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Capgemini and Altran create a global digital transformation leader for industrial and tech companies
Norway / Utforsk / Pressemeldinger / Capgemini and Altran create a global digital transformation leader for industrial and tech companies
Capgemini and Altran create a global digital transformation leader for industrial and tech companies.
Florence Lièvre
Press relations, Capgemini
Vincent Biraud
Investor Relations, Capgemini
Agreement whereby Capgemini is to acquire Altran via a cash offer at €14.00 per share[1], approved unanimously by the boards of directors of both companies
Creation of a group with revenues of €17 billion[2] and more than 250,000 employees through the tie-up of a world leader in Consulting and IT services and the world leader in Engineering and R&D services
Unique combination of expertise to support the digital transformation of industrial companies – the market's most dynamic segment
Expected accretion on normalized earnings per share[3] of over 15% before synergies in the 1st year and over 25% post synergies in 2023
Public offer launch subject to customary regulatory approvals
Firm agreement to acquire shares representing 11% of Altran capital from a group of shareholders led by Apax Partners
Paris and Neuilly-sur-Seine, June 24, 2019 – Capgemini (Euronext Paris: CAP), a global leader in consulting, IT services and digital transformation, and Altran Technologies (Euronext Paris: ALT), the global leader in Engineering and R&D services, today announced that they have entered into an agreement for exclusive negotiations whereby Capgemini is to acquire Altran, through a friendly takeover bid at €14.00 per Altran share, payable in cash. The total cash consideration will amount to €3.6 billion[4], excluding net financial debt (c. €1.4 billion). The transaction will be accretive to Capgemini's normalized EPS by more than 15%, before synergies from the combination. In 2023, accretion is expected to exceed 25% post synergies. The agreement is unanimously recommended and approved by the Boards of Directors of Capgemini and Altran. In addition, Capgemini has signed a definitive agreement to acquire shares representing 11% of Altran capital from a group of shareholders led by Apax Partners.
Paul Hermelin, Chairman and Chief Executive Officer of the Capgemini Group, said: "This proposed combination enables Capgemini to take the lead in a very promising market segment—what we call 'Intelligent Industry' or the digital transformation of industrial and tech companies. The complementarity and power of our combined business and technological expertise are truly outstanding assets. By joining forces, we are positioning ourselves as a clear strategic partner to assist our clients in taking full advantage of the revolution created by the developments of the cloud, Edge computing, IoT, artificial intelligence and 5G. I am delighted to welcome to Capgemini the talents and leaders of Altran, who share our beliefs and corporate culture."
Dominique Cerutti, Chairman and Chief Executive Officer of the Altran Group, added: "The proposed combination of Altran with Capgemini is perfectly aligned with the vision set out in our strategic plan. While technological disruptions and the digitalization of industries are accelerating, Altran has developed new service models and strengthened its leadership with a high value-added offer for its customers' Engineering and R&D activities. In an industry that is consolidating rapidly there is no doubt that Capgemini is the ideal partner to build together a world leader in digital transformation. This transaction will create value for our customers, and is an outstanding opportunity to showcase the talent of our teams."
Two industry leaders join forces
Capgemini is a world leader in consulting, IT services and digital transformation. Altran is the world leading provider of Engineering and R&D services, with a portfolio of high-profile clients, extensive sector expertise and in-depth understanding of industrial business processes and operational technologies.
The combination of the two companies will create a group with revenues of €17 billion2 and more than 250,000 employees. This new entity will leverage its unique positioning in particularly promising segments.
Through its enhanced scale and broad services portfolio, the combined group will benefit from increased access to key decision-makers from key accounts in dynamic industries (such as Aerospace, Automotive, Life Sciences and Telecommunications) including R&D, manufacturing and supply chain CxOs.
This transaction allows Capgemini to accelerate its development with major Internet and tech companies, by giving the new entity a critical mass in software engineering through centers of expertise, particularly in India and Eastern Europe. The Group aims to become a major player in this key market.
Strengthened leadership in the fast-growing market of Engineering and R&D services
Over the medium-term, Engineering and R&D (ER&D) services are anticipated to grow by around 9%[5] annually. The new entity will be the world's top player in ER&D by size (notably in the USA and in Europe), with unique sector expertise.
The combined scope of these Engineering and R&D services activities will represent annual revenues of approximately €3.4 billion[6] and 54,000 professionals, including 21,000 in 5 Global Engineering Centers.
Building on its track record in industrialization and innovation, Capgemini will strengthen Altran's deployment of its segmented model of services (high value-added services, traditional services, Industrialized Globalshore®) to support customers throughout the entire life cycle of their products and services.
Introducing a world leader in "Intelligent Industry"
The new Group will benefit from a unique ability to support industrial players in their digital transformation, by combining its intimate knowledge of their businesses, its privileged access to decision-makers and its portfolio of offers that spans digital transformation, consulting and innovation, information technologies (IT) and operational technologies[7] (OT). Building on these strengths, Capgemini will reinforce its role as the strategic partner of choice of its customers in this "Intelligent Industry" space, which present a double-digit growth potential[8].
Strong value creation
The Group expects accretion to normalized EPS, before synergies from the combination, of more than 15% in the first year after closing.
Cost and operating model synergies are anticipated to reach an annual pre-tax run rate between €70 and €100 million in 3 years. At that point in time, commercial synergies should generate between €200 million and €350 million in additional annual revenues, from cross-selling and the development of innovative sectorial offers.
In 2023, with the benefits of these synergies, the accretion on normalized earnings per share should exceed 25%.
Integration facilitated by cultural proximity and a similar operating model
With both companies built on engineering talent and traditions, Capgemini and Altran have a very close corporate culture that will facilitate a smooth integration of their teams. The two groups also have very similar operating models with many operational indicators in common.
The combined Group will continue to invest massively in its talents, opening up a host of opportunities for the employees of both entities.
Key transaction terms
The agreement sets out the key terms and conditions of the proposed transaction, organizes the information or consultation process by Capgemini and Altran of their respective works councils and contains in particular an exclusive commitment by Altran.
Capgemini intends to launch a cash offer for all Altran share capital at a price of €14.00 per share. This represents a premium of 30% over the volume-weighted average share price over the month until Friday 21 June (adjusted for the €0.24 coupon to be detached on July 1st) and a 33% premium over the 3-month volume weighted average price.
The total cash consideration will amount to €3.6 billion, before taking into account net financial debt (c. €1.4 billion).
Capgemini has signed a definitive agreement to acquire an 11% stake in Altran from the concert formed around Apax Partners (comprising possible customary top-ups).
The public offer launch is expected to take place after the information or consultation phase of the respective works councils, and after the customary regulatory approvals have been received, notably CFIUS in the United States and antitrust authorities. However, the Group reserves the right to launch the public offer before these regulatory approvals are received.
The completion of this combination is expected by the end of 2019.
Capgemini has secured a bridge financing of €5.4 billion, covering the purchase of securities (€3.6 billion) as well as the gross debt (€1.8 billion).
It plans to refinance the bridge with available cash for €1 billion and the balance by debt issuance, primarily new bond issues.
Paul Hermelin, Chairman and Chief Executive Officer of Capgemini, and Dominique Cerutti, Chairman and Chief Executive Officer of Altran, accompanied by Carole Ferrand, Chief Financial Officer of Capgemini, Thierry Delaporte and Aiman Ezzat, Capgemini Co-COOs, will comment on the combination project during a conference call in English today at 7:00 p.m. Paris time (CET).
This conference call will be accessible via webcast, live and replay for one year from this link.
Dial-in numbers
France Toll: +33 172727403 PIN: 13584080#
United Kingdom Toll: +442071943759 PIN: 13584080#
United States Toll: +1 6467224916 PIN: 13584080#
All documents relating to this project will be posted on Capgemini's Investor Relations website at https://investors.capgemini.com/en/ .
This press release is disseminated for information purposes only and does not constitute an offer to purchase, or a solicitation of an offer to sell, any securities of Altran Technologies.
The documentation relating to the tender offer which, if filed, will state the terms and conditions of the tender offer, will be submitted to the review of the Autorité des marchés financiers. Investors and shareholders are strongly advised to read the documentation relating to the tender offer when it becomes available, if the offer is filed, as well as any amendments and supplements to those documents as they will contain important information about Capgemini, Altran Technologies and the proposed transaction.
The transaction is notably subject to execution of definitive documentation and obtaining of required regulatory authorizations and other customary conditions. The tender offer would only be filed with the Autorité des marchés financiers after such conditions have been fulfilled.
This press release must not be published, broadcast or distributed, directly or indirectly, in any country in which the distribution of this information is subject to legal restrictions. The tender offer will not be open to the public in jurisdictions in which its launch is subject to legal restrictions. The publication, broadcasting or distribution of this press release in certain countries may be subject to legal or regulatory restrictions. Therefore, persons located in countries where this press release is published, broadcasted or distributed must inform themselves about and comply with such restrictions. Capgemini and Altran Technologies disclaim any responsibility for any violation of such restrictions.
Pursuant to the commission implementing regulation (EU) 2016/1055 of 29 June 2016 laying down implementing technical standards with regard to the technical means for appropriate public disclosure of inside information and for delaying the public disclosure of inside information in accordance with Regulation (EU) No 596/2014 of the European Parliament and of the Council, this press release may contain inside information and has been sent to the authorized broadcaster of Capgemini SE.
This press release may include forward-looking statements and language indicating trends, such as the words "anticipate", "expect", "approximate", "believe", "could", "should", "will", "intend", "may", "potential" and other similar expressions. These forward-looking statements are only based upon currently available information and speak only as of the date of this press release. Such forward-looking statements are based upon current expectations and are subject to a significant business, economic and competitive risks, uncertainties and contingencies, many of which are unknown and many of which Capgemini and Altran are unable to predict or control. Such factors may cause Capgemini's and/or Altran's actual results, performance or plans with respect to the transaction to differ materially from any future results, performance or plans expressed or implied by such forward-looking statements. Neither Capgemini nor Altran, nor any of their advisors accepts any responsibility for any financial information contained in this press release relating to the business or operations or results or financial condition of the other or their respective groups. Capgemini, Altran and their advisors expressly disclaim any obligation or undertaking to disseminate any updates or revisions to any forward-looking statements contained herein to reflect any change in the expectations with regard thereto or any change in events, conditions or circumstances on which any such statement is based.
About Capgemini
Capgemini is a global leader in consulting, IT services and digital transformation. At the forefront of innovation, the Group helps its customers to seize all the opportunities presented by the cloud, digital and platforms. With 50 years of experience and extensive expertise in the various sectors of activity, he assists companies and organizations in achieving their ambitions, from the definition of their strategy to the implementation of their operations. For Capgemini, it is men and women who value technology. Resolutely multicultural, the Group has more than 200,000 employees in more than 40 countries. It had a turnover of €13.2 billion in 2018.
For more information, visit www.capgemini.com. People matter, results count.
About Altran
Altran is the undisputed world leader in engineering and R&D services. The Group offers its customers a unique value proposition to meet their transformation and innovation challenges. Altran supports its customers, from concept to industrialization, to develop the products and services of tomorrow. Altran has been working for more than 35 years with major players in many sectors: Automotive, Aeronautics, Space, Defence & Naval, Rail, Infrastructure & Transport, Industry & Consumer Products, Life Sciences, Communications, Semiconductor & Electronics, Software & Internet, Finance & Public Sector. The acquisition of Aricent expands the Group's portfolio of expertise in semiconductors, digital experience and design innovation. Altran generated €2.9 billion in revenue in 2018, with nearly 47,000 employees in more than 30 countries. www.altran.com
[1] Price per share after detachment of the 2018 coupon of 0.24 euro per share.
[2] Based on the objectives of each of the two groups for the year 2019.
[3] Normalized earnings per share are calculated as undiluted earnings per share using net income (Group share) adjusted for "other operating income and expenses", net of tax. The detailed definition and reconciliation is available in the Capgemini registration document.
[4] Based on a fully diluted number of shares excluding 256.9 million treasury shares.
[5] Sources: OECD, IRI, IMF, International Management Consultants, Altran.
[6] 2018 proforma estimates.
[7] The scope of operational technology notably includes software, products & system engineering services, industrial information systems used to manage product lifecycle, manufacturing or delivery processes and mission critical information systems
[8] It is at the crossroads of two already very dynamic sectors: engineering and R&D services for industrial players and IT services for operations (R&D, production, supply chain, etc.), which are respectively growing by 8-12% and 10% according to (5) and IDC.
Stéphanie Bia
Altran Press & Investor Relations
Email: stephanie.bia@altran.com


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Nicole's Revenge By Lisette Allen
Nicole's Revenge
by Lisette Allen
A lavish 18th century-set Erotic historical
It's September 1792 and France is in the throes of violent revolution. Young actress Nicole Chabrier came to Paris four years earlier to seek fame and fortune with the Paris Opera but now her life is in danger from the hordes who are venting their anger on the decadent aristocracy.
Nicole's Revenge Summary
It's September 1792 and France is in the throes of violent revolution. Young actress Nicole Chabrier came to Paris four years earlier to seek fame and fortune with the Paris Opera but now her life is in danger from the hordes who are venting their anger on the decadent aristocracy. Rescued by a handsome stranger who has been badly wronged by the nobility, Nicole soon becomes ruled by her passion for this man. Together they seek a reversal of fortune using their charm, good looks and sexual magnetism.
Customer Reviews - Nicole's Revenge
Nicole's Revenge Reviews
They're written especially for women so will hit the right buttons. * Maxim *
About Lisette Allen
Lisette Allen is a Classics graduate and a prolific and popular author of women's erotica and historical sagas.
She is the author of Elena's Conquest, Elena's Destiny, Ace of Hearts, Nicole's Revenge, The Amulet and Risky Business, all available from Black Lace.
Lisette Allen

redpajama_set_name: RedPajamaCommonCrawl


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Anthology 2: Classic Hits 1967–1985 (Recorded Live) is a greatest hits compilation album by Australian singer John Farnham. The album was released in Australia on 29 September 1997, and is the second of a three disc Anthology set. The album features live recorded version of Farnhams "Classic Hits", rare soundtrack songs as well as a cover of Australian band Cold Chisels, "When the War Is Over" and the Beatles classic hit "And I Love Her".

Performance
This album peaked at No. 12 in the ARIA charts.

Track listing
 "Sadie (The Cleaning Lady) [Live]" (Gilmore, Madara) – 1:22
 "One [Live]" (H. Nilsson) – 2:57
 "Looking Through A Tear [Live]" (B. Scott, A. Resnick) – 3:47
 "Raindrops Keep Falling on My Head [Live]" (B. Bacharach, H. David) – 3:08
 "Comic Conversation [Live]" (J. Bromley) – 3:52
 "Don't You Know It's Magic [Live]" (B. Cadd) – 4:07
 "Everything Is Out Of Season [Live]" (Cook, Greenway) – 2:54
 "Help! [Live]" (J. Lennon, P. McCartney) – 4:49
 "Matilda [Live]" (G. Goble) – 4:17
 "Infatuation [Live]" (M. Brady, G. Goble) – 2:43
 "That's No Way To Love Someone [Live]" (J. Farnham, S. McNally, J. Nicholls, R. Leigh) – 2:51
 "Please Don't Ask Me][Live]" (G. Goble) – 3:24
 "Playing To Win [Live]" (G. Goble, J. Farnham, D. Hirschfelder, S. Housden, S. Proffer, W. Nelson, S. Prestwich) – 3:01
 "Justice For One [Live]" (J. Farnham, S. Shifrin) – 3:28
 "When The War Is Over [Live]" (S. Prestwich) – 5:31
 "And I Love Her" (J. Lennon, P. McCartney) – 3:30

Charts

Weekly charts

Year-end charts

Certifications

References

John Farnham compilation albums
John Farnham live albums
1997 live albums
1997 greatest hits albums

redpajama_set_name: RedPajamaWikipedia


The Red Fort Complex was built as the palace fort of Shahjahanabad – the new capital of the fifth Mughal Emperor of India, Shah Jahan. Named for its massive enclosing walls of red sandstone, it is adjacent to an older fort, the Salimgarh, built by Islam Shah Suri in 1546, with which it forms the Red Fort Complex. The private apartments consist of a row of pavilions connected by a continuous water channel, known as the Nahr-i-Behisht (Stream of Paradise). The Red Fort is considered to represent the zenith of Mughal creativity which, under the Shah Jahan, was brought to a new level of refinement. The planning of the palace is based on Islamic prototypes, but each pavilion reveals architectural elements typical of Mughal building, reflecting a fusion of Persian, Timurid and Hindu traditions The Red Fort's innovative planning and architectural style, including the garden design, strongly influenced later buildings and gardens in Rajasthan, Delhi, Agra and further afield.
This article uses material from UNESCO World Heritage List article "Red Fort Complex", which is released under the Creative Commons Attribution-Share-Alike 3.0 IGO License.


Myrick stayed in Boston for a short while.
Linder doesn't like being alone.
When did you last talk to Kyu?
Antonio refused to answer Marlena's questions.
Frank is utterly obsessed with food. No wonder Donne dumped him!
Didn't you see Sergio at the party?
We need to find out what Judge is up to.
Jock tied the balloon to Benson's wrist.
Linder used to be confident.
I can't imagine what Sanjib was thinking.
Suyog is younger than you are.
Gregor is an excellent singer.
Pam assured me that this would never happen.
Ami isn't used to speaking in public.
Jef got it all wrong.
Spy and Thuan have been best of friends for years.
Lonhyn is allergic to mold.
Kristen is a difficult person to deal with.
Clare wouldn't let me to read the letter.
I thought Vince would panic.
Kemal had trouble making friends.


Type 4 has some of the smallest peices.
This is some great stuff. My customer's love it. You will love it too. So much better than .177 bb's for tumbling. The different shapes and sizes get in all the right places and makes a nice clean job!


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Ones to watch: Oli Martin
by Eliot Collins 05 October 2015 05 October 2015
Although only recently thrown into the role of head chef, Oli Martin has managed to notch up twelve years of kitchen experience and now runs a tight ship at Lancashire's Hipping Hall. Still only twenty-six, we asked Oli about his inspirations, attitudes and love of the North West.
View more from this series:
Eliot Collins
Eliot worked as a chef partnership manager at Great British Chefs.
A love of food started at a young age for Oli Martin, who looks back with fond memories to his childhood favourites of baked beans, microwaved chocolate sponges and Nan's famous toad-in-the-hole. Although only humble dishes to start with, Oli quickly progressed from licking the spoon at home to his first kitchen role, working in a one Rosette restaurant close to home when he was still only fourteen. 'I fell in love with the atmosphere of the kitchen. I hate sitting still and like constant change, so it felt like a very clear career path for me.'
Working his way up through the ranks, it wasn't long before Oli was working as sous chef at Hipping Hall. In 2014, and still at the youthful age of twenty-six, he was offered the head chef position; 'I had no idea it was coming, a total shock! The owner didn't mention anything until he sat me down and offered me the position. I was totally clueless, but it didn't take long for me to say yes.' Once over the shock, and with a little time to reflect, Oli feels the move came at the right time, he says 'head chef felt like the perfect place to be after my sous chef position. I had eleven years experience behind me so it felt natural. I don't think age plays a massive part… it's capability.'
This last point is very pertinent. His age is something that gets a disproportionate amount of coverage compared to his hard graft in the kitchen. After surviving his first Christmas as head chef, Oli stayed hard at work while the rest of the team had their January breaks. 'We were closed in January so I used this as a time for change. I stayed behind while all the staff were on holiday and put my own spin on the menu. I like to think that now the menu has stepped forward a bit and grown.'
A lot of these menu choices stem from a key focus on seasonality and local produce. Again, influenced by his childhood, Oli is immensely proud to have grown up surrounded by green, open spaces, and by counties renowned for producing excellent British produce. He grew up in the small seaside town of Lythan, just south of Blackpool, and was therefore on the doorstep of the huge variety of producers based in Lancashire and Yorkshire, as well the abundance of fish and seafood from the coast. 'It was a great place to grow up with a very strong community. As a chef I recognised loads of small family-run businesses; a great fish supplier called Lanigans, veg shop called Strong's, and brilliant places on our doorstep like Fleetwood fish market.'
From this has grown a deep-rooted respect for local suppliers that has carried through his career. He cites the perfect example of a current dish on the menu; lightly poached lemon sole with smoked cabbage hearts, salted pear, local wild rocket and a hazelnut vinegar. 'This dish basically came from speaking to my fish supplier, Tim Barrow at Nieves fish. What's good and local? He told me that sole had just come in off the coast... I wanted a dish that was screaming autumn – cabbage, hazelnuts and pear. It was purely the autumn season that kicked this off.'
Hipping Hall in Lancashire
Seasonal dishes such as a smoked chocolate, cherry and pistachio dessert
Simple and seasonal dishes are only one half of Oli's ethos in the kitchen; the other half is focused on innovation and experimentation, some more successful than others... Having strong chef-supplier relationships means that unusual produce often comes by way of the kitchen door. Goat's heart and deer tongue samples led to many experimental offal dishes, while cooking with herring sperm proved trickier, and was abandoned as a feasible ingredient after three days of attempted recipes. Innovation with familiar ingredient may be more to most people's taste; 'I'd rather get ingredients and serve them in unexpected ways. I'm currently serving lightly salted squid, frozen in liquid nitrogen and smashed on to the plate in pieces. We then cover it in wild garlic, sage powder and buttermilk emulsion, so that it really cleanses the palette as the first course. It's my own twist on squid and aioli.'
Although most of these dishes are Oli's own brainchild, and he takes the main lead in the kitchen as the head chef, he fully accepts the success of the kitchen is down to a team effort, and his aim is always to lead by example. 'I want to create mini 'me's' that strive to work to the same standard as the head chef. The kitchen environment is inspiring and constantly changing, so I like to get my entire team's input. I want to push the lads to think and contribute. I've got some lads with great backgrounds, why would I rule that out and say I know better?' On top this he says, 'a kitchen should be fun.'
Having a team that look up to him as head chef is incredibly important to Oli, and in turn he credits some great chefs for inspiring his professionalism in his kitchen. In particular, he rates chefs that are 'aspirational, hard working and possess a never-quit attitude'. In particular he mentions acclaimed American chef Grant Achatz of Alinea restaurant. One of the most awarded chefs in the industry, both Grant's career and personal story are undoubtedly inspiring. 'Grant is a total game changer. His style is so out there, even when he was younger. He had the world against him to start, but it was his drive and how daring he was. He didn't let anyone put him down. I wouldn't compare our food style's, but as someone that headlines the industry – he's one of the best.'
Diagnosed with cancer of the tongue, Grant's career as a chef, let alone his life, seemed in huge jeopardy, but he took a pioneering course of treatment to fight off the disease. 'The guy's a chef, and he just refused to have his tongue cut out. He only took six days off work with cancer – he won the James Beard [Best Chef in the United States Award] and stars [Alinea hold three Michelin stars] while going through this. He's just so talented he knows how things are going to turn out even without tasting them.'
Oli is clear in his respect for such personal drive and determination, characteristics which will certainly push his own career forwards to many further accolades and awards in the culinary world.
Head chef felt like the perfect place to be after my sous chef position. I had eleven years experience behind me so it felt natural. I don't think age plays a massive part… it's capability
Restaurants in the North West
Restaurant Collection
Taste of London 2016: Pierre Koffmann
Taste of London 2016: Dan Doherty
Ones to watch: Craig Sherrington
Lisa Goodwin-Allen
The Cartford Inn: Lancashire's quirky home of hospitality
by Tom Shingler
Sticky Walnut and Burnt Truffle review
by Gemma Harrison
Lancashire: the culinary jewel of the North West
Gary Usher: the method behind the madness
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Tag Archives: Texas Ballet Theater
Preview: Texas Ballet Theater's In the Middle Performance
February 27, 2019 Local Dance News, People and Places, Published, UncategorizedAndre Silva, Ballet Augusburg, Bass Performance Hall, Ben Stevenson, Christopher Bruce, Fort Worth, Les Grands Ballets Canadiens de Montreal, North Texas Ballet Events, Sonia Roveri Costumes, Texas Ballet Theater, Texas Ballet Theater School, Texas Dance events, TheaterJones.com, William Forsythekddance
Power in Numbers
Andre Silva shares the significance of the number sigh 11:11 in his new work of the same name for Texas Ballet Theater's performance this weekend.
Photos: Andre Silva (L) courtesy of Texas Ballet Theater. Andre Silva's 11:11 (R) courtesy of Steven Visneau.
Fort Worth — You have seen him portray princes, villains and heroes in numerous ballets presented by Texas Ballet Theater (TBT), but, for the first time, audiences will get to see who Andre Silva is as a choreographer in his work 11:11, part of TBT's In The Middle performance March 1-3 at Bass Performance Hall in Fort Worth. The program also includes William Forsythe's In The Middle, Somewhat Elevated and Christopher Bruce's Ghost Dances.
Originally from Brazil, Silva began his professional ballet career with TBT at the age of 17. He danced with the company until 2009 when he decided to leave to dance abroad with Les Grands Ballets Canadiens de Montreal from 2009-2014. From there he danced with Germany's Ballet Augusburg for a year before returning to TBT in 2015, much to audiences' delight.
Throughout his time with TBT Silva has danced leading roles in many of Ben Stevenson's ballets, including Peer Gynt, Romeo and Juliet, Swan Lake, Dracula, Bartok, Preludes for Van, Five Poems, and Mozart Requiem. Some other works he has performed in include Val Caniparoli's Without Borders, Christopher Wheeldon's DGV: Danse à Grande Vitesse, Christopher Bruce's Rooster, Carlos Acosta's Carmen and Alexei Ratmansky's Seven Sonatas.
Silva says what ultimately brought him back to TBT was Stevenson. "I love his leadership. What he brings to the table. The way that he coaches the dancers. The way that he choreographs. And I love his energy."
He goes on to say, "TBT was my first company when I was 17 so I came into the company very young and I learned so much from Ben. He gave me my first leading role when I was 18. So, I really wanted to dance under the direction of Ben Stevenson again. I wanted to do his ballets again and I also wanted to work with the staff again. So, that was the reason I came back and I am very happy to be back."
He also points out that his decision to leave TBT was mostly to explore what was out there and learn from various directors and choreographers in Canada and then Europe.
Silva admits that he was speechless when Stevenson approached him about creating a piece for the company. He says up until then he had only set work on the school and second company. "He really took me by surprise. In a year and a half I had created three to four pieces so I suppose I showed him that I was capable of doing this. When he approached me he said 'I think you are ready for the company' and I was like WHAT, but I was obviously extremely grateful and I still am and forever will be because I get to show what and who I am as a choreographer."
The title, 11:11, came to Silva while he was working in Germany and has remained in the back of his mind so when Stevenson came to him about doing a piece Silva knew exactly what he was going to call it. The 25-minute work features 22 dancers (11 men and 11 women) and is broken up into nine movements. The work also includes costumes by Brazilian native Sonia Roveri, which Silva says fits the theme with its blending of colors and concepts that connect with the movement.
As for his experience in the studio with the dancers Silva says, "It was very collaborative. I would come in with a short phrase and allow the dancers to collaborate and let their bodies move in a way, and if I like the way they move or the way they approached it then I loved to put that in."
He continues, "I am a very collaborative choreographer. I think it makes the work much more interesting because the movement comes in the moment and it becomes real and natural, and that's also what 11:11 means to me. 11:11 is in the moment. 11:11 is infinite. And so it becomes this beautiful experience for me to be able to have dancers that are opened as well. It becomes a natural and interesting approach and I am always content with how things turn out."
When it comes to organizing movement ahead of time Silva says he prefers to do it at home in his back yard or at the park where he can garner inspiration from everything around him in nature. He also says that he used to try to write everything down, but now prefers not to prepare too much before coming into the studio with the dancers. "This challenges me to accept that it will be O.K in the end and that I will come up with something special out of that."
Going back to the title Silva says that for some people it may mean nothing, but for others it could have many different meanings. In this work the nine movements represent nine experiences Silva has had with 11:11. As for the audience he says, "I hope that people can understand perhaps what it means or take away something for their future reference as 11:11 or just have some kind of perspective of 11:11."
He adds, "It's important that each audience leaves the theater hopefully inspired and intrigued by their next experiences with 11:11."
During our phone conversation Silva was also very opened about the struggles that come with choreographing any type of work. The main one being what happens when a choreographer gets stuck. When this happened to Silva he says he would remind himself of his intentions for the work. "When I am struggling and stuck I have to remember what the intention behind it is. What is it that I want to come through? And the moment that I think about that the feeling is what actually gives me movement."
He confesses, "It's not easy to do, but I have to trust that intuition and just let it flow. And the moment we trust it, that's when it flows better than you ever thought it would."
This preview was originally posted on TheaterJones.com.
Preview: Texas Ballet Theater's Cleopatra
September 27, 2018 Local Dance News, Published, UncategorizedAndre Silva, Bass Performance Hall, Ben Stevenson, Carolyn Judson, Cleopatra, Dallas Dance, Dallas Dance Events, Fort Worth, Fort Worth Symphony Orchestra, Miguel Harth-Bedoya, Texas Ballet Theater, Texas Ballet Theater Schoolkddance
Carolyn Judson on her role as the Queen of the Nile in Texas Ballet Theater's production of Cleopatra in Fort Worth this weekend.
Carolyn Judson as Cleopatra. Photo: Steven Visneau
Fort Worth — With her girl-next-door looks and sweet disposition, Carolyn Judson is the obvious choice to play the female lead in story ballets such as Giselle, Cinderella, Romeo and Juliet and The Nutcracker. In addition to her physical attributes, Judson's penchant for softer, more pliable body positions, delicate foot work and beautifully drawn out leg extensions also make for easy casting decisions. But this weekend she will be trading in these sweet roles for something more seductive in Texas Ballet Theater's (TBT) Cleopatra at Bass Performance Hall in Fort Worth.
Transforming into this powerful temptress has been a fun challenge for Judson who also played the part in TBT's 2009 production of Cleopatra. But because back then she only got the role last minute, Judson says she was more focused on learning the steps than working on the characterization, something she hopes to rectify this time around.
"This time around I really wanted to try and capture that strong woman human quality that I think is Cleopatra," Judson says.
As to how she accomplished this task Judson says timing both in the literal sense and where she is artistically speaking played a pivotal role in the rehearsal process. "Well, for one thing I have had more time to devote to the character. I also have more experience to pull from and richer character development than I did years ago, which has really helped because this role is so emotionally draining."
Judson is the type of dancer who learns by doing the movement as it materializes from the choreographer. So, when rehearsing for Cleopatra she says she retains movement best when she is copying what TBT Artistic Director Ben Stevenson is doing alongside her. But when it comes to understanding a certain feeling or emotion, Judson says she will usually watch Stevenson from the front so she doesn't miss any of his nuances.
For this weekend's performance Judson will be reunited with her former Cleopatra partner Andre Silva, whom she says she used to partner with all the time before he left the company only to return a couple of years ago. "Other than doing the sugar plum fairy variation in The Nutcracker last season this is our first full-length ballet together since he has come back, and we're just really excited to be working together again. That we have been building on things that we've experienced in the past 16 years here has made our bond even stronger and we're really enjoying our work together."
Another beautiful bonus of TBT's Cleopatra performance is the live accompaniment provided by the Fort Worth Symphony Orchestra and conductor Miguel Harth-Bedoya. Judson points out that the majority of rehearsals have been to recorded music and it wasn't until two weeks prior to the show that the conductor came to the studio to lay the music out on the piano.
"This way he can get used to our tempos and we can get used to doing something that's not going to be always the same." She adds, "This is important because it does takes quite a bit of rearranging your brain when dancing to live music since our minds kind of go on autopilot with a recording a lot of the time. So, it's really helpful for us to have those two weeks before to get used to the music for both the dancers and the conductor." She also notes that the company will not get to perform with the full orchestra until the Wednesday before the show.
A fun fact I learned about Judson is that during performances with live music she likes to find moments in the show to make eye contact with the conductor. "I think there are times when it's appropriate to look at the conductor during a performance. For example, whenever I'm taking a bow I end up looking at him as sort of a thank you because this is such a nice collaboration between musicians and artists and so it's much more enjoyable for us to feel like we are all working on the same project and not just two separate entities." She adds, "I don't look at the conductor all the way through the ballet, but I think there are times when you can really bring him in to the action on stage."
It's hard to talk to any professional ballet dancer nowadays without bringing up the lawsuit against New York City Ballet and Principal Chase Finlay and other scandals involving the company over the last year. With this in mind I wanted to know what steps, if any, has TBT taken to ensure that its dancers and staff feel safe and supported. "Actually at the end of last season we did have a company come in and work with us on just being mindful of how we talk to each other and how we treat each other. We also have our school here in the same building and just being aware of treatment of the children as well especially since some of the company dancers are also teachers at the school."
She adds, "So yes we did go through a program with tests and educational information just to make sure that everyone is on the same page. And we are so lucky that we have a really great working environment here and we all consider each other family and in fact most of us are married to other people in the company."
You can see Judson in Texas Ballet Theater's production of Cleopatra Sept. 28-30 at Bass Performance Hall in Fort Worth.
Preview: Princess in Training, Texas Ballet Theater's Cinderella
August 24, 2018 Local Dance News, People and Places, Published, UncategorizedAT&T Performing Arts Center, Ben Stevenson, Cinderella, Dallas Arts District, Dallas Dance, Dallas Dance Events, Paige Nyman, Texas Ballet Theater, TheaterJones.com, Winspear Opera Housekddance
Paige Nyman on becoming a princess for Texas Ballet Theater's production of Cinderella this weekend in Dallas.
Dallas — Every young girl dreams of one day becoming a Disney princess, including Texas Ballet Theater's Paige Nyman who will get to live out her childhood fantasy in the company's production of Cinderella at the AT&T Performing Arts Center's Winspear Opera House Aug. 24-26. "I have always related most to Belle and Cinderella," says Nyman, who is celebrating her 10th season with TBT. "I relate to Belle because I love reading books too, and I have always admired Cinderella's resiliency and her ability to find hope and make the best in every situation."
Paige Nyman of TBT. Photo: Steven Visneau
Nyman started dancing at the age of 3 in her hometown of Kansas City. At 16, she received a scholarship to the Harid Conservatory where she trained under Svetlana Osiyeva, Oliver Pardina and Victoria Schneider. Nyman joined TBT in 2009 and since then has performed roles in Ben Stevenson's Dracula, Sleeping Beauty, Peer Gynt, Romeo and Juliet, Cinderella and Four Last Songs, among others. She has also performed in George Balanchine's Allegro Brilliante, Glen Tetley's Voluntaries, Jiri Kylian's Petite Mort, Harold Lander's Etudes and the title role in Carlos Acosta's Carmen.
This production marks Nyman's first time performing a lead role in one of Stevenson's acclaimed story ballets, an incredible opportunity Nyman says she is more excited than nervous about. "This is such a fun legacy to be a part of and I am enjoying finding who I am in the character. Cinderella has this wonderful innate sense of hope, joy and happiness, but also experiences deep hurt and sadness and it has been a fun challenge to learn how to internalize everything."
In rehearsals the dancers work equal parts on technique and acting, which Nyman says is really what separates Stevenson's story ballet from other ballet companies. "He just understands what audiences want to see and what we, the dancers, want to do. He is always finding new ways to keep the story ballets fresh."
These story ballets are just one of many aspects Nyman enjoys about being a part of TBT. "This is one of the most welcoming places I have ever encountered. From the start I was afforded the chance to work closely with the other company members and choreographers and it has been a wonderful journey for me these past 10 seasons." She adds, "Ben continues to stretch our boundaries while also staying grounded in his story ballets and I just feel at home here."
Nyman admits that the road to becoming Cinderella isn't all tutus and tiaras. "Dancing with inanimate object like a broom can be hard. It doesn't reason with you," she jokes.
Nyman is referring to the kitchen scene where she is imagining she is at the ball dancing with a handsome prince when in reality she is covered in filth dancing with a broom. This dance segment led to one of Nyman biggest questions about the process, which was how to keep the role authentic through these quick emotional changes. She explains, "I wanted to know how to create a natural transition from the high of imagining I am at the ball to suddenly realizing I am at home dancing with a broom."
Nyman has also had to shift her mindset from being one of many dancers in the corps to taking center stage. "There's this wonderful sense of camaraderie in the corps because we all have the same goal, which is to be the picture frame for the lead dancers. But when you transition into doing a lead role you have to step outside that mindset of amenity. You have to face the fact that the goal is that everyone is looking at you, and maintaining that level of engagement is a beautiful responsibility."
And like all dancers Nyman has a ritual she does before every performance that might sound kooky to some, but continues to work in her favor. "In the dressing room I have to put my left eyelash on first, my left earring and my right pointe. That is my secret recipe."
The Texas Ballet Theater season also features:
Ben Stevenson's Cleopatra (accompanied by Fort Worth Symphony Orchestra) at Bass Performance Hall: Sept. 28-30, 2018
Ben Stevenson's The Nutcracker at Winspear Opera House, Nov. 23-25 and Nov. 30-Dec. 2, before transitioning to Bass Performance Hall Dec. 7-9; Dec. 13; Dec. 15-16; Dec. 20-24. The Nutty Nutcracker, an unconventional take on the holiday classic, will be at Bass Performance Hall Dec. 14.
The first mixed repertoire, March 1-3, 2019, at Bass Performance Hall features the work of two renowned choreographers, William Forsythe and Christopher Bruce in In the Middle, Somewhat Elevated and Ghost Dances, respectively. TBT dancer Andre Silva will share his contemporary choreography in a world premiere called 11:11.
A collection of works by TBT Artistic Director, Ben Stevenson, O.B.E., is on the bill for the second mixed repertoire and includes Four Last Songs, Twilight, Esmerelda (pas de deux only) and L. The pieces will be performed at Bass Performance Hall March 29-31, 2019.
Preview: Making Moves, AKA: Ballet
July 26, 2018 Local Dance News, People and Places, UncategorizedAdriann Aquirre, aka: ballet, Albert Drake, Alex Danna, Alyssa Harrington, Amanda Fairweather, Avant Chamber Ballet, Bruce wood, Bruce Wood Dance, Carter Alexander, Chamberlain Performing Arts, Chamberlain School of Ballet, Dallas Black Dance Theatre, Dallas Dance, Dallas Dance Events, Dallas DanceFest, Dallas Dances, Hailey von Schlehenreid, Kaitlyn McDermitt, Kathy Chamberlain, Riley Moyano, Royale Ballet Dance Academy, Texas Ballet Theater, the Latino Cultural Center, Wanderlust Dance Projectkddance
AKA: Ballet offers up a unique experience for both viewers and performers at the Latino Cultural Center tomorrow night.
From left: Carter Alexander, Hailey von Schlehenried, and Albert Drake of aka: Ballet. Photo: AKA: Ballet
Dallas — Hailey von Schlehenried is one of many local choreographers reaping the benefits of the changes that have been made to the Dallas dancescape over the last several years. Von Schlehenried first caught the public's eye at Avant Chamber Ballet's 2017 Women's Choreography Project (WCP) and then again at Dallas DanceFest (DDF) later that summer. She has also recently been asked to set a piece for Wanderlust Dance Project, which marks another first for the blossoming artist.
It was at DDF where von Schlehenried met Carter Alexander (associate artistic director for Chamberlain Performing Arts) who asked if she would be interested in doing a collaboration the following summer. One thing lead to another and von Schlehenried is currently in the final stages of two new works, which will be presented alongside new pieces by Alexander and Albert Drake of Bruce Wood Dance at AKA: Ballet's premiere performance at the Latino Cultural Center this Friday.
The performance will feature many familiar dancers, including Kaitlyn McDermitt, formerly with Avant Chamber Ballet; Alyssa Harrington, formerly with Dallas Black Dance Theatre; Alizah Wilson, Adrian Aquirre of Bruce Wood Dance; and Riley Moyano, Amanda Fairweather and Alex Danna of Texas Ballet Theater.
"We are so happy to have these dancers and they have been working so tirelessly in preparation for the show," von Schlehenried says.
For this performance von Schlehenried has created two pieces: a classical pointe number and a more contemporary work. She describes the pointe work as fluid and free, and in contrast the contemporary work is visually darker, which meshes well with its theme about sinning. "I was really inspired by the music for the contemporary piece which is really centered on the idea of sin. The dancers pass around this scarf throughout the dance, which represents this idea of passing off our sins to someone else," von Schlehenried says. "And the pointe piece is all about letting go and getting the dancers outside their classical boxes so that they appear to be surrendering to a situation."
Von Schlehenried says her dancers played a big part in the creative process for both pieces. "I really wanted this to be a collaboration so I had the dancers brainstorm with me, which really makes them feel like they have a say and also relaxes the dancers. They all possess this amazing creative energy which helped make the process so much easier."
Von Schlehenried is especially close with McDermitt who has had a role in almost every work she has put out since 2013. She even goes as far as calling McDermitt her lucky charm. "It just seems that every time I am working on a special project Kaitlyn is always in it. She is such a lovely person and is so into what she is doing, which really makes her a positive force for me and the arts community."
McDermitt has definitely been paving a way for herself in the Dallas arts scene with gigs, including a couple of seasons with Katie Cooper's Avant Chamber Ballet, performances at local festivals such as Plano Dance Festival and DDF as well as partaking in local arts events, including Dallas RAW and AKA: Ballet. She also teaches at Royale Ballet Dance Academy in Dallas and is a member of Ballet North Texas. She graduated from Southern Methodist University's Meadows School of the Arts with a BFA in dance performance in 2012.
You can see McDermitt and the other performers in von Schlehenried's, still untitled, works this Friday evening at the Latino Cultural Center. Tickets are available at www.ticketweb.com. You can make a donation to the show at www.fracturedatlas.org.
Dance Council of North Texas Announces Line Up For Dallas Dances, Formerly Dallas DanceFest
June 25, 2018 Local Dance News, Uncategorized8&1 Dance Company, Avant Chamber Ballet, Booker T Washington High School for Performing and Visual Arts, Bruce Wood Dance, Chamberlain Performing Arts, Dallas Ballet Company, Dallas Black Dance Theatre, Dallas Dance Events, Dallas DanceFest, Dallas Dances, Dallas Morning News, Dallas Youth Repertory Project, Dance Council of North Texas, Danielle Georgiou Dance Group, DBDT ENCORE!, Impulse Dance Project, Kathy Chamberlain, KJ Langford Dance, Manuel Mendoza, Moody Performance Hall, Rhythm in Fusion Festival, SMU Meadows Dance Emsemble, Southern Methodist University's Meadows School of the Arts, Texas Ballet Theater, Texas Ballet Theater Schoolkddance
Texas Ballet Theater at Dallas DanceFest 2017. Photo: Sharen Bradford/The Dancing Image
The save the dates are out Dallas dance peeps!
I was starting to wonder if Dallas DanceFest was even going to happen this year, but my reservations were laid to rest last week when the Dance Council of North Texas announced on its Facebook page the dance companies that will be participating in this year's festival, which has been strategically renamed Dallas Dances.
The festival has received criticism from the beginning about its focus on mainly local dance companies and for its inclusion of pre-professionals from the Dallas-Fort Worth area. Local Dance Critic Manuel Mendoza touched on these sore points in his review of last year's Dallas DanceFest, which boasted the question "Why doesn't Dallas have the dance festival that it deserves?"
In his review Mendoza basically says that by including the pre-professional dance studios, high schools and university programs in the area the festival is actually doing a disservice to the more established dance companies in the area.
He writes, "North Texas professional companies are the ones putting the area on the dance map even as they struggle to find suitable places to perform in a town starved of small, affordable venues. They are the groups competing for public and private grants so they can aim high, so they can someday pay their dancers something close to what their New York counterparts earn."
He continues, "Most important, they are the ones doing the most complex, interesting work."
What I think people are overlooking is that the mission of the Dance Council is not to exclusively support and promote just the professionals in the area, but also the up and coming professionals that stem from the local studios, performing arts schools and universites. And I think this is where the mission of Dallas DanceFest starts to get murky. Is the festival suppose to only highlight the professionals in the area? Or is its main target the young professionals and giving them a unique performance opportunity?
Apparently festival organizers have decided it's a little bit of both if this year's line up is any indicator.
I think the Dance Council has come to realize that they should stick true to their overall mission, which is fostering and promoting every type of dance and dancer in the Metroplex and I believe the name change better reflects the vibrancy and diversity of the Dallas dance community.
With that said, here are the dance companies performing at this year's Dallas Dances:
Ballet Dallas, formerly Contemporary Ballet Dallas
Ballet Frontier of Texas
Big Rig Dance Collective
Booker T Washington High School for Performing and Visual Arts
Brandi Coleman Dance
Chamberlain Performing Arts
Dallas Ballet Company
Dallas Youth Repertory Project
Danielle Georgiou Dance Group
DBDT: Encore!
8&1 Dance Company
Fort Worth Academy of Fine Arts
Jordan Fuchs Dance
Kathak Rhythms
KJ Langford Dance
kNOwBOW Dance
ImPULSE Dance Project
Rhythm In Fusion Festival
Six 0'Clock Dance Theatre
SMU Meadows Dance Ensemble
Texas Baller Theater School
Texas Ballet Theater
Tejas Dance
Vanditha Mohan
Dallas Dances will take place Sept. 1-2 at Moody Performance Hall in the Dallas Arts District!
More information is available at www.thedancecouncil.org.
Favorite New Dance Works in 2017
December 29, 2017 Local Dance News, People and Places, Published, UncategorizedAlbert Drake, AT&T Performing Arts Center, Avant Chamber Ballet, Bombshell Dance Project, Bridget L. Moore, Bruce Wood Dance, Charles Santos, Contemporary Ballet Dallas, Dallas Arts District, Dallas Black Dance Theatre, Dallas Dance, Dallas Dance Events, Dallas Neo-Classical Ballet, Danielle Georgiou, Danielle Georgiou Dance Group, Dark Circles Contemporary Dance, Emily Bernet, Joseph Thalken, Joshua L. Peugh, Joy Atkins Bollinger, Justin Locklear, Katie Cooper, Kimi Nikaidoh, LakeCities Ballet Theatre, Sean J. Smith, Shanon Tate, Taylor Rodman, Texas Ballet Theater, TheaterJones.com, TITAS, Winspear Opera Housekddance
Donkey Beach from Danielle Georgiou Dance Group. Photo: Mark Lowry
It has been another eventful year for dance in Dallas. TITAS brought a whopping 11 national and international dance troupes to Dallas in 2017, including Bridgman Packer Dance, Doug Varone and Dancers, Ballet BC and Malpaso Dance Company. Dallas dance institutions Texas Ballet Theater and Dallas Black Dance Theatre (DBDT) tie for second with five programs each. DBDT also experienced its first season without founder Ann Williams at the helm and as DBDT's programs have shown new Artistic Director Bridget L. Moore is not afraid to take news risks while also respecting the company's modern roots.
And as for the smaller companies, Bruce Wood Dance and Dark Circles Contemporary Dance both had stellar years with numerous premieres by special guests and their own company members. Avant Chamber Ballet is still pushing the boundaries of ballet with its Women's Choreography Project while both Dallas Neo-Classical Ballet and Contemporary Ballet Dallas continue to build stronger and more consistent works.
We also saw the continued evolution of local dances festivals here in Dallas, including the fourth annual Dallas DanceFest, the fourth annual Rhythm in Fusion Festival and the second annual Wanderlust Dance Project. We have also seen many of the young dance professionals in the area forming their own dance companies, projects and movements, including Emily Bernet and Taylor Rodman of Bombshell Dance Project, Adrian Aquirre who is founder of Uno Mas Dance Company and Madison Hicks who is the founder of Moving Forward Dance Project.
So, you can see progress has been made in Dallas, but going into 2018 funding and tickets sales remain at the forefront of everyone's mind no matter the size of your dance company. We have seen some companies cut costs recently by looking in-house for new choreographic ideas as well as seeking lesser priced venues for performances. I expect to see more of this happening in 2018 as well as companies getting more creative with their marketing, including social media, to promote their upcoming shows.
And as I reflect over the last year I can't help but notice that once again most, if not all, of the dance premieres I got to preview were produced by some of my favorite local dance people, including Joshua L. Peugh (Dark Circles Contemporary Dance), Danielle Georgiou (Danielle Georgiou Dance Group), Sean J. Smith (Dallas Black Dance Theatre), Emily Bernet and Taylor Rodman (Bombshell Dance Project) and Albert Drake (Bruce Wood Dance). I love the uniqueness these artists bring from their training, travels and artistic influences to their own creative processes; but the one thing they all have in common is they all treated me to a truly memorable experience, which is why they, along with a few others, have made it on my list of favorite new works by local choreographers.
In no particular order, here are my favorite new works made locally in 2017:
Donkey Beach by Danielle Georgiou
Nothing made me laugh as much as Danielle Georgiou Dance Group's (DGDG) Donkey Beach did back in June as part of the AT&T Performing Arts Center's Elevator Project. Inspired by the beach movies of the 1960's, Georgiou along with Justin Locklear (music and lyrics) and Ruben Carrazana (script) used live surf rock music, popular dance moves like The Twist and The Mashed Potato as well as a slew '60s slang to transport audiences to one amazing beach party. And as only DGDG can do, the cast kept us laughing with their catchy song lyrics and quick-witted comebacks while also drawing our attention to controversial topics such as sexual orientation and gender neutrality in subtle and thoughtful ways.
Meant to be Seen from Bombshell Dance Project. Photo: Lynn Lane
Meant to Be Seen by Emily Benet and Taylor Rodman
In their Dallas debut this fall, Emily Bernet and Taylor Rodman of Bombshell Dance Project showed audiences what they are all about in what I believe to be their signature work, Meant to be Seen. In this eight-minute duet the former Dark Circles Contemporary Dance members relied on their instincts and experimental partnering as well as classical and modern dance stylings to show audiences that female dancers are also capable of handling the more aggressive and robust dance moves generally associated with male dancers. Performing to text and music by their movie icons Marilyn Monroe and Aubrey Hepburn, Bernet and Rodman cleverly added a hip, feminine vibe to balance out the more powerful movements in the piece.
Hillside by Joy Atkins Bollinger
Bollinger proved not to be a one hit wonder with her second visually moving work, Hillside, which premiered at Bruce Wood Dance's RISE performance back in November. Like her first work Carved in Stone, in Hillside Bollinger relied heavily on her artistic eye, including stunning lighting effects and three-dimensional architectural shapes as well as a large cast to bring to life her narrative of a woman's journey through the ups and downs of life. Bollinger accomplished this feat with long, swooping body movements, authentic human connections and a sloping 32-foot-long 5-foot-wide replica of a hillside. Kimi Nikaidoh also gave a masterfully performance as the lead character with her unyielding body control and raw display of emotions.
HALT! by Joshua L. Peugh
Peugh returned to his light-hearted roots with plenty of finger jabs, pelvic thrusts and leg twitches in HALT!, part of the Dark Circles Contemporary Dance's Spring Series: Bleachers last May. Inspired by watching the fencing competition at the 2016 Summer Olympics in Brazil, Peugh took common fencing techniques such as lunges, attacks and advancements and added in his signature loose-limbed jumps, heavy walks and primal positions to put a modern spin on this centuries old sporting event. The matching white outfits and fencing masks added an air of mystery, which only heightened the viewers' anticipation.
Albert Drake rehearsing Chasing Home for Bruce Wood Dance. Photo: Brian Guilliaux
Chasing Home by Albert Drake
The Bruce Wood Dance company member has found his groove as a choreographer if his latest work, Chasing Home, which was part of the company's Journeys performance last June, is any indication. With an original score by Joseph Thalken, the work focused on the communal acts of a wedding, including the after party featuring the dabke, a Middle Eastern dance, as well as a friendly game of soccer to represent the day-to-day activities of those currently living in refugee camps. Drake incorporated a slew of dance styles, including Graham technique, soccer drills, B-boying, classical ballet and Irish step dance. The most poignant moment in work came from Emily Drake and David Escoto. The couple's swooping arm and leg movements and nuanced gesturing were clearly in Wood's style, but the vulnerability and sensuality present in the couple's partnering was uniquely Albert Drake.
Interpretations by Sean J. Smith
Last February, Dallas Black Dance Theatre (DBDT) company member Sean J. Smith was tasked with putting together a work highlighting the company's 40 years of dance innovation and community outreach, which was then presented at DBDT's annual Cultural Awareness Series. With a dancing background that includes jazz, tap, ballet, modern and classical, Smith incorporated all of these styles along with video and audio recordings that featured DBDT alums and faculty members to create Interpretations. The choreography flowed seamlessly from slow and methodical to fast and daring with an emphasis on musical accents and individual showmanship. I personally enjoyed the big band dance section at the end in which the men of DBDT defied gravity with numerous leaps, turns and foot slides.
Somewhere in Between by Shanon Tate
Shanon Tate's depiction of the relationship between sisters in Somewhere in Between at LakeCities Ballet Theatre's Director's Choice last spring resonated strongly with me. Tate beautifully captured the complex nature among sisters in a number of poignant duets against a three-dimensional floral stage setup designed by Tom Rutherford. The familiar chords of Antonio Vivaldi played through the speakers as the three couples pulled, twisted and fell away from another while also engaging in a number of tender embraces.
This 2017 in dance review was originally posted on TheaterJones.com.
Free Dance Performances at NorthPark!
December 1, 2017 Local Dance News, People and Places, Uncategorized8&1 Dance Company, Anita N. Martinez Ballet Folklorico, Austin Sora, Avant Chamber Ballet, Bombshell Dance Project, Booker T. Washington High School for the Performing and Visual Arts, Bruce Wood Dance, Chamberlain School of Ballet, Colby Calhoun, Collin County Ballet Theater, Contemporary Ballet Dallas, Dallas Ballet Company, Dallas Black Dance Academy Senior Performing Ensemble, Dallas Black Dance Theatre, Dallas Dance, Dallas Dance Events, Danielle Georgiou, Danielle Georgiou Dance Group, Dark Circles Contemporary Dance, David Escoto, Emily Bernet, Holiday Dance Events, Joshua L. Peugh, Kathy Chamberlain, Kirt Hathaway, Mistletoe Magic, NorthPark Mall, Park Cities Dance, Taylor Rodman, Texas Ballet Theater, Texas Ballet Theater School, The Ballet Conservatorykddance
Austin Sora and David Escoto in Bruce Wood Dance's Mistletoe Magic. Photo: Lynn Lane
Around the Holidays the NorthPark Mall in Dallas turns into a zoo thanks to the upscale mall's unique holiday attractions which include Santa Claus, the trains and Sights and Sounds of the Season, which is a FREE performance series featuring the musical and movement stylings of schools, churches, synagogues and community and professional dance troupes from around North Texas. The performance series runs Nov. 28 through Dec. 22nd and the Dillards' Court and North Court and again this is FREE!!!
With two little ones at home I am well versed with the trains and Santa Claus attractions at the mall, but I am a little embarrassed to admit that I have never stopped to watch any of the dance performances presented by the many well-known professional and pre-professional companies in the area. That is going to change this year especially since the only way to see Bruce Wood Dance's Mistletoe Magic will be through this performance series. (Bruce Wood Dance performs tomorrow at 1pm in the North Court area.)
Looking at the performance line up online, I am amazed with the number of dance companies both professional and pre-professional that will be presenting in these 30-60 time slots as well as the variety of movement styles that will be showcased. I mean this Saturday alone starting at 10am you can catch some of the most popular names in the Dallas dance community, including 8&1 Dance Company, Anita N. Martinez Ballet Folklorico, Booker T. Washington High School for the Performing and Visual Arts, Bruce Wood Dance, Dark Circles Contemporary Dance, Danielle Georgiou Dance Group and Contemporary Ballet Dallas.
Dark Circles Contemporary Dance in Les Fairies. Photo: Chadi El-khoury
After checking in with some of these companies on social media, I can tell you that Dark Circles Contemporary Dance will perform Joshua L. Peugh's Les Fairies as well as a section of a new work that Peugh is planning to introduce in the spring. OK! that alone has me hooked! Danielle Georgiou Dance Group will also give us a sneak peek of a new creation and perform Colby Calhoun's Bedtime Stories. And Contemporary Ballet Dallas will perform to some holiday classics along with the school's student ballet, tap and hip hop youth ensembles.
Colby Calhoun's Bedtime Stories. Photo courtesy of Danielle Georgiou Dance Group
And while I have already included a link to the full line up, I wanted to pull out some special dates for all you dance lovers out there so you can go ahead and mark your calendars:
Dallas Black Dance Theatre Academy Performance Ensembles
The Hockaday School Dance Department
Texas Ballet Theater Dallas School
Collin County Ballet Theatre
Chamberlain School of Ballet
The Ballet Conservatory
I hope to see you all there!!! Get there early to find a parking spot and claim a front row seat!
Q&A: Stephanie Rae Williams, Dance Theatre of Harlem
October 26, 2017 Local Dance News, Published, Uncategorized410 Line Dancers, Allen High School, Alpana Kagal Jacob, Ann Richards Middle School, Arga Nova Dance, Beckles Dancing Company, Bruce Wood Dance Company, Chamberlain School of Ballet, Christie Sullivan, Dallas Black Dance Theatre, Dallas Dance, Dallas Dance Events, Dance Council Honors, Dance Council of North Texas, Dance Theatre of Harlem, Granville Arts Center, Images Contemporary Dance Company, Jose Limon, Kathy Chamberlain, Malana Murphy, Momentum Dance Company, Natalie Skelton Award, Patty Granville, South Dallas Cultural Center, South Dallas Dance Festival, Stephanie Rae Williams, Sweatt Dallas Dance Festival, Sydney Winston, Texas Ballet Theater, TheaterJones.comkddance
Stephanie Rae Williams of Dance Theatre of Harlem returns home for the Sweatt Dallas Dance Festival and the Dance Council Honors this weekend.
Stephanie Rae Williams. Courtesy of Dance Theatre of Harlem
Dallas — As the oldest of six siblings, Stephanie Rae Williams says her parents had to get creative when it came to financing her love of dance, especially classical ballet. Williams credits her mom with discovering the South Dallas Dance Festival scholarship, which also happens to be where she will be performing this weekend, along with attending the Dance Council Honors (DC Honors) where she will receive the Natalie Skelton award for artistic excellence by the Dance Council of North Texas. "My mother is such an amazing woman and she just wanted me to have all these different opportunities in dance and so, she was really the one who sought out different scholarships that were available and helped me apply for them," Williams says. Her mom's hard work paid off in 2005 when Williams was awarded the South Dallas Dance Festival scholarship, which she used to attend Julliard's summer intensive that same year. The scholarship also gave Williams the opportunity to perform at the SSDF, which was a big deal for the 16 year old at the time. "I think I performed a classical piece, which is nothing like the solo I will be performing this time."
The event, newly renamed Sweatt Dallas Dance Festival in honor of Mary Lois Sweatt (1939-2016), runs Oct. 27-28 at Ann Richards Middle School and includes performances by Williams, Sydney Winston (2017 SDDF scholarship recipient), Beckles Dancing Company, 410 Line Dancers, Images Contemporary Dance Company and Momentum Dance Company, just to name a few. The schedule also features a master class with former Bruce Wood Dance Company member Christie Sullivan, a youth dance showcase and an industry roundtable. The event is made possible by Arga Nova Dance with the support of Ann Richards Middle School and South Dallas Cultural Center.
For SDDF, Williams will be performing José Limón's Chaconne, courtesy of Dance Theatre of Harlem (DTH). Out of the four casts, Williams was the only female chosen for the solo, which she describes as modern-based and challenging, yet extremely satisfying to perform. "There's something really gratifying about the way Jose Limon choreographed this piece. It feels like you evolve as a human being throughout it and by the end of it you're like dead, but alive at the same time."
Growing up in Allen, Texas, Williams started her dancing at Texas Ballet Theater School (formerly Dallas Dance Academy) when she was 8 years old. She grew up training in ballet, jazz, lyrical, tap and hip-hop with Joyce Seaborne Bader, Lyndette Bader and Fiona Fairrie. After graduating from Allen High School, Williams joined Ben Stevenson's Texas Ballet Theater for a season before heading to New York City. There she worked with Desmond Richardson and Dwight Rhoden at Complexions Contemporary Ballet before joining DTH's ensemble company in 2010. After DTH returned from hiatus with Virginia Johnson at the helm in 2012, Williams was then asked to join the revived company and has spent the last five years here gaining more confidence in herself and her craft. "It's the first company that I was able to make my home and really feel like I could grow and be nurtured there. What's interesting is that half that dancers that came with us to Dallas in 2014 have moved on and yet I am still here. It's surreal being one of the veterans that the new company members now come to show them the ropes."
When asked if she ever gets the urge to explore opportunities outside of DTH, Williams responds, "Yes, I do sometimes get the urge to explore opportunities outside of DTH, and I have done that with Virginia's approval, but DTH remains my home base." Williams mentions that she just completed four shows with the Seattle-based Arc Dance Company, which she says Johnson was nice enough to allow her to do. "It a lot of fun because for once I wasn't the seasoned dancer. I was the new girl and I feel like it's really important to challenge yourself and not get too comfortable anywhere, and so I am really thankful I have a director that encourages these types of opportunities."
As far as what Williams is looking forward the most at SDDF, she says, "Just mingling with everyone there and also seeing so many smaller dance companies from professional to the local high schools perform. And because it's not just the professionals performing this really does feel like the whole South Dallas community is coming together to celebrate dance throughout these three performances." Williams adds that she is also looking forward to seeing the kids attending the festival as she believes there are not enough black dancers for them to look up to in the industry today, especially in classical ballet. "I was the only black girl in my entire dance school, but I just thought that this was the norm. It wasn't until I walked into DTH to audition that I noticed there was this whole other side missing from my dancing because at DTH when we dance there's this whole other type of soul that we bring to the stage."
While in town Williams will also be attending the DC Honors where she will receive the Natalie Skelton award for artistic excellence. The event takes place at Dallas Black Dance Theater on Sunday afternoon and will include food, a silent auction and performances by local companies and scholarship recipients. In addition to Williams, this year's honorees also include Kathy Chamberlain, Patty Granville, Alpana Kagal Jacob and Malana Murphy. As far as Williams' reaction to the award news she says, "I was both humbled and excited when I heard I would be receiving this honor. It's just really nice knowing that I have so much support here in Dallas and it means so much to me to be recognized in this way."
» For more information about Sweatt Dallas Dance Festival, please visit www.becklesdancingcompany.org, and for more information about the Dance Council Honors, please visit www.thedancecouncil.org
This article was originally posted on TheaterJones.com.
May 5, 2016 Local Dance News, People and Places, Published, UncategorizedBass Performance Hall, Ben Stevenson, Carl Coomer, Dallas Arts District, Dallas City Performance Hall, Dallas Dance, Fort Worth, Glen Tetley, Lambarena, Leticia Oliveira, Ohad Naharin, Silk Road Ensemble, Texas Ballet Theater, Texas Dance events, TheaterJones, TheaterJones.com, Val Caniparoli, Without Borders, Yo Yo Makddance
Texas Ballet Theater expands its stylistic range in Val Caniparoli's new work Without Borders, part of the company's First Looks Series in Dallas this weekend.
Texas Ballet Theater rehearsing Val Caniparoli's Without Borders. Photo: Ellen Appel
It's not a coincidence that Texas Ballet Theater principal dancer's Leticia Oliveira and Carl Coomer look like a pair of figure skaters just skimming the floor in a series of petite traveling lifts in American choreographer Val Caniparoli's new work, Without Borders. "A lot of what I do has been inspired by ice skating or classical ballet or by working with African dance consultants in Lambarena and that has stuck with me over the years," Caniparoli says.
Originally from Renton, Washington, Caniparoli opted for a professional dance career after studying music and theater at Washington State University. He received a Ford Foundation Scholarship in 1972 that allowed him to attend San Francisco Ballet School. He performed with San Francisco Opera Ballet before joining San Francisco Ballet in 1973. He became resident choreographer there, and later with Tulsa Ballet. Today, Caniparoli is one of the most sought after American choreographers in the United States and abroad, having set works on more than 35 dance companies, including the Joffrey Ballet. Caniparoli has also choreographed for many notable Opera houses in the U.S., including Chicago Lyric Opera, San Francisco Opera and the Metropolitan Opera.
Photo: Courtesy of Val Caniparoli
Caniparoli's musical background plays a pivotal role in his creative process and is one of the most appealing aspects of his work. "I have studied music and theater all my life and fell into ballet when I was 20 so, it's natural for me to create movement that is being dictated by the music." I saw this firsthand back in September when I sat in one of his rehearsals with Coomer and Oliveira and later the full company for his piece Without Borders, which will have its world premiere at TBT's First Looks Series May 6-8 in Dallas and May 27-29 in Fort Worth.
Most of the critiques Caniparoli gave to Coomer and Oliveira during rehearsal pertained to their musical timing and movement quality. "You have to fill out every count of the music," Caniparoli tells the couple on one adagio section. "You also have to be very specific when counting the eights. This is a fast eight counts that moves into a slower tempo." This last note was in reference to a particularly tricky lift where Oliveira coiled around Coomer's upper body coming to a stop with her hips settled into the crease of his neck before slowly sliding down his body. Caniparoli switched places a few times with Coomer and Oliveira in order to help them get the right feel of the movement, which he illustrated with subtle head and arm gestures as well as slight weight changes during lifts. I found out later from Caniparoli that it is not unusual for him to get up and demonstrate certain choreography and partnering skills with the dancers he is working with. "I like to be very hands on with the dancers because as a dancer myself I liked working with choreographers who did allow the dancers to have a voice in the process. I learned early on that if you respect the dancers then they will respect you back."
The music Caniparoli has chosen for the piece, a blend of tracks from Yo-Yo Ma and the Silk Road Ensemble's 2013 album entitled A Playlist Without Borders, features a number of ethnic sounds, including African, Irish and Arabic and was also inspiration for the name of the work. "I wanted music with a lot of variety that would then be reflected in the movement as well as the costuming and lighting." While the work doesn't follow a particular theme, Caniparoli says he did use the musical explanations included in the CD, which described how the composers felt about each piece of music, as a basis for the choreography and inspiration for the dancers' personal performances. "You don't have to understand what my intentions were to enjoy this piece. I just want people to love the dancers, music, costuming, lighting and such, and not get too wrapped up in finding the meaning in everything."
He continues, "I was just so inspired by Yo-Yo Ma's ability to connect with all these traditional ethnic instruments and combine them in a unique East meets West way in these ensemble tracks. Whereas Lambarena focused more on war and unrest in other countries, in Without Borders I am trying to connect countries through music in a very uplifting and positive way."
You can experience the music and movement of Val Caniparoli's new work Without Borders for yourself when Texas Ballet Theater performs it at Dallas City Performance Hall this weekend as part of the company's First Looks Series. The program also includes Glen Tetley's Voluntaries and the company's premiere of Ohad Naharin's Minus 16. TBT will repeat the program at Bass Performance Hall in Fort Worth later this month.


text:
Neoserolis arcuata är en kräftdjursart som först beskrevs av Moreira1977.  Neoserolis arcuata ingår i släktet Neoserolis och familjen Serolidae. Inga underarter finns listade i Catalogue of Life.

Källor

Gråsuggor och tånglöss
arcuata


Two years ago I was lucky enough to get given the recipe from Joan's on Third for the chocolate roulade – Joan wrote it for me on a napkin and then showed me how to make it – imagine a charade of how to roll a cake.
Since then I have made up many of these cakes for different occasions – but most of all around Christmas I can't seem to keep up with the demand. Today Rémy asked me to make one for his class party – it's the last day of school – but he wanted me to add lots of mini candy canes – I suspect it's the candy canes he's after, not the cake.
It's the antithesis of the Christmas Cake I have made in a jar – which is dense and full of booze. Well actually this is very light and the booze is optional (but totally encouraged) in the whipped cream filling.
2. Whisk the egg whites until you get soft peaks. Add half the sugar and beat until you get stiff silky peaks. Set aside.
7. Transfer to a rack and cover with damp paper towels. Let stand for 5 minutes, remove towels and cool completely. Loosen edges with a knife.
8. Dust top of cake with cocoa powder and then cover with cloth. Invert onto cloth and removed parchment paper lining from the cake very gently.
9. Whisk cream with confectioners sugar, Remy Martin, and vanilla until it holds stiff peaks.
10. Spread cream over cake and using the cloth to help lift, roll the cake up. Transfer to a platter seam side down and dust generously with cocoa powder. The cake can then be decorated with ganache, chocolate 'bark' and birds (see below) or simply dusted with a little confectioners sugar for snow and whatever you feel in the mood for. Don't you just love the deer in his boa for christmas topping the cake at the top of the post?
I'm totally making this! It's grain free! I'm thrilled. Thanks for sharing.
Yes grain free and totally delicously organic – just for you ; ) Enjoy!
Such a gorgeous buche de noel! I love it!
Chocolate upon chocolate greatness in this holiday cake. My kids would be after the candy too. Then they would certainly dive into the cake.
I've never made one of these masterpieces but have heard about them for so long. Yours is just gorgeous!


In Part I of this project, I cut mitred returns in the cherry crotch slab and joined the three legs to the table top with Domino floating tenons. I then cut and fit five maple dovetail keys.
Due to the way that the wood dried, neither the top nor the legs were particularly flat, so I simply used a sander to make them fair and smooth.
This is an excellent example of how my designs are influenced by the materials I use. The overall size of the materials dictate the dimensions of the piece, and the shape of the live edge and grain patterns influence where cuts are made and where dovetail keys can be used in best effect.
Due to the height, this piece works equally well as a coffee table and a bench.
Check the product page for more details on this coffee table/bench.
That would be interesting as well. However, dark bow ties would not stand out as much.
Chris, how thick are your butterfly inlays and how thick is the slab?
The dovetail keys are about 7/8″ thick, and the slab is about 2-1/4″ thick.
That's amazing. Love the use of the floating tenons.
Thanks, Ray. Mitres are perhaps my favourite place to use floating tenons.
Nice, very nice job Chris.
Can not wait to see you employ some" sliding butterfly" joinery and "half blind bowtie" joinery!
Sad to see what is lost when so many learn to work wood off the internet instead of time honored methods being handed down by Craftsmen/Persons and respected as they should.
As always you are breath of fresh air my Friend!
I think it time I start wearing a bowtie (which gets its name from the BOW tied in the center) that has butterfly's on it.
Is the bowtie that one might wear with a dress shirt structural?


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Naugaja Peer () was a saint whose height was 9 "gaj" which in Indian metric units equals 8 meters and 36 inches or 27 feet. An explanation is that peer was likely surrounded by his nine men making 27 feet rectangular border to save him  His name was Syed Ibrahim Badshah, who is believed to ensure safe journeys and completion of all works in time.

There are many shrines of Naugaja Peer in the Punjab region which form part of Punjabi folk religion.
The shrine is regularly visited by passers by and from people from the Punjab region.

History
Baba Naugaja Peer was originally from Iraq and stayed in Kalyana village in Haryana near Shahabad Markanda, Kurukshetra. Naugaja Peer's shrine (30.0936126N 77.809875E) is situated on National Highway-1 in India near the Punjab-Haryana border. A notable feature of the shrine is it houses a Muslim saint's tomb and a Hindu Shiva temple. People go to both places and ask for their wishes.

Baba Naugaja Peer lived in Shahbad district of Haryana. There is a historic bridge called Naudara (nine lane bridge) near his tomb which is a declared tourism site by the Haryana government.

Lord Sheshnag is said to have once appeared at the site of Naugaja Peer. During 1881, Baba Tara Singh Ji was the head of the shrine who descended into Samadhi  in 1911. In 1954 Mata Sharda Devi headed the shrine who descended into Samadhi in 2008. The Peer Shrine was renovated with brick walls during 1933-34 by a British officer. Vinay Shukla is in charge of maintenance since 1984.

Worship
The shrine is venerated for safe journeys. Besides chaddar (cloth) and incense sticks, devotees offer wall clocks and watches, which are considered as a sign of good luck at the tomb of Naugaja peer.

Many Politicians and passengers offer prayer at this holy place. This is also a must visit place for taxi drivers from north and south India.

Dogs and cows enjoy their daily food consisting of milk and wheat. Plus, as a routine, sparrows get grains from devotees. It is believed that people who come for worship wholeheartedly get what they want.

Hindu History

This place was called 9 lane way (Naudara) (named after nine devis) and was situated in front of a Shiv temple where later the Muslim saint came and stayed. The Naudari is used as a bridge.

The shrine represents the folk religion of the region which is a discourse between organised religions.

Shrines
A Naugaja Peer pilgrim centre is located in Saharanpur in Uttar Pradesh located on National Highway 73 which connects Roorkee in Uttarakhand to Panchkula in Haryana. Both Hindus and Muslims visit this place.

Numerous legends and myths are associated with this peer. One such version is that during the period of Musa Ale Salam, the height of a man used to be around 26 ft and these mazars have been built around that time.

References

Tourism in Haryana


text:
Q: How to format text color in xterm.js I am using xterm.js as a web console.
While it allows to change the console color and background, I could not find any way to write each line with different colors.
Is this possible?

A: So, although it is a bit unclear from xterm.js documentation, the way to use mixed colors in write or writeln command, is to use ANSI colors described in theme configuration, for example:
  terminal.writeln('\x1b[1;31m' + 'User:'+ '\x1b[37m' + 'my name');

Will print the text in red and white

redpajama_set_name: RedPajamaStackExchange


alternate title "How a Blasphemous Movie Can Be a Call to Missions"
In my seeking out which good films I've missed while in PNG, a movie called 'Rapture Palooza' in 2013 came to my attention. I was watching a film, and this preview came up, and as I was watching it I was getting more and more wide-eyed in total shock... then the name hit... and I was agog.
First you should know, I have watched and laughed at scenes and films that would offend many other Christians. I can enjoy people poking fun at religion, at the church, at mistakenly revered traditions and institutions. I can laugh at people poking fun at my beliefs even.
But this is something different. I don't even want to post a link to the trailer because I don't want to cause anyone else to even be curious about this film.
Near the end of the preview, Christ is descending from heaven on a white horse. Two young people mistakenly shoot him out of the sky and then engaged in a conversation with God in which they apologize.
I felt bad for having chuckled. I'm not really one who goes in for taking a christian stance against film, because I believe that many times, the church has in fact popularized a film that would otherwise have just gone away on its own. Too many times, turning a film political garners more attention than it ever would have had.
But a portion of Scripture really jumped out at me when I saw the scene of Christ getting laser beamed.
2 But false prophets arose among the people, just as there will be false teachers among you. These false teachers will infiltrate your midst with destructive heresies, even to the point of denying the Master who bought them. As a result, they will bring swift destruction on themselves. 2 And many will follow their debauched lifestyles. Because of these false teachers, the way of truth will be slandered.
10:b "Brazen and insolent, they are not afraid to insult the glorious ones, 11 yet even angels, who are much more powerful, do not bring a slanderous judgment against them before the Lord. 12 But these men, like irrational animals—creatures of instinct, born to be caught and destroyed—do not understand whom they are insulting, and consequently in their destruction they will be destroyed,"
It is completely and totally true here. In this case, everyone involved in this movie, is brazenly and insolently insulting the glorious ones.
Okay so how are we to react to that as believers?
2 Peter 3: 3 Above all, understand this: In the last days blatant scoffers will come, being propelled by their own evil urges 4 and saying, "Where is his promised return? For ever since our ancestors died, all things have continued as they were from the beginning of creation."
We are in the last days... this film is blatantly scoffing the Lord's return.
So what kind of people should we be? How do we react? Where do we picket!?
2 Peter 3: 11 Since all these things are to melt away in this manner, what sort of people must we be, conducting our lives in holiness and b, 12 while waiting for and hastening the coming of the day of God?
14 Therefore, dear friends, since you are waiting for these things, strive to be found at peace, without spot or blemish, when you come into his presence.
Okay so we are to remain pure, and hasten the coming of God. The word "hasten" there has two meanings. To eagerly await, and to urge on. To hasten something on, takes diligence, zeal, and motion.
How do we urge on a time that is supposed to come unexpectedly (like a thief in the night)? How do we take action to expedite the Lord's return?
Matt 24:14 And this gospel of the kingdom will be preached throughout the whole inhabited earth as a testimony to all the nations, and then the end will come.
So what is my reaction when I see people blaspheming? Yes I get full of righteous indignation, and anger. I want to strike out and do something to stop it. They are insulting the God whom I have devoted my everything to. I get very upset. I Peter says even the angels who are powerful don't harm these people. It says the martyrs cry out for revenge.... God is not sending his wrath down on this earth yet, out of mercy.
So my reaction, in order to remain pure, is to love these people, and continue to spread the Gospel. The same people who are mocking the return of God, saying 'oh yeah, why hasn't He come yet?' are the same people God has delayed His return for. To give them a chance. He is merciful.
I hear it all the time 'God doesn't sound very merciful to me, all those plagues.' Yeah, you see, He's all powerful, He's just... the mercy part, you took that time to belittle Him, insult Him and make life hard for His followers. That was mercy time. Don't blow it.
Thus ends my sermon. Sometimes I do get up on a soapbox... don't I?


Over 100,000 people took action for California Clean Air Day yesterday!
A huge THANK YOU to everyone who participated and did their part towards clean air in California yesterday.
On October 3, more than 100,000 Californians took part in the first Clean Air Day resulting in more than 1 million actions. Likewise, more than 160 companies, nonprofit organizations and government agencies officially signed up and 40 Mayors across the State acted on behalf of clean air. Even Caltrans District 7 got behind the effort by encouraging the use of Clean Air Day active transportation options on their freeway signs. Thank you to everyone who made this effort a success.
Small changes to how we get around make a big difference so I'm committing to more neighborhood errands on my own two feet for #CleanAirDayCA — a puppy approved pledge!
To our far-sighted sponsors who clearly understand the importance of clean air for all Californians – California Clean Air Day would not have happend without your support.
This is one time we DON'T want to be #1. Take the pledge today for the 1st #CleanAirDayCA. What will you do to make a difference?
Thank you to everyone who made today's@thecityofinglewood event a success! Local middle schoolers showed off their clean air art and Mayor Butts officially recognized October 3 as #CleanAirDayCA. . And thank you to @socalgas, @sce, Social Justice Learning Institute, and @ayso_soccer for your support!


In today's society eating unhealthy foods is a norm, fast foods, highly processed foods, fried foods. All of these foods have a serious impact on our body's ability to eliminate waste in a proper manner.
Traditionally herbs were used and have always been highly effective. Some of the herbs that have been used in traditional recipes are things like Aloe leaf, Senna, Cascara Sagrada, ginger and Cayenne pepper. These herbs help to eliminate impurities by promoting proper bowel movement. These herbal recipes also include plants like barberry which is very bitter and is used by the body to promote bile flow which helps to flush out the liver. Fennel and garlic can also be used as part of a herbal colon cleansing recipe, these help to prevent gas and remove harmful bacteria while leaving good bacteria alone.
If you are looking to purchase a colon cleansing herb recipe you can purchase a variety from most health food stores. If you do purchase a colon cleansing product from a health food store remember to follow the directions very carefully, most come in easy ready to use packets which makes following the program significantly easier. One word of warning, they should be used in moderation, used too often than can cause dehydration. There are however natural colon cleansing product available online, Bowtrol Colon Cleanse being just one.
Taking regular fiber with meals is an important part of a colon cleansing program so be sure to eat things like wheat germ, oat bran, rice bran cereals for breakfast. Ideally you should get 20-30 grams of fiber a day. Other dietary changes include drinking enough water, eating fresh fruits, vegetables and making sure your body has all the minerals and nutrients it needs to perform by taking a high quality supplement.
Some of the health problems that are associated with an improperly working colon are abdominal pain, constipation, and lack of energy. The best way to remove unwanted build up in the colon is to use an appropriate colon cleansing recipe. Drinking water about half your body weight in ounces can go a long way to helping you cleanse the toxins out of your system. Just with water and fiber alone you can achieve normal colon function over time however, for quicker results a colon cleansing herbal recipe is recommended.
If you are looking for a way to quickly clean out the toxins, harmful bacteria and improve colon function, than herbal compounds specifically designed for cleansing the colon, Bowtrol Colon Cleanse is a good way to go about colon cleansing naturally.
READ: Herbal Antibiotics Or Conventional Antibiotics?
After suffering from candidiasis I always keep my colon clean now. Psyllium and bentonite shakes are what I usually take now as a maintenance program, along with probiotics.
Everyone should do a colon cleanse at least once a year though. It can make a world of difference to your health.
Yes everybody should! It's important!
A colon cleanse enhance the overall health. It will help to improve weight control, and have many other benefits as rise energy levels, colon detoxification, help with constipation problem, improve absorption of vitamins and minerals from foods, better concentration, improve skin health, etc.
Simply astounding. Liked this article. Thank you for posting it.
A good colon cleansing maximizes one's elimination without causing loose stool or uncomfortable cramping via frequent healthy bowel movements while assisting in cleansing the vital organs and lymphatic system.