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Old Times: Not the Best of TimesPosted: December 9, 2015 Filed under: Becca Doodle - Sad, Broadway, Drama, Play, Revival | Tags: beccaschneids, cliveowen, douglashodge, evebest, haroldpinter, instareview, kellyreilly, move, moving, newapartment, nomansland, oldtimes, pause, pinter, pinteresque, roundabout, roundabouttheatrecompany Leave a comment
Sorry for my absence, y'all. I've been here:
Don't worry; I haven't gone far! Only about 10 blocks west of my last place, but a new apartment nonetheless. Which means for the past two weeks all I've been doing is packing and cleaning and tossing and taping and unpacking and IKEAing and building and burning cash, on repeat it seems. Soon, friends. Soon our home will be livable.
Anyway, because of the move delay, I didn't get to write about Old Times before it closed last week, but here's a quick note about the production. You may have already seen my #InstaReview on Instagram (p.s. follow me). Harold Pinter was back on the Broadway in this revival, and I was left feeling the same way I did last time at No Man's Land: unfulfilled. And to be blunt with you: bored. The same thing happened when I saw The Birthday Party many moons ago during my semester abroad in London.
A two-sentence synopsis: Married couple Deeley and Kate are hosting Anna, an intriguing friend of Kate's from years before. Together they reminisce and discover unexpected connections among them, all the while trying to maintain the upper hand in the conversation. I didn't care for the characters in present day, much less their past. There was no forward momentum. Old Times is power play after power play, but I felt like we were in a stalemate the whole time. Each pause was so weighted, and every line meant so much. It's exhausting having that much subtext, and I love subtext! It's delicious when a character says one thing and means another; that's real life. However, here it was tiring, despite the very talented cast. Too much subtext and not enough substance. The design was attractive, but what did it mean? It gave me the impression that we were floating in limbo. The play gave that impression, too. It's a cat and mouse game, but I didn't know who was chasing whom. They certainly weren't chasing my attention.
I'll be completely honest with you: I don't know the ultimate reason that Old Times didn't appeal to me. The common denominator here could be Pinter, end of story. Another part of me wonders if there is still a chance for Pinter and me; if I need exactly the right combination of director, cast, and story. Regardless, Pinter is in the canon for a reason, and I know I enjoyed reading his plays back in school. That love should be able to translate to the stage. But it seems Old Times was not the right time for me.
Old Times
Written by Harold Pinter, Directed by Douglas Hodge
American Airlines Theatre, Closed November 29, 2015
Running time: 65 minutes, no intermission
Cast: Clive Owen, Kelly Reilly, and Eve Best
Credits: Set Design: Christine Jones; Costume Design: Constance Hoffman; Lighting Design: Japhy Weideman; Sound Design: Clive Goodwin; Music: Thom Yorke: Hair Design: Amanda Miller; Production Stage Manager: Nevin Hedley
The Humans: A Hilarious and Haunting Family PortraitPosted: October 30, 2015 Filed under: Becca Doodle - Happy, Comedy, Drama, Off-Broadway, Play | Tags: arianmoayed, cassidebeck, humansreview, jaynehoudyshell, joemantello, laurapels, laurenklein, newplay, offbroadwayreview, pulitzerprize, reedbirney, roundabout, roundaboutreview, roundabouttheatre, roundabouttheatrecompany, sarahsteele, sonsoftheprophet, speechanddebate, stephenkaram, thanksgiving, thanksgivingdinner, thehumans, thehumansplay, thehumansreview Leave a comment
This, y'all. What a well-made play. A Roundabout Theatre Company production currently running at the Laura Pels, and now expected to transfer to Broadway in the spring, The Humans is a new play by Stephen Karam, whose play Sons of the Prophet (a 2012 Pulitzer Prize finalist) was also staged at the Roundabout back in 2011.
Thanks to the fantastic direction by Joe Mantello (you can always count on him) and an extremely strong cast, everything about this piece feels so…real. That's the only word I can think of to describe it. Time and time again, I keep coming back to that one – real.
First let me give you some context. The Blake family has gathered together for Thanksgiving dinner, this year at their younger daughter's new apartment in lower Manhattan. Brigid has moved in with her older boyfriend, Rich, and the place isn't bad by New York standards. It's a ground floor apartment, and they have a second floor in the basement of the building, both fully executed by set designer David Zinn (see photo below). Sure, there are bars on the windows, and the trash compactor is crazy loud, and who knows what the hell the neighbors are doing upstairs, but hey, it's home! They've just moved in, and their stuff hasn't made it to the apartment yet, so it's a very bare bones Thanksgiving, adding to the creepiness vibe of the place as the thumps get louder and louder upstairs. Brigid's older sister Aimee is there, and their parents, Erik and Deirdre, have trekked in from Pennsylvania with their grandmother "Momo" who is suffering from the beginnings of dementia. The evening is full of prepping for dinner, exchanging gifts, complaining about the noise, and getting to know the boyfriend (watch a clip here). Because it's a play (and we all know how plays work), we can guess from the start that this isn't going to be the smoothest of family dinners, but the way in which the plot unfolds is so seamless that it doesn't feel the least bit contrived. Nothing in the entire 90 minutes seems false or forced. Things unravel like a sweater as old reflexes kick in, snide comments are exchanged, and secrets are revealed.
Whatever these actors did to prep for these roles worked. It's as if they really grew up together in the same home. The dynamic of each relationship has been so well developed. As tensions rise and fall, each character alternates taking on the role of mediator or instigator. It's so familiar it's almost like watching your own family up there – maybe not the same relationships or secrets but in the way they speak to each other. The history between them is just as strong as what's being said in the moment. Whenever Brigid makes a rude comment toward her mother, I didn't sit there thinking, "She's a mean person." Rather I saw the layers of their relationship and understood that they have a history to which we are not privy. We may not get the whole story in this play, but we know it's there, and the actors definitely know it. AH – all of them are so good! I don't feel the need for other adjectives! All I've got is GOOD and REAL.
Oh, also, don't let me give the impression that this is a heavy, all-intense family drama. That's definitely part of it, especially as we build to the haunting climax, but this play is crazy funny. Other things I loved? It's told in real time. The characters overlap and interrupt each other the way people really talk. They overhear one another's conversations, but it doesn't feel like a convention. We are truly flies on the wall witnessing raw, real moments between family members as they snap at each other and love one another hard. The Humans is so relatable it's painful at times, and when I wasn't laughing, I was struck by the inner workings of this family. I found myself continuously surprised as other elements were looped in toward the end of the play, even moments of pure terror. And when the lights went out, my hair was standing on end.
The Humans
Written by Stephen Karam, Directed by Joe Mantello
Laura Pels Theatre, Closing January 3, 2016
Running time: 90 minutes, no intermission
Cast: Cassie Beck, Reed Birney, Jayne Houdyshell, Sarah Steele, Arian Moayed, and Lauren Klein
Credits: Set Design: David Zinn, Costume Design: Sarah Laux, Lighting Design: Justin Townsend, Sound Design: Fitz Patton
Fiasco Theater's Into the WoodsPosted: March 10, 2015 Filed under: Becca Doodle - Happy, Comedy, Drama, Musical, Off-Broadway, Revival | Tags: bensteinfeld, brown, brownuniversity, cinderella, fiasco, fiascotheater, intothewoods, intothewoodsreview, merylstreep, newyorktheatre, noahbrody, offbroadway, rapunzel, review, revival, roundabout, roundabouttheatrecompany Leave a comment
Talk about the opposite end of the spectrum from this year's blockbuster movie "Into the Woods." The film, with its starry cast, lush sets, and special effects, may leave you thinking that this is the production value required of such an epic piece. But what you can witness at the Roundabout Theatre Company right now makes a strong argument for simplicity. By returning to its core – cutting the expensive costumes and even a full orchestra – we see these characters, raw and available, for all their faults, dreams, and wishes.
This is Into the Woods stripped bare. Fiasco Theater has gone back to basics with a much beloved show, throwing away the many interpretations we've seen over the years and starting from scratch. What do these characters want? What are they really saying/singing? The company takes the book scene by scene, lyric by lyric, and re-approaches them as if it were new material. And the hard work shows (highlights here). As someone who knows ITW very well, I heard lines in new ways, saw things I'd never noticed before, and to top it off, didn't find myself missing the old ways. With a minimal set and only a few instruments, this small ensemble creates an entire world for us to behold, and like a fairy tale, many things are left up to the imagination. Take all the prop stand-ins: the hen is a feather duster, the cow a man (an absolute stroke of genius), the horses toy sticks, Rapunzel's hair a yellow yarn hat, and so forth. Most of the accompaniment relies on Musical Director Matt Castle on piano, but the cast also doubles as the pit, stepping in to play cello, xylophone, bassoon. A few also play multiple roles: Rapunzel is Little Red, Jack's Mother is Cinderella's Stepmother, etc.
The orchestrations are unique and beautiful. In an odd way, losing the full orchestra highlighted the music even more. Who knew I'd been craving Sondheim music played only on guitar? The staging is also full of surprises. You never know what's going to be transformed next. The set is stunning, the stage basically the inside of a piano. Up the proscenium sides are keys, along the wings are the insides of actual pianos, and the back wall is filled with strings that turn into the woods (no pun intended) themselves.
The cast is not that strong vocally (except for a few stand-outs), but it's actually a testament to the innovation behind the production itself that this doesn't take away from the show. Of course I missed having a certain power behind a few voices, but they make up for it. There is heart behind each and every performance. Nothing feels glib or mocked; it's genuine and full of love for the story.
[SPOILER ALERT in this paragraph] This production also serves as a defense of what I wrote about in my movie review. Rapunzel's death is so, so, so key to the plot, not just for the Witch's arc, but the arc of the show in general. When that scene is done correctly, it changes the air in the room. Her death, and Jack's Mother's, sit in the space, the weight heavy on us, as the two actresses leave those costume pieces behind and move back into roles that live on. These deaths drive the characters, they drive the remainder of the second act, and they drive the message of the show.
It's likely you're not interested in seeing a show you've already seen or one that you can go see for $15 at a movie theatre (or on DVD soon enough), but I assure you, despite being an old favorite, this Into the Woods is brand new.
Fiasco Theater's Into the Woods
Music and Lyrics by Stephen Sondheim, Book by James Lapine, Co-Directed by Noah Brody and Ben Steinfeld
Laura Pels Theatre, Closing April 12th
Photo Credit: Joan Marcus
Pictured: The cast of Into the Woods
The Real ThingPosted: October 22, 2014 Filed under: Becca Doodle - Sad, Broadway, Drama, Play, Revival | Tags: broadway, cynthianixon, ewanmcgregor, itsaboutyou, maggiegyllenhaal, moulinrouge, review, roundabout, samgold, therealthing, tomstoppard Leave a comment
If you went to high school with me, then you know I fell in love with Ewan McGregor when I was 17-years-old, saw "Moulin Rouge" for the first time, and my young mind exploded. You also know that I had a Seth Green phase earlier in high school, but let's move past that for the moment. After I proceeded to watch as many of Ewan's films as I could the following year, I eagerly awaited the moment to see him in a live play (since I tried and subsequently failed to see him in Guys and Dolls when I was studying abroad in England). So yes, I admit, Ewan was the primary reason I wanted to attend the newest revival of Tom Stoppard's The Real Thing.
Henry (Ewan McGregor) is a playwright. His current play is about a woman who cheats on her husband, starring his wife Charlotte (Cynthia Nixon) and an actor named Max (Josh Hamilton). In real life, Max is married to Annie (Maggie Gyllenhaal). When we learn that Henry and Annie are actually having an affair, art begins to imitate life. Or is it the other way around?
Sadly, this production left me wanting in many ways. I wasn't invested in these characters, emotionally or intellectually. They don't need to be sympathetic (which they aren't) for me to be invested, but I still have to want to go on a journey with them. Instead I felt left behind. This was in part due to the story itself being confusing at times (intentionally), and it can be hard to follow because the language is so dense. But that aside, I couldn't connect to the style itself. It was very presentational and plotted out. Rather than discovering on the line, all of the words seemed planned. If a character had a big speech, it was performed like he or she had memorized it and had reached the appropriate time to recite it. It did not feel spontaneous.
Matt and I were discussing that maybe this was because of the slightly heightened, highly intellectual language, but on the other hand, Shakespeare is heightened and poetic. Even if you don't catch all of the metaphors, subtext, and meanings in the first hear-through, you are still with the characters. You're discovering things together, in the moment, no matter the density of the words. For example, when I saw the revival of Stoppard's Arcadia a few years back, I went in blind, and while I was desperately confused at times (lots of math talk in that play), I still felt like I was there with the characters, going through something with them, trying to figure it out together.
The Real Thing won a Tony Award for Best Play in 1982 and Best Revival of a Play in 2000. It took home the Drama Desk, and the leads won Tony Awards in both productions. I mean, it makes sense! Stoppard is one of our most popular playwrights, known for his intense, philosophical, beautiful dialogue and topics. And I love all four of these actors in their other works. I think the root may be a direction/style choice. I'm curious what the previous productions did differently that made them so successful.
This play is about love, marriage, and in/fidelity. It's about the feelings that are left unsaid, acting the opposite, playing it cool. We find out rather quickly that the first scene is a performance, a play within a play, but come the second scene in "reality," it still feels like a performance. This might have been the point, as it partly represents the lack of honesty being shared among the characters, but then again, there needs to be a contrast. There are only a couple of moments with that kind of truth sprinkled in (Ewan has a touching moment alone onstage in the second act that I appreciated). I don't mean that the characters need to show this truth to each other, but the vulnerability could be shared with us. Someone should be honest with the audience and make that connection, if only for a moment, because we want, we need the real thing.
The Real Thing
Written by Tom Stoppard, Directed by Sam Gold
American Airlines Theatre, Closing January 4, 2015
Photo Credit: Joan Marcus
Pictured: Maggie Gyllenhaal and Ewan McGregor
CabaretPosted: May 2, 2014 Filed under: Broadway, Musical, Revival | Tags: alancumming, cabaret, emcee, lifeisacabaret, michellewilliams, review, revival, roundabout, roundabouttheatrecompany, sallybowles, sammendes 2 Comments
Last Thursday, I was fortunate enough to attend the opening night of the revival of Cabaret. And when I say revival, I mean that in the most literal way possible. As you may already know, Roundabout Theatre Company has remounted the Sam Mendes production that opened in 1998 and ran until 2004 (starring the late Natasha Richardson). Sadly, I missed it the first time around. Originally I had questioned the choice of putting up the same show. In my book, the point of producing a revival is to revisit a classic in a new way, to find a different angle. But boy, am I glad they did so I could see it now. It's rare to get that kind of opportunity. Cabaret is back and once again it's starring Tony-winner Alan Cumming as the Emcee, and together they are tearing it up at Studio 54.
Cabaret itself isn't a flawless show – it's long and certainly drags on in parts. There are a few songs that don't need to be there (the pineapple song anyone?). Although you could argue that every seemingly unnecessary number contributes to the story as a whole. Every piece has a place in the puzzle – pieces that slowly build (or more appropriately, collapse) the world around us. For example, the songs Fraulein Schneider and Herr Schultz share aren't particularly strong, but we need them in order to grow close to these characters and care about their relationship, so we can be even more distraught when things come crashing down.
It's remarkable to me that a musical I'm so familiar with (Oh! How nice of you to ask – I was in it my senior year of college) can still be so chilling. Like the first time a swastika is revealed, you can practically hear the silent gasp emanating from the audience. And even though I know it's coming, it's still a punch in the gut. The same goes for "If You Could See Her (The Gorilla Song)," and basically, let's be honest, the entirety of Act Two. It's a one-two punch, over and over again. The fun, crazy world that is initially created is shattered as reality sinks in. That's the beauty of Cabaret. It's enough to make you almost forget what's coming. It's all fun and games with the Emcee, but the moment the kick line kicks into a goose step, we know there's no going back.
The majority of this seamless shifting in mood can be credited to the wondrous Alan Cumming who is still ridiculously sexy, sensual, and sleazy in the role. Plus he sounds fantastic. His Emcee is a performance everyone should be lucky enough to witness. He makes it feel like a private show just for you, full of seedy antics and entertaining songs, and at the same time, creates a dark, mysterious sense of foreboding of what's to come.
All of the supporting characters are also excellent, particularly the Kit Kat Club dancers, Fraulein Kost (Gayle Rankin), and the newly Tony-nominated Fraulein Schneider and Herr Schultz (played by Linda Emond and Danny Burstein, respectively). And even though the critics can't agree, I will vouch for Michelle Williams. She impressed me. I'm not sure how I feel about her take on the character (although this could very well be a director's call). Sally Bowles is larger than life, especially in Act I, and Michelle's Sally is much more reserved and fragile. I think that fragility should be bubbling under the surface but not necessarily for the entire story. That fear and heaviness seems to be there from the start, rather than the somewhat-oblivious, party-loving girl. Still, it was interesting to see something new. And her performance of "Cabaret" is extremely powerful. I bet her performance as a whole will only get stronger and stronger as she gets more comfortable on stage.
All in all, I give Cabaret two thumbs-up. You should definitely try to see it, especially if you missed the last revival. And even if you didn't, why not get chills all over again?
Music and Lyrics by John Kander and Fred Ebb, Book by Joe Masteroff, Directed by Sam Mendes, Co-Directed by Rob Marshall
Studio 54, Closing January 4, 2015
Photo Credit: Joan Marcus
Pictured: Alan Cumming and the Kit Kat Club Dancers
Dinner with FriendsPosted: February 28, 2014 Filed under: Drama, Off-Broadway, Play, Revival | Tags: dinnerwithfriends, donaldmargulies, jeremyshamos, margulies, review, roundabout 2 Comments
I love the playwright Donald Margulies. I love his dialogue, his style of writing, his sense of humor, and what he has to say about relationships, marriage, and friendship. His plays consistently hit me in the gut and make me think (Dinner with Friends, Time Stands Still, Collected Stories). But this production of Dinner with Friends made the material feel stagnant. I was very excited to see it and took my dad for his birthday, but it simply didn't sit right with either of us.
The play follows two married couples and the changes that occur within their friendship when one of the couples announces they're getting a divorce. I think it was primarily the direction that I didn't see eye to eye with, but occasionally it may have been the acting as well. I typically very much enjoy Pam McKinnon's directing (Clybourne Park, Who's Afraid of Virginia Woolf?), but this fell flat for me. Not all of it by any means! I don't want to give the impression that the production is bad. Certain parts I was very much involved in and couldn't tear my eyes away, but then on a dime, I'd fall out of it. And as my dad pointed out, the humor wasn't landing as much as it typically does in a Margulies play. Yes, it may be a tragic story, but there is, more often than not, comedy found within the tragedy.
Margulies is all about the scene work. It's about the conversation, the witty, often biting, back-and-forth between characters. It's day after day of conversation after conversation, and I eat it up. There is a major sense of realism with his writing, meaning when something feels out of place or false I'm taken out of it. If there is random blocking or awkward staging, if we stray from the "reality" for even a moment, I'm gone and have to work my way back. Sometimes it's an odd delivery of a line or facing out instead of directing one's words TO the other character. The second scene, for example, was problematic (as Charles Isherwood also states in the Times). The couple getting a divorce is having a very tense conversation that snowballs quickly into an intense argument. They are standing on opposite ends of the stage, cheating out, and talking at each other. Instead of feeling their pain, I was just thinking about how obviously they were cheating out. Quite often the blocking (or lack thereof) didn't serve the actors. Even in the top of Act II when we open on a flashback 12 years earlier, the new set doesn't do anything to help the scene. The actors are practically stuck in a line with limited space to move and play.
Jeremy Shamos, though. Man, is he good. This isn't news (Clybourne Park, The Assembled Parties), but honestly, I could watch him do the whole play by himself. In the last scene, although it doesn't quite redeem some of the weaker parts of the show, he instantly draws you in – right along with what his character is going through. His work is always so natural and effortless. The moments we get to spend with him bring the sad humor, depth, and punch in the gut I'm looking for when I'm in the mood for some Margulies.
Dinner with Friends
Written by Donald Margulies, Directed by Pam McKinnon
The Laura Pels Theatre through April 13th
Photo Credit: Jeremy Daniel
Pictured: Marin Hinkle and Jeremy Shamos
Bad JewsPosted: November 18, 2013 Filed under: Comedy, Off-Broadway, Play | Tags: badjews, chai, review, roundabout, shiksa Leave a comment
First, let me say that I did not care for this show. Second, I should also say right off the bat that I am most definitely in the minority. Bad Jews has received rave reviews and audiences love it. My theatre buddy that evening (and fellow Jew) was my brother's girlfriend, Allison (of Accessories by ASH), and she loved the show, too.
So what's wrong with me you ask? Well, let's back up a bit. We start in a fancy New York City studio with Jonah and his first cousin, Daphna (actually named Diana, but she's super Jewish so she's Daphna now, don't bring it up) after their grandfather's funeral. They are soon to be joined by Jonah's brother, Liam, who arrives late (missing the funeral) with his Shiksa girlfriend, Melody. Tensions are immediately high, yes due to the death in the family, but primarily because Daphna is "that cousin" who gets in your face about everything. She and Liam can't stand each other. Jonah would prefer to stay out of the drama as much as possible. As the fighting enters into the wee hours of the morning, these four characters brawl over their feelings toward Judaism, marrying outside the faith, how to best honor their grandfather, and above all who should receive Poppy's Chai necklace that he's had since the Holocaust.
Now I went into this play thinking I was going to see a slapstick comedy about Jews. The play does have some good laughs (there is one bit with Molly Ranson as Melody and I could hardly breathe), but this is no farce. There are serious issues being covered, and very intense words are shared. Thoughtful questions are raised and interesting perspectives put out there, but the way in which they are approached is what put me off. I want to hear these arguments but not from these people. For example, the second Liam is introduced he is a jackass through and through with no redeeming qualities. Why do we start with him there? There isn't anywhere for him to go if he's already so terrible.
It's hard to watch people fight for close to two hours. It's hard to watch unlikable people tear each other down with cruel words. Some of what these characters say is exactly that: cruel. They are bullies, pure and simple. There are two monologues in particular that are full of hateful words directed at another person in the room. Luckily there comes a point when someone steps in, but I as an audience member didn't see why we had to watch it. Charles Isherwood calls it savage humor, and apparently it's just not my style. I only felt a consistent sense of unease.
Maybe the discomfort I felt during the show is part of the playwright's intention; perhaps he wants to ruffle some feathers. But instead, I felt like Jonah – stuck in the middle and not wanting to get involved.
Bad Jews
Written by Joshua Harmon, Directed by Daniel Aukin
The Laura Pels Theatre through December 29th
Photo Credit: Joan Marcus
Pictured: Tracee Chimo, Philip Ettinger, and Michael Zegen


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subset: commoncrawl


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Roger Wicker against Kirsten Gillibrand military sex-assault bill: Politico
Mississippi Republican Sen. Roger Wicker said Tuesday he does not support a measure to remove the chain of command from military sexual assault cases.
The bill, sponsored by Sen. Kirsten Gillibrand (D-N.Y.) gained momentum last night with the support of Republican Sen. Rand Paul, and Sen. Ted Cruz, who backed the bill in committee.
"I think you have support on both sides of the aisle on my position that we need to come down heavy and hard on sexual assault, on sexual harassment, but we don't need to take the commanders out of that decision when it involves the military," Wicker said. "We can do a lot better, but to take the commanders out and the chain of command is not a step that we need to take. It would be unnecessary to resolve the problem and would be harmful, I think, to good order and discipline in the military."
Wicker served in the U.S. Air Force and Air Force Reserve before retiring in 2004 with the rank of lieutenant colonel, according to his Senate website. Several top military leaders, including Joint Chiefs of Staff Chairman Gen. Martin Dempsey, oppose


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I grew up with a Grandmother that used the phrase "The truth will out" often enough, with enough proof over time that I came to accept it as a truism. Some say she also turned me into somewhat of a cynic, but now that the TV show "Grimm" has come out, I have come to accept I'm not a cynic just a regular ol' Grimm.
I love the "New Media" that catches the things that the legacy media tries not to report. Here we have union leader Mike Golash "outing" himself as a communist and stating, "Progressive labor is a revolutionary communist organization." "From the horse's mouth(ass)" so to speak.
Former Amalgamated Transit Union local 689 president Mike Golash, now an "Occupy" movement organizer, was caught on tape Sunday revealing his political goals: overthrowing capitalism in the United States and instituting a communist government.
"Progressive labor is a revolutionary communist organization," Golash said during an Occupy DC "People's Assembly" on August 19.
"Its objective," he added, "is to make revolution in the United States, overthrow the capitalist system and build communism."
Golash said he and his comrades are "trying to learn something from the historical revolutions of the past: the Russian revolution, the Chinese revolution, the revolutions in Cuba and Eastern Europe."
"What can we learn from them so we can build a more successful movement to transform capitalist society?"
Danielle Saul, Nick Tomboulides, and Andrew McCaughey record radical remarks made at DC Occupy meeting.


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SAN JOSE — JaVale McGee took corner 3-pointers on back-to-back possessions – and made one of them.
In a preseason in which he had not scored more than seven points in any game, suddenly rookie Svi Mykhailiuk led the Lakers back from a 17-point deficit and finished with a team-high 22 points.
Not one, but two Lakers veterans – Michael Beasley and Lance Stephenson – were ejected for questionable calls that ended up making both benches erupt in laughter.
It was a strange finish to a long Lakers preseason, a 119-105 victory over the Golden State Warriors without nearly half the roster to give the Lakers a 3-3 finish. The most definitive and satisfying conclusion that anyone could draw from the game is that it ended.
The next time the Lakers take the floor, it will be the real thing.
What can you derive from a game played without LeBron James, Rajon Rondo or Brandon Ingram?
For Lonzo Ball, it was his most extensive action of the preseason. The second-year point guard showed solid play in an often disjointed game, finishing with eight points, seven assists and six rebounds while hitting two of his three 3-point attempts. Fellow rotation regular Kyle Kuzma had a solid scoring night of 19 points, as well.
But mostly it was an odd evening, reaching peak surreality when the Lakers had a pair of second-half ejections.
In the third quarter, Beasley was tripped up in a tangle with Draymond Green, and exchanged words. Then, as he seemed to approach Green to smooth things over, he was tossed by referee Kevin Cutler.
In the fourth quarter, it was Stephenson who ran afoul of referee James Williams, seemingly ejected for contact with Quinn Cook after the two were tied up. When the ejection was announced in the arena after video review, James was openly jesting back and forth with the Warriors bench, incredulous at the soft call as Warriors coach Steve Kerr jokingly threatened to make James shoot a pair of free throws that Stephenson had drawn on the play.
"Now if mines was baffling," Beasley said with a sniff of amusement, "that one was crazy."
The weirdness of the game was cemented by the Lakers' response to Stephenson's ejection: With rookies Mykhailiuk and Isaac Bonga as the only remaining ball-handling guards, they managed to build a lead on the Warriors' younger group and pull away. Neither had made a huge impact in previous preseason games, but Mykhailiuk shot 8 for 18 from the field, while Bonga finished with 12 points, nine rebounds and five assists.
Mykhailiuk, a Ukrainian rookie who played his college ball at Kansas, said it's taken him some time to find his shot in games, but he now seems to be finding it.
"Just playing, getting to the rhythm of how fast the basketball is in the NBA," he said. "How physical it is, how different it is from college and Summer League."
The start of the game favored the Warriors, particularly given the Lakers' absences. Steph Curry started out on fire, notching 16 points in the first quarter, while Klay Thompson led the Warriors with 21 points in the first half.
But the stakes were never particularly high – a point Kerr made before the game when a reporter asked if he was concerned with winning in the preseason: "Not really."
What did matter to the Lakers and Walton was the cohesion the Lakers showed on the bench: James and Rondo helping coach on their night off; the jokes and laughter that seemed to flow; the cheering as the team completed a 97-67 swing to finish off the Warriors.
The two-game trip through Las Vegas and San Jose has seemingly been a good place for the Lakers to bond, through hotel nights and teammate dinners. They hope it leads to something more substantial.
"Running the floor, playing together, making smart plays but for the most part playing unselfish," Stephenson said. "But that's what we need. You can see in the last preseason game, from the beginning of the preseason to now, it's been unselfish. It's amazing. We keep playing like that, sky's the limit for us."
🎥 Lakers win their final preseason game of the year over the Golden State Warriors, 119-105 #LakersWin pic.twitter.com/PomAmVtEKp
— Los Angeles Lakers (@Lakers) October 13, 2018
.@MikeTrudell talks with @Sviat_10 after finishing with a game-high 22 points. pic.twitter.com/JQnVtNTpuw
— Spectrum SportsNet (@SpectrumSN) October 13, 2018
Luke Walton talks about the #Lakers' defense down the stretch, his takeaways from tonight's game and more. pic.twitter.com/rXFUDVSosD
— Spectrum SportsNet (@SpectrumSN) October 13, 2018


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via Daily Mail
Yesterday, Beyonce dropped a music video to the song entitled "7/11" which is featured on her Beyonce Platinum Edition album. I'm not a die hard Beyonce fan, but I do love some Beyonce. She always has me jumping up out of my seat dancing or in my feels. She knows how to be relateable and fun. So it's no surprise that 7/11 was full of life.
Video: 7/11 - Beyonce
Without further ado, here are my reasons why Beyonce's 7/11 video is everything.
I like the idea that it seems like she is basically having a sleepover.
We first see Beyonce dancing on the balcony of her hotel room. She's just jamming it out, having a good time in some pajamas/underwear. Then some other girls show up like,
"Oh.... You dancing on the balcony B?? Let me hit that step one time out there with you."
Then they all jump in with some simple choreography, in addition to twerking throughout the video.
That Michael Jackson tick made my day.
Beyonce hit that Michael Jackson foot shift and glide a few times. I had to jump up and hit that MJ shift glide myself. I have to admit she's got skills.
Jay Z's tumbling in the background.
A Viner pointed out that Jay Z was the guy rolling across the floor, running around in the background (at the 3:02 mark). I'm not sure if it was him, but I did see some sort of resemblance. I started cracking up when I saw whoever it was. Here's the Vine if you missed it in the video.
That moment when she was acting as if she was talking on the phone with her foot.
Because I enjoy talking into my feet as well.
The sword fight with wrapping paper tubes and her playing with empty boxes is what I do on a weekly basis.
Beyonce relates to my life. My mom and I love to sword fight with paper tubes, in addition to Star Wars swords. Empty boxes always make great hiding places, boats, and building pieces to make a fort,
said the 23 year old woman.
She is just being carefree and having fun.
A lot of people are criticizing the video heavily, but I think that it's just one of those songs and videos where she is just doing her. She's enjoying her life as she should.
I love that she doesn't take everything seriously. She's just having fun and catering her music to the people who just want to enjoy themselves.
However, I will be completely honest and say that I don't personally like the actual song, but I do like the video.
Beyonce is and will always be awesome.
So what did you guys think of the video?


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CTX is commercializing a peptide-based skin-permeation platform technology that carries large molecules into human skin. This makes possible topical delivery of medications that today must be delivered orally or by injection (or not at all). Our lead formulation of topical cyclosporine for mild-to-moderate plaque psoriasis is in pre-clinical development and shows promise as a possible disease-modifying medication for the tens of millions of patients currently using corticosteroids, phototherapy, vitamin therapy or coal tar.
Our platform technology can also improve skincare and haircare products and we are in discussion with major consumer products companies for product licensing.


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Retired Coal Miners At Risk Of Losing Promised Health Coverage And Pensions - NPR
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Script Doctor & Writing Services
by Industrial Scripts
Since 2010, Industrial Scripts has been delivering industry-leading script development services.
Our cherry-picked team of script consultants and script doctors are dedicated to helping writers and filmmakers improve.
Script development is What We Do. 24/7.
Is Script Doctoring Right for You?
Frustrated? Confused? Time-poor? Our service was designed to ease your development pain…
Our Script Doctoring Process: Step-By-Step
8 transparent steps to script development heaven…
You book our Script Doctor's Quote ($195)
Step #1: We Read Your Script
First, we we need to read your script. Book our Script Doctor's Quote, and our genre-specialist will respond with some overview notes on the doctoring, and a full quote. View a sample of this assessment report, here.
...we respond in 10 days with a full quote and schedule...
Step #2: You'll Receive a Quote…
A genre-specialist script doctor will be assigned to your script, read it, and deliver overview creative notes. You'll also receive a quote in terms of both price and the number of weeks' dedicated script doctoring we believe the script needs.
...at this point the invoice would be raised and paid, too...
Step #3: Contract Time
Presuming our quote is acceptable, we move forward swiftly to our standardised contract and schedule the work, too. Typically we encourage "rest weeks" in the schedule to allow the whole process to breathe.
...you either bring a clear brief, or work with us on one..
Step #4: Initial Creative Set-Up
With the paperwork out of the way the fun really begins: you're now in direct contact with our designated script doctor. Further discussions take place relating to the direction of the script. You either come equipped with a clear brief, or work with our script doctor to lock down the narrative.
...you need to sign off on this beat sheet before rewriting can commence...
Step #5: Beat-Sheet Sign Off
By now you've been exchanging ideas with our script doctor, and he/she has a very clear idea of what you, the client, want. You'll now be sent a fresh beat sheet detailing the script changes you've been discussing.
Work commences! Our script doctor begins realising YOUR vision...
Step #6: Rewriting commences!
Having signed off on the new beat sheet for your script, our script doctor now begins executing the changes you've prepared between you. You can either kick back at this point and get on with the day job or be in constant creative contact with your script doctor. You decide, you're in charge.
Proto-Draft incoming...
Step #7: Proto-Draft Delivered
As suggested, we typically try and schedule our bookings "4 weeks over 6 weeks" or "8 weeks over 12 weeks" to give the process room to breathe. You'll often receive a "proto-draft" script to feedback on, before the final delivery…
Proto-Draft incoming...
Step #8: Final draft delivered!
It's now the end of the script doctoring journey. Often on conventional writer bookings the deadline drifts…and drifts some more…and some more. But we NEVER miss a deadline. It's in the contract, and you can bet the house on us hitting it.
Start The Script Doctoring Process
Ready to Meet Our Script Doctors?
Our script doctoring department includes genre specialists with demonstrable industry experience of both sides of the script development fence – screenwriting and script editing/consultancy.
Our Drama Script Doctor: MN
- Worked in pro development on projects from Anthony Minghella & Ridley Scott (credits to prove it).
- Former creative executive for an Oscar-winning filmmaker.
- Repped writer with multiple projects in active development.
- Drama specialist with demonstrable experience in the genre.
Our Comedy Script Doctor: AZ
- Development credits on THE KING'S SPEECH and MINDHORN, to name but two.
- Multiple credits on high level films and TV shows featuring established talent.
- Repped writer with multiple projects in active development.
- Comedy specialist with demonstrable experience in the genre.
Our Action Script Doctor: JW
- Writer commissioned by established prod co's incl Riverstone Pictures, The Fyzz and more.
- Multiple projects in development incl one with one of the world's top-5 current directors attached to EP.
- Repped writer with multiple projects in active development.
- Action and thriller specialist with demonstrable experience in the genre.
Our Horror Script Doctor: AH
- Vastly experienced script consultant running a 9.3/10 satisfaction rating over 100s of client testimonials.
- Repped screenwriter with multiple projects in active development.
- Author of academic texts on horror and sci-fi with encyclopedic knowledge of both genres.
- Former career in advertising, with a long track record of hitting a brief.
NOTE: these profiles only reveal certain information about our script doctors because when you engage Industrial Scripts you are engaging the company, rather than any one individual. We then sub-contract the work to our selected script doctor, and carefully manage the whole process based on 10 years of running such bookings. Remember we have more "skin in the game" – more motivation to keep you happy – than any individual.
Hang on, I need to understand script doctors better...
As we explained on our definition of a Script Editor page, there are essentially two "families" of terms when referring to script development professionals:
- script editors / script readers/ script consultants / script analysts /coaches/gurus.
- script doctors.
Script doctors differ from the other types of professional in that the others are reactive whereas a script doctor is proactive.
A script doctor will actually re-write parts – or even all – of a script. They will provide feedback in the same way a script editor will, but they will also suggest improvements and then go away and actually implement these improvements themselves.
One of the vital skills of a script doctor is to be able to remove their ego from the equation and stick tightly to a brief. Script doctors, although often responsible for vastly improving movies and TV shows, are rarely publicly credited and do most of their work unseen.
Here's a great article from Variety about Hollywood script doctors, how they work, and the huge fees they command...
Hiring a Script Doctor VS Using a Literary Agent
Our script doctoring service has been carefully engineered to address many of the common issues filmmakers experience working with large literary agencies.
Our Script Doctors
- Nimble, admin-lite, standardised contracting process.
- Most of our contracts are signed on the day – lightening fast.
- Fast responses with no pursuit. We get back to you, quickly.
- Our script doctors have been deliberately hired due to their ability to stick to a brief.
- Crystal-clear schedule and locked delivery dates mean no late drafts or disputes over script steps.
- Contracted number of booking weeks keeps things simple.
- Transparent and fixed credit situation from the get-go: no fights down the line.
- Any extra work needed is booked on a weekly basis.
Using a Lit Agency
- Lengthy, drawn-out, expensive negotiation process.
- Agenting back and forth can take weeks, sometimes months.
- Sometimes evasive, distracted, difficult to pin down.
- Screenwriters can go "off piste", follow their own agenda, ignore your brief.
- Blurred lines with disputes over what constitutes a "draft" commonplace.
- Indeterminate timescales muddy the waters, generate confusion.
- Agents often "go for credit" later, as that's where the largest payment is.
- No set system in place for extra work/revisions.
Script Doctoring: In Brief
Our script doctoring prices are quoted for on a case-by-case basis and charged weekly (ie. "6 weeks f/t doctoring at $___"). This isn't one-off script notes and a serious development professional is going to be clearing their decks and committing to massively progressing your project. You'll need an appropriate budget (thousands not hundreds in USD terms) in place beforehand, therefore. After we've read your script we can deliver a precise quote.
You can view our script doctor profiles above, by genre. Please note in addition to the doctors below we have a broader pool of script doctors that we bring in on a case-by-case basis, depending on the project. Remember all our script doctors come with the IS stamp of authenticity: we're the only script development company with over 1,000 verified testimonials, and we're hopeful our track record speaks for itself in that regard. We also work with other, higher-profile screenwriters who for obvious reasons do not wish it known to the wider industry that they do uncredited script doctoring work. We also have relationships with several high-level development people who have worked extensively on both sides of the development fence (ie. as writer and development executive/reader/editor), and have found this type of writer is extremely good at hitting a brief, and not diverting from the client's wishes. Once we know more about your project, we're able to match a suitable script doctor to it. Just book our Script Doctor's Assessment service to get your work matched to a script doctor. As with all our script development services, we stand by the quality of our work – and with hundreds of customer reviews online you can be sure your project is in the safest hands possible with us. For absolute clarity, however, it's worth noting that you are hiring Industrial Scripts the company to complete the work – your contract is with us, and the choice of individual script doctor is at our discretion.
Our script doctors are not credited on your project. They receive no payment on the first day of principal photography, have no legal rights in the work, and are not involved beyond the end of their contract with you (unless you wish them to be). The system is quick, easy and intended to cut through all the usual red tape associated with bringing on a new writer to a project. The only contractual stipulation we insist on is that in the event we wish to, we and our individual script doctor will be credited as "Script Editor: John Doe on behalf of Industrial Scripts", "Script Doctor" or "Script Consultant" on your project.
To be honest: not really. Over almost 10 years we've been running the service it's been deliberately honed and tweaked to deliver the best possible result for the client. So whilst there's some flexibility in terms of schedule, and how many weeks you book in what period, we aim always for an ultra-smooth booking and the system has been deliberately tailored to deliver that. We've ironed out so many of the issues that typically beset a script development booking already, that the process now serves both parties perfectly.
Does IS offer pure writing services?
Sometimes a client will approach us without an existing screenplay, or sometimes without even a treatment or pitch document.
They'll have an idea for a great TV show or movie, and want to develop it with us.
In this instance we act as an agency, placing one of our writers on it in a conventional manner.
No treatment or pitch doc? No time or manpower to develop while you write other projects?
Simply raise a fresh ticket at our dedicated support centre, below, with as much information about your project as possible, the budget already in place, and any further information and we'll get right back to you.
...or, put another way...
Why do clients book IS?
We surveyed over 1,200 clients and a massive 45% of these bookings came from happy returning clients. Check out the graphic below...
Seen Enough to Know We Won't Let You Down?
About Industrial Scripts®
Founded in 2010, Industrial Scripts is today one of the world's leading screenwriting companies, backed by major companies and with over 1,000 verified testimonials.
Our script consultants have significant industry credentials, writing coverage for companies and studios including Paramount Pictures, Warner Bros., Universal and many more. Working with screenwriters and filmmakers of all levels and from myriad locations, we also deliver intensive training both online and offline.
While our free Talent Connector promotes talent to the industry, our popular blog – Character-Driven – educates and entertains. We believe that rigorous script development is the foundation of great film and TV and is, indeed, essential.
Without it, the end product will fail.


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Tuesday, March 20, 2012
Melbourne Formula One Grand Prix
With a birds-eye view over the track from the roof of a nearby apartment building, I managed to get some great shots of the track, including this one above when Romain Grosjean was bumped out of the race by Pastor Maldonado and ended up in the gravel! For a sequence of action shots, go to our website: http://bit.ly/GADgdc
Sunday, March 11, 2012
Future Music Festival - Melbourne 2012
Future Music Festival - Melbourne 2012
The Future Music Festival was held yesterday at the Flemington Racecourse in Melbourne. Weather wise, it was a perfect day for it. The sun was out and the temperature was around 21 degrees.
Thousands packed the venue to see artists like Skrillex, New Order, The Wombats, Fat Boy Slim and Jessie J (among many others). We went along to capture some shots of the event. Photos will be up on our website soon (check the "Clients" page).
While you are there, check out some of the other events we have photographed. You might see yourself in one of those pics too!
Tuesday, March 6, 2012
The Queen Mary 2 visits Melbourne!
The Queen Mary 2 visits Melbourne!
I wandered down to Port Melbourne yesterday to get a view, and a few pics, of the grand Queen Mary 2. It is certainly an amazing ship. I will be posting some more pics in coming days...also check out our Facebook page...
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- Product Description
* 100% Cotton Sateen
Sheet Sets Include:
Single Bed - Flat: 180x264cms/ Fitted: 93x195+45cms + 1 Std P/C
King Single Bed - Flat: 200x264cms/ Fitted: 108x205cms+45cms + 1 Std P/C
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NZ King Set - Flat: 260x264cms/ Fitted: 169x205 + 45cms + 2 Std P/C
NZ Super King Bed - Flat: 275x264cms/ Fitted: 185x205+45cms + 2 Std P/C
- Delivery and Returns
CSL aim to ship all orders within 3-4 days of placement of the order. We offer free shipping* on all orders over $200.00NZD excl GST throughout Mainland New Zealand. Orders under $200.00NZD excl GST will incur an $8.90NZD+GST freight charge throughout Mainland New Zealand - please contact us for an estimate if you require goods shipped overseas. Please note furniture, beds, bunks and mattresses can only be freighted within Mainland New Zealand and are excluded from our free shipping offer - please contact us for a quote on shipping prior to ordering any of these products. For safety reasons we cannot air freight Christmas Crackers. View our Delivery Information page for more details.
* excludes beds, mattresses, bunks, large bags of polyester fill & cushion inners - please contact us for a freight charge prior to placing your order.
At CSL we stand by the quality of all of our products and are committed to ensuring you are satisfied with your purchase. If you are unhappy with your purchase you may return it to us within 7 days of delivery with the condition the product remains in its original, unopened, unused condition, complete with all original packaging, tags and instruction manuals. Please note we charge a 20% restocking fee which will be deducted from the purchase price on all refunds.
Due to hygiene reasons we cannot accept returns of duvet inners, mattress toppers or pillows, unless they are faulty. All bed and mattress sales are final and no returns will be accepted on these items. View our Returns Policy for more information.


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Our Tuesday "pick me up" is this laid back outdoor country engagement session by elovephotos. Christian and Emily had their session at the Thomas F. Riley Wilderness Park, California, early in the year and we have the opportunity to see the pair in their country session; Cowboy hats, boots and all!
About the Couple & Proposal
"We met at an EFY church camp when we were both 14. I wrote in my journal that I was going to marry him one day, and he liked me and every other girl haha. We became best friends quickly though. Then we talked on the phone everyday for about three years and got to know each other very well as we dated other people in high school since we didn't live nearby.
Then when I was going to college my parents told me I could see him in person because they wanted me to get over him so I wouldn't miss out on dating opportunities in college. That plan didn't work and we ended up flying to see each other at least once a month after that, until he left on his mission.
After a year of that, he left to serve an LDS church mission in South America for two years. After not seeing him for two years, but writing over email only, he came home and proposed one day later at the lake where we had our first kiss. He proposed without a ring actually, and said that the only thing he had to give me was the promise that the two years he spent away, which kept him from being able to afford a nice ring, went in to making him a man ready to be a husband that would treat me right and always love me. It was pretty sappy so I will spare you the details!" – Emily.
Photographer: elovephotos//Other Location: Thomas F. Riley Wilderness Park//Submitted via Two Bright Lights


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The events, on the day and those surrounding it, as the 2010/11 season continued against QPR with the league game at Loftus Road on Tuesday 1st February 2011.
2010/11 season v QPR in the league at Loftus Road, Tuesday 1st February 2011.
We got to west London quite early really, 5.30 for a 8pm kick-off! Myself, Gandor and Mrtracyc had left Havant around 3.30 and avoided the M25. But we were street parking, and we wanted to make sure we got a space, which we did quite easily at that time.
We had a bite to eat, went for a wander around the stadium and local area, visited the club shop, and then happened across the Pompey team coach arriving. We weren't sure if they all looked miserable as hell, or if they were just focussed, but after the performance I'm opting for the latter. Nugent was quite cheerful and stopped to give a couple of people some autographs.
We tried to find a pub, there was one near the ground called the Springbok (its all South Africa related round there, although we didn't find Nelson Mandela House or Vuvuzela Avenue), but that pub was strictly home fans only. I was aware there was a main road nearby, and we did find one which had a really interesting ethnic mix of shops and eateries, a mosque but no pubs. When we were driving away we happened on the Uxbridge Road which was what I'd been looking for, and did have some pubs, but never mind.
Loftus Road is a small, traditional stadium, that actually has a smaller capacity than Fratton Park. Its quite similar really, although they do have executive boxes. I had watched Pompey lose there once before many moons ago in my student days (another lifetime), but I couldn't really recognise it now. The pre-match atmosphere and general buzz and hubbub around the ground did seem a bit muted to me. You could tell this is not one of London's biggest clubs.
We were sat in row B, which was effectively the front row as row A was left empty and we were RIGHT behind the middle of the goal, as the photo illustrates. In the second half there was a certain amount of 'banter' with Paddy Kenny, and before the restart he made a point of waggling his bum at us. Sorry, luv, but you aint no Jamo! Of course that meant we struggled to see the goal-mouth action at the other end, which was where both Rangers' goals were scored, so I have to accept peoples' word about Ashdown's howler. It was great to see Herman back in the side, and poor ol' Kanu getting a rest. Ciftci got a bit of stick when warming up at half-time, but I don't think he understood a word.
But Pompey did play with spirit. They were trying to win this game, and didn't look shabby up against the league leaders. As has been the way many many a time, the home fans were fairly quiet, except just after they scored. There was a good turnout of Pompey fans, and I think we gave a good account of ourselves and got behind the lads. I heard some voices around me moaning towards the end as though this defeat was awful, suggesting it was a poor game – they obviously didn't go to the Burnley match last week, that was truly awful. This was better. Its just normally we concede lots of goals but score a fair few as well – this time we had some good chances to score but just couldn't. Kenny had to pull off a particularly good fingertip save to deny Ciftci towards the end and there were several other close chances, but it just wasn`t to be.
The drive home was really quite foggy, just as it had been on the way back from Leeds. Not so far to go, and we were home before midnight, but then again at least at Leeds we scored three times and took a point!
So another potential 3 points have gone, we are stuttering down towards the foot of the table, but I truly believe we have a team, even without January reinforcements, that can stay up. We just have to keep the positivity, keep smiling and getting behind the team, and the wins will come! Starting Saturday against Derby I hope.
Play Up Pompey!
Written by tracyc.


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Full Moon Tour on Hidden Treasure
Fri 19th Jul 2019 8:30PM
Heighten your senses by stepping into the darkness and challenge yourself with this unique nighttime experience on the Hidden Treasure Aerial Park. Complete this one of a kind adventure guided only by the light of the full moon. We're not afraid of the dark, are you?
Reservations can be made in person or over the phone through our Guest Services Office and online through our E-Commerce system.
Participants must arrive at the Ground School by 8:30pm.
The First Level zip line is available to all participants, while the Third Level zip line is available to participants weighing at least 50 lbs.


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The National Gallery recently highlighted work by those who attend the Haven Art Club – participants from Northward and Fairbanks prisons and from the Caribbean Haven rehabilitation center. The art program has become an outlet for communication in an otherwise often-closed world.
Within the often bleak environment of incarceration at Cayman's Northward prison, inmate O'Neil Robinson has found a distinctive vehicle for communication – a vital ray of light that is helping him see his way through his term.
Robinson has found art.
As a result of his participation in the Haven Art Club, sponsored by State Street Cayman, a number of Robinson's paintings were on display last month at a temporary exhibition at the National Gallery.
Robinson says he benefited in many ways from attending Haven Art's weekly classes at the prison, including "development of my skills, sharing my knowledge with others and the chance to socialize with the other individuals who also love art."
He got involved with the program a little over two years ago because he loves drawing. Now, as a result of participating in the classes, he has developed a love for painting as well. His favorite medium is pencil, and portraits, in particular, hold a special fascination for him: "I like the face because while the features are similar, the shape and sizes are different."
Northward inmates Lindsay Dixon and Carlney Campbell also take part in the art program, and they, too, have experienced the joys of discovery.
"I have loved art since when I was at school," says Dixon, adding that the art classes help him relax, express himself and his love and appreciation of art, "and it reminds me of when I used to travel to exotic locations where I'd watch the local artists."
Dixon's favorite mediums are pencil and water colors, and he focuses on drawing and painting faces "because it is easier to express the beauty of people."
Campbell, who has been attending art classes for more than two-and-a-half years, describes art as his passion and something that helps him cope with his incarceration.
He works mainly in acrylics, interpreting anything he sees "because it comes from deep within."
Beyond the opportunity to learn new skills, the classes provide him with a way to meet people, Campbell says, and to better understand art from the perspective of different artists.
A personal connection
Joseph "Gumba" Betty is an art instructor at Cayman's men's and women's prisons, Northward and Fairbanks, respectively, and quite naturally, a passionate supporter of the art program.
"I use subjects that the participant can relate to, thus, using it to their advantage as a therapy form," he says. "Hence the participants can connect with its form from a mental perspective, applying the theory in a positive way, whether in their personal life or on the canvases."
Betty says the feedback from participants is always very positive.
"They allow themselves freely to become one with art and the programmes," he says, adding that the program is incredibly popular.
"Enthusiasm is not the word, especially in the male prison," he says. "They are so into the programs and what they do each session. As a matter of fact, just today in my group, the participants were asking if we can generate more classes for them."
Neil Lavis, Cayman's prison director, is another solid supporter of the art therapy program.
"I think it is important that we support and develop undiscovered skills that inmates have," he says. "It gives them a way to express themselves and also a sense of achievement and pride in the work they produce. For some, it is the first time in their lives that they have felt this."
Beyond that, Betty says, the benefits he personally derives from assisting the prison inmates are immeasurable.
"It's a little bit more than excitement for me…I live for it!"
"For every one person out of ten that I can encourage in a positive way, means more to me than words could ever explain. My purpose here is to serve, that means it gives me more joy to see any of the participants from my groups leave the room with a positive and soul- fulfilling attitude. If I can contribute to this, then it's the best thing in life for me at that moment because I have achieved a goal and that is to instill positive attitudes without receiving."
Art as therapy
Art therapy, a fairly recent practice (mid 20th Century), has been used across the globe as a means of helping people who have difficulty communicating or expressing their feelings verbally.
Perhaps the most-recognized authority on the subject is David Gussak, a professor at Florida State University, art therapist, author and developer of the state of Florida's Arts in Corrections program.
He has written about major obstacles that block the effectiveness of therapy in prison, noting in a 2007 paper that, "Many inmates have an inherent mistrust for verbal disclosure. Rigid defenses exist for basic survival. Despite these defenses, there has been support for art therapy as a valuable tool."
In that same paper, Gussak explains that in prison, defenses such as lies, silence and aggression are used for self-preservation as inmates take advantage of weakness and vulnerability. Inmates with mental illness are the most vulnerable, and depression is one of the most prevalent mental illnesses among inmates. However, inmates who participated in art programs show "a significant decrease in depressive symptoms," he wrote in "The Effectiveness of Art Therapy in Reducing Depression in Prison Populations."
In the UK, the National Health Service, recognizing the positive impact of art therapy, employs professional art therapists to work in prisons, with people with learning disabilities and in special and mainstream education. According to the NHS, qualified art therapists, among other qualities, provide a trusting and facilitating environment in which those with whom they work are able to safely express themselves.
Art Haven exhibition
The recent exhibition at the National Gallery featured 12 artists who participate in the Haven Art Club. Works were presented around three themes: Still Life, Children's Illustrations and Landscapes, says Elena Fear, a National Gallery intern who curated the exhibition.
The National Gallery, through its art club program, broadly helps participants to meaningfully fill their time by completing art projects and encourages the discovery of new skills and development of abilities through experimentation.
According to those involved with the program, it is anticipated that participation in art will increase self-esteem, self-awareness, knowledge and skills. The central aim is to provide participants with a vehicle to reduce stress.


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I decided with KCW coming up I would share a few helpful things I have found and some tips to make you sewing more effective.
#1. Don't let your kids get sick (o; Last year I had a lot of projects cut out ready to sew but my kiddos had hand-foot-mouth disease and that is where my kcw ended, lol!
#2. Cut out all you can this week, make sure to label the pattern and pieces, that way you won't have to worry about it next week and hopefully get more sewing done.
#3. Which should be #1, ha! Make a plan, write down the things you need to make, the things you want to make and how much time you have to accomplish it, even if you don't complete everything or even stick to your plan at least you will something to start with.
#4. Don't worry if you can't sew for an hour every day just do what you can!
Here are some helpful tools I have found, hopefully they will help with some of your sewing this next week!
Here is a tutorial for making 5 yards of bias tape from a fat quarter of fabric, there are many projects you can use bias tape for even if you don't have a girl, here are some tutorial using it, and here and here.
Now that you have a way to make a lot of bias tape here is a free printable from scientific seamstress for making your own bias tape maker.
Here another free printable from scientific seamstress for a folding template, I can't tell you how awesome this is it saves time and money!
On the Oliver and S site they have a free printable for a measurement chart to keep record of the kids you sew for. I actually printed this last week and already have used it 4-5 times it is so simple but brilliant! That was always the one thing that kept me from sewing for my boys was not knowing their measurements,now I have that all recorded and in my sewing notions drawer for easy access.
Remember to check out my free patterns tab at the top, I have found a lot of free boys patterns. Here are a few example of things I have found:


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Identical Twins1967 by Diane Arbus
Identical Twins, Roselle, N.J. Young twin sisters Cathleen [left] and Colleen Wade stand side by side in dark dresses. The twin on the right slightly smiles and twin on the left slightly frowns. This photograph is echoed in Stanley Kubrick's film The Shining, which features twins in an identical pose as ghosts. A print was sold at auction for $478,400 in 2004. (https://en.wikipedia.org/wiki/Diane_Arbus)
Another site dates this 1966.
Another site dates this 1966.
Click to select the cover image for this artwork.


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I have a confession: I can not remember if I moisturized and sealed daily last week. You see what had happened was----Well, I'm not gonna lie. I just dropped the ball. When I started to detangle on wash day, I kicked myself in the butt several times. My hair was dry and I had more breakage than I was comfortable with, so I knew that it was protein treatment time.
- Pre-Shampoo- I gently detangled with my fingers and slathered on extra virgin coconut oil.
- Moisturizing Shampoo- with diluted Matrix Biolage Hydratherapie Hydrating Shampoo applied with an applicator bottle.
- Protein Treatment- with Nexxus Emergencee; the world's easiest to apply protein treatment. I let it air dry for an hour or so while I did chores.
- Extreme deep condition- Next, I stood under the spray of my shower for about 5 minutes to rinse the Emergencee completely. I deep conditioned with Jessicurl Deep Treatment on the length of my hair. Then I massaged my stands with extra virgin coconut oil, covered with a plastic cap and sat under my hooded dryer for an hour and left it in overnight.
- Smoothing Treatment- with a large dollop of Matrix Biolage Detangling Solution.
- Air Dried- to 80-85% wrapped in a cotton t-shirt.
- Leave ins- I used Jessicurl Too Shea Extra Moisturizing Conditioner, my kitchenista Tangerine Vanilla Whipped Hair Butter, and the "faux" banded my hair to stretch roots while it dried.
I've used Nexxus Emergencee for about 3 years and the results never cease to amaze me. My hair always feels stronger, smoother, and thicker afterwards. I feel like I judo chop breakage every time that I use it! Jessicurl Deep Treatment moisturized like no body's business and of course I set my hair in about 10 bantu knots to style. They weren't my best curls, I totally broke Bantu Knot rule #2 of not letting them dry completely, but they were still Facebook-worthy.
How was your wash day?
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Drilling Competition Offers Real-World Skills Challenge
Vimlesh Bavadiya is leading a team of engineering students at the University of Oklahoma (OU) to repeat its victory in SPE's Drillbotics competition next year.
The competition to build the best automated drilling machine was created to provide engineering students with a dose of real-world experience, where teamwork is required to attack a complex challenge when time and money are limited, the rules change, and in the end, things break.
"It was a very difficult path. But it was very good," Bavadiya said, summing up the experience of the five-member team that won the first ever Drillbotics competition, which was created by the SPE Drilling Systems Automation Technical Section.
The OU team goes into this school year with a working drilling rig, as do the teams from the University of Texas and Texas A&M University, which also competed over the last school year. The goal is to create a device able make the adjustments needed to drill through a block made from multiple layers of rock with no human intervention.
Last year, the challenge was to program the driller to change settings to adjust to the change of hardness when moving from sandstone to granite. This academic year, the teams must drill straight through layers running at different angles, which will tend to push the drill bit off course, said Fred Florence, president of Rig Operations, who is the cochair of the competition.
Test rocks will be covered with cement so competitors cannot see layers that are described only as not coplanar. "We want to surprise them, but not shock them," Florence said. "When we drill a well in the real world, we have some idea of what rocks we should encounter. There is uncertainty about the depths and thicknesses. So we will tell them the rock's physical properties, such as its average compressive strength. We will let them know what formations we expect to deliver, but it could change slightly."
Hard times in the business are adding another taste of reality: Teams will need to raise the money to build their equipment with budgets again capped at USD 10,000. And the maximum weight on bit has been reduced from 50 lb to 20 lb, making it harder to drill efficiently.
The slight winning edge in last year's competition—where Florence said it was "almost impossible to differentiate the winner"—came down to how the OU team responded to a late change in the required drillpipe to a thin-walled aluminum tube.
All the teams made adjustments to deal with that weak link. Bavadiya said the judges told his team that it gained an edge by taking the extra step of modifying the hydraulic system to pressurize the inside of the pipe to resist buckling.
A key team member behind that step was Mohammad Aljubran, who was in charge of the hydraulics system, which had to be revamped up to add the right amount of pressure, Bavadiya said.
The change required action by others on the team to adjust the equipment and control program to the properties of a pressurized pipe. Team members shared their knowledge of drilling, mathematics, electronics, process control, structural engineering, machining, and welding, said Ramadan Ahmed, the team mentor, associate professor of petroleum engineering at OU.
Bavadiya said he drew on his years of drilling experience and the people skills he gained while leading clubs and other organizations to create the team effort that brought out good ideas and kept the project on track.
Team member Stephen Christy designed the traveling block that moved the drilling string in and out of the hole and played a critical role during construction, sharing his knowledge of machine tools with the team members that were fabricating parts.
John Kibe said he used his experience as an electronics technician to find more accurate and cheaper substitutes for the electronic components that cost far more than the team could afford.
The derrick structure was designed by Henry Le, who devised a modeling technique to visualize how the rig components would work together. Mathematical formulas came from all the team members, with Christy and Kibe converting them into the control system program.
It was a marathon effort. "We had different classes, day jobs, and families with kids to take care of," Bavadiya said. "We would get in the lab to start around 8 pm and work to midnight. Sometimes, we could go to 2 a.m. or 4 a.m."
Having a working rig is a good starting point, but controlling drilling in a different type of rock will require significant adjustments to keep up with the competition, which could grow to six teams or more, Florence said. While last year's teams will be modifying rather than building a rig, he did not think that will provide a significant edge.
"Unlike our overly competitive industry, academia readily shares knowledge without undue emphasis on intellectual property ownership. The new entrants, and even the previous ones, for that matter, can review the other concepts and choose how they wish to proceed," he said.
Either way, it is a tough test, and Florence said those who compete demonstrate valuable skills. He said that even in this down market, employers should hire the graduating competitors because "they know more about this today than you know."
Drilling Competition Offers Real-World Skills Challenge
Stephen Rassenfoss, JPT Emerging Technology Senior Editor
01 December 2015
Deep-Learning Techniques Classify Cuttings Volume of Shale Shakers
A real-time deep-learning model is proposed to classify the volume of cuttings from a shale shaker on an offshore drilling rig by analyzing the real-time monitoring video stream.
There's More to Dull Drill Bits Than Meets the Eye
The best way to know how drilling affects drill bits is to visualize the bits. A device that creates high-resolution images for precise measurements is one of three technologies being featured in a JPT series on drilling measurement innovations.
Upstream Digitalization Is Proving Itself in the Real World
For the upstream industry, where improvement in efficiency or production can drive significant financial results, there is no question that the size of the digital prize is huge. So are the challenges.
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12 May 2020


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PITTSBURGH (KDKA) — The jury began deliberations Wednesday in the trial of a former North Hills ice cream shop owner who is accused of molesting two young girls.
The jury began deliberating around noon Wednesday after getting through two full days of testimony.
They must determine if 62-year-old David Higginbotham is guilty or innocent of sexually assaulting the two young girls, who were family friends, five years ago at his home.
The former owner of Handel's Homemade Ice Cream and Yogurt in McCandless is accused of assaulting the sisters when they were ages 7 and 8.
Higginbotham faces of list of charges including multiple counts of corruption of minors, statutory sexual assault, involuntary deviate sexual intercourse with a child and aggravated indecent assault.
During two days of testimony, the jury heard from the two girls who are now 12- and 13-years-old. They gave detailed descriptions of the incidents at or around Higginbotham's swimming pool and home.
They told police the incidents started back in 2008.
Police say Higginbotham's daughter-in-law was their nanny and sometimes brought the girls to his house. He was arrested and charged in November of last year.
Higginbotham also took the stand in his own defense and told jury he did not do what the girls, who did visit often, are accusing him of. It's a position he has maintained since his arrest.
Two hours into deliberations, the jury did have a question, but the judge did not reveal what that question was related to. They were dismissed around 4 p.m.
Deliberations will resume Thursday at 9 a.m.
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There's been a lot of talk about Rhianna's controversial new video for the song "Man Down." If you haven't seen it, Rihanna shoots a man who is shown to be her rapist with a gun she calls "Peggy Sue." The scene opens in a crowded area with a shot of her assailant-turned-victim, and Rihanna, who emerges from the shadows holding a gun. Then with more emotion on her face than she showed in her Diane Sawyer interview about her real life abuse, Rhianna pulls the trigger and smokes his ass in cold blood.
Cut to the lively, up-tempo track showing the Bajan beauty just yesterday, wandering the streets of her neighborhood, being just one of the "regular girls." The directors do take care to paint her as a flirty, sexy temptress -- she smiles and flirts with boys, gives a long phallic draw on a straw inserted into a fresh coconut -- and of course, the party scene, where the initial meeting with the abuser takes place.
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She dances sexily all over the room, with ease, even winding and grinding with her attacker, in what appears to be innocent fun. She gives the very specific "no" gesture, and walks away from him and leaves the party. He trails her, and that's where the implied sexual assault takes place.A frantic Rihanna is seen running down a dirt path, where she retrieves a gun and then boom! That's that. Rum-pum-pump-pum.
Musically, this might be one of the best joints Rihanna has released in a long while. She's vocally right in the middle of her reggae influences and lets her accent take over the song, and it's pretty fucking tight. Her critics largely wanted her to make a statement about domestic abuse, rather than rape and frankly, she's just not in a position to do so. This song -- coming on the heels of her hot single "S&M," in which she breathlessly sings about whips and chains exciting her -- is not a story Rihanna has to publicly subscribe to. She didn't want to tell "her" story, she wanted to tell many womens' stories. Unfortunately, one of the easiest ways to string together commonalities in women is with rape as a storyline.
Throughout the whole Chris Brown/Rihanna debacle, I stayed indifferent to Rihanna's healing process. She talked about it in vague, round-about ways, and only really when it was beneficial to her, making it hard to believe any contrived artistic themes she came out with after the fact. Example: "I'm so Hard." Yeah. Okay.
"Man Down," though, seems like a hysterical, cathartic fantasy played out with a different storyline, so that her pain can continue to largely remain anonymous. Regardless, Rihanna got down with this, and if there is any place where she should be given credit, it should be for opening the dialogue about rape and sexuality on a broader scale.


text: Every time a new Will Alsop building is announced, I can't help but get excited. The man's designs are so original and just so damn fun, they always seem to send a jolt through the industry. The recently unveiled Filmport Tower will serve as a mxed-use gateway structure / flagship building for the new Filmport Port Land complex in Toronto, which if all goes according to plan, will become the largest film studio in North America….outside of California, of course.At first I thought that exterior cladding was red painted whatever but it's actually Cor-Ten steel. Alot of Cor-Ten steel. Not sure how I feel about that yet.Opinions?