In the partial light of one of the tunnels leading out of The Bearpit a little while back, there was this rather lovely collaboration between Kid Crayon and Ugar. I had caught up with Ugar a few days later and he talked about his collaboration partner most fondly and touchingly called him Crayon Kid. Well it works for me.
It is not often that Kid Crayon takes to writing, but I guess this was one of those days. What is lovely about his piece here is that he has included his signature crayon, which has been missing (and much missed) of late.
I am really enjoying finding Ugar pieces around the place. As a relatively new entrant into the Bristol scene, his work adds to the incredible diversity of street art that the city has to offer. He mostly works with the letters of his name, although not always, and here gives us an UG, beautifully filled and decorated. Nice collaboration.


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text:
Expression of interleukin-8 receptors in patients with adenomyosis
Murat Ulukus, E. Cagnur Ulukus, Yasemin Seval, Ozgur Cinar, Wenxin Zheng, Aydin Arici
Objective: To investigate the expression of interleukin-8 (IL-8) receptors CXCR1 and CXCR2 in adenomyosis. Design: Comparative immunohistochemical study. Setting: Academic medical center. Patient(s): Thirty women who had undergone hysterectomy and were proved histopathologically to have adenomyosis, and 27 women without adenomyosis who had a hysterectomy for nonendometrial pathology such as leiomyomata or benign ovarian cysts. Intervention(s): Tissue sections were immunostained with murine monoclonal anti-human CXCR1 and CXCR2 antibodies. Main Outcome Measure(s): Microscopic evaluation to assess the presence and localization of CXCR1 and CXCR2 throughout the menstrual cycle in both eutopic endometrial and adenomyotic tissues of women with adenomyosis and compare it with normal endometrium. Result(s): In eutopic endometrium of women with adenomyosis, proliferative phase samples showed higher epithelial CXCR1 and CXCR2 staining intensity compared with proliferative phase samples of normal endometrium. Adenomyosis foci expressed higher epithelial CXCR1 compared with the homologous eutopic endometrium and normal endometrium. On the other hand, adenomyosis foci and the homologous eutopic endometrium showed similar epithelial CXCR2 staining intensity, and this expression was higher than the normal controls. Conclusion(s): Intrinsic abnormalities concerning IL-8 and its receptor system may be present in the eutopic endometrium of women affected by adenomyosis. These findings suggest that IL-8 receptors may be involved in the pathogenesis and/or pathophysiology of adenomyosis.
Fertility and Sterility
https://doi.org/10.1016/j.fertnstert.2005.08.053
Adenomyosis
Interleukin-8 receptors
10.1016/j.fertnstert.2005.08.053
Fingerprint Dive into the research topics of 'Expression of interleukin-8 receptors in patients with adenomyosis'. Together they form a unique fingerprint.
Interleukin-8 Receptors Medicine & Life Sciences
Adenomyosis Medicine & Life Sciences
Endometrium Medicine & Life Sciences
Hysterectomy Medicine & Life Sciences
Staining and Labeling Medicine & Life Sciences
Ovarian Cysts Medicine & Life Sciences
Leiomyoma Medicine & Life Sciences
Ulukus, M., Ulukus, E. C., Seval, Y., Cinar, O., Zheng, W., & Arici, A. (2006). Expression of interleukin-8 receptors in patients with adenomyosis. Fertility and Sterility, 85(3), 714-720. https://doi.org/10.1016/j.fertnstert.2005.08.053
Expression of interleukin-8 receptors in patients with adenomyosis. / Ulukus, Murat; Ulukus, E. Cagnur; Seval, Yasemin; Cinar, Ozgur; Zheng, Wenxin; Arici, Aydin.
In: Fertility and Sterility, Vol. 85, No. 3, 01.03.2006, p. 714-720.
Ulukus, M, Ulukus, EC, Seval, Y, Cinar, O, Zheng, W & Arici, A 2006, 'Expression of interleukin-8 receptors in patients with adenomyosis', Fertility and Sterility, vol. 85, no. 3, pp. 714-720. https://doi.org/10.1016/j.fertnstert.2005.08.053
Ulukus M, Ulukus EC, Seval Y, Cinar O, Zheng W, Arici A. Expression of interleukin-8 receptors in patients with adenomyosis. Fertility and Sterility. 2006 Mar 1;85(3):714-720. https://doi.org/10.1016/j.fertnstert.2005.08.053
Ulukus, Murat ; Ulukus, E. Cagnur ; Seval, Yasemin ; Cinar, Ozgur ; Zheng, Wenxin ; Arici, Aydin. / Expression of interleukin-8 receptors in patients with adenomyosis. In: Fertility and Sterility. 2006 ; Vol. 85, No. 3. pp. 714-720.
@article{ea14b04e04764551a78543a44f01f794,
title = "Expression of interleukin-8 receptors in patients with adenomyosis",
abstract = "Objective: To investigate the expression of interleukin-8 (IL-8) receptors CXCR1 and CXCR2 in adenomyosis. Design: Comparative immunohistochemical study. Setting: Academic medical center. Patient(s): Thirty women who had undergone hysterectomy and were proved histopathologically to have adenomyosis, and 27 women without adenomyosis who had a hysterectomy for nonendometrial pathology such as leiomyomata or benign ovarian cysts. Intervention(s): Tissue sections were immunostained with murine monoclonal anti-human CXCR1 and CXCR2 antibodies. Main Outcome Measure(s): Microscopic evaluation to assess the presence and localization of CXCR1 and CXCR2 throughout the menstrual cycle in both eutopic endometrial and adenomyotic tissues of women with adenomyosis and compare it with normal endometrium. Result(s): In eutopic endometrium of women with adenomyosis, proliferative phase samples showed higher epithelial CXCR1 and CXCR2 staining intensity compared with proliferative phase samples of normal endometrium. Adenomyosis foci expressed higher epithelial CXCR1 compared with the homologous eutopic endometrium and normal endometrium. On the other hand, adenomyosis foci and the homologous eutopic endometrium showed similar epithelial CXCR2 staining intensity, and this expression was higher than the normal controls. Conclusion(s): Intrinsic abnormalities concerning IL-8 and its receptor system may be present in the eutopic endometrium of women affected by adenomyosis. These findings suggest that IL-8 receptors may be involved in the pathogenesis and/or pathophysiology of adenomyosis.",
keywords = "Adenomyosis, Chemokines, Endometriosis, Immunohistochemistry, Interleukin-8 receptors",
author = "Murat Ulukus and Ulukus, {E. Cagnur} and Yasemin Seval and Ozgur Cinar and Wenxin Zheng and Aydin Arici",
doi = "10.1016/j.fertnstert.2005.08.053",
journal = "Fertility and Sterility",
T1 - Expression of interleukin-8 receptors in patients with adenomyosis
AU - Ulukus, Murat
AU - Ulukus, E. Cagnur
AU - Seval, Yasemin
AU - Cinar, Ozgur
AU - Zheng, Wenxin
AU - Arici, Aydin
N2 - Objective: To investigate the expression of interleukin-8 (IL-8) receptors CXCR1 and CXCR2 in adenomyosis. Design: Comparative immunohistochemical study. Setting: Academic medical center. Patient(s): Thirty women who had undergone hysterectomy and were proved histopathologically to have adenomyosis, and 27 women without adenomyosis who had a hysterectomy for nonendometrial pathology such as leiomyomata or benign ovarian cysts. Intervention(s): Tissue sections were immunostained with murine monoclonal anti-human CXCR1 and CXCR2 antibodies. Main Outcome Measure(s): Microscopic evaluation to assess the presence and localization of CXCR1 and CXCR2 throughout the menstrual cycle in both eutopic endometrial and adenomyotic tissues of women with adenomyosis and compare it with normal endometrium. Result(s): In eutopic endometrium of women with adenomyosis, proliferative phase samples showed higher epithelial CXCR1 and CXCR2 staining intensity compared with proliferative phase samples of normal endometrium. Adenomyosis foci expressed higher epithelial CXCR1 compared with the homologous eutopic endometrium and normal endometrium. On the other hand, adenomyosis foci and the homologous eutopic endometrium showed similar epithelial CXCR2 staining intensity, and this expression was higher than the normal controls. Conclusion(s): Intrinsic abnormalities concerning IL-8 and its receptor system may be present in the eutopic endometrium of women affected by adenomyosis. These findings suggest that IL-8 receptors may be involved in the pathogenesis and/or pathophysiology of adenomyosis.
AB - Objective: To investigate the expression of interleukin-8 (IL-8) receptors CXCR1 and CXCR2 in adenomyosis. Design: Comparative immunohistochemical study. Setting: Academic medical center. Patient(s): Thirty women who had undergone hysterectomy and were proved histopathologically to have adenomyosis, and 27 women without adenomyosis who had a hysterectomy for nonendometrial pathology such as leiomyomata or benign ovarian cysts. Intervention(s): Tissue sections were immunostained with murine monoclonal anti-human CXCR1 and CXCR2 antibodies. Main Outcome Measure(s): Microscopic evaluation to assess the presence and localization of CXCR1 and CXCR2 throughout the menstrual cycle in both eutopic endometrial and adenomyotic tissues of women with adenomyosis and compare it with normal endometrium. Result(s): In eutopic endometrium of women with adenomyosis, proliferative phase samples showed higher epithelial CXCR1 and CXCR2 staining intensity compared with proliferative phase samples of normal endometrium. Adenomyosis foci expressed higher epithelial CXCR1 compared with the homologous eutopic endometrium and normal endometrium. On the other hand, adenomyosis foci and the homologous eutopic endometrium showed similar epithelial CXCR2 staining intensity, and this expression was higher than the normal controls. Conclusion(s): Intrinsic abnormalities concerning IL-8 and its receptor system may be present in the eutopic endometrium of women affected by adenomyosis. These findings suggest that IL-8 receptors may be involved in the pathogenesis and/or pathophysiology of adenomyosis.
KW - Adenomyosis
KW - Chemokines
KW - Endometriosis
KW - Immunohistochemistry
KW - Interleukin-8 receptors
U2 - 10.1016/j.fertnstert.2005.08.053
DO - 10.1016/j.fertnstert.2005.08.053
JO - Fertility and Sterility
JF - Fertility and Sterility

redpajama_set_name: RedPajamaCommonCrawl


text:
« There Is No Such Thing as a Free Arena | Main | Hey Lottery Commission: I Hate This Groundhog »
Yes, Virginia. You really CAN build something other than condos on old industrial sites.
The Baltimore Sun is reporting (registration required) that a development company is going to transform the city's old General Motors industrial site into... a new industrial site. Complete with 3,000 jobs. Pretty neat.
The site is actually going to be sort of "mixed use." Some warehousing. Some offices. Some R&D. No, it is not some throwback to heavy industry of the 1950s. But it is industry. And the math is compelling. That is, 3,000 jobs is an awful lot. Here's a bit more from the story...
The closed General Motors van assembly plant in East Baltimore will be revived as a vast industrial park that will boost the port of Baltimore and employ at least 3,000 workers, injecting new life into the now moribund site.
Duke Realty Corp., the Indianapolis-based industrial developer that bought the 184-acre site Jan. 26, plans more than a dozen warehouses for port-related business in addition to a possible office complex and manufacturing/research and development facility, a Duke official told The Sun yesterday.
Duke, along with state and city officials, is to announce the plans for the $150 million to $200 million investment at a news conference at the Broening Highway plant today.
"It was so painful to see the GM plant close, but this is one of the best sites in the country, and it's ready for development and hopefully will allow Baltimore business here to grow while at the same time attracting new industries," Baltimore Mayor Martin O'Malley said yesterday.
General Motors and Duke, which was selected from about 20 bidders, appear on their way to fulfilling the state's vision for creating a base for job growth along a waterfront where industrial land has given way to demands for waterfront housing and other uses, state officials said.
"GM respected and heard our vision for the site," said Aris Melissaratos, the state secretary of the Department of Business and Economic Development. "Their vision is very similar to our vision. Duke has put forth a strategy that is good for the city and good for the port and for rebuilding jobs for that region."
Plans for the site's rebirth come nine months after General Motors shut the 70-year-old plant. The situation is in sharp contrast to that of other closed facilities around the country that have languished for years.
GM officials said last summer that they had never before seen so much interest in a shuttered plant from developers, who were drawn by its large size and strategic location next to the port of Baltimore, with access to Interstate 95 and rail, and close to Baltimore's downtown business district.
Duke, the largest publicly traded office and industrial property owner in the country, wanted to pursue redevelopment in port cities and had considered investing in projects in every major and minor seaport in the country, H. Andrew Kelton, a Duke senior vice president, said yesterday.
Not sure to what extent this is "private development." Or to what extent some kind of development agency sweetened the pot with subsidies, tax breaks, etc. It seems to me that if such were the case, said agencies would be touting their involvement. I don't see a lot of that here. Maybe the development company is--get this--paying for its own development. That would a breath of fresh air. But we'll have to wait and see...
February 03, 2006 at 05:16 AM | Permalink


This research addresses the significant growth in domestic contracting out over the last two decades. Data over a fifteen-year period (1989-2004) from various sources will be pulled together to shed light on the extent of and trends in domestic outsourcing, the occupations in which it has grown, and the industries engaging in outsourcing for the employment services sector which has been a particularly important area of domestic outsourcing. In addition, researchers will examine evidence of contracting out of selected occupations to other sectors. Researchers will recommend steps to improve the gaps in data collection to determine the effects of outsourcing for American workers and for productivity measurement.


The log prompts "This implementation is not a part of the encryption algorithm validated by FIPS of Windows platform "
Reflects in: The account shows "Connected / Authorizing", but you cannot move on to the next step.
Use iSlide Diagnostic Toolkit to repair it.
The log prompts "The service could not be started. It might be because it has been disenabled or the associated devices haven't been started (Anomaly comes from HRESULT: 0x80070422)".


text:
A Little Good News: USATF is appealing to get top 5 at US Olympic Marathon Trials the standard
Pro News/Info/Results Marathons
your benevolent dictator
1 year ago 03/22/2019 6:48am CDT
As for the rest of the Olympic qualification, USA Track and Field has refused multiple requests to confirm their statement that they made to us one week ago that they will not honor a top 3 finish at the Trials if three other people at the Trials have the standard - a statement that sent shivers through most of the US distance running community. Here is all of they've been willing to say despite repeated requests for confirmation.
"As you can imagine, this is all evolving in real time. We, along with our committee members and coaches, are working together toward a solution that is best for the sport and everyone involved.
"USATF plans to appeal to the IAAF to make the OT Marathon a gold label event and/or lessen the standards."
That third sentence is good news.
As for the track and field trials, we think USATF's refusal to confirm their statement from last week is actually good news as it may mean they misspoke. USA Track and Field's central office honestly may not have the authority to decide how team is selected as Jeff Porter, chair of the USATF Athletes Advisory Committee, explained.
"The selection procedures are decided with the athletes, the [USATF] Long Distance Running community, [among others]," Porter said. "At this point, the selection procedures for 2020 haven't been finalized. We haven't really got into that at this point. I'm not going to speak for the communications department at all. When I read what was on LetsRun, I was confused. Because those procedures aren't done."
Full details and analysis here:
https://www.letsrun.com/news/2019/03/one-week-later-how-will-usatf-select-the-2020-olympic-team-no-one-really-seems-to-know/
jklkjl
re: LetsRun.com
DON'T CONCEDE, IAAF!!!
We're being a bunch of cry-babies, whining like the spoiled American brats that we are. This is why parents cheat to get their kids into prestigious schools; this is why we reward bad behavior; this is why corruption continues in the sport.
If IAAF grants the Trials Gold Label, then they need to open the race to all runners, including Africans AND they would need to increase prize money and follow all Gold Label protocol with housing, stipends, etc.
Ehso
That sure is a long-winded way to say, " We were probably wrong and definitely jumped to alarmist, clickbait conclusions. Oops."
sanchobaile
re: Ehso
Ehso wrote:
disagree. all this goes to show the power of journalists holding power to account. as LRC points out in that post, they only freaked out in response to AN OFFICIAL USATF statement. USATF is to blame for the freakout, whether it was due or not. Not LRC. Get your act together and be transparent, USATF.
You nailed it
Everyone knows that you can call USATF and get 3 different answers depending on who you talk to. Letsrun took ONE response and ran with it.
Darkest day ever in US distance running!!!
Not good. In a typical year even the #2 or #3 US marathoner is light years behind being competitive on the world level.
Our #5 in a typical year? What are we talking about, some 2:15 guy? Yeah, yeah, let's give that guy the Olympic standard. FFS.
wineturtle
1 year ago 03/22/2019 10:07am CDT
In response to the IAAF attempt to reduce the number of entrants in the T&F portion of the OG the USATF proposes a path(by appeal) to allow the USA and other nations who run trials marathon races to add the top 5 finishers at their national trials to the auto portion of the OG Q system.
Really!?!
The USATF responds to the mandate to reduce the glut of athletes at the OGs by saying
Here is a great way to make the M&W OG Marathons into a bigger (600+) race
If IAAF grants the appeal be assured all nations will run a "trials race" then 200+ nations will get to have a three men and three women in the OG Marathons.
kjk
re: wineturtle
Slippery slope...
USATF writes another clear concise statement
Wine Turtle did you fail third grade math or are you just dense?
200 + nations with FIVE auto qualified entrants to the OG marathon yields over a THOUSAND in each OG Marathon.
USATF expands their "Grassroots Running " program beyond the borders of the USA.
Stupid resolution
Making the OT an IAAF Gold label race is ridiculous. Unless like the other poster wrote, it's open to runners from all countries.
Sailerman
Im confused. A week ago you insisted that when USATF said "standard," it could only possibly refer to "time standard."
Please either change this thread or admit you were wrong in your other thread. USATF obviously meant "time or rankings standard" when they said "standard." After people kept pointing that out, you said things like "the spokesman's job is to say things clearly, when she said 'standard,' she clearly meant qualifying by time only."
re: sanchobaile
sanchobaile wrote:
It would pointed out to the brojos that USATF used only the word "standard" in their statement, so probably meant both time and rankings qualifying. Brojos insisted it could only possibly mean "time" qualifying and even explored lots of hypothetical scenarios where a runner had the rankings standard and was top 3 at trials and would fail to advance.
Jonathan Gault
LRC guru
re: Sailerman
Sailerman wrote:
This is NOT the issue here.
We asked USATF to clarify that part of the statement because people on the messageboard seem confused (one week later, they still haven't done so), but to us it's always been clear that standard meant time standard.
The problem here is that it's not even clear whether USATF actually has a selection policy in place at all at this time. If you read the article, Jeff Porter, who's chair of the Athletes Advisory Committee at USATF, said that the procedures to finalize the selection policy have not taken place yet. No one at USATF would confirm that the policy they told us about in an official statement is actually in place. That's what we're trying to figure out.
I also find it incredible that you would criticize us for our interpretation of the USATF statement and at the same time state that "USATF obviously meant 'time or rankings standard' when they said 'standard.'" So when we make an interpretation, we are jumping to conclusions, but when you interpret that same sentence, it's "obvious" what USATF meant? That's ridiculous. Even if USATF meant "time or rankings standard," (which I am still sure they did not), there is nothing "obvious" about the way it is written. In fact, the way the statement is written is the opposite of what they would write if they were trying to say what you believe they did.
re: You nailed it
You nailed it wrote:
that's not how it works. you can't give them a pass for being inept. It's on THEM to say what they mean and mean what they say.
re: jklkjl
I think USA wants to appeal to the IAAF to give the top 5 finishers at just the USA marathon an automatic exemption as if their trials were equal in quality to those Gold Label races not make the USA an actual Gold Label races thus permitting them permission to have 5 people to choose from when making up their final mens and womens teams because the USA should always have the right to have 3 marathoners in each of the OG marathons .
OR lessen the time standard to the time of the 5th place finisher at the USAOGTrials marathon to permit USATF to always have the pleasure of picking from 5 the 3 persons on each USA marathon team.
lkjlk
Why should the USA "always have the right to have 3 marathoners in each of the OG marathons" if we cannot produce enough marathoners to hit the Olympic standard? Sounds pretentious.
snow blow
re: Poster #718
Poster #718 wrote:
Well up until last week the Olympic standard was 2:19.
Minus Rupp ...
1 year ago 03/22/2019 12:13pm CDT
Minus Rupp, Marathon is one of the worse events for US men. Think ahead a few moves. Could this hurt US in other events? You journalists/Marathon advocates at letsrun are doing things which will hurt US in other events. Why cannot you guys see the errors of your actions?
the letter why
re: Jonathan Gault
We criticize you because you guys were wrong! There's no chance that USATF had even figured out what they are going to do about the trials when you went nuts on them last week.
You're right that their statement wasn't clear - that's kind of the point. What's annoying is that when they eventually announce that the top 3 having met the IAAF requirements will be selected, you guys will celebrate and believe that you had something to do with it.
Bureaucracy is slow. It sucks, but that's how it works. And, by the way, your assumption that "standard" means "time standard" is kind of asinine. Plenty of your readers don't think so, so it's clear that it's open to interpretation.
Showing 1 to 20 of 51 posts


text:
Q: Change the style of specific items inside ngFor I have a set of icons that are displayed using ngFor like this:
<mat-chip *ngFor="let category of categories" (click)="selected(category)" [selected]="category.selected" [matTooltip]="category.name">
      <mat-icon id="iconBar"> {{category.icon}} </mat-icon>
    </mat-chip>

and I am trying to change the color of one specific icon on a button press, my trial is to have this function executes when the button is pressed:
recolorRequired(){

  var loopedIcon = document.getElementById("iconBar");
  console.log(loopedIcon.textContent);
  var requiredIcon = loopedIcon.textContent;

  //recolor

}

The result of console.log(loopedIcon.textContent); is the first icon only, from my understanding that because I am using same id for multiple elements? is there a way I can obtain information about the whole icon collection from ngFor?

A: Yea it is because you are using an id in a loop, id is usually not meant to be used on multiple items, you can use a class instead.
<mat-chip *ngFor="let category of categories" (click)="selected(category)" [selected]="category.selected" [matTooltip]="category.name">
      <mat-icon class="iconBar"> {{category.icon}} </mat-icon>
    </mat-chip>

your function becomes
recolorRequired(){

  var iconBars = document.getElementsByClassName("iconBar");
  //iconBars will be an array of elements who has iconBar as class
  //loop through iconBars and find the element you want

  //recolor

}

redpajama_set_name: RedPajamaStackExchange


text:
Cette page recense les épisodes de la huitième saison de la série télévisée américaine X-Files : Aux frontières du réel.

Distribution

Acteurs principaux
 Gillian Anderson  : l'agent spécial Dana Scully
 Robert Patrick  : l'agent spécial John Doggett
 David Duchovny  : l'agent spécial Fox Mulder (12 épisodes)

Acteurs récurrents
 Mitch Pileggi  : le directeur adjoint Walter Skinner (12 épisodes)
 James Pickens Jr. : Alvin Kersh (7 épisodes)
 Tom Braidwood : Melvin Frohike (6 épisodes)
 Dean Haglund : Richard Langly (6 épisodes)
 Bruce Harwood : John Fitzgerald Byers (6 épisodes)
 Kirk B. R. Woller : l'agent Gene Crane (5 épisodes)
 Annabeth Gish : Monica Reyes (4 épisodes)
 Nicholas Lea : Alex Krycek (3 épisodes)
 Zachary Ansley : Billy Miles (3 épisodes)
 Adam Baldwin : Knowle Rohrer (3 épisodes)
 Jeff Gulka : Gibson Praise (2 épisodes)
 Sheila Larken : Margaret Scully (2 épisodes)

Épisodes

Épisode 1 : Chasse à l'homme,  partie

Épisode 2 : Chasse à l'homme,  partie

Épisode 3 : Patience

Épisode 4 : Un coin perdu

Épisode 5 : Invocation

Épisode 6 : Combattre le passé

Épisode 7 : Via negativa

Épisode 8 : À coup sûr

Épisode 9 : Dur comme fer

Épisode 10 : À l'intérieur

Épisode 11 : Dévoreur d'âmes

Épisode 12 : Luminescence

Épisode 13 :

Épisode 14 : Espérance

Épisode 15 : Renaissances

Épisode 16 : Confiance

Épisode 17 : Empédocle

Épisode 18 :

Épisode 19 : Seul

Épisode 20 : Essence,  partie

Épisode 21 : Essence,  partie

Références

Liens externes

  La saison 8 sur l'Internet Movie Database

 8

redpajama_set_name: RedPajamaWikipedia


text:
Boys & Girls Clubs take 3 wins in Bruno's coloring contest
Home » Blog » Boys & Girls Clubs take 3 wins in Bruno's coloring contest
Two young members of the Boys & Girls Clubs of St. Lucie County were winners in the annual Easter coloring contest sponsored by Bruno's Chocolate Creations. A club director also won in the adult coloring category.
Naila S., a member of club's Chuck Hill Clubhouse, won in the Under 10 category. Kalei D., a fifth-grader at the Oak Hammock Boys & Girls Club, was named the winner in the 11 to 17 category. Pierra Catalano, director of the club's Manatee Boys & Girls Club, won in the Adult category.
Winners received a Bruno's chocolate Easter bunny as a prize. In addition, Bruno's provided other club members with bags of jelly beans to complement their efforts.
"The coloring contest is another example of the way Bruno's and its owners, Val and Doug Anderson, give to the community," said William Armstead, Boys & Girls Clubs of St. Lucie County CEO. In this case they not only gave the prizes, but they organized a contest that provided hours of imaginative fun for many of our members and people throughout the community."
Bruno's Chocolate Creations, 2650 U.S. 1, Fort Pierce, has been providing confections to the Treasure Coast since 1952. The Andersons have owned the company for more than 30 years.
BGCBoys & Girls ClubsEagle coloring contestSt. Lucie County
The 32nd Annual Chili Cook-off will be held July 12th at the Havert Fenn Center in Fort Pierce. Team's listing and sponsorship information can be found at www.fortpierceexchangeclub.com. Register today…
Youth of the Year Leadership Day
On January 23rd, 2019, local community business leaders and professionals offered their time and talent to the Boys and Girls Clubs of St. Lucie County Youth of the Year Candidates…
Photographer gives back to the community
Chuck Hill Unit in Port St. Lucie and offered to do a free photo shoot for a deserving club member. For Director Candace Burrs, it was an easy choice: "Alyssa…
previous post: Photographer gives back to the community
next post: Talent overflowing at Boys & Girls Clubs' show


text:
Ryan is furious that Hughie showed his willy to the other housemates
All is not well for Big Brother's newest couple, (sort of)
Hughie and Ryan.
It's fair to say Hughie Maughan and Ryan Ruckledge are having some teething problem… Ryan is livid that Hughie has been showing his tackle off to the rest of the house.
ALSO READ: Usher Accidentally Reveals All On Snapchat
"I'm livid," Ryan fumed. "He's just got his willy out to the whole group… Get in here now… Go and get your dick out to everyone."
ALSO READ: Is Big Brother 16 star the latest victim of online sex-tape leak?
The strip tease came after Ryan and Hughie had a little chat in the pod to see where their relationship was going. Ryan was pushing that the pair were now boyfriends.
ALSO READ: Chad Michael Murray Gets Naked For New Film
Big Brother continues tonight at 9pm on Channel 5.
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Dvořák and Sibelius at the Segerstrom
Joshua Bell, Pacific Symphony, Segerstrom Center for the Arts, Costa Mesa
DAVID J BROWN
Joshua Bell.
Though this concert – an item extra to the Pacific Symphony's 2017-18 classical season and generously sponsored by Yasuko and Seth Siegel – was billed as "An Evening with Joshua Bell", the soloist did not appear until after the interval, when he played the Sibelius Violin Concerto in D minor, Op.47. The first half was occupied by the rather longer Symphony No.9 in D minor "From the New World" Op.95 B.178 of Antonín Dvořák, and while one may regret that the program didn't take a chance and opt for something a bit further from the very center of the mainstream (and it surely wouldn't have been much of a risk, given Mr. Bell's audience pulling power), there was still much to relish in the performance.
This was only my second experience of the Renée and Henry Segerstrom Concert Hall's acoustic, so I'm still at the stage of being knocked out by its remarkable blend of spaciousness, clarity, and effortless-seeming truthfulness (doubtless achieved with a great deal of effort and expertise by the acousticians and architects!). There was something almost shocking in the sheer beauty of the sound of the lower strings' pianissimo, as PSO Music Director Carl St. Clair gently coaxed their opening measures of the symphony's first movement Adagio introduction.
Antonín Dvořák.
However, as he navigated the progressive entry of other instrumental groups in this "upbeat" to the main body of the movement, I did find the very slow pace and degree of expressive intensity a bit much. Dvořák's metronome mark alongside that Adagio instruction is sixteenth note=126, and neither changes throughout the 23 measures before the main Allegro molto kicks in. This is way faster than any performance I have come across, and while in no way would metronomic rigidity be desirable, it would be interesting to hear an approach to that speed, so that the slow(ish) intro feels actually like a lead-in to the main movement and not a separate piece in itself.
It was not a surprise that Mr. St. Clair omitted the first movement exposition repeat, as is the case more often than not with this symphony. I realize that this review is beginning to sound a bit of a nitpick, but… a master in his maturity such as Dvořák was when he wrote the "New World" surely knew what he wanted, particularly as he took the trouble to write four lead-back measures to this particular repeat; and first-movement repeats clearly were not automatic for him, given that he does not ask for one in either of his preceding symphonies.
Enough! Beauty abounded throughout the performance, from the gorgeous flute that introduced the transition to the first movement's second subject (neither slowed unwontedly), to the easeful legato of the English horn "Going Home" in that solo in the Largo second movement (but with its limpid purity not descending into any hint of droopiness), to the dramatic driving fury of the end of the finale. And I noticed detail as never before – the brief tremolo on the double-basses toward the end of the Largo's central section, and for once the triangle in the Scherzo sounding "right" and not like an unanswered telephone offstage. Hearing the "New World" afresh in such a performance also made one note how angry and even tragic much of it sounds, despite its manifold ear-catching tunefulness.
Delaying Mr. Bell's presence until the second half of this "Evening with" gave his eventual appearance an almost rock-star degree of deferred gratification for the audience, amped-up by Mr. St. Clair's microphoned invitation just before his entry to "enjoy the artistry of Joshua Bell!" And unquestionably there was a great deal to enjoy.
Jean Sibelius, sketched by Albert Engström
in 1904, when the Violin Concerto was written.
It's a truism to say that Sibelius's Violin Concerto is one of the great masterpieces of the genre, but it had a difficult genesis, due not only to problems over the original dedicatee's availability, as noted in the program book, but also to Sibelius's battle with alcoholism. After the premiere he withdrew and extensively revised it (I wonder whether Mr. Bell has ever played, or considered playing, the even more excruciatingly difficult original version?), and even then it was decades before it broke through from Finnish provinciality to a solid place in the repertory, following Jascha Heifetz's 1935 recording.
This work almost miraculously "has it both ways", in that its overall structure of a large and complex first movement followed by much shorter and simpler slow movement and finale is firmly in the pattern of the great violin concertos of the past, pre-eminently the Beethoven and the Brahms, but also in that its sound-world is entirely of Sibelius's highly original maturity. The very opening, a pianissimo haze of muted tremolos on divided first and second violins, out of which emerges the long and unmistakably Sibelian first theme on the solo violin, is unlike any other. Mr. Bell floated the melody (much more quietly than the marked mezzo-forte, but with all the dolce ed espressivo that the composer also asks for) on a thread of tone, expansive, and as flexible as a living thing.
As the first movement progressed, once again the extraordinary acoustic of the Segerstrom Hall revealed details I had never consciously been aware of before, like the violin's brief duet with a solo viola about five minutes in, and later the bassoons' entry after the cadenza. Indeed, throughout the work the acoustic, quite as much as it clothed Mr. Bell's sinuous, expressive line, pointed up the sheer originality of Sibelius's orchestration – its spareness, rawness, almost primeval quality – all the more remarkable as it is achieved with absolutely standard orchestral forces.
The opening of the Adagio di molto slow movement is as original as, but completely different from, that of the first movement, though those musings in thirds by the pairs of clarinets and oboes lead to a melodic line on the solo violin as expansive and memorable as its counterpart in the first movement. Here I did miss a certain warmth in Mr. Bell's playing, though his control of pitch and intonation were as total as elsewhere.
Carl St. Clair.
This technical mastery, which seemed simply to melt away the concerto's difficulties, enabled his performance to be variously mercurial, tender, ferocious, and with an improvisatory quality that must have been a challenge for conductor and orchestra to follow. Indeed, there were places, particularly in the fast and often insistently rhythmic rondo finale which is full of spots that require exact coordination between soloist and other instruments, where I felt that one more rehearsal to tidy up some shaky moments wouldn't have come amiss. Nonetheless, everyone was right "there" at the movement's climax – seismic, or sea-swelling: either metaphor will do – and few capacity audiences can have been so fast onto their feet cheering.
Pacific Symphony Orchestra, Renée and Henry Segerstrom Concert Hall, Saturday, September 23, 2017, 8 p.m.
Photos: Joshua Bell: Lisa Marie Mazzucco; Carl St Clair; Antonín Dvořák; Jean Sibelius.
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Labels: Carl St Clair, David, David Brown, Dvorak, Joshua Bell, Pacific Symphony Orchestra, Segerstrom Concert Hall, Sibelius
Magic Flute, Silently into that Dark Night at Philadelphia
Ben Bliss as Tamino in Magic Flute
Magic Flute at Opera Philadelphia
Opera Philadelphia's just concluded fall season, Festival O17, mounted only one of its five operas at the venerable Academy of Music, but it was a doozy. Mozart's Magic Flute, in the now iconic 2012 production from Berlin's Komische Oper, enjoyed its twentieth whistle stop on a worldwide tour that shows no signs of slowing down.
Reimagined as a silent movie by a brilliant team that includes "1927", a company specializing in silent-era conventions, this version of Mozart's and Emanuel Schikaneder's singspiel has its live singing and action aligned with quirky faux-film techniques. Jointly staged by Barrie Kosky and Suzanne Andrade, with witty projections on a continuous full-stage scrim by Paul Barritt, its imagery unfolds in the frenetic action of a comedic dreamscape. Characters on stage are an amalgam of weird, fantasy bodies (human and other) projected on the scrim, with the heads and torsos of the live singers popping out of it (see photo above).
The Queen's Three Ladies
The singspiel is a particularly Austro-German stage work with parallels to the American musical, where singing and spoken dialogue intersperse. They are typically performed for modern audiences with musical numbers sung in the original German and the spoken dialogue in the language of the country where the work is presented. But as innovation here, Kosky and company project on the scrim short exclamations ("intertitles" in silent movie lingo) in lieu of the customary dialogue. The efficient sign-boarding keeps the action flowing between numbers and tells the audience all the essentials of the plot.
In the pit, an 18th century fortepiano accompanies the intertitles with excerpts from two of Mozart's piano fantasies, K475 in C-minor and K397 in D-minor. The interpolations add stylistically consistent musical continuity to the existing score, while sounding like silent-movie keyboard tropes, lending charm and authenticity to the production's Roaring Twenties conceit.
Magic Flute, like Mozart's earlier Abduction from the Seraglio, is a rescue story within a love story, actually a few pairs of them, where separations and usurpations intensify the adventure. Moralizing commentary by three childlike "spirits" adds to the charm. But Mozart's last and most popular stage work is, despite its folk-like character, also a parable of character development.
Trials and tests determine who gains his or her worthy partner, as they also reveal who is unworthy of a partner. It's a parable that confirmed for the 18th century an ideal social order where aristocrats (or those who aspire to their courtly behavior) come out on top, weaker-charactered servants muddle through, and out-and-out troublemakers get their comeuppance. The score is filled with Masonic symbolism, mostly ignored here, with none of it all that important for today's audiences.
Ben Bliss's suave tenor was the black-tuxedoed, slick-haired, matinee-idol Tamino who, though stressed, projected an appropriate seriousness of purpose. The first challenge for Tamino is to determine who is telling him the truth. Initially "rescued" from a serpent by the Queen of the Night's three ladies, and soon smitten with the portrait of Pamina (a radiant Rachel Sterrenberg), Tamino initially believes he's on a mission to rescue her from the evil Sarastro. Yet he soon learns he journeys not to, but from an enemy, and not from, but to a friend. The many trials Tamino and Pamina must endure lead them to further character growth and prepare them for their journeys in life.
Tamino (Bliss) meets the Queen of the Night (Olga Pudova)
The audience knows that Olga Pudova's Queen of the Night is up to no good from the get-go. Projected full-screen around her live head is the leggy animated body of a black-widow spider. Pudova's rendition of the famous vengeance aria was impressive; her spot-on intonation and stratospheric bell-like tones making it the most effortless Queen's wrath I have ever heard.
Bass Peixin Chen's Sarastro, his deep vocalizations warm, serene, and reassuring, was often encountered in animation as a diagramed brain of turning machine gears, symbolic of his role as caretaker for the 18th century Enlightenment's optimistic rationalism. In his brain is found true Kunst (art) and science.
Tamino (Bliss) meets Sarastro (Peixin Chen)
The vigorous Brenton Ryan's Monostatos, Tamino's rival, looked like a love-sick but nasty Nosferatu, menacing his thirst for the Pamina who is always just out of his desperate grasp. This production, to its credit, manages to make one believe she is always about to be in that grasp.
Monostatos (Brenton Ryan) with intertitle dialogue
Tamino's easy-going side-kick, Papageno (pliant baritone Jarrett Ott), was dressed in the brown-suit and flat-hat of a Buster Keaton. If he failed every test of courage and self-discipline, he was, with his redeeming good heart, forgiven, especially for first finding and then bringing Pamina to Tamino. The later encounter of Papagena (an energetic Ashley Robillard) with her desperate-to-wed Papageno made up for its brevity with the boundless good cheer of their bird-song duet.
The slightly muted pit orchestra was elegantly propelled throughout the evening by conductor David Charles Abell. While the Academy of Music's dowdy chamber does not possess a warm resonance for either orchestra in the pit or voices on stage, its size was perfect for this production's visual element, and its projection of voices carried well enough to count when needed.
Papageno (Ott) and Papagena (Robillard)
I had been disappointed four years ago with the initial run of this Magic Flute at the co-producing Los Angeles Opera. The staging seemed too 2-D flat, its projected colors washed-out, and its gags hard to hear; overall a clever gimmick that didn't quite jell.
When it worked so much better in Philadelphia, I guessed it had undergone, after that initial run, some kind of clever tinkering. But Komische Oper director Philip Bröking, by chance seated next to me at the September 15 performance, assured me it was the same production I had seen at L.A. four years ago.
L.A.'s Dorothy Chandler Pavilion, half-again larger than the Academy of Music (and that much more distant from the audience), may have had something to do with perceptions. Here in Philadelphia, a smooth interactive choreography blended singers and screen projections to maximum advantage. Color presence and depth were vivid, vocals vibrant, and gags both audible and witty. It was, to put it simply, a Magic Flute for the ages.
Lesson learned: If at first an opera production doesn't work for you, give it a try at another house.
Photos: Opera Philadelphia
Labels: 1927, Barrie Kosky, Ben Bliss, David Charles Abell, Jarrett Ott, Magic Flute, Mozart, Olga Pudova, Paul Barritt, Peixin Chen, Rachel Sterrenberg, Rodney, Rodney Punt, Suzanne Andrade
Bel canto and Scottish battlements at Forest Lawn
Donizetti's Lucia di Lammermoor, Pacific Opera Project, Forest Lawn, Glendale
The assembled company in the closing stages of Lucia di Lammermoor at Forest Lawn.
LA's premier necropolis seemed an unlikely venue for this late-summer outdoor production from Pacific Opera Project (POP), but the terrace on Forest Lawn's summit, after a maybe-contemplative walk across the marble flagstones between the museum and the cathedral, turned out to be a near-ideal setting for Donizetti's blood-boltered melodramatic tragedy. Even the terrace's strategic orientation westward added to the effect, with the setting sun's salmon-pink aura deepening to dark grey behind the distant mountains, and throwing POP's splendidly battlemented set into sharp relief (no pretentious nonsense here about making the opera "relevant" by giving it some pointless contemporary transplant!).
Donizetti in 1835, at the time of composing
Lucia di Lammermoor (artist unknown).
The shape of the terrace necessitated the orchestra being placed to the far left rather than centrally between stage and audience, virtually out of the latter's sight but fortunately not (quite) out of earshot. Indeed this position, immediately in front of the boundary wall, may have helped in throwing their sound forward a little but also, I fear, gave the conductor Isaac Selya a crick in the neck from having constantly to turn his head sharp right in order to keep contact between singers and players.
Of course, there is an aural price to pay for an out-door setting, and that's the total lack of resonance. However, the ear adjusted pretty quickly to the etiolated orchestral sound, and I for one found letting nature take its course far preferable to any sort of crude amplification. Doubtless due to geography and economics, the string strength was chamber-sized, but Donizetti's full complement of woodwind, horns, trumpets, harp, and percussion were, I think, present. Interestingly, the timpani seemed to be the small historical kind that have a much lighter, dryer sound than modern instruments, so that the opera's opening – two pianissimo drum taps – was virtually inaudible. Indeed I suspect that much of the audience, still preoccupied with the wine and nibbles POP generously included in the table seating price, didn't realize the opera had actually begun.
l: Daniel Scofield (Enrico);
r: Robert Norman (Normanno).
Having been to similar open-air performances where conviviality definitely trumped attention, I had some concern about audience response, but need not have worried. Donizetti's dramatic instinct brings his principal villain into the action very quickly, and baritone Daniel Scofield as Lucia's duplicitous, vengeful, and manipulative brother Enrico duly seized the moment, and roared and snarled his beard-thrusting, tam o'shanter-quivering, kilt-swirling way into the role, stilling audience murmurs and cellphone-checking by sheer force of personality.
Donizetti is equally canny in holding back the appearance of his titular heroine to the first Act's second scene, when the main bones of the plot have already been made clear previously through exchanges between Enrico, Normanno his sidekick heavy (Robert Norman, tenor, equally villainous with eye patch), and Raimondo the family chaplain (Nicholas Boragno, bass-baritone, making the best of this rather thankless I-just-want-everyone-to-get-on-together part).
l: Danielle Bond (Alisa); centre: Jamie Chamberlin (Lucia); r: Silent ghost.
The demanding title role was shared across POP's five performances by sopranos Bevin Hill and Jamie Chamberlin, who in the final evening that we enjoyed was fully up to its considerable demands, once a slight tendency early on to flounce had disappeared as the character's helplessness vulnerability grew. Her vocal credentials of purity of tone and coloratura skill that never went over the top into self-indulgence were immediately apparent in her first long duet with her handmaid Alisa (Danielle Bond, mezzo-soprano, in the other rather thankless role), where Josh Shaw's production also included the fine imaginative touch (above) of bringing on the ghost of a girl killed on the very same spot by a jealous ancestor, clearly visible to Lucia but not to Alisa, and made up like a fugitive from "The Ring" – all lank black hair, ashen limbs, and hollowed-out eyes.
Jamie Chamberlin (Lucia)
nails the "Mad Scene".
After this exchange and the departure of both handmaid and ghost, the other principal, the equally doomed Edgardo, subject of Lucia's passion and Enrico's hate, appears. He was sung by Nathan Granner, tenor, and proved very much an equal partner with Ms Chamberlin in their long love-duet. Both singers really came into their own in the final act, however.
It was a pity that time constraint necessitated the omission of the first scene of Act 3, where Enrico challenges Edgardo to a duel. This made somewhat precipitate the onset of Lucia's famous "Mad Scene" at the height of the festivities to "celebrate" her forced marriage to hapless stooge Arturo (William Grundler, tenor, a little thin of voice, maybe designedly so). However, when she appeared (left) at the literal high-point of the set, bloody-robed and holding the dagger with which she has just dispatched her short-lived husband, Ms Chamberlin made the scene equally the real high point vocally and dramatically that it should be. Not the least remarkable aspect was her sotto voce duet with the first flute in the closing moments, voice and instrument in perfect alignment, a tribute not only to singer and player but also to Mr Selya's baton, holding everything together masterfully.
Nathan Granner (Edgardo).
After Lucia wafts away amidst the wreckage of the party to die off-stage, accompanied here again by the silent presence of the ghost, the challenge for Mr Granner was considerable in having to refocus the audience's attention, near the end of a longish evening, on the love-lost Edgardo's tragic plight. However, he rose to the moment splendidly, though I wonder why the production had his character stabbed by the villainous Normanno rather than his own hand? Maybe this is an alternative tradition in Lucia di Lammermoor performances.
The opera's other celebrated high point is Donizetti's tour-de-force sextet of all the principals apart from Normanno as the extended finale of Act 2. This underlined how beautifully matched all the voices were, with no-one grandstanding but each taking the opportunities for expressivity afforded by the composer (definitely bel canto rather than "can belto"). This scene must be a devil to bring off successfully, with the chorus also needing to be integrated. POP's not numerous but highly skilled choristers also made the most of their music, and even essayed a bit of Scottish dancing in the scene of marriage celebrations, albeit a little carefully given the shallowness of the stage area. The company should be proud of their achievement, which was enthusiastically applauded and cheered.
Pacific Opera Project, Forest Lawn, Glendale, 7 p.m., September 17 2017.
Images: Donizetti: Wikimedia Commons; Production photos: Martha Benedict.
Labels: Daniel Scofield, Danielle Bond, David, David Brown, Donizetti, Jamie Chamberlin, Lucia di Lammermoor, Nathan Granner, Nicholas Boragno, Pacific Opera Project, POP, Robert Norman, William Grundler
The Grimsleys and San Diego Opera: All in the Family
Photo: SORS Seattle
INTERVIEW: San Diego Opera
On Oct. 14, San Diego Opera's 2017-2108 season will open with several firsts. Gilbert & Sullivan's much-loved comedy, The Pirates of Penzance, will be the company's first performances of English operetta. Perennial SDO favorite bass-baritone Greer Grimsley will share the stage with his real-life wife Luretta Bybee in her SDO debut.
The husband and wife team frequently have performed on stage together, most recently in Seattle Opera's Flying Dutchman and in Sweeney Todd with Vancouver Opera. The excitement is palpable among San Diego opera lovers to witness this family collaboration in the SDO season opener at the Civic Theatre.
Erica Miner: As always, San Diego is thrilled that you're coming back, Greer! We can't get enough of you here. Since singing Scarpia here in Tosca in 2016, what are some of the highlights of your past year and a half?
Greer Grimsley: Oh my gosh. Right after the Tosca, Luretta and I were in Glimmerglass. Then I did the Finnish production of Götz Friedrich's Walküre in Japan, went to Minnesota to do their new Rheingold and Siegfried. And I was at the Met. Now we're home in New Orleans.
EM: I recently interviewed Matthew Shilvock at San Francisco Opera. They're so excited about your singing Wotan in their Ring next season.
GG: I'm so excited about that. I've been friends with Francesca (Zambello) since we were both starting in the business. I am excited to take on her Ring. Though San Francisco is such a terrible place to be [Laughs].
EM: That Ring is going to be a major happening.
GG: I think so. Oddly enough, a good friend of mine, Falk Struckmann, is going to be the Alberich. We first met at the beginning of our careers in Basel, Switzerland. I haven't seen him much between then and when we saw each other at the Met for Fidelio. It was like very little time had passed. It was nice to be connected again. We're going to be working together in San Francisco and Dallas, for Dutchman.
EM: You and Luretta recently celebrated your 30th wedding anniversary. Congratulations!
GG: Thank you!
EM: Did you start performing together before or after you married?
Luretta Bybee: We met on a tour with Houston Grand Opera, which used to be the old Texas Opera Theatre tour. He was singing Escamillo, I was singing Carmen. Then we synchronistically ended up on the Peter Brook Carmen tour. It was a real luxury to spend our first two years together working, a way to really get to know each other. It actually started 32 years ago. Most of that time, we were performing.
EM: And somehow you found time to get married.
GG: [Laughs] Two years after.
LB: We got married in Central City, when I was performing Suzuki.
EM: You're performing Suzuki, and dealing with a married guy who leaves his first wife and marries someone else. That's an interesting scenario.
LB: I had been married once before, and Greer twice before. We were pretty much free and easy at that point and had no plans to get married in Central City. But the late conductor Mark Flint took it up on himself to plan our wedding, so we got married while we were there.
EM: A conductor conducted your wedding, that's amazing.
GG: He actually ended up playing the organ for us in the service. In Central City. there's a sweet old church right across the street from the opera house. That's where we committed the deed.
EM: A lovely story. Do you remember what you performed together right after you got married?
LB: I went right back into performances at Central City. Where were we after that? I think I went to Miami to do Rossini's Saliero. Greer was still kicking around, not getting much attention. I'm running my rear off trying to make ends meet. And people were trying to figure out what to do with him.
GG: [Laughs.] I was trying to figure out what to do with myself.
EM: Looks like you got some inspiration and luck from Luretta.
GG: Of course.
LB: And a lotta help!
GG: [Laughs.] That's true.
EM: That's what partnerships are about. As for Pirates, this will be the first time San Diego operagoers will see you two perform together on stage. What were some of your previous joint performances?
Photo: Jeff Roffman, Atlanta Opera
LB: We did lots of Carmens.
GG: Le Nozze di Figaro. I did the Count, she did Cherubino.
LB: Tales of Hoffmann. We were in the Ring together in Seattle every time.
GG: Dutchman.
EM: Yes, I remember it well.
GG: Early on, Luretta was singing the Page in Salome. I just happened to be there with her and they lost their Second Soldier. I learned it very quickly and jumped in, so we've done that together as well [Laughs].
LB: And Sweeney Todd.
EM: Re Salome, while I was at Santa Fe I spoke with their wig director David Zimmerman. Do you know that your head is still there?
GG: [Laughs] Yes, I do! From when I was John the Baptist.
LB: We also have one of his heads in a cabinet in the garage, the first one that was ever made.
GG: [Laughs] You would call it a Paleo head, from the time where they actually put plaster on your face. I had to hold my neck with a towel, in a chair, two straws in my nose, while they applied the plaster to my face to make a mold. It's seen better days, but I guess in a pinch it could be used [Laughs].
LB: I remember having to send it overseas to him for some production. It was wrapped up and I had to declare what it was. It was sort of bizarre trying to explain it to the Fedex guy, "This is my husband's head for a show."
EM: They've made movies with that theme.
LB, GG: [Laugh.]
EM: Your head is floating around the world. Not many people have that distinction. What are some of the pros and cons of sharing the stage with your spouse?
LB: I've been wondering about that for lots of years. There are cons that people would expect from couples sharing the limelight - egos - but for us there's never been an egotistical issue, maybe because in a way we've been on different trajectories. I love the theatre and I've had plenty of time singing title roles. After (daughter) Emma was born, I lost the look for the high pressure of being the person that the show rode on. So, I'm really happy doing secondary roles, which keeps my foot in the door. I'm also in my 15th year of teaching, and am doing a blog. We never butted heads like a lot of our colleagues. Greer, when he's under pressure doing big parts, doesn't carry a lot of baggage with it. I remember reading the book about George London, how he would check into a hotel the night before singing Wotan. The family would have to stay away. It was set up early on when we had Emma, and Greer was doing Giovanni, that if he needed to he got up in the middle of the night, rocked her or whatever. So there's never been this "mystique" around what's necessary for performing. We tend to perform best when we keep things as normal as possible.
GG: And oddly enough I've never found a downside performing with Luretta. That's through all situations. No matter what, if there was something we were in need of, advice, whatever, there was never any ego in the way. We always knew we were operating for each other's best interests. The trust factor is also a part of performing together. Knowing there's someone there who knows you so well that you trust, who's also reassuring.
LB: It sounds Pollyanna-ish, but if you're really invested in the other person's well-being and success, all you want to do is celebrate it. It doesn't pose any problem, really.
EM: It's a testament to how balanced you are, as people, as personalities. It's also the key to a successful partnership offstage. It's not easy when you're opera singers, but you seem to come to it from a very balanced perspective. I admire that.
LB: Don't get me wrong, we've definitely had our ups and downs.
GG: [Laughs.]
LB: But we're on the same page about looking for balance in our lives. That helps a lot.
EM: Luretta, you've performed in a number of lighter operatic works, notably H.M.S. Pinafore and A Little Night Music. For you, Greer, this seems to be more of a departure from your heavier repertoire. What is the appeal for you in works like Pirates?
GG: The appeal is being together. Early on in my career I did Pirates, Carousel, Desert Song. Student Prince I did several times, also Merry Widow. I think I came to opera because I loved music theatre. I studied classically because I wanted to have an edge in the theatre, and fell in love with opera. But I do love the music theatre genre. I look at it as another facet of performing possibility. When the Pirates opportunity came up in San Diego, we were scheduled to do it with Emma as well. It was originally supposed to be the three of us. That was the big draw, to do this together. Then Emma was employed to do the Phantom of the Opera tour, an opportunity for her that we all agreed was not to be missed. She's exploring all facets of performing as far as singing is concerned. I think it's different now for young singers than it was for us. I hope we'll get away from being segregated as classical artists vs. musical theatre, and it will have a cross-pollination again.
LB: Also, we love San Diego. I did a Young Artists program there before I really got started. Then I came back for two seasons – Mrs. Sedley in Peter Grimes and one of the dancers in Merry Widow. I've made a lot of friends there. We just really like San Diego.
EM: What's not to like?
LB: In roles where it's just a romp and there's not a huge amount of pressure, you can really just sit and enjoy a sunset… and we love both the director (Seán Curran) and the conductor (Evan Rogister). We're so excited about that. Seán is just a ditch - I did a Candide and (to Greer) you did a Salome with him. Remember where we all stripped naked because he wanted us all depraved? [Laughs.]
GG: [Laughs.] I'm not sure we should include that.
LB: He wouldn't care, he loved it. And Evan we met when he was assistant conductor on the Ring cycles in Seattle.
GG: He's gone on to have a wonderful career now. I sang with him after the Ring a couple years ago in Salome in Dallas. He's developed into a fine young conductor.
EM: About Emma, was she bitten by the performance bug because you encouraged her, or was just around it all the time, or did she come to it on her own?
GG: I don't think we've come down to a single answer.
LB: I think the exposure made a huge impression on her. Meeting and getting to know all these fabulous artists who are well beyond petty parts of the business that young singers have to deal with, though sometimes she says she feels very much alone as a young singer because her peers don't really understand - they're just learning what happens in big productions in big companies. Diane Zola, who ran the Houston program for years and is artistic administrator there now - she was maid of honor at our wedding, we're very good friends. About Diane Emma said, "Mom, it's really hard when people bring up Diane Zola and say she's so important, and I remember her being at my first birthday party and babysitting me." But I think Emma is so enamored of the art form of opera. she got a degree in English and Women's Studies, so there are parts of opera she thinks are chauvinistic and disappointing, but she has a very small group of friends who love opera, and want to see it survive in a good way. They call it, "Fighting the good fight." Emma describes herself as living at the intersection of opera and musical theatre. In some ways her voice really thrives in musical theatre, she has a propensity for it. But I also remember her singing "C" above high "C" in perfect pitch - she was uncanny that way - and she can hear parts in the orchestra. She sat for hours, listening and never got bored. She was always curious. The stage manager would make her honorary stage manager. Her big treat was rolling up the tape from the floor at the end of rehearsal. We had a closet full of balls of masking tape.
GG: [Laughs.] I don't think it was osmosis, but she was exposed constantly. She did go through this phase in high school where she didn't want to have anything to do with singing. She just stepped back. Then she joined the choir. But she never gave us any inclination that she was driving for it.
EM: Maybe she didn't know herself.
GG: I think so. But it somewhat clarified for her when she got to New Orleans here to study.
LB: I don't know - I ask myself this question everyday - I think guiding someone toward passion for a certain art form is a good thing. I remember two things that happened with Emma. One was that she made a comment at some point that she was bored. I said, "You can be bored if you want. Stupid people get bored, and you're not stupid." The other thing I said - I caught her at a good time when she was enjoying a rehearsal - was, "Isn't this exciting?' she said yes, and I said, "And you're welcome to be here anytime, as long as you can be quiet and not get yourself in trouble." That stuck with her. She could sit for hours. Sometimes she would draw pictures of what was going on, or take her own notes for her dad and me. "You should be careful with the spada, the sword, when you're wrestling with Don José."
GG: Yes [Laughs].
EM: That's amazing.
LB: I guess she really was in love with it, wanted to be a part of it so much.
EM: What will you two being performing together in the near future?
LB: The only thing officially on the books and signed is Dutchman in Dallas. Next month at Loyola we're having a Dramatic Voice Symposium. Peter Volpe will be here, Brenda Harris, Melanie Helton, possibly Allan Glassman, among others, and the two of us. We're going to do a Gala concert at the end. Plus there's a discussion of a possible Sweeney Todd that hasn't been solidified.
GG: It's just when the opportunities come up. Sometimes they come up in clusters. Sometimes it takes a while [Laughs]. We're always looking for that chance.
EM: And the universe will bring it to you. Opera lovers are always looking for opportunities to see the both of you, and I can't wait to see you on stage in San Diego! Thank you so much, you two, for spending time with me.
LB: It's wonderful to talk to you.
San Diego Opera's The Pirates of Penzance will run at the San Diego Civic Theatre from Oct. 14-22 and will be broadcast on October 21, 2017 at 8 PM on KPBS radio, 89.5 FM (97.7 FM Calexico) and online at www.kpbs.org.
Photo credits: SORS Seattle, Jeff Roffman, Atlanta Opera
Erica Miner can be reached at: [email protected]
Posted by Erica Miner 0 comments
Labels: Erica, Francesca Zambello, Glimmerglass, Götz Friedrich, Greer Grimsley, Houston Grand Opera, Luretta Bybee, Matthew Shilvock, Peter Brook, San Diego Opera, San Francisco Opera, Seattle Opera
Multi-talented Jonathan Sussman at "The Interludes"
Jonathan and Alan Sussman play Schubert, Bach, Bruch, Dutilleux, Borne and Paganini at First Lutheran
Jonathan Sussman.
The flyer for the new seasons's first "The Interludes" recital at First Lutheran Church, Torrance, promised "flutist, violist, pianist, and composer" Jonathan Sussman, who (the program note went on to tell us) is a double major at USC studying flute at the Thornton School of Music and biomedical engineering at the Viterbi School of Engineering. Many talents indeed! In the recital, his composing did not figure, but otherwise there was plenty to impress.
His pianism was on display first, in company with that of his father, Alan Sussman, in Schubert's four-hands/one-piano Marche caractéristique in C Op.121 No.1 D886b, for which there seems to be no clear evidence of date. As with episodes of "The Twilight Zone", there's always more to discover in Schubert's virtually limitless output, and I had not previously come across this march. Prior scoping of YouTube performances revealed a wide range of possible tempi, from plodding to hell-for-leather. Fortunately, the Sussmans' inclined to the latter (though their attack, vehement as well as athletic, tested First Lutheran's piano), keeping the potential tedium of the march's many repetitions at bay, even with a full clutch of repeats. Clearly it's a minor item in the great Schubertian canon, but even so, the passing sideways harmonic shifts, and the more delicate beauty of its trio section, signaled the genius behind it.
Jonathan next took up his flute, and his performance, with his father at the piano, of J.S. Bach's Sonata in E minor for flute and continuo BWV 1034 gained confidence as it proceeded. After accounts of the first, Adagio ma non tanto, and second, Allegro, movements that seemed to me a little careful, the following Andante evinced some nice breath control in the movement's long spacious phrases, while both players brought an airborne, improvisatory quality to their rapid contrapuntal interactions in the final Allegro.
Now for the viola. The original version of Max Bruch's Kol Nidrei Op.47 is styled, somewhat unusually, as being for 'cello with orchestra and harp, but it also exists in various arrangements and transcriptions. One for viola and piano was made as recently as 2014 by one Orfeo Mandozzi, though the Sussmans did not clarify whether what they played was this or another. Jonathan immediately showed an ease with the instrument quite equal to that with the flute, but in the music itself I found the substitution of viola for 'cello diminished the heft of the Adagio ma non troppo opening, though in the central Un poco piú animato it gave a delicacy to the texture, in company with the piano doing its best to impersonate the harp.
Henri Dutilleux at approximately the time
of composition of his Flute Sonatine.
The very long-lived Henri Dutilleux (1916-2013) was one of the giants of 20th century French music, and famously self-critical. One of the early works that he later repudiated was his Sonatine for flute and piano of 1943, and the Sussmans' performance made one grateful that the composer's dissatisfaction never became an embargo.
This was the recital's highlight for me, a work of teeming invention across its 10-minute span. The first of the three brief movements is amiable enough – an equal partnership of the two instruments in a cool, medium-paced discourse – but the following Andante, at first juxtaposing piano broodings with arabesques on the flute, pulls the two instruments together with growing tension until it precipitates the wild Anime finale, projected with great élan by Jonathan and his father. Wonderful stuff!
After this, two less substantial items. First came one of the many fantasias/potpourris/selections derived by other composers from the fertile soil Bizet laid down in his Carmen. This was the Fantaisie Brillante by François Borne, who puts the flute through its paces, faithfully underpinned by the piano, in virtuosic reworkings of some of the opera's most familiar numbers. Finally – as an unprogrammed encore – Jonathan Sussman took the stage alone in a solo flute rendering of Paganini's Caprice No.24 from his set of 24 – the familiar one that has probably been the subject of even more variations and reimaginings than the tunes from Carmen. I don't know whether this was a literal transcription of the complete original violin Caprice, but it certainly sounded as finger-tangling, and was enthusiastically applauded by the Interludes audience.
---oo---
"The Interludes": First Lutheran Church, Torrance, 3.00pm, Saturday, September 16, 2017.
Photos: Jonathan Sussmann: courtesy UCLA; Henri Dutilleux: courtesy Radio France.
Labels: Alan Sussman, Borne, Bruch, Classical Crossroads, David, David Brown, Dutilleux, First Lutheran Church Torrance, J.S. Bach, Jonathan Sussman, Paganini, Schubert, The Interludes
More new stars shine at Mount Wilson
Works for flute quartet, Mount Wilson Observatory
l-r: Sara Andon, Alyssa Park, Cécilia Tsan, Alma Fernandez.
Of course, subsequent visits can never quite match the impact of one's first encounter with such an astonishing new music venue as the dome of the 100-inch reflecting telescope at Mount Wilson Observatory, but the pleasurable anticipation that built up while re-negotiating all those hairpin turns on the road up to the Observatory made up for it. Once again Cécilia Tsan, Artistic Director of this new venture of Sunday afternoon summer concerts in the dome, had devised a fascinating and unhackneyed program for herself (playing 'cello – probably the largest instrument that can be safely carried up the long and precipitous metal ladder leading to the telescope floor!) and her colleagues Sara Andon (flute), Alyssa Park (violin) and Alma Fernandez (viola).
Three works by three highly prolific masters from the 18th and 20th centuries, Mozart, Martinů, and Villa-Lobos, formed the main part of the program. Mozart's Flute Quartet in D major K.285 is the first of his four in the genre, probably composed in 1777-78. It's a slender three-movement piece in which the flute is the star of the show from the outset, and this immediately demonstrated the extraordinary clarity and impact of high woodwind tone within the great steel dome. Due I am sure to the long delay time of the acoustic, the quartet took the first movement Allegro and Rondo finale at fairly relaxed speeds, and avoided the consequent lengthening of playing-time by omitting not only the rarely-observed second-half repeat in the first movement but also that of the exposition.
Bohuslav Martinů.
This was not a problem in my book, particularly as the title of the ensuing Three Madrigals for Violin and Viola H.313, composed by Bohuslav Martinů in 1949, belies their scale, range, and power just as does that of Kodály's Duo for Violin and Cello Op.7, which Ms Tsan included in her previous recital here. The Martinů indeed for me was by some measure the highlight of the concert.
This great composer by some alchemy makes his two instruments sound like an orchestra, with Ms Park and Ms Fernandez seizing every one of the huge range of stylistic, rhythmic and timbral effects deployed across all three movements: simultaneous and alternating ostinati superimposed on Bohemian-Moravian folk rhythms in the first; overlapping tremolandi, like ripples on the seashore, overlain with what recalled a susurration of muted birdsong in the second; and a wild peasant dance in the third, where the violin and viola twirl and swirl uninhibitedly around each other.
Having given the spotlight to the other string members of the group in this marvelous piece, Ms Tsan's clever programming then led herself and Ms Andon to step forward in Heitor Villa-Lobos's Assobio a Játo (The Jet Whistle) for Flute and 'Cello W.493, like the Martinů a fairly late work in its composer's output, composed in 1950. It is similarly in three movements, the medium-paced first movement opening with a wide-ranging 'cello cantilena against rhythmic tics and oscillations above from the flute. This is succeeded by a pensive Adagio meditation where the flute in its low register takes the melodic lead while the 'cello gravely explores the depths beneath, and then a final hell-for-leather Vivo movement that ends in a Prestissimo carrying the following footnoted injunction in the score: "The only way to achieve the effect the composer wishes, as indicated by the words imitando fischi in toni ascendenti, is to blow into the embouchure fff as if one were warming up the instrument on a cold day(!)" Ms Andon blew as lustily as could be imagined, achieving a sound I'm sure had never been heard in the dome in its entire 100-year history…
Next came four film-music selections. Big film-music fan though I am, I can't avoid the built-in problem that what can superbly underpin and intensify the mood of a movie scene may not stand up so well as a whole musical experience when it appears in a concert setting divorced from the visuals. There's often not much to be done with a self-contained romantic theme other than to noodle around and then restate it, and for me diminishing returns began to set in when, after two pieces from Georges Delerue's score to Jean-Luc Godard's Le Mépris ("Contempt") and one from John Williams' Star Wars, a set from Ennio Morricone's score to Cinema Paradiso rather outstayed its welcome.
The late Carrie Fisher as Princess Leia
in the original "Star Wars".
On the other hand, as arranged by Patrick O'Malley for these forces (in all the above items), the husky magic of the much-loved "Princess Leia's Theme" played on an alto flute in that unique environment was unmissable and unforgettable, while in conclusion John Williams' versatility was underlined (as if it needed to be!) with the brief "Double Trouble" number from Harry Potter and the Prisoner of Azkaban, arranged for flute, violin, viola and 'cello by Simone Pedroni.
I fervently hope that this short initial season of concerts has been as big a success from the Observatory's viewpoint as it undoubtedly was from the audiences', and that after winter snows have come and gone, more great music will be heard in the great dome next year.
100-Inch Telescope Dome, Mount Wilson Observatory, Sunday 10 September 2017, 3 p.m. and 5 p.m.
Photos: The performers: Ruth Borst Punt; Carrie Fisher: People Movies; Mount Wilson Observatory: Roger Ressmeyer/Corbis, courtesy Los Angeles Magazine.
Labels: Alma Fernandez, Alyssa Park, Cécilia Tsan, David, David Brown, Ennio Morricone, Georges Delerue, john williams, Martinů, Mount Wilson Observatory, Mozart, Sara Andon, Villa-Lobos


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Proof of vaccination is now required to enter SAQ liquor stores (Societe des alcools du Quebec) and SQDC pot shops (Societe quebecoise du cannabis) in the province.
It was during the holiday break that something awful started happening to many of the thousands of crows that frequent Victoria Park in downtown Charlottetown.
U.S. President Joe Biden has rallied European allies to pledge as one that they will take tough measures against Russia if it rolls troops into Ukraine. But when it comes to what exactly the United States and Europe are willing to do, the allies don't look as ringingly united.
The National Archives plans to release four pages of Trump-era White House documents to the House on Wednesday, in what appears to be the first time the committee that's investigating the Jan. 6 riot would get records that former U.S. President Donald Trump wants to keep secret.
The New York attorney general's office late Tuesday told a court its investigators had uncovered evidence that former U.S. President Donald Trump's company used 'fraudulent or misleading' asset valuations to get loans and tax benefits.
Three teens were found dead Tuesday in a home northeast of Houston, and it appears one of the teens killed themselves after killing the other two, authorities said.
Three of Tonga's smaller islands suffered serious damage from tsunami waves, officials and the Red Cross said Wednesday, as a wider picture begins to emerge of the destruction caused by the eruption of an undersea volcano near the Pacific archipelago nation.
Hospital emergency rooms in Alberta are likely to assess complaints from First Nations people as less urgent than those from other patients, even when their problems are the same, says a new study that looked at millions of such visits.
Gilead Sciences Inc said an unauthorized network of drug distributors and suppliers sold pharmacies more than US$250 million of counterfeit versions of its HIV treatments over the last two years, endangering patients.
The latest evidence does not show the Omicron variant is contagious for less time than previous versions of the virus that causes COVID-19, chief public health officer Dr. Theresa Tam said Tuesday.
The European Space Agency has narrowed the candidate list for its next generation of astronauts, including dozens who have a physical disability.
Jenna Jameson is still struggling with her health, but it turns out she does not have Guillain-Barré Syndrome as previously thought. Her partner posted on social media Tuesday that additional tests show she does not have the disease but is still in poor health.
Daniel Radcliffe, the star of the 'Harry Potter' franchise, is set to play 'Weird Al' Yankovic in a biopic about his life for Roku.
Louie Anderson is being treated for cancer in a Las Vegas hospital, a spokesman for the actor and comedian said.
The emergence of 5G technology has been concerning for U.S. airlines, but Canada has already taken steps to address the safety risks, including buffer zones around Canadian airports and positional shifts to antennas.
Asian shares fell in cautious trading on Wednesday. with Tokyo's Nikkei 225 down nearly 3 per cent, after stocks on Wall Street sank to a new low for the year.
A Rome villa containing the only known ceiling painted by Caravaggio is set to go on a court-ordered auction block Tuesday, thanks to an inheritance dispute pitting the heirs of one of the Italian capital's aristocratic families against their step-mother, a Texas-born princess.
While a number of activities were cancelled due to winter weather throughout the Pittsburgh region, one local high school football coach found the snowfall as an opportunity to allow his players to give back.
Canada's Denis Shapovalov is on to the third round of the Australian Open. Shapovalov, from Richmond Hill, Ont., beat South Korea's Kwon Soon-woo on Wednesday.
There will be no Australian Open fairytale for Leylah Fernandez this year after a bad opening day saw the Canadian teenager bundled out in the first round by Maddie Inglis on Tuesday.
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I just put up this blog post inspired by seeing a play (Marie Antoinette). I couldn't help but see parallels between our time and the French Revolution. I had noticed them before when reading about the French Revolution.
In conclusion: there is nothing about the Internet/social media that is making us different as a society; we simply use that technology where the French of the late 1700s used word of mouth/pamphlets for the same purposes.
I'm not saying that this 4T exactly parallels the French Revolution; just that are identifiable similar elements. What other comparisons could be made to other past 4Ts?
Last weekend I watched The Baldwin School's production of Marie Antoinette. It was a challenging play for a high school to put up, and they did so brilliantly.
The script covers the Queen's life from her early years in the French court up until her fateful end, focusing on her character and attitude, and her reaction to how her adopted country perceived her – which is to say, in an unflattering light. Marie Antoinette was the victim of scurillous slander at the expense of her virtue, and scapegoated for France's problems, particularly the country's financial troubles and food shortages. She was blamed because, as an elite living in a bubble, she was unwilling or unable to appreciate how her actions looked to her poor and desperate subjects.
Marie Antoinette was known as the Butterfly Queen, but she might have been called the Hashtag Queen instead, as she was victimized by the same kind of mobbing that happens today on social media. Back then, they used word of mouth and the printed page to transmit information, instead of the Internet, but the effect was the same.
In fact, from what I've read about the French Revolution, there are many parallels with our time. France was divided into partisan factions, each seeing the other as a threat to society. The extreme left and right (the terms originate from this era) each enforced their own version of political correctness, making centrist politics untenable. Fake news was as much of a problem then as now, with rumors spreading across the country, inciting the factions against each other. Does it really matter how information is spread? It's not about the technology, but about the social predilection.
The production I saw reminded us of current events, by dressing the revolutionaries and prison guards in yellow vests. How bad could it get today? I do think that the French Revolution was more violent than we are likely to experience now because the people then were so desperate – France was struggling to emerge from the feudal period, and people were literally on the brink of starvation, meaning they didn't have much to lose.
In France during the time of Marie Antoinette, everyone eventually got tired of the extremism and just wanted law and order. That was how they ended up with Napoleon. How things will all play out in our time I cannot say, but it is always prudent to reflect on history.
1. The material is reduced from "Attorney Work Project".
2. Redactions appear largely as "Harm to ongoing matter" (most space taken), "Investigative technique", or rarely "Personal privacy". These. to the extent that they are valid redactions, are mandated by law. Potential "harm to ongoing matter" suggests that further investigatione and prosecutions remain possible and even likely. I am willing to accept "investigative technique" for what it is, and "personal privacy" as mandated u8nder federal law against the release of classified or confidential information.
3. The Russian role is heavily delineated. If Trump is not a conspirator, then he is at the least a dupe. Russian intelligence agencies and front groups are named.
4. Julian Assange is apparently quite guilty as a foreign agent for disseminating materials, stolen or perhaps forged, through Wikileaks.
Go ahead. Read it. I shall spare my usual judgments. Yours matter more.
skipped an archetype like time before last?
Hero archetype was skipped after the Civil War (or during? how is that said). The next cycle was normal. This one may be repeating the CW turning. Many, MANY Americans were slaughtered in the Civil War and other factors as to why Hero was not manifested. Could it be Vietnam decimated a whole generation of would-have-been heroes? Rather, would they (had they lived) been the parents OF the Heroes had they returned home? The facet of that generation which survived were not the most honorable people and as is known, were Boomers that were only in it for themselves.
I am suggesting the possibility of a really long X generation that bled right into a pseudo Artist. In fact, looking at the previous model without a Hero, it's possible the authors did not know what to make of it so they adjusted the brackets to omit the Hero simply because nothing in the past (or after) made sense in that context. Meaning, they may have overlooked a "special-rule" archetype that fits between Nomad and Artist that is just marginally manifesting Hero. Because, we have yet to experience any baby boom in America, even though the time is getting really short for that to happen if is going to happen. Artists (according to the current model) are approaching full adulthood themselves. Millennialls are not in a position to produce such a baby boom without their bracket being moved entirely. The oldest of them being approx 40 and the youngest about 18.
Any answers welcome. Please provide context.
Brown University Political Economist Mark Blyth shortly after the 2016 US Presidential Election released a lecture explaining macroeconomic regimes from the New Deal to Supply Side Economics to today's Populist uprisings and how they are all interrelated. I believe that his theory ties heavily into both the 4th/1st Turnings of the 1930s-50s along with the Great Awakening and Unraveling leading to today's Fourth Turning.
His thesis statement is this: The New Deal and post-Great Depression era coupled with the emerging threat of Communism led to our institutions focusing on Full Employment first and foremost to provide higher wages and strong unions. Eventually, the hyper-focus on this sole macroeconomic variable caused rifts in our economy that led to the high inflation of the late 1970s which crippled creditors. As a result, we switched course starting in the late 1970s and accelerating in the 1980s with folks like Reagan and Thatcher by targeting inflation. By targeting solely inflation for about the same time period we targeted full employment, we have now created a new set of problems in our society and that that led to the system blowing up in 2008. Since the system wasn't properly reformed we have spurred both right and left wing populists revolts throughout the first world (And possibly in developing economies looking at Brazil, Turkey, the Philippines, etc).
While the global financial crisis is generally considered to be the start of the Fourth Turning, there wasn't a system reset. Look at all 10 bullet points above and you'll see that our current economic system in 2019 is almost identical to the one in 2007. Populist movements of the Left and Right have sprung up across the western world as a rebellion against the current system.
It's worth noting that according to Howe we aren't even halfway through this turning. It's also worth noting that if the current conomic expansion reaches to summer 2019, it'll officially be the longest documented economic expansion in American history. Could that spell another major bubble and crash? We'll see how everything falls between now and 2030.
How did people live through the 4Ts without becoming misanthropic?
In the 4T you see the worst nature of humanity and you see them at their worst. How can you go through a 4T without thinking people are evil by nature and not wanting to fit in with them at all after seeing the nature of human beings?
Finding the 6 Turnings pattern elsewhere.
I completed my politics PhD thesis in December last year and am now wanting to undertake a Postdoc concerning the political sociology of Anglo-American historical and generational cycles: scrutinising, modifying and expanding upon Strauss and Howe's generational theory. [See attached] I have identified a similar, though significantly different cycle that appears to have begun in the late 14th century and which came undone during the Stuart dynasty in Britain but remained strong in the US. The pattern re-emerged in the UK. It's been present since at least the Great Depression. There is also some evidence that the pattern has been present in German history for a number of centuries, perhaps since the 30 Years War. I'm wondering whether there is some connection between the pattern and the values associated with Protestantism (rather than Catholicism or High Church Anglicanism). The emergence of the pattern coincided with the beginnings of lollardy. Can anyone here familiar with Strauss and Howe take the cycle back further than the Great Depression in Britain? Is it at all present in Canadian or New Zealand history? I can see it present in Australian history since at least the Depression, but perhaps it goes back further.


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'Reconciliation prospects' look as grim as ever: Rev Fr Mangalarajah
[TamilNet, Tuesday, 20 September 2016, 22:55 GMT]
Colombo government is keeping the people in the North and East under heavily militarised conditions and is not even prepared to let the people remember their war-dead freely, which is essential for any meaningful reconciliation, said Rev. Fr. S.V.B. Mangalarajah, the president of the Justice & Peace Commission in Jaffna, in a video interview to TamilNet on Tuesday. Now, People on the ground have realised that Colombo is not even prepared to involve foreign experts in the local investigations. The people are also dissatisfied with the Tamil leaders who are collaborating with the government and asking the people to have patience, he said. "The United Nations should realise that the SL Government is well-known for extending promises just to backtrack on them later."
Unless the SL military (SL Army and Navy) are pulled back to the minimalist barracks as it was during the times before the war, there will be no real transformation towards peace and reconciliation, the president of Justice & Peace Commission in Jaffna said.
The occupying SL Navy and Army are the key elements against peace and reconciliation. The military has started firing-exercises in recent days with heavy artillery at several places across the Northern province, he said.
Sinhala colonisation is taking place at key places such as Naavatkuzhi in Jaffna, Mandu Road and Mu'l'lik-ku'lam in Mannaar, Fr Managalarajah said adding that many more places have been subjected to militarisation in the Mannaar district alone.
The SL military is also involved in putting up Buddha statues at several places where there are no Buddhists. Sinhalese settlers and fishermen are being brought into Tamil areas in large numbers under the patronage of the SL military.
As Colombo has not chosen to de-militarise the North-East and failed to demonstrate that it is committed to reconciliation through showing its willingness and tolerance on sensitive issues matters as the right to remember the war-dead, the prospects for peace and reconciliation look as grim as ever, Fr Mangarajah said.
The former LTTE cadres are further being isolated from the society as the SL military continuous to deploy its intelligence operatives against them and the allegations of poisonous injections has further worsened the situation, affecting marriages and relationships, he further said.