Today, decorated British singer/songwriter/multi-instrumentalist Jeff Lynne announced that he will be bringing his Electric Light Orchestra stateside next summer for his first North American tour since 1981, the better part of four decades ago. The announcement comes on the heels of a their memorable return to London’s Wembley Stadium in June, which was immortalized via their upcoming live album/concert film Wembley or Bust, due out this Friday, November 17th. It also follows the recent death of Lynne’s former Traveling Wilburys bandmate Tom Petty.Jeff Lynne’s ELO Performs In The US For The First Time In 30 Years [Video]Known as one of the most iconic forces in music history, Jeff Lynne’s ELO has spent the last two years with a critically acclaimed and chart-topping album, a sold out run of UK and European shows, as well as a 2017 induction into the Rock and Roll Hall of Fame. In a statement, Lynne commented on the long-awaited North American ELO tour: “Our audiences are amazing. It’s like they’re in the group. We can’t wait to play for them again.” The tour will hit 10 cities, starting in Oakland, CA at Oracle Arena and wrapping up in Philadelphia, PA at Wells Fargo Center. (See below for a full list of dates).American Express Card Members can purchase tickets before the general public beginning Wednesday, November 15th at 10am local time through Thursday, November 16th at 10pm local time. The Live Nation pre-sale begins Thursday, November 16th and public on-sale begins Friday, November 17th starting at 10am local time with tickets available on Ticketmaster.All pre-orders of Wembley Or Bust made at Jeff Lynne’s Electric Light Orchestra Official US Store prior to 4:00pm EST on November 14, 2017 are eligible to receive a ticket pre-sale code for 2018 U.S. tour dates. Codes can be used during the pre-sale window for access to tickets before the general public on-sale. One (1) code is granted per customer and allows access to purchase up to four (4) tickets. Tickets will be available while supplies last and pre-sale codes do not guarantee inventory.Watch the official preview for Wembley or Bust below via ELOVEVO:For information on ticket on-sale information, pre-orders, and more, head to the ELO website.2018 Electric Light Orchestra U.S. Tour DatesThu Aug 2 Oakland, CA – Oracle ArenaSat Aug 4 Los Angeles, CA – The ForumWed Aug 8 Denver, CO – Pepsi CenterFri Aug 10 Houston, TX – Toyota CenterMon Aug 13 Dallas, TX – American Airlines CenterWed Aug 15 Rosemont, IL – Allstate ArenaThu Aug 16 Detroit, MI – Little Caesars ArenaSat August 18 Toronto, ON – Air Canada CentreTue Aug 21 New York, NY – Madison Square Garden, *NY on sale Saturday at 10:00amFri Aug 24 Philadelphia, PA – Wells Fargo Center[Cover photos via Wembley or Bust]
Photographer Michael Weintrob has been working in the music industry for twenty-plus years. Since his early days, shooting bands at the Aggie Theatre in Fort Collins while attending Colorado State University, he has allowed his creative juices flow, and back in 2000, while he taking photos of The Derek Trucks Band, the earliest beginnings of his beloved InstrumentHead project was born.The photographer, a staple of New Orleans Jazz Fest, will once again deliver a pop-up exhibit at Jacques Imo’s gallery space from April 27th to May 6th (info here), featuring his collection of works—including images of Bootsy Collins, Mickey Hart, Junior Brown, Scott Avett of the Avett Brothers, Anders Osborne, and more—and live music from some of his longtime musician friends from NOLA and outside the Crescent City.The exhibit will open on April 27th with live performances from Papa Mali and Bobby Vega, which will begin at 9 p.m. and benefit the New Orleans Musicians’ Clinic & Assistance Foundation, an organization that “offers occupational and comprehensive health services for musicians, performers, cultural workers and tradition bearers of New Orleans.” Following the opening-night ceremonies, on Saturday, April 28th, Weintrob’s InstrumentHead exhibit will host a trio of performances, including a solo set from Eric McFadden, a Billy Iuso & Eddie Christmas duo set, and a performance by Will Bernard.Right around Jazz Fest time last year, Weintrob released the official InstrumentHead book, a collection of portraits published by Magnet Bound Press and that includes images of 369 musicians and their instruments. The 11” x 15” full-color book comes with the choice of three different cover options. The book will be on-sale at the exhibit, with Michael Weintrob on hand for a special book signing session as well.We had an opportunity to discuss the InstrumentHead project, the NOLA exhibit, and more with the legendary photographer. Check out what he had to say below!Live For Live Music: How did the concept for this long-time project take form?Michael Weintrob: I was a house photographer at the Aggie Theatre in Fort Collins, Colorado, in the late 90s and early 2000s. The Derek Trucks Band performed there one night in 2000, and I was taking a portrait of the band backstage after their show. Todd Smallie, the bassist, came a little late and had his bass. I said, “Do something crazy. I don’t know put your bass down your shirt.” So he did. From then on out, it became part of my creative process when doing portrait shoots with bands. It wasn’t like I was hit by a bolt of lighting and the InstrumentHead project was born. It was just something I did in photo shoots. It was one of my licks as a photographer.I moved to Brooklyn in 2003 seeking a new life experience, and to learn more about the pro photography world. I met with editors at Spin, Vibe, Rolling Stone, Time, and others. They all basically told me the same thing: that was that my live music photography was excellent, but if I wanted to be a portrait photographer in NYC, I needed to do some studying and find my voice. Over the next five years, I learned about lighting and shooting in the studio. I started shooting these faceless portraits in a controlled lighting situation. The images ended up on album covers, such as George Porter Jr.’s It’s Life and Karl Denson’s Lunar Orbit, and were used for promotional images.In 2008, I wandered into a bookstore on Bedford Avenue and saw a coffee table book with a beautiful cover featuring all of these awesome bands logos on it. I opened it up, and it was a fine art book made by photographer James Mollison called The Disciples. Mollison had photographed fans of bands, and the idea was to be able to tell which bands they were fans of by their appearance. All of the images were shot with the same lighting, look, and background. I thought it was brilliant. I wondered how I could create a guessing game with musicians and photography. I realized that I had been shooting these faceless portraits the whole time.That is the moment I decided to start focusing on this as an ongoing art project. I started contacting musicians I had relationships with from shooting bands for so many years. Eventually, I met their friends and then their friends. I would say to them, “How are we going to tell your story? What is it about you that makes you special?” The musicians would show up with their instruments, clothes, and props that would help to tell the story of who they are.I eventually started traveling around the country using music venues as my studio because they were big open rooms that were empty during the day. In most of the cities I would travel to, I knew a couple of musicians who lived there, and I put a call out looking for musicians who were known for their instrument, look, and style. In 2014, I traveled to Nashville and shot over 35 local musicians who lived in the area for a big exhibit I was going to do at OZ Arts Nashville. My goal was always to do a book of this work. I had met with many book publishers who really did not get it. In 2015, I decided to launch a crowdfunding campaign on Indiegogo to produce the book. In 45 days, I raised the funds to make my own book with my own publishing company I formed called Magnet Bound Press.What Is InstrumentHead?[via Instrumenthead]L4LM: What are a few of the most memorable photo sessions you have had with the InstrumentHead project? Michael Weintrob: There are so many memorable shoots. I like them all for different reasons. The best part about doing this work is the personal connection that I have made with the musicians while shooting these portraits—breaking down walls to get to the real person is what I love. Some of the shoots that stick out in my mind are shooting Mickey Hart of the Grateful Dead at his home studio, Bootsy Collins in Cincinnati, Uncle Lionel Batiste and Big Chief Monk Boudreaux at Preservation Hall, Chris Frantz and Tina Weymouth of the Tom Tom Club and Talking Heads in my studio in Brooklyn, Derek Trucks and Susan Tedeschi at my Brooklyn Studio, the great South African bass player Bakithi Kumalo backstage at the Capetown Jazz Festival, Bill Summers of the Headhunters, Big Chief Donald Harrison in Bill’s home studio in New Orleans, and Johnny Winter at the Carriage House Studios in Stamford when he was recording his final record.L4LM: It seems like New Orleans, especially during Jazz Fest, is the perfect atmosphere for such an exhibit to return back to. How has the city influenced your own art and life over the years?MW: This will be my twentieth year going to New Orleans during Jazz Fest time. For many years, I would shoot the festival during the day and stay out all night shooting the late-night concerts. I still do the daytime shoots on the fairgrounds and some night shows. I have formed so many relationships with people in the music scene in New Orleans. The sites and sounds of the city are infectious. I have had the great honor of working with some of the cities most influential musicians.In 2013, I showed a large-scale exhibit of my InstrumentHead work for the first time on Frenchman Street in the warehouse behind the Frenchman Street Art Market. It was the perfect storm in the perfect location. Over seven-thousand people saw my work that year. I have had so much support from the musicians of New Orleans and the fans of their music. Jazz Fest time is my favorite time of the year to be in the city.L4LM: New Orleans is all about community, and this exhibit will help benefit the New Orleans Musicians’ Clinic & Assistance Foundation. How important is it to you to help a local cause such as this?MW: I have been working with the New Orleans Musicians’ Clinic for over a decade. I believe that all of us in the music scene, from photographers to musicians to the production crew, all eat from the same table. NOMC helps musicians with healthcare when they can not afford it. They are a charity that does good work for the community with the funds that they raise. I have a great relationship with Bethany Bultman and Erica Dudas who run the clinic. We have been helping each other for years.L4LM: An opening night celebration featuring Papa Mali & Bobby Vega will kick your upcoming InstrumentHead exhibit during Jazz Fest off, followed by an equally special event on Saturday, April 28th, with a solo set from Eric McFadden, a Billy Iuso & Eddie Christmas duo set, and a performance byWill Bernard. Sounds like a solid group of musician friends to have!MW: I am really looking forward to it! I have known all of these guys for many years. Throughout my career as a photographer in the music scene, I have developed relationships with many great musicians. I am so excited to be able to create this hang on Oak Street and that all these musicians are open to coming and playing their music in my gallery space. Over the full two week exhibit, there will be musicians popping in to perform.L4LM: Thank you so much for the in-depth responses, Michael. We wish you the best of luck down in NOLA with the InstrumentHead exhibit this year!Check out Weintrob’s InstrumentHead website for more information on the photographer. For more information about his upcoming InstrumentHead exhibit at Jacques Imo’s gallery in New Orleans during Jazz Fest, join the Facebook Event page. Order the InstrumentHead book here.
GAZETTE: News reports have blamed everything from last Friday’s jobs report and Janet Yellen’s last day as Federal Reserve chair to spiking federal debt, wage gains, rising inflation, and reaction to political uncertainty. Are any of these factors?GReenwood: I would say the fact you hear so many stories suggests that there was no news driving this. If there was news driving something, at best it was the beginning of some type of investor-driving mini-crash rather than the news itself driving a correction in prices. Markets don’t send messages. Markets are voting machines with lots of different people in them.GAZETTE: Reactions seem somewhat mixed as to whether this drop is just a blip of bad news or something more serious. How do you view it?GReenwood: A lot of people have lost money, and losing money is never a good thing. The silver lining in this is that investors do need to be reminded once in a while that there is risk in investing in the market. And over the past few years, those reminders have been few and far between. Investing in the market is real risk. GAZETTE: Why did we have such extraordinary growth from 2009 to now?GReenwood: Part of it was the recovery from the financial crisis of 2008, and the other aspect is the extremely high profit margins in U.S. corporations. That’s not to say that justifies the prices being high, but it explains prices going up. And probably it seems like a distinction without a difference. What I mean is that the profit margins drove prices high — however, probably higher than they should be.GAZETTE: So what will you be watching for to see where this is ultimately going?GReenwood: I guess over the next few days I’m going to be interested in understanding what various investors have done during the correction — who was buying, who was selling, who was wiped out, who was liquidated — because I think that’ll tell us much more about what happened, among investors and classes of investors. For example, these inverse-volatility products, that’s one area. The other type of product that people are talking about are the so-called risk-parity strategies. These are strategies that try to maintain a constant level of risk, and so when the level of risk goes up in the markets, they tend to be sellers. It will be interesting to see whether that was true. So the task is really trying to understand, I guess you would say, the “reaction functions” of different market players in this kind of environment when you have this kind of shock.This interview has been edited for length and clarity. Kennedy School paper matches performance across sectors to Trump policy stances Related After years of robust growth so steady that it often seemed endless, U.S. financial markets suddenly have been buffeted by fierce headwinds. Both the Dow Jones industrial average and the Standard & Poor’s index plunged on Monday. Although they regained much of that ground Tuesday, it appears that new, unexplained financial pressures are in play.Analysts quickly attributed the sudden drop to everything from skittishness over rising wages to recent jobs numbers and fears of inflation, uncertainty over political turmoil in Washington to warning the new Federal Reserve chairman against raising interest rates quickly. In other words, as screenwriter William Goldman once said of Hollywood’s unpredictable trends, “Nobody knows anything.”Robin Greenwood, the George Gund Professor of Finance and Banking at Harvard Business School, studies behavioral and institutional finance, with a focus on macro market inefficiencies such as price bubbles. He spoke with the Gazette on Tuesday about market volatility and what he’ll be watching in the days ahead to understand better whether this is a short-term adjustment or a lasting shift.Q&ARobin GreenwoodGAZETTE: As someone who studies behavioral finance, what do you see when you look at market activity?GReenwood: Behavioral finance, unlike classical finance, starts with the presumption that to understand prices you need to understand investors’ behavior, both what they’re doing and what they believe. The things I’ve worked on have been investor expectations, measurement of bubbles, and things like that. We did some work on trying to predict the end of bubbles. As an example, bubbles aren’t just periods where prices have gone up a lot. They’re also periods with a lot of volatility, a lot of trading volume, measures of speculation, issuance, and so on. We were trying to capture those things and ask: “Can you use that other data beyond just the prices to forecast what’s going to happen?” We had some limited success in using that kind of data. What we were really interested in was trying to capture that psychology. The challenge is it’s hard to do so in a historical way because the data changes. And capturing the mindset in, say, 1929 … but doing so in a way that’s systematic, so that we’re saying the same thing in 1929 as in 1999, is pretty challenging when it comes to humanizing it. HBS students use winter break to test fresh ideas around the world A closer look at the post-election stock rally GAZETTE: How would you characterize what’s going on in the stock market, and why doesn’t anyone seem to know for certain why it’s happening?GReenwood: One factor is that if you look at the overall pricing of the stock market today, it is very high. Whether you do that on a price-earnings basis or any kind of adjusted-price basis, you come to that conclusion. That means you worry that the long-term returns to people who buy into the stock market … are going to be low. That said, high prices aren’t actually a great predictor of quick and devastating crashes. If you look at periods where we’ve had these crashes — 1987, for example … or all sorts of events that we’ve had over the past couple of decades — they seem to happen whether or not the market has risen a lot or not.So I think of this as perhaps more of a freak event. That said, the freak events tend to happen much more than one would predict in the stock market. People often talk about “fat tails.” What they mean there is that they try to characterize how much the market could be up or down on a given day based on its historical volatility. “Fat tails” means those big days happen much more often than one would think just from looking at the ordinary days.GAZETTE: What do you think is driving this movement?GReenwood: As to the specific forces that drove [Monday], I don’t know. I’m sure we’re going to be trying to figure that out. One of the things that was very unusual going into Monday was the period of incredibly low volatility. Prices just hadn’t been moving around very much. And when volatility is low, investors tend to borrow more, so they take on leverage. So I think it’s likely that we were in a more fragile market environment than we’ve been in in a long time, and that’s in large part because of investor behavior. One of the big pieces of news today is there are these inverse-volatility funds. These are funds that are betting on volatility continuing to be low. A number of them were completely wiped yesterday [Monday], gone to zero. That never happens.I would say that prices are incredibly high. They are not approaching the bubble-like territory that we were in in tech stocks in 1999. But, that said, prices are incredibly high. Whether there’s a further correction or not, we don’t know. Some of the behavioral indicators in 1999 you just don’t see today. My forecast for the stock market is not very positive, but I don’t know that I have anything to say about the next few weeks. “I think of this as perhaps more of a freak event. That said, the freak events tend to happen much more than one would predict in the stock market. “ — Robin Greenwood Market reaction
“Shepherd me, O God, beyond my wants, beyond my fears, from death into life,” echoed from Regina Chapel on Friday, when Saint Mary’s students and faculty gathered to offer condolences and prayers for former freshman Madelyn Stephenson — a first-year killed in a traffic accident 14 days earlier.“We gathered to celebrate the memorial Mass because that is what we do as a Catholic community — all are welcome to come together in prayer to celebrate the hopes, joys and sorrows of life in the presence of God and one another,” Judith Fean, the Campus Ministry director, said. “We gathered, trusting in God’s unending love during this time of great sadness.”Faculty and students at the College shared the burden of sadness felt with the loss of one of their own.“I attended Madelyn’s service because I believe that once a Saint Mary’s Belle, always a Saint Mary’s Belle,” Nicole O’Toole, the junior class president said. “Although I did not know her personally, I think it’s good to be there for our fellow Belles in their time of need.”The department of Campus Ministry prepared and planned the memorial mass on Stephenson’s behalf, Fean, said.“The readings were selected to remember and celebrate the life and gift of Madelyn and God’s unending love for all in times when we find the mystery of death before us,” Fean said. “We hope the scriptures, prayers and music were and will continue to be words of support and hope for her family, friends and all who knew Madelyn.”Fean, Regina Wilson, the assistant director of Campus Ministry, Fr. John Pearson, the Campus minister and Barb Ziliak, the former director of liturgy at Church of Loretto, collaborated to select each reading and song at the liturgy, Fean said.Music is a form of prayer, Fean said. ‘Shepherd Me, O God,’ ‘Be Still, My Soul,’ ‘Be Not Afraid,’ and ‘On Eagle’s Wings’ were a few of the songs chosen for the Stephenson service.“Music is an important ministry during tough times,” Malea Shulte, the liturgy’s cantor, said. “It can be healing.”“We invited members of the Saint Mary’s community and the student liturgical choir to come if they were available and we had such a wonderful response from them to share their gift of music with the community,” Fean said.Fean said that she believed those who attended the service were touched by the music in a personal way. “I think if you ask some of the people who attended, they will speak to the songs as a way of inviting them deeper into their trust and hope in God as they walk through these painful and very sad times,” Fean said.Fean said that the Stephenson family was very appreciative of the support from the Saint Mary’s Community, though they were unable to attend the service.“I think it is important to mourn the loss of a life that chose to come to Saint Mary’s and experience the loving community and sisterhood as I did,” O’Toole said.Tags: Student death
Six Saint Mary’s students presented their experiences in Uganda this past summer yesterday evening. Three education majors and three nursing majors traveled to Uganda for seven weeks to teach in the school and work in the Ugandan clinic.Senior nursing major Kelly Wilson said the experience taught her to be more effective with communication and more respective of other cultures.“The program is one of the greatest because it fully immerses you into the Ugandan culture,” Wilson said. “You aren’t living in a hotel, you aren’t checking your phone because you don’t have access to that so you’re really getting to know the world around you and most importantly the people around you.”Wilson said the workers in the clinic were friendly, but she faced a language barrier.“Our first day, a nurse took us aside and kind of took it upon himself to make us comfortable and teach us a bit about their language,” Wilson said. “One of the challenges was that in the clinic the workers spoke a fair amount of English, but the patients of the clinic did not speak English. It was up to us to really dive into the culture and make sure we could communicate with the patients.”Senior education major Francine Rizzo said she came to the same presentation last year and thought the girls’ account of their experience in Uganda was exaggerated.“Last year when I came to this presentation, one of the girls spoke about how Uganda was God’s best kept secret and I thought to myself, ‘Oh she’s doing a presentation so maybe that’s a little corny and she’s just trying to get us to go,’” Rizzo said. “But as I was thinking about what I wanted to say to you guys to represent my time there I kept thinking back to her words and how Uganda really is God’s best kept secret.”Rizzo said the people’s humble and joyful attitudes were contagious.“It brought into my mind to see how other cultures live when we have so much over here and half the people don’t appreciate it,” Rizzo said. “And just to see what you can really do with your resources when you push the limits.”Janice Heffernan, a senior nursing major, said one word summarized her experience in Uganda — grateful. The spirit of the Ugandan people under difficult circumstances and willingness to accept the Saint Mary’s students into the community was amazing, she said.“From the neighborhood children who welcomed us into their village to the workers at the lab who let us learn new skills, I was always astonished by the generosity of the community,” Heffernan said. “On our last day in the clinic I was overwhelmed by the gifts of fruits and cards from the students and clinic staff. When you are offered so much from people with so little it’s impossible not to reflect on your lifestyle at home.”Bridgette Minnema, a senior education major, said she, like other study abroad students, entered the program without the slightest idea of how the experience would ultimately affect her. From the moment she landed on Ugandan soil, she knew she was in for one incredible journey, Minnema said.“I didn’t expect to fall in love with a country as much as I did or enjoy the simplicity of their lifestyle,” Minnema said. “The truth is that Uganda took me by surprise in more ways than one. It restored my faith in humanity and taught me what is truly important in life. Surprisingly enough I found the hardest part of my adventure wasn’t adjusting to life in a developing country but being back home and trying to describe to others how astounding my adventure was.”Brehl said she remembers feeling so welcomed by the Sisters that live in Uganda when first arriving and automatically feeling at home.“We were living somewhere new, somewhere I had no idea what to expect,” Brehl said. “When I first arrived I remember on our doors was our name and a welcome sign … It really made me feel so welcome in a place I felt like an intruder. A place that I felt really far from home … but I just felt like this was home.”Gianna Ventrella, a senior education major, said she was in a second-grade classroom. On one of the first days of school there were 55 second graders looking up at her and they were learning math.“There was this little boy and he was having trouble counting so the special education teacher in me just wanted to sit down and work with him,” Ventrella said. “I remember the teacher came up to me and said that he was stupid and that he would never be able to understand math. Well, I took it upon myself for the rest of the time to make sure that he caught up in math. By the end of the time, we were dividing.”Ventrella she wants to return to Uganda.“All I know is that I need to go back. I need to see my people, I need to go back home.”Tags: Uganda
After a hearty chuckle, the audience member finally asked his question: are the rumors of a sequel true? “Yes, but it’s going to be dark,” said Mitchell. “You won’t play the songs in the delivery room. More like during your passing.” Hedwig hasn’t always been a hit with everyone, especially folks in the TV world. David Letterman actually refused to shake Mitchell’s hand because, against a producers’ s advice, he took his wig off before the cameras stopped. Rosie O’Donnell also fought for Mitchell to appear on her talk show as Hedwig, telling oppositional producers, “There already drag queens on daytime TV, haven’t you seen them throwing chairs on Jerry Springer?” Related Shows What did we learn at the New York Times talk on May 20 with Hedwig and the Angry Inch star Neil Patrick Harris, book writer John Cameron Mitchell and composer Stephen Trask? When you go around kissing audience members, sooner or later, you’re gonna get a little tongue. How does Harris deal with these moments of spontaneity? “If things get f*cked up, I just run with it,” he explained. “If something goes wrong, I can just stop the show and talk about it. Sometimes, I just do random sh*t and just see what happens, or say whatever I’m thinking.” We also think we caught a small-penis joke when Mitchell said that the show was “big in Korea” as he winked and pointed downwards. Hedwig and the Angry Inch View Comments But Mitchell, who played Hedwig off-Broadway and in the 2001 film, one-upped him: “During the old days at the Jane Street Theatre, someone stuck his finger right up my ass,” he recalled. “You have to just go with it. There was another night that someone spilled a latte all over my face when I had my makeup on, and it stuck, so I was a Latina Hedwig that night.” After the talk, one particularly dedicated fan got up during the Q&A portion of the evening to announce that he had proposed to his wife while singing “The Origin of Love,” which they proceeded to sing as a duet at their wedding, and play on a loop while their daughter was being born. “During what verse did she pop out in?” asked Mitchell. Lena Hall Show Closed This production ended its run on Sept. 13, 2015 But all jokes aside, the show still makes a statement. “In rock and roll, homosexuality was accepted, but it was less cool to say it,” said Mitchell. “We grew up in the AIDS era, and I remember wearing my ‘Silence is Death’ pin to a MacGyver audition.” Trask added, “To be out was like committing career suicide. My manger told me we should just get me a fake girlfriend like they do with Leonardo DiCaprio.” As he stroked his now-auburn hair, the How I Met Your Mother alum continued to say that this role is actually the most out of place he’s ever felt. “As a sitcom actor, I’ve always had to be polished. Now, sometimes I just riff randomly,” he said, which got a loud laugh from his Tony-nominated co-star Lena Hall, who was in the audience. Mitchell chimed in, “We’re supportive of his small failures on stage.” Star Files Last week, for instance, when Harris went to kiss a man in the front row during the song “Sugar Daddy,” the guy reciprocated a little too enthusiastically. “It was like a turtle head,” he said. Neil Patrick Harris
View Comments Good news, Broadway, Josh Groban is in it for the long haul! After receiving much acclaim for his Main Stem debut in Natasha, Pierre and the Great Comet of 1812, the Grammy nominee has announced that he will remain with the production through July 2, 2017. Also starring Denée Benton, Dave Malloy’s Rachel Chavkin-helmed musical snapshot into Tolstoy’s Russian masterpiece War and Peace, officially opened on November 14 at the Imperial Theatre.In addition to Groban and Benton, the cast includes Brittain Ashford, Lucas Steele, Gelsey Bell, Nicholas Belton, Nick Choksi, Amber Gray, Grace McLean, Paul Pinto, Reed Luplau, Brandt Martinez, Alex Gibson, Billy Joe Kiessling, Mary Spencer Knapp, Andrew Mayer, Ani Taj, Cathryn Wake, Scott Stangland, Sumayya Ali, Courtney Bassett, Josh Canfield, Ken Clark, Erica Dorfler, Lulu Fall, Ashley Pérez Flanagan, Paloma Garcia-Lee, Nick Gaswirth, Azudi Onyejekwe, Pearl Rhein, Heath Saunders, Katrina Yaukey and Lauren Zakrin.Great Comet follows follows Natasha (Benton), a young girl who forms a relationship with the attractive rebel Anatole (Steele) while her betrothed Andrey (Belton) is off fighting. Andrey’s best friend Pierre (Groban) remains on high alert as the new romance blossoms. Show Closed This production ended its run on Sept. 3, 2017 Related Shows Josh Groban in ‘Natasha, Pierre & The Great Comet of 1812′(Photo: Chad Batka) Natasha, Pierre & the Great Comet of 1812
By George BoyhanUniversity of GeorgiaHow much fertilizer should I put out in my garden? Do I need toadd anything else? Why wonder about these things when there is asimple solution? Soil test. The University of Georgia ExtensionService can take care of this for you.You can pick up small soil-test-sample bags from your countyextension office or call to have them mailed to you. If you needany help, ask your county extension agent. They have publicationsand advice on the best way to take a soil sample.A small hand trowel and a bucket are ideal to collect the sample.Randomly select several sites in your garden to take the sample.Make sure you select enough sites to represent the soil in yourgarden.Here’s howUse your trowel to dig a hole 8 to 12 inches deep. From the sideof this hole, slice off a 1-inch section of soil from the groundsurface to the bottom of the hole. Put this in your bucket.Take other samples like this at several places in your garden,then thoroughly mix the sampled soil. Place the mixed sample inthe soil-test-sample bag.Fill out the information on the bag, including your name andaddress and the county you live in. Select “routine soil test” asthe test you want to run. For the crop, write in “vegetablegarden.”Where to goThen take the sample to your county extension office. It will gofrom there to the soil test lab in Athens, Ga. The cost for asingle sample is $6.The results of the soil test will show how much fertilizer to useand whether your pH is low.The pH is a measure of soil acidity, which is important in howwell plants can take up nutrients. Problems with low pH arecorrected with applications of lime. Old-timers used to call this”sweetening the soil.”So don’t guess, even if you’re good at it. Test your soil. Takethe mystery out of feeding your plants.(George Boyhan is an Extension Service horticulturist with theUniversity of Georgia College of Agricultural and EnvironmentalSciences.) Volume XXIXNumber 1Page 9
Nonlawyer member needed for bar examiners April 15, 2006 Regular News Nonlawyer member needed for bar examiners The Florida Board of Bar Examiners is now accepting applications for a nonlawyer to serve a three-year term on its board. The Supreme Court will appoint the public member. A volunteer public member should possess education or work-related experience such as educational testing, accounting, statistical analysis, medicine, psychology, or related sciences that will assist the board in determining each applicant’s character, fitness, and educational, and technical competence. A bachelor’s degree is required. Lawyers are not eligible. Public board members should be willing and able to devote up to three days a month to examiners’ duties and travel, with travel and subsistence expenses reimbursed. Board members should be interested in seeking to improve the bar exam and its administration, and in evaluating carefully the character and fitness of applicants seeking Bar admission. The vacancy will occur on November 1, with the expiration of the term of Dr. Joan D. Panchal, Winter Park. Those interested may type the information in an application form online at www.floridabarexam.org, then print and mail it to Eleanor M. Hunter, Executive Director, Florida Board of Bar Examiners, 1891 Eider Court, Tallahassee 32399-1750. If you have questions, contact Hunter either by mail or at (850) 487-1292. The deadline for receipt of the application is June 9.
He said the opening at the bottom was probably a water outlet of an underground water system that supported the hot spring. “The kingdom of Kediri had a number of underground water systems,” he said. The structure’s proximity to other heritage sites on the slopes of Mount Klotok also indicated it was of the same origin, he said. ”There are four hermitage caves and a temple on Mount Klotok, which are all from the time of the Kediri kingdom,” he said. Nugroho added that construction workers had also recently found ancient clay housewares around a kilometer from the structure Archeologist Dwi Cahyono from state-run Malang University agreed with Nugroho, saying that the structure could be an important Javanese heritage site that needed to be preserved. “The ancient structure could be a special site within the airport that passengers could look at it,” he told the Post. Gudang Garam, through its subsidiary Surya Dhoho Investama, is set to spend around Rp 10 trillion (US$732.4 million) to build the airport, including the acquisition of around 400 hectares of land.The airport, the construction of which is being fully funded by the company, is expected to be bigger than the Abdul Rachman Saleh Airport in Malang and accommodate around 5 million passengers per year.Once completed, it will have a 3,000 meter by 45 m runway that will be able to accommodate a wide range of aircraft, from Boeing B777s to Airbus A350s, as well as a passenger terminal, cargo terminal and parking area.The ancient structure is located just 700 meters from Bedrek hamlet, where some 20 households have yet to agree to the compensation offered by Gudang Garam. “We just want a fair compensation so that we can buy land and build houses with similar proximity and access to public facilities,” said Anis, one of the Bedrek villagers.The airport’s official groundbreaking is scheduled for mid-April. Topics : Archeologists have called for the preservation of an ancient brick structure recently found in Kediri, East Java, in an area set to be developed into a new airport funded by major cigarette producer Gudang Garam. “We have to protect the site where some parts of an ancient structure or building have been discovered,” archeologist Nugroho Harjo Lukito from the East Java Cultural Heritage Preservation Center told The Jakarta Post recently. “We will talk to Gudang Garam because we are going to carry out an initial excavation to determine the size of the ancient structure.”He said Gudang Garam would have to adjust its airport site plan because the cultural heritage site was located within the airport area. The structure was first reported by Jasmin, 55, a resident of Grogol village, Grogol district, who accidentally discovered the structure a few months ago as he was walking along a riverbank near rice fields that had been acquired by Gudang Garam. He slipped and fell into the river and saw a structure made of bricks measuring around 2 meters high with a small opening at the bottom. “The structure was covered by thick bushes. I forgot the pain in my legs and tried to take a closer look,” Jasmin told the Post, adding that he immediately went to see the village head to tell him about what he had just seen. Nugroho said the structure might be part of a hot spring bath built during the time of the Hindu kingdom of Kediri between 11th and 13th centuries.