investment into the blossom of their childhood friendship in to more after his post-WW2 return to Brisbane.
Honourable mention to Christopher Morphett-Wheatley and Darcy Rhodes – Into The Woods (Beenleigh Theatre Group)
Morphett-Wheatley and Rhodes were audience favourites as they dynamically pranced about in pantomime-esque play off each other's bravado energy as two-dimensional princes attempting to one-up each other in argument.
Best Ensemble – Heathers: The Musical (Millennial Productions)
Millennial Productions' debut musical was a highly professional independent production, in part due to its strong performances, with nobody holding back even in edgier scenes. There were no vocal weak links as each performer was given an opportunity to shine and there was a clear level of focus in all performances, resulting in no missed beats within the show's tight rhythm.
Best Independent Production – Boy, Lost (Belloo Creative)
The years-in-the-making tell of the true story of one family's loss and redemption was also an ensemble production with its actors playing multiple characters (including themselves at moments), jumping in and out of different roles with simple prop or costume enhancements, yet, as an audience, we always knew what was happening as we moved through its tightly-woven emotional journey.
Most fun – All Fired Up (Box Jelly Theatre Company)
The show so nice, I ended up seeing it twice to contemplate if a trip to the '80's and a chat with your 15-year-old self really can solve a mid-life crisis? With a live band perfectly capturing the nostalgic energy of the era it was all incredibly feel good, fun and funny.
Best Staging – Holding Achilles (Dead Puppet Society and Legs On The Wall)
The mythical magic of "Holding Achilles" may have been multi-layered, but this was built upon a performance space reminiscent of classical Greek amphitheatres with staging exposed to the audience, in contrast to the modern technology used to sometimes literally soar the story along with aerial artistry.
Best Sound and Lighting Design – First Casualty (Queensland Theatre)
The sound and lighting design elements of "First Casualty" were likely worth the price of admission alone. Paul Jackson's lighting design transformed the space and its surfaces to tell the show's many multifaceted narratives, while sound design by Brady Watkins and THE SWEATS added to the onstage action, whether dynamic or subtle in tone.
Best Choreography – Mary Poppins (Disney and Cameron Mackintosh)
Matthew Bourne's and Stephen Mear's "Mary Poppins" choreography (recreated for the Australian production by Richard Jones) filled the Lyric Theatre stage with a burst of moving bodies, brooms and brushes in spectacular, precise, fast-paced numbers like 'Supercalifragilisticexpialidocious' and 'Step in Time'.
Posted in Brisbane, Uncategorized | Tagged 42nd Street, A Girl's Guide to World War, Ad Astra, Brisbane Powerhouse, Dead Puppet Society, First Casualty, Holding Achilles, La Boite Theatre Company, Mary Poppins, Musical Theatre Australia, Oliver!, QPAC, Queensland Conservatorium, Queensland Theatre, Savoyards, Seven Methods of Killing Kylie Jenner, The Last Five Years, The Normal Heart, The Sunshine Club | Leave a reply
Seasonal circusing
Jingle (JACs Entertainment)
Brisbane Powerhouse, Powerhouse Theatre
December 15 – 23
"Jingle" is described as an all ages magic, cirque, singing, dance and comedy Christmas show spectacular for anyone from 1 – 100 to enjoy, and it is not long into its 70-minute show time that it becomes evident that this is indeed true.
Things start strongly with a dynamic soundscape pumping out commanding compositions of this-time-of-year classics as we are taken into the amazing edge-of-your-seat feats of acrobatics with a new take on the Christmas story of "The Nutcracker" courtesy of an expressive contortionist and hand-balancing routine from Soliana. The Powerhouse Theatre offers a perfect platform to showcase all range of circus acts, with its raked seating allowing even those towards the back of the stalls, an impressive view of the scale of their heights, the beauty of their choreography and uniqueness of their execution. And the aerial acts are even more striking because of this, especially when we see an performer not only showcases climb and wrap tricks but roll up, rather than just the usual free-fall dropping down, their silks.
There is no real theme to the show, apart from entertainment. The over a dozen incredibly-talented performers all have impressive, unique skillsets which combine in a potpourri of entertainment, with internationally acclaimed juggler Cody Harrington standing out as a clear crowd favourite as his incredible tricks build upon each other in their brilliance. Clearly, this new Christmas show really is one for all ages with guide, internationally acclaimed comedy host Magician Dom Chambers, engaging with children and adults alike, particularly with his card tricks and sleigh-of-hand magic. There is also some fun audience participation from both children and adults.
Music numbers are appropriately themed and delivered with style by powerhouse vocalist Ellen Reed. Her 'You're a Mean One Mr. Grinch' is a teasing testament to her talent, and her late-show 'Have Yourself a Merry Little Christmas' is heart-warming, but still melancholic. Familiar in sound, but still very much its own, it is a glorious light-and-shade version that scales to great vocal heights yet also allows for some sit in the essentially quite sad holiday staple.
While, 'Let it Snow! Let it Snow! Let It Snow!' does not feature in her set list, before things end, it does joyously filter down upon us as the perfect punctuation point on a richly aesthetic experience. Lighting lushes over each number to give it a distinctive feel and costumes contribute much to the often impressive visuals, such as when aerialist Katrina Lilwall, ascends to high above the stage, suspended in the air by her hair as she swings about and performers acrobatic poses, while winged in angel attire. It is a stunning, standout moment that encapsulates the sumptuousness of the combined artistry of the show.
Bigger and better than its Brisbane Festival "Cirque O L I O" work, "Jingle" is like a mini Cirque du Soleil show for the whole family. Like a chocolate box of only the best assortments, it gives us an array of Australian-based circus, song and dance (from impressive tap to ballet numbers and even twin dancing reindeers) in a magical festive holiday treat. And its diverse, creative entertainment will surely stimulate the senses and entertain the passions of audiences of all sorts during its extended holiday run.
Posted in Brisbane, Christmas, Circus | Tagged Brisbane Powerhouse, JACs Entertainment, Jingle | Leave a reply
Fem-led fierceness
Posted on November 25, 2022 by bluecurtainsbris
In Your Dreams (Polytoxic)
Brisbane Powerhouse
November 23 – 25
Polytoxic is an Australian collective known for creating hyper-visual, pop-inspired performance work built upon the foundations of diversity, collaboration and intersectionality, and their new cabaret work, debuting at Brisbane Powerhouse's Melt festival celebration of queer art, artists and ideas, is very much in keeping with this mantra. Though scaled down from 2021's "Demolition", "In Your Dreams" still explores some very big and important ideas. Forget Aria, Oscar and Matilda… this is an awards ceremony for the future, with all the glamour, drama and entertainment you could want. It's a utopic vision where everyone is recognised, presented as a femme led future. We appreciate this from the moment its troop of performers takes to the stage's red carpet to take out their anger upon the statutes that line its runway.
From there, we are welcomed to the FOMOEOS awards (you will have to go to find out what this acronym stands for) by Polytoxic leaders Lisa Fa'alafi and Leah Shelton. There is a bit of a film theme running through its early numbers, which include musical nods to "Rocky" and "Grease" (with an unusual in-time audience clap along) as bros BIG M.I.C (Busty Beatz) and Young Harrison (Hope Haami) attempt a misogynistic reclaim.
The work features a line-up of glass-ceiling smashing, system dismantling, genderqueer, fiercely intersectional artists including Alinta Mcgrady, Kim 'Busty Beatz' Bowers, Lilikoi Kaos, Mayu Muto, Matehaere Hope Haami Aka Hope One, Gogo Bumhole, Richie Lestrange and Rhythmology. The ensuing range of acts includes the usual mix of disciplines, only perhaps with more provocation than the company's previous works, meaning that this is not a show for the easily offended (who may have to check their privilege), in terms of both its language and conceivably confrontational subject matter to some.
Numbers include impressive aerials, big vocals, beatboxing, hoops, street dance, lip-sync, drag and performance art and there are many highlights from within them. Fearsome warier Mayu Muto takes advantage of the lofty Powerhouse Theatre space to impress with some gravity-defying aerial rope work, while ripping apart anyone who gets in her way. In another of its circus-themed acts Fa'alafi twirls fire sticks sans fire in a frenzy that creates an amazing visual spectacle. And Shelton shows strength and skill in a memorable sex-doll pole routine.
Nothing is off limits in this loud and proud mother of all #hellyeah take downs, which has been created and written by Fa'alafi and Shelton in collaboration with the cast. Kayne BIG M.I.C returns to the Polytoxic stage, uninvited and unannounced to steal the limelight and take home all the awards, and the ensuing 90s r-and-b boy band 'Hot Brown Homies' parody is absolutely hilarious in its exaggerated r-rated reminders of the genre's dance moves and archetypes.
One of the features of a Polytoxic show is a dynamic soundscape and, in this regard, "In Your Dreams" does not disappoint. With music direction by Fa'alafi and Shelton in collaboration with Kim 'Busty Beatz' Bowers, the soundscape is as big as it gets and adds much to the amplified aesthetic. And when Badass Mutha Alinta Mcgrady takes gold with a late-show 'Winner Takes It All', her passionate delivery not only emphasises her vocal talent, but focus us on the show's articulated spotlights on notions of body sovereignty and similar.
Unforgiving and unapologetic activism is what this company is all about and "In Your Dreams" is a fierce, in-your-face reminder of this in its essential, explosive celebration of glass-ceiling smashing and colonial hetro-normative patriarchal system dismantling. This is a fantastical VIP-style party where the queers, outcasts and political activists are celebrated and win the awards they deserve. Indeed, "In Your Dreams" is a theatrical feminist feast of disruption that (literally) rips to shreds antiquated notions of girls on film and alike. Its inclusive celebration of resilience and freedom never wanes in energy, including in its sensational slip and slide curtain call.
Photos c/o – Jade Ellis Photography
Posted in Brisbane, Cabaret | Tagged Brisbane Powerhouse, Busty Beatz, Leah Shelton, Lisa Fa'alafi, Melt, Polytoxic | Leave a reply
Combined craft connection
Brisbane Powerhouse, Underground Theatre
Brisbane Festival's "Heartland" sold out well ahead of its performance. Given the stature of its headliner, composer, producer, multi-instrumentalist and vocalist William Barton, this is of little surprise. Barton is widely recognised as one of Australia's leading didgeridoo players and composers. (The morning after the performance he is jumping on a plane for Melbourne to appear as part of the AFL grand final's half-time entertainment.) It is not just Barton performing, but also powerhouse versatile violinist Véronique Serret. Together they combine crafts to share connected stories as traditional songlines and modern storytelling blend in a distinctive evocation of our uniquely Australian landscape.
Brisbane Powerhouse's intimate Underground Theatre is the perfect location for the expansive but also at-once personal meditation that "Heartland" represents, with moments of poetry written by Barton's mother Aunty Delmae Barton interspersed throughout the hour-long collaboration. At times, the recitations are almost like slam poetry thanks to Serret's punchy, powerful delivery, which adds to their soaring emotion. Numbers are fluidly anthologised together and, as with songs of worship, there is not opportunity of need for punctuating applause. Rather the captivated audience is held silent in attention of the stillness of the show's moments, which are enhanced by lighting normally only seen in the Powerhouse Theatre, which lushes us from the earthy tones of dusk's glory to fresher emerald greens, for example.
The journey through Dreamtime stories and spirits of the ancient land of their mother country (their heart land) is not just a message of peace, but a showcase of talent. Barton's virtuosic didgeridoo playing showcases his agility as its drone-ing sounds are interjected with percussive tapping. And when a late show number about the passing of cultures from generation to generation sees the addition of guitar and Barton's traditional vocals, the unique melding of western music with the ancient sounds of the land uplifts the show's ending.
Throughout the performance, numbers make use of an expansive sound pallet to vividly elevate their evocation of the resulting unique, meditative world, inspired by the Australian landscape and the power of connection to place. Barton's didgeridoo mimicry vocalisation is evocative of animal sounds, while the sweet strains of Serret's upper violin registers layer the musical stories to share a range of sounds and pure emotions. Indeed, there are a number of beautiful moments where earthy didgeridoo sounds are canopied by the sometimes soft touch of the more ethereal violin, along with Serrett's gentle feathery vocals which rise away to sweet whispering lingers.
Serrett is a dexterous instrumentalist. The concertmaster of the Darwin Symphony Orchestra is far from traditional in her playing, using all parts of the instrument. Short and separated staccato sounds add a dryness to the aesthetic, while playing the back of the violin creates vibrations that resonate in the air.
As audience members, we might not always know the specifics of the story being told, but were certainly recognise the sentiment that comes from the heart and soul at the core of this genre-defying share of connection to county. While the voice of the didgeridoo is a core part of storytelling and teaching, the violin is often said to be the instrument closest to the human voice, so it makes sense that they would pair so well together. United, they serve to elevate the sounds of the language of cultural identity, ensuring that it remains a legacy for generations to come
Posted in Brisbane, Music | Tagged Brisbane Festival, Brisbane Powerhouse, Heartland, Véronique Serret, William Barton | Leave a reply
Slow Boat to history
Slow Boat (Playlab Theatre)
September 1- 10
As its title alludes, "Slow Boat" is an epic journey of a show. It is also an important one given its reveal of a little known chapter of Brisbane's history. (The world premiere, occurring as part of the Brisbane Festival was inspired by the unexpected arrival of playwright Anna Yen's father, along with 580 other Chinese men during World War Two.)
The war has been over for a month, we are told as the play within a play establishes its context, and welcomes its audience as distinguished guests. The Chinese workers are staging a theatre show at Brisbane's Bulimba Dockyards to celebrate victory and their being alive, by luck of the draw (#literally), even though their future as wartime refugees in Australia is uncertain.
The multi-genre show follows the journey of six hardworking fictitious characters (based on inspiration and research into real stories), narrator of sorts, the 'artisan' Gong Saang (Julian Wong), natural leader 'Big Brother', Luhng Goh (Silvan Rus), 'Humpty Dumpty' Lign Giht (Jonathan Chan), family-oriented 'Strong Man' Waih Jai (Ming Yang Lim) and 'Chef' Ah Faat (Egan Sun-Bin). Their combined ensuing band if brothers journey takes us from poverty and war in rural China, through hard work mining phosphate on Nauru island, and a hasty evacuation to Australia to escape the Japanese, illustrating all of the challenges they overcome on the way.
As they did in history, during their scarce time off, the men hold concerts for each other, signposting the importance of cultural and theatre to their survival so far away from the families for whom they are working hard. And so, the play within a play opens dramatically with an improvised Cantonese opera (appropriately backdropped with painted scenery from artist Echo Wu), to explain the civil war and Japanese invasion of China that started them on their journey.
Multi genres add interest to the story's retelling and also aid characterisation. Rus takes the lead in the melodramatic mix of mime and clowning that outlines how the six men came to meet on the docks of Hong Kong to sign up for the journey to work on a tiny island in the middle of the Pacific. It's an effective and engaging early scene that illustrates the depths of talent amongst the cast with Chan also establishing himself as a comic favourite in his initial reluctance to sell himself 'like a little pig'. Later, too, in the opening of Act Two, we see the versatility of the performers also when they jump into role as CWA type ladies (broad Aussie accents and all) meeting trains of hungry workers at each woop woop stop with cuppas and sangas hospitality.
It's not all song and dance and comedy, however. Politics are peppered throughout with the idea of assimilation and the White Australia Policy's dictation test running as an undercurrent threat to potential continued life in Australia. While differing perspectives of critical events in their story threaten to tear them apart, however, the revelation of this conflict comes a little late for audience investment in it.
"Slow Boat" is a long work at 2hrs 20mins including interval, and it sometimes feels like it could be edited a little more judiciously. But it is a beautiful work of beautiful art forms. Under Nicholas Ng's musical direction, his traditional compositions are seamlessly integrated throughout, coming courtesy of instruments such as a Chinese plucked zither. (Musicians Yuren (Cara) Chen, Anna Kho and Zi Wei Wang). Indeed, it plays an integral role to much of the action, with Neridah Waters' choreography of its conflicts, for example, opening in wonderful sync with the percussion in particular.
It may be a blend of vaudeville, musical theatre, circus, Cantonese opera and martial arts, but, at its core, "Slow Boat" is all about story and its story is an inspirational one of triumph against the reality of our history. It's also an interesting one, not just in relation to the Japanese occupation of Nauru, but of our own unfamiliar history, and the inclusion of authentic Cinesound footage from the era (with added voiceover by Bryan Probets), only serves to emphasise this. While it is about a specific time and place, it also has much to say from a bigger picture perspective, about humanity and how we treat each other. There is certainly a resonance to its resilient 'band of brothers' messaging, but at its heart is contemplation of how moments can change the course of lives.
Photos c/o – Stephen Henry
Posted in Brisbane | Tagged Brisbane Festival, Brisbane Powerhouse, Slow Boat | Leave a reply
Cabaret stylings and then some
Women in Voice
August 26 – 28
"Women in Voice" (WiV) has been a Brisbane institution since 1993. Surprisingly though, there are still some first timer audience members at the shows. With its diverse range of quality performers, the 2022 outing is sure to convert these to annual attendees. With Master of Ceremonies Sophie Banister as support and guide in journey through the varied sets, it soon become apparent that this year's "Women in Voice" may well be the best one yet.
Banister is given her own musical moments, comically linked together by the theme of her thwarted quest to become a Brisbane 2032 Olympics opening ceremony performer in order to have her own Nikki Webster 'Under Southern Skies' moment. Metaphorically flying, however are the evening's incredible performers, starting with Naomi Andrew, whose contemplative set highlights her soulful vocals, especially in impassioned share of Rose Royce's 'Love Don't Live Here Anymore'. Not only this, but the heartbreaking song also allows for first standout of the live band's accompaniment, with Dr Bob Bass (bass guitar and double bass), Meg Burstow (piano), Musical Director Jamie Clark (guitar) and Paul Hudson (drums) swirling their sounds around the song's hopeless sentiments.
The second, double-bill, segment sees regular performer Leah Cottrell, joining with Menaka Thomas in her "Women in Voice" debut, to showcase the intersection of traditional and contemporary music, drawing upon Thomas' classical Southern Indian Carnatic musical origins. After whisking our troubles away with a sweet lullaby in her mother tongue, things become infectiously joyous with the audience clapping along to a fusion number featuring join-in from Cotterell in emphasis of the cross-cultural shared language of music at the centre of the show's celebration. And when Thomas sings of Indian goddess Vata it is with a mixture of precision and emotion that elevates this year's WiV to being amongst the franchise's best, especially as it then transitions into a thumping, tempoed Cotterell-led 'Rolling in the Deep', complete with Vata rap and Indian dance off. It's all very clever and lots of fun.
Not only do Cotterell and Thomas share the stage, but the featured songstresses often serve as support for each other, with assistance also from Mel Lathouras and Olivia Weeks, blending their voices together to create a harmonious bed upon which other performances can shine. Musical highlights aside, the show is also very funny. Banister's musical recount of explanation of Brisbane to New Yorkers in terms of the most significant of films to ever be shot here, in so animated in its delivery and has such a catchy hook line, that it is difficult not to toe tap along with an accompanying smile. And her re-representation of Maria Von Trapp's third youngest adoptive daughter Brigitta gives us an angstsy ten-year-old's reimagining of the musical theatre classic "The Sound of Music" through the lens of unresolved middle child issues.
"Women in Voice" is about empowering women to share their voices. Accordingly, the program is curated so as to present a variety of experience levels and musical styles. Act Two features another WiV debutant, Irena Lysiuk giving a stunning operatic Italian-merging-into English version of 'To The Moon and Back'. With trademark lush Powerhouse Theatre lighting and acoustics, it's a commanding few moments as her flawless vocals introduce us to her proud Logan girl love of pop duo Savage Garden. In fact, the 1990s group's popular songs make up her entire set list, albeit in reimagined forms, as she considers them through the perspective of a range of musical genres to take us through opera and a stripped back 'Truly, Madly, Deeply' to a musical theatre themed 'Shake Me Break Me' (with Clark punctuating things along in add to its dynamism) and a country styled 'Affirmation' complete with twang and a great hat. (#whatcantshedo?) And her between-song banter and share of her journey to becoming a singer (inset with Savage Garden trivia) is incredibly funny in its easy nuance, making her set another of the show's high points.
Responsibility for rounding things out goes to larger-than-life fabulous cabaret diva Dame Farrar (Carita Farrer Spencer), who stumbles onto stage direct from her bedroom in Melbourne to give us a smashing 'Knockin' on Heaven's Door'. Her voice is powerful, she sure can hold a note and her commitment to the little jokes that contribute to the elaborate tapestry of her over-the-top, insult-laden characterisation throughout her set is commendable, resulting in circulating tears of laughter from the thoroughly entertained audience members.
With tight direction, cohesive tie together of ideas and finely tuned performances, the 2 hours + (including interval) duration of 2022's "Women in Voice" has all the ingredients for a wonderful night out… extraordinarily talented performers, authentic stories, humour and songs we thought we knew presented afresh. Get tickets now … if you can
Posted in Brisbane, Cabaret | Tagged Brisbane Powerhouse, Carita Farrer Spencer, Irena Lysiuk, Leah Cotterell, Menaka Thomas, Naomi Andrew, Women in Voice | Leave a reply


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L'Oréal's wearable UV patch finally launched
By Lucy Whitehouse contact
09-Aug-2016 - Last updated on 10-Aug-2016 at 10:45 GMT
Related tags: Ultraviolet
L'Oréal has launched its long-awaited wearable UV patch technology, allowing consumers to monitor exposure to harmful sun rays with a view to encouraging consumption of its La Roche-Posay sun care range.
The launch from the global beauty giant sees it enter the world of flexible electronics for the first time, with the band aid-sized device comprising of an ultra-thin sensor for UV radiation detection.
Although initially showcased back in January of this year at the Consumer Electronics Show (CES) 2016, the tech has only just hit retail channels, and is now available for free alongside purchases of sun care products from the La Roche-Posay website.
The heart-shaped sensor, which was developed by a team of 25 researchers across the world, is reportedly set to be launched across 16 countries in this initial launch.
The My UV Patch is a printed electronic circuit on a flexible film of an area of about 2.5 cm² and a thickness of 50 micrometres, making it as thin as a strand of hair.
The sensor contains a photosensitive blue dye (a 'dosimeter'), which changes colour when exposed to ultraviolet light, informing consumers of when to protect themselves, either with sunscreen or other appropriate measures, like covering exposed skin.
The sensor is also linked to an app which reportedly measures both instant and cumulative UV doses over several hours or even days. To make the analysis as accurate as possible, L'Oréal recommends that the waterproof patch is worn on the back of the hand for a period of up to five days.
Game changing tech
"The connected technologies can fundamentally change the way we monitor exposure of the skin to various external factors such as UV rays," Guive Balooch, Vice President of L'Oréal R&I's Connected Beauty incubator, previously said of the technology.
"Earlier rigid and non-transparent technologies only indicated the amount of UV radiation received in one hour to consumers. Now for the first time, consumers can wear an ultra-thin skin patch to measure their sun exposure with more precision."
A survey conducted by La Roche-Posay found that of 19,000 American women and men asked, 92% were aware that unprotected sun exposure can cause health problems, but only 26% of them protect themselves all year round.
Related topics: Brand Innovation, Skin Care
Univar expands personal care footprint in Europe

redpajama_set_name: RedPajamaCommonCrawl


Always in fashion, this classic turtleneck will be a favorite for work or play. Rows of cable stitches are combined with seed stitch panels to create lots of surface texture and design interest.
Directions are given for bust size 32. Changes for sizes 34, 36, 38 and 40 are in parentheses. When the same number of stitches or inches applies to all sizes only one figure will be shown.
* * Repeat instructions between * * the number of times given in addition to the original.
[ ] Repeat instructions with [ ] the total number of times given.
Bust size: 32" 34"	36"	38"	40"
Finished size:	36"	38"	40"	42"	44"
On #9 needles: 22 sts = 4"
20 rows = 3 1/4"
Seed Stitch (worked across odd number of sts).
Row 1: K 1, * p1, k 1.* Repeat between * * across row.
Repeat Row 1 for Seed Stitch, knitting the purl stitches and purling the knit stitches.
Pattern Stitch (stitches worked between markers on body and sleeves.
Row 1: (right side) P 2, seed st across next 9 sts, * p 2, k 9, p 2, seed st across next 9 sts*. Repeat between * * across row to last 2 sts, p 2.
Row 2: K 2, seed st across next 9 sts, * k 2, p 9, k 2, seed stitch across next 9 sts*. Repeat between * * across row to last 2 sts, k 2.
Row 5: (cable row worked across 9 sts) P 2, seed st across next 9 sts, * purl 2 slip 5 sts to a cable needle and hold in front of work, knit next 4 sts, then k the 5 sts from cable needle, p 2, seed st over next 9 sts. * Repeat between * * to last 2 sts, p 2.
Row 11: * P 2, k 9, p 2, seed st across next 9 sts.* Repeat between * * to last 13 sts, p 2, k 9, p 2.
Row 12: * K 2, p 9, k 2, seed st across next 9 sts*. Repeat between * * to last 13 sts, k 2, p 9, k 2.
Row 15: (cable row worked across 9 sts) *P 2, slip 5 sts to a cable needle and hold in front of work, k next 4 sts, then knit the 5 sts from cable needle, p 2, seed stitch across next 9 sts*. Repeat between * * to last 13 sts, p 2, slip 5 sts to a cable needle and hold in front of work, knit next 4 sts, then knit the 5 sts from cable needle, p 2.
Row 20: Repeat row 12.
Repeat last 20 rows for pattern.
Starting at lower edge with smaller needles, cast on 93 (101, 105, 113, 119) sts.
Ribbing - Row 1: K 1, *p 1, k 1.* Repeat between * * across row.
Row 2: P1, * k1, p1.* Repeat between * * across row.
Repeat last 2 rows for 2 1/2" (2 1/2", 3", 3", 3") end with row 1.
Next Row: Work in ribbing across first 7 (11, 13, 17, 19) sts, place a marker, work in ribbing across next 79 (79, 79, 79, 101) sts, place another marker, work in ribbing across next 7 (11, 13, 17, 19) sts.
Row 1: (right side) Work seed stitch to first marker, slip marker, work Row 1 of Pattern Stitch to next marker, slip marker, seed st across remaining sts. Slipping markers on each row, work seed st before first marker and following second marker; continue to work Rows 1-20 of pattern st on center 79 (79, 79, 79, 101) sts.
Row 2: Work seed st to first marker, work Row 2 of Pattern Stitch to next marker, work seed st across remaining sts.
Row 3: Repeat Row 1 of body.
Row 4: Repeat Row 2 of body.
Row 5: Seed stitch to first marker, work Pattern Stitch Row 5 to next marker, seed stitch across remaining sts.
Row 6: Repeat Row 2 of Body.
Row 7: Repeat Row 1 of Body.
Row 8: Repeat Row 2 of Body.
Row 9: Repeat Row 1 of Body.
Row 10: Repeat Row 2 of Body.
Row 11: Seed st to first marker, work Pattern Stitch Row 11 to next marker, seed st remaining sts.
Row 12: Seed st to first marker, work Pattern Stitch Row 12 to next marker, seed st remaining stitches.
Row 13: Repeat Row 11 of Body.
Row 14: Repeat Row 12 of Body.
Row 15: Seed st to first marker, work Pattern Stitch Row 15 to next marker, seed st remaining sts.
Row 16: Repeat Row 12 of Body.
Row 17: Repeat Row 11 of Body.
Row 18: Repeat Row 12 of Body.
Row 19: Repeat Row 11 of Body.
Row 20: Repeat Row 12 of body.
Repeat last 20 rows until 13 1/2" ( 13 1/2", 13 1/2", 14", 14") from beginning or until desired length to underarm. Place a safety pin at beginning and end of last row worked to mark beginning of armhole. With care to keep in pattern established, work even in pattern until 8" (81/2", 9", 9 1/2", 10") from armhole markers, last row worked is a wrong side row.
Shape Shoulders: Removing markers, bind off 33 (36, 37, 40, 42) sts at beginning of row, keeping in pattern, work until there are 27 (29, 31, 33, 35) sts on right needle, slip these 27 (29, 31, 33, 35) sts to a stitch holder for back of neck, bind off remaining 33 (36, 37, 40, 42) sts.
Work same as back until 5 1/2" (6", 6 1/2", 6 1/2", 7") above armhole markers, last row is a wrong side row.
Divide for Neck: Work first 41 (44, 45, 48, 50) sts in established pattern and drop yarn. Slip next 11 (13, 15, 17, 19) sts to a stitch holder for front neck. Join a second ball of yarn and work remaining 41 (44, 45, 48, 50) sts in pattern.
With care to keep in established pattern, at each side of neck edge bind off 2 sts 4 times. There are 33 (36, 37, 40, 42) sts for each shoulder. Work even in pattern on these sts until armhole measures the same length as on back, end with a right side row. Bind off.
(make two) With smaller needles, cast on 37 (39, 39, 41, 41) sts. Work in ribbing same as for back for 2 1/2" (2 1/2", 3" 3", 3") end with Row 1.
Next Row: Working with ribbing, increase 20 (22, 26, 28, 28) sts evenly spaced across row, placing a marker following the first 11 (13, 15, 17, 17) sts and before last 11 (13, 15, 17, 17) sts. There are 57 (61, 65, 69, 69) sts on needle and 35 sts between the 2 markers.
Row 1: (right side) K1, [p 1, k1] 5 (6, 7, 8, 8) times, slip marker, work Row 1 of Pattern Stitch across next 35 sts, slip marker, k 1, [p 1, k 1] 5 (6, 7, 8, 8) times.
Row 2: Work seed st to first marker, work Row 2 of Pattern Stitch from BACK for body to next marker, work seed st across remaining sts.
Rows 3 - 6: Repeat rows 1 and 2 of Pattern Stitch from BACK for body.
Row 7: Increase 1 st at beginning of row, work as for Row 7 of BACK to last st, increase 1 st in last st. There are 59 (63, 67, 71, 71) sts.
With care to keep center 35 sts in Pattern Stitch, work sts before first marker and following second marker in seed st as established. Continue to work in pattern increasing 1 st at beginning and end of every 6th row 7 (7, 8, 11, 16) times; then every 8th row 5 (5, 5, 3, 0) times. There are 83 (87, 93, 99, 103) sts. Work even in established pattern until 18" (18", 18 1/2", 18 1/2", 19") from beginning or until desired length to underarm, last row is a wrong side row. Bind off.
FINISHING: Sew or weave left shoulder seam.
Turtleneck: With smaller needles and right side fo back facing, knit the 27 (29, 31, 33, 35) sts from back holder, pick up and knit 18 (19, 20, 20, 21)sts along left front neck edge, knit 11 (13, 15, 17, 19) sts from front holder, pick up and knit 19 (20, 21, 21, 22) sts from right front neck edge. There are 75 ( 81, 87, 91, 97) sts. Work in ribbing as on Back for 3". Change to larger needles and continue to work in ribbing for 3". Bind off loosely in ribbing from right side.
Sew or weave right shoulder seam and turtleneck seam. Sew or weave side seam to armhole markers. Sew sleeve seams, sew sleeves in place.


text:
In This Article Expand or collapse the "in this article" section Jews and Music
Reference Works/Indices
Primary Sources: Liturgical
Ancient Period
Middle Ages/Troubadours
Late Medieval Period to 1840
Music in Russia, 1880–1950
Music in Central Europe, 1820–1939
Holocaust/Nazi Era
Israel/Palestine: Major Narratives
Ethnic Communities: East and West
Judeo-Spanish Song
United States: Art and Liturgical Music
Yiddish Music and Klezmer
Ethnographies
Jewish Modal Theory
The Cantor
Composers and Jewish Identity
Music and Anti-Judaism
Bukharan Jews
Dance in Jewish Studies
East European Jewish Folk Music
Devorah Baron
Sephardic and Mizrahi Jewish Music
The Early Modern Yiddish Bible (1534–1686)
Jews and Music
Judah M. Cohen
LAST MODIFIED: 25 February 2014
The term "Jewish music" encompasses a complicated and multifaceted relationship between Judaism and sound from ancient times to the present day. People have used music to accompany liturgical and biblical texts, to define spaces and leisure activities, to characterize adherence to Jewish law and/or heritage, to denote Jews and Judaism in contrast to other cultural groups, to define one group of Jews against another, to reinforce specific ideas of Jewish communal history and identity, and to characterize local Jewish experiences. Music, in turn, has been used to define both sacred time and leisure time in Judaism, and has played a key role in ideological debates about tradition and innovation. One central reason for this wide application is music's fundamentally variable nature: as organized collections of sounds that both accept and resist fixed notated forms, music easily acquires, communicates, and negotiates meaning long after the sounds themselves have faded. In Jewish life, these unique qualities have led to lines of specialists—such as the hazzan or cantor in liturgical music, or the klezmer in music of dance and celebration—while at the same time giving music a marginal role in logocentric disciplines such as philosophy and history. Research on this topic has covered a broad range of practices, including chant and ritual fulfillment, the works of Jewish-affiliated composers, communal performance within Jewish communities, and participation in popular musical, stage, and concert forms. Such breadth emphasizes the difficulty in defining the field, particularly when attempting to apply an appropriate overarching term. Musicologist Curt Sachs' reported 1950s definition of "Jewish music" as "music by Jews, for Jews, as Jews," has been celebrated for its brevity and criticized for its inaccuracy. Jewish seminaries, meanwhile, have sought to institutionalize the concept by investing it with a broad sense of durable tradition, as exemplified by their musical training programs. The term has also carried expectations of authenticity, sometimes leading to heated debates in the evaluation of musical artists, works, and scholars. Nonetheless, "Jewish music" remains the term of record in scholarship, the synagogue, and the communal world, best viewed as shorthand for an expansive and disparate series of conversations.
Scholarship on Jewish music began in the mid-late 19th century, roughly concurrent with the development of Wissenschaft movements in both music and Judaism. Jewish liturgical music practitioners, seeking to improve their scientific legitimacy, authored most of these early studies using synagogue music to represent Jewish tradition. Ackermann 1894 presents the emergence of this discussion into broader academic conversation, linking synagogue music to the ancient, medieval, and modern eras established by the Wissenschaft model. Starting around the turn of the 20th century, music became a part of scholarly efforts to promote a distinctive Jewish ethnic culture that could stand on its own alongside other cultures. Idelsohn 1929, authored by a key figure in this transition, retains the primacy of religious music, but places the story within a broader cultural milieu, thereby setting the agenda for the field. Broad overviews of the subject have appeared regularly since then: Gradenwitz 1949 represents a view of the field from the new state of Israel, with the narrative adjusted accordingly. The work of Peter Gradenwitz, as well as Eric Werner's entry on Jewish music in the 1954 edition of Grove Dictionary of Music and Musicians (New York: St. Martin's, 1954), continued to view the field through a moral lens that evaluated music based on its adherence to each author's definition of Jewish musical tradition. Overviews since then have sought increasingly scholarly paradigms. Shiloah 1992, following Israeli social science trends, emphasizes the musical traditions of ethnic communities in Israel. Avenary, et al. 2007; Seroussi, et al. 2001; and Seroussi 2009 show successive attempts to interrogate the concept of Jewish music itself, distancing the narrative from religious or communal ideology in an effort to connect more effectively with the standards of the larger fields to which they contributed. And Shelemay 1995, while not a comprehensive overview, provides a central idea in parsing the complicated relationship between scholarship and Jewish identity in music.
Ackermann, Aron. Der synagogale Gesang in seiner historischen Entwicklung. Berlin: M. Poppelauer, 1894.
Written by a rabbi rather than a synagogue musician, and therefore in a relatively classic Wissenschaft style, this study uses a paradigm of melodic retention and Judaism's conservative nature to trace synagogue music a succession of biblical, rabbinic, and modern sources.
Avenary, Hanoch, Bathja Bayer, Amnon Shiloah, Jehoash Hirshberg, Dushan Mihalek, and Gila Flam. "Music." In Encyclopedia Judaica. Edited by Fred Skolnik. Detroit: Macmillan, 2007.
DOI: 10.1002/9783527600441.oe003E-mail Citation »
An effective and serviceable entry on Jewish music that reflects the state of the field as of the Encyclopedia Judaica's first edition in 1971; although the 2007 edition includes several new short sections on art music, the Holocaust, and folk music, the core narrative has changed little. Retains an emphasis on religious music while largely avoiding the myth of Jewish melodic conservation.
Gradenwitz, Peter. The Music of Israel: Its Rise and Growth Through 5000 Years. New York: W. W. Norton, 1949.
A romanticized and widely available treatment of music in Jewish history. Gradenwitz orients his story toward Zionist redemption in the State of Israel. Issued in a German edition in 1961. A second edition in 1996, with the new subtitle From the Biblical Era Through Modern Times, had a much smaller impact.
Idelsohn, Abraham Z. Jewish Music in its Historical Development. New York: Henry Holt, 1929.
Widely credited with creating the field of Jewish music research. A semi-adaptation of Idelsohn's Hebrew-language study Toldot HaNeginah HaIvrit (Berlin: Dvir, 1924; see Ethnic Communities) this work shifts emphasis from defining a Hebrew paradigm in Palestine to creating a paradigm centered on Reform Judaism for a general American audience.
Seroussi, Edwin. "Music: The 'Jew' of Jewish Studies." Jewish Studies: Journal of the World Congress of Jewish Studies 46 (2009): 3–84.
A majestic critical overview of the field from the 19th century through the start of the 21st. Seroussi's work argues for a reconsideration of the field as a "musicology of the Jewish" and seeks a new integrative paradigm for future research.
Seroussi, Edwin, Philip V. Bohlman, Uri Sharvit, et al. "Jewish Music." In The New Grove Dictionary of Music and Musicians. 2d ed. Edited by Stanley Sadie and John Tyrrell. New York: Oxford University Press, 2001.
Presents a new paradigm for the field that marks a change in emphasis away from religious and/or nation-based self-interest to an avowedly non-sectarian approach.
Shelemay, Kay K. "Mythologies and Realities in the Study of Jewish Music." The World of Music 37.1 (1995): 24–38.
A concise, foundational article that addresses the tension between music's role as a vessel of communal Jewish identity (mythology) and its resistance to a simple communal definition (reality).
Shiloah, Amnon. Jewish Musical Traditions. Detroit: Wayne State University Press, 1992.
A difficult read, but nonetheless important as the topic- and ethnicity-based approach of this work to Jewish music differs significantly from the time-based paradigm used everywhere else.
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Yukon Blonde member Jeffrey Innes has already served up a couple previews behind his upcoming debut as High Ends. He's now poured out another preview in the form "Cappuccino," a highly caffeinated devotional to his favourite drink.
Sporting the steady tick of drums, foamy synth sounds and milk-smooth vocals, the track explains Innes' appreciation for the bean-blended beverage ("you changed my life for the greater good"), leading to perhaps an unhealthy relationship between the two. "Show me a world without and I will show you heartbreak," Innes sings, maybe only somewhat jokingly.
"If Jimmy Buffet can write a song about cheeseburgers, I can write a song about coffee," the songwriter quipped in a press release.
As previously reported, High Ends' debut LP, Super Class, arrives October 7 through Dine Alone.


text:
Nina Hoss
| Filmography || Nina Hoss: DVD | Blu-Ray | Collectibles
Nina Hoss is a German actress.
Nina Hoss was born , in Stuttgart, Germany. Her zodiac sign is Cancer.
As an actress, Nina Hoss played in movies such as Anonyma - Eine Frau in Berlin, released in 2008 in which she plays Anonyma, Barbara (2012) playing Barbara, We Are The Night (2010) (Louise), The Anarchist's Wife (2008) portraying Lenin.
, starring C. Hecke, P. Weiss, C. Haupt, D. Petzold...
We Are The Night
Directed by: D. Gansel, starring K. Herfurth, N. Hoss, J. Ulrich, A. Fischer...
Anonyma - Eine Frau in Berlin
Directed by: M. Färberböck, starring S. Muzhikyan, V. Zhalsanov...
The Anarchist's Wife
Directed by: M. Noelle, P. Sehr, starring M. Valverde, J. Diego Botto, I. Baquero, N. Hoss...
Nina Hoss ➤ Filmography
No message has yet been posted about Nina Hoss.
Nina Hoss ➤ Message Board
1 message - i loved the movie...
Wimpy Kid 3: The Last Straw - The Movie
23 messages - You know all you girls want a cast as Natasha for the movie, and there is so many decisions to chose. All we know is that we want someone that looks...
When and where are auditions for "Diary of a Wimpy Kid 3"?
35 messages - Hi, you're interested in playing Natasha. You have long brown hair, brown eyes, I'm quite fast, my teachers tell me you're great at acting and you...
Tere Álvarez
An actress
Nina Hagen
A German actress, composer, and writer
Nina Doroshina
Nina Quartero


text:
Q: Ant with apostrophe replace I want to replace
from expression="ora:processXSLT('Transformation_1.xsl',bpws:getVariableData('inputVariable','payload'))

to
from expression="ora:processXSLT('xsd/Transformation_1.xsl',bpws:getVariableData('inputVariable','payload'))

Could any one suggest to me pattern a to choose?
I have tried:
<replaceregexp  flags="g">
    <regexp pattern="ora:processXSLT("/>
        <substitution expression="ora:processXSLT('xsd\1)"/>
    <fileset dir="${fmw.prop}" includes="*"/>
</replaceregexp>

But it is not working

A: <replaceregexp  flags="g">
    <regexp pattern="([^']+')(.*)"/>
        <substitution expression="\1xsd/\2)"/>
    <fileset dir="${fmw.prop}" includes="*"/>
</replaceregexp>

In your regex, you are misusing \1. When you write a regex, everything you place between parenthesis is captured and then can be reinjected with \1. If there is more parenthesis groups, their content can be reinjected too using \2, \3, and so on. That means that when you want to match a real parenthesis, e.g. the ( in ora:processXSLT(, you need to escape it like so: \(. That way it does not become a capturing parenthesis but is integrated into the matching pattern.
Furthermore, you need to capture and reinject everything you want to have in the final substitution, so you need to match the entire string, make your modifications, and return the newly formed string. That is why we are matching ora:processXSLT(' with [^']+', matching Transformation_1.xsl',bpws:getVariableData('inputVariable','payload')) with (.*), and placing xsd/ in between both strings to obtain the proper result.

A: You should escape all regular expression control characters. Therefore your pattern should be something like:
ora\:processXSLT\('

Debuggex Demo
Your target should be
ora:processXSLT('xsd/

If understand your question right, this is a simple literal to literal replacement. So there is no need for group processing.

redpajama_set_name: RedPajamaStackExchange


If you're in the business of managing a water system – whether drinking water, wastewater or water used for industrial purposes – a luminometer can make your job easier.
Luminometers have been used in labs for decades, helping to provide easily interpreted answers to molecular questions. The technology is proven and reliable, and – when it comes to water – they'll let you quickly analyze samples while working in the field.
Luminometers can be used to measure the chemical marker adenosine triphosphate (ATP). That's a compound found in all types of plant, animal and microbial cells. When it comes to water, you can figure out the size of the microbial population present in a sample based on how much light is produced when ATP reacts with the naturally-occurring enzyme luciferase. That's the same enzyme that makes firefly tails glow.
The light the reaction produces can be measured by a luminometer. The amount of light generated is directly proportional to how much ATP is present — which immediately shows the level of biological contamination.
One of the key parts of a luminometer is the detector – what's known as a photo multiplier tube, or PMT. PMTs are very sensitive vacuum phototubes that can detect a range of types of light. You might have heard about them on Big Bang Theory, during an episode where they used a PMT to detect light bouncing off the moon. The show's writers knew that astronauts on the Apollo 11 mission put an array of five mirrors on the moon to let scientists track if the moon was getting further away from the earth or closer. Astronomers can now shine a laser beam at the moon at a particular spot and use a photo multiplier to receive the signal. You might also know that PMTs are used for many scientific applications, including blood analysis devices in clinical labs – the biggest international driver of PMT production.
PMTs are very sensitive, so if you're planning to use a luminometer in the field it needs to be fairly rugged. It's also important to make sure the device is both easy to use and cost effective. LuminUltra's PhotonMaster luminometer meets these requirements. It's also USB-powered and fully integrates with LuminUltra's software, allowing readings to be directly uploaded.
When matched with customized test kits and the LuminUltra Cloud analysis and interpretation software, our luminometer can provide the answers to your water questions.
Article featured om Wateronline.com here.


CARATELS has become the "fun" group within CARA. Because we have noon-time meetings, most attendees do have grey hair and are, in fact, retired. However, in no way is the group restricted to grey hair and retirees. Don't attend if you don't want to have a good time. If you are free at noon once a month, come to CARATELS for an inexpensive lunch, some good laughs, interesting programs and plenty of time to eyeball and yak with fellow hams.
We normally meet the first Wednesday of each month. Check out [EVENTS] tab for details and exceptions.


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Every year for the past 22 years I have published a calendar containing prints of my paintings and next year's edition is now ready to be sent out to anyone who would like one. The format is the same as in the previous years with a small print on the cover for framing. This time it is a scene on the gated road near my studio where I used to walk our dog every day. Sadly he is now dead. Each page/month contains a different image and is designed to be easily detached and folded into a Greetings Card.
If you would like one it will cost you £12.00 including p+p. I will also include 12 white envelopes into which the folded Greetings Cards fit.
You may order by email. Or mail to Peter Welton, Orchard cottage Studio, Mill Hill Road, ARNESBY Leicestershire LE8 5WG.
I can accept cheques or credit/debit card details.


Texas and Southwestern Cattle Raisers Association (TSCRA) Special Rangers today announced the indictment of John Russell Baird, 44, of Amarillo, and Israel Tapia, 41, of Muleshoe, on felony theft charges. The indictments and arrest are the result of an investigation led by TSCRA Special Ranger Dean Bohannon.
In April, Bohannon was contacted by Frontera Feedyard in Muleshoe who alleged that an employee had stolen multiple bottles of Draxxin, an antibiotic used to treat sick cattle. The victim identified Baird as the culprit and noted that each bottle of stolen medicine was worth approximately $1,700.
Bohannon immediately initiated an investigation along with assistance from the Bailey County Sheriff's Office. Soon after Bohannon visited Baird at Frontera Feedyard where he agreed to an interview with investigators. In the subsequent interview at the Muleshoe Police Department, Baird admitted to taking the medication and identified Tapia as a co-conspirator.
The evidence against both men was presented to a Bailey County grand jury who elected to indict Baird and Tapia on June 6, 2018. Both now face charges of felony theft. If convicted each could spend up to two years in prison and pay fines up to $10,000. As of writing the suspects were not yet in custody.
"Recently we have seen more and more agricultural thefts perpetrated by employees who take advantage of easy access to steal their employer's cattle, supplies or equipment," said Bohannon. His message to would be miscreants is simple, "it doesn't matter how or from whom you steal, rest assured we will track you down and put you in prison."
TSCRA and Bohannon would like to thank the Bailey County Sheriff's Office, Muleshoe Police Department and Bailey County District Attorney's Office for their assistance in the case.


Ann is one of my field assistants and luckily many stonechats of Kinangop call the fields of her family their home. I am always warmly welcome to stay with them.
everyone has to work hard in the fields at the moment. all day long… ploughing and planting all kinds of vegetables but especially maize.


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The Outdoor Group, Inc. was represented at this year's convention by the company's Chairman/CEO Bob Svetich. Svetich had more on his agenda at this year's convention as we learned when he was asked to describe what his two days here in Vegas would consist of; "Mostly a lot of work but I always take time to see my old friends and make new ones. That's what I most enjoy about being in this business…the people. They are truly like family members. Meeting up with friends such as SCI President Craig Kauffman, world-renowned wildlife artist and conservationist John Banovich and legendary hunter and author Craig Boddington, makes a business trip to this convention more like attending a big backyard picnic. I'm truly blessed to be in this business." One of the highlights of the convention was at the reception for John Banovich as he celebrated his 20 year partnership with SCI. Although Banovich and his paintings are always in demand from attendees wanting to visit with the talented artist, the real stars of the show were two adorable Cheetah cubs that Banovich brought in for the convention. It was standing room only at the spacious Banovich booth as the artist talked about the lives of Cheetahs in the wild and what needs to be done in order to insure their existence. It was truly a memorable experience for everyone in attendance.


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Saietta Group, who are specialists in high-tech advanced emobility powertrains, have taken on a manufacturing facility in Sunderland at the former base of ZF Automotive UK Limited (ZF). This will help the company accelerate its growth plans to produce electric powertrains in the UK.
The Oxfordshire-based group's vision is to play a leading role in cleaning up the air in large cities around the globe by quickly deploying its innovative electric drive technology from scooters to buses.
Saietta, who recently announced a retrofit electric solution for polluting buses and coaches, believes a key enabler in achieving this vision is investing significantly into state-of-the-art production facilities, equipment, processes and people. This new agreement will enable Saietta to meet its stated objective of establishing a UK pilot production facility significantly ahead of its 2024 target.
The new Sunderland plant is a specialised automotive electric motor manufacturing facility of 86,000 square feet, with a history of manufacturing over 20 million electric motors for a range of automotive applications since 1999.
The number of motors produced will build in a series of phases over time, with the first stage growing to a capacity of 100,000 units per annum.
Saietta intends to use its new facility to scale up the production of its proprietary AFT (axial-flux technology) motors for multiple applications. Saietta will also locate the manufacture of its proven e-Axle commercial vehicle drivetrain technology in Sunderland which was previously manufactured in China, creating the potential for more green-technology manufacturing jobs in the UK.
Wicher Kist, Saietta chief executive, said: "This is a landmark achievement for Saietta providing us with a UK production facility more than two years ahead of schedule, further speeding up our capability to supply our innovation to clients in high volume globally.
"In addition to the lease on the large premises in Sunderland, we are also acquiring automotive production lines and are ready to employ a fantastic, proven team with decades of experience in manufacturing electric motors between them
"The UK is a hot-spot for electric powertrain innovation and we are committed to building up the engineering and manufacturing of our technology in the UK and exporting to mainland Europe and beyond."
Saietta will offer roles to former ZF personnel with a range of critical skills including fabrication, engineering, IT, quality control, finance and process management. The inherent capability of this team in the efficient and timely fabrication and certification of electric motors for automotive applications will be extremely valuable and scalable – as is the Sunderland factory's established supply and logistics chain.
Ian Constance, Advanced Propulsion Centre chief executive, said: "I'm delighted to see Saietta taking over this facility with plans to manufacture some of the most advanced electric motor technology, creating highly skilled jobs and retaining talent in the sector.
"This is yet more proof that the UK is a leader in electric vehicle innovation and is now ready to move to large-scale production and commercialisation of UK-developed technology."
Peter McIntyre, Sunderland City Council executive director of city development, said: "We have established Sunderland as a globally recognised hub for engineering and advanced manufacturing, and to attract Saietta is further vindication of that.
"We're delighted to have been able to support Saietta with its move into Sunderland and look forward to seeing them go from strength to strength."
SMMT announces UK sees best-ever month for battery electric vehicle (BEV) registrations with 78.7 percent growth


Catholic Mass is not offered on-site the WDW property except on some holidays such as Easter when the Contemporary Resort offers services.
There is a Roman Catholic Church - Mary. Queen of the Universe at www.maryqueenoftheuniverse.org - on Vineland Avenue near WDW. In fact, the priests from this parish used to hold Mass in WDW until 2002 when it was discontinued and this Basilica opened.
You'll find the Mass Schedule as well as transportation information at the above site.
Have a wonderful visit to Walt Disney World!