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da'monte williams
illini
Mark Alstork
Te'jon Lucas
Trent Frazier
Illini basketball: Breaking down the guards
Illinois' Te'Jon Lucas (3) brings the ball up the court during the game against Northwestern at State Farm Center on Tuesday, February 21.
By Thomas Polcyn , Illini hoops columnist
It has been no secret that new head coach Brad Underwood likes to use his guards a lot. His fast-paced system revolves around using multiple lead guards pushing the ball up and down the court from the moment they get the outlet pass from their big men.
Knowing how important they will be to the team this season, it's about time to break them down.
Te'Jon Lucas
Lucas looks ready to take on an even bigger role in his sophomore season after starting the last 15 games of the season last year. He has great court vision and finishing ability, and showed some flashes of Deron Williams-esque passing last season.
Though he has recently been in the concussion protocol due to a collision with Mark Smith, he seems to be back on track and ready to start the season as the team's lead guard. Since Underwood runs a position-less system, we'll see Lucas anywhere on the floor, but look for him to be the team's best facilitator and help to create shots for his new wing-mates Smith and Trent Frazier. A combination of his vision, along with Smith's finishing ability and Frazier's range will be a tough matchup for any opponent.
Smith is going to play a large role on the team from day one. The reigning Mr. Basketball in Illinois stayed in his home state for the opportunity to take the Illini to another level, and he is going to have his shot immediately. Smith is a player that can do it all on the court, and in Underwood's system, that means he will be getting a lot of minutes.
If I had to guess, I would include Smith in a starting group of guards that includes himself, Lucas and Mark Alstork. In that group, Smith figures to play in at more of the traditional "2 spot," but that does not mean he will be limited to creating shots on the perimeter. He will make himself plenty of opportunities in the paint, while often finding himself on the free-throw line.
Alstork is an interesting player who will be somewhat of an x factor for the Illini this season. He is another big guard that knows how to spread the floor, and possesses great ability in finishing at the hoop and getting to the free-throw line. In his last season at Wright State, he averaged 19 points per game, along with 4.7 rebounds and 3.5 assists. I do not expect his numbers to translate directly into Illinois, but he is somebody that Underwood can certainly rely on for some points and to get to the rim.
Da'Monte Williams
A lot of fans have been hyped up about watching Smith and Frazier, but they seem to be forgetting about another hugely important freshman on the team. Williams, son of Illini legend Frank Williams, is another extremely talented guard that was regarded as a top-50 prospect in the nation before hurting his knee during his senior season. Like Alstork and Smith, he has good size at 6-foot-3, 190 lbs., but he plays much bigger than that. He is already a plus-defender, and will have no trouble trying to find his shots or dish out a pass to any of his other wing-mates in traffic.
Williams will likely be the 6th-man come Nov. 10, but he will absolutely have his opportunities to get plenty of minutes. With Underwood running a system that is defense-oriented, leading into the offense, Williams will see plenty of time, especially in crucial situations near the end of the game.
Frazier is probably the most exciting to watch of the newcomers. Standing at just 6-foot-1, 170 lbs., he doesn't have the size of a Smith or Alstork, but he makes up for it with his athleticism and shot-making ability. Frazier can flat-out score, and he will do it in bunches this year. He has the most range of any of the guys in the group, and will not be afraid to show it. He also has great finishing ability. Despite his lack of size, he has shown that he will take it to the hoop when he can and has the creativity to finish it or get to the free-throw line. Look for him to be taking a lot of shots late in close games.
Aaron Jordan
Jordan is somebody who didn't get much of a shot with the last coaching regime, but will have his opportunities to get some minutes this year. Jordan is another big guard that will look to thrive in Underwood's position-less system. He has good range, and has the potential to be a solid contributor on both ends of the floor.
Underwood mentioned him a couple of times, saying that he has been making some shots in practices, and he is looking to expand his role. Look for him to make a bigger impact this season and to maybe take on a de facto mentoring role for some of the younger guys.
Tyler Underwood
Underwood, the son of coach Underwood, will probably see some time on the floor this year. He is a solid defender who can get you a stop and has shown some range in practice. But, his role thus far has been helping the other guards getting used to his father's unique system. Tyler had the opportunity to play in the system for the past two seasons, first at SF-Austin, before going to Oklahoma State the following season.
He has done a great job in practices of helping guys like Smith, Frazier, Williams or even Lucas with their positioning, and though his impact might not always be seen directly on the court, he is still playing a huge role for this team.
Drew Cayce
Cayce is an interesting case — no pun intended — as we have not seen much of him outside of practice. He redshirted during his freshman season at Creighton and had to sit last year due to NCAA transfer rules.
All the same, he looks to be a talented shooter with some solid range and the ability to make some shots. It will be interesting to see how he is utilized in Underwood's system and has the potential to come in and score some points.
Samson Oladimeji
Oladimeji is a sophomore guard who also has some size to him. He appeared in seven games last season, scoring his first career points against Central Michigan.
Though he has not gotten much time in the past, he has some talent and has the potential to grab some minutes. Oladimeji is a walk-on from the northern suburbs of Chicago who could be looking to make a bigger impact this season.
Clayton Jones
Jones, the hometown guy, appeared in nine games last year, hitting a memorable three-pointer against Valparaiso in the NIT. He has shown that he can make some shots and has the potential to score a little bit off of the bench this season.
But, with a group this deep, his opportunities will likely be limited. Look for him to make some shots here and there throughout the season.
@TPolc
Column | Illinois can't replicate 2021 blueprint for future success
Column | Illinois needs to knock Pat Fitzgerald down a notch for in-state success
Column | Bielema's blunt style proves he's built to save Illinois football program
Column | Even as Kofi Cockburn returns, multiple issues still stare Illini right in the face


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Review - Nobody Is In Control #1 (@blackmaskstudio)
"I'm sitting out the partisan era. Drop me an email when it's over."
Finding one's way in an ever-changing world is certainly no easy task. Doing so in a world rife with conspiracy theories and characters such as the stranger in Nobody Is In Control #1 from Black Mask Studio makes it even tougher. The issue is written by Patrick Kindlon, illustrated by Paul Tucker and lettered by Wallace Ryan.
When Richard sees a man run through his yard, he follows him out of concern. This deep in the woods, he must be lost...must be in trouble. Bust soon it's Richard in peril, as this stranger drags him into a deep, twisted web of conspiracy going back hundreds of years.
There's a reckless abandon in Kindlon's script that affords the reader very little time to breathe--which is a good thing. Richard is a seemingly retired radio personality looking to live out his days on his sprawling property, but Kindlon throws a wrench in that plan with the introduction of a stranger. Kindlon blitzes the reader with tons of environmental observations that further embellish the setting and play well into the conspiratorial angle. There's a sense among someone tied up in conspiracies that even the littlest things have tremendous meaning and the way Kindlon ascribes seemingly false significance to things such as bird species is pretty clever. The issue's frenetic pace brings the characters and the readers to a situation that definitely feels out of their control, despite the fact that there is someone controlling things on the other side.
Tucker's artwork is takes a haphazard approach in how it keeps up with the fast-paced story. Richard is illustrated with an attention to his current state of life, dressed in a way that seems to call back to his former career. The setting of the issue is mostly in a forest and Tucker imbues said forest with plenty of trees that give the panels an almost claustrophobic feel with all the trees surrounding them. The panels are mostly arranged in standard grids, but the action has a way of spilling out past the borders on more than one occasion. Tucker's colors are largely earthy tones that again fit well within the atmosphere being created.
Nobody Is In Control #1 achieves what it sets out to do in crafting a world where things aren't what they seem and the concept of control is always in flux. Richard was previously living a life of "relaxation" after stepping down from his position, but trouble still seems to make its way to his doorstep. Kindlon's script is full of interesting dialogue that's rapid-fire and witty. Tucker's illustrations are a great fit for the almost erratic (in a good way) storyline. Nobody Is In Control #1 is a very engaging first issue that will keep the reader on their toes and curious to find out more.
Nobody Is In Control #1 is available now.

redpajama_set_name: RedPajamaCommonCrawl


Diabetes (Type 2) is strongly associated with overconsumption of carbohydrates. It's also pretty clear, as he mentions, that "a low-carbohydrate diet is therapeutic in type-2 diabetes", yet most doctors still suggest a relatively high-carb diet for diabetics.
If you are diagnosed with Type 2 diabetes, or told you are pre-diabetic, making dietary changes may be very significant to managing the disease and regaining your health.
That doesn't mean that you should ignore other treatments, such as prescriptions, but it does mean that you should consider working with an integrative doctor that takes a holistic approach to your health and tells you the truth about your condition. Pretending that high consumption of baked goods or sugars is healthy for diabetics is dangerous to your health, and long-term, to your life.
If you're at risk of diabetes, eating your carbs in the form of high-fiber vegetables is usually the best choice. In particular, limiting sugar intake is essential, particularly in cases of child diabetes.
An integrative doctor will look at your family history and even your genetic test results so that they can give you the best lifestyle suggestions for your treatment, as well as any necessary medications. One size doesn't fit all, but there are some common issues all diabetics contend with. Honest, up-to-date and relevant medical advice can save your life.
To a great extent, you can take back control of your health when diagnosed with type 2 diabetes, by partnering with a doctor that understands how to help you and choosing to follow their advice. Getting good nutritional advice is essential for every diabetic.
If you're diabetic or pre-diabetic and you're having toast for breakfast, washed down with juice… you're on a path of self-destruction that can end with the loss of a limb, or even death. The solution is to limit carbs and choose your carb choices intelligently. Giving up soda pop is a comparatively small price to pay for quality and length of life… and don't fool yourself into thinking that diet soda is a healthy choice either.
Sure, there's lots of misinformation out there, and it's hard to tell who to trust, but relying on doing what you've always done will get you the results you've always gotten, as the speaker Jesse Potter said.
Carbohydrate limitation and careful carb choice works well for Type 2 diabetics. Self-indulgent wishful thinking can kill them. As the article I mentioned points out, there are no single superfoods that will "fix" a diabetic condition. You need a diabetic diet focused on meats, vegetables, and healthy fats. Move your body, get outside, and sleep well.
Diabetics can live well and minimize the health effects of their condition. Get help from an integrative doctor.


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See the gallery for quotes by Karl Malone. You can to use those 8 images of quotes as a desktop wallpapers.
You take the good with the bad and try not to listen to everything said about you because you know it's not good.
Everything I've been through, everything I'm about to go through in my career and my life, if my family wasn't with me and didn't support me, it would be really tough.
I don't know what my label is. I just think of myself as a plain forward. I like to think I have some finesse to my game, but inside the paint is where men are made. If you can't play there, you should be home with your mama.
Much more quotes by Karl Malone below the page.
I hope I did it the way my peers did it before me. I didn't do anything but try to play hard.
I just work out hard enough that, if I'm craving something, I eat it and know I'm going to burn it off the next day with extra intensity.


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Q: How to emulate an exact LatLng GPS location in the Android Emulator I am trying to emulate an exact LatLng location in the Android emulator.
However, the emulator only provides support to search by an exact address.
How can I provide LatLng coordinates to the emulator without needing the command line?

A: Using Google Maps via a web browser, search using the LatLng coordinates you need to add to the emulator (see the red rectangle).
This will generate a PlusCode (see the green rectangle). Copy this value.

Open the emulator and open Settings (click the ... button).
You can then paste the PlusCode into the Google map search bar.

redpajama_set_name: RedPajamaStackExchange


text:
Word_Movement_Action
Date: AUG 20 2016 @ 7PM
1463 W CHICAGO AVE CHICAGO IL 60642
Cost: $10 requested donation
Defibrillator gallery is proud to present
ieke Trinks | Zephyr | Carlos Salazar Lermont
SAT 20 AUG | 7PM
Three artists from different parts of the world who work in three different ways. The conceptual process and text based work of ieke Trinks (Holland|Sweden) stands in flattering contrast to the sculptural site-specific movement of Zephyr (Chicago) which, in turn, is a fascinating counterpoint to the action and image based work of Carlos Salazar Lermont (Venezuela).
ieke Trinks (Holland|Sweden) is a visual artist based in Rotterdam, Netherlands, and Malmö, Sweden. Her performance art is presented in several countries in Europe, South America, Canada and the USA. She's part of the performance collective TRICKSTER and organizes Performance Art Event (PAE) in the Netherlands with artist Nina Boas. For her piece at Defibrillator, "Performance Monologues", Trinks started visiting artists in January 2016 to record their spoken descriptions of a past performance art work. She then replays and memorizes the recordings, interested in the possible afterlife of performance. Such an afterlife often survives by being passed on through memory and speech. She will recite performances from several artists. Her voice and person become a medium, presenting the record of the past work. Trinks has performed at DFBRL8R before. In 2013 she performed Order of Things as part of an ongoing work focused on object, action and language. Around that period, Trinks started to explore public and private places for performance, often in collaboration. Her work has been hosted by Out of Site (Chicago); Curitiba Biennial (Brazil); Playful Arts Festival (Netherlands); and Amorph! (Finland). In 2015 she presented Variety Show at the New Performance Turku Festival in Finland. In July she presented Value Products for Outside/Inside (Boston).
Zephyr (Chicago) is an experimental dance company founded in 1990 by artistic director, Michelle Kranicke. In 2010 she began to shift her aesthetic perspective and creative process, reexamining how dance should be presented, who determines what movement is considered dance, and who lays claim to the role of performer. In 2015 Michelle conceived of, curated and co-presented The aMID Festival at Links Hall, a 9-day festival celebrating the underserved performative body of the experienced artist and challenging commonly held views regarding the age of a dancer. From 2012-2014, with an artist team comprised of an architect, video artist, textile artist, composer, lighting designer and dancers, Michelle premiered, and Defibrillator Gallery co-presented, The Balance In Between, an 80 minute immersive dance piece that was named one of the one of the 7 best dance events of the year by Lauren Warnecke writing for The Windy City Times; Out and Back in Again, a 2-hour durational dance work set to original live music and presented under a catenary of fabric; and Allowances and Occurrences, a 3-hour durational dance work that invited one to consider the movement of both performer and viewer as dance. In April 2013 Michelle choreographed 40 minutes from november, a commission by the City of Chicago for the Pritzker Pavilion stage in Millennium Park. In 2011 she was commissioned to create a 3-hour durational dance performance alongside Korean performance artist Gim Gwang Cheol as part of Defibrillator Gallery's ALIVE Performance Series. Michelle is former Chicago Dancemakers Forum Lab Artist and has toured her work nationally with Zephyr.
Carlos Salazar Lermont (Venezuela) specializes in performance art and action based works that incorporate photography, video, installation and spatial interventions. After receiving his high school degree on Fine Arts in Drawing and Painting from the Escuela de Artes Visuales Cristóbal Rojas (2005), he earned his BFA in Sculpture from the UNEARTE (2012). In 2013, Lermont is the recipient of an Honourable Mention in the XVI Jóvenes con FIA Salon, and in 2014 with the Salón Jóvenes con FIA 2.0/3 Prize. He also received an Honorable Mention for the curatorship of Desafío al Poder, for the International Contemporary Art Biennial of Los Andes. His work has been shown in several international events including Experiencias de la Carne (Perú, 2015), Soap Box Sessions (UK, 2015), PAEkort #14 (Netherlands, 2014), Rapid Pulse International Performance Art Festival (US 2013), TRAMPOLIM_plataforma do encontro con a arte de performance (Brasil, 2011), NADAQUEVER (Argentina, 2011), HORASperdidas (México, 2010), and Performar (Dominican Republic, 2009). In Venezuela he has been part are ID performance, Encuentro de Arte Corporal, Velada de Santa Lucía, Fugaz: Feria de Performance del Estado Lara, NOMASDECINCO, PerfoChoroní, and many others. In 2014, he started P3 Plataforma Para Performance to champion creation, dissemination, research, and education surrounding Performance Art. In 2015 he created the International Performance Art Biennial of Caracas, Venezuela.
Zephyr photo by Cheryl Mann
Carlos Salazar Lermont photo by Marian Bracho Torrealba
ieke Trinks photo by Jussi Virkkumaa
⟨ Manual GRAFT | EDRA SOTO
STRICTLY ACCESSORIES ⟩


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. . . and How the Right to Keep and Bear Arms Matters for You
Posted on May 10, 2018 May 8, 2018 by DRGO
(from britannica.com)
[Ed: Part 2 of Dr. Chen's essay about the importance of the RKBA. Part 1 is here.]
What we should do about school shootings
1.) Enforce current laws and improve law enforcement:
The Parkland Shooting did not demonstrate the failure of gun laws. It demonstrated the spectacular failure of law enforcement on every level. The Broward County Sheriff's Department and the FBI ignored at least 45 calls for service related to the killer Nicholas Cruz.
At least 4 police officers stood outside the school during the carnage, instead of rushing in to kill the attacker as has been standard doctrine since the Columbine shootings. Whether this was cowardice or they were ordered to stand down, it was absolutely unacceptable. 45 calls were ignored while four officers stood outside doing nothing, yet somehow it is the NRA with blood on its hands?
I am a psychiatrist. When I was working at the Psych Emergency Room at Olive View Medical Center in Sylmar, California, the Los Angeles County Sheriff's Department routinely brought in patients for psychiatric holds and told me they did not have the manpower to confiscate weapons even if the subjects admitted to having them. When I was a resident, one of my VA patients at was on a psychiatric hold, but no effort was made to confiscate his firearms, which should have happened pursuant to California's 5 year psychiatric hold firearm prohibition. He later killed two people. Had the law been enforced, that gun would have been gone.
What is the point of all these laws? We need to enforce the laws we have already, before spewing out even more. What is the purpose of more gun control laws when you can't even enforce the 10 you already have? The only people who will be inconvenienced by obeying these increasingly convoluted and draconian laws are people like me, who would never murder anyone. They only serve to strip away our rights in return for the illusion of safety.
2.) Acknowledge that society is inadequate, not gun laws:
In the 1940s and 1950s, there were few gun laws and more guns per capita than there were today, yet virtually no mass shootings. Kids took their rifles to school, onto the NYC subway, and to afterschool shooting clubs. Children were acclimated to firearms early, taught the rules of gun safety, and learned respect for firearms and for human life.
What changed between the 1940s and today? Not guns. There are fewer guns per capita than ever before. It's society. In the 1940s, TV and movies were sanitized and free of controversial or objectionable material. Today, children are inundated by violent media and entertainment since from birth. TV, movies, music and video games today glorify, normalize, and desensitize children to violence. In the 1940s, a boy may have had a rifle on his way to school, but it would never have occurred to him to use it in violence.
Today, you can crash a car into people and shoot up police officers in video games like Grand Theft Auto. You can see massive gun violence glorified by the same Hollywood that claims to hate it. Of course kids (and adults) know fantasy from reality, but they see these things and it starts some of them thinking. "That looks so cool, I wish I could do that to show them . . . wait, why don't I?" I am not saying we need to go back to the sanitized media of the 1950s. But we need to acknowledge that this is a side effect of the gritty entertainment we crave, and either change it, or accept the cost.
In addition, the nuclear family has been decimated in America. The divorce rate is over 50%, with 70% of black children being raised by single mothers. Numerous studies have shown that fatherlessness significantly increases risk for violence. Nicholas Cruz was an orphan. Adam Lanza's father was seldom in his life. Elliot Rodger, the Isla Vista shooter, had a broken family. There is a pattern.
Again, as with media, I am not suggesting we return to the 1940s when women were more at the mercy of abusive husbands. I simply ask that we acknowledge this reality as one of the consequences of our evolving society.
3.) Fix mental health:
De-institutionalizing America's mentally ill was done with good intentions, due to genuine abuses of human rights in "insane asylums". However, there were not sufficient outpatient systems in place to care for all them and the pendulum has since swung too far to the side of patient rights with the freedom to stay ill on the street and in our jails.
It is all too popular to blame guns and the NRA for "gun violence" but there is reluctance to acknowledge the links between mental illness and violence, borne out of politically correctness. I empathize with the National Alliance for the Mentally Ill and Autism Speaks—they don't want to be stigmatized. However, it is false to say that there is no link between violence and mental illnesses such as autism and psychoses. Ask any inpatient psychiatric nurse. My clinic is full of patients on antipsychotics for aggression and violence. Adam Lanza (Sandy Hook, Connecticut), Elliot Rogers (Isla Vista, California), and Nicholas Cruz (Parkland, Florida) were all diagnosed with autism spectrum disorder. James Holmes (Aurora, Colorado) and Jared Lee Loughner (the Gabrielle Giffords shooting in Arizona) were clearly psychotic.
4.) Make schools hardened targets:
There is a reason no mass shooter has ever attacked a police station, a gun store, a gun show, or an NRA convention. It is because people in those places shoot back. "Gun free zones" are a solution comparable to an ostrich with its head in the sand. Likewise, magazine capacity limits. We have never heard of a criminal voluntarily disarming due to a gun free zone sign. We need to provide our schools with armed guards. Schedule more frequent police patrols. Allow interested, motivated teachers to be armed in order to protect their students. Bad guys willing to kill carry guns without permits. Statistics have shown that CCW holders are involved in less crime statistically than even police officers.
Even if all legal gun ownership was magically banned, and the Second Amendment was repealed, when another mass murder attacks a school we'll pray for someone with a gun to show up to stop him. No one has ever been threatened with murder and said, "I wish I didn't have a gun".
In California, most heavily populated counties do not issue carry permits to average citizens. They require that one show "good cause", in other words, proving some specific, continuing threat to one's life that no other means can prevent. General "self-defense" is not accepted as good cause. Yet, if you are friends of the County Sheriff, or if you donated to her campaign, she may choose to sign your application. Wealthy, important celebrities can usually obtain one and don't hesitate to hire armed guards.
This is deeply corrupt and arbitrary. We should be treated equally under the law, and have equal rights to self-defense. Again, this only serves to disarm the law-abiding. Across the Colorado River in Republican-controlled Arizona, they have approved "Constitutional Carry". The state of Arizona recognizes the Second Amendment as the Carry Permit of law-biding non-felon citizens. Anyone over 21 with no criminal history may carry a gun open or concealed in the Grand Canyon State. Yet the streets of Phoenix are not red with blood, and the sky did not fall down.
Bonus: NRA "blocking" research: These are lies, damn lies, and statistics:
Gun rights advocates are not against research or knowledge. We love data. For example, CDC data suggests that defensive gun use is common, at least as common as criminal use. Other research also suggests that guns save many lives and prevent many violent crimes. Mass shootings are extremely rare. Poverty, drug use and trafficking significantly increase the risk of being the victim of gun violence.
The Journal of the American Medical Association has published data that shows mandatory waiting periods for firearms do not decrease homicide rates. They do decrease firearms suicides, but not overall suicide rates. This is consistent with logic that suggests people who are serious about suicide will find a serious method.
However, we are against biased research. We are against research that has a political slant, a predetermined endpoint, and asks politically charged and biased questions. The UC Davis "Violence Prevention Research Program" is an anti-gun program, and its director Garen Wintemute, MD, MPH is openly hostile to gun ownership. He has said his life mission is to reduce gun violence. Why only gun violence? When you start research with the goal of proving guns are bad, intending to provide justification for gun control, gun rights advocates will fight it? When you start off with the research question, "What kind of gun control would be most effective?" you already assume that gun control is desirable.
I've read Wintemute's research. Much of it shows large numbers of firearms suicides, with which he argues for more gun control. However, South Korea and Japan, which do not require firearms, have much higher suicide rates than our country. Regarding mass shootings, even Wintemute admits that they comprise less than 1% of gun deaths. He lumps suicides, homicides and accidents together to address the number of "gun deaths" per year, even though suicides and homicide have vastly differing causes and interventions. His work is skewed and disingenuous, with a glaringly obvious agenda.
Let me make an analogy. If I wanted to start an "African-American violence prevention program", with the goals of finding policies and laws to reduce African-American violence, I would be chastised, because this implies that African-Americans are violent and we need to fix them. Instead the question should be how to reduce violence that affects African-Americans.
Gun control advocates believe they already know the answer, and want public money to underwrite research to back up that answer. If they don't like the results, they will cherry-pick statistics to back up their claims. But that is agenda-driven, doing research backwards. They know the answer they believe in, and don't want any other solution.
If someone wants to do actual research with non-biased questions that don't have a presupposed endpoint, we are all in favor of that. If you ask: "How can we prevent homicide/violence?" the answer is that almost all violence in America is clustered in a tiny percentage of neighborhoods in 127 specific cities.
No matter how many guns your neighbor owns, your chance of being the victim of gun violence is astronomically low if you live in a rural area, or in an upper crust place like Malibu.
If you do suicide research you will find that the countries with the highest rates of suicide are South Korea and Japan, both with extremely strict gun control. Suicide risks such as substance use, male gender, and previous suicide attempt translates across culture and countries. Circumstantial access to guns as the convenient method does not. In a country with lots of tall buildings like South Korea, jumping off them will be a common suicide method. There are very few tall buildings in Ethiopia or Chad, and most suicides in those countries do not involve jumping.
Should we conclude that tall buildings cause suicide? No—people who are serious about suicide will choose the serious method available. Until we fix their reason for wanting to die, we won't reduce suicide.
Similarly, do guns or owning them cause gunshot deaths? Of course not—people who want to kill pull the trigger. Until we fix the reasons they want to kill, we won't reduce "gun violence".
—Victor Chen, MD is a board-certified psychiatrist practicing "behind enemy lines" in the San Francisco Bay Area. He is proud to be a "AAA": Armed Asian-American. He is passionate about the right to keep and bear arms, and believes "scary black rifles" are necessary to the security of the free state.
All DRGO articles by Victor Chen, MD.


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Tag: antaeus
Ashton's Audio Interview: Paul Culos (Joe from 'Shameless')
Originally from Detroit, Michigan, Paul Culos began acting at the age of nine. He started his formal training at Western Michigan University in Kalamazoo, Michigan where he received a Bachelor of Arts in Theater Performance in 2007. During that time, he was able to travel abroad to London and study at the British American Drama Academy for four weeks under the instruction of numerous British talents including John Barton, Debra Warner, Fiona Shaw, Brian Cox, and Mark Wing Davey. He was staring in "Measure for Measure" at the Antaeus Theatre Company, which now closed due to the corona virus.
*taken from the website
Ear Candy: Podcasts on Better Lemons Highlighting Live Shakespeare in L.A.
Better Lemons' podcasts cover a variety of interviews of show creatives in Los Angeles, with many recorded live and direct at the venues, and published on SoundCloud. These interviews are from productions that have already closed.
Collected here are a series of interviews of show producers and artists who work toward providing live Shakespeare performances and experiences to Greater Los Angeles audiences. The following interviews cover a variety of topics - from traditional Shakespeare to what it takes to interpreting Shakespeare for contemporary audiences, from "bad" Shakespeare to honoring the Bard's original prose, and the enduring misunderstandings, history, and superstitions that surround the work by the most beloved playwright of the people of his greatest patron.
Audio Interview: the cast of "MacBeth" at the Grand Annex in San Pedro
"Fulfilling a desire to present educational and immersive theatre, House of Bards Theatre Company...launched their first production, Shakespeare's powerful drama Macbeth." This November 2029, Ashton Marcus interviewed several members of the cast. Most notable is his interview with actor Stephen L. Sears at the 11:15 minute mark, who played King Duncan in this production, spoke on the "layers" of Shakespeare" and superstitions associated with the Scottish Play.
An Interview of Coin & Ghost's Zachary Reeve Davidson and Rob Adler: "Bad Hamlet"
An interview of Zachary Reeve Davidson and Rob Adler of Coin & Ghost by Monique A. LeBleu, for their play "Bad Hamlet: An Irreverent, Interactive, Inventive Bootleg," interviewed backstage at The New American Theatre in Hollywood, in July 2019.
Speaking with me, Davidson and Adler shared on Bad Quarto and bringing Shakespeare into an immersive experience, where Davidson at the 3:50 minute mark particularly elaborates on "misremembered" Shakespeare.
Audio Interview: Armin Shimerman (Quark from Star Trek: Deep Space Nine) the director of Measure for Measure
"Armin Shimerman, best known by his fans as Quark from Star Trek: Deep Space Nine, is also an accomplished Shakespearean scholar and teacher. He is one of two directors of Measure for Measure."
Earlier this month, Ashton Marcus interviewed Co-director Shimerman live at the Antaeus Theatre theatre after the show and gets his thoughts on the #MeToo movement and how this classic piece has stood the test of time as applies to some current contemporary political issues and women's issues with regard to equality.
Ashton's Audio Interview: Ramon De Ocampo (Otto from 'The West Wing')
Ramon De Ocampo is an actor and director, known for Notorious (2016), 12 Monkeys (2015) and The West Wing (1999). He was staring in "Measure for Measure" at the Antaeus Theatre Company, which now closed due to the corona virus.
Ashton's Audio Interview: Armin Shimerman (Quark from 'Star Trek: Deep Space Nine') the director of 'Measure for Measure'
Armin Shimerman, best known by his fans as Quark from Star Trek: Deep Space Nine, is also an accomplished Shakespearean scholar and teacher. He is one of two directors of Measure for Measure.
Enjoy this interview with Armin Shimerman co-director of "Measure for Measure at the Antaeus Theatre Company, playing through Apr 6th. You can listen to this interview while commuting, while waiting in line at the grocery store or at an audition, backstage and even front of the stage. For tickets and more info Click here.
Ashton's Audio Interview: the cast of "Eight Nights" at Antaeus
Set during eight different nights of Chanukah over the course of eight decades, Eight Nights tells the story of Holocaust survivor Rebecca Blum, who arrives in America at age 19 to forge a new life. As Rebecca moves through time, the play explores the lives that come and go in her New York apartment, where ghosts of the past both haunt and guide her. Maisel lyrically weaves together heart-aching moments with life-affirming humor to call out the trauma experienced not only by concentration camp survivors, but by African American descendants of slavery, by interned Japanese Americans, and by current victims of war in Africa and the Middle East.
Enjoy this interview with the cast of "Eight Nights" at Antaeus, running until Dec 16th. You can listen to this interview while commuting, while waiting in line at the grocery store or at an audition, backstage and even front of the stage. For tickets and more info Click here.
Ashton's Audio Interview: Karen Malina White (Charmaine Brown: The Cosby Show/A Different World) stars in "Eight Nights" at Antaeus
Enjoy this interview with Karen Malina White starring in "Eight Nights" at Antaeus, running until Dec 16th. You can listen to this interview while commuting, while waiting in line at the grocery store or at an audition, backstage and even front of the stage. For tickets and more info Click here.
Ashton's Audio Interview: The cast of "The Caucasian Chalk Circle" at the Antaeus Theatre Company
Set deep in the Caucasus Mountains of Georgia against a backdrop of violence and injustice, The Caucasian Chalk Circle is a play within a play. Amidst the rubble of a bombed out village in the aftermath of World War II, farmers debating the best use of their land enact a parable in which a humble kitchen maid risks her life to rescue an abandoned baby from civil war.*
Enjoy this interview with the cast of "The Caucasian Chalk Circle" at the Antaeus Theatre Company, playing through Aug 26th. You can listen to this interview while commuting, while waiting in line at the grocery store or at an audition, backstage and even front of the stage. For tickets and more info Click here.
Antaeus Academy Classes Open for Enrollment
Antaeus Academy is offering now 12 classes and this is the time to enroll for these summer sessions!
If you're interested in any of the classes below, visit http://antaeus.org/arts-education/academy/academy-3/ and click on the "Enroll Now" button to use the enrollment form on the website.
If you take more than one class, you can get a "buy one, get one 50% off" discount.
Friends and Colleagues: Harold Pinter & Simon Gray
Moderated by Nike Doukas
Mondays 12-4pm, June 25-August 27 (10 weeks)
$450 (Early Bird Discount $400, due by June 11)
Class Size: 14-16
Harold Pinter and Simon Gray wrote very different kinds of plays: Pinter is terse and mysterious; Gray is verbose and more naturalistic - but they are both darkly comic and subversive. They were great friends and Pinter directed Gray's perhaps most popular play, Butley. In this class, the class will focus on the plays of Pinter (Betrayal, Lovers, The Birthday Party, The Homecoming, etc) but also take a look at some by Gray: Butley, Otherwise Engaged, Quartermaine's Terms, and others. Both men are dazzling masters of language who demonstrate those skills with vastly different approaches. Prepare to be thrilled by the experience of interpreting their work.
Myth, Superstition & the Blues: The Poetry of August Wilson
Moderated by Gregg Daniel
Mondays 7-11pm, June 11-July 16 (6 weeks)
$310 (Early Bird Discount $280, due by May 28)
Two-time Pulitzer Prize winner August Wilson is arguably one of the great playwrights of the 20th century. His ambitious ten-part play series known as "The Century Cycle" chronicles the African American experience during each decade of the 20th century. His work has garnered a Tony Award as well as the New York Drama Critics Circle Award.
In this workshop, the class will examine the themes, sources and personal history that make the playwright's work so resonant. Through scene and monologue work, you will delve into the musicality, rhythm, prose and poetry which distinguishes Wilson's text. As Wilson stated, "the more my characters talk, the more I find out about them."
This class is open to students of all ethnicities, races and backgrounds.
An Amuse-Bouche of Masters: A Scene Study/Technique Class
Moderated by Daniel Blinkoff
Tuesdays 2-6pm, June 12-August 14 (10 weeks)
This 10-week Intensive will focus on Chekhov, Stanislavski, and Earle Gister's technique of acting developed at The Yale School of Drama. Whether you have a lot of experience with any of these innovators of the theatre, or none at all, it doesn't matter. Your curiosity and passion is all that is required. Just like the Master's Program at Yale, this class will start exactly where you are and work from there. With a main focus on Chekhov's plays and short stories, the class will focus on The Moscow Art Theatre's approach to Chekhov, examining Stanislavski's scene analysis while combining it with the exercises that The Moscow Art Theatre utilizes in interpreting Chekhov's plays so the actor is no longer thinking about the play but experiencing it in a kinesthetic physical manner. Once this is established, Earle Gister's technique of acting will be introduced as an aid in releasing the work. Through this scene study, focusing on Chekhov and then possibly bridging out towards more modern texts, the class will experience the common threads between all of these master teachers and how they resonate in all different kinds of texts. This class is an opportunity to strip away our own misconceptions with these three masters of the theatre and to experience their approaches in a positive and beneficial way that we can use today.
Mind the (Gender) Gap
Moderated by John Sloan
Tuesdays 7-11, June 5-August 21 (12 weeks)
Every word a woman writes changes the story of the world, revises the official version.--Carolyn See
In the 21st century, female playwrights are taking center stage (and creating some of our favorite television shows too). But for so many years, the work of female playwrights hasn't been given the attention it deserves. In this class the company will focus their scene study work on plays written by women from all over the world, from the earliest days of the theater to the rich and varied works of contemporary times. Through the exploration of what dramaturg Susan Jonas called "the other canon," the class will challenge our assumptions, expand our horizons, enrich our craft, and add depth to our experience as actors and as people.
The Dive In: Othello
Moderated by Elizabeth Swain
Tuesdays 1-5, July 3-31 (5 weeks)
Tuition: $280 (Early Bird Rate $250, due no later than June 19)
How well do you really know this play? Through deep textual analysis, set against knowledge of Shakespeare's times, the class will dig and dive and gain more understanding of Shakespeare's meanings. In the long held Antaean tradition the actors will read the play together, playing any parts they choose. Occasionally the class participants might stage a scene to clarify (he did intend the plays for performance!) but the intention is to gain a new understanding of Shakespeare's text through extended table work, readying them all for a production. The final class will include a reading of the play, all participants alternating roles.
A Holistic Look at Dialects: UK Edition
Moderated by Lauren Lovett-Cohen
Wednesdays 1-4, July 11-August 29 (8 weeks)
It's 2018, and thankfully there are more and more TV/Film/Web and theater projects that include roles from all over the world. The idea of a Standard American dialect or RP or the "correct" way to speak is giving way to the specificity of the who/what/where and the history of each character.
Join Antaeus for this class where they open up a new way of looking at dialects -- with a concentration on the UK for this round -- to give you the tools for getting more work in today's projects. There will be monologues and scene work from various plays penned by British authors from the turn of the 20th century through today.
Shakespeare: Making the Bard's Words Your Words
Moderated by Rob Nagle
Wednesdays 7-11, June 6-August 29* (12 weeks)
*no class the week of July 4
Why is Shakespeare such a challenge to so many, not only to perform, but also to comprehend? Could it be that we get caught up in the academic, an analytic study of the text through reading it, and then find ourselves neglecting the characters, the people we are attempting to bring to life. In this class, through action and scene study, participants will find a way to use the scansion and the poetry to make them bolder actors — and in so doing, participants will find his words coming out of their mouths as conversational and current, but not casual or contemporary.
Fitzmaurice Voicework
Moderated by Scott Ferrara
Thursdays 1-5pm, July 19-September 6 (8 weeks)
$350 (Early Bird Discount $300, due by June 7)
Whether you work in theatre, film or television, all mediums of our craft call for vocal strength, flexibility, and specificity. This class uses a holistic approach to body/mind/ voice work, to help the participant explore the dynamics between body, breath, voice, imagination, language, and presence.This approach liberates the mind, body and voice by strengthening the connection between what the participants are feeling and what they're expressing. By integrating physical exercises with mental focus, the class will bring the full richness of the actors' experiences to their work. By strengthening the "support" for the participants voice, the class will also add more variety to the expression of the performers use of it, be that in pitch, volume, singing – all without straining the voice or vocal chords. And then the class will combine Classical Text with the voice work, further developing the awareness, trust and freedom with the actors' breathing, body, feelings, imagination, and voice and add more vibrancy and presence in performance.
Shaw, Wilde & Coward
Moderated by Kitty Swink
Thursdays 7-11, June 7-August 30* (12 weeks)
*no class on July 12
"This suspense is terrible. I hope it will last." Oscar Wilde
This class will engage participants in the wit, craft and social commentary of three of the English language's most celebrated playwrights, Oscar Wilde, George Bernard Shaw and Noel Coward. Participants will learn to contextualize their times, manners and behaviors, and using scene work they will embrace truthfulness, imagination, concentration and living in the actor's body while performing biting satire and high comedy. The powerful combination of technical expertise and emotional truth brings each of the playwrights to life and makes the participants understand why these three have been performed for more than a century. Open to actors of all ages.
Shakespeare 2.0
Moderated by Armin Shimerman
Saturdays 10am-2pm, June 9-July 28 (8 weeks)
This class is a further exploration of Shakespearean acting skills for people who have already studied with Armin at Antaeus. This class will further intensify the actor's awareness of the text and how to clearly communicate that to an audience. To enroll, participants must apply and be approved.
Real, Safe, and Kicka**: Stage Violence for Actors
Moderated by Ned Mochel
Saturdays 10am-2pm, July 7-August 25 (8 weeks)
This class focuses on an exciting, new approach toward stage violence in the American theater that's rougher, tougher, and more realistic. This is not your traditional stage combat class; this class prepares the modern actor to engage in a more realistic, intense style of stage action.
Ned Mochel has been building stage violence for over 25 years. His violence design has been showcased in plays at Steppenwolf Theatre Company in Chicago, on and off Broadway in NYC, Geffen Playhouse, as well as at Antaeus Theatre Company. He's been changing the way audiences perceive stage violence one production at a time. If you've been immersed in stage action in the past or if you're interested in diving in for the first time, this is the class for you. It's a rough, tough, fun approach--an experience you'll never forget. Learn how to make it real, stay safe, and kick ass. From hand to hand fighting and gun work to detailed sword training, you'll find yourself building new skills to set you apart from the others. This is new cutting edge stage action and it's happening at Antaeus.
Shakespeare: Getting Started - WAIT LIST ONLY
Wednesdays 1-5pm, June 13-August 8* (8 weeks)
This class is designed for those who have never studied Shakespeare with Armin before. It will include monologue/scene study and a thorough approach to acting, understanding, and communicating through language, history, religion, social mores, and - the Rosetta stone to performing Shakespeare - Elizabethan rhetoric. Any fear of performing/reading Shakespeare will be cured. You may laugh as well.
Ashton's Audio Interview: the cast of "Les Liaisons Dangereuses" at the Antaeus Theatre Company
Enjoy this interview with the cast of Les Liaisons Dangereuses by the Antaeus Theatre Company, which closes Dec 10th. You can listen to this YouTube interview while commuting, while waiting in line at the grocery store or at an audition, backstage and even front of the stage. For tickets and more info Click here.
CARNAGE AND COMPASSION IN TRUMP'S AMERICA
HIPSTER TIPS OF THE WEEK
Faqir Hassan and Melissa Chalsma in Sharr White's THE SNOW GEESE
When Sharr White's play The Snow Geese opened in New York, Ben Brantley wrote in the New York Times that "it is unlikely to stir any emotion except bewilderment as to how this lifeless play wound up on Broadway." Such reviews are the kiss of death for any new play, and The Snow Geese was no exception. But Mr. White's friends David Melville and Melissa Charlsma considered this unjust, and since they are co-artistic directors of the Independent Shakespeare Co. of Los Angeles, they were in a position to do something about it. Sharr White revised his play for their actors, and the resulting production is unconventional and unpredictable in its examination of the classic American subjects of money and family. Only four performances left of this fascinating play that you may never get a chance to see again - this Thursday through Saturday at 7:30 and Sunday at 2 in Atwater Village. (CLICK HERE for tickets and more info.)
Harry Groener, Ross Phillips and Rebecca Mozo in "The Buttered Biscuits" cast of Antaeus Company's CAT ON A HOT TIN ROOF. Photo Credit: Sally Hughes
Money and Family are also the preoccupations of the characters in Tennessee Williams's classic American drama Cat on a Hot Tin Roof, along with that Williams staple, Sex. Sex as a subject suitable for drama was the new variable that Williams brought to the American equation (courtesy of Sweden's great dramatist August Strindberg), and it simply changed everything. He unlocked the Puritanical Pandora's Box of obsession, repression and sexual/gender identity that helped create the modern world as we know it. But very few productions of this masterpiece - which was clearly Williams's attempt at an American King Lear - are sexy. Important, yes; but sexy, no. The Antaeus Company production that I saw at their new theater space in Glendale - performed by "The Buttered Biscuits" cast, who alternate with "The Hoppin' Johns" cast - was sexy. Director Cameron Watson anchors the play directly in the bedroom of Maggie the Cat and Brick the crippled ex-football player, who have reached an impasse in their relations. Maggie needs a baby; Brick hates Maggie and vows never to have sex with her again. In the long first scene, Brick intermittently exposes his nakedness to his wife, taunting her with what he promises never to give her. And when Brick's father Big Daddy speaks with him in Act II, they do so in that same bedroom, where Big Daddy's frank expression of lust for every woman who isn't his wife leads to his demanding an answer to why Brick claims to be repulsed by Maggie. It's a brilliant reading of this play, which clears away the academic cobwebs and brings us back to the conundrum of lust and love that lies at the heart of Williams's dramaturgy. (CLICK HERE for tickets and info about the alternating casts performing through May 7th.)
"It's the single, solitary individual that's finished. The time has come to say, is dehumanization such a bad word?" -- Howard Beale in the film Network by Paddy Chayevsky
The Donald and his Godfather, Roy Cohn; or "Can you find the Devil in this Picture?" Courtesy of the Bettman Archives and Getty Images
The Twisted Hipster has been around for awhile, folks. In fact, this is the 11th presidency that I can remember. And I'm here to tell you that nothing about what is happening right now is "normal." Yes, things were weird during Watergate and when Bill Clinton's Monica Lewinsky/Paula Jones scandals were being revealed by Ken Starr. And yes, at the end of Reagan's tenure too, during the time of Ollie North, shadow government agencies and the Iran/Contra hearings. But those all have one thing in common: they came in the second term of those respective leaders. No presidency has ever started off like this. None. This is insanity.
Sometimes it feels as if the wave of conspiracy theories that has been building for the last 55 years, ever since the spilling of JFK's blood, has now reached a crescendo and threatens to overwhelm all of us. Facebook and Twitter are one kind of crazy. but now every friend of mine seems to have his or her own pet theory. "Oh, Trump is gone, we've already moved on to Pence, what's going on now is all a charade," one friend tells me. While another says: "At the end of Obama's term, this one psychic predicted that Obama was going to be the last American president. When Trump was sworn in, I figured that was just b.s. But now I think that Trump's regime may itself be b.s., and that the democratic order of things is about to fall apart. I don't know what comes next, and I'm afraid to find out."
One thing is for certain: our collective perception of reality has been changed, perhaps irrevocably, by Trump's cynical manipulations. His crudeness infects everything. His invocation of "American carnage" is a self-fulfilling prophecy. His Narcissism threatens to undermine our sense of empathy, the compassion that we are able to feel for others.
Ann Talman in her one-woman show Woody's Order! at Ensemble Studio Theatre LA, the Atwater Village Theatre, through April 22nd. Photo: John Altdorfer
Ann Talman's one woman show Woody's Order! is completely apolitical. Talman tells the heartrending story of her life as a caretaker, first for her older brother Woody, stricken from birth with cerebral palsy, and later for her dad too, afflicted with Alzheimer's. Talman's beloved mom had died in a car accident when she was still in college, and there was no one else to turn to, no one else who could provide the love and attention needed to keep her family members alive. The fact that Talman was a successful young actress who had starred on Broadway as Elizabeth Taylor's daughter in Lillian Hellman's Little Foxes - as well as in several other Broadway plays, movies, TV series and soap operas - well, her career was simply collateral damage for the dedication that her caretaking required. As was her marriage to the actor Bruce MacVittie. He wanted children, but how could she do this when she was already shuttling between her brother's care center and her dad's hospital bed while still trying to maintain a career?
Ann Talman blames no one for any of this. She has no personal axe to grind, no religious point to make, no political legislation to champion. In fact, her love for her brother is so deep and all-encompassing that she is simply grateful. She completely loves and understands him, and he completely loves and understands her. How many people can make such a claim? No words are needed between them - their spirits have merged. The doctors gave Woody a life expectancy of 12 years when he was born; he is now almost 70. Talman expresses nothing but gratitude for this.
Yet it was impossible for me to experience Talman's story and not think about Donald Trump's public mocking of the disabled reporter Serge Kovalevski of the New York Times during the primaries. How could such a person be voted for by anyone for anything - much less for president of this great country? How did this vile act not disqualify him then and there as an emissary of the public trust? And how could Meryl Streep's denunciation of such behavior yield anything but collective agreement and expressions of solidarity?
The fact is, actions have consequences, even if we don't want them to, even if we choose to deny them. And the lack of moral action IS a choice that has consequences too. Once we endorse an act like Trump's by there being no punishment for it - no consequences - then what does that lead do? Once we give in to pragmatism and moral cowardice and decree that such behavior is acceptable, then how low can we go? What else will we accept?
We have only to look at Nazi Germany to find an answer. Adolf Hitler and his cohorts were not handed the keys to the kingdom in 1933, when Hitler was elected co-chancellor. There was a gradual wearing down of outrage, a gradual compromise of moral values in favor of financial advancement and nationalistic empowerment. Sound familiar?
Someone like Woody Talman would have been gassed at birth by the Nazis without a second thought, without even a tinge of regret. In fact, they would have called it an act of compassion to put an imperfect specimen like Woody out of his "misery." But Ann Talman begs to differ. And her voice must be heard before we grow so "dehumanized" (to quote Howard Beale) that we can no longer hear it. (For tickets CLICK HERE or 818-839-1197.)
Judith Moreland and Bo Foxworth in Robert Schenkkan's "Building the Wall" at the Fountain Theatre, directed by Michael Michetti.
In his shockingly timely new play Building The Wall, Pulitzer-prize winner Robert Schenkkan has taken this analogy between Trump's America and Nazi Germany - based on the compromise of moral outrage in deference to financial and nationalistic self-interest (that is, money and family) - and he has woven a dystopian prophecy from it, of what could happen if we continue down this dark path.
The play takes place in a Federal prison in the near future of 2019. Judith Moreland plays Gloria, a historian, who has come to see Rick (Bo Foxworth), a convict on death row. Rick was the warden of a mass-detention center for immigrants deemed illegal by the Trump administration, and he has been convicted for the crimes committed under his watch. Rick didn't testify at his recent trial and is now awaiting sentencing. Gloria is here to give him the chance to tell what happened from his point of view.
Schenkkan was recently quoted in American Theatre Magazine as saying, "I think that the Republic is in serious jeopardy, and I think that artists need to respond to it now, immediately." When I met with Schenkkan last month, he stressed this, adding: "The urgency that I feel right now as an American citizen and a theater artist cannot be overstated. We no longer have a business as usual world. We all have an individual responsibility to oppose what is happening. My job is to get people interested in taking meaningful action, in asking themselves "What can I do?" and then doing it."
Bo Foxworth plays the warden of a mass-detention center under Trump's regime in Schenkkan's play
Judging from the audience I saw the play with last Saturday, Schenkkan's play is getting mixed results on that score. The events related by warden Rick in the play are so horrific - so reminiscent of Nazi death camps - that the audience seemed reflexively to reject the possibility that such things could actually happen in their lifetimes in the land of the free and the home of the brave. That is, they accepted the story on the level of a dystopian parable, a warning, but not literally as something predictive, even as a worst-case scenario. Yet it's important to remember that Kristallnacht - the Nazi pogrom in which the windows of Jewish storefronts were shattered even as Jewish citizens of Germany were being herded into ghettos - took place only four years after Hitler's ascendancy to sole leadership. Such an eventuality was not even conceivable in 1935, but by 1938 it was reality, and not just in isolated regions. It was the law of the land, and there was nothing anyone could do to deter it.
The post-show discussion at the Fountain featured a Latina professor and the Latino representative of a group of immigrant day-workers, and it was fascinating - not so much for what was said, but for what wasn't said. There was not a single question about or reference to Schenkkan's play. Not one. Instead, the many audience members who remained were asking questions about detention centers in Los Angeles, and what they could do to help - who could they give money to, what could they do to register their objections to how immigrants are being demonized, to how fellow human beings are being treated. It was clear that their omission of any reference to Schenkkan's play had less to do with an aesthetic value judgment than an urgency regarding the play's message.
I have to admit that it did give me some hope that maybe "the single, solitary individual" wasn't "finished" after all, and maybe "dehumanization" is still a bad word. But this is no time for patting oneself on the back. "Complacency is a very serious problem," Robert Schenkkan told me.
Yes, and we are still going down that dark path. Who can tell where it will lead?
(The show has been extended for more info and tickets CLICK HERE)
Puppets, Nixon in China and Alec Baldwin - Reasons to Get Off the Couch
Looking for reasons to get off your couch? Then look no further - here are some great shows and events happening this week for you to go check out.
Led by Jones (Welsh) Talmadge and Laura Covelli, Not Man Apart Physical Theater premiere Paradise Lost: Reclaiming Destiny this week. NMA adapts John Milton's epic poem about the battle of angels versus demons and the fall from grace of Adam and Eve. Blending an original score, live digital animation, and video seamlessly with dance, acrobatics and onstage theatrics - this is surely to be a must see. Greenway Court Theatre, 544 N. Fairfax Ave., Fairfax; Fri., March 3, 8 p.m. (runs Fri.-Sun.; through April 2); $20-$30, $15-20 students & military. greenwaycourttheatre.org/paradiselost
The opera Nixon in China is playing this weekend at the LA Phil. Backed by a large cast of singers and dancers, composer John Adams conducts L.A. Phil as part of his ongoing 70th-birthday celebrations. Disney Concert Hall, 111 S. Grand Ave., downtown; Fri., March 3, 8 p.m. (also Sun., March 5, 2 p.m.); $20-$183. laphil.com
The Los Angeles Guild of Puppetry is hosting Puppetzilla Puppet Slam, an evening of music, comedy and a variety of human-operated, felt surrogates. Performers include puppeteer Pam Severns, ventriloquist Karl Herlinger, silent comedian Ithamar Enriquez, and singer-comedian Kara Morgan, who's premiering an episode of her new stop-motion web series The Kara Morgan Show. BYOB. Trepany House at Steve Allen Theatre, 4773 Hollywood Blvd., Los Feliz; Sun., March 5, 7:30 p.m.; $15, $10 in advance. comedycake.com/archives/42019
Alec Baldwin is bringing his New York–based podcast, Here's the Thing, to LA and is interviewing husband-and-wife comedy couple Nick Offerman and Megan Mullally, whose stage show, Summer of 69: No Apostrophe, will air on Epix later this year. The Theatre at Ace Hotel, 929 S. Broadway, downtown; Mon., March 6, 8 p.m.; $30-$55. theatre.acehotel.com/events/alec-baldwins-heres-thing-podcast
Antaeus Theatre Company's new Kiki & David Gindler Performing Arts Center is opening the weekend of March 3 in downtown Glendale. There will be tours of the space, workshops, improv shows, story time for kids, and a chance to get to know the space and the company. Located at 110 Broadway, the opening ceremonies celebration runs through March 5. Antaeus.org
Collective Rage: A Play in 5 Boops at Boston Court depicts five different Bettys colliding at the intersection of anger, sex, and "thea-tah." Billed: "In essence, a queer and occasionally hazardous exploration; do you remember when you were in middle school and you read about Shackleton and how he explored the Antarctic?; imagine the Antarctic as a pussy and it's sort of like that." Boston Court Theatre, 70 North Mentor Avenue, Pasadena, February 09 - March 19, 2017 bostoncourt.com
What MUST SEE events are you going to this week? Let us know in the comments!
Have a good reason to get off the couch? Send it to Editor@Better-Lemons.com
Bill Brochtrup Reflects on Antaeus' Contributions to LA Theatre & Revitalized Objectives in New Glendale Digs
The Antaeus Theatre Company has been a vital artistic component of the NoHo Theatre District for quite a few years now. Not only does Antaeus put on solidly-produced shows, they also provide theatre training for budding actors with community outreach to high schoolers and seniors. Now on the eve of staging an open house of their new facilities in Glendale — the Kiki & David Gindler Performing Arts Center, Better-Lemons grabbed the chance to talk to Antaeus Co-Artistic Director Bill Brochtrup.
Thank you for taking time out for this interview, Bill.
Antaeus has been at its various North Hollywood addresses for over 20 years. How did your new space in Glendale come about?
Honestly, there were so many programs going on at Antaeus that our old space in NoHo simply wasn't big enough to contain them all. There were classes, readings, rehearsals in every nook and cranny. So we began looking for a place that would be big enough to fit them all in. We couldn't just rent a theatre because we needed space for the Academy, offices, library, etc. There are a lot of zoning restrictions, parking restrictions, all kinds of things I had no idea about. But the City of Glendale has been amazing — they helped us identify a building right in the downtown Art and Entertainment District that could be built out to fit all of our needs. And
throughout this time we had been raising money, first internally from our members and Board, and then externally in our Play On! Capital Campaign. We worked with a wonderful architect who found a way to fit all of our wishes into what will be the Kiki & David Gindler Performing Arts Center. This has been a multi-year journey!
Space-wise, do you have specific plan to take advantage of your increased square footage?
Our new home has been very carefully designed to include everything we needed to allow Antaeus to grow. But the space is still tight, not an inch has been wasted. We'll have two performance spaces, a lobby with an art gallery, library, comfortable green room and dressing room for our actors — and lots of bathrooms!
You are currently one of three rotating co-artistic directors (w/Rob Nagle and John Sloan). How did this leadership model evolve and how does it work exactly? Do you divvy up responsibilities?
We work as a triumvirate, making decisions together. It's an unusual model, but it works surprisingly well. We've built up a great deal of trust in one another, and we share a vision for Antaeus' future. We like to have our hands in every aspect of the company. So while we each have varying areas that are of particular interest to us, it really is a group effort. Which is emblematic of the way the company works. We've been elected to represent the members' wishes. It can be a little unwieldy trying to get all three of us to sign off on something, especially if one or two of us are out working as actors — which all three of us are — but as I said, there is a great deal of trust there, and a shared taste and outlook. Rob is on his way to New York to open CHURCH & STATE Off-Broadway for an open-ended run. Luckily, we have his email address and phone number. He can't get away that easily!
Your inaugural season in your new digs opens with CAT ON A HOT TIN ROOF, followed by AS YOU LIKE IT and NATIVE SON. Does the recent Equity ruling requiring minimum wage to all small LA-based theatre companies affect your season in any way?
We are living in a challenging time for theatre everywhere, and for theaters in LA in particular. Things are changing and we must to learn to adapt. Antaeus will be operating under the AEA Membership Rule which currently allows membership companies to work with Equity actors without the benefit of contract. Our membership is virtually one hundred percent Equity members, so naturally we will continue to follow all union rules regarding hours, breaks, working conditions, etc. — just as we always have. We are an ensemble of Equity actors volunteering together to create the kind of work we want to create. That hasn't changed.
I have seen many of your fellow Antaeus company members in Equity-waiver shows in various Los Angeles theatres, They and you, as Equity members, now can't do another small theatre show without getting paid, like you, yourself so wondrously did at the Fountain Theatre in THE NORMAL HEART in 2013, right?
It's a confusing time and every intimate theater in LA is facing tough choices about how they will move forward. Our members can generally be seen on stages all over Southern California and beyond, from Broadway to South Coast Rep to the Taper to every 99-seat theater in town. Some of my very proudest moments onstage have occurred in intimate theatre, like the Fountain's THE NORMAL HEART. It will be a sad day indeed if we're shut out of those places — and it certainly will happen at some venues.
What would be the alternative to doing small theatre work be other than within Antaeus?
You mean like hiking or yoga? I guess if I couldn't work in the theatre, I'd have more time for those.
Antaeus is well-known for its partner-casting in all its productions. Who would you credit this Antaeus practice to?
Partner casting has been with Antaeus from the very beginning. It began as a way to answer the logistical problem of actors in LA wanting to work onstage but needing to make money in film and television — where they can be called away to Vancouver at a moment's notice. This practice allowed actors to leave a production for a day or a week or even more without scuttling the show, since there was another actor just as rehearsed as you, sharing the role. But we found that there are additional artistic benefits to working this way — if you can operate without ego, you find that partnering on a role allows you to find and explore many choices that likely
wouldn't have occurred to you on your own. It can forge deep bonds between partners who've created the work together. I could go on and on about it, but that's for a different interview!
How does a new-to-Los Angeles actor or writer get involved with Antaeus?
It can be a little tricky getting involved at Antaeus quite honestly, as we try to cast our shows from within the ensemble. Nevertheless, we often need to use guest artists when company members aren't available. We find these guests from a variety of sources — from our Academy classes, from recommendations, from actors we've seen in other venues (between the three of us, we see a lot of shows). We're pretty approachable — come to one of the shows and say, "Hello."
When did you, Bill Brochtrup, initially become involved with Antaeus? Was it after I saw you in Black Dahlia's SECRETS OF THE TRADE in 2008?
I met former Antaeus Artistic Director Jeanie Hackett when I was working on NYPD Blue. She suggested I get involved with Antaeus and invited me to some workshops and then I was cast in PERA PALAS, a co-production with the Theatre @Boston Court in 2005. I joined the company right after that.
What are your acting plans regarding Antaeus' inaugural season?
Ha! I begged director Cameron Watson to let me be one of the no-neck monsters in CAT ON A HOT TIN ROOF, but to no avail. But not to worry, there's plenty for me to do at Antaeus behind the scenes as we move in and get situated this year.
What are your goals you'd like to accomplish with Antaeus?
I would love to see Antaeus continue to grow and thrive in every sense. I want to grow our audiences and donor base, nurture our ensemble, establish deep roots in the Glendale community, strengthen our commitment to inclusivity and Arts Education. Make great theatre. And I'd like to do it without the fret and worry that is my normal demeanor!
What are you personal goals?
I'm very lucky to have a career as an actor which has allowed me to work in films, television, and on stage. I'd like to keep that going. Working as Co-Artistic Director at Antaeus has been an impactful personal journey for me. Taking on leadership responsibilities has been eye-opening. Making decisions that affect people's artistic lives is both daunting and highly rewarding.
Any roles you'd love to tackle?
I'm not one of those actors who has a long wish list starting with "Hamlet" and "Lear." I'm always surprised by the parts I end up getting and then by how much I end up falling in love with them. When we did CLOUD 9 last season I didn't plan on playing "Betty/Edward," but now it's one of my favorite roles ever. And I have a recurring role on TNT's Major Crimes as savvy police psychologist, "Dr. Joe," which I just adore. He's awesome.
Anything you'd like to add regarding Antaeus?
I'd like to invite everyone to come to Glendale to join us for Open Stages, a 4-day celebration of the opening of Antaeus' new home at the Kiki & David Gindler Performing Arts Center (March 2 thru 5). There'll be tours, open houses, classes, a high school monologue competition, improv, music. It's for the community, it's all free and everyone is welcome. Come get to know us.
Thank you again for doing this, Bill.
For further info on Antaeus Theatre Company's Open Stages, as well as, and tickets and scheduling for their inaugural season in their new Glendale space, log onto www.Antaeus.org


Montana is seen here modeling an outfit from Macy's.
Fashion and food joined forces last weekend to raise funds for music scholarships for Kaua'i's youth. And one of the consequences was a heck of a good time.
The "Spring Fling Fashion Show" organized by the Mokihana Club attracted 180 people to the Jasmine Ballroom at Kaua'i Beach Resort March 8.
Several members of the oldest women's club in the state — it was founded in 1905 — took the catwalk in three different rounds during the fashion show featuring clothing from Macy's store, which is managed by Katie Gov.
From left to right, Music Scholarship Chair Barbara Adair, Mokihana Club President Winnie Lu and Fashion Show Chair Helena Coonley.
However, it was the only man on the catwalk, Kaua'i Concert Association President Jason Blake, who caused the loudest cheers from the public, made mostly of women.
Besides the fashion show, the women enjoyed a three-course meal prepared by the resort's chefs.
Paula Goldsberry, of Goddess in Training, models an outfit from Macy's at the Jasmine Ballroom at Kaua'i Beach Resort.
The funds raised in the event will add to other Mokihana fundraisers throughout the year and go toward at least three music scholarships for Kaua'i's aspiring young musicians, according to the nonprofit's president, Winnie Lu.
Helena Coonley, chair of the fashion show, said she has been a Mokihana member since 2001, and throughout the years she has seen many young talents — boys and girls — benefit from the scholarship. She said she expects the club to fundraise at least $9,000 this year to divide among winners of a music scholarship competition.


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We may have increased our dating pools with apps like Tinder, Bumble, and Hinge, but there seems to be a direct correlation between the number of available singles and the likelihood of going on a very, very bad date. But now, rather than faking a phone call and trying to figure out if the best excuse for a quick exit is a pet emergency or a roommate disaster, you can check out another app for a Plan B. Meet Bod, which stands for bad online dates. The app promises "a redesigned approach to dating, one that returns control of their bad date night by introducing new matches in real-time, and without all the time sucking of texting and emailing." Because, of course, the only thing you'll want to do to escape your current bad date is go on a new date (and just hope for the best).
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text:
layout: page
title: Chrome Aerospace Dinner
date: 2016-05-24
author: Cheryl Massey
tags: weekly links, java
status: published
summary: Nunc non cursus sem. Morbi.
banner: images/banner/leisure-05.jpg
booking:
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  endDate: 07/20/2017
  ctyhocn: HDSNCHX
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published: true
---
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