Lion Brand Yarns

Lion Brand Yarns, also known as Lion Brand Yarn Company and Lion Brand Yarn, was founded in 1878 in the United States. It is the oldest producer of knitting and craft yarn in the United States, and also publishes several knitting and crochet newsletters.
Naming.
On its website, the company refers to itself by the names Lion Brand Yarn Company and Lion Brand Yarns, with the copyright notice on each page showing "Lion Brand Yarn". Their first national advertisement, in 1903, advertises as "Lion Brand Yarns".
History.
Lion Brand yarns have been on the market since 1878, making it the oldest manufacturer of Yarn in the US.
Current President/CEO David Blumenthal's great-grandfather Reuben founded this fifth-generation, family-owned company.
The company was founded in 1878 by a group of notions and dry goods salesmen that included current CEO David Blumenthal’s great-grandfather, Reuben. During the 1930s under the leadership of Isidor, Lion Brand imported yarns from Europe, supplementing production rather than manufacturing yarns in the U.S.
Joseph Blumenthal, Reuben’s son-in-law, had three sons who ran the company from the 1930s through the early 1990s. Isidor Blumenthal (born 1909, died 2003) served as president of the company from 1958 to his death in 2003. George Blumenthal was in charge of sales and started selling in 1944. Bernard Blumenthal oversaw logistics and distribution.
The fourth generation includes Isidor’s son, David, currently President and CEO, who began working for Lion Brand in 1969. In the following years, Alan, Bernard's son, and Dean and Jack, George's sons, joined the company. Presently there are four members of the fifth generation Blumenthals working at Lion Brand: David's son Adam and daughter Shira, Dean's son Evan, and Alan's son Dave.
 the company was privately held, and had estimated sales of per year.
Vanna White.
In 1992 Johnny Carson interviewed Vanna White on "The Tonight Show" where she disclosed that her favorite hobby was crocheting. David Blumenthal's cousin Jack heard the interview on TV, which resulted in David sending White a package of Lion Brand Yarn. White then began working as a spokesperson for Lion Brand, and that relationship continues today. Lion Brand carries a variety of yarn called "Vanna's Choice". Additional yarns in White's line include "Vanna's Glamour", "Vanna's Sequins" and "Vanna's Choice Baby."
A portion of the proceeds from sales of these yarns are donated to St. Jude Children's Research Hospital. On the June 10, 2013 broadcast of Wheel of Fortune, the program showcased White presenting a check on behalf of Lion Brand for $1,000,000.00 to St. Jude's. Game show host Pat Sajak noted that St. Jude's life saving mission is a "great cause" and a "great charity."
On October 19, 2018, David and Shira Blumenthal joined Vanna White on a visit to present St. Jude Children's Research Hospital with a $2 million check, representing the cumulative donation from the sale of Vanna’s signature yarns.
Ernst & Young Entrepreneur Of The Year Award.
In June 2013, it was announced that Lion Brand Yarn’s President/CEO, David Blumenthal and EVP/COO, Dean Blumenthal were awarded Ernst & Young Entrepreneur Of The Year Award for their entrepreneurial excellence in the ‘Family Business’ category.
Publishing.
The company publishes several knitting and crochet newsletters.
Lion Brand has published several books featuring patterns using their yarn. The company has partnered with several publishers to provide patterns using their products. Some of these include: Knit.1 Magazine published by Vogue Knitting, Clarkson Potter which is part of Crown Publishing Group, Leisure Arts and Random House.
Website.
In 2006, Lion Brand won a Webby Award in the Corporate Communications category and its podcast, titled "YarnCraft," has won several awards including PR News' best podcast/videocast award in 2008.
Free Patterns.
Lion Brand offers over 8,000 free knitting, crochet and craft patterns.
Yarn.
The company sells a variety of yarns, from 100% natural fibers including cotton, cashmere, alpaca and wool to blends and 100% acrylics in a variety of weights. Some of their most popular yarns are "Homespun", "Fun Fur", "Vanna's Choice", and "Wool-Ease". The company came out with organic cotton yarn in 2007.
Studio.
The Lion Brand Yarn Studio is a retail store located at 34 West 15th Street in Manhattan, which opened in 2008. It sells yarn and provides knitting and crochet classes. The Studio also offers custom knitting and crochet services. Since the Studio opened, they have taught over 14,000 students.
Outlet.
There is a retail outlet store located in Carlstadt, New Jersey, which opened in 2011. The outlet sells a complete selection of Lion Brand yarns and discontinued yarns, and provides a lounge for customers to knit & crochet.


227930 Athos


The Merry Widow discography

This is a discography of "The Merry Widow" (German: "Die lustige Witwe"), an operetta by the Austro–Hungarian composer Franz Lehár. It was first performed at the Theater an der Wien in Vienna on 30 December 1905. The operetta has been recorded both live and in the studio many times, and several video recordings have been made. The first recording of a substantially complete version of the score was made in 1907 with Marie Ottmann and Gustav Matzner in the lead roles. The next full recording was issued in 1950, in English with Dorothy Kirsten and Robert Rounseville in the leading roles.
In 1953, EMI's Columbia label released a near-complete version produced by Walter Legge, conducted by Otto Ackermann, with Elisabeth Schwarzkopf as Hanna, Erich Kunz as Danilo, Nicolai Gedda as Camille and Emmy Loose as Valencienne. It was sung in German, with abridged spoken dialogue. Loose sang Valencienne again for Decca in the first stereophonic recording, produced in 1958 by John Culshaw, with Hilde Gueden, Per Grundén and Waldemar Kmentt in the other main roles, and the Vienna Philharmonic conducted by Robert Stolz. A second recording with Schwarzkopf as Hanna was issued by Columbia in 1963; the other main roles were sung by Eberhard Wächter, Gedda and Hanny Steffek. This set, conducted by Lovro von Matačić, has been reissued on CD in EMI's "Great Recordings of the Century" series. Among later complete or substantially complete sets are those conducted by Herbert von Karajan with Elizabeth Harwood as Hanna (1972); Franz Welser-Möst with Felicity Lott (1993); and John Eliot Gardiner with Cheryl Studer (1994).
The Ackermann recording received the highest available rating in the 1956 "The Record Guide" and the later EMI set under Matačić is highly rated by the 2008 "The Penguin Guide to Recorded Classical Music", but Alan Blyth in his "Opera on CD" regrets the casting of a baritone as Danilo in both sets and prefers the 1958 Decca version. Among the filmed productions on DVD, the Penguin Guide recommends the one from the San Francisco Opera, recorded live in 2001, conducted by Erich Kunzel and directed by Lotfi Mansouri, with Yvonne Kenny as Hanna and Bo Skovhus as Danilo.
The recordings listed below are sung in German unless otherwise noted.
References.
Notes
Sources


Malaya Akulukjuk

Malaya Akulukjuk was an Inuit artist who drew works inspired by her life as a shaman and Inuit spirituality through depictions of human-animal transformations. Akulukjuk was born in 1915 (though some sources state 1912 and 1921), and lived a traditional Inuit life in the Qikiqtat Camp of Nunavut before moving to Pangnirtung on Baffin Island in 1962. Her career as an artist started later than most, at the age of 51.
In 1969, the Canadian Federal Department of Indian and Northern Affairs opened the Pangnirtung Weave Shop with the aim of creating a craft industry in the community. With Akulukjuk's guidance her drawings were translated onto the woven tapestries by fellow members of the Pangnirtung Weave Shop. Many of Akulukjuk's works were inspired by her memories of traditional life which revolve around camping and family gatherings, and the others were rooted from her imagination of mystical creatures.
A large collection of Akulukjuk's drawings went on exhibitions across Canada. Some of Akulukjuk's pieces such as Inuit Ways (1979) and Hunting Polar Bears with Harpoon (1982) are displayed in the National Gallery of Canada and various museums across the country. The Heffel Gallery, one of Canada's fine art auction houses, sells Akulukjuk's works as well as the tapestries of weaver Agah Etooangat based on Akulukjuk's drawings. Akulukjuk's art is crucial to the development of Inuit weaving tapestry by visualizing the old Inuit life and shamanism.
Early life.
Malaya Akulukjuk was born in Quikitat Camp (a former Whaling station) in 1915 (though some sources state 1912 and 1921). She married at the age of twenty. In the Inuit society, arranged marriages were a tradition to ensure all marriageable adults could have partners during their childbearing years. Akukuljuk became a mother to thirteen children. While pregnant, she continued hunting and participating in land. She moved later to the settlement in Pangnirtung on Baffind Island with her husband and children in 1960.
Personal Life and Family.
Akulukjuk got married at the early age of twenty, which was much against her will. In the Inuit society, arranged marriages was a tradition to ensure that all marriageable adults could have partners during their childbearing years. Akulukjuk became a mother of thirteen children, but she did not give up hunting in her pregnancy, and sometimes she went hunting by carrying a baby in her hood. Akulukjuk's late husband, Nutaralaq Akulukjuk, was a sculpture artist. Several of his works had been sold at auctions, including "Man Drinking" sold at Waddington's Inuit Art Online Auction in 2017. Many of Akulukjuk's children became future artists in Pangnirtung, including five of her sons, Jeetaloo, Geeshee, Juelee, Enukee and Moar. Her daughter, May Lonsdale, developed into a graphic artist. In Akulukjuk's adult life, she suffered from poor eyesight, and sometimes she had to use magnifying glasses to create paintings.
Pioneer Artist at the Pangnirtung Tapestry Studio.
The Aboriginal people of the Canadian Arctic have led a semi-nomadic lifestyle for centuries by living off the land. This nomadic lifestyle meant there was no continuous center for economic and community life. During the Resettlement Period in the 1960s, Canada's Inuit were relocated changing their lifestyle significantly. To aid in this process the Canadian government funded art and crafts initiatives across the Arctic region and contracted companies to administer and run these programs. Karen Bulow LTD, a weaving company from Montreal, created the Pilot Weaving Program for the Pangnirtung community. In 1970 the project manager Donald Stuart and three woman employees arrived to train and begin the program.
The women quickly learned the hand-weaving techniques and moved onto the loom weaving creating linear patterns and items like sashes, hats and blankets. Many of the woman being leaders in the community easily understood weaving partly because of the finger weaving introduced by missionaries in the 1930-40s and the traditional Inuit culture of creating clothing and everyday items out of items from the land. In celebration of the centennial year of the Northwest Territories, Queen Elizabeth II visited Iqualuit and was given a Pangnirtung Weave Shop blanket. Stuart recalls the Queen remarking how cold it was and "that when the blanked was presented she put it on and wrapped it around her knees right away…" Prince Philip reached over to touch and she said "No, it’s mine!"
The pilot weaving program was proving to be successful and positively impacting the surrounding community but the cost of running it the program too high for the small items being sold. The goods produced in the Pangnirtung Weave Shop did not have the ‘Inuit look’ which is what customers wanted from Northern goods. The program directors looked to government initiatives and the markets for such goods and decided woven wall hangings or tapestries would be the best for economic profit of the program. To make the tapestries they needed original Inuit drawings to translate into the woven textiles. Stuart took paper and pens throughout the community asking elders if they wanted to draw. Malaya Akulukjuk was one of the first artists discovered, she was 51. Her drawings set the precedent of what types and style of art was to be showcased on the tapestries. Other artists included Annie Pitsiuluk, Annie Kilabuk and Elisapee Ishulutak. The first exhibition of the Pangnirtung tapestries was on March 28, 1971 in Montreal. All 23 tapestries sold to private collectors and museums.
The Pangnirtung Weave Shop was moved into the Uqqurmiut Inuit Artists Association Centre which created a central management of all arts and crafts. The centre merges the Print Shop, Tapestry Studio, Retail Craft Gallery and an office for administration under one roof. The creation of the Pangnirtung Weave Shop has been a successful and helpful tool bridging the gap between the Inuit living off the land and living in settlements. The art was a source of cultural identity and pride but also an economic source for the region.
The Federal Development of Indian and Northern Affairs Canada in 2001 estimates that 20% of the Inuit derive part of their income from the arts and crafts programs. Without the work at the Weave Shop or other arts and crafts programs many would be solely reliant on social assistance money.
Works and Shamanism.
Unlike many other traditional cultures, women were significantly powerful in the Inuit religion because they took leading roles in spiritual matters. Although Malaya Akulukjuk did not openly acknowledge her identity, she was reputed as a shaman in the Pangnirtung community. Shamans are people with special powers that enable them to act as a mediator between the spiritual world and the temporal world, and they have helping spirits to assist them with supernatural tasks. In Inuit communities, people believe that a shaman is able to maintain the spirit's favour by appropriately practicing her unique abilities, including her power of second sight, her "X-ray" vision, and her control of animal spirits. Shamanism is based on the animistic belief that a helping spirit could exist in every being and take different forms, which are commonly seen in birds and polar bears. In Akulukjuk's drawings, she adopts the role of "artist as shaman" by vividly portraying her access to the spiritual world which is filled with transformative animals and supernatural beings. Her spirit figures are rooted from her imagination and the stories she had heard in childhood.
In 1972, Akulukjuk's drawing "Oalopalik" depicts a helping spirit, which could possibly be her own. During an interview with Asia Papatsie, the Inuit elder confirmed that this helping spirit was a bird that acted as the shaman's eyes. In Inuit beliefs, such a spirit could fly over long distance and report to the shaman what it had seen. In Akulukjuk's later artistic career, she started to depict complex themes with multiple characters, and those works continued to communicate her shamanistic beliefs. For instance, her drawing of "Two Bears with Skin Frame" in 1977 displays two polar bear spirits that live in a different dimension. These spirits are viewed as bear people, who hunt like the Inuit but usually live inside a paddle or a rock. In this drawing, the bear people are stretching an animal skin that may have been later used to sew skin clothes.
Akulukjuk's other drawings involve human interactions with birds, and animal spirits that co-exist with humans on the Inuit landscapes. In her drawing "Lady with Birds" (1977), Akulukjuk depicts a girl who plays with her bird that she may has been tamed from a young age. The girl's hairstyle reveals that she is not married yet. Here, Akulukjuk emphasizes the intimacy between human and animal spirits, which reflects her shamanistic practices because she has personal interactions with those spirits. In Akulukjuk's another drawing, "Malaya’s Story" (1981), Inuit people and animal spirits are depicted in the same space. While community members are preparing for hunting and food storage, the goose spirit is moving in his own directions. Akulukjuk presents her perspective as a shaman by visualizing the co-existence of everyday community life and the spiritual realm.
Community Life.
In the Pangnirtung Tapestry Studio, the first generation of artists like Malaya Akulukjuk were mostly elders that had previously lived a traditional Inuit life. Akulukjuk was growing up in a whaling station, and lived as a nomadic hunter during her early years. When she adopted her artistic career, she viewed drawing as a way to pass on her rich knowledge of the "true Inuit life" to the younger generation. After the resettlement, drawing was a coping strategy for Akulukjuk to fulfil her responsibility as an elder. In the Tapestry Studio, the weavers are usually young girls in their early twenties and they learned the Inuit past from the elders by transforming their drawings into tapestries.
In the "Inuit Quarterly", the writer states that Inuit elders produce "memory art" instead of commercial art. The elders were eager to tell stories of the past and traditional lifestyles because they were afraid of losing their own identity to the western cultural invasions. Akulukjuk enjoyed using her imagination and memories to present Inuit life of her youth, as well as natural landscapes with tiny human or animal figures. Many of her drawings reconstruct traditional Inuit community life. In 1981, the tapestry of "Malaya’s Story" demonstrated that the Inuit people used the whale's body to store food and make tools. They also used sled dogs for transportation, and carried some weapons in their hands when they went out hunting. The other painting, "Children at Summer Camp" (1980) revealed that Inuit people lived in sealskin tents during the summer. The young couple lives in a smaller tent that has seal skin boots drying on the poles, while the older couple lives in a bigger tent with a wooden door. The door indicates that the old couple has high status in their community (they are suggested to be prominent hunters) because wood is a very precious resource in the Inuit society.
Akulukjuk's drawings also present her knowledge of land and wildlife in a practical sense. Some of her drawings are purely landscapes scenes of the old Inuit territories, including "Spring Breakup" (1995), "Camp Site" (1995) and "Inukshuk Trail" (1995). These landscape drawings were created at the end of Akulukjuk's life. The artist was eager to go back to these campsites, but she could no longer go out on the land. They revealed Akulukjuk's strong emotional connections and her long-lasting memories of the old Inuit lands. On the other hand, there are pure animal depictions such as "Galloping Caribou" (1994) and "Playful Narwhales" (1980) in Akulukjuk's drawings. These animals were commonly seen on the Inuit land, and they used to be the primary food resources for the survival of the community.
Cooperation Between Artists and Weavers.
Tapestry weaving in Pangnirtung has always been a cooperative production that combined the skills of two parties, the drawing artists and the weavers. The submission of the drawing is done by one artist, while the interpretation of the drawing into the medium of tapestry is produced by another artist of the weaving shop. The tapestry artist would choose the colours of the final production, which is rarely discussed with the drawing artist since weavers are believed to have more knowledge about the effective use of colours. Many of Akulukjuk's drawings were made into tapestries by different weavers, and the final productions changed the colours, sizes, and proportions of her original drawings.
For instance, her drawing "Children at Summer Camp" (1980) was originally created with black and brown pen; while its rich and saturated colours were added by the tapestry artist, Kawtysee Kakee. Moreover, the original drawing has more defined lines, which clearly demonstrate how children engage in everyday activities such as brewing tea and cooking meat. However, in the tapestry production, the surface becomes rough, and the depictions of food are less detailed. The tapestry artist focuses on mixing the soft colours of the wool with a lighter thread, which creates the glow of warm evening light. By creating this natural light, the image is given a sense of time as well as a nostalgic feeling of beauty.
Akulukjuk's drawing, Spring Break (1995) is painted by coloured pencils, which depicts the scene of mountains, valleys and ice fields being lightened by the rising sun. Akulukjuk uses soft colours to portray this scene, including light yellow, blue and white. They create a dreamy atmosphere, and evokes the impression of a paradise rooted from the artist's memory. Compared to the original drawing, the tapestry production adds more layers of perspective to the flat surface by incorporating vivid colours as well as making the mountains look sharp and outstanding.
National and International Exhibitions.
Akulukjuk's works have been exhibited in galleries across Canada, including the National Gallery, the Inuit Gallery of Vancouver, the Arts and Crafts Guild of Quebec, the University of Alberta. They even went overseas, and reached as far as the Jerusalem Artists House Museum. Two of Akulukjuk's works, "Inuit Ways" (1979) and "Hunting Polar Bears with Harpoon" (1982) are displayed in the National Gallery of Canada in Ottawa. The Heffel Gallery, one of Canada's fine art auction houses, sells Akulukjuk's works as well as the tapestries of weaver Agah Etooangat based on Akulukjuk's drawings.


Red carpet

A red carpet is traditionally used to mark the route taken by heads of state on ceremonial and formal occasions, and has in recent decades been extended to use by VIPs and celebrities at formal events.
History.
The earliest known reference to walking a red carpet in literature is in the play "Agamemnon" by Aeschylus, written in 458 BC. When the title character returns from Troy, he is greeted by his wife Clytemnestra who offers him a red path to walk upon:
Now, dearest husband, come, step from your chariot. But do not set to earth, my lord, the conquering foot That trod down Troy. Servants, do as you have been bidden; Make haste, carpet his way with crimson tapestries, Spread silk before your master’s feet; Justice herself Shall lead him to a home he never hoped to see.
Agamemnon, knowing that only gods walk on such luxury, responds with trepidation:
I am a mortal, a man; I cannot trample upon these tinted splendors without fear thrown in my path.
Oriental carpets in Renaissance painting often show rugs and carpets, patterned but with red often the main background colour, laid on the steps to a throne, or on a dais where rulers or sacred figures are placed.
A red carpet was rolled out to a river to welcome the arrival of United States president James Monroe in 1821. In 1902, the New York Central Railroad began using plush crimson carpets to direct people as they boarded their "20th Century Limited" passenger train. This is believed to be the origin of the phrase "red-carpet treatment".
Film premieres are often laid down with red carpets, but wasn't until the 1920s that the red carpet and Hollywood became truly synonymous. The crimson-hued carpet was unfurled for the Hollywood premiere of Robin Hood, starring Douglas Fairbanks, in front of the Egyptian Theatre in 1922. And for the following decades, there were only few places where the public could catch a glimpse of charismatic stars like Clark Gable, Jimmy Stewart and Grace Kelly, and the red carpet was one of them.
Then, in 1961, the red carpet was introduced at the Academy Awards at the Santa Monica Civic Auditorium. A few years later, the broadcasters of the ceremony opted to film outside the venue, showing the arrival of guests as they stepped out of their limousines. From this point in 1964, the red carpet became a globally acknowledged focal point for actors and actresses to make a grand entrance and showcase themselves at the Oscars.
Publicity events.
A red carpet is also used in gala celebrity events such as the Academy Awards, Golden Globe Awards, Grammy Awards, Met Gala, and BAFTAs. While the awards take place inside, much of the publicity and excitement takes place outside with journalists discussing the red carpet fashions, what designers are being worn by which stars and photographers taking pictures. This is now a spectacular international product placement arena of great importance to the fashion industry. Red carpets are often coupled with publicity backdrops which contain brand logos or emblems for photography purposes.
Carpeting in other colors may replace red in some instances to honor a certain cause or for a sponsored event, the sponsor's logo colors, such as a "green carpet" to promote environmental awareness, or for the Nickelodeon Kids' Choice Awards, an orange carpet is used instead to go with the network's primary imaging color. MTV uses a blue colored carpet for their Video Music Awards. In 2019, the premiere of the film Detective Pikachu used a yellow carpet to match the color of the lead character. In 2020, the premiere of Sonic The Hedgehog used a blue carpet.
In some countries such as South Africa and the Philippines, a red carpet is laid for members of parliament and other guests entering the joint session, allowing a showcase of fashion for politicians.
Phrases.
More generally, "red carpet treatment" and "rolling out the red carpet" usually refer to any special efforts made in the interests of hospitality.
Airline lounges.
United Airlines operates a series of airport lounges at major airports that were formerly known as "Red Carpet Clubs".


Josephine Myers-Wapp

Josephine Myers-Wapp (February 10, 1912 – October 26, 2014) was a Comanche weaver and educator. After completing her education at the Haskell Institute, she attended Santa Fe Indian School, studying weaving, dancing, and cultural arts. After her training, she taught arts and crafts at Chilocco Indian School before joining the faculty of the newly opened Institute of American Indian Arts in Santa Fe. She taught weaving, design, and dance at the Institute, and in 1968 was one of the coordinators for a dance exhibit at the Mexican Summer Olympic Games. In 1973, she retired from teaching to focus on her own work, exhibiting throughout the Americas and in Europe and the Middle East. She has work in the permanent collection of the IAIA and has been featured at the Smithsonian Institution. Between 2014 and 2016, she was featured in an exhibition of Native American women artists at the Museum of Indian Arts and Culture in Santa Fe.
Early life.
Josephine Myers was born on February 10, 1912 on her grandmother's allotment near Apache, Oklahoma to Hevah (née Lena Fischer) and James H. Myers. She was one of nine children: Mima, Randlett Cragg, Rudolph Fisher, Catherine, Josephine, Melvin, Walker, Vincent, and Alvin. Myers attended St. Patrick's Indian Mission School in Anadarko, Oklahoma and completed high school at the Haskell Institute in Lawrence, Kansas, studying to become a secretary. In 1933, she went to study at the Santa Fe Indian School under a program designed to train Native Americans to teach art at the American Indian boarding schools. For two years, she studied fingerweaving and loom-weaving, as well as pottery making under Maria Martinez.
Career.
In November 1934, Myers returned to Oklahoma and started the first art classes at Chilocco Indian School. When she began her work, the school only purchased one loom, but other departments at the school helped to build looms and spinning wheels. She taught basket weaving, beading, and pottery making to beginners, and taught the more advanced students to make rag dolls, cross-stitch, dyeing, fingerweaving, rag weaving, and spinning. She continued to teach art and married Edward Wapp c. 1940, giving birth to their first child, Barbara, in August 1940. Edward Jr., who would become a noted Native American flautist, was born in 1943. She expanded the arts department throughout her time at Chilocco and by the 1950s had created a drama department, which performed ceremonial dances for the White House Conference on Children and Youth in 1960. She continued her own studies during the summers and earned her bachelor's degree in education in 1959 from Oklahoma State University. She taught at Chilocco until 1961, then taught briefly at the Santa Fe Indian School before being selected as one of the first teachers for the newly established Institute of American Indian Arts.
Wapp was one of the main teachers of traditional arts at IAIA, teaching courses in beadwork, costume and fashion design, traditional art techniques, textiles, and weaving. Focused on utilizing primarily natural materials, she taught her students to appreciate Native and Native-inspired garments and accessories and tried to impart the tribal traditions from which the techniques had arisen. Wapp also taught a course in traditional Indian dance. While at IAIA, she learned the Eastern Woodlands tribal tradition of fingerweaving, which was not in her Comanche heritage. Of the three basic patterns woven without a loom, Wapp became best known for the arrowpoint pattern, which is the most difficult. She also continued her own studies, earning a master's degree from the University of New Mexico. She encouraged her students to take the skills they learned in their home economics courses and bring them into her traditional techniques course, as an expression of their tribal pride.
In 1968, Wapp and ceramicist Otellie Loloma, a colleague at IAIA, coordinated a dance exhibition with their students which they performed at the White House and then at the 1968 Summer Olympics in Mexico City. Two years later, the school organized a fashion club, which participated in fashion shows throughout the country. Her students soon realized that by participating in Wapp's fashion design classes, they'd be able to create their own designs and travel. In 1972, she took students to fashion shows in Houston, Texas; the Indian Fashion Show at the Denver Art Museum in Colorado; New York City; and exhibited fashion designs at the La Fonda on the Plaza in Santa Fe. The following year, she retired from teaching to focus on her own work.
After retirement, Wapp gave demonstrations of hand weaving techniques and spoke widely on traditional Indian arts. She served on the committee which founded the Comanche National Museum and Cultural Center in Lawton, Oklahoma, and her work was displayed at the museum's opening in 2007. She served on the museum's board for several years, and in 2009 was the featured artist at an event showcasing her works for her 97th birthday. Wapp's work was featured at the opening of the National Museum of the American Indian in Manhattan in 1994, to help fundraise for the 2001 projected opening of the National Museum of the American Indian at the National Mall in Washington, D. C. In 2009, her work was exhibited at the Oklahoma State Capitol in a solo exhibition titled "The Artistic Legacy of Josephine Myers-Wapp: The Weaving of Stories and Tradition". In 2013, she was the recipient of the Povi’ka Award of the Santa Fe Indian Market in recognition of her leadership and support to Native American artists and communities.
Death and legacy.
Wapp died on October 26, 2014, in Lawton, Oklahoma and was buried at the Fairview Cemetery in her hometown of Apache. Between 2014 and 2016, an exhibit honoring Native American women artists, featuring works by Jeri Ah-be-hill, Margarete Bagshaw, and Wapp, was on display at the Museum of Indian Arts and Culture in Santa Fe. The Institute of American Indian Art's Museum of Contemporary Native Art, in downtown Santa Fe, has some of her work in its permanent collection. Her teaching career was widely influential; Wendy Ponca, who followed Sandy Wilson in teaching Wapp's traditional techniques courses in 1982, drew on both Wapp and Wilson's legacies in teaching Native fashion designers into the 1990s. She also won multiple awards for her contemporary Native fashion designs, taking first prize from the Santa Fe Indian Market every year from 1982 until 1987. Phyllis Wahahrocktah-Tasi, director of the Comanche National Museum and Cultural Center, was one of Wapp's students.


Standing on the Corner (show tune)

"Standing on the Corner" is a popular song written by Frank Loesser and published in 1956. It was introduced by Shorty Long, Alan Gilbert, John Henson, and Roy Lazarus in the Broadway musical, "The Most Happy Fella."
A recording of the song by the Four Lads (made March 1, 1956) was popular in 1956. The recording was released by Columbia Records as catalog number 40674. It first reached the "Billboard" charts on April 28, 1956. It peaked at No. 3 on each of the various charts at the time: the Disk Jockey chart, the Best Seller chart, the Juke Box chart, as well as the composite chart of the top 100 songs. The flip side was "My Little Angel". Jimmy Arnold, lead tenor for The Four Lads in 1956, is sometimes erroneously listed as the song's co-author.


Gordon Crook

Gordon Stephen Crook (11 October 1921 – 26 August 2011) was a visual artist working across the fields of ceramics, textiles, printmaking, painting and drawing.
Early life.
Born in Richmond, Surrey, England, Crook's parents separated when he was four and he moved with his mother from London to Sussex. He grew up in Sussex, moving between foster homes, and then attended boarding school in Chichester. He joined the merchant navy at 17, and served in the Royal Air Force during World War II.
Training.
In 1945 Crook received a grant to study at St Martin's School, London. In 1948 he enrolled at the Central School of Art, known at the time for its innovative work in textiles. Crook graduated with a degree in textile design and began tutoring at the Central School, before being employed as a lecturer.
Career.
After completing his training Crook lived in London for 22 years, working as a freelance designer and teaching at the Central School and the Royal College of Art. He also exhibited his own work, ceramics, drawings, paintings, and tapestries. The artist once said:
Because I work in a lot of media, people can't get to grips with my work. The point is that oneself as an artist remains consistent. My object is to end up with something that I haven't seen before, to get an image which I could not have imagined
In 1972, aged 51, Crook decided to emigrate to New Zealand and settled in Wellington, where he spent the rest of his life. He continued making art until his death in 2011, aged 89, and was known for his diverse and prodigious output.
In 1979 Crook was commissioned to produce a set of 20 banners for the Miles Warren-designed New Zealand Embassy in Washington. Hanging in the Great Hall of the embassy building the banners measure five metres by 1 metre and feature South Pacific imagery and heraldry. The banners were made by Nancye Smeaton, manager of the then-New Zealand Ballet and Opera Trust production unit. Between 1981 and 1983 Crook worked on a series of larger banners for the entrance foyer of the Michael Fowler Centre in Wellington.
Crook designed and wove some of his own tapestries; others he collaborated on with other professional weavers. His suite of small tapestries "18 Maritimes" for example, in the collection of The Dowse Art Museum were designed by Crook, inspired by 18 small collages made using colour photocopying techniques, and then woven over 1995–1996 by Sue Batten at the Victorian Tapestry Workshop. Crook also collaborated extensively with weaver Lesley Nicholls, producing more than 20 tapestries together.
While he worked across many formats – including pastel drawings, painting, collages, paper-making and screenprinting – Crook was best-known and most recognised for his textile work. Writing in 1980 critic Neil Rowe observed:
When assessing a talent as multi-faceted as Crook's it is difficult to single out one aspect for consideration above the others. In my opinion his work with textiles and fabrics constitutes his most significant contribution to contemporary art.
... In New Zealand there is no designer in this field who is as highly qualified or as accomplished as Gordon Crook. In terms of colour and design, his tapestries are by far the most consistently exciting work in the medium made here.
Crook received significant support from Jim Barr and James Mack, two early directors of The Dowse Art Museum in Lower Hutt, who collected and exhibited his work.
Significant solo exhibitions of Crook's work include:
Publications:
Gordon Crook: A Life of Art.
In 2010 a documentary about Crook, "Gordon Crook: A Life of Art", by director Clare O'Leary premiered at New Zealand's International Film Festival. The documentary traced Crook's life from his early years in foster care to his time as a London Central School of Art lecturer to his decades in Wellington and featured interviews with Crook, his friends, supporters, students and dealer representatives. The documentary also features autobiographical narrative, including poems written by Crook.
Further information:
Death.
Crook died in Wellington on 26 August 2011.
Collections.
Crook's work is held in collections across New Zealand.


Amateur dramatics in Glasgow

Glasgow, the largest city in Scotland, supports a large number of active amateur dramatics and musical theatre companies. Some of the larger companies use the professional stages at the King's Theatre, Theatre Royal and The Pavilion, and in the past the Alhambra Theatre. The Mitchell Theatre, run by Glasgow City Council, is one of the most popularly used theatres for amateur companies, as is the Eastwood Park Theatre operated in the south side.


Plastic arts

 Plastic arts are art forms which involve physical manipulation of a plastic medium by molding or modeling such as sculpture or ceramics. Less often the term may be used broadly for all the visual arts (such as painting, sculpture, film and photography), as opposed to literature and music. Materials for use in the plastic arts, in the narrower definition, include those that can be carved or shaped, such as stone or wood, concrete, glass, or metal.
The term "plastic" has been used to mean certain synthetic organic resins ever since they were invented, but the term "plastic arts" long preceded them. The term should not be confused, either, with Piet Mondrian's concept of "Neoplasticism".
History.
The oldest known plastic art date to (30,000–34,000 bp).
'Plastic' and the philosophy of arpapaiem.
In contrast to the limiting of 'plastic arts' to sculpture and architecture by Friedrich Wilhelm Joseph Schelling in 1807, the German critic August Wilhelm Schlegel (1767-1845) applied the concept not only to visual arts, but also poetry.
Classical poetry lines he saw utilizing plastic isolation, and rhyme falling under the Romantic (domain).
In Schlegel's Viennese lectures (1809-1811), published in 1827 as "On the Theory and History of the Plastic Arts", he contrasted the plasticism of Classical Art with picturesque Romanticism. He These distinctions were carried over into Russian Romanticism aesthetics,


Martha Jefferson

Martha Skelton Jefferson ("née" Wayles; October 19 or 30, 1748 – September 6, 1782) was the wife of Thomas Jefferson. She served as First Lady of Virginia during Jefferson's term as Governor from 1779 to 1781. She died in 1782, 19 years before he became President.
Of the six children born to Thomas and Martha, only two survived to adulthood, Martha and Mary. Martha died four months after the birth of her last child. The couple's letters to one another were burned, though by whom is unknown, and Thomas rarely spoke of her, so she remains a somewhat enigmatic figure. (Similarly, Jefferson did not speak much of his mother, Jane Randolph Jefferson, or his best friend.)
It is widely held that Thomas had a long-standing relationship and children with Martha's half-sister, Sally Hemings, a favored slave who was three-quarters white.
Early life and education.
Martha Wayles was born on October 19 or 30, 1748, the daughter of Martha Eppes Wayles (1721–1748) and John Wayles (1715–1773). near Colonial Williamsburg in Charles City County, Virginia. Their only child, Martha, was nicknamed "Patty". John was a Lancaster-born emigrant to the Thirteen Colonies, working as an attorney in addition to being a prosperous planter and slave trader. In addition, he was an agent for the Farrell and Jones company based in Bristol, undertaking activities such as debt collection on their behalf. Martha Eppes Wayles was a daughter of Francis Eppes, a settler of the Bermuda Hundred, an early Virginian colony established along the Appomattox River. While little is known of Martha Eppes Wayles' life, she had an appreciation for fine literature, such as her favorite novel, "Tristram Shandy" and "Les Aventures de Télémaque." (Her rebound version of the book, "The Adventures of Telemachus", contains her signature on the title page and resides at the Library of Congress).
Martha Wayles had two stepmothers, neither of whom lived long after their marriages to John Wayles, and through one stepmother she had four half-sisters.


Dummy (2002 film)

Dummy is a 2002 American comedy-drama film written and directed by Greg Pritikin. It stars Adrien Brody, Milla Jovovich, Illeana Douglas, Vera Farmiga, and Jared Harris. The film had its premiere on February 21, 2002, and was released in a limited release in the United States on September 12, 2003 by Artisan Entertainment.
Plot.
Steven Schoichet is a recently unemployed ne'er-do-well who has difficulty expressing himself. Steven finds he has a knack for ventriloquism. Steven's best friend is Fangora "Fanny" Gurkel, an aspiring punk rock singer who, along with Steven, is just looking for her niche. Eventually, Fanny takes a shine to klezmer music when she learns of an opportunity to get an actual gig. Through his newfound talent, Steven discovers that he is able to overcome his social problems through his dummy and decides to try impressing and winning the heart of Lorena Fanchetti.
Production.
Casting.
In May 2000, it was reported by "Variety" that Adrien Brody and Milla Jovovich had been cast in the film, Brody as the lead character of Steven, and Jovovich as the best friend of Brody's character. The following month, in June 2000, it was announced that Illeana Douglas had joined the cast in a supporting role. Vera Farmiga, Ron Leibman, Jared Harris and Jessica Walter were also cast in supporting roles. Brody (who had no previous experience as a ventriloquist) performed all of the ventriloquism and puppetry live during shooting, doing so without puppeteering stand-ins or voiceover dubbing. He was coached prior to and during production by veteran actor-ventriloquist-puppetmaker Alan Semok, who is credited in the film as special consultant and designer/creator of the title character.
Filming.
Principal photography took place in New York City, Wayne, New Jersey, and Long Island, New York in July and August 2000.
Reception.
Box office.
The film was given a limited release in the United States. "Dummy" made $30,130 from 5 theaters in its opening weekend. It made an additional $41,516 at the box office for a total domestic gross of $71,646.
Critical reception.
"Dummy" received mostly positive reviews from film critics. On Rotten Tomatoes, the film has an approval rating of 71%, based on 34 reviews, with an average rating of 6.15/10. The site's consensus reads, ""Dummy" is a sweet family comedy that succeeds due to charming performances, even if the final product feels slightly undercooked." On Metacritic, the film holds a 48% rating based on 12 critical reviews, indicating "mixed or average reviews".


Fringe World

Fringe World Festival is an annual multi-arts fringe festival held in Perth, Western Australia during the city's summer festival season of January/February. Fringe World is recognised as the third largest Fringe in the world. The 2020 Festival recorded an attendance of over 820,000 from ticketed and non-ticketed events and had an estimated economic impact of over $100 million.
The annual program of events features artists and acts from a range of styles including circus, cabaret, comedy, music, dance, theatre, film and visual art. Fringe World is produced by Artrage, one of the largest and most successful arts organisations in Western Australia.
Fringe World is an open access Festival, which means that artists from anywhere in the world can register to be part of the Festival. The open access policy is similar to that of the Adelaide Fringe and Edinburgh Fringe festivals.
The Festival features many 'pop-up' venues, such as De Parel Spiegeltent, which was purchased by Artrage in 2011 with the assistance of Lotterywest. The full name of Fringe World's spiegeltent is De Parel Van Vuren or 'The Pearl of Fire', it was built in 1905 by Belgium's renowned Klessen family. The venue has unique architecture and a long touring history in Europe. Fringe World is the only fringe festival in the world to own its own spiegeltent. In 2016, Fringe World facilitated the purchase of a spiegeltent for Edith Cowan University; the venue will be re-named The Edith Spiegeltent. In 2019, the Festival saw the introduction of Yagan Square as a Fringe World hub, a weekly busking event called Fringe Fridays at the Twilight Hawkers Market, and teaser performances of key shows called Fringe Sundays.
Fringe World Festival is held prior to and with a two-week crossover to the Perth International Arts Festival. Fringe World and the Perth Festival are separate organisations/events.
History.
1983–2011.
The Festival Fringe Society of Perth was established in 1983 and was the forerunner to the Fringe World Festival. The Society held an annual Fringe Festival up until 1988 at which time the organisation decided to move the Fringe from summer to spring and to re-brand it as Artrage, an annual festival dedicated to the presentation of alternative independent arts – a format that was followed until the organisation's 25th 'Silver' Festival Anniversary in 2008. Shortly after this time Artrage began consulting with stakeholders and the wider arts community in Perth around the idea of reintroducing a genuine independent "fringe" to the Perth summer. This led to the presentation of a pilot Fringe program in February 2011, staged in the newly purchased De Parel Spiegeltent in the Perth Cultural Centre. The pilot Festival featured 23 events at six venues and there were 12,000 tickets sold. The success of this pilot Festival gave Artrage the encouragement and confidence that there was enough appetite for a full Festival to be delivered the following year.
2012.
The 2012 Festival was the first full Fringe World Festival, held from 26 January to 19 February. The Festival presented over 200 events running across 40 traditional and non-traditional venues in Perth. Free and ticketed attendance was over 150,000 and box office sales was over $1 million.
2013.
The 2013 Festival extended one week more than in 2012 and was held from 25 January to 24 February. Ticketed attendance at the 2013 Festival was over 120,000 and the program featured more than 300 events at more than 60 venues. The total free and ticketed attendance was over 215,000 and over $2 million was spent at the box office. The majority of events in the 2011–2013 Fringe World Festivals were held in Northbridge and the Perth CBD, but more specifically at several pop-up performance venues (including De Parel Spiegeltent) in the Perth Cultural Centre.
2014.
In 2014 Fringe World revealed that it would be expanding its presence in Northbridge with another site of venues to be held in Russell Square, Perth, which would be transformed into The Pleasure Garden for the Festival's duration. The 2014 Festival was held from 24 January to 23 February and featured 1,788 participating artists, 418 free and ticketed events, 80 venues, free and ticketed attendance of over 370,000 and box office sales of over $3.2million.
2015.
The 2015 Fringe World Festival was held from 23 January to 22 February and was billed as '31 Days of Perthect' featuring a program of more than 500 events at over 100 venues throughout the Perth metropolitan area. The 2015 Festival featured The Gold Digger, a new custom-designed pop-up venue in the State Theatre Centre of Western Australia courtyard, that presented a program of Australian and international comedy talent as part of the Fringe Comedy Central program. The Gold Digger was presented by the Perth Theatre Trust as part of a long-term collaboration with Fringe World.
2016.
The 2016 Fringe World Festival was held from 22 January to 21 February. The Festival recorded over 350,000 tickets sold, valued at $9.3 million and attendance at free and ticketed events was almost one million. A new feature to the Festival was the FRINGE WORLD Fairground, which was part of the opening celebrations of the new waterside precinct, Elizabeth Quay. A 1920s fairground on Perth's waterfront called 'Uglieland' was an inspiration for the Fringe World Fairground. The 2016 Festival delivered $8.3 million in gross box office returns to artists and boosted Perth's cultural life, tourism appeal and social cohesion.
2017.
The 2017 Fringe World Festival was held from 20 January to 19 February, during which time the Festival expanded into a new venue at Cathedral Square in Perth, where the Edith Spiegeltent hosted La Soirée. Total box office across the Festival grew to $10.2 million and it is estimated that visitors to Fringe World spent more than $60.6 million with a total flow on economic impact of $84.3 million.
2018.
The 2018 Fringe World Festival was held from 26 January to 25 February 2018. The Ice Cream Factory was a new addition to the Festival, where Club Swizzle was presented in this custom built venue. Over 368,000 tickets sold were sold at the box office valued at $10.1 million.
2019.
The 2019 Fringe World Festival took place across 169 venues and performance spaces and was held from 18 January to 17 February 2019. The festival introduced Yagan Square as a new FRINGE WORLD hub, Fringe Fridays and Fringe Sundays. The festival generated $12.1 million in box office sales, created 2,205 jobs and facilitated a direct spend of $72 million. Total attendance of free and ticketed events was over 850,000 across 5561 performances.
2020.
The 2020 Fringe World Festival was held from 17 January to 16 February 2020. A total of 722 event were held in over 150 venues and performance spaces. The festival introduced Girls School as a new FRINGE WORLD hub. The festival generated an economic impact of over $100 million and generated $10.9 million in box office sales, created 2,214 jobs. Total attendance of free and ticketed events was over 829,000 across 6,765 performances.
2021.
The 2021 Fringe World Festival was held from 15 January to 14 February 2021. It was the first major fringe performance opportunity in the world for artists during the COVID-19 pandemic. Fringe World launched an app in place of a printed guide for the 2021 Festival. Due to a COVID-19 lockdown, the Festival closed for a week and subsequently hosted an encore season from 14 February to 28 February 2021.
Regional touring.
Fringe World has been touring to regional Western Australia since 2012.
With support from Fringe World partner Woodside De Parel Spiegeltent has toured to Karratha several times since 2012 to present shows at the Red Earth Arts Festival. Also with support from Woodside, Fringe World has toured artists to the Shinju Matsuri Festival in Broome.
Support from the Western Australian Department of Premier and Cabinet enabled Fringe World to present the Outer Fringe tour to regional WA from 2013 – 2015.
The 2016 regional tour was self-funded by Artrage and visited Esperance, Kalgoorlie, Ravensthorpe, Northam and Mullewa.
Venues.
Fringe World events are presented at venues in the Perth metropolitan area and further afield in Western Australia. The Festival hubs (clusters of venues) are located in Northbridge at Yagan Square, The Perth Cultural Centre, The Ice Cream Factory and The Pleasure Garden at Russell Square, Perth.
Festival events are also presented in independent venues and programs. These include:
World Fringe Alliance.
Fringe World is part of the World Fringe Alliance alongside other key fringe festivals including;


Yarn conditioning

Yarn conditioning is fixing the amount of moisture in the yarns. It is possible by conditioning them in a humidified environment.
Moisture regain.
Different textile fibers have distinct moisture regain. For example, Cotton has a moisture regain of 7%, and silk has 11%.
Moisture content.
In yarn, it is the moisture present in the yarn as a percentage of the total weight of yarn and moisture. Moisture content is one of the important test.Textile materials pass through several manufacturing stages. For instance, during yarn manufacturing, the moisture content in yarn becomes lowered that may create several negative impacts on various yarn properties. Moisture affects the physical properties of the material; hence it is crucial to maintain the moisture percentages. Yarn conditioning after manufacturing ensures the moisture regain before commercially selling the materials, and it adds flexibility and better characteristics for further manufacturing stages such as fewer breakages of yarn, and knots.
Importance of moisture.
The presence of water plays a crucial role in the mechanical behavior of natural fibers. Hydrated, biopolymers generally have enhanced ductility and toughness. Water plays the role of a plasticizer, a small molecule easing passage of polymer chains and in doing so increasing ductility and toughness. When using natural fibers in applications outside of their native use, the original level of hydration must be taken into account. For example when hydrated, the Young’s Modulus of collagen decreases from 3.26 to 0.6 GPa and becomes both more ductile and tougher. Additionally the density of collagen decreases from 1.34 to 1.18 g/cm^3.


Edwin Sandys, 2nd Baron Sandys

Edwin Sandys, 2nd Baron Sandys (28 April 1726 – 11 March 1797), was a British politician.
He was the eldest son of Samuel Sandys, 1st Baron Sandys, and his wife Letitia, daughter of Sir Thomas Tipping, Bt.
He was educated at New College, Oxford, matriculating in 1743. He did not graduate, but was awarded a DCL in 1756.
He served as Member of Parliament for Droitwich from 1747 to 1754, for Bossiney from 1754 to 1762 and for Westminster from 1762 to 1770. He was a Lord of the Admiralty from April to July, 1757.
On 26 January 1769 Sandys married Anna Maria King, daughter of James Colebrooke and widow of William Paine King.
On his father's death in 1770, he succeeded to the barony as the 2nd Baron Sandys, and to estates in Ombersley (including Ombersley Court) and elsewhere.
He and his wife had no issue, so that his title became extinct on his death, but his estates passed to his niece Mary, Marchioness of Downshire, who was in 1802 created Baroness Sandys with special remainder to her younger sons, before the eldest.


Combing

Combing is a method for preparing carded fibre for spinning. Combing is divided into linear and circular combing. The Noble comb is an example of circular combing. The French comb is an example of linear combing. The process of combing is accompanied by "gilling", a process of evening out carded or combed top making it suitable for spinning. Combing separates out short fibres by means of a rotating ring or rectilinear row of steel pins. The fibres in the 'top' it produces have been straightened and lie parallel to each other. When combing wool, the discarded short fibres are called noils, and are ground up into shoddy.
In general, there are two main systems of preparing fibre for yarn: the worsted system and the woollen system. The worsted system is defined by the removal of short fibres by combing and top preparation by gilling. In the woollen system, short fibres are retained, and it may or may not involve combing.
Description.
The circular combs used have long metal teeth, and only barely resemble the comb used on hair. However, they are used in a similar fashion with one comb holding the fibre, which is slowly dubbed in by a brush, while the other is moved through, slowly transferring the fibre to the moving comb.
The rectilinear comb uses a circular comb mounted on a drum to comb out the fringe and remove short fibre (set by a scale so fibres less than, for example, 25  mm are removed) not held by a clamping mechanism. The row of pins known as a top comb is a very fine tooth comb, for example, 25 teeth per inch; it is inserted in cylindrical combed fringe to act as an impediment to contaminates (burr, seed etc.) flow. The top comb acts as an impediment to contamination moving into a combed sliver. On a next circular combing short finer and contaminants are removed. The circular combing without short fibres is placed on a moving belt in an overlapping motion. The circular combing and top comb insertion are repeated and combed fibres - now called tuft are overlapped. The overlapping produces some cohesion allowing the tuft then to be twisted to form a combed sliver. This sliver is weak and unsuitable for spinning. To allow spinning to take place additional gilling is required to introduce fibre end irregularity (Sokolov 1994).
Combing the fibres removes the short fibres and arranges the fibre in a flat bundle, with all the fibres going the same direction. This preparation is commonly used to spin a worsted yarn. Woollen yarns cannot be spun from fibre prepared with combs, instead, the fibre must be carded. Cotton is combed when it is to be used for quality fabric with high thread counts.
In general, combing is done to filter or sieve out any short length fibres (for example, fibres shorter than 21  mm). Combing or carding is a primary process, followed by the gilling process, which removes hooks and involves three separate machines. Combing is then followed by two Gillings to remove irregularity in the sliver and randomize fibre ends. This post-combing process is required if spinning is to follow. It is known that a sliver can be spun to a yarn of only 21 fibres with a suitable average length of 150  mm.
Combing is a mechanical sieve, and so will not remove any contaminant with a form similar to the fibre being combed. Such contaminants must be mended out from a final garment. The manual mending out is a costly process.
There are two competing combing technologies: the Noble (1853) comb (variants Lister, Heilman (1846) and Holden) and the French comb. The Noble comb technology is inefficient, hence most combing in the world is carried out on the French system. The French system is superior as it combs the entire length of a fibre. Noble combs suffer from the problem that they will not comb 2  mm of a fibre's length. The 2  mm is the distance between counter-rotating pins. The French system is a rectilinear combing system as opposed to earlier woollen systems developed in England. Although the Heilman and Noble comb was an original circular design (also developed in min and 18–19th-century England) as it happens in modern history, English mills didn't share technology – resulting in the development of superior technology on continental Europe in the mid-19th century, as in France.
Efforts were made by Bradford to study the mechanism of noble combing but they failed to produce tangible results. The Noble and French combs are now well-understood technology thanks to work by CSIRO. After 1994, Sokolov has endeavoured to improve combing performance in the rectilinear comb. Combing technology continues to develop: Sokolov and Kirby developed a theory for combing model, simulation software for combing and drive design in 1982. Current technology used in providing comb drive by introducing innovation on cam performance to deliver textile fibre needs and separate mechanical performance of the comb was developed by Sokolov. The cam technology was an advance on century-old technology of cams by producing a subspecies of new cam design.
Machinery.
In cotton manufacture, the Heilmann comber was superseded by the Naismith comber. In the worsted process a Noble comber was a common make, but now a French comber is more common.
The Noble comb is no longer used in worsted system as technology is inefficient. Noble combing may have used for woollen system or long fibres 250 mm+. The predominant technology for all fibres is the French comb system. A cotton comber is scaled and simplified mechanically version of a rectilinear comb relative to a mean fibre length (similar to Naismith comber). This scaled version of the wool comb can be seen in a stroke of the components used in a cotton comber. The scaled down has the purpose of accommodating fibre length and fibre physics requirements. The same scaled-up version of a comb can be seen in the way flax is combed.


Malvern Fringe Festival

The Malvern Fringe Festival was an arts festival (founded 1977) which took place in Great Malvern, England. The main events of the Malvern Fringe Festival were the annual Malvern May Day and parade, and the annual three-day festival held in June as a fringe to the Elgar Festival. These were often accompanied by musical and other live events throughout the year.
History.
Malvern Fringe Festival was founded in 1977 by Adrian Mealing, a teacher in Malvern, in collaboration with Andrew Sleigh, Ian Fearnside and Phil Webb. It originated as a reaction to the Malvern Festival which was perceived to be biased towards classical music and appealing towards a national and international audience rather than a local one. A further concern was the continued requirement for the local Council to underwrite the main festival and the feeling that the public expenditure could be more wisely spent.
The founding aims of the Fringe were to produce a popular, varied programme of events for the local people of Malvern, to bridge the gap between the "us" and "them" in the arts and to "shake it up a bit in Malvern".
The first year featured 60 events consisting of poetry, world music, folk, jazz, adult and children's theatre performed under the banner of "Associated Events" due to the main Festival's objections to the term 'Fringe', which they considered to be "outside" of the Festival. In 1978, to avoid confusion between the programmes for the two festivals, printed with similar designs at the main festival's insistence, Adrian Mealing hand wrote "Fringe" on over 3000 programmes. As the 1980s approached, the festival grew into a four-week event and the Fringe had established its own identity. Being centrally located between Hereford, Worcester, Gloucester and Cheltenham the Fringe drew a wide audiences from over a 20-mile radius.
During the 1980s, the festival attracted hundreds of visitors with a programme of 120 events over a two-week period.
 In 1982, Malvern Fringe Arts Ltd became a registered charity. By the 1990s, the Fringe programme had grown to a six-week event and was attracting comedy and cabaret acts that were beginning to establish their reputations, including Eddie Izzard, Lee Evans, Jerry Sadowitz, Jim Tavare, Chris Lynam and a double act featuring Linda Smith and Mark Thomas, plus musical acts as varied as Gong, Juicy Lucy, Voodoo Queens and Loop Guru.
In 2006 the Fringe re-launched its three-day festival in June, loosely based upon a theme of Elgar's interests. One of the highlights of this festival was a bicycle race (as cycling was one of Elgar's keen interests) up the steep incline of Great Malvern's Church Street. This event was supported by Commonwealth games gold medalist Liam Killeen, who's from Malvern, and was won by Tour de France cyclist, Arnaud Lenoir. The whole three-day festival was attended by over 5,000 people.
In the autumn of 2006, the Fringe launched a 'folk weekend' featuring Roy Bailey and Jez Lowe.
Malvern May Day.
The Malvern May Day and Parade are an annual community event which has been held in Priory Park, Great Malvern on the Saturday before the May Bank Holiday since 1993.
Local controversy.
Despite an attendance of over 5,000 people the June 2006 festival has been the subject of much negative coverage in the letters pages of the local newspaper with one correspondent calling upon readers to petition the local Member of Parliament to halt any further Fringe activities.
Notable past performers.
Throughout its history Malvern Fringe featured an impressive array of performers, many of whom have gone on to become international stars.


Hungarian State Opera

The Hungarian State Opera is the national opera company of Hungary. Located in Budapest, it is a busy institution, with over 200 operas each calendar year, on top of extensive educational programs, ballet, and musical theatre. The company employs 150 singers, a 200 member orchestra, and a 200 member chorus. Performances take place in the Hungarian State Opera House and the Erkel Theatre.
In recent years, the company has also courted controversy, both in choices of casting, and in succumbing to public pressure to end scheduled productions early.
History.
Origin.
The Hungarian State Opera, or the Royal Hungarian Opera, as it was known until 1945, was founded in 1884 in Budapest. Its first director was Hungarian conductor and composer Ferenc Erkel, whose name now graces the second performance space that the company occupies.
The first performance of the company included the first act of "Bánk bán" by Erkel (considered to be an important, patriotic Hungarian opera), and the first act of Richard Wagner's "Lohengrin".
From the beginning, the Hungarian State Opera was a large institution, initially employing a total of 475 people, including performers, orchestra players, and varying administrative staff. The Opera House itself, however, was undersized in terms of the number of seats, leading to a shortfall in operating income within the first few years of the company's existence. The shortfall was made up by a significant annual gift from the King. It is suggested that this gift led to the government having an outsized say in all matters related to company operations. Early audiences were made up of the aristocracy and other elites, who did not require excellence of the art on stage. Rather, it was considered a social club.
Gustav Mahler.
In 1888, only four years after the company's founding, a 28-year-old Gustav Mahler became Artistic Director, at a time when the company was on shaky ground, financially, having laid off a quarter of its staff. It seemed an unlikely choice for a Hungarian company, being that Mahler was German, Jewish, with very little experience. Despite this, two of the purported goals under Mahler's leadership was to both make the company a national voice of Hungary, and also to eventually create a homegrown ensemble of Hungarian singers. Mahler did not complete these objectives in the two years he led the company. However, his short stint still led to the first period of acknowledged artistic excellence for the company. Further, it is acknowledged that Mahler's work in Budapest laid the groundwork for his best known post, that of leading the Vienna State Opera.
Bluebeard's Castle.
Béla Bartók's Bluebeard's Castle is his most famous opera work. Initially entered into a Hungarian opera writing competition in 1911, it failed to gain popularity with the Hungarian music public. It is suggested that this is because its musical qualities were significantly different from the Italian and German opera that was at the center of Hungarian tastes, at the time. Nevertheless, Bluebeard's Castle eventually had its world premiere with the Hungarian State Opera Company in 1918, only to have the work banned in 1919 until the late 1930s, because of the forced exile of librettist Béla Balázs.
Modern day.
The opera company today is guided under the leadership of Szilveszter Ókovács, who was appointed by Hungarian Prime Minister Viktor Orbán. The company has enjoyed significant investment from the Hungarian government in recent years, in the amount of hundreds of millions of dollars, including funds to renovate the Opera House for the first time since World War I. There has been much comparison drawn between the far right political leadership of Orban and Donald Trump in the United States, but one significant difference has been each of their approaches to governmental funding to cultural institutions. Whereas Trump attempted to significantly cut funding to the National Endowment for the Arts, Orban has both increased funding to cultural institutions, and also put in place handpicked leaders of those very institutions.
Controversies.
In recent years, there have been at least two instances of controversy surrounding productions of the Hungarian State Opera: a production of the musical "Billy Elliott" that was cut short, and shortly thereafter, an all-white casting of "Porgy and Bess".
"Billy Elliott".
In June 2018, 15 performances of "Billy Elliott" were cancelled after a right-wing, pro-Orban website published an op-ed that "Billy Elliot" was targeting young people, and pushing pro-homosexual propaganda. The op-ed was promptly picked up by other right wing media members, and a short while later the performances were cancelled. The opera company, however, claimed the cancellations were caused by a drop in ticket sales caused by the negative publicity, not the publicity itself.
"Porgy and Bess".
Later in 2018, Hungarian State Opera generated controversy by the announcement of a mostly all-white production of "Porgy and Bess", composed by George Gershwin. "Porgy and Bess" has been traditionally performed by an all-black ensemble, as its writers intended. Their production moved the story from Catfish Row in Charleston, South Carolina, to an airplane hangar, reframing it as a story about refugees. In order to perform the opera in the manner they did, Hungarian State Opera, as part of the agreement with Tams-Witmark, the licensor of the work, had to print "unauthorised [and] contrary to the requirements for the presentation of the work' on all of its marketing materials.
Some cultural critics saw the staging as part of an effort to drum up support for Viktor Orban, with the next Hungarian general election upcoming. Ádám Fischer, a prominent Hungarian conductor, described the production as being done in bad faith and political in its intent: "It's part of the whole election campaign against what they see as the double standards of the west and to allow them to say the west is racist and we are better than the west. Why else would Hungarian state opera stage a production of "Porgy and Bess" two months before the election?"
In opposition to these remarks, opera company director Ókovács said that the rumor that Viktor Orban was somehow connected to the production was false, and that he had not seen it. He described the controversy thusly: "There was really silly fake news about our "Porgy" production." While the production drew anger from foreign critics, Hungarian critics largely praised the work. An Orban-friendly website, Origo, said: "Only blacks used to be able to perform this opera because of racist restrictions." Another conservative columnist: "Political correctness is slowly devouring aesthetics."
Not all foreign critics saw the idea of a non-black "Porgy and Bess" as inherently bad. Years before the Hungarian production, Anthony Tommasini argued in "The New York Times" that opera has never been concerned with appearance to suggest authenticity - he notes that people were accepting of Luciano Pavarotti as a starving French artist. He goes on to quote African-American opera singer Simon Estes, who said, "This may sound extreme, but I think it's almost unconstitutional for "Porgy and Bess" to be performed only by black artists." He notes many casting choices where race was not part of the consideration. If what he calls "nontraditional casting" is going to be used at all, it has to be applied to all operas, even one with the specific kind of stipulations attached to it as "Porgy and Bess" has.
The Hungarian State Opera did "Porgy and Bess" for nearly 150 performances in the 1970s with a mostly white cast, performing in blackface.


Alex Anderson (quilter)

Alexandra Sladky Anderson (born 1955) is an American quilter, television series host, and author. Anderson is the author of various quilting books, fabric lines, and developed an award winning magazine. Anderson is a former host of HGTV's "Simply Quilts", which aired for 13 seasons. She has also hosted a web series and a podcast. Anderson has been called the "Queen of Quilting".
Personal life and early career.
Anderson was a C- student in high school. When Anderson was a credit away from receiving an art degree from San Francisco State University, she finished a quilt that her grandmother started in the 1920s for her last class. The experience made her enjoy quilting. Her art degree was for fiber and graphic design. She has a son and daughter in law, daughter and son in law, and four grandchildren. She taught quilting at two stores in California. Her first quilting studio was in a guest bedroom. Anderson studied quilting under the late Lucy Hilty, and Anderson wrote the lessons that Hilty taught her in one of her books.
Career.
Originally, Anderson's quilt designs were only in works from other authors, including her first published quilt in the book "Quilts, Quilts, Quilts", written by Diana McClun and Laura Nownes. The publications gave her enough attention to start her own books. In 2012, it was reported that she wrote 30 books in four languages with almost a million copies sold internationally.
Stephanie Kleinman, of Weller-Grossman Productions, went to one of Anderson's classes to ask her if she could host a television series. Her initial response was that she was busy teaching class and asked if they could discuss the proposal during lunch, leading her to host the HGTV series "Simply Quilts" for 11 years. She later started "The Quilt Life Magazine", published by the American Quilter's Society. Her magazine allowed her to visit an African quilting guild that includes American expatriates and Africans who are the first quilters in their family lineage.
Together with Ricky Tims, Anderson hosts "The Quilt Show" which is a web series for quilters that requires a subscription and premiered afer the HGTV series ended. She hosted the podcast "Quilt Connection" every week. Anderson is the national spokeswoman for Bernina of America.
Accolades.
Anderson received two quilting awards named the Michael Kile Lifetime Achievement Award and the Silver Star Award. She has been called the "queen of quilting".


Mertlene Perkins

Mertlene Perkins (1917–2015) was an American artist. She is associated with the Gee's Bend quilting collective. Her work has been exhibited at the Museum of Fine Arts, Houston and is included in the collection of the Metropolitan Museum of Art.
Early life.
Perkins' mother and father were Maggie Tripp and Isom Martin, respectively. Her mother was a farmer and her father worked on the railroad. She loved being with her mother, so she began to help on the farm the earliest that she could, around eight years old. They mostly raised cotton, corn peanuts, and potatoes.
She attended school for nine years in Prairie, Alabama She married Herman Perkins when she was nineteen. They raised twelve children together, nine of which survived to adulthood.
Work.
Perkins learned to quilt from her mother and grandmother. Quilting was a source of enjoyment for Perkins. Following the tradition of Gee's Bend improvisation style, she remarks that "I just make up my own quilts. I really don't follow nobody's ideas but mine."


The Embroideress (magazine)

The Embroideress was a quarterly magazine published by the London-based embroidery thread manufacturer Pearsall and Company and the Old Bleach Linen Company of Ireland, starting in 1922 and continuing until 1939. Issues contained a variety of types of material, including current designs, information on embroidery from different countries, articles about historical textiles or collections, and different embroidery techniques. Most illustrations were black and white, but plates were printed in color. "The Embroideress" also reviewed current embroidery exhibits and books on the topic. It cost 1 shilling per copy, and could be obtained by subscription. Collections of articles from spans of issues ("parts") were also published, edited by Mrs. J. D. Rolleston. For example, volume two of the collected articles was published in 1925, and included material from parts 9 to 16.
"The Embroideress" published articles by a new generation of embroidery teachers who were leading the way in adding modernity and personal creativity in stitching. The noted author of embroidery books Louisa Pesel was a contributor to the magazine. In issue number 9, 1924, she provided this advice: "Colour or stitchery, which is to be the more predominant? ...[W]ith elaborate technique, simple colouring or monochrome should be used, but if the colouring was polychrome the greatest simplicity and uniformity of stitch was necessary." Margaret Foster, who originated Wessex stitchery, had an article in "The Embroideress" issue number 50, 1934, in which she provided instructions for this technique. The noted needlewoman Ann Macbeth also had articles published in the magazine.


Carrigaline Pottery

Carrigaline Pottery was a pottery business founded by Hodder Walworth Blacker Roberts (1878-1952), of Mount Rivers, Carrigaline, in Carrigaline, County Cork, Ireland in 1928. Its products bear the marks "Carrigaline Pottery" or "Carrig Ware". For much of middle of the 20th century the pottery was the main source of employment in Carrigaline. It made its name in part by producing memorabilia for the 1932 Eucharistic Congress and subsequent commemorative and souvenir items. In the 1970s the company suffered from financial difficulties going first into receivership, and then closing in 1979.
Ng Eng Teng, the Singaporean sculptor, worked in the mid-1960s at the Pottery as a designer of tiles, hollow-ware and tableware.


Shearwater Pottery

Shearwater Pottery is a small family-owned pottery in Ocean Springs, Mississippi, United States founded in 1928 by Peter Anderson (1901-1984), with the support of his parents, George Walter Anderson and Annette McConnell Anderson. From the 1920s through the present day, the Pottery has produced art pottery, utilitarian ware, figurines, decorative tiles and other ceramic objects. Two of its most important designers were Walter Inglis Anderson (1903-1965) and his brother James McConnell Anderson (1907-1998). Although Shearwater was severely damaged by Hurricane Katrina in 2005, the workshop was rebuilt and restored by Jason Stebly. Pottery continues to be thrown by Peter’s son James Anderson and the latter's son Peter Wade Anderson, and decorated by Patricia Anderson Findeisen, Christopher Inglis Stebly, Adele Anderson Lawton and others. Michael Anderson heads the Shearwater Annex, and Marjorie Anderson Ashley is business manager.


Linsey-woolsey

Linsey-woolsey (less often, woolsey-linsey or in Scots, wincey) is a coarse twill or plain-woven fabric woven with a linen warp and a woollen weft. Similar fabrics woven with a cotton warp and woollen weft in Colonial America were also called linsey-woolsey or wincey. The name derives from a combination of "lin" (an archaic word for flax, whence "linen") and "wool". This textile has been known since ancient times; known as Shatnez in Hebrew, the Torah and hence Jewish law explicitly forbid wearing it.
History.
The coarse fabric called "stuff" woven at Kidderminster from the 17th century, originally a wool fabric, may have been of linsey-woolsey construction later on.
Linsey-woolsey was an important fabric in the Colonial America due to the relative scarcity of wool in the colonies. Many sources say it was used for whole-cloth quilts, and when parts of the quilt wore out the remains would be cut up and pieced into patchwork quilts. Some sources dispute this and say that the material was too rough and would have been used instead for clothing and occasionally for light blankets. It was also used as a ground fabric for needlepoint.
Linsey-woolsey was valued for its warmth, durability, and cheapness, but not for its looks.
Linsey-woolsey is also sometimes used to refer to 18th century woven coverlets or bed coverings made with a linen warp and woollen weft. The term is sometimes incorrectly applied to glazed textiles.
Linsey-woolsey continues to be woven today in small quantities for historical recreation and Colonial period decorating uses.


California Shakespeare Theater

California Shakespeare Theater ("Cal Shakes") is a regional theater located in the San Francisco Bay Area of California. Its performance space, the Lt. G. H. Bruns III Memorial Amphitheater, is located in Orinda, while the administrative offices, rehearsal hall, costume and prop shop are located in Berkeley.
History.
Founded as the Emeryville Shakespeare Company, the company began performances in 1974, with productions of "A Midsummer Night's Dream" with Deborist Benjamin as Peaseblossom, following her role as Celia in the premier production of "As You Like It" and "The Tempest" in John Hinkle Park in Berkeley. It was founded by a group of amateurs who wanted the enjoyment and experience of acting and production: no one was paid, and the plays were free.
The company produced several more plays in 1974–1975, including "Pantagleize" by Michel de Ghelderode during the winter, "Twelfth Night" and a transfer of the Berkeley High School production of "As You Like It". After that, the name changed to the Berkeley Shakespeare Festival, and started a schedule of four plays per year that continues to this day, although more non-Shakespeare plays are now on the bill. Dakin Matthews was Artistic Director from 1983–1987, with Michael Addison taking over as A.D. in 1987 and holding the position till 1995.
In 1991, the festival built its current performance venue, the 545-seat Bruns Memorial Amphitheater in the Orinda hills, and changed its name to California Shakespeare Festival. In 1995, actor Joe Vincent took over the theater's artistic direction, serving till 1999.
In 2000, Jonathan Moscone was appointed its Artistic Director. In his first season at Cal Shakes, Moscone directed a production of Tom Stoppard's "Rosencrantz and Guildenstern Are Dead"; the company continued to produce one non-Shakespeare play a year until 2005, when its productions of "The Life and Adventures of Nicholas Nickleby, Parts One & Two" (Charles Dickens, adapted by David Edgar) began a tradition of two Shakespeare plays and two non-Shakespeare plays each season. In 2003, the company officially changed its name to California Shakespeare Theater. In 2009, Susie Falk was named Managing Director, following the departure of Debbie Chinn. In late 2009, Moscone was chosen by the Stage Directors and Choreographers Foundation (SDCF) as the inaugural recipient of the Zelda Fichandler Award. The award was created to recognize an outstanding director or choreographer who is transforming the regional arts landscape through his singular creativity and artistry in theater.
In 2015, Jonathan Moscone stepped down as Artistic Director after 15 years. His final production was Charles Ludham's "The Mystery of Irma Vep" in August/September of the same year"."
Eric Ting was chosen as its new Artistic Director joining in the fall of 2015. His first production was 2016's "Othello", produced with minimal sets and costumes in service of a community tour of the same production that fall. In 2017, Ting directed Cal Shakes' record-smashing hit "black odyssey" by Marcus Gardley, which featured music and choral direction by Linda Tillery and Molly Holm, and was remounted in 2018 with members of the original cast. In 2018, Cal Shakes presented "The War of the Roses", a supercut of William Shakespeare's minor tetralogy (Henry VI parts 1, 2, and 3 and Richard III), co-adapted by Ting and resident dramaturg Philippa Kelly.
Artistic learning.
In 1979, Berkeley Shakespeare Festival began Summer with Shakespeare programs, six-week camps for ages 14–18, culminating with a performance in the John Hinkel Park amphitheater. The camps have continued, in one form or another, to this day, going under several different names (Camp, Conservatory, Summer Theater Programs). In 2009, the camps were offered to ages 8–18 in two- and five-week increments, with locations in Lafayette, Oakland, Orinda, and El Cerrito. Participants study acting, physical comedy, stage combat, movement, improvisation, and text, and the camps still culminate in a Shakespeare performance by each age group.
Also in 1979, the festival began holding fall classes, a training program in all facets of classical theater including voice and movement, period style, scansion, stage combat, and other production aspects. Also offered was an introduction to classical drama in both its literary and theatrical aspects. Fall and spring classes for youth and adults were offered as recently as spring of 2009.
California Shakespeare Theater also presents Student Discovery Matinees, afternoon performances of Shakespeare productions for school groups that include pre-show activities geared toward youth. In 2001, they began teaching pre- and post–show workshops wherein Cal Shakes teaching artists visit classrooms in order to enrich and support the Student Discovery Matinee experience. That same year, Berkeley’s Malcolm X Arts Magnet Elementary School and Pinole Valley High School hosted playwright Karen Hartman in Cal Shakes residencies; Hartman taught creative writing and storytelling in both residencies, and each one culminated in a presentation of the students’ works directed by Jonathan Moscone. In 2007, Cal Shakes received the first of several grants from the NEA's Shakespeare in American Communities initiative to expand its residency program and Student Discovery Matinee activities. The theater now offers classroom residencies, after school programs, and home school programs throughout the Bay Area.
New Works/New Communities (2003-2010).
In 2003, Cal Shakes launched New Works/New Communities (NW/NC) with the aim of engaging marginalized communities while creating new works of theater based on the classics. "Hamlet: Blood in the Brain" was the first major NW/NC project, partnering Cal Shakes with playwright Naomi Iizuka and San Francisco's Campo Santo, resident theater company at Intersection for the Arts to relocate Shakespeare's "Hamlet" to the 1980s-era drug-ravaged streets of East Oakland. The two-year process (2004–2006) included interviews with former drug lords and Shakespearean scholars; writing workshops in schools, juvenile halls, and churches; and Q&A panels attended by the public. It culminated in a sold-out, eight-week run of the play directed by Moscone at Intersection for the Arts. In 2010, the Advanced Drama Department at Oakland Technical High School revisited "Hamlet: Blood in the Brain", choosing the play as their entry in the American High School Theatre Festival, which they won. The Oakland Tech students then performed their production at the Edinburgh Fringe Festival in August 2010.
From 2005-2007, the NW/NC program developed "King of Shadows", an adaptation of "A Midsummer Night's Dream" by Roberto Aguirre-Sacasa that took place in San Francisco, with gay urban youth at its center. Cal Shakes partnered with MFA students at American Conservatory Theater and community organizations such as Larkin Street Youth Services, Guerrero House, and LYRIC (Lavender Youth Recreation and Information Center) for discussions, workshops, and field trips.
In 2005 Cal Shakes began a partnership with Write to Read, a juvenile hall literacy program run by the Alameda County Library, holding writing workshops based on "Hamlet: Blood in the Brain". In 2007, actor and Cal Shakes Associate Artist Andy Murray began to teach workshops and extended residencies using Shakespeare to develop the public speaking, leadership, and cooperation skills of the juvenile hall residents.
In 2007, Cal Shakes commissioned San Francisco playwright Octavio Solis to adapt "The Pastures of Heaven", an early novel of interconnected stories about farm life in the Salinas Valley by John Steinbeck. The project partnered Cal Shakes with Word for Word Performing Arts Company for a series of development workshops; community partners include the National Steinbeck Center and Alisal Center for Fine Arts, both located in Salinas. The adapted work is the first play specifically commissioned for California Shakespeare's Main Stage, and had its world premiere in June 2010, directed by Jonathan Moscone.
New Classics Initiative.
The aim of the New Classics Initiative is to explore what it means to be a classical theater in the 21st century, and to allow living writers with the same vision and scope of Shakespeare to expand the classical canon and by extension, what is thought of as universal.
Piloted in 2017 with Marcus Gardley's "black odyssey" and officially launched with 2018's "Quixote Nuevo" by Octavio Solis, the New Classics Initiative continues in 2019 with the world premiere of "House of Joy" by Madhuri Shekar. Future NCI productions will reimagine classic Western drama through a diversity of form and content, cultural and gender perspectives, and adaptation and reinvention.
The Bruns Amphitheater.
In 1988, philanthropist Clarence Woodard led a capital campaign that resulted in the building of the 545-seat Lt. G.H. Bruns III Memorial Amphitheater in Orinda's Siesta Valley in 1991. It was named in memory of the late son of George and Sue Bruns of Lafayette, CA, who was killed on June 26, 1967, in an automobile accident just before he was due to ship out for service in Vietnam. The Bruns grounds feature an annual sculpture installation, Art in the Groves, multiple picnicking groves, pre-show performance talks by dramaturges, and on-site cafe. The stage itself has the Orinda hills as its backdrop, and patrons are encouraged to bring their food and drink into the amphitheater for the performance.
In 2009, Cal Shakes announced a second capital campaign, titled Building for the Future, to renovate the Bruns Amphitheater—including its grounds, backstage area, technical facilities, and the theater itself—using sustainable practices.


Southside Fringe Festival

The Southside Fringe Festival is an annual fringe festival based in Glasgow, Scotland, UK.
History.
The development of the Southside Fringe Festival began in 2011. Its aim was to broaden the scope of music, comedy, burlesque, cabaret, art and theatre events happening in Glasgow's southside (predominantly the Shawlands and Queen's Park areas) around the time of the Southside Festival in May. This led to the first full Southside Fringe Festival in May 2013 which was set up by musician Crawford Smith and burlesque star Corinna Currie (also known as 'Sarcassy Sneek' ) to respond to demand for localised music, comedy, burlesque and cabaret events in local venues.
The festival has continued to grow, in 2014 with 140 acts across 37 venues, up on 110 shows in 28 venues in their first year. Further growth in 2015 has seen the Southside of Glasgow host in excess of 170 events in 41 venues. Also in 2014, the festival opened a temporary headquarters on Pollokshaws Road. February 2015 saw the festival move into a permanent home in Govanhill Baths.
 2016 saw the festival grow to over 200 events and 50 venues. The Fringe became guests of the Art Village in the Shawlands Shopping Centre, however co-founder Crawford Smith moved on from the project in the proceeding Summer.


Don Giovanni discography

This is a partial discography of Wolfgang Amadeus Mozart's opera "Don Giovanni".


Yoke (knitting)


Caesar and Me

"Caesar and Me" is episode 148 of the American television anthology series "The Twilight Zone" starring Jackie Cooper as a ventriloquist. It is not to be confused with a similar episode "The Dummy", starring Cliff Robertson as a ventriloquist.
Plot.
Jonathan West (Cooper) is an unsuccessful Irish ventriloquist. He is perpetually broke, selling valuable keepsakes like his grandfather's watch to pawnbrokers in exchange for petty cash. At the boarding house where he lives, he is mercilessly taunted by a little girl, Susan (billed as Susanne Cupito), for failing to find a job. But unbeknownst to everyone, Jonathan's evil ventriloquist dummy, "Little Caesar", has a mind of his own and talks to him at will. Despite Jonathan's reassurances that they are on the verge of a big break, Caesar apathetically tells him that they have hit bottom.
When Jonathan and Caesar go to a nightclub for an audition, the performance is poorly received. The following day, Jonathan is unable to find employment because of his lack of vocational experience and his immigrant status; he may soon leave the boarding house because he is behind on his rent. Caesar berates Jonathan for being a hopeless "clod", but has a solution to his money woes: burglary. A reluctant Jonathan—directed by Caesar in his suitcase—breaks into a delicatessen and steals its money. Jonathan uses it to pay his rent, but Caesar, during a conversation overheard by Susan, pressures him into committing more burglaries.
Susan—now aware that Caesar can talk—sneaks into Jonathan's room in his absence to unsuccessfully speak with the dummy. Jonathan catches her coming out of the room and runs her off. Inside, Jonathan expresses a desire to flee, but Caesar cajoles him into carrying out the next burglary. The duo sneaks into the nightclub to break into the manager's office. However, they are caught by a night watchman after they steal money from the nightclub's safe. They manage to bluff their way past him by giving an impromptu routine.
When Jonathan and Caesar arrive home, Susan eavesdrops on their ensuing argument. The next morning over breakfast, Susan hears her aunt, Mrs. Cudahy, read about the nightclub theft from a newspaper. She calls the police to tip them off about Jonathan and Caesar. Two detectives arrive at the boarding house and interrogate Jonathan, who tries to make Caesar talk about his role in the crime. The dummy, however, remains silent. Mrs. Cudahy and the detectives stare at the one-sided exchange, thinking Jonathan mad. Jonathan now realizes that Caesar has abandoned him and is willingly arrested.
After the detectives lead Jonathan out of the room, Caesar turns his head around and addresses Susan. He says that he likes her for her "hip attitude" and offers to help her run away to New York City. Caesar assures Susan that Jonathan will now be gone "for a long, long time" and that the two of them are now "a team." Finally, Caesar implies that Susan should kill Mrs. Cudahy with poison darts.
Production notes.
The writer of the episode, Adele Strassfield, was the secretary of William Froug, the producer of the second half of the final season of "The Twilight Zone". According to Froug, they worked out this episode together. Strassfield is billed in the credits as "Adele T. Strassfield", "not" "A.T. Strassfield" as Zicree inexplicably avers in "The Twilight Zone Companion"; Serling also announced her as "Adele T. Strassfield" in a promotional announcement for the episode that aired the previous week. Strassfield is the only woman credited with writing an original teleplay for the original version of "The Twilight Zone", though several women received credit for stories that were adapted for the show. She later wrote a first-season episode of "Gilligan's Island" with executive producer Froug's assistance.
The dummy used in this episode to portray "Caesar" was originally created in the 1940s by puppet maker Revello Petee. The same dummy was used one year earlier in the 1962 "Twilight Zone" episode, "The Dummy". A figure of the puppet can be seen at Disney's Hollywood Studios in the dark corner of a barred-off exhibit to the side of one of the elevator exits of the Twilight Zone Tower of Terror ride.


Don Carlos discography

This is a list of recordings of "Don Carlos", an opera by Giuseppe Verdi known as "Don Carlo" in its Italian-language versions. "Don Carlos" premiered as a five-act French grand opera at the Théâtre Impérial de l'Opéra in Paris on 11 March 1867.


The Doll Squad

The Doll Squad is a 1973 low-budget action film Z movie by Feature-Faire that was later re-released under the title Seduce and Destroy. Directed, edited, co-written and co-produced by Ted V. Mikels, it features Francine York, Michael Ansara, John Carter, Anthony Eisley, Leigh Christian and Tura Satana. Mikels claimed he filmed it for a total cost of $256,000.
Plot.
CIA operative Connolly (Eisley) assigns Sabrina (York), the leader of a group of five shapely female operatives individually selected by a computer. Code named the "Doll Squad", they thwart the efforts of a madman who formerly worked alongside Sabrina as a fellow CIA agent who has become an entrepreneur to overthrow world governments. His plan is to release rats infected with bubonic plague.
Production.
Mikels said the script was bought to him by Pam Eddy and Jack Richesin. ""It was three kind of naughty girls of the night getting together to take vengeance against somebody that did something to them. It evolved deeper and deeper, I did two or three re-writes on it, and finally the wife of Joseph Robertson did the final draft." Mikels said that Mary Martin and Sissy Spacek came in for parts but the roles had already been cast. "I’m very pleased with everybody I had in it though," he said. "That turned out to be a forerunner of female power films.”
Time Inc. contributor Ed White notes that the visuals for the action sequences near the end of the film are unusually dark. This part of the film was shot in a single night. The multiple submachine guns used by the actresses in this sequence were really a single weapon that was on temporarily loan to the director.
Reception.
DVD reviewer and Rolling Stone contributor Doug Pratt called it "an enjoyable action romp". He adds, "the girls kick some serious butt and they look terrific in their hot black jumpsuits. Who can resist?" Film critic Michael Adams said the film is "so slow in parts I think it should be called "The Dull Squad"", but "it picks up at the end". He rated it a solid 37/100. Nonetheless, it has become something of a cult film for fans of actress Francine York.
Influence.
This film may have been the inspiration for the "Charlie's Angels" television series. Aaron Spelling, who later produced the television series, and at the time was executive producer of "Mod Squad", was invited to the premiere of this movie, and the lead member of the squad was named Sabrina, just as in "Charlie's Angels". Quentin Tarantino has cited the film as an influence on his Deadly Viper Assassination Squad in his film "Kill Bill".