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For those who're severely interested by realizing about Physique Constructing Sports activities Dietary supplements, you should suppose past the fundamentals. This informative article takes a more in-depth take a look at issues you should learn about Physique Constructing Sports activities Dietary supplements.
Females with a match and well-toned physique are actually collaborating within the as soon as male-dominated sport of physique constructing. Feminine physique constructing is now one of the fashionable sports activities in fashionable society, contemplating, feminine with a match and well-toned physique could be very enticing and really attractive.
Studying about issues is what we live right here for now. So attempt to get to know as a lot about all the things, together with Bodybuilding every time potential.
If you're one of many females that wish to participate in physique constructing as a way to enhance the best way your physique appears to be like, you must take into account going to the fitness center and enroll in a physique constructing program for feminine. You must take into account that there's a totally different physique constructing program for feminine as a result of, clearly, the feminine's physique could be very totally different from the male physique. Not simply the outer look, but in addition the within workings of the chemical substances discovered within the feminine's physique could be very totally different from the male's.
Physique constructing applications for feminine's are lighter than these for male's. Dietary physique constructing dietary supplements can be found and are particularly formulated for a feminine's physique. Creatine monohydrate is one sort of physique constructing complement that's out there. This type of complement can also be utilized by males, however there are formulations out there which are made for females.
Now that we have coated these elements of Physique Constructing Sports activities Dietary supplements, let's flip to a number of the different elements that have to be thought-about.
The liver, pancreas and the kidney usually produce this sort of physique constructing complement. Creatine monohydrate has been utilized by Olympic athletes to achieve energy and endurance, whereas additionally serving to in muscle tissue repairs. Figuring out or physique constructing will injure your muscle tissues. With creatine monohydrate physique constructing dietary supplements, the muscle tissues restore a lot sooner.
A whole lot of creativeness is required in writing. Individuals might imagine that writing on Bodybuilding could be very simple; quite the opposite, data and creativeness needs to be merged to create an fascinating composition.
The wonderful thing about creatine monohydrate is its 100% authorized. If this was banned, consuming meat, which can also be a fantastic supply of creatine monohydrate may also be banned. It's naturally wanted by the muscle tissues, which signifies that it's secure to ingest creatine monohydrate.
Multi-vitamin merchandise, made particularly for girls, can help in muscle development. Whey proteins, made particularly for girls, may also help get good muscle mass. Proteins are the principle constructing blocks of muscle tissues. Consuming protein-rich meals, you will get an excellent quantity of protein. Nevertheless, proteins absorbed from meals are solely restricted. With whey proteins, the physique can take up extra.
You could be crammed with astonishment with the quantity of knowledge we now have compile right here on Bodybuilding. that was our intention, to astonish you.
These are the out there dietary dietary supplements out there for females available in the market at present. It is extremely essential that it's best to seek the advice of your health coach first in regards to the correct ingestion of the totally different sorts of physique constructing dietary supplements for girls because it takes time for the physique to completely take up it and make your muscle tissues prepared for an intensive exercise. You additionally want to think about that these dietary dietary supplements will nonetheless require you to work laborious to get a wonderfully match and well-toned physique.
The preliminary levels of this text on Bodybuilding proved to be troublesome. Nevertheless, with laborious work and perseverance, we now have succeeded in offering an fascinating and informative article so that you can learn.
To get that muscular-looking, attractive and wholesome physique, comply with the right use of physique constructing dietary supplements and the coaching recommendation of your health trainers.
Canvas prints have grow to be an increasing number of standard over the past 5 years. What's extra placing about that is that this new development is just not the impact of any abrupt growth! There are some good explanation why individuals are ordering an increasing number of canvas prints. Considered one of these is actually the updating of previous images. Folks like to take previous images and make them look as if they the place solely shot yesterday (each amateurs and professionals). Because of trendy functions, any particular person can take a whole bunch of 1000's of images in a single go. Does this point out that the previous customary 6′ x four′ prints stop to exist? Nicely, these are additionally nice collections. It can save you these, scan, add and convert these into large canvas prints very cheaply.
have a montage created making use of previous marriage ceremony footage taken in earlier years. Maybe this superb romantic reward could evoke your feelings additionally. Be sure that the canvas prints used for making the montage are of the best high quality UK's #1 Online Canvas Printing Company.
Conversions of portraits to artworks are additionally going down as of late more and more and the position of canvas prints, on this context, occurs to be invincible. It's worthwhile to say that digital pictures has additionally witnessed a placing growth in choices if you wish to have portraits performed. Heaps has modified now and we don't really feel it important to make an appointment with knowledgeable photographer, particularly as digital cameras facilitate us to view and delete images.
What are the opposite makes use of of canvas prints? Canvas prints play nice roles in adorning partitions of the house. And not using a shred of doubt, multi panel canvas prints occur to be eye-catching and might be created from virtually any image. What ought to the householder do then? All he/she has bought to do is to pick the image he/she needs to utilize, and likewise the quantity and measurement of canvases he/she needs for it to be printed on. When the operation will get accomplished, these are hung with a spot between each with the intention of making an unique option to enhance the partitions of house.


Le Mas Ltd. Blended Metal Technology Ammo vs. ADS Transparent Armor: AFJI Video!
Surefire Tactical Combat Lights. Light Up the Badguys at Night.
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Gorda SCH-21 Submachine Gun. AK Meets 9mm.
Weapon/Ammunition Problems in Afghanistan: The Kalashnikov Solution.


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Q: using d3, redraw the graph based on node click I am using a d3 force-directed graph that produces a hairball of data.  :-)
I think it's either this one: http://bl.ocks.org/1138500  or this one: http://bl.ocks.org/4062045
(I inherited this so not exactly sure but these 2 visualizations are really similar!)
When I click a node, I'd like to zoom in on, or redraw the graph based on just that node.  So on click of a node, the other nodes and edges would disappear.  How can I do that?  I'm using Ruby on Rails and Neo4j, so a cypher query is creating the JSON data that d3 uses.
Will i have to re-query the database via cypher?  I hope not. I'm hoping that this can be done in d3.js alone.
Thanks in advance for your ideas.  If you have a working example, I'd love to see it!

A: Probably you need to ask on the D3 mailing list.

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Nova Scotia Beverage Producers Get Boost From Data Analytics Company
The Grapevine > Articles > Nova Scotia Beverage Producers Get Boost From Data Analytics Company
Articles, Buy, Eat/Drink
Wolfville, NS – When shopping at the NSLC, it's hard to miss the recent growth in the number of local products available. Wineries, breweries, distilleries, and cideries have been popping up all over Nova Scotia and their products are increasingly easy to find.
Now these local businesses hope to get a helping hand from a new company that performs data analytics specifically for them.
The online company, growNSdrinks.ca, uses the NSLC's sales data to produce simple, easy-to-understand graphs and charts that give beverage producers a clearer picture of their markets, and help guide their business decisions.
The company is a spin-off of a Dalhousie University research lab led by Dr. Sean Myles, an associate professor in the Faculty of Agriculture. Dr Myles' research focuses on big data challenges in agriculture, but he and his team were eager to turn their attention to local beverage industries.
"Our day-to-day research involves computational science whose applications are generally far into the future. For a change, we wanted to turn our attention to a project that could have immediate impacts locally," Myles explains.
The research team spent about a year developing the software. Myles says they are fuelled by a strong desire to help local businesses grow by making data analytics accessible even to small producers.
"Many of the small businesses selling products to the NSLC are run by busy entrepreneurs like us," says Matt Kenny, head brewer and co-owner of Tatamagouche Brewing Company. "The raw NSLC numbers are time-consuming to analyse on our own, and these reports give us the information we care about quickly in a way that our entire team can understand."
Dr. Myles is also the co-founder of the Annapolis Cider Company in Wolfville, so he says he'll also be a customer himself.
"Nova Scotia craft breweries, wineries, distilleries, and cideries give us reason to be hopeful about the future of our province. They are injecting positivity into communities everywhere," says Myles.
Local products capture less than 10% of sales at the NSLC, and over 90% of sales are from products made outside of the province. Myles hopes that the reports will help local businesses capture more market share by replacing imported products.
"Nova Scotians are catching on to the positive social and economic effects that buying local can have on their communities," says Alex MacDonald, executive director of the Winery Association of Nova Scotia, "but a large proportion of consumer dollars spent at the NSLC still flows out of the province. These new reports are helping to keep more of these dollars here at home, which stands to benefit all of us."
The reports are available as a monthly subscription at growNSdrinks.ca and Myles hopes to get the bulk of the producers in the province to sign up.
"We're trying to create a win-win situation for everyone involved, from the farmers who grow local fruit for these industries all the way to the customers who want something made here at home," Myles says.
Image: Sales of local products at the NSLC were up 37% in March 2020 compared to March 2019, suggesting that Nova Scotians are purchasing more local beverages for at-home consumption since the onset of the COVID-19 crisis (growNSdrinks.ca).

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Just Beyond the Clouds
Paperback Sep 20, 2007 | 9781599956770 | RRP $32.99 Buy Now
An unforgettable story of two brothers and the only woman whose love can set them both free.
Still aching over his wife's death, Cody Gunner can't bear the thought of also letting go of his Down Syndrome brother, Carl Joseph. Cody wants his brother home, where he will be safe and cared for, not out on his own in a world that Cody knows all too well can be heartless and insecure. So when Carl Joseph's teacher, Elle, begins championing his independence, she finds herself at odds with Cody.
But even as these two battle it out, they can't deny the instinctive connection they share, and Cody faces a crisis of the heart. What if Elle is the one woman who can teach Cody that love is still possible? If Cody can let go of his lingering anger, he might just see that sometimes the brightest hope of all lies JUST BEYOND THE CLOUDS.
More books by Karen Kingsbury
A Treasury of Miracles For Women: True Stories of God's Presence Today
A Treasury of Miracles for Teens
A Treasury of Miracles for Friends
Like Dandelion Dust
Like Dandelion Dust & This Side of Heaven Omnibus
A Thousand Tomorrows & Just Beyond The Clouds Omnibus
Hannah's Hope
A Thousand Tomorrows
Bestselling author Karen Kingsbury is America's number one inspirational novelist. She's written more than thirty novels, ten of which have topped bestseller lists, and she's had books on the extended lists of both USA Today and the New York Times. There are nearly six million copies of her award-winning books in print, including more than two million copies sold in 2006.
She lives in Washington State with her husband, Don, and their six children, three of whom are adopted form Haiti. You can visit Karen's website at www.karenkingsbury.com or follow her on Twitter @KarenKingsbury or Facebook /AuthorKarenKingsbury


James Gandolfini's lumbering, brutish mob boss with the tortured psyche will endure as one of TV's indelible characters.
LOS ANGELES (AP) � James Gandolfini's lumbering, brutish mob boss with the tortured psyche will endure as one of TV's indelible characters.
Gandolfini, 51, who died Wednesday while vacationing in Rome, refused to be bound by his star-making role in the HBO series that brought him three Emmy Awards during its six-season run.
Dr. Claudio Modini, head of the emergency room at the Policlinic Umberto I hospital in Rome, said Gandolfini suffered a cardiac arrest. He arrived at the hospital at 10:40 p.m. (2040 GMT, 4:40 p.m. EDT) Wednesday and was pronounced dead at 11 p.m. after resuscitation efforts in the ambulance and hospital failed, Modini said.
The U.S. Embassy in Rome, which said it had learned about the death from the media, said it would be available to provide a death certificate and help prepare the body for return to the United States. The Embassy said it can often take between four and seven days to arrange shipment outside of Italy.
Michael Kobold, a family friend, told reporters in Rome that Gandolfini experienced a "medical emergency" in his room at Rome's Exedra hotel at around 10 p.m. Wednesday. He said a family member discovered Gandolfini, but he declined to say whom.
Organizers of the Taormina Film Festival in Sicily were scrambling to put together a tribute to Gandolfini, who had been expected to attend the festival's closing ceremony this weekend and receive an award. Organizers Mario Sesti and Tiziana Rocca said Gandolfini will instead be honored with a tribute "remembering his career and talent."
Sesti and Rocca said they had spoken to Gandolfini hours before his death "and he was very happy to receive this prize and be able to travel to Italy."
"I am shocked and devastated by Jim's passing," she said in a statement. "I consider myself very lucky to have spent 10 years as his close colleague. My heart goes out to his family. As those of us in his pretend one hold on to the memories of our intense and beautiful time together. The love between Tony and Carmela was one of the greatest I've ever known."
"Fifty-one and leaves a kid � he was newly married. His son is fatherless now. ... It's way too young," Gannascoli said.
"I'm much more comfortable doing smaller things," Gandolfini said then. "I like them. I like the way they're shot; they're shot quickly. It's all about the scripts � that's what it is � and I'm getting some interesting little scripts."
He played Defense Secretary Leon Panetta in Kathryn Bigelow's Osama bin Laden hunt docudrama "Zero Dark Thirty." He worked with Chase for the '60s period drama "Not Fade Away," in which he played the old-school father of a wannabe rocker. And in Andrew Dominick's crime flick "Killing Them Softly," he played an aged, washed-up hit man.
While Tony Soprano was a larger-than-life figure, Gandolfini was exceptionally modest and obsessive � he described himself as "a 260-pound Woody Allen."
Director Tony Scott had praised Gandolfini's talent for fusing violence with charisma � which he would perfect in Tony Soprano.
Contributing to this report were Associated Press writers David Bauder, John Carucci, Jake Coyle and Frazier Moore in New York; Nicole Winfield in Rome, and Shaya Tayefe Mohajer and Sandy Cohen in Los Angeles.


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For history buffs, Bundi in the Hadoti region of Rajasthan, is a must-visit. From ornate forts and crowded bazaars to charming stepwell reservoirs – there's plenty to see in the region, that retains the magical atmosphere of centuries past, while still being relatively free of the crowds that throng bigger cities like Udaipur and Jaipur.
Begin with a visit to the Garh Palace, constructed during the reign of Rao Raja Ratan Ji. Apparently, it was famously described by Rudyard Kipling as "the work of goblins rather than men". Art lover or not, you'll be captivated by the striking edifice, that seems to grow out of the hill, and built of a locally-quarried greenish-brown stone. The hike to Chitrasala might be a bit of a hike, but the miniature paintings housed above the garden courtyard have a charm of their own. The depictions are of human figures, flowers and animals. Take your time as you marvel at the turquoise-and-gold murals that depict everyday and religious scenes.
The 14th-century Taragarh Fort that looms over the town, is also a must-see. Then, there's the lake-facing Sukh Mahal, where Kipling wrote a part of Kim. Since there are so many historical treasures to be found in Bundi, it's worth hiring the services of local archaeologists who'll provide you a deeper perspective of all the sights you visit.
Take a break from all the rich history and culture, with a visit to the Bhimlat Waterfall. You'll be tempted to take a dip in the large natural pool that lies below the fall – don't hesitate, go ahead and take that dip – it's the perfect way to end your time in the culturally rich Bundi. As you walk the winding streets and grab a coffee in one of the many cheerful cafes, you'll ponder over how there are perhaps many more cultural discoveries waiting to be made, if you're willing to get under the skin of Bundi.


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Samantha Markle: I'm Being Attacked By Meghan's Army of Trolls!
When discussing the vitriol-spewing professional hater Samantha Markle, we often compare Meghan's half-sister to the wicked stepsisters found in so many children's books. After all, much of Meghan's story is the stuff of fairy tales, so it only makes sense that she would be forced to contend with a jealous villain in her own family, […]
I'm 18 & I made $1 million on Snapchat in just two months with unboxing videos
A TEEN has revealed how she earned $1 million on Snapchat in just two months, by posting unboxing videos. Katie Feeney, 18, who's still at school in Olney, Maryland, has 5.2 million followers and 351.7 million likes on TikTok. But she's also cashing in on Snapchat, where she's made more than £740,000 with "unboxing videos […]
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DEAR DEIDRE: I BROKE up with my boyfriend after nine years because he was always broke. I am now with a new bloke who is rich, treats me well and wants to marry me. But I'm only staying with him until my ex gets a job. I am 32, my new man is 35 and […]
Sri Lanka show huge batting improvement but still trail England by 130 runs after Joe Root's side declare with big lead
ENGLAND'S bowlers were made to toil as they pushed for victory and managed just two wickets in 61 overs. After Joe Root took his score to 228 and England secured a lead of 286 over Sri Lanka, victory in the First Test appeared little more than a formality. But Sri Lanka's batsmen cast aside their […]
I'm crazy about my girlfriend but I only last 40 seconds max when we have sex
DEAR DEIDRE: I AM crazy about my girlfriend and she seems into me too. But my performance in bed is worrying, as I can't seem to last. I thought it would be a good idea to try a threesome to help her have an orgasm but the experience has made me doubt myself even more. […]
I'm 41 & a mum-of-six, trolls say I look haggard & they feel sorry for my kids – but I won't stop glamming up for TikTok
A MUM-OF-SIX has revealed how trolls tell her she looks "haggard" and say they feel sorry for her kids, but she won't let it stop her glamming up online. Former police officer Claire Barratt, 41, from Hull, has grown a huge TikTok fan base over the past 12 months, with 3.6 million likes. Some of […]
Reese Witherspoon: I'm 'Heartbroken' by Jessica Campbell's Death
Forever in her memories. Reese Witherspoon paid tribute to her former Election costar Jessica Campbell after her sudden death. Celebrity Deaths in 2021: Stars We've Lost "So heart broken to hear this," the Little Fires Everywhere star, 44, tweeted on Wednesday, January 13. "Working with Jessica on Election was such a pleasure. I'm sending all […]
I'm On Etsy All the Time, and These Are My 15 Favorite Vintage Shops
There is a short list of topics I can talk about at great length: My rescue dog, Poppy, any season of Love Island UK, and all the great vintage clothes I've managed to buy on Etsy. I would even argue that roughly half of my wardrobe is from that site, whether it's a pair of […]
Melania Trump: I'm the REAL Victim of the Capitol Building Riots!
With five people dead, thousands put at risk, and millions more traumatized by the sight of American democracy coming under attack on live TV, there's no denying the devastating consequences of last week's attack on the Capitol Building. It's tough to gague the damage to our national psyche or what sort of repercussions we might […]
I'm scared of moving on after splitting from emotionally abusive husband
DEAR DEIDRE: AFTER splitting up with my emotionally abusive husband four years ago, I've been too scared to move on. We have three children together but since the split he's done nothing but make my life a living hell. He dragged me through the courts, wrote abusive letters and slandered my name to my family and […]
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Jordan's sister gave me this recipe. Super easy, and the greek yogurt makes the chicken nice and moist.
2. season the chicken with salt and pepper. Brush the chicken with the yogurt and coat with the pistachio mixture, pressing gently to help it adhere. place the chicken on the prepared baking sheet and bake until golden brown and cooked through, 20 to 25 minutes.
3. Meanwhile, heat 1 tbsp oil in a large skillet over medium heat. add the onion and 1/4 tsp each salt and pepper, and cook, stirring occasionally, until tender, 6 to 8 minutes. stir in the cumin and cook for 1 minute. transfer the onion to a medium bowl. add the couscous and toss to combine, add 1 cup tap water, cover and let sit for 20 minutes.
4. heat the remaining tbsp oil in the skillet over medium heat. add the spinach and garlic. A little salt and pepper won't hurt either. Cook until tender, about 3 -5 minutes. Fluff couscous with a fork and fold in the spinach. Serve with the chicken.


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MARKO, THE KINGS SON
MARKO AND THE TURKS
1. The Turks Come to the Slava of Marko
EVERY year Marko celebrated his Slava, or his family festival, on St. George's Day. Like all of the other Serbs he endeavored to make this occasion the finest of the entire year, but there was one cloud that always hung over it, and that was the Turks.
However much the Sultan might personally admire Marko, there was always a group of nobles, or janissaries, or intriguers, who sought nothing better than an excuse to blacken the character of Marko and other prominent Serbs. Besides that, the Turks at a Slava were at a marked advantage. It was considered very bad manners to turn away anyone, however poor and mean, who came to share in the blessings that the patron saint had brought to the household, and it was absolutely forbidden a Serb to do violence to any person with whom he had broken bread. Thus the way was open for annoying and even dangerous clashes under conditions which the Christians could not properly resent, even if the supreme power of the Sultan was overlooked.
For this reason when Marko made preparations each year for his Slava, he always added a prayer that nothing would move any of the Turks or the janissaries to interrupt the festivities with their threats or violence. He also placed one of his most trusted servants on guard to divert peacefully any Turks who might put in an appearance.
This year Marko made all his preparations. He arranged three large tables, loaded down with good things to eat of every kind, and of drinks of every sort. The first table contained the guests of honor, twelve bishops of the Orthodox Church. The second table held the great body of the Christian people, the friends and associates of Marko. These two tables Marko served himself, and he also passed the wine himself. The third table was for the poor and the beggars, and this one was much longer than the two other tables put together, for Marko was known far and wide for his hospitality At this third table sat a miscellaneous group of the lame, the halt and the blind; beggars from all over the Balkans who had gathered to hail Marko; victims of the Turkish yoke who had come hither to celebrate with him. In order to serve the people faster, Marko's mother, the aged Yevrosima, passed the wine around this third table. His young wife, Yelitsa, carried the food around from table to table, and place to place, and her beauty and charm attracted favorable attention from all the guests. At the same time Vaistina, one of Marko's strongest and most tactful as well as reliable servants, was stationed at the main entrance to the courtyard to ward off any Turks.
Everything was going well, when the sound of merriment and good cheer within came over the walls of the courtyard to the ears of a party of Turks who were passing that way. In the party were three agas, or nobles, and thirty janissaries. They heard the entertainment, the laughing and the singing, and decided to enter the palace of Marko.
Instead of entering quietly and behaving properly while at the Slava, the Turks strode insolently up to the door of the courtyard and pounded upon it.
"O giaour, unbeliever," they shouted, "open the door and open it quickly. You fool giaour, open this door, so that we may see how Marko celebrates his patron saint."
Upon hearing the commotion the servant, Vais-tina, answered in Turkish:
"I pray you, do not compel me, for I may not open the gates and let you in. You see, I fear my master."
This answer did not alter the determination of the Turks. The agas turned to the janissaries, and they without further word of command picked up their maces and smashed in the door. At the same time they landed six-and-thirty blows upon the unlucky servant, who even then endeavored to hold them off. Finally Vaistina had to give up resisting them, and he ran in to Marko.
Marko saw him enter the room in tears, so he spoke to him kindly.
"Vaistina, my dear child," he said. "What is the matter? Why are you weeping? If you are hungry, here is food. If you are thirsty, here is cold wine. But do not weep and spoil my feast."
"O master, Marko Kralyevich," Vaistina replied, "I am neither hungry nor thirsty. Evil has come to me with the bread that you have given and still greater evil with the wine. You sent me to act as guard for your feast, but who is able to guard you? Three agas and thirty janissaries have come and pounded on the doors," and poor Vaistina told Marko the rest of the sad tale.
Marko flared up at once. He seized his sword and his mace, which were always at hand, and he took an oath aloud for all his guests to hear.
"Hear ye guests and all!" Marko exclaimed. "May I not be the son of my mother, the royal queen of a royal family, if I do not decorate Prilip, not with basil nor with red roses but with the heads of these Turks!"
Yevrosima, knowing that he would carry out his threat and very likely get into trouble because of it, tried to culm him and bring him to his senses.
"Don't do that, my dear child Marko," she said. "Do not shed blood at your Slava, at the feast of your patron saint. To-day you must let the Turks in and give them to cat and drink for the sake of the souls of your parents, and for your own health, and that of your dear wife Yelitsa."
Marko heeded his mother and put his sword back in its sheath. He kept his mace, however, and went out to meet the Turks. He brought them into the dining-hall and seated them in order at the tables. Then he called Vaistina and ordered him, despite the beating which he had received, to serve the Turks with wine. He also asked Yelitsa to bring them food.
The Turks suspected some trick, and they began to be uneasy. Such elaborate hospitality offered by the wife of Marko and a servant whom they had beaten was very strange. So they talked among themselves as to what it might mean. They spoke in Turkish and did not suspect that Marko understood what they were saying. None of them knew he had served for seven years at the Turkish court and in Syria, and that he knew their language as well as his own.
Suddenly Marko sauntered over to them, his mace swinging ominously in his hand.
"O Turks," he said, "you are welcome to sit and drink my wine. I must ask you, however, to pay for the healing of my servant of the beating you gave him. It will not cost much, but if that little is a great deal for you I shall be very glad to let you go without paying, if you will just let me give each of you a light tap with this mace. It does not weigh much; just forty okas of cold iron. With the forty okas of iron are mixed twelve okas of pure silver, and six okas of beaten gold. So it weighs about fifty-eight okas. I am only going to give you one tap each, although you gave my one servant thirty-six blows."
The mace began to swing a little more vigorously in Marko's hand, and each swing seemed to bring it a little closer to their heads. The Turks began to search their pockets hurriedly. First one of the agas brought out thirty ducats and laid them cautiously on the cloak of Marko. Another followed his example, and soon the three agas and the thirty janissaries had all put down their donations. Meanwhile Marko had taken a drink and passed the cup around again. Apparently he was ready for trouble, while the Turks were not.
"Come, Turks," he said, "sit down and drink wine. Give your fee to the waitress and remember as you give it that my wife is not a slave, and that she soiled her silken robes when she came here to serve you."
The mace began to play ominously in the air again, and one of the janissaries who was nearest to Marko, and therefore would be the first to suffer should the mace be put to use, hastily added ten ducats to the thirty that he had previously put down. One after another followed suit, and the agas found it wiser to put down twenty ducats apiece. Some of them did not have so much money as that with them; but the mace continued swinging until they had borrowed from one another and had laid down the money.
Then they filed out, grumbling, and Marko gathered up the money and went to the apartment of his mother.
"My aged mother, Yevrosima," Marko said, "I took this money from those men not because I need it, but in order that they may go around and tell what Marko did to the Turks."
Yevrosima was very happy that the affair had passed off so well, but the Turks were not satisfied, and as the party walked in crestfallen fashion through the street of white Prilip, they cursed themselves for fools.
"May God destroy any Turk," they said, "who visits a giaour on the day when he celebrates his Slava, the feast of his patron saint! We have paid out to-day enough to have supported any one of us for an entire year! But it was the only way to escape the blows of Marko."
2. The Sultan Pays a Bill
Soon after this there was great excitement in Istanbul. The Sultan called a council of all the officials, and the leaders of the janissaries, and the outstanding Turks. The official treasure had been stolen. Some unknown thief had entered the city and had dared to take from the Sultan's palace the vast stores of gold, silver and precious stones that lay there. No one knew who had done this thing.
Since this was the case, why not blame the worst foe of the Turkish oppressors? So the janissaries, the Turks and high officials united in blaming Marko Kralyevich, and accusing him of this outrage. They were still smarting under the treatment he had accorded them at the time of his Slava. They did not care whether Marko was guilty or not. Here was a chance to stir up feeling against him and possibly to end his career.
The Sultan Bayazet called the council together, and when all had agreed on Marko as the guilty party, the Sultan spoke. He quite forgot the many things Marko had done for his predecessor, nor did he stop to investigate the justice of the accusation again Marko.
"If any man will go to Prilip and bring me back Marko, living or dead," the Sultan said, "I will make him Vizier of Bosnia. I will give him all the treasures of the land and he need not pay over to me one cent of the taxes for nine years. He can keep them all for himself."
This was indeed a marvelous offer, but it found no one to accept it. No one would volunteer to beard Marko in his lair. It was fine to talk of seizing him, but Marko at bay was dangerous, as the Turks had had cause to learn on too many occasions. They looked at one another and said nothing.
Finally Misirliya Djano, a young and boastful Turk, spoke up.
"O honored Sultan," he said, "I will go and bring you Marko alive."
The Sultan liked Djano, so he answered: "I am afraid that the odds will not be even, and that Marko will bind you instead."
"Perish the thought!" exclaimed Djano. "I, a true believer, a follower of the Prophet, a keeper of the fast of Ramadan? Why, I know those three Serb voyvodas, Marko Kralyevich, Milosh Obilich and Relya of Pazar, and I got into a fight with them and bound the hands of all three, so that they could not hurt me. So what is Marko Kralyevich alone? Give me, O Sultan, a plaited rope and a whip, that I may bind the hands of Marko with the rope and drive him with the whip, and I will bring him up to Istanbul without delay."
The Sultan was still suspicious of the boasts of Djano, but he gave him the whip and the rope, and Djano went directly to Prilip. He reached there late at night, and the door of Marko's palace was closed.
He knocked on it loudly. Marko was at his evening meal and he called out from the table: "Who is knocking so late at night?"
"Marko Kralyevich, it is I, Misirliya Djano!" was the answer. "Open for me!"
Marko had seen Djano around Istanbul, and he did not take him at all seriously. So he went and opened the door. The two men exchanged the customary greetings and then went up into the lofty tower to sit down. Marko, always hospitable, asked the stranger to be seated.
"Come, Djano," he said, "sit down and drink wine. I have not much in my house, and the cups are small. I have no cup of twelve quarts and I have not wine to fill it, but you are my guest, so we will divide up what I have, and to-morrow I will get more."
"I have no time to drink wine, Marko," Misirliya Djano answered. "The Sultan sent me in haste to bring you back with your hands bound."
"That is a pleasant task the Sultan gave you," said Marko, laughing. "Sit down and drink wine with me first."
"I have no time. Stretch out your hands that I may bind them," ordered Djano, roughly, in his most imperious tone. As he did so, he raised his whip and struck Marko across the shoulders. That was enough to arouse the hero, but at that moment Marko happened to have a cup of wine in his hand and the cup was the nearest weapon. What was he to do? For Marko there was only one answer. He never wasted wine, so he drained the cup at one draught, and then, with the precious wine saved, and before Djano could strike a second blow with his whip, Marko dashed the heavy wine-cup against his forehead, cleaving Djano's skull, and the Turk fell down on the floor, dead.
Marko dragged the body out of the room, left it on the refuse pile of the castle, and walked directly to the stables. He saddled Sharats, and though it was late at night he started directly for Istanbul.
The next morning early he reached the city. The servants of the Sultan, who were watching for the return of Djano, were surprised to see Marko riding up in his usual carefree manner. Yet there seemed to be an ominous appearance about him as he rode, and the servants suspected something at once. They ran hurriedly in to the Sultan with the unexpected news.
"Honored master, our most noble Sultan," they said, "here is Marko Kralyevich."
"But," asked the Sultan, "where is Djano?"
"Marko only is coming," was the reply. "We see nothing of Djano."
This was disturbing news to the Sultan. Marko seemed angry as he rode up. He barely nodded to the servants, but rode directly toward the center of the court, tying Sharats to one of the columns of the porch. Then he strode into the council room of the Sultan. When the Sultan entered Marko met him with perfect courtesy. He kissed his hand in token of his humility, bowed low and then stood quietly before the Sultan.
"Tell me, my son Marko," said the Sultan, "where is Djano?"
"O my master, the Sultan," replied Marko, "I am surprised that you ask such a question. The Turkish faith cannot tolerate renegades who drink wine in Ramadan."
This was a strange answer, and the Sultan looked steadily at Marko to sec what the Serb was thinking. He understood at once that the plan of Djano to capture Marko had failed, but he wanted to know more.
"Marko, my son, do not say that, forI do not believe you. You have slain my Djano. Draw your sharp sword and let me see whether it is bloody."
"O Sultan," Marko answered, "I cannot draw my sword without shedding blood. I swore to God that I would never draw my sword except to use it."
The Sultan knew this by experience, but he decided to make one last effort.
''O Marko, my son," he said, "I do not want you to break your oath to God, but draw your sharp sword and cut one of my young Turks lightly on the left hand. Scratch it just enough to draw blood and then you will not have violated your oath."
Marko saw what the Sultan had in mind. There was of course no blood on his sword, as he had not used it on Djano, but he saw the Sultan's order as a good chance to annoy the Turks. So, having the Sultan's permission, he drew his sword and laid around him so manfully that soon two hodjas, four cadis and four viziers of high rank lay dead at his feet. Then he knelt at the knee of the Sultan.
The Sultan leaped lightly to his feet.
"May God confound you!" he exclaimed. "I certainly did not order you to kill Turks!"
"No," said Marko. "Give praise to God, for you are still alive."
The Sultan was by now thoroughly frightened, and with a trembling hand pulled one hundred ducats out of his pocket and handed them to Marko.
"Marko, my son," he said, "take these ducats and go drink wine. I cannot look you in the eye."
Marko threw the money on the floor.
"What are these, O Sultan?" he asked. "I cannot count them, I cannot measure them, and all too soon they are gone. Give me a firman that I may drink wine wherever I go, and that they can send you the bill and not bother me. Then I will drink to the health of the honored Sultan."
This seemed cheap enough to the Sultan, so he gave Marko Kralyevich the desired firman.
Marko went from one inn to another, and wherever his whim moved him he drank and drank on the strength of the firman without paying for the wine. So he did for fifteen days and then he stopped, because there was no more wine in Istanbul.
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The FBI is opening the nation's first airport-based counterterrorism office at Boston's Logan International Airport.
Officials from the FBI and the Massachusetts Port Authority, the state agency that runs Logan, announced Tuesday that an office for the Joint Terrorism Task Force has been opened at the airport.
The office will be staffed by personnel from eight agencies and will work closely with state and local law enforcement to share information and coordinate security.
Officials say this is one of many strategies to improve communication across agencies, something that was lacking before the Sept. 11 terror attacks. Two planes hijacked from Logan were flown into the twin towers of the World Trade Center in New York.


Nevada Boxing split the wins and losses column right down the middle this past weekend, going 3-3 on the day squaring off against Navy and Utah. In this case, the record is not a determinant of effort, will power or want. To appreciate the peaks in life, it's necessary to go through the valleys. Zack Smith, Britt Brown and Cameron Alten highlighted Nevada's victories on Mar. 4.
Dustin Congdon, 136 pounds, started the night off with a bang for Nevada. After three rounds of tireless push and pull between Congdon and his opponent Matt Suarez from Navy, Congdon lost the fight, marking his first loss of the season.
Congdon's loss will always be there on record, but according to multiple fans around the ring, they felt as if he got robbed.
"After the fight, he even thought I should've won it," said Congdon, referring to his opponent.
While this loss may sting now, it will not stop Congdon from attempting to improve every day. He's licking his chops for his next bout come regionals.
The rest of the Nevada Boxing team reflected Congdon's sentiments as they fought each opponent tooth and nail.
After Congdon's bout, Dillon Maguin went up against Toshi Que from Navy in the 139 lbs. weight class. Round one went well for Maguin as he dictated the pace of the fight with his constant shots to the body. Maguin made it a point to distract with a single straight to the face, preceded by two vicious body shots. When the second round rolled around, both fighters did well at circling one another, never allowing the other to dictate the pace. Maguin again focused on body shots. The round was fairly even until the last few seconds when Que tagged Maguin with a couple of huge headshots, ultimately winning him the round. Maguin and his opponent both appeared to be winded going into the third, but Maguin did not let this stop his thirst for a win. Maguin began the round with a host of punches on his opponent, landing roughly 75 percent of them. Que backpedaled for the majority of the round, along with tying up on multiple occasions to catch his breath. Even with Maguin's win of the third round, Que took the win for Navy.
Following Maguin's devastating and questionable defeat, 147 pounder Britt Brown stepped into the ring to take on Taras Klymuk. Their first round began as more of a chess game in one another's head. The two had a feeling out period, as Brown had multiple level changes and Klymuk attempted to distract Brown consistently by throwing his left hand above his head. Although Klymuk landed more punches than Brown in the first round, Brown landed a few devastating blows. Once the first round was over, so too was the feeling out period. The two would go toe-to-toe for the remainder of the fight leaving nothing to the imagination. Brown would go on to take the fight in a split decision.
Just minutes later Nevada broke out on Zack Smith, sending him into the ring with all the momentum he'd need to take down Princeton Luong from the Naval Academy. Unlike Brown and Klymuk, Smith and Luong knew their personal game plans, jumping right into action at the start of the first round. Smith threw the first punch of the round, which Luong answered with a four-punch combo. Luong appeared to start taking control of the round until both fighters dropped their defensive games, going swing for swing during a 15-second time frame. Smith won the exchange, but both fought well ending the round in a draw. The ensuing rounds would see Smith dictate the fight, forcing Luong into any direction he chose. Smith won the match by unanimous decision and was feeling elated after it.
Although some may view this as over confident, that is not the case. When an athlete puts in the time and effort day in and out, they deserve room for some head inflation.
Smith's work ethic and skill have allowed him to excel in collegiate boxing and a bronze medal will not suffice for him this time around.
"Take the regional championship and then take nationals," Smith said.
The following two fights would resemble Smith's in various ways. Both were up-tempo, strong hitting bouts that heard their fair share of oohs and ahhs. Nate Strother squared off against Alex Olajided in the 165-pound weight class. But even though Strother appeared to win every round, the match would be given to Olajide.
The final fight that took place was that between newcomers Cameron Alten and Ryan Gandolfo and it had "fight of the night" written all over it. Alten looked like a natural in his first match throwing seismic punches at Gandolfo over the course of all three rounds. While the entire fight was well worth $15 on its own, round three was truly the defining moment in both these fighters first bout. Alten began the round with a series of brutal combos which landed, but Gandolfo quickly countered Alten. Each of them decided to let their guard down, going blow for blow. Gandolfo won the exchange, staggering Alten. Alten quickly recovered and got his revenge by landing a few strong hooks to unbalance Gandolfo. Gandolfo would also find some way to rally and the two fighters would end the round with just as much intensity as they began it with. Alten took home the third and final victory for the Wolf Pack putting them at 3-3 for the day.


Lola's Newest Fall Wash in a button down fly! These will be your new favorite jeans of the season! This color goes with everything and is super slimming.
These jeans are made from a premium denim and have a comfy 4-way stretch fabric that softly hugs your curves. The length is 29" in the front and 30" in the back.
Fit: These are true to Lola fit, Anna wears a small in these.


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Ciara Ennis
Before arriving in California, Ciara Ennis was a DAAD scholar at the Kunst Akademie Karslruhe and earned her master's degree in contemporary curating from the Royal College of Art in London. Arriving at MOCA Los Angeles she was project director for the 2001 exhibition Public Offerings, an international survey of contemporary art that included Matthew Barney, Takashi Murakami, and Rachel Whiteread. She then became associate curator at the Santa Monica Museum of Art where she founded and directed its project room, giving numerous international artists, including Johan Grimonprez and Urs Fischer, their first west coast exposure. At the University of California, Riverside, she was curator of exhibitions at the California Museum of Photography where she revived programming through numerous exhibitions with artists of the Americas, Europe, and Asia. Since 2007, Ennis has taught and been director and curator of Pitzer College Art Galleries. While there she has curated dozens of exhibitions including Racial Imaginary, a visual art corollary to the book of the same name by MacArthur Fellow Claudia Rankine, as well as exhibitions by Andrea Bowers, Mark Dion, and Charles Gaines. She recently received a grant from the National Endowment for the Arts, for her upcoming exhibition Manifesto: A Moderate Proposal, and delivered a paper at the Victoria & Albert Museum on the wunderkammer and contemporary exhibition models.
Juan Downey: Radiant Nature
Curators Robert Crouch and Ciara Ennis will discuss the work of the Chilean artist, Juan Downey, who is the focus of the two-part exhibition, Juan Downey: Radiant Nature.


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The Nutcracker #4 - Birmingham Royal Ballet at the Albert Hall
Birmingham Royal Ballet The Nutcracker Royal Albert Hall, 29 Dec 2019 13:00
Having seen Sir Peter Wright's version of The Nutcracker for the Birmingham Royal Ballet several times in Birmingham as well as once at the Royal Albert Hall I had very high expectations of yesterday's performance. I am pleased to report that those expectations were exceeded. There are two reasons why I liked yesterday's matinee so much. The first was the sheer quality of the dancers and musicians with Celine Gittens and Brandon Lawrence in the leading roles and Koen Kessels conducting the orchestra. The second was the straightforward interpretation of Hoffman's story with great special effects but no creepiness or spookiness.
The performance began not with the familiar overture but sounds of industrial activity from Dr Drosselmeyer's workshop. Drosselmeyer (Tom Rogers) appeared on stage and introduced himself through the voice of Simon Callow. He explained that he is called a doll maker but prefers to call his creations "automatons" as he likes to think they have a touch of magic about them. Nowadays, that "touch of magic" might be called artificial intelligence and that was seen in the self-propelled toy mice that scurried about the Stahlbaums' sitting room as well as the humanoids Columbine, Harlequin, Jack-in-the-Box and, of course, the Nutcracker. Callow announced that he was bringing gifts for his delightful goddaughter Clara and her somewhat less agreeable brother Fritz. Beatrice Parma danced Clara. Wesley Mpakati, an 11-year old schoolboy from Tyseley according to Brum Pic, was Fritz,
After that introduction, the orchestra struck up and the ballet unfolded in the traditional way. The workshop was removed and replaced by a Christmas tree which became the centrepiece of the Stahlbaums' Christmas party. Guests arrived including Drosselmeyer and his assistant (Gus Payne). They distributed presents to the children: dolls to the girls and drums, rattles and war toys to the boys and the nutcracker to Clara. Fritz and his friends made thorough nuisances of themselves earning more than a few tickings off from Mr Stahlbaum (Jonathan Payn). At one point they grabbed the nutcracker from Clara and damaged it. Happily, Drosselmeyer was able to repair the damage. He demonstrated Harlequin (Hamish Scott), Columbine (Rosanna Ely) and the Jack-in-the-Box (Max Maslen) to the guests.
I took a particular interest in the Jack-in-the-Box because Joey Taylor tried to teach me that dance in KNT's Day of Dance last April (see Best "Day of Dance" Ever 23 April 2019). "And were you able to do any of that?" my companion asked. "Not much" I had to admit, "but then I am over 70." However, I am proud to say that several of my classmates who are also adult ballet students did very well even managing a couple of cartwheels. In yesterday's performance, Taylor was in the Spanish dance. As my box in the grand tier overlooked stage right, I shouted "Bravo Joey" at the end of the divertissement which I hope he heard. If not, he will know that I appreciated his performance should he ever get round to reading this review.
After the party, the Christmas tree expanded and giant baubles descended from the ceiling. Mice and toy soldiers appeared and fought a battle that the mice nearly won. Clara saved the day for the soldiers by clobbering the mouse king (Gabriel Anderson) with one of her pointe shoes. As a reward, she was transported to the land of sweets by a jet-propelled seagull. The expansion of the Christmas tree was achieved by massive side panels on either side of the stage. The same side panels showed rotating rotor blades in engines below the seagull's wings. In the land of sweets, Clara was treated to the Spanish, Arab, Chinese and Russian divertissements followed by the mirlitons, waltz of the flowers and the Sugar Plum pas de deux.
Gittens was excellent as ever Over the years I have seen her in most of the leading classical roles. I think that she is particularly good in The Nutcracker. I should mention in passing that she is this publication's ballerina of the year, her company is Terpsichore's "company of the year" and Ruth Brill is our choreographer of 2019. Finally, Birmingham Royal Ballet's former director, David Bintley, has been awarded a knighthood in the 2020 honours list. As he comes from the next village but one to mine in the Holme Valley I take particular pleasure in congratulating him on that accolade (see My Home and Bintley's 12 May 2015). Quite an annus mirabilis for the company.
Everybody danced well yesterday and I say that despite a couple of slips on the artificial snow. Lawrence partnered Gittens deftly and jumped impressively in the final pas de deux. Rogers was a splendid Drosselmeyer. Yijing Zhang was a delightful snow fairy. Anderson was a fine mouse king. Maslen made an impressive Jack-in-the-Box. Finally, it was good to see the musicians at work. Kessels, whom I met briefly at the Dutch National Ballet's gala in 2018, is almost a dancer in his own right and I was grateful for the monitor that remained focused on the maestro throughout the show.
There are three more performances of The Nutcracker before the season ends. Ticket prices are not cheap. Even the programmes cost £10. However, if you see no other ballet over the coming year this is the one to catch.
Labels: Birmingham Royal Ballet, Brandon Lawrence, Celine Gittens., jet-propelled seagull, Koen Kessels, Royal Albert Hall, self-propelled mice, Simon Callow, special effects, The Nutcracker
The Nutcracker #3 - The Royal Ballet Screening
The Royal Ballet The Nutcracker 17 Dec 2019 19:39 Screened to cinemas worldwide
Yesterday I discussed the screening of the Bolshoi's version of The Nutcracker on 15 Dec 2019 in The Nutcracker #2 - The Bolshoi Screening. Two days later the Bolshoi's screening, the Royal Opera House screened a recording of the Royal Ballet's version of The Nutcracker. For the reasons that I explained yesterday the twp productions are very different. The Bolshoi's records Marie's transition into womanhood while the Royal Ballet's is a fantasy with more than a little in common with Alice in Wonderland and Alice Through the Lookingglass.
The Royal Ballet's production was created by Sir Peter Wright who took a bow at the end of the show. The recording was made in 2016 which coincided with Sir Peter's 90th birthday. In Sir Peter's version, the nutcracker is Drosselmeyer's nephew who is imprisoned in wood. He can come back to life only through the love of a young woman. This is an adaptation of ETA Hoffmann's story of The Nutcracker and the Mouse King and it is a detail that most versions of the ballet overlook. This makes Drosselmeyer a much less sinister and more likeable character than in the Bolshoi's or most other versions of the ballet. Sir Peter's ballet opens in Drosselmeyer's workshop as he wraps up his present for Clara. The workshop is also where the show ends as the nephew - restored to human form - embraces his uncle.
Sir Peter's ballet requires two ballerinas, namely the young girl known as Clara and the Sugar Plum Fairy, and two premiers danseurs nobles, that is to say, the nutcracker and the Sugar Plum Fairy's prince or cavalier. There are also meaty roles for the mouse king, Harlequin and Columbine in the first act and the soloists in each of the divertissements of the second. The climax of the production is the pas de deux of the Sugar Plum Fairy and her beau. Probably, the most famous dance of the whole ballet is the Sugar Plum Fairy's solo to the slightly otherworldly sounds of the celesta.
In the recording, Drosselmeyer was danced by the company's principal character artist, Gary Avis whom I once had the pleasure of meeting at the London Ballet Circle's 70th-anniversary celebrations. I can report that he is as gracious in real life as he is graceful on stage. Clara was danced by Francesca Hayward who was perfect in the role. Her nutcracker was Alexander Campbell who, like Xander Parish, shares my passion for cricket as well as dance. The Sugar Plum Fairy was danced by Lauren Cuthbertson, my dancer of the year in 2016. and she was partnered by Federico Bonelli, another favourite. With an orchestra was conducted by Maestro Gruzin it is hard to think of a stronger cast by any company anywhere in the world. The sets, costumes and technical effects match the choreography and dancing. It is a sumptuous production.
On Sunday I shall see Sir Peter Wright's production for the Birmingham Royal Ballet at the Royal Albert Hall. That will be the last Nutcracker that I shall see this season and indeed the last ballet of this year. The version that is staged at the Hippodrome is my favourite version of The Nutcracker. If the Hippodrome version can be scaled up for the Royal Albert's stage I suspect Birmingham Royal Ballet's will be my favourite Nutcracker for this year.
Labels: Alexander Campbell, Boris Gruzin, ETA Hoffmann, Federico Binelli, Francesca Hayward, Gary Avis, Lauren Cuthbertson, Royal Ballet, screening, Sir Peter Wright, The Nutcracker
The Nutcracker #2 - The Bolshoi Screening
Bolshoi Ballet The Nutcracker Screened in cinemas worldwide, 15 Dec 2019, 14:00
In Coppelia in the Cinema 12 Dec 2019, I wrote that the conversation between Merle Park, Darcey Bussell and Marianela Nuñez was the high point of the screening of Coppelia. Pathé Live went one better with an interview with Ludmila Semenyaka that consumed virtually the whole interval. As her interviewer, Ekaterina Novikova remarked, Semenyaka was one of the greats of Soviet ballet. She danced all the leading roles including the lead in The Nutcracker. There are some ballerinas like Antoinette Sibley who could tell a story or transmit emotion with their eyes. I suspect that Semenyaka must have been able to do that too, Though now is in her late 60s her eyes remain as expressive as they must have been at the height of her career. The interview was conducted at a high level because Ms Novikova is exceedingly well informed about ballet.
I arrived at the screening shortly before the curtain rose but I caught the last part of Ms Novikova's introduction to the ballet. She explained why the Bolshoi's version of The Nutcracker is so different from those in the West. In the former, Clara (or Marie as she is called there) and the sugar plum are one and the same person which turns The Nutcracker into a journey to adulthood instead of a succession of divertissements as happens here. A few days after the screening I listened to a podcast by Tom Service called The Nutcracker - Strange Enchantments that argued that there was a dark side to the ballet and that the transition from the Stahlbaums' sitting room to the kingdom of the sweets might actually be an entry into paradise. Mr Service reminded his listeners that infantile mortality was much more common at the end of the 19th century than it is now and that the final pas de deux was performed by the Mariinsky Orchestra at a concert to commemorate the children who were killed in the siege of Beslan.
If one views The Nutcracker through too dark a lens it can look very sinister indeed. A world of monster mice and outsize Christmas trees can be seen as symptoms of delirium or worse and Drosselmeyer appears more as a child molester and less as a kindly uncle with a line of conjuring tricks. Mr Service even interpreted the Spanish, Arabian and Chinese dances as a defence of imperialism even though the Russia of Tchaikovsky and Petipa possessed no territories in lands that produced chocolate, coffee or tea.
The version that Pathé Live screened on 15 Dec does not stray too far from ETA Hoffmann's story. Marie may have lost her innocence but she still wakes up in her own home. Semenyaka explained in the interview that there is a tension between Hoffmann's story and Tchaikovsky's score and where he had to choose between the tale and music the choreographer, Yuri Grigorovich chose the music. She added that was why she preferred Grigorovich's version to all others even though she could see merit in other companies' productions.
In the screening of 15 Dec 2019, the title role was performed by Margarita Shrayner, a first soloist in the company who danced more confidently than many principals. She can act as well as dance and has an impressive repertoire. The male lead was Semyon Chudin who is now a principal with the Bolshoi. Interestingly, he trained not in the Bolshoi's own school but in Novosibirsk and joined the company from the Universal Ballet Company of South Korea. Drosselmeyer was danced by Denis Savin who was suitably creepy. Compared to the Royal Ballet's production (a recording of which was screened a few days later) the Bolshoi's sets and costumes seemed a bit dowdy. There was, however, nothing wrong with the dancing or acting which are the most important components of any ballet. There were a couple of nice touches which other companies might consider. For instance, the Russian dance is performed by a couple rather than a bevvy of boys dressed as Cossacks and Bo Peep and her sheep (on casters) were substituted for "mirlitons" whatever they may be.
Altogether I enjoyed the screening very much. I can't wait to see the company in its own theatre which is my Christmas present to myself for the New Year. As I see that I have finished my review on Christmas morning, I wish all my readers a very merry Christmas and a happy New Year,
Labels: Bolshoi Ballet, Denis Savin, ETA Hoffmann, Katerina Novikova, Ludmila Semenyaka, Margarita Shrayner, Pathe Live, screening cinema, Semyon Chudin, Tchaikovsky, The Nutcracker, Tom Service, Yuri Grigorovich
Northern Ballet's Cinderella Second Time Round
Northern Ballet Cinderella Grand Theatre, Leeds 21 Dec 2019 19:00
I attended Northern Ballet's Cinderella at the Grand on Saturday the day after I saw The Wizard of Oz at the Leeds Playhouse. I could not help reflecting that the two shows had more than a little in common, Both rely heavily on special effects. Both had wizards and cuddly dogs. The only difference between the scene in which Dorothy acquires the slippers of the wicked witch of the east and Cinders her glass ones was in the colour of the footwear. Anyone looking for h a rollicking good spectacle in Leeds has two from which to choose this Christmas.
For that reason, Northern Ballet's Cinderella may not be for everyone. Anybody expecting Prokofiev's glorious music or the folk tale of Jacob and Wilhelm Grimm will not find them in this version. A new score was commissioned from Philip Feeney who had previously composed the music for a Christopher Gable's version of Cinderella. As Feeney remarked in the programme notes, the ballet was set in imperial Russia. I think I detected allusions to Petrushka in the winter market and crystal lake scenes. Unlike most versions of Cinderella, her torment begins with the death of her father and not that of her mother, Instead of a fairy godmother or birds Cinderella is rescued by a magician.
As in Wuthering Heights, Nixon has a young heroine and a grown-up one. A flashback to Cinderella's childhood worked rather well in that it provided an explanation for the stepmother's antipathy towards Cinderella. Cinders had pestered her father to retrieve a shawl from the other side of a stream where a shoot was taking place. As he picked it up he was struck by a stray shot. It is much easier to understand a widow's anger at such needless loss of life than resentment at the rejection of a bunch of flowers as in Christopher Wheeldon's version of the ballet.
Any version of Cinderella is about grief and jealousy. These are heavy subjects that need to be leavened now and then. There is plenty of scope for levity in Cinderella. Sir Frederick Ashton and Sir Robert Helpmann were a hoot as the ugly sisters in the Royal Ballet's version in the early 1970s (see Sir Frederick Ashton - A Most Lovably Monstrous Ugly Sister), So, too, was Sarah Kundi (a former Northern Ballet dancer) as the stepmother who gets tighter and tighter at the royal ball in Christopher Wheeldon's (see Cinders in the Round 13 June 2019). There is also the shoe matching scene. Wheeldon has knights in armour in the queue to try the shoe. Darius James and Amy Doughty dress Cinderella's brother as a girl and attempt to saw lumps off his foot in Ballet Cymru's version. There was nothing like that in Nixon's version. Apart from the magic with which the wizard transformed Cinderella's kitchen that reminded me of the easy peasy lemon squeezy advert and the illuminated "Cinders" sign on the sleigh I can't remember much to laugh about in Northern Ballet's Cinders.
Having said that, I had come to watch a ballet and not a pantomime, Dancers who particularly impressed me yesterday include Miki Akuta as young Cinderella, Antoinette Brooks-Daw as the stepmother, Jonathan Hinks, Matthew Topliss who danced the magician or wizard and Cinderellas dad and Sarah Chun in the title role. This was the first time I had noticed Chun in a leading role and she performed it with flair. I shall look out for her in future. Another quality I noticed on Saturday was Brooks-Daw's acting. Scenes that stood out were her picking up and tossing down Cinderella's shawl immediately after her husband's death and the purposefulness with which she tries to separate her stepdaughter from the prince at the ball.
I have not praised everything that Nixon has produced but this is one ballet that I like a lot. This is the second time I have seen it. On the first occasion I described it as a triumph (see Northern Ballet's Cinderella - a Triumph 27 Dec 2013). Though not perfect in every respect, Cinderella is one of the best works in Northern Ballet's repertoire. It is just over halfway through a nationwide tour that started last September and ends in June. It stays at the Grand until 2 Jan and will then visit Leicester, Milton Keynes and the Lowry. If you can reach any of those venues, it is well worth seeing.
Labels: .KNT, .KNT Danceworks, " Altynai Asylmuratova, Antoinette Brookes-Daw, Cinderella, David Nixon, Leeds, Northern Ballet, Philip Feeney, Sarah Chun, The Grand
Coppelia in the Cinema
Royal Ballet Coppelia Royal Opera House and Cinemas 10 Dec 2019 19:30
For me, this conversation between Merle Park, Darcey Bussell and Marianela Nuñez was the high point of Tuesday's live screening of Coppelia. Park was at the height of her career when I first took an interest in ballet. I saw her many times in many toles and admired her greatly. It was good to see her again after many years and even better to see her name on a cast sheet again as one of the principal coaches.
There were other interesting discussions during on Tuesday night. The conductor, Barry Wordsworth, spoke about the score. The wardrobe mistress explained how technology had transformed costume preparation and maintenance over the years. At one time the flower on a bodice had to be painted by hand. Nowadays it can be printed out by computer. Members of the corps spoke about rehearsals and how their ballet master coaxed our their best Those conversations are the one big advantage of live streaming, Even though Bussell said on Tuesday (as has been said before) that the cinema audience have the best seats in the house it is not really true. Ballet is three-dimensional and screens can only accommodate two and there can be no two-way communication between artists and audience as there is in theatre. The insights that can be gleaned from conversations and interviews.
Nuñez danced Swanilda on Tuesday and I think that is a role that suits her well. I had long admired her virtuosity in roles like Kitri but I had never seen her bring a character to life in the way she did in that performance. Coquettish and playful but also with a heart. Her facial expressions when the Burgermeister tried to reconcile her and Franz after she had caught him flirting with the robot in the window of Dr Coppelius's workshop.
The principal male role in Coppelia is not really Franz who saves his entrechats and tours en l'air to the very end but the inventor, Dr Coppelius. A lot of people think he is too much over the top but having run inventors clubs and pro bono patent clinics in the North of England for nearly 20 years I can testify that folk like Dr Coppelius really do exist. Gary Avis, a brilliant character dancer, represented him perfectly.
I have to say that I am not really sure about the morality of this ballet. It seems to celebrate elder abuse. It surely can't be right for the local toughs to rough up the old body on his way to the pub. Or for ladettes to break into his laboratory and set off his robots as they make their escape. Or indeed for Franz to climb into his premises through the window. Or, worst of all, Swanilda tearing pages out of his lab books. Never mind! The old chap is compensated at the end, albeit by the local aristocrat and not by Swanilda. And he is generous enough to raise a glass to Franz and Swanilda at their wedding,
Although Arthur Saint-Léon who created the ballet in 1870 may not have envisaged it, the interaction of humans with humanoid robots is very much a topic for our times. At two recent conferences, one on copyright last week and the other on life sciences the week before, there were no less than five presentations on artificial intelligence and whether a machine can invent things for which patents can granted or create works of art in which copyright subsists.
Returning to the ballet, Vadim Muntagirov danced Franz with his usual flair and grace. In the first act, I enjoyed Mayara Magri's peasant dance. In the dance of the hours, Claire Calvert was a delightful Aurora and Annette Buvoli an angelic Prayer. I must also congratulate Mica Bradbury, Isabella Gasparini, Hannah Grennell, Meaghan Grace Hinkis, Romany Pajdak and Leticia Stock who danced Swanilda's friends. They are on stage almost as long as Swanilda herself and their dancing is barely less demanding. At one point in the first act, they have to follow each movement of Swanilda exactly. In the transmission, Nuñez traced the start of her career in Coppelia to her first performance as one of Swanilda's friends and it is obvious why.
This was one of the Royal Opera House's better live streamings. In this show, the programme maker made much better use of Darcey Bussell. The Royal Opera transmissions are still not quite as good as the Bolshoi's and they won't be until they engage a presenter as knowledgeable and personable as Ekaterina Novikova. But it was still a good show.
Labels: Abbette Buvoli, Arthur Saint-Leon, artificial intelligence, Claire Calvert, Coppelia, Darcey Bussell, elder abuse, Gary Avis, Marianela Nuñez, Mayara Magri, Merle Park, Royal Ballet, Vadim Muntagirov
English National Ballet at the Liverpool Empire
English National Ballet The Nutcracker Liverpool Empire, 30 Nov 2019, 19:30
For many children who grew up in London and the Southeast in the 1960s and 1970s, the London Festival Ballet's Christmas seasons at the Royal Festival Hall offered a welcome alternative to pointless dialogues with the likes of Buttons or Wishee-Washee. Instead of chanting "It's behind you" or "Oh no it isn't", they could marvel at Drosselmeyer's wizardry or the Sugarplum Fairy's daintiness. The stage may have been less than ideal as the auditorium was a concert hall but those performances were superb. Countless children developed a lifelong love of theatre in general and ballet in particular by those shows. Many of them will have pestered their parents for ballet lessons. At least a few will have been inspired to dance professionally.
The company has evolved since then. It changed its name to English National Ballet or ENB many years ago. It has recently acquired new premises. It has an impressive repertoire that includes groundbreaking new works. It has performed to critical acclaim in many great opera houses and is recognized as one of the world's great companies. Notwithstanding all those developments, it still performs The Nutcracker at Christmas though in conventional theatres rather than the Royal Festival Hall. The version that it now performs was created by Wayne Eagling who directed the Dutch National Ballet between 1991 and 2003 and the English National Ballet between 2006 and 2012. He choreographed the Dutch National Ballet's version of The Nutcracker and the Mouse King (see the trailer for the current season). I had previously seen ENB's version at the Coliseum in 2013 with Vadum Muntagirov and Daria Klimentiva in the leading roles (see Cracking 14 Dec 2013). I saw it again at the Liverpool Empire on 30 Nov 2019.
In my previous review I wrote:
"English National's current version of The Nutcracker is by Wayne Eagling and he has made a few changes to Petipa's choreography and Hoffmann's story such as setting it by the Thames rather than somewhere in Mitteleuropa, casting Clara as a grown woman fusing her with The Sugar Plum Fairy and letting the mouse hang on (literally) into the second Act which I am not altogether sure that I like. Turning Clara into an adult in particular takes away some of the innocence and indeed charm of a ballet which for me and many others is about sweets, toy soldiers and rampaging rodents."
I would still make those same criticisms today. However, I added:
"Despite those reservations, I thoroughly enjoyed The Nutcracker on the opening night of its Christmas season. It will be at the Coliseum until 5 Jan 2014. It is well worth seeing for Daria Klimentova and Vadim Muntagirov's brilliance, for Peter Farmer's designs, for the sparkling Spanish, Arabic and Russian dances and other divertissements in the second Act and the wonderful character artistry by Junor Souza as the Nutcracker and James Streeter as King Mouse. There are some cute touches like a rat in a kilt in Act 1 (which may become a regular feature in English versions if Scotland votes the wrong way in September), using a mousetrap as a catapult and the substitution of a balloon for a sleigh as a transport to the kingdom of sweets and the land of dreams."
I would also stand by the same commendation with the obvious observation that Junor Souza had been elevated to the Nutcracker in Liverpool and Shiori Kase danced Clara as an adult. I think on balance that I prefer Eagling's version to Peter Wright's for the Royal Ballet and David Nixon's for Northern but I like Wright's version for the Birmingham Royal Ballet and Peter Darrell's for Scottish Ballet even more.
Kase was a delicious Sugarplum and Brooklyn Mack her gallant beau. Streeter danced the Mouse King again in a thoroughly murine manner. So much so that he received a few unmerited boos at the reverence until he removed his mouse headgear whereupon h received deafening applause. Fabian Raimar was an impressive Drosselmeyer. Drosselmeyer is probably key to the success of any performance of The Nutcracker since he appears in almost every scene. I liked all the divertissements and congratulate all the artists who took part whose names are too numerous to mention. If I had to single out any single performer it would be Precious Adams who led the flowers and snowflakes with consummate grace. The advertised conductor was Gary Cornelius but the maestro who took the applause looked very much like Huddersfield's very own Gavin Sutherland.
Liverpool is a great place to watch ballet because the audience is always appreciative. Possibly the best place in the United Kingdom and I say that as a native Mancunian and an adopted Londoner. Liverpudlians are England's Neapolitans. If they like a show they do not so much clap and cheer as stamp and holler. The Empire's audience made a lot of noise on the Saturday night before last.
The Nutcracker is about to open in London where it will compete after Christmas with Birmingham's version in the Albert Hall but not with the Royal Ballet's this year. Both shows are worth watching but readers are warned tickets will not be easy to get for either show.
Labels: Brooklyn Mack, English National Ballet, Fabian Reimair, Gavin Sutherland, James Streeter, junor souza, Liverpool Empire, Precious Adams, Shiori Kase, The Nutcracker, Wayne Eagling
Ballet Cymru - Even Better than Last Year
Author Sian Trenberth Photography Ltd
© 2019 Ballet Cymru: all rights reserved
Ballet Cymru (Three Works: Wired to the Moon, Divided We Stand and Celtic Concerto) Pontio Centre, Bangor 30 Nov 2019, 19:30
In my review of 12 Dec 2018, I described Ballet Cymru's Dylan Thomas programme as "the company's best work ever" but I think this year's triple bill was even better. I say that because Dylan Thomas's words as read by Cerys Matthews eclipsed the dance whereas this year the focus was on dance.
The three works that Ballet Cymru could not have been more different: Celtic Concerto, an exquisite classical work by Darius James and Amy Doughty, Patricia Vallis's cotemporary Divided We Stand and Charlotte Edmond's innovative Wired to the Moon. The company performed all three works with flair. Ballet Cymru is undoubtedly a company in the classical tradition but it can shine in other styles as well.
In my preview of Ballet Cymru's appearance in Bangor, I linked to a YouTube film of the company's inaugural performance of Celtic Concerto in Newport in 2013. Readers will appreciate the beauty of Catrin Finch's score, the exuberance of the choreography and the elegance of the costumes and lighting. The women in black tutus and the men in matching leotards. The cast has changed since then with highly talented young recruits like Beau Dillen, Joshua Feist and Oliver Wilkinson-Smith. I first saw that work at Sadler's Wells exactly four years ago. I like it even better now than I did then.
I saw Divided We Stand in Made in Wales on 22 March at the Dance House in Cardiff. That was the end of course performance of the Pre-Professional Programme. If I am not mistaken, Patricia Vallis has added to that work. There is dialogue and real needle in some of the duets. The choreographer trained in Rotterdam and New York which explains why I was put in mind of both NDT and Joffrey by her work. Everyone danced well but there was an exchange between Alex Hallas and Beth Meadway that seemed to express perfectly the message that I drew from the work, namely a new harmony eventually emerges from confrontation. The score was by Henry Purcell that suited the narrative precisely.
In the programme, Wired to the Moon is said to have been inspired by functioning systems and how they respond to changes in their environment and shows us "how technology is an extension of our world and in this increasingly interconnected works we must exist in balance." Well, maybe. To me, the work seemed to have more in common with tide and beaches. There was a beach on the front page of the programme, some of the artists removed their trousers as if preparing for a swim, white boxes on stage suggested crests of waves or breakwaters. For a while, I was puzzled by the title then I realized that the moon actuates our tides and I suppose that it is a kind of system. Katya Richardson's score was dramatic and Eleanor Bull's designs were thought provoking. The dancing was, of course, superb.
I enjoyed all the elements of the triple bill, perhaps Celtic Concerto and Divided We Stand slightly more than Wired to the Moon because I had seen the first two works before and understood them better. Although the company performed all three works equally well I think Celtic Concerto showed the artists to their best advantage. They are a classical company and it is in that style that they are (in my eyes at least) most beautiful.
I saw the show with a member of staff of M-SParc and her 12-year-old daughter. My guest's daughter had studied ballet for a while but she had previously seen only one live performance. She was thrilled by Ballet Cymru and delighted to meet Darius James, Patricia Vallis and the cast after the show. Several of the dancers asked whether she would like to dance professionally to which she said she would. She told me that she would resume her classes with renewed enthusiasm. She was not the only young student to have been inspired by Ballet Cymru. Just before the performance, pupils from the local schools performed a curtain-raiser in the foyer. I missed most of it but I caught a scene on the balcony and those students were very good. Alex Hallas, who had rehearsed them, told me that quite a few of the children including several boys intended to join local classes.
Most if not all major ballet companies in the UK have associates and outreach programmes but none seems to be as close to their local communities and young people from those communities as Ballet Cymru. When I told Patricia Vallis what my guest's daughter had said to me, she replied: "That is such wonderful news! That is one of the reasons why we do what we do!" It is yet another reason why I love Ballet Cymru so.
Labels: Alex Hallas, Amy Doughty, Ballet Cymru, Bangor, Beau Dillen, Beth Meadway, Celtic Concerto, Charlotte Edmonds, Darius James, Divided We Stand, Joshua Feist, Patricia Vallis, Pontio Centre, Wired to the Moon
The Nutcracker #4 - Birmingham Royal Ballet at the...


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Siblings Establish Family Scholarship Fund for Danville Students
The Community Giving Foundation: Danville is pleased to announce the creation of a new scholarship fund to support Danville Area High School students. The Royer Family Scholarship Fund was established by siblings Brent, Chris, and Heather in honor and memory of their family and the support the Danville community has shown them over the years.
"Our whole family, having spent two decades in Danville, has benefitted greatly from this wonderful community of friends and educators. It is our desire to give back by providing support for deserving students as they pursue their dreams," the siblings explain.
The Royer family has always shown a commitment to education and service in the local community. At the prompting of a local Danville educator and business owner, the siblings chose to set up a scholarship fund at the Foundation in honor of their father, Dr. Thomas Royer, and in memory of their mother, Mary Jane Ferdinand Royer, and their sister, Dr. Gwyneth Royer. Each was committed to the success and community feeling in Danville through careers and volunteerism in many areas, including the Ronald McDonald House, Camp Victory, Danville School Board, and growth of the Geisinger Health System, Life Flight, and Geisinger Care Center. The family has also participated in many wonderful activities the community has to offer, including Danville Community Singers and Danville High School cheerleading and forensics programs.
"Our parents and sister always demonstrated the importance of community and educational opportunities. While this fund celebrates our family's commitment to these values, it also honors the great community that Danville continues to be and the quality education it offers local students."
The Royer Family Scholarship Fund will award a one-year scholarship to Danville graduating seniors pursuing a career in the Arts. Consideration will be given to students enrolling in a certification program, associates, or undergraduate degree program with a career focus including journalism, music, fine arts, digital media, or other related fields. Special consideration will be given to students who participated in Danville's forensics program.
Contributions can be made to the Royer Family Scholarship Fund online (search "Royer") or mail to the Community Giving Foundation, Attn: Royer Family Scholarship Fund, 725 West Front Street, Berwick PA 18603. You can tell your community giving story by giving to a fund at the Foundation. It's a wonderful way to honor a person or business or carry on the memory of someone important to you. Leave your own legacy of giving at csgiving.org.
Danville is an affiliate of the Community Giving Foundation, which manages over 300 charitable funds and makes grant investments throughout the region to improve the quality of life in the Central Susquehanna area. For more information, visit csgiving.org or call the Foundation at 570-752-3930.


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Q: Is there a way to make a Cytoscape.js graph responsive? What I mean by this is that if the user changes the size of the browser window, I would like the graph to re-render and fit into the new space. Currently, if I resize the window, the graph (nodes and edges) do not change size.
You can see this be resizing your browser window when viewing any of the demos, for example: Cyctoscape.js Demo

A: The cytoscape function you're probably looking for is "cy.center".
According to the docs, the function "pans the graph to the centre of a collection".
So you just have to catch the resize event and the page will automatically re-center on the graph every time the window is resized.
Result:
window.addEventListener('resize', function(event){
    cy.center();
});


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USD School of Law: Creating top attorneys for more than half a century
Related Special Reports
Top Attorneys - 2012
The University of San Diego School of Law congratulates its notable alumni who appear on this list of top San Diego attorneys.
USD School of Law alumni make a difference in communities across the country, affecting change on local, regional, national and international levels.
In May, University of San Diego School of Law alum and former Iowa Supreme Court Justice Michael Streit, '75, was presented the John F. Kennedy Profile in Courage Award, which recognizes public servants who have made courageous decisions of conscience without regard for the personal or professional consequences.
Streit was one of three Iowa Supreme Court judges who were ousted in 2010 after the court unanimously decided to legalize same-sex marriage.
Caroline Kennedy, daughter of the late president and head of the John F. Kennedy Library Foundation, presented the award.
Mary Reding, '02, advocated successfully for the approval of Resolution 108 by the American Bar Association (ABA) House of Delegates.
The resolution encourages state licensing agencies to allow lawyers, who are licensed and in good standing in another jurisdiction, to practice law while they are present in the state because of military orders.
Reding, an Air National Guard spouse and cofounder of the Military Spouse JD Network (MSJDN), has lived in five jurisdictions over the past seven years.
Damien Schiff, '04, a principal attorney for the Pacific Legal Foundation (PLF), has worked on anumber of cases pertaining to the Endangered Species Act (ESA) and Clean Water Act (CWA ).
In perhaps his most important case to date, Schiff argued and won Sackett v. Environmental Protection Agency earlier this year for an Idaho couple before the United States Supreme Court.
Idaho couple Mike and Chantell Sackett had a long-running dispute with the Environmental Protection Agency (EPA), which claimed their property is wetlands and halted the construction of their new home on the property.
In March, Schiff challenged these actions before the Supreme Court. The Supreme Court declared the Sacketts victorious — landowners nationwide can now contest EPA violations in court rather than being limited to administrative measures.
The much-watched decision for the Sacketts means atriumph for individual liberty, according to Schiff.
-Submitted by Ashley Vitale, director of communications, University of San Diego School of Law.
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