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The most beautiful thing in the world... February 10 - March 19 2023 Buy Tickets
The uplifting Tony, Grammy and Olivier Award-winning hit by superstar Cyndi Lauper lands on the Olney Theatre Mainstage in spike heels and ready to strut. Charlie Price (Vincent Kempski) is desperately trying to save his family's shoe factory, when an encounter with Lola (Solomon Parker III), a London drag queen in need of a quick repair for her boot, unites them in a new business venture. In order for their plan to work, the macho culture of Charlie's economically depressed industrial hometown is going to have to co-exist with the gender-fluid exuberance of Lola and her queens. Hilarious and moving, Kinky Boots is an optimistic, 21st Century tale of finding community and family in unlikely circumstances.
Sign-Interpreted Performance
Thursday, Mar. 2nd at 8:00pm
Audio-Described Performance
Wednesday, Feb 22nd at 8:00pm
Email wbrown@olneytheatre.org if you plan to utilize these services. Please note that dates are subject to change.
Original Broadway Production Directed and Choreographed
by Jerry Mitchell
Based on the Miramax motion picture of the same name, written by
Geoff Deane and Tim Firth
Christopher Youstra
Choreographed by
Tara Jeanne Vallee
Ticket prices:
About two and a half hours with an intermission
If this were a film it would be rated PG-13
Malachi Alexander
Malachi Alexander (Angel) is happy to be making his OLNEY THEATRE CENTER debut! REGIONAL: Clear Space Theatre Company: 9 to 5 (Joe); Joesph and the Amazing Technicolor (Dan); Grease (Teen Angel, Johnny Casino). DC AREA: Howard University: Heathers (Kurt Kelly); Pippin (Ensemble). TELEVISION: Black Broadway. Education: BFA in Musical Theatre, Minor in Dance, from Howard University. @thechialexander
Ricardo Blagrove
Ensemble / George u/s
Ricardo Blagrove (Ensemble / George u/s) is excited to make his OLNEY THEATRE CENTER debut with this amazing cast and team. NYC: Carnegie Hall: Jeanne d' Arc au Bûcher, Bernstein Mass, Faure's Requiem; DC AREA: Monumental Theatre: Head Over Heels; Museum of the Bible: Amazing Grace - The Musical; REGIONAL: Baltimore Center Stage: Les Liaisons Dangereuses; Everyman Theatre: Ruined; Roxy Regional Theatre: A Raisin in the Sun; StillPointe Theatre: Pop!; Toby's Dinner Theater: Dreamgirls; Carl J. Murphy Fine Arts: Porgy and Bess; ArtsCentric: Little Shop of Horrors, Smokey Joe's Cafe, Aida, Memphis, Dreamgirls, Into The Woods. @RicardoBaritenor
Catrina Brenae
Catrina Brenae (Swing) New York: Green Room 42: Jekyll/Hyde, National Tours: National Players Tour 73, REGIONAL: Signature Theatre: The Color Purple (Doris, Jarene Swing), Virginia Repertory Theatre: Mamma Mia (Rosie), Have You Filled a Bucket Today? (Bucket Filling Fairy), The Kennedy Center: Show Way (Auntie/Lil' Bit u/s), Baltimore Centerstage: Soundcheck: Catrina Brenae in Concert, Dreamgirls (Effie Melody White), The Christians (Soloist/Ensemble), ArtsCentric: Hair (Dionne Cover/Ensemble), Little Shop of Horrors (Crystal u/s). Film/TV: The Black Joy Experience Docu-Series, Legal Enterprise Web Series. Education: Clark Atlanta University Bachelors of Art, Music: Vocal Performance. Instagram @catrina_brenae
Quadry Brown
Angel/Lola u/s
Quadry Brown (Angel/ Lola u/s) is thrilled to be making his debut at OLNEY THEATRE CENTER. Past credits include: DC AREA: Toby's Dinner Theatre: The SpongeBob SquarePants Musical, Spamalot, White Christmas, Shrek: The Musical, Kinky Boots and The Bodyguard.
Alex De Bard
Alex De Bard (Lauren) Previous OLNEY THEATRE CENTER credits include: A.D. 16. DC Area: Signature Theatre: Into the Woods (Little Red), Rent (Swing), Gun & Powder (Swing); NextStop Theatre: Little Women (Jo), First Date (Casey); Monumental Theatre Company: tick, tick…BOOM! (Susan); Museum of the Bible: Amazing Grace (Yema/Tennah); Adventure Theatre: The Velveteen Rabbit (Rabbit), Elephant & Piggie's "We Are in a Play!" (Squirrelle), Fancy Nancy's Splendiferous Christmas (Jojo), Blueberries for Sal (Little Bear); FILM: Bay Star Theatricals: The Condition of Ellen Mitchell (Ellen Mitchell). EDUCATION: The Benjamin T. Rome School of Music, BM. IG : @alexdebardmusic, @alex_debard
Robbie Duncan
Robbie Duncan (Angel) is proud to be making his OLNEY THEATRE CENTER debut! REGIONAL: The Great Lakes Center: Godspell (Day by day soloist), The Keegan Theatre: Legally Blonde (Ensemble) [2020 Helen Hayes Nominee for Outstanding Ensemble], The American Repitory Theatre:The Donkey Show (Peaceblossom) EDUCATION: B.A Theatre from University of Maryland College Park instagram: @Robbi_Seahorse
Chris Genebach (Don) OLNEY THEATRE CENTER credits: Singin' in the Rain, The Royale, Mary Stuart, Oil, The Crucible, My Fair Lady, Carousel, and Awake & Sing! Local theatre credits include: The Till Trilogy, A Human Being Died that Night, and Ulysses on Bottles (Mosaic Theater Company); Billy Elliot (Signature Theatre); Hamlet, Romeo & Juliet, Henry IV: Parts 1 and 2, Measure for Measure, The Two Gentlemen of Verona, Julius Caesar, Cymbeline, King Lear, and Titus Andronicus (Shakespeare Theatre Company); Mr. Burns, A Post Electric Play (Woolly Mammoth Theatre Company); William Davenant's Macbeth, Antony and Cleopatra, Twelfth Night, Henry V, Othello, Cyrano, and Orestes: A Tragic Romp (Folger Theatre); and The Big Meal, Superior Donuts, and Shining City (Studio Theatre). BROADWAY credits include: Shining City (Manhattan Theatre Club). OFF-BROADWAY: Rose Rage: Henry VI Parts 1, 2, and 3 (STC at The Duke), The Other Side (Manhattan Theatre Club). REGIONAL: Death of a Salesman, A Streetcar Named Desire, and An Inspector Calls (Everyman Theatre); King Lear (The Goodman Theatre); Rose Rage, King John, and Short Shakespeare! productions of Macbeth, A Midsummer Night's Dream, and Romeo & Juliet (Chicago Shakespeare Theater).
Grayden Goldman
Young Charlie
Grayden Goldman (Young Charlie) is thrilled to be making his professional debut at OLNEY THEATRE CENTER where he saw his first musical theatre production! Grayden has performed with Young Artists of America (Cinderella, Aida, Joseph and the Amazing Technicolor Dreamcoat), Columbia Center for Theatrical Arts (Shrek Jr. and Elf Jr.), and Glenelg High School (Snow White and the Seven Dwarfs, A Christmas Carol, and Newsies Jr.). Grayden attends Glenwood Middle School and is a Brown belt in Taijutsu. He wants to thank his family for always supporting him!
Kaiyla Gross
Pat/ Lauren u/s
Kaiyla Gross (Pat/ Lauren u/s) is happy to be back at OLNEY THEATRE CENTER. Previous Olney Theatre Center credits include: Miss You Like Hell (Pearl), Most Wonderful Time of the Year. REGIONAL: Duluth Playhouse: Ragtime, Virginia Stage Company: A Christmas Carol (Belinda Cratchit),Norfolk State University Theatre Company: The Color Purple (Celie), Once on this Island (Ti Moune), Eclipsed (Maima). DC AREA: Signature Theatre: The Color Purple (Nettie), RENT (Seasons of Love Vocalist); Next Stop Theatre: Beehive; the 60's Musical (Aretha); Museum of the Bible: Amazing Grace (Princess Peyai). EDUCATION: BS Exercise Science/Kinesiotherapy from Norfolk State University. Instagram: @__kaiylaaa__
Shane Hall
Associate Choreographer, Angel, Dance Captain
Shane Hall (Associate Choreographer, Angel, Dance Captain) Shane is thrilled to make his debut at OLNEY THEATRE CENTER with this exciting production of Kinky Boots! Credits include, OFF BROADWAY: Hoagy Carmichael's Stardust Road (The York Theatre,NYC – Associate Choreographer) Puck'd (Ensemble – Turtleshell Productions) NATIONAL TOURS: Cats (Mistoffelees) Carousel (Associate Choreographer - Riverside Theatre, FL) Irving Berlin's Holiday Inn, & Beauty and the Beast (Director/Choreographer -Circa 21 Dinner Playhouse, IL) Let's Get Wild (Associate Choreographer -Kings Dominion Park, VA.) Mamma Mia (Director/Choreographer - Timberlake Playhouse, IL.) Irving Berlin's White Christmas, Singin in the Rain, Chicago, Mamma Mia, Sister Act, West Side Story, Disney's Newsies, The Little Mermaid, Beauty and the Beast, A Chorus Line, Grease, & Avenue Q, (Director/Choreographer - Springer Opera House, Ga.) Singin in the Rain (Don Lockwood – Springer Opera House) Anything Goes (Dance Captain - NSMT), La Cage Aux Folles (Phaedra – NSMT), White Christmas (Ensemble – Denver Center Theatre & Arts Center of Coastal Carolina) Beauty and the Beast (Ensmble, us Lefou – Fireside Dinner Theatre) In NYC, Shane is a casting assistant for Alison Franck Casting and a resident staff member at Broadway Dance.
Henry Harleston
Young Lola/ Simon
Henry Harleston (Young Lola/ Simon) is very excited to be performing at OLNEY THEATRE CENTER. Henry lives in Baltimore, Maryland where he is currently enrolled in middle school . He got his start in theatre performing in church plays at age 2. His favorite performance was playing Joseph in The Complete History of the Old Testament in 10 Minutes. Henry thanks his family for their love and support. He credits his love of musical theatre to being introduced to Broadway shows at an early age by Grandparents and being cast in 100s of shows produced by his sisters. Henry gives special thanks to Neece and Baba for all the rides to rehearsal.
Vincent Kempski
Charlie Price
Vincent Kempski (Charlie Price) OLNEY THEATRE CENTER:  Grease, Joseph...Dreamcoat, Takes One to Know One;  NEW YORK: Musical Theatre Factory: The Greenwood Tree. DC AREA:  Signature Theatre:  Into The Woods, RENT, Assassins, A Chorus Line, Camille Claudel, Gypsy, Grand Hotel, Billy Elliot, Jesus Christ Superstar, Miss Saigon, Spin, The Best Little Whorehouse in Texas, Ol' Blue Eyes, Entirely Elvis, Woodstock, Crossing  In Concert. Ford's Theatre: The 25th Annual Putnam County Spelling Bee; Round House Theatre: The Nutcracker;  Keegan Theatre: Spring Awakening; Kennedy Center:  The Greenwood Tree, Latino Inaugural 2013; DAR Constitution Hall:  Horatio Alger Awards 2018;  Capital Fringe Festival: Gilded; TELEVISION: A Capitol Fourth; MUSIC: Sinderella; EDUCATION: BM, The Catholic University of America. @vinnykempski
Karl Kippola
Karl Kippola (George) is excited to be back at OLNEY THEATRE CENTER! Previous Olney Theatre Center credits include: Annie (Drake), Mary Poppins (George Banks), Anything Goes (Sir Evelyn), Oliver, and Secret Garden. DC AREA: Everyman Theatre: Opus, Art; Rep Stage: Bach at Leipzig, Glass Menagerie; Bay Theatre: Man of No Importance, Arms and the Man; Virginia Shakespeare: Julius Caesar, Illyria; Theater J: Jewish Queen Lear; Voices Festival: My Calamitous Affair. EDUCATION: BA in Drama from University of Montana, MFA in Acting from Wayne State University, PhD in Theatre from University of Maryland. Associate Professor and Theatre/Musical Theatre Program Director at American University.
Alexis Krey
Swing/ Angels u/s
Alexis Krey (Swing/ US Angels) is excited to be making her debut at OLNEY THEATRE CENTER! REGIONAL: Pittsburgh Music Theatre: The Little Mermaid (Attina); Lincoln Park PAC: Ragtime (Evelyn Nesbit). DC AREA: Toby's Dinner Theatre: Shrek (Teen Fiona/Ensemble), The Spongebob Musical (Gary/Ensemble), White Christmas (Rhoda), Spamalot (Laker Girl);NextStop Theatre Company: Catch Me If You Can (Ensemble); Cumberland Theatre: Reefer Madness (Mary Lane), Gypsy (June). TV and Film: Mindhunter, The Lifeguard. Washington Capitals NHL Cheerleader for 3 years! EDUCATION: BM in Musical Theatre from The Catholic University of America.
Calvin McCullough
Calvin McCullough (Harry) is happy to be back at OLNEY THEATRE CENTER, previous Olney Theatre Center credits include: A.D.16(Mathias), Elf (Store Manager), South Pacific (Professor), Carmen (Diego), and Godspell (Ensemble). DC AREA: Everyman Theatre: Flying West (Frank Charles), A Raisin in the Sun (George Murchison); Baltimore Center Stage: Miss You Like Hell; Arena Stage: Snow Child (Plow Horse); Shakespeare Theatre: Peter Pan And Wendy (Noodler); Signature Theatre: Freaky Friday, Jesus Christ Superstar; Fords Theatre: A Christmas Carol; Toby's Dinner Theatre: Shrek (Donkey), In the Heights (Graffiti Pete); Imagination Stage: Peter and The Wolf, Freshest Snow Whyte, Roberto Clemente, When She Had Wings.
Connor James Reilly (Angel) is happy to be back at OLNEY THEATRE CENTER. Previous Olney Theatre Center credits include: Beauty and the Beast (Enchantress), Matilda (The Escapologist), Cabaret (Bobby) [Helen Hayes Award nomination for Best Musical 2020], Singin' in the Rain, Elf, On the Town. REGIONAL: Northern Stage: Spamalot. White Plains Performing Arts Center: The Hunchback of Notre Dame. Barter Theatre: Mamma Mia and The Music Man. Dollywood: Smoky Mountain Christmas. DC AREA: Avant Bard: Beowulf (Young Beowulf). TELEVISION: AMC's Turn: Washington's Spies. History Channel's Tracking Oswald. DMV Native and JMU graduate. For Gus. @connorjreilly
Stephen Russell Murray
Richard/ Harry, Don u/s
Stephen Russell Murray (Richard) OLNEY THEATRE CENTER: The Music Man; Signature Theatre: Which Way to the Stage, Spin, Sunday in the Park with George, Shakespeare's R&J; Folger Theatre: Rosencrantz & Guildenstern Are Dead, Pericles, The Way of the World; Arena Stage: For Whom the Southern Belle Tolls; Keegan Theatre: Legally Blonde, Chicago, Spring Awakening, What We're Up Against, American Idiot; Constellation Theatre: Little Shop of Horrors; 1st Stage: Never the Sinner; 4615 Theatre: Separate Rooms; Pointless Theatre: Rhinoceros; Spooky Action Theater: Maple & Vine; Adventure Theatre: Winnie the Pooh. EDUCATION: MFA Classical Acting, Shakespeare Theatre Company.
Solomon Parker III
Solomon Parker III (Lola) is thrilled to be making his OLNEY THEATRE CENTER debut! DC AREA: Signature Theater: The Color Purple (Harpo), Hotter Than July: Stevie Wonder Cabaret, RENT, Ain't Misbehavin' (Andre), Grand Hotel, Billy Elliot, Jesus Christ Superstar. Ford's Theatre: A Christmas Carol, Grace the Musical (Lawrence), The Wiz. Monumental Theatre Co: Pippin (Leading Player) [Helen Hayes nomination for Best Lead Actor in a Musical], Sunday Funday (Host), Montgomery, Bashful. Keegan Theatre: Legally Blonde, Halloween Gala '21. Toby's Dinner Theatre: Kinky Boots, Dreamgirls, Hairspray; Red Branch Theatre Company: Dogfight. Film: After Midnight dir. Jared Grimes, Signature Vinyl. EDUCATION: AA in Theatre Performance Montgomery College. Instagram @thesolomonexperience @echinaceamonroe
Dustin Sardella
Dustin Sardella (Young Charlie) is thrilled to make his OLNEY THEATRE CENTER debut. Theatre: Imagination Stage: Freaky Friday (Fletcher), Aladdin KIDS (Aladdin), Hero Zone, A Long Horizon; Film: An Arab Family, Nikki and Amir, Duke and Duchess of Queens, Rings; Voiceover: Nickelodeon All-Star Brawl (voice of Aang), Spotify Kids Arabian Nights Podcast. Dustin thanks his family and teachers for all their support and hopes you enjoy the show!
Stephen F. Schmidt
Stephen F. Schmidt (Mr. Price) returns to OLNEY THEATRE CENTER. Previous credits include South Pacific (Brackett), The Producers (Franz), Triumph of Love (Hermocrates), Stuff Happens (Tony Blair) and Crave. DC AREA: Ford's Theatre (Associate Artist) A Christmas Carol (Marley), Ragtime [Helen Hayes Award nomination for Outstanding Ensemble] Violet, Hello Dolly! [2014 Helen Hayes Award for Outstanding Ensemble]. Arena Stage: The Great Society (Everett Dirksen), All The Way (Deloach), Death of a Salesman (Harry Wagner), Noises Off (Frederick Fellowes) Signature Theatre: Urinetown (Lockstock) [Helen Hayes Award for Outstanding Supporting Actor in a Musical] The Kennedy Center: Roald Dahl's Willy Wonka (Wonka) [Helen Hayes Award nomination for Outstanding Actor in a Musical] FILM: J. Edgar, My One and Only, The Invasion, La Bamba. TV: House of Cards, The Wire.
Candice Shedd-Thompson
Candice Shedd-Thompson (Nicola) is so excited to be back at OLNEY THEATRE CENTER! Olney Theatre Center: A.D. 16. INTERNATIONAL: Celebrity Cruises: Production Vocalist. REGIONAL: Riverside Center: The Hunchback of Notre Dame (Esmeralda), Mamma Mia; Highlands Playhouse: The Spitfire Grill (Percy); Winnipesaukee Playhouse: The Rocky Horror Show, High Society; West Virginia Public Theatre: Mary Poppins (Bird Woman); Hersheypark: Wide Open Country; Broward Stage Door: Tickling the Ivories; Charleston Performing Arts Center: Fever! DC AREA: MetroStage: Rooms: A Rock Romance (Monica); Monumental Theatre: Head Over Heels (Gynecia); NextStop Theatre: Lucky Stiff (Rita LaPorta); Creative Cauldron: Beauty and the Beast (Babette), Disenchanted (Snow White), Always…Patsy Cline (Patsy Cline). B.A. in Musical Theatre from James Madison University.
Sarah Anne Sillers
Sarah Anne Sillers (Trish) is overjoyed to be back at OLNEY THEATRE CENTER! Previous Olney Theatre Center credits include The Music Man, Singin' in the Rain, and Elf the Musical. DC AREA: Signature Theatre: Rent, She Loves Me; Kennedy Center Theater for Young Audiences: The Day You Begin; Monumental Theatre Company: Songs for a New World (Woman 2), Urinetown (Little Becky Two-Shoes); NextStop Theatre Company: Ordinary Days (Claire), 45 Plays for 45 Presidents, A Grand Night for Singing; Avant Bard: Visible Language (Anne Sullivan) [Helen Hayes Award nomination for Outstanding Supporting Actress in a Musical]. EDUCATION: Princeton University. Instagram: @sarah.anne.sillers www.sarahannesillers.com
David Singleton (Angel) is a MD based performer, choreographer, and drag superstar (@thetiaramissou on Instagram), and is so incredibly thrilled to be back at OLNEY THEATRE CENTER for this production of one of his favorite shows, Kinky Boots! Previous credits include, Olney Theatre Center: Beauty, and the Beast, Elf. Toby's Dinner Theatre: Kinky Boots (Angel/Co Choreographer), Dreamgirls, Young Frankenstein (Ziggy), Newsies, The Bodyguard. Artscentric: RENT (Angel), Sister Act (TJ), Snapshots. Education: Theatre Performance, Montgomery College.
Tyrell Stanley
Tyrell Stanley (Swing) is happy to be making his OLNEY THEATRE CENTER debut. DMV AREA: Signature Theater: The Color Purple (Swing), Keegan Theatre: Memphis (Ensemble, Bobby u/s). REGIONAL: Baltimore Center Stage: Dreamgirls (C.C. White); ArtsCentric: The Wiz (Ensemble, Lion/TinMan u/s), Aida (Ensemble), Snapshots (Ensemble), Memphis (Ensemble, Wailin' Joe u/s); Cockpit in Court: Sister Act (TJ), Wedding Singer (Mookie), Gypsy (Yonkers); Phoenix Festival Theater: Legally Blonde (Grandmaster Chad); The Heritage Ensemble Theatre Company (VA): Confessions of a Black Cowboy (Nat Love/Willie Kennard). TV/FILM: HBO: We Own This City. EDUCATION: Virginia Union University. Instagram: @stagerightt.
Artistic Director/Director
Jason Loewith (Artistic Director/Director) grew up in Fairfield, Connecticut, and on weekends he took the train to New York with his family to see shows. His dad was the comptroller of a Formica manufacturing company, and his mom was the first woman in the state to be president of a conservative synagogue. After her parents became ill, she took over their dress shop in a now sadly derelict part of Bridgeport. Jason particularly enjoyed hiding in the poofy dresses on the rack, and selling costume jewelry during the store's annual sidewalk sale. He inherited his father's love of numbers, working part-time as a bank teller, and leading Math Team in high school and as a bookkeeper for various nonprofit organizations as an adult. From his mother he inherited a dedication to Jewish causes, joining the international Board of United Synagogue Youth and working at the Jewish Home for the Aged during high school, and serving as chair of Brown University's Committee for Soviet Jewry as an undergraduate. Jason seriously considered studying to become a rabbi, but the theater intervened, taking him to Santa Barbara, Los Angeles, New York City, Chicago, and finally the Washington, DC region, where he's been since 2009. Jason has directed some 30 plays, written a handful (one of which, Adding Machine: A Musical, won a lot of awards in Chicago and New York), managed or produced hundreds, and done just about every other job there is to do in a theater-- all of which has helped him learn the value of a dollar, the importance of honesty, and the fact that you do not put a silk suit in either the washing machine or the dryer. On days off, Jason loves to cook (ask him how he learned to make bouillabaisse), hang out with his twelve nieces and nephews and four grandnieces and nephews, play Civilization, play tennis and jog (just don't ask him how good he is), vacation in faraway places, and listen to music written between 1950 and 1986. He volunteers for local and national arts organizations, serves as Chair of Board of Theatre Washington, and has mentored a fantastic teenager in Anacostia for BestKids, which he urges you to support.
Tara Jeanne Vallee (Choreographer) has choreographed for the Broadway stage in Cirque Dreams Jungle Fantasy, as well as shows Off Broadway, aboard cruise ships, on television, National Tours, and on the stage of the Grand Ole Opry. She served as Choreographer for the OLNEY THEATRE CENTER productions of The Little Mermaid, Triumph of Love, Mary Poppins, Elf, Annie, The Producers, Pippin (concert), The King and I and On the Town, earning 4 Helen Hayes Awards nominations for Outstanding Choreography. Directing credits include The Little Mermaid, Joseph..Dreamcoat, They're Playing our Song, School of Rock, and Let's Get Wild! (Kings Dominion). Tara Jeanne has also developed and directed shows with Cedar Fair Entertainment, Virgin Voyages, and is on staff as a Choreographer for Walt Disney World Live Entertainment. www.tarajeannevallee.com
Music Director/ Director of Music Theater
Christopher Youstra (Music Director/ Director of Music Theater) As the past resident music director, Mr. Youstra has music directed and conducted over 45 musicals at Olney Theatre Center, including The Most Wonderful Time of the Year, A.D. 16, Cabaret, Matilda, Once, On the Town, In the Heights, My Fair Lady, Sweeney Todd, Evita, Carmen: An Afro-Cuban Jazz Musical, Carousel, Godspell, How to Succeed In Business Without Really Trying and has also music directed at many of the other local theaters including Ford's Theatre: Ragtime, 25th Annual Putnam County Spelling Bee; Studio Theatre 2nd Stage: Bloody, Bloody Andrew Jackson, Jerry Springer: The Opera, Passing Strange; Studio Theatre: Adding Machine: A Musical; Round House Theatre: Once on This Island, A Murder A Mystery A Marriage, The Summer of '42, and The World Goes 'Round; Toby's Dinner Theatre: Les Misérables, The Color Purple, Titanic, Beauty and the Beast; Imagination Stage; The Kennedy Center Theatre for Young Audiences; Arena Stage; Burn Brae Dinner Theatre; Montgomery College; American University; Musical Theatre Center; Signature Theatre; and Columbia Center for the Theatrical Arts. Mr. Youstra has been nominated for twelve Helen Hayes Awards for Outstanding Music Direction and received the award for Titanic. He was director of music at St. John the Evangelist Parish in Columbia for 29 years, has worked with both Phoenix Productions and Troika Entertainment national touring companies and toured both Europe and Korea with Smokey Joe's Café. As a composer, Mr. Youstra's music has been heard throughout the area, including The Dancing Princesses at Imagination Stage, Big Nate: The Musical (with Jason Loewith), the Helen Hayes Awards, the 2014 Summer Hummer, and the opening gala of the ATLAS center. Milagros Ponce de León (Set Designer) Previous Olney Theatre Center credits include: The Thanksgiving Play, Matilda the Musical, In the Heights, Sweeney Todd, Carousel, and Once on this Island. Recent regional credits include Silent Sky at Asolo Rep, School Girls; Or the African Mean Girls Play at Cincinnati Playhouse. Detroit'67 at Signature Theatre; Quixote Nuevo at Round House and Steel Magnolias at Everyman Theatre. Additional credits include Silent Sky, Into the Woods, Jefferson's Garden, and Ragtime at Ford's Theatre; Gala Hispanic Theatre; Imagination Stage, The Kennedy Center, Ensemble Studio Theatre in NYC, and Children's Theatre of Charlotte among others. Milagros Heads the B.F.A. Program in Theatre Design & Technology at Penn State. She holds MFA degrees in Studio Arts and Scenic Design from University of Maryland and a B.F.A. in Painting from Catholic University of Peru. Milagros is a five-time Helen Hayes Nominee for Scenic Design in the Washington, D.C. area, she is a member of USA-829, and an Associate Artist at Ford's Theatre.
Milagros Ponce de León
Milagros Ponce de León (Set Designer) Previous OLNEY THEATRE CENTER credits include: The Thanksgiving Play, Matilda the Musical, In the Heights, Sweeney Todd, Carousel, and Once on this Island. Recent regional credits include Silent Sky at Asolo Rep, School Girls; Or the African Mean Girls Play at Cincinnati Playhouse. Detroit'67 at Signature Theatre; Quixote Nuevo at Round House and Steel Magnolias at Everyman Theatre. Additional credits include Silent Sky, Into the Woods, Jefferson's Garden, and Ragtime at Ford's Theatre; Gala Hispanic Theatre; Imagination Stage, The Kennedy Center, Ensemble Studio Theatre in NYC, and Children's Theatre of Charlotte among others. Milagros Heads the B.F.A. Program in Theatre Design & Technology at Penn State. She holds MFA degrees in Studio Arts and Scenic Design from University of Maryland and a B.F.A. in Painting from Catholic University of Peru. Milagros is a five-time Helen Hayes Nominee for Scenic Design in the Washington, D.C. area, she is a member of USA-829, and an Associate Artist at Ford's Theatre.
Kendra Rai
Kendra Rai (Costume Designer) is pleased to be back at Olney Theatre Center, where she designed Cabaret, Elf the Musical, Proof, Hay Fever and The King and I. Kendra received the Helen Hayes award for Outstanding Costume Design in 2012, 2015, and 2018; and in addition has been a nominee for the award nine times. Kendra's work has been seen at Signature Theater, Round House Theater, Adventure Theater MTC, Opera Lafayette, Synetic Theater, Constellation Theater, New Victory Theater, Theater J, and Imagination Stage. Kendra is a Princess Grace Honorarium recipient, and holds an MFA from Pennsylvania State University, and is currently teaching at Virginia Commonwealth University (VCU), and has held teaching posts at Howard University, University of Pittsburgh and Gallaudet University.
Max Doolittle
Max Doolittle (Lighting Designer) OLNEY THEATRE CENTER: Hedwig and the Angry Inch, Elf, South Pacific, Every Brilliant Thing, My Fair Lady. DC Area: Ford's Theatre, Woolly Mammoth, Folger Theatre, Signature Theatre, Mosaic Theatre, Theatre Alliance,Theatre J, Rep Stage, Kennedy Center/Second City, Imagination Stage, Forum Theatre, Adventure Theatre, Constellation Theatre, Shakespeare Theatre Academy for Classical Acting, Pointless Theatre Co, NextStop Theatre. NYC includes Ars Nova, Juilliard School, New Ohio Theatre, New World Stages. Regional includes Geffen Playhouse, Kitchen Theatre Company, Great Lakes Center for the Arts, Pennsylvania Shakespeare Festival, Fulton Theatre. Lighting direction for television includes Anderson Cooper 360, Piers Morgan Live. Aboard Cruise Ships: Wine Lovers, The Musical. BFA: Ithaca College. MFA: University of Maryland.
Matt Rowe (Sound Designer) is proud to be back at OLNEY THEATRE CENTER. Olney Theatre Center: The Music Man, Headwig and the Angry Inch, A.D 16, Beauty & the Beast, Miss You Like Hell, Cabaret, Once, In The Heights, My Fair Lady, Sweeney Todd, A Chorus Line; Kennedy Center: Orphie and the Book Of Heroes, First You Dream, Snow White, Rose Red (and Fred!), Nobody's Perfect. MetroStage: The Last Five Years; Signature Theatre: No Place to Go, Miss Saigon, Company, The Last Five Years, Shakespeare's R&J, Dreamgirls, Dying City, The Best Little Whorehouse in Texas, Xanadu, God of Carnage, Brother Russia, Really Really, Hairspray (Helen Hayes nomination), A Second Chance, Sweet Tea: Black Gay Men of the South, The Boy Detective Fails, The Hollow, Side by Side by Sondheim, Art, And the Curtain Rises, Sunset Boulevard, Walter Cronkite is Dead, A Fox on the Fairway, Chess, Sycamore Trees, [title of show], Sweeney Todd, Show Boat, First You Dream: The Music of Kander & Ebb, Dirty Blonde, Giant, The Little Dog Laughed, Les Miserables, Anyone Can Whistle in Concert, The Visit, The Happy Time, Kiss of the Spider Woman, Glory Days, Merrily We Roll Along, The Witches of Eastwick. Norwegian Cruise Lines: Million Dollar Quartet, Rock Of Ages.
Larry Peterson
Wig/Hair Designer
Larry Peterson (Wig/Hair Designer) got his start in performance and production during his time at Morgan State University where he studied music vocal performance. At his alma mater, Howard University, he studied theatrical hair and makeup, and majored in fashion design. He served as Costume Designer and Wardrobe Supervisor for theater productions such as The Color Purple, In the Blood and Raisin, an adaptation of A Raisin in the Sun. Larry truly has a passion for the arts and has over 15 years of experience in makeup artistry, hair/wig design, and costuming. He has partnered with Screaming Queens Productions LLC, Black Rock Center for the Arts, and other performance venues as a performer and hair/makeup designer. Larry is excited to bring his wide array of experience and creative skills to the production of Kinky Boots at OLNEY THEATRE CENTER. Instagram Thereal_Jasmine_Blue
Devon Vaow
Drag Consultant/ Makeup Designer
Devon Vaow (Drag Consultant/ Makeup Designer) is the co-founder and Director of the country's largest drag production company, SADBrunch, Devon, aka Evon Michelle, is known for his work ethic, ability to captivate a crowd, and his drive to bring opportunity to queer performers, specifically drag performers of color all over the nation. For over 10 years he has traveled up and down the east coast emceeing and performing at venues and drag events including numerous pride festivals, In 2020, he won the title of Baltimore's Drag Performer of the Year and hosted OLNEY THEATRE CENTER's first ever drag show in 2021.
Fight Director
Casey Kaleba (Fight Director) OLNEY THEATRE CENTER: Singing in the Rain, The Comedy of the Tenors, Mary Stuart, Sweeney Todd, Dial 'M' for Murder, Bakersfield Mist; REGIONAL: Guthrie Theatre: King Lear; DC AREA: Washington National Opera : Il Trovatore, Elektra, Carmen; Signature Theatre: Into the Woods, The Color Purple, Gun & Powder; Round House Theatre: Nine Night, We Declare You a Terrorist; Quixote Nuevo; Ford's Theatre: Born Yesterday, Death of a Salesman, Ragtime; Wolf Trap Opera: Susannah, Der Freischütz, Romeo et Juliette; Rorschach Theatre: Dracula, She Kills Monsters, Neverwhere; Certified Teacher and Fight Director with the Society of American Fight Directors. www.toothandclawcombat.com
Leigh Wilson Smiley
Dialects Designer
Leigh Wilson Smiley (Dialects Designer) has been on the artistic teams as a voice/dialect/text director at numerous shows produced at OLNEY THEATRE CENTER, Ford's Theatre, Studio Theatre, Center Stage Baltimore, Everyman Theatre, Round House Theatre, Arena Stage, John F. Kennedy Center, Folger Shakespeare Theatre, Shakespeare & Company, NBC on-camera talent, and Cirque du Soleil. Smiley created the Visual Accent and Dialect Archive, a web-based resource for dialect and accent samples. She is a member of Actors Equity Association, Screen Actors Guild, American Federation of Television and Radio Artists, and the Voice and Speech Trainers Association. LeighSmileyVoice.com
Associate Choreographer
Ben Walsh
Ben Walsh (Production Stage Manager) Previous OLNEY THEATRE CENTER credits: A Christmas Carol, The Music Man, Olney Outdoors 2021, The Amateurs, Ken Ludwig's A Comedy of Tenors, Labour of Love, Every Brilliant Thing, Thurgood, Fickle: A Fancy French Farce, The Diary of Anne Frank, Forever Plaid, Cinderella, Spring Awakening, Little Shop of Horrors, The Submission, Over the Tavern; Upcoming: World Goes Round. MD/DC AREA: Everyman Theatre: The Lion in Winter, Signature Theatre: Masterpieces of the Oral and Intangible Heritage of Humanity; Shakespeare Theatre Company Academy for Classical Acting (2 Seasons); Maryland Lyric Opera; Peabody Opera. REGIONAL: Finger Lakes Musical Theatre Festival; Gateway Playhouse; Montana Shakespeare in the Parks; Riverside Center for the Performing Arts (Resident PSM, 2 Seasons); Busch Gardens Williamsburg's Christmas Town (3 Seasons); EDUCATION: University of KY, Howard CC, James W. Rouse Scholar. Ben is an alumnus of Olney Theatre Center's Apprentice Training Program.
Opening Night Panel Discussion: Drag, Theatre, and Culture, From La Cage Aux Folles to Ru Paul
Olney Theatre
$10/Members Free
We will trace the history of the art of drag and drag culture from its underground origins to its movement into "the mainstream."
Evon Dior Michelle, Director of Entertainment/CoFounder of SADBrunch Entertainment; Sunrize (Joseph W. Ritsch) Director/ Choreographer/ Producing Artistic Director at Rep Stage; Dr. April Sizemore-Barber, Women's and Gender Studies at Georgetown University
Registration and Additional Information
Sip 'N (Face) Paint
General Admission - $10
Baltimore's 2020 Drag Queen of the Year and Director of Entertainment/CoFounder of SADBrunch Entertainment, Evon Dior Michelle, will lead a Drag Makeup Tutorial. This event is B.Y.O.M.: bring your own makeup! Enjoy experimenting with bold and bright looks!
Tickets and Additional Information
Drag Story Hour
Olney Library
Sunday, February 26 at 11:00 am
Story hour just got a lot more glamorous. As part of our celebration of Kinky Boots, we're sponsoring a Drag Story Hour—a morning of songs and stories— at the Olney Public Library hosted by the incomparable drag queen D'manda Martini. This is a free family event, appropriate for all ages, especially toddlers, preschoolers, and young children.
Free! No RSVP Required
Not Your Typical Singles Mixer
Thursday March 9th 2023
Ticket Price - $79 includes show and reception
Drag yourself (or not) to the "It's Not Your Typical Night in the burbs!" We have the glamorously talented Evon Dior Michelle, Director of Entertainment and CoFounder of SADBrunch Entertainment, as our host for our first ever Singles Mixer at Olney Theatre! We have reserved a section in the Mainstage Theatre for all the attendees to sit together to watch Kinky Boots after the mixer.
Sip n (Face) Paint
Saturday February 25th 2023 at 5:30pm
The World Goes 'Round
The music of Kander & Ebb
April 19 - May 21 2023
Fela!
Music mightier than the sword
July 7 - August 13 2023

redpajama_set_name: RedPajamaCommonCrawl


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I am a serial entrepreneur and business owner.
At a party with colleagues, a former employee and I sparked a conversation that (somehow) turned into a confession that he had recently become a patient for medical cannabis.
During the pleasantries of our rather standard "catch-up" conversation, he mentioned what a headache it was to register and how the dispensaries have a time consuming manual process to check in.
That caught my attention, because as an entrepreneur, I always like to try to fix "time consuming" things that give people "headaches".
It turns out that you have to register with multiple dispensaries just to get the variety and price comparisons you need AND the check in process of these dispensaries is much too time consuming for anyone to really WANT to do it.
It became very apparent that there was a need for a simple registration and one step check-in system for cannabis users.
That is how we came to create the RX System with which we registered over 16,000 patients so they can have easy digital registration and one scan check-in at any subscribing dispensary.
And of course we found out those programs already exist!
Although we found one little issue with those programs.
THEY ARE INCREDIBLY UNPREDICTABLE WITH YOUR MONEY.
Many dispensaries have a loyalty program but the issue is when you rack up points THEY decide how much those points are worth and you can only redeem those purchase points at that single dispensary.
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To create a global rewards program and improve the purchasing experience for all cannabis users.


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Built between the spring and autumn of 1899, Plymouth Cordage Mill #2 was built by the Plymouth Cordage Company, one of the leading rope manufacturers in the world, to be the backbone of its ropemaking facility. The 300,000 square foot building was constructed in many ways similarly to other mill buildings from the time period – brick exterior walls (made on site), southern yellow pine structural timbers, decking and roof, and granite sills and foundation. The building also featured some unique elements – structural beams were spaced 5' on center which is exceptionally dense for this type of building, and where beams met columns, a 4-way mechanical joint locked them into the column pintle for extra strength. The building even featured an air conditioning system, where cool air from underground tunnels was pumped with large rotary compressors through specially designed shafts in the east wall of the building. Items like these, combined with the exceptional quality of the timber, underscores the expense that went into constructing Mill #2, the importance of the ropemaking industry in general and the global importance of the Plymouth Cordage Company.
All aspects of ropemaking took place inside Mill #2, from treating the hemp with mineral oils (and at one point, possibly whale oil) to condition the fibers, to spinning and braiding the final products. Although Plymouth Cordage Company was founded to service the maritime trades, the mills soon found a second purpose in manufacturing baling twine for the soaring domestic agriculture industry. With Plymouth Harbor frontage and a connection to the Old Colony Railway, Mill #2 was a vital center of industry well into the 20th century. The complex was sold in 1964, and although it survived for several years under different ownerships, Mill #2 was eventually boarded up and remained vacant for the better part of 20 years.
In the summer of 2008, prompted by engineering reports that the years and salt air were compromising the integrity of the Mill's brick walls, the ownership group had to seriously consider that Mill #2 may not realistically have a place in the future site development. By demolishing this structure, they would be able to reduce the tax burden on the property, eliminate costly maintenance and the risk of vandalism or fire, and ultimately avoid the inevitability of structural collapse.
When touring Mill #2 to develop a demolition estimate and plan, a unique problem arose. Although the antique lumber that comprised the structural framework of the mill indeed appeared to be of exceptional quality and quantity, it was also extremely oily. While most mills contain some amount of oily wood as a reminder of the industrial past of the structures, the whale and/or mineral oil treatments for the hemp fibers seemed to have excessively stained the wood – soaking through decking, beams, and even down onto the columns. As such, we prepared for the possibility that the majority of the wood would not be suitable for reuse.
It quickly became obvious that traditional disposal through debris processing facilities, and the substantial financial burden it would represent, would never meet the budgetary needs of this project. We began immediately making plans to find an alternative to traditional disposal for this large quantity (7,500 tons) of source-separable wood material, and bio-fuel became the obvious answer. Through our partnerships with the recycling and demolition debris processing organizations in the region, we've refined techniques to create a high quality single-source material stream that can bypass many of the processing stages on its' way to becoming bio-fuel feedstock. We decided to take the next step on this project and manufacture on site a boiler-ready bio-fuel product, based on wood fuel specifications developed collaboratively between US producers and consumers of bio-fuel products.
Many of the techniques used on this project were part of our standard operating procedures for demolition material handling; use of high precision, rotary attachments on hydraulic excavators, skid steers with grapple buckets, and on-the-ground labor to separate building components into high-quality, consistent material streams – saleable antique lumber and architectural salvage, clean wood suitable for recycling or reuse as bio-fuel, metals sorted by type and grade, painted and unpainted asphalt, brick and concrete, and non- or difficult to recycle building materials like insulation and roofing. Added to our fleet of equipment for use on this project was newly-acquired wood processing equipment by Doppstadt consisting of a slow-speed primary shredder, high-speed secondary grinder, rotary trommel mill and a grapple/magnet equipped Sennebogen material handler.
One of the key components to transforming a demolition site into a fuel manufacturing site is to have appropriate staging ground for the materials to reduce the risk of contamination by dirt, metals, or other foreign materials. For this project, we retained the original 3" thick wooden basement floor for use as a wood preparation surface. As the building was being dismantled from north to south, clean wood would be transferred to a preparation zone in the center of the building footprint, "dirty" wood was sent to the north end of the footprint to be cleaned of contaminants (mostly roofing materials) with skid steers, metals were stored in roll-off containers on the floor for off-site shipment, and brick walls were dismantled and stockpiled in windrows outside the building footprint so as not to contaminate any of the other materials.
Processing of the various material streams on the ground was constant. Wood was initially downsized, then fed by a material handler into a two-stage shredding system with magnetic separation at three places along the way. This product was then screened and stockpiled as a finished bio-fuel feedstock, meeting C-1 specification (see attached Wood Specifications), in an appropriate place on site. Clean concrete and masonry was crushed to a 2" minus backfill and installed in a continuous system behind the crushing operations.
Finding a home for the processed wood-fuel product proved to be a challenge and an education in the particularities of the biomass industry. The majority of C&D derived biomass fuel is produced in stand-alone plants with built-in handling and processing stations that are conducive to consistently producing replicable, high quality fuel. Boilers have rigid chemical and physical criteria needed to be met for each facility, a standard that was initially thought to be difficult to achieve on a demolition site, and consequently, never previously attempted. While there was considerable interest in our product from the start, it took weeks of effort to provide the end users of the product with the level of comfort they needed to purchase fuel manufactured in this unconventional way.
In the Plymouth Cordage Mill #2 Demolition project, we were able to achieve three goals: find an alternative to disposal for a large quantity of antique lumber that was unsuitable for salvage; manufacture a boiler-ready demolition debris-derived wood fuel project in the field rather than in a specialized facility; and incorporate these two directives into an over-arching project philosophy that met the budgetary needs of the project while maximizing recycling rates. We greatly benefited on this project from an owner who was supportive and understanding of the recycling goals, their place in the overall project project finances, and who granted us the luxury of space and time to meet our mutual goals. Overall, we manufactured over 3,000 tons of C& D derived biomass fuel, salvaged another 4,500 tons of antique lumber, and crushed 20,000 tons of brick and concrete for use as on-site fill. Less than 1% of the total weight of the project was sent to landfills for disposal. Nearly 600 tons of steel was salvaged, as well. Interestingly, this figure is approximately one pound per square foot higher than we typically expect to find in a building of this type, and it can almost certainly be attributed to the extensive use of magnets during material processing. In our opinion, this project demonstrated techniques that go far beyond simple recycling or diversion from landfill by using the demolition site as a fertile field to harvest raw materials and manufacture valuable products.


Unbelievably Bad is proud as spiked punch to present Stanley Knife live and rawcous.
Filmed a couple of weeks ago at The Red Rattler in Marrickville, the nine-song set includes favourites like "Neddy Smith" and "Ave A Go", new ones like "Dead Loss" and "No Allegiance", and covers of Dead Boys and Fear classics.
This is an Unbelievably Bad Production.


text:
Engineering and Analysis
Live, Virtual and Constructive (LVC)
Training and Training Development
Joint Venture Supports Army Modernization, Future Warfighter Capabilities
FORT BELVOIR, Va. – The US Army's Responsive Strategic Sourcing for Services (RS3) Program Office awarded the Aerial and Ground Intelligence Sensor Simulation (AGISS) contract Sept. 30, to Trideum's Joint Venture (JV) TriHawk, LLC – a joint venture between Trideum Corporation and Blackhawk Management Corporation. The AGISS contract will provide engineering support to Army Futures […]
Trideum CEO Accepts Employer Support for Guard and Reserve Patriot Award
HUNTSVILLE, Ala. – Trideum Corporation's chief executive officer, Van Sullivan, accepted the Patriot Award from Employer Support for Guard and Reserve (ESGR) Nov. 26, in a ceremony at Trideum headquarters in Hunstville, Ala. The Patriot Award was presented by ESGR's Buck Watford and is given to companies "contributing to national security and protecting liberty and […]
Trideum Awarded Distance Learning Contract for Army's Command and General Staff Officers Course
FORT LEAVENWORTH, Kan. – Trideum Corporation was awarded the Distance Learning Interactive Multimedia Instruction (IMI) Production Services contract for the U.S. Army Command and General Staff College (CGSC) on Sept. 18. Under the contract, Trideum produces distance learning courseware for non-resident Command and General Staff Officers Course (CGSOC) students. The Trideum courseware will parallel residential […]
Trideum Corporation Awarded U.S. Army Intelligence Center of Excellence Subcontract with Jacobs Technology, Inc.
May 28, 2019 – Huntsville, Alabama. Trideum Corporation, headquartered in Huntsville, Alabama, has been awarded a contract to support the U.S Army Intelligence Center of Excellence (USAICoE) at Fort Huachuca as a subcontractor to Jacobs Technology, Inc. to provide training development and support for the Army and other Department of Defense agencies. Under the "Huachuca […]
Human-Centered Design is Trideum User Experience Team Philosophy
UX capability briefings available at Space and Missile Defense Symposium, booth #137. HUNTSVILLE, Ala. – Mission support modernization needs will be addressed by the Trideum Corporation User Experience (UX) team at the Space and Missile Defense Symposium, August 6-8 at the Von Braun Center. "Trideum applies creative problem solving to innovate, design, and develop human-focused […]
Trideum Awarded Army Mission Command Training Contract
San Antonio, Texas – Trideum Corporation was awarded the Joint Base San Antonio (JBSA) Mission Training Complex (MTC) contract on July 30. The JBSA MTC effort is a task order contract under Trideum's Mission Training Complex Capabilities Support (MTCCS) Indefinite Delivery/ Indefinite Quantity (ID/IQ) contract. "This is a significant win for Trideum as it establishes […]
Trideum Named to Inc. Magazine's Inc. 5000 List
This is Trideum's fifth straight year being named to the prestigious list of growing companies. HUNTSVILLE, Ala. – Trideum Corporation announced today that for the fifth year in a row, and seventh year overall, the company is among Inc. Magazine's annual Inc. 5000 list – the most prestigious ranking of the nation's fastest-growing private companies. […]
Huntsville Small Business Expands Cyber Test Environment, Tools to Enhance Cyber Resiliency of Weapon Systems
CVATE briefing available at Space and Missile Defense Symposium, booth #137. HUNTSVILLE, Ala. – Every network in America faces cyber threats from emboldened hackers, agents of corporate espionage and ransomware attackers from around the world. The U.S. military, however, faces a greater cyber threat from foreign militaries. U.S. enemies and allies are positioning cyber personnel […]
Army Veteran, Defense Executive to Lead Trideum's International Business Effort
HUNTSVILLE, Ala. – Trideum announced today the hiring of Wayne Detwiler as Operations and International Business Manager. In this position, Detwiler will focus on Trideum's business growth and portfolio management in training and international market spaces. Detwiler comes to Trideum after serving defense corporations at the director and vice president levels. At these firms, he […]
Chairman Promotes Service, Community of Practice in MODSIM World Remarks
Norfolk, Va. — Virginia Modeling and Simulation Partnership (VMSP) Chairman and Trideum Corporation Operations Manager, Matt Spruill, opened the MODSIM World Conference today with remarks on volunteer service in the modeling and simulation community. "It's a way to give back to the community that's given me so much," Spruill said. "That's why I get involved […]
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Before I begin, I would like to welcome the 54th ANC Conference outcomes and the subsequent election of Cyril Matamela Ramaphosa as the President of the Republic of South Africa. His election has brought a new era of hope and change for all South Africans young and old, black and white.
We appreciate the sense of renewal the President's SONA's speech has brought to the country. He promised to restore public confidence in the government; Commitment to ethical behaviour and leadership; a new, national minimum wage to improve the lives of more than six million South Africans; Improvements to government support for the poor and unemployed; and Land restitution, including, if necessary, expropriation without compensation.
Premier Zille we had to write to you to convince you that the SONA should first take place to open the Parliamentary year which would set the tone for the year, believing it would be against the principles of co-operative governance for any province to proceed with a state of the province address before the President has delivered the State of the Nation Address. We were disappointed in your letter dated 15 February where you stated that you received no legal arguments why the State of the Province Address(SOPA) should not take place before SONA, and that the Western Cape Government was not consulted regarding the postponement of SONA whereas your DA party requested SONA be postponed.
Your actions once again prove that you do not want to be part of nation building and you continue to run the province like an island that's not part of South Africa. No wonder you have been suspended from all of your party's decision making structures. You have once again tweeted about water colonialism, and had to be threatened about being charged again for tweeting positively about the legacy of colonialism. It will be the second time in a year that you will be investigated for violating the DA's social media policy, breaching your social media agreement with the party, and bringing the party into disrepute. You represent the old racist apartheid backwards times which cannot coincide in this new dawn the country is set upon.
Premier Zille, in your 2017 State of the Province Address (SOPA) you indicated that it could cost a minimum capital amount of R15 billion for a desalination plant for Cape Town with operational costs potentially running between R350 million and R1 billion per year which would translate into very expensive water. This R15 billion figure is very concerning since the costs of desalination plants across the peninsula at Koeberg, Cape Town Harbour and Harmony Park which would jointly produce 180 million litres per day have been calculated at R1.3 billion by the Department of Water and Sanitation's technical team.
The City of Cape Town's Water Resilience Plan estimates that desalination plants at Cape Town Harbour, Strandfontein and Monwabisi together with water augmentation will jointly produce 200 million litres of water per day at a cost of R3.3 billion. Premier your desalination costs have been inflated to provide big business for your election campaign funders.
Your own former DA Steering Committee Chairperson has blown the whistle on your corruption, according to Rodney Lentit, the DA turned against De Lille because she did not want to sign two contracts for desalination plants. Lentit claims these contracts amounted to R834 million and R6 billion, respectively. The DA stands to make R600 million in kickbacks from these Israeli DA funders for their 2019 election campaign.
The Democratic Alliance has manufactured this Cape Water Crisis, they stood by watching our dam levels decrease year on year from 2015 with 25%. When Dams reached 50% in 2016 down from 75% they did nothing, and now in the 2017 summer when dams reached 25% down from 50% they still did nothing meaningful to produce the 500 million litres of water that Cape Town uses per day.
The Western Cape has companies that produce world class technology in the field of Reverse Osmosis technology in Water Treatment with experience in building desalination plants, South Africa has many water boards that have built desalination plants in other provinces, and our national government has prevented metros from running out of water within the cooperative government and intergovernmental relations framework, just last year they prevented Johannesburg from running out of water with proper water demand management strategies.
Shame on you Premier Helen Zille and Mmusi Maimane, we will be submitting complaints for Premier Zille at the Public Protector to investigate her abdicating her duties and fettering by Maimane to cross the state and party line when she allowed an unelected official to coordinate Defeat Day Zero. It is unacceptable for Maimane who is an MP to head a governmental task team, this pushes the boundaries of the separation of powers, where day to day running of government should be left to executive officials.
This is unacceptable since State institutions should be independent and state officials should be accountable for their actions. Maimane who is unelected in the Provincial Legislature or the City Council cannot be held accountable for his actions.
This has the potential to lead to corrupt situations where the political party's donors expect to be rewarded with government business as is the case with the Israeli DA funders which was exposed by Rodney Lentit. This Corruption and racism is the real reason Rodney Lentit resigned from the DA Caucus in the Legislature.
The province has seen many governance failures the past year, during the annual reporting period the Department of Agriculture failed to produce audited Annual Financial Statements with an audit opinion. The Department of Human Settlements which is headed up by DA Leader in the province, Bongi Madikizela failed to receive a clean audit. This is the same Bongi Madikizela that is under investigation by the Public Protector for receiving benefits, donations and sponsorships which he still has not declared for a Birthday bash at the One and Only hotel.
MEC Madikizela was also found to have not given sufficient answers to the Registrar of Members' Interest at the time. What did the DA Caucus do, through their Chief Whip Wiley they advertised the current Registrar's position while he was still in the job, basically firing him through undue pressure in order for them to appoint their man for the job, subsequently fresh complaints were submitted to the New Registrar of Members' Interests against MEC Madikizela and MEC Mbombo on 1 December 2017. This new Registrar has failed to acknowledge the new complaints almost 3 months have passed and he has also failed to call the Conduct Committee to discuss the old investigation's reports or the new complaints, what has the New Registrar of Members' Interests been doing with the R90,000 he has earned thus far?
The Premier of the Western Cape, Helen Zille has tweeted, "For those claiming legacy of colonialism was ONLY negative, think of our independent judiciary, transport, infrastructure, piped water etc." This tweet has brought back many pain and suffering to victims of apartheid and colonialism in South Africa, she celebrates the oppression, exploitation, racism, and poverty which are direct results of the legacy of colonialism.
By her reckless statements she failed to act in a manner that is consistent with the integrity of her office. I believe that her personal interest of white supremacy and white privilege are in conflict with her official responsibilities.
Our Constitutional democracy entails that we heal the divisions of the past and establish a society based on democratic values, social justice and fundamental human rights. The Premier has violated the principles of our constitution, and divided our society on racial grounds.
By undermining South Africans with her personal beliefs on colonialism she has failed to uphold her oath of office which requires the Premier hold office with honour and dignity.
The affluent town of Hout Bay consists of a number of multi-million rand mansions, luxurious holiday homes and some small wine estates. With the additional fishing community and tourist activities there was a need to house many workers to keep the town operational. This led to the establishment of Imizamo Yethu, the main informal settlement in Hout Bay.
The settlement is lacking important infrastructure: minimal water supply, few toilets and poor sewerage system. Because of its location and the overcrowding, Imizamo Yethu is vulnerable to hazards like floods and fires. In a statement in March 2017, the Deputy Mayor said, "It is believed to be one of the worst informal settlement fires that we have experienced to date." Such a statement from a high office-bearer would make one think that drastic action and support would have taken place.
Wrong! At the time it would appear that 4 500 structures were razed and approximately 15 000 residents were affected. Three victims lost their lives during the fires. NGO's assisted the community with meals, blankets, toiletries and mattresses.
In contrast to the Knysna fires which resulted in the damage of property owned by rich residents, the Provincial Government went so far as to have a cabinet meeting in Knysna, it prompted an urgent announcement that R75 million of the disaster funds of the province would be released for a suitable response to mitigate the damage incurred.
Seven people died and at least 1 000 homes in Knysna and Plettenberg Bay were damaged or destroyed. 985 firefighters using 78 fire vehicles, six Oryx military helicopters, four Working on Fire helicopters and two fixed-wing bomber aircraft were deployed to deal with the fires.
One can't help but ask why a similar response was not deployed for the Imizamo Yethu fires of March this year which displaced 15,000 people. The Provincial Government must really come forward and say why they had such a lacklustre response to the Imizamo Yethu fires compared with how they moved mountains for the Knysna fires.
South Africa has made many gains in fighting the high inequalities which persist through income equality, land ownership, unemployment and education that we simply cannot still worry about being discriminated against on race and class when it comes to disaster responses from your local authorities.
Coming back to the disaster relief which was activated when disaster hit Knysna, in August 2017 the provincial government announced the allocations per municipality. For Human settlements a total of R7.5 million was allocated, R2.5 million was for Cape Town, including Imizamo Yethu and Hout Bay yet R5 million of the R7.5 million went to Knysna.
A total allocation of R5 million was allocated for Aerial Fire Fighting support, this whole R5 million was only allocated to Knysna. What about the people of Imizamo Yethu, don't they deserve this infrastructure and readiness when disaster hits again I ask?
To put the cherry on the cake, the DA provincial government allocated R3 million towards the Goukamma nature reserve which is in the Knysna area, this is more than the R2 million which was allocated for Cape Town, Imizamo Yethu and Hout Bay combined. Such blatant discrimination of funding shows how the DA government cares more about Knysna's tourism and Cape Nature entities than the displaced people of Imizamo Yethu. Black and coloured lives don't matter under the DA government in the Western Cape.
Corporate South Africa thank you for your assistance when disaster hit Knysna, ABSA donated R10m for disaster relief as well as 5 600 tents, FNB donated R10m, Santam also donated R1m, Mutual and Federal donated R400 000, Discovery donated R375 000, and Outsurance donated R250 000. As much as we appreciate the assistance we cannot help but ask the question where were you when disaster struck Imizamo Yethu? Do you only help a particular group in South Africa, a minority group that owns 70% of the JSE?
It is reckless of the DA Provincial Government to sit on R200m disaster funds and sit by idle when our townships and Cape Flats have daily disasters and they only act upon releasing disaster relief when White affluent towns like Knysna have a disaster. This is totally unacceptable because it would mean that disaster must first hit Loevenstein and Welgemoed before the City will respond to a similar disaster which affects Bellville.
The Quarterly Labour Force Survey report for quarter four of 2017 showed that the number of employed persons in the Western Cape increased by 92 000 when compared to quarter 3 of 2017. When compared to quarter 4 of 2016, the Western Cape recorded an increase of 106 000 jobs in quarter 4 of 2017. As much as this is commendable, the major cause for concern is the possibility that these jobs may have been contracts of limited duration. The nature of employment is not specified, and in the same period that employment numbers increased in the province, there was an increase in the number of employees on contracts of limited duration in the country.
While we want to celebrate the increase in employment numbers, we are equally disturbed by the fact that in quarter four of 2017 more than 744 000 people of the working age population were unemployed in the Western Cape. Of this number, 515 000 people were in the City, and more than 260 000 coming from the rural regions.
The other side of the Employment statistics the DA never mentions is the Employment Equity report, here they do not have anything to celebrate. In fact they are furthering the over representation of Whites and the decrease of Africans. Cause for the concern in the latest employment equity report is Workforce profile at the Top Management level by race - The representation of the White group (68.9%) at this level is more than six times their Economically Active Population (EAP). The opposite is true for the African and Coloured groups as they are under-represented in relation to their EAP.
The Western Cape still has a significant amount of White representation at the professionally qualified level (48.1%), whereas they make up 17.1% of the EAP. This is followed by the Coloured group at (29.2%), where they make up half (50.2%) of the economically active population in the province. The African group has 15.1% representation.
Your DA government's job creation does not benefit Coloured and African people in the province, you continue to advance white supremacy and white privilege in the province. Hence you never mention the employment equity report.
The ANC in the Western Cape is a government in waiting, we are ready to provide equal service delivery to all the residents of the province unlike how the DA continues with discrimination with managing disasters and creating water supply shortages. Amandla!


Being coached by Gerald was a career changing experience. When Gerald said that I would win 80 % of my presentations as a result of the training I was skeptical. My ratio is even higher since spending a week with him.
I have had the privilege to not only take part in the Bridging the GAP training but also be able to witness the impact of Gerald's work over all employees of my company who continue to benefit from this concept daily. It is one of the most influential programs I have ever experienced in my industry.
Our office has a very high success rate when the 'Bridging the Gap' presentation format is used. Prior to using this presentation format our success rate was 4 out of 10 presentations won … now it is 9 out of 10.
I am pleased to say that after a year or so of refining the GAP Analysis sales model, I have more than doubled my revenue. The feedback from my clients has been exceptional.


text:
Books, arts and culture
With a new museum complex, Doha reflects on its past and present
The Msheireb museums cover domestic life, the local area, industry and, most importantly, slavery
by J.M. | DOHA
THE physical and commercial growth of Doha has been so rapid in the last 20 years that only the present and future tenses seem to have any daily existential traction. Young Qataris have effectively only experienced modernity: history has largely been marginalised as projects of extraordinary scale and ambition take place. J.G. Ballard's dystopian vision of "no yesterdays, no history to be relived, only an intense transactional present" feels incredibly prescient.
The recent opening of the Msheireb museums in four historic courtyard buildings ensconced between the National Archive, the Amiri Guards headquarters, and the massive Msheireb Downtown Doha development, is the ruling Al-Thani family's first decisive attempt to explore key aspects of Qatar's history. The only internationally recognised historical site in the country is Al Zubarah, the remains of an 18th and 19th-century trading and pearling community, which is now a UNESCO World Heritage site.
But apart from continuing archaeological digs, the only other impending, historically-focused project is the Qatar National Museum, designed by Jean Nouvel. When it opens later this year, its exhibits will include archaeological remains, historical documents, textiles and "heritage" household items; there is no sense of clear-cut curatorial strategy.
This nascent museological situation is matched by an equally underdeveloped local appetite for Qatar's history. Audience research revealed that most Qataris thought history was important but that the museums were more suitable for expatriates and visitors. There is no established tradition of museum-going within Qatar, and most Qataris in Doha spend much of their free time in malls or in demarcated, historically-styled leisure areas such as the Souk Waqif and the Katara Art Centre. Apart from the school groups that pass through the Msheireb museums, the footfall is generally light.
The subject matter of the museums reflects the activities of the original owners of the buildings. Bin Jelmood House, originally the base of a notorious slave and goods trader, contains a museum of regional and international slavery. Company House charts the early chapters of Qatar's petroleum industry. Mohammed Bin Jassim House, once the home of an Al-Thani prince, portrays the history and future of the Msheireb area. Radwani House is a charming vestige of the courtyard homes that once covered most of Doha, but began to vanish after the city gained electricity and piped water in the 1950s and 60s.
Bin Jelmood House is the first slavery museum in the Gulf region, and it is by far the most engrossing and informative of the four Msheireb offerings. It acts as a form of historical shock therapy in a country which only abolished slavery in 1952. The subject of the Indian Ocean slave trade is handled deftly and innovatively, combining video and text, detailed historical imagery, maps of slave routes, personal testimony and interactive montages.
But it is in tackling the issue of modern slavery that the museum proves most effective. The faces of indentured workers—who make up nearly 90% of Qatar's population—recur throughout and serve as a reminder of how Doha's cosmopolitan prestige is built on the back of nefarious systems such as the kafala(sponsorship) scheme. The text in one illustrated display states that "throughout the Gulf States, the abuse of the kafala system directly affects large numbers of foreign migrant workers" for it places workers at the mercy of their employers. The text accompanying a picture of Nepalese construction workers uses stronger language: labourers "in the Gulf region are considered to be contractually enslaved". The government has taken modest steps to reform labour laws (thanks to pressure from international human rights groups), but there has not yet been a decisive crackdown on this form of exploitation. This museum, endorsed by Sheikah Moza, a wife of the Father Emir, may add another level of pressure: a voice of discontent from within as well as without.
As a heritage resource, the Msheireb museums constitute a distinct, if not sophisticated, step forward for a city and culture that has been dominated by the effects of unusually rapid urban and consumerist development since the 1990s. It remains to be seen whether museum-going will become as embedded in daily life as the other recreational activities in Doha's intensely transactional present. Even if it does not, that there is a place for the necessary discussion about workers' rights to continue is cause for celebration.
More from Prospero
An American musical about mental health takes off in China
The legacy of apartheid
Sue Williamson's art of resistance
Lost, found and lost again
What happened to the "Salvator Mundi"?
Writers' lives
Ernest Hemingway: the man, the myth, the legend
Dying species
Inside HYMAG, the world's largest collection of magazines
The protagonist of "Next to Normal" has bipolar disorder. The show is encouraging audiences to open up about their own well-being
Aesthetics and politics are powerfully entwined in the 50-year career of the South African artist
The recently rediscovered painting made headlines in 2017 when it fetched $450m at auction. Then it vanished again
A new documentary by Ken Burns and Lynn Novick explores the writer's own image-making
Its founder hopes to digitise the 150,000 volumes for the benefit of future generations


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text:
Q: Error with npm install node-sass-middleware When I run the command npm install node-sass-middleware, I get the following error...
npm WARN deprecated @npmcli/move-file@1.1.2: This functionality has been moved to @npmcli/fs
npm WARN deprecated har-validator@5.1.5: this library is no longer supported
npm WARN deprecated uuid@3.4.0: Please upgrade  to version 7 or higher.  Older versions may use Math.random() in certain circumstances, which is known to be problematic.  See https://v8.dev/blog/math-random for details.
npm WARN deprecated request@2.88.2: request has been deprecated, see https://github.com/request/request/issues/3142
npm ERR! code 1
npm ERR! path C:\programming folders\nodejs\codial\node_modules\node-sass
npm ERR! command failed
npm ERR! command C:\Windows\system32\cmd.exe /d /s /c node scripts/build.js
npm ERR! Building: C:\Program Files\nodejs\node.exe C:\programming folders\nodejs\codial\node_modules\node-gyp\bin\node-gyp.js rebuild --verbose --libsass_ext= --libsass_cflags= --libsass_ldflags= --libsass_library=
npm ERR! gyp info it worked if it ends with ok
npm ERR! gyp verb cli [
npm ERR! gyp verb cli   'C:\\Program Files\\nodejs\\node.exe',
npm ERR! gyp verb cli   'C:\\programming folders\\nodejs\\codial\\node_modules\\node-gyp\\bin\\node-gyp.js',
npm ERR! gyp verb cli   'rebuild',
npm ERR! gyp verb cli   '--verbose',
npm ERR! gyp verb cli   '--libsass_ext=',
npm ERR! gyp verb cli   '--libsass_cflags=',
npm ERR! gyp verb cli   '--libsass_ldflags=',
npm ERR! gyp verb cli   '--libsass_library='
npm ERR! gyp verb cli ]
npm ERR! gyp info using node-gyp@8.4.1
npm ERR! gyp info using node@18.12.1 | win32 | x64
npm ERR! gyp verb command rebuild []
npm ERR! gyp verb command clean []
npm ERR! gyp verb clean removing "build" directory
npm ERR! gyp verb command configure []
npm ERR! gyp verb find Python Python is not set from command line or npm configuration
npm ERR! gyp verb find Python Python is not set from environment variable PYTHON
npm ERR! gyp verb find Python checking if "python3" can be used
npm ERR! gyp verb find Python - executing "python3" to get executable path
npm ERR! gyp verb find Python - "python3" is not in PATH or produced an error
npm ERR! gyp verb find Python checking if "python" can be used
npm ERR! gyp verb find Python - executing "python" to get executable path
npm ERR! gyp verb find Python - executable path is "C:\python310\python.exe"
npm ERR! gyp verb find Python - executing "C:\python310\python.exe" to get version
npm ERR! gyp verb find Python - version is "3.10.2"
npm ERR! gyp info find Python using Python version 3.10.2 found at "C:\python310\python.exe"
npm ERR! gyp verb get node dir no --target version specified, falling back to host node version: 18.12.1
npm ERR! gyp verb command install [ '18.12.1' ]
npm ERR! gyp verb install input version string "18.12.1"
npm ERR! gyp verb install installing version: 18.12.1
npm ERR! gyp verb install --ensure was passed, so won't reinstall if already installed
npm ERR! gyp verb install version is already installed, need to check "installVersion"
npm ERR! gyp verb got "installVersion" 9
npm ERR! gyp verb needs "installVersion" 9
npm ERR! gyp verb install version is good
npm ERR! gyp verb get node dir target node version installed: 18.12.1
npm ERR! gyp verb build dir attempting to create "build" dir: C:\programming folders\nodejs\codial\node_modules\node-sass\build
npm ERR! gyp verb build dir "build" dir needed to be created? Yes
npm ERR! gyp verb find VS msvs_version not set from command line or npm config
npm ERR! gyp verb find VS VCINSTALLDIR not set, not running in VS Command Prompt
npm ERR! gyp verb find VS could not use PowerShell to find Visual Studio 2017 or newer, try re-running with '--loglevel silly' for more details
npm ERR! gyp verb find VS looking for Visual Studio 2015
npm ERR! gyp verb find VS - not found
npm ERR! gyp verb find VS not looking for VS2013 as it is only supported up to Node.js 8
npm ERR! gyp ERR! find VS
npm ERR! gyp ERR! find VS msvs_version not set from command line or npm config
npm ERR! gyp ERR! find VS VCINSTALLDIR not set, not running in VS Command Prompt
npm ERR! gyp ERR! find VS could not use PowerShell to find Visual Studio 2017 or newer, try re-running with '--loglevel silly' for more details
npm ERR! gyp ERR! find VS looking for Visual Studio 2015
npm ERR! gyp ERR! find VS - not found
npm ERR! gyp ERR! find VS not looking for VS2013 as it is only supported up to Node.js 8
npm ERR! gyp ERR! find VS
npm ERR! gyp ERR! find VS **************************************************************
npm ERR! gyp ERR! find VS You need to install the latest version of Visual Studio
npm ERR! gyp ERR! find VS including the "Desktop development with C++" workload.
npm ERR! gyp ERR! find VS For more information consult the documentation at:
npm ERR! gyp ERR! find VS https://github.com/nodejs/node-gyp#on-windows
npm ERR! gyp ERR! find VS **************************************************************
npm ERR! gyp ERR! find VS
npm ERR! gyp ERR! configure error
npm ERR! gyp ERR! stack Error: Could not find any Visual Studio installation to use
npm ERR! gyp ERR! stack     at VisualStudioFinder.fail (C:\programming folders\nodejs\codial\node_modules\node-gyp\lib\find-visualstudio.js:122:47)
npm ERR! gyp ERR! stack     at C:\programming folders\nodejs\codial\node_modules\node-gyp\lib\find-visualstudio.js:75:16
npm ERR! gyp ERR! stack     at VisualStudioFinder.findVisualStudio2013 (C:\programming folders\nodejs\codial\node_modules\node-gyp\lib\find-visualstudio.js:363:14)
npm ERR! gyp ERR! stack     at C:\programming folders\nodejs\codial\node_modules\node-gyp\lib\find-visualstudio.js:71:14
npm ERR! gyp ERR! stack     at C:\programming folders\nodejs\codial\node_modules\node-gyp\lib\find-visualstudio.js:384:16
npm ERR! gyp ERR! stack     at C:\programming folders\nodejs\codial\node_modules\node-gyp\lib\util.js:54:7
npm ERR! gyp ERR! stack     at C:\programming folders\nodejs\codial\node_modules\node-gyp\lib\util.js:33:16
npm ERR! gyp ERR! stack     at ChildProcess.exithandler (node:child_process:420:5)
npm ERR! gyp ERR! stack     at ChildProcess.emit (node:events:513:28)
npm ERR! gyp ERR! stack     at maybeClose (node:internal/child_process:1091:16)
npm ERR! gyp ERR! System Windows_NT 10.0.19045
npm ERR! gyp ERR! command "C:\\Program Files\\nodejs\\node.exe" "C:\\programming folders\\nodejs\\codial\\node_modules\\node-gyp\\bin\\node-gyp.js" "rebuild" "--verbose" "--libsass_ext=" "--libsass_cflags=" "--libsass_ldflags=" "--libsass_library="
npm ERR! gyp ERR! cwd C:\programming folders\nodejs\codial\node_modules\node-sass
npm ERR! gyp ERR! node -v v18.12.1
npm ERR! gyp ERR! node-gyp -v v8.4.1
npm ERR! gyp ERR! not ok
npm ERR! Build failed with error code: 1

npm ERR! A complete log of this run can be found in:
npm ERR!     C:\Users\abhishek dangi\AppData\Local\npm-cache\_logs\2023-02-01T13_20_09_860Z-debug-0.log

Screenshot of error imgur

Official documentation of node-sass-middleware link
I have tried

*

*Updating my visual studio

*restarted the laptop

*updated the npm but the error is not gone

I have tried for around 3 hours but the error is still the same. Could someone give me the solution?

A: so, basically you want to create scss files and want to compile them in css folders..
Suppose you have assets folder and in that you have scss and css folder
now you firstly
npm install sass
and then in im package. json in scripts
do this
"scss":"sass --watch ./assets/scss:./assets/css"
either run from sass to css command in terminal itself or run
npm run scss
it will work hope this answers the question it worked for me

redpajama_set_name: RedPajamaStackExchange


text:
Nicky Youre, Fitz and the Tantrums, Dove Cameron and more heading to 'Dick Clark's New Year's Rockin' Eve'
The lineup for this year's Dick Clark's New Year's Rockin' Eve with Ryan Seacrest has finally been unveiled and those helping to ring in 2023 include Nicky Youre, Dove Cameron, Fitz and the Tantrums and FINNEAS.
The lineup was unveiled Tuesday, with celebrations planned at Disneyland, in Los Angeles, in New Orleans and, of course, in Times Square in New York City.
Those holding down the fort in Disneyland include Fitz and the Tantrums, Lauren Spencer Smith, Ciara, Aly & AJ and Shaggy.
Fitz and the Tantrums will perform their songs "Sway" and "HandClap," while Lauren is set to sing her smash hit "Fingers Crossed" as well as "Flowers." Shaggy will perform a medley of his hits "Boombastic" and "Angel."
Ciara will co-host the night, but she will also pump up the crowd by performing a medley of her hits "Better Thangs" and "Jump." Aly & AJ will assist actor Ben Platt in a version of Fleetwood Mac's "Go Your Own Way."
FINNEAS and Nicky, along with Armani White, Betty Who and Dove, will celebrate 2023 in Los Angeles. Nicky will perform "Sunroof" and "Eyes On You," while Dove will belt out "Boyfriend" and "Bad Idea." As for FINNEAS' songs, he'll do "Let's Fall in Love for the Night" and "Only a Lifetime." Betty will sing "Blow Out My Candle" and also perform a cover of Kate Bush's "Running Up That Hill (A Deal With God)," which gained new life after being featured on Netflix's Stranger Things.
Armani will perform his viral hit "Billie Eilish" and his new song "Goated."
Dick Clark's New Year's Rockin' Eve with Ryan Seacrest will air December 31 at 8 p.m. ET on ABC.


text:
The artwork in this "clever and entertaining" traveling exhibit compels visitors "to look, and then look again."
Blanton Museum of Art, AustinThrough Sept. 22
The artwork in this "clever and entertaining" traveling exhibit compels visitors "to look, and then look again," said Jeanne Claire van Ryzin in The Austin American-Statesman. A sense of mischief abides from the very start, where, just above the entrance, 12 pencils dangle overhead, stuck into the ceiling tile. You read them at first as likely the result of "an irreverent act by a bored security guard." But look closer and you might notice that each projectile is an artist's re-creation of a pencil, handcrafted down to each eraser's tin fitting. And Mungo Thomson's Between Projects is just the first piece in which exacting methods of fabrication transform otherwise mundane objects. That piece of cardboard lying against the wall? It's actually a 2009 sculpture in bronze by Swiss artist Ugo Rondinone. That bag of garbage on the floor? Jud Nelson carved it from white Carrara marble. Those 1,000 sunflower seeds filling a nearby jar, meanwhile, are actually made of porcelain, and each one was hand-painted by a laborer in China hired by the artist Ai Weiwei.
"The most compelling artworks move beyond questions of craft into more ominous territory," said Kate Green in Artforum. Subway, a 2010 installation by Argentine artist Leandro Erlich, consists of a steel subway door whose window appears to look into the next car, where three commuters sit staring into space. "Since the window is actually a video on loop, we know the trio is trapped and has nowhere to go." A 10-foot-tall 2010 self-portrait by Rudolf Stingel, painted to look like a well-worn black-and-white photograph, becomes "an elegy to youth and its brevity, as well as to the tradition of painting as a meaningful form of representation." Virtually every piece in "Lifelike" appears highly familiar, and virtually all "make the familiar strange."


This entry was posted in diseases, family, health, humor, inspiration, love, writing and tagged amyloidosis, blogging, chemotherapy, City of Hope Hospital, daily challenges, healing, multiple myeloma, postaday 2015, The Mayo Clinic. Bookmark the permalink.
One moment at a time…that's where we find happiness.
Thank you so much for doing this. As much as I want to call or text her everyday, I know she needs her rest and this keeps us all up to date on her journey! She is such a wonderful human being and definitely my inspiration as she goes through this with grace, optimism and humor.


text:
Pedriza subida a la Nava
MTB TraIl nearby Cuenca Alta del Manzanares natural area, in España and Manzanares el Real population.
The largest locality in the area is Colmenar Viejo, with a population of 43,700 persons, at a distance of 11.905 kilometers	from the center of the map.
The nearest is Manzanares el Real (6,231 persons), at a distance of 0.308 kilometers.
The following indicators give us an idea of the difficulty of the route:
Trail length: 51.388 kilometers.
Min height: 901 meters above sea level.
Max height: 1,960 meters above sea level.
Average height: 1,321 meters above sea level.
Average slope uphill: 9.385 %.
Average slope downhill: -7.664 %.
Mathematical difficulty index: 74.636.
Start place:
Arrival place:
You can find around this zone pois of interest and places relates with Lakes, pools, damns and reservoirs, what to see / tourism / architecture and monuments, what to see / tourism / botanical gardens, Sport Venues
Lakes, pools, damns and reservoirs
Embalse de El Vellón
what to see / tourism / architecture and monuments
Túnel ferroviario de Guadarrama
what to see / tourism / botanical gardens
Jardín educativo del Centro de Investigación Fernando González Bernáldez
Valcotos
Ermita de Nuestra Señora de los Remedios (Colmenar Viejo)
Centro de educación ambiental Manzanares del Real
Basílica de la Asunción de Nuestra Señora (Colmenar Viejo)
Parque natural de la Cumbre, el Circo y las Lagunas de Peñalara
Manzanares el Real	( Population: 6,231 persons, At a distance of 0.308 kilometers from the center of the map)
Boalo	( Population: 5,094 persons, At a distance of 5.420 kilometers from the center of the map)
Moralzarzal	( Population: 11,582 persons, At a distance of 11.866 kilometers from the center of the map)
Colmenar Viejo	( Population: 43,700 persons, At a distance of 11.905 kilometers from the center of the map)
Becerril de la Sierra	( Population: 4,610 persons, At a distance of 11.945 kilometers from the center of the map)
Hoyo de Manzanares	( Population: 7,093 persons, At a distance of 13.499 kilometers from the center of the map)
Miraflores de la Sierra	( Population: 5,105 persons, At a distance of 13.979 kilometers from the center of the map)
Navacerrada	( Population: 2,402 persons, At a distance of 14.492 kilometers from the center of the map)
Nearby trails.
La Nava (Colmenar Viejo-Manzanares-Collado de los Pastores-La Nava) (at a distance of 0.000 kilometers)
Colmenar Viejo-las z de la Pedriza (at a distance of 0.000 kilometers)
Colmenar-Las Zetas de la Pedriza (at a distance of 0.000 kilometers)
Parque Regional de la Cuenca Alta Manzanares (at a distance of 0.000 kilometers)
03.03.2.012 (at a distance of 0.000 kilometers)
2011.05.28 Colmenar Manzanares La Pedriza y La Nava (at a distance of 0.000 kilometers)
Alcobendas - Segovia (at a distance of 0.000 kilometers)
Colmenar-La Nava-Colmenar (at a distance of 0.000 kilometers)
Soto del Real - vuelta al pantano (at a distance of 0.000 kilometers)
Colmenar-La Pedriza-Colmenar (at a distance of 0.000 kilometers)


text:
Via Verdi are an Italian Italo disco musical group formed in 1983. They are best known for the song "Diamond" which was a number one hit on the Italian hit parade in 1986. Other hits include "Sometimes" and "You and Me". After disbanding at the end of the 1980s, Via Verdi reformed in the 2000s.

Discography

Albums
 Trailer (1987), WEA
 The Time Machine (2020), SAIFAM - CIMBARECORD

Singles
 "Diamond" (1985), WEA
 "Sometimes" (1986), WEA
 "You and Me" (1987), WEA
 "Hollywood Beyond" (1987), WEA
 "Love Is a Dream" (1989), Ricordi

References

External links

Musical groups established in 1983
Italian pop music groups
Italo disco groups
Musical groups from Milan

redpajama_set_name: RedPajamaWikipedia