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The Kaiser of Atlantis
Get Started|What's On
Get StartedWhat's On
Composer: Viktor Ullmann
Librettist: Petr Kien
Premiere Date: December 16, 1975
Premiere Location: De Nederlandse Opera, Amsterdam
Available: December 2020
The circus is abandoned, and artists are shells of their former selves. The dictator Emperor Overall reigns and declares total war. Death refuses to take another soul.
Viktor Ullmann's now critically acclaimed chamber opera The Kaiser of Atlantis was written in 1943 in the Theresienstadt concentration camp. Before his death at Auschwitz, Ullmann gave the score to a colleague, and the opera remained unperformed until 1975.
A haunting allegory about redemption despite the worst of humanity, this new production of The Kaiser of Atlantis features The Atlanta Opera Company Players in a chilling satire built for our time.
The filmed version brings the audience on stage with the performers. Close-ups and intimate vantage points that only cinema can provide will make you feel like you were there in the Big Tent, while you relax at home or on-the-go.
This entirely new production introduces innovative staging elements built for keeping the cast, crew and audience safe during a successful runoff 8 performances in October and November of this year.
Michael Mayes (Emperor Overall), Alek Shrader (Harlequin), Kevin Burdette (Death), Daniela Mack (The Drummer), Calvin Griffin (Loudspeaker), Jasmine Habersham (Girl) and Brian Vu (Soldier) star.
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Calvin Griffin
Acclaimed for his "voluminous" and "darkly lustrous" voice (South Florida Classical Review).
Alek Shrader
American tenor Alek Shrader has developed an outstanding reputation both for his beautiful lyric vocalism and his expressive characterizations.
Kevin Burdette
He has impressed audiences on both sides of the Atlantic with his mellifluous voice and strongly dramatic characterizations.
The Drummer
Daniela Mack
She leads the vanguard of a new generation of opera singers, infusing her artistry with a mix of intensity, adventurousness, and effortless charisma.
Emperor Overall
Michael Mayes
Renowned for his outstanding performances in contemporary operas.
Brian Vu
Described by The New York Times as having an "ample and pleasing tone," tenor Brian Vu creates visceral and interdisciplinary art on the operatic, theatrical, and concert stages.
(Nov 12 & 14)
Nathan Munson
He has been praised for his vocal beauty, and proven to be a versatile presence on the concert and operatic stage.
Jasmine Habersham
A versatile and dynamic performing artist.
Viktor Ullmann (1898-1944)
Viktor Ullmann was born on 1 January 1898 in Těšín (Teschen), modern Český Těšín / Cieszyn. It belonged then to Silesia in the Austro-Hungarian Empire and is now divided between Cieszyn in Poland and Český Těšín in the Czech Republic. Both his parents were from families of Jewish descent, but had converted to Roman Catholicism before Viktor's birth. As an assimilated Jew, his father, Maximilian, was able to pursue a career as a professional officer in the army of the Austro-Hungarian Empire. In World War I he was promoted to colonel and ennobled.
After deployment on the Italian Front at Isonzo, he was granted study leave, which he used to start studying law at Vienna University. There he also attended the lectures of Wilhelm Jerusalem. At the beginning of 1918 he was accepted in Schönberg's composition seminar. With Schönberg he studied the theory of form, counterpoint and orchestration. Ullmann was an excellent pianist, although he had no ambitions for a career as a soloist.
In May 1919, he broke off both courses of study and left Vienna in order to devote himself fully to music in Prague. His mentor was now Alexander von Zemlinsky, under whose direction he served as a conductor at the New German Theatre of Prague (now the Prague State Opera) until 1927. In the following season, 1927–28, he was appointed head of the opera company in Aussig an der Elbe (Ústí nad Labem), but his repertoire, including operas by Richard Strauss, Krenek and others, was too advanced for local tastes, and his appointment was terminated.
In 1923 with the Sieben Lieder mit Klavier (7 Songs with Piano) he witnessed a series of successful performances of his works, which lasted until the beginning of the 1930s (Sieben Serenaden). At the Geneva music festival of the International Society for New Music in 1929, his Schönberg Variations, a piano cycle on a theme by his teacher in Vienna, caused something of a stir. Five years later, for the orchestral arrangement of this work, he was awarded the Hertzka Prize, named in honor of the former director of Universal Editions. In the meantime he had been appointed conductor in Zürich for two years. As a result of his interest in anthroposophy, a movement founded by Rudolf Steiner, he spent another two years as a bookseller in Stuttgart, but was forced to flee Germany in mid-1933 and returned to Prague as a music teacher and journalist.
During this period he worked with the department of music at Czechoslovak Radio, wrote book and music reviews for various magazines, wrote as a critic for the Bohemia newspaper, lectured to educational groups, gave private lessons, and was actively involved in the program of the Czechoslovak Society for Music Education. At about this time Ullmann made friends with the composer Alois Hába, whom he had known for some time. Ullmann enrolled in Hába's department of quarter tone music at the Prague Conservatory, where he studied from 1935 to 1937.
While his works of the 1920s still clearly show the influence of Schönberg's atonal period, especially the Chamber Symphony Op. 9, the George Songs Op. 15 and Pierrot Lunaire, Op. 21, Ullmann's compositions from 1935 onwards, like the String Quartet No. 2 and Piano Sonata No. 1, are distinguished by a musical development that is more independent of Schönberg's inspiration. Similarly the opera Fall of the Antichrist develops the issues raised by Alban Berg's opera Wozzeck. Dissonant harmonics, highly charged musical expression, and masterly control of formal structure are characteristic of Ullmann's new and henceforth unmistakable personal style.
On 8 September 1942 he was deported to the Theresienstadt concentration camp. Up to his deportation his list of works had reached 41 opus numbers and contained an additional three piano sonatas, song cycles on texts by various poets, operas, and the piano concerto Op. 25, which he finished in December 1939, nine months after the entry of German troops into Prague. Most of these works are missing. The manuscripts presumably disappeared during the occupation. Thirteen printed items, which Ullmann published privately and entrusted to a friend for safekeeping, have survived.
The particular nature of the camp at Theresienstadt enabled Ullmann to remain active musically: he was a piano accompanist, organized concerts ("Collegium musicum", "Studio for New Music"), wrote critiques of musical events, and composed, as part of a cultural circle including Karel Ančerl, Rafael Schachter, Gideon Klein, Hans Krása, and other prominent musicians imprisoned there. He wrote: "By no means did we sit weeping on the banks of the waters of Babylon. Our endeavor with respect to arts was commensurate with our will to live."
On 16 October 1944 he was deported to the camp at Auschwitz-Birkenau, where on 18 October 1944 he was killed in the gas chambers.
Petr Kien (1919-1944)
Franz Peter Kien, a prominent figure among many outstanding artists imprisoned in the Terezín (Theresienstadt) ghetto during World War II, is usually associated with the opera The Kaiser of Atlantis by Viktor Ullmann. In addition to the libretto of that opera, Kien left significant artwork, poetry, and plays.
Kien spent his first 10 years in Varnsdorf, an industrial town near the Czech-German border. During the financial crisis his family moved to Brno. In 1936, Kien graduated with honors from a German high school. The certificate contains special notes on his remarkable skills in writing and drawing. The same year, Kien enrolled in Prof. Willy Novak's class at the Academy of Fine Arts in Prague and in the graphic design school Officina Pragensis under Prof. Hugo Steiner-Prag.
In 1939, after the racist laws were enforced, Kien was expelled from the Academy, but continued to work at the Officina Pragensis under Prof. Jaroslav Švab). He started to teach art at the Vinohrady synagogue. Married to Ilse Stranska in 1940, he tried to emigrate with his family.
In December 1941, Kien was deported to Terezin. Over a thousand drawings, sketches, designs and paintings originate from his pre-Terezin years. Consigned to the drafting room of the Technical Department in Terezin, Kien produced numerous portraits, landscapes, drawings and genre sketches. His artwork radiates light, hope and warmth. By contrast, his writings of this period are mostly tragic and hopeless.
In Terezin, Kien's social satirical play Marionettes, staged by Gustav Schorsch. was performed 25 times. Gideon Klein set Kien's poetic cycle Plague to music. His other plays written in the ghetto include Medea, Bad dream and On the Border. They found their way to the Wiener Library in London, but were never published and never performed.
On 16 October 1944, Kien was deported to Auschwitz with his parents and his wife in the final transport in October 1944. He died from disease soon after his arrival. None of the others survived.
Clinton Smith
Clinton Smith's 2019/20 season includes debuts at Florentine Opera conducting Le nozze di Figaro and Opera Birmingham conducting Cendrillon. He returns to Dayton Opera to conduct Cenerentola, and Tacoma Opera to conduct L'elisir d'amore. He spends his seventh summer on the music staff at Santa Fe Opera playing continuo and covering music director Harry Bicket's performances of Cosi fan tutte.
Mr. Smith's recent conducting credits include Charlie Parker's Yardbird at The Atlanta Opera and Arizona Opera, Pagliacci/Pulcinella at Opera Orlando, Il barbiere di Siviglia at Dayton Opera and the University of Michigan, Le nozze di Figaro at Tacoma Opera, Alcina at Fargo-Moorhead Opera, Turandot, Norma, and Hansel und Gretel with Pacific Northwest Opera, The Mikado for Kentucky Opera, and Noah's Flood with Opera Las Vegas. He has served on the music staff of Santa Fe Opera, Juilliard Opera, Minnesota Opera, Atlanta Opera, Portland Opera, Kentucky Opera, Ash Lawn Opera, and Skylark Operas and has included the preparation of over fifty operas in German, Italian, French, English, Czech, Russian, and Mandarin.
On equal footing in the orchestral world, Mr. Smith recently concluded a collective nine years as music and artistic director of both Orchestra Seattle/Seattle Chamber Singers and the St. Cloud Symphony, conducting over 60 orchestral, oratorio, chamber, pops, educational, and holiday concert performances. While music director of OSSCS, he saw subscriptions double and worked in tandem with the managing director to double annual fundraising events. Among his many accomplishments include conducting seven to ten subscription concerts a season, creating a chamber music series, annual Messiah performances, and partnering with numerous cultural and educational organizations including the Hong Kong Association of Washington, the Seattle Chinese Arts Group, German Consulate, Cornish College, and Seattle University, to name a few. He launched a composer competition which premiered a new work annually, and a concerto competition to showcase local talent. His carefully curated programming focused on locally relevant themes, and explored an enormous breadth of musical styles and genres.
For four seasons, Minnesota Opera engaged Mr. Smith as cover conductor and chorus master, where he led main stage performances of La traviata and Madama Butterfly and covered the St. Paul Chamber and Minnesota Opera Orchestras in over 20 productions. During 2011, Mr. Smith conducted a workshop and prepared the world premiere of Kevin Puts' opera Silent Night, which won the 2012 Pulitzer Prize in Music. For Minnesota Opera's New Works Initiative, Mr. Smith prepared workshops and performances of Douglas J. Cuomo's Doubt, Rick Ian Gordon's The Garden of the Finzi Continis, and the North-American premiere of Jonathan Dove's The Adventures of Pinocchio, as well as Dominick Argento's Casanova's Homecoming and Bernard Herrmann's Wuthering Heights.
Previous positions include assistant conductor and chorus master for San Francisco Opera's Merola Program, assistant conductor for Glimmerglass Opera, music director of Western Ontario University's Canadian Operatic Arts Academy, guest coach at the National University of Taiwan, music director and conductor of the Franco-American Vocal Academy in France, the Austrian-American Mozart Academy in Salzburg, and the University of Michigan Life Sciences Orchestra. Born in Texas in 1981, Mr. Smith holds degrees in orchestral conducting from the University of Michigan and piano performance from the University of Texas at Austin.
General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of leading stage director of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle Opera, Houston Grand Opera, Dallas, San Diego, Boston, Pittsburgh, Minnesota, Montreal, Buenos Aires, Israeli Opera, and the festivals of Wexford, Glimmerglass and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, and Boston University.
Tomer spent seven seasons on the directing staff of the Metropolitan Opera where he directed revivals of Carmen and Tosca and was involved with more than a dozen new productions. He is a frequent guest director in companies such as Seattle Opera (Semele, La Bohème, Eugene Onegin, Lucia di Lammermoor), Dallas Opera (Die Fledermaus, La Bohème), Houston (Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead Man Walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival and the opera companies of Atlanta, Austin and Salt Lake City.
Zvulun directed over 15 new productions in his home company in Atlanta, including Dead Man Walking, Flying Dutchman, Soldier Songs, Silent Night, Maria de Buenos Aires, La Boheme, Madama Butterfly, Lucia di Lammermoor, Magic Flute, and Eugene Onegin to name but a few. During Tomer's tenure, the company's fundraising has tripled, resulting in twice the number of productions presented annually. His focus on innovation has garnered national attention and resulted in a Harvard Business School case study chronicling The Atlanta Opera's turnaround, an International Opera Awards nomination, an ArtsATL Luminary Award, and an invitation to deliver a TEDx Talk about innovation in opera.
His upcoming projects include a new Rigoletto in Houston; a new Salome in Atlanta and Kansas City; revivals of his acclaimed production of Eugene Onegin in Montreal, Seattle and Palm Beach; Silent Night at Utah Opera; and Madama Butterfly and Glory Denied in Atlanta. He is currently working on developing a world premiere based on Anne Frank's Diary and Sensorium Ex, a world premiere based on a story about artificial intelligence.
Tomer's recent shows have traveled across continents, receiving critical acclaim for their striking visuals and cinematic quality. Some of them included The Flying Dutchman (Houston, Cincinnati, Atlanta), Dinner at Eight (Wexford Festival, Minnesota Opera), Eugene Onegin (Seattle, Atlanta, Detroit, Kansas City), Lucia di Lammermoor (Seattle, Atlanta, Cleveland) Silent Night (Wexford, Atlanta, Glimmerglass, Washington, Austin), Soldier Songs (Atlanta, San Diego), Dead Man Walking (New Orleans, Atlanta), La Bohème (Seattle, Pittsburgh, Cleveland, Atlanta, Dallas), Lucrezia Borgia (Buenos Aires), Gianni Schicchi (Juilliard, IVAI Tel Aviv), L'heaure Espagnole (Juilliard), Magic Flute (Cincinnati, Atlanta, Indiana University), Don Giovanni (Wolf Trap, Cincinnati), Die Fledermaus (Dallas, Kansas City), Falstaff (Wolf Trap, Des Moines), Rigoletto (Boston, Atlanta, Omaha, Charlotte), Madama Butterfly (Atlanta, Castleton Festival, New Orleans), Tosca (National Theatre Panama, Atlanta) and Semele (Seattle).
Tomer Zvulun was born and raised in Israel, attended the open University in Tel Aviv and Harvard Business School and makes his home in Atlanta.


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What does an insurance claims adjuster in Caldwell do?
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When #nationalpetday falls on #tbt Oliver comes out.
Miss you dear friend, everyday.
Resurgence, by Jessica Holmes opens this Saturday from 4-8p and runs through May 5th.
Jessica Holmes opening this weekend from 4-8p. Jessica will be traveling from the UK for the opening.


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Larry Gatlin and The Gatlin Brothers Bring Country and Christmas to the Island Showroom
Home » Blog » Entertainment » Larry Gatlin and The Gatlin Brothers Bring Country and Christmas to the Island Showroom
For more than 60 years, the Gatlin gang has been dazzling audiences all over the world. And now, they are bringing it all to Island Resort & Casino for two live shows on Friday, December 14th and Saturday, December 15th. Known for their top-charting hits, countless awards and innovative music style, Larry Gatlin and The Gatlin Brothers wow audiences with their voices and stories from the past.
A Mix of Christmas and A Whole Lot of Country
Whether you are a lifelong fan of Larry Gatlin and The Gatlin Brothers or are excited to see your first live glimpse, we recommend you grab a rocking chair and relax while listening to these tunes:
All the Gold in California (Live)
Broken Lady
Christmas Medley
Heartbreak Ridge and New Hope Road (Live)
Houston (Means I'm One Day Closer to You)
What Can You Expect From a Larry Gatlin and The Gatlin Brothers Show?
Bringing you a holly jolly mix of Christmas music and gospel, all with country roots, Larry Gatlin and The Gatlin Brother's show will evoke nostalgia and a bit of southern comfort. People who've seen a Larry Gatlin and The Gatlin Brother's show share their experiences:
"This was one of our favorite shows in Branson. Larry Gatlin and his brothers continue to be great singers and their songs sounded just as good as they did 20 to 30 years ago.
You will certainly be entertained." – Clara
"We were treated to a wonderful evening by Larry Gatlin and the Brothers at the Starlight in Branson Mo. They delivered all the old stuff, some new, and truly great gospel in a terrific show." – Neil
About Larry Gatlin and The Gatlin Brothers
It began in Abilene, Texas, when all three brothers were six and younger. Being inspired by The Blackwood Brothers, Larry, Steve and Rudy grew up singing gospel music. The brothers sang everywhere they went, soon finding themselves coast-to-coast touring as children, even singing at the 1964 World's Fair in New York City. During this time, they recorded four complete gospel albums.
After a brief hiatus, Larry Gatlin and The Gatlin Brothers was born in the summer of 1976. The brothers were on the fast track to success thanks to their smash hit, "Broken Lady." Throughout the next decade, the brothers would release more hit songs such as "All the Gold in California" and "Houston (Means I'm One Day Closer to You)." The brothers were inducted into the Grand Ole Opry that same year.
The brothers continued to reach new levels of success, winning numerous awards and, to this day, performing 40-50 dates each year. The Gatlin Brothers have recently released a new gospel album titled "Larry Gatlin and The Gatlin Brothers – The Gospel According to Gatlin" and are continuing their passion for music and storytelling for audiences everywhere.
Visit Larry Gatlin and The Gatlin Brother's website to learn more.
Friday, December 14th

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Click Here for More Articles on Ballet!
BWW Review: ABT's 'The Golden Cockerel' Is More of a Grandiose Theatrical Production Than a Ballet
by Sondra Forsyth
BroadwayWorld.com Jun. 8, 2016
ABT's Resident Choreographer Alexei Ratmansky, who created the version of "The Golden Cockerel" that had its company premiere on June 6th 2016, is quoted in a Playbill article by Caroline Hamilton as saying, "This production is overwhelmingly theatrical". Ah, so that explains why there is virtually no dancing in the entire first act and very little in the second act! A little research reveals that Ratmansky reportedly added more dancing after getting less than laudatory reviews in 2012 when his "Cockerel" opened in Copenhagen. Yet mime still predominates, which is the legacy of the unwieldy and heavy original costume designs by avant-garde artist Natalia Goncharova for the 1914 and 1937 Ballet Russes opera ballet productions of "Le Coq d'Or" with choreography by Fokine. (In 1914, "baby ballerina" Tamara Karsavina danced the role of the Queen of Shemakhan with Enrico Cecchetti as the Astrologer. The Cockerel was a stage prop.)
Beyond that, "Cockerel" has a long history dating back to the Alexander Pushkin poem that was based on parts of "The Tales of the Alhambra" by Washington Irving. Also of note, the music by Rimsky-Korsakov was a deliberate political satire. As such, it is not very danceable. In addition, the piece was at one point a 45-minute long comedy for children.
Ratmansky's decision to add more music from the Rimsky-Korsakov opera in order to stretch the proceedings to two acts is questionable. Much of the time the goings-on are more soporific than scintillating, in spite of - or perhaps because of - the riotously colorful sets and costumes that compete with the mime and movements for the attention of the audience.
Even so, there were commendable aspects of the production. Not the least of these was the sharp and shapely dancing by rising soloist Skylar Brandt in the title role. A cockerel is actually a young rooster. However, when the Ballet Russes de Monte Carlo revived Fokine's opera ballet in 1937, the choreographer switched the role to one for a ballerina on pointe. The Cockerel, all in gold and sporting whimsical head and tail plumage, is a magical creature conjured up with great flare by Cory Stearns. He was uncharacteristically cast in a character role as the Astrologer and did a commanding job. The story line, which involves Tsarist tomfoolery, is too convoluted to recant here in detail. Suffice it to say that this is a ballet libretto that tops even "Le Corsaire" when it comes to bizarre plot twists.
Other than Brandt as the Cockerel, the only dancer on pointe is the Queen of Shemakhan. On opening night, Veronika Part was in her element as the elusive object of Gary Chryst's doddering Tsar Dodon's affections. Unfortunately, blousy harem pants -- albeit authentic in terms of time and place -- concealed her lusciously long legs and flapped as she moved. The Russian character dances, which were few and far between, also suffered from the costume choices in that the garb was liberally splashed with large designs and gaudy colors that obscured the movements and ensemble patterns.
"The Golden Cockerel" runs through June 11th at the Metropolitan Opera House in Lincoln Center. Do I recommend seeing it if you're in town? Yes, simply because this is one ballet bird who is not familiar to audiences on our shores. If you're a balletomane, you owe it to yourself to experience this piece of ballet history.
Bww Feature: THE PYGMALION EFFECT Of Boris Eifman And His New Ballet Coming To The Segerstrom May 24
Interview: Choreographer Kirk Peterson and BEAUTY AND THE BEAST by ARB at State Theatre NJ on 5/10
BWW Review: LA Ballet Gala 2019 at Beverly Hilton
BWW Interview: Musical Wunderkind Kelly Deng of THE GREAT RUSSIAN NUTCRACKER at Fox Theatre says it's a Beautiful Art!
From This Author Sondra Forsyth
Sondra Forsyth is Editor-in-Chief of Broadway World Dance. A National Magazine Award winner and a member of Dance Critics Association, she founded Ballet Ambassadors in (read more...)
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BWW Review: Don't Bother, Me, I Can't Cope, a NEW YORK CITY CENTER ENCORES! OFF CENTER Production with Direction and Choreography by Savion Glover
BWW Review: The Final Staging of Lucinda Childs' Iconic AVAILABLE LIGHT
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BWW Review: ABT's DON QUIXOTE, a Tidbit of a Tale That's Chock Full of Festive Dancing
BWW Review: ABT's Historical Reconstruction of HARLEQUINADE Is (Literally) a Slapstick Romp That Delights the Eyes and Ears


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The garden stores here in Godstone work hard to track down the very best quality pet supplies so you can rely on getting the quality you'd expect. The range is expanding all the time, and caters not just for dogs and cats but also small animals, birds and reptiles, too.
Whatever your pet, you're sure to find pet supplies at the garden centres here in Godstone.
Please contact your local garden centre near Godstone to find out more about the pet supplies they offer.


Old Westbury. Offering luxurious North Shore living, this stately 2014 Georgian brick Colonial masterfully combines the grandeur of the "Great Gatsby" era with the bright and airy ambiance popular today with the latest in modern comforts and technology. Set serenely on a park-like 2 acre property with a brand-new heated inground Gunite pool, with automatic cover, and bluestone surround to match a large rear patio. This home has a welcoming presence, ideal for year-round lavish living. Located in Old Westbury, just 30 minutes from Manhattan, Kennedy and LaGuardia airports, this home is conveniently located near Old Westbury Gardens, Nassau County Museum of Art, and The Children's Museum of Long Island. The Americana Manhasset shopping center, several country clubs, and miles of public equestrian trails, as well as world class restaurants, polo clubs, yacht clubs and beaches, are all in close proximity to this elegant home. Located at the end of an approximately 900-foot private road shared by two other equally-grand estates, this inviting retreat proves its Twenty-First-Century origins as guests enter from its custom landscaped and gated driveway to the classic Colonial exterior of this center-hall mansion. Here, a touch of modern sophistication enhance its classic detailing with transitional touches throughout. In the two-story entrance foyer, sunlight enters through a Palladian transom with diamond-pane sidelights. Custom cut herringbone Calcutta marble floors, fielded-panel walls, and a custom iron staircase with stunning brass handrails make the entrance of this home breathtaking. The house boasts custom White Oak wood floors, bleached dove grey, and custom laid in a herringbone design to match the foyer. The dining and living rooms have brass floor inlays, coffered ceilings, fielded-wall panel moldings, and a gas see-through fireplace (functioning on an electric switch). This side of the fireplace is adorned with antique mirror trimmed in brass. Off the living room are large double doors opening to a sun-drenched study featuring shining lacquered walls, making for a traditional library in a very modern home. On the other side of the foyer is a breathtaking, one of a kind, formal dining room, offering coffered-ceilings and exquisite paneled moldings. Custom painted wallpaper, measured and produced specifically for this room, was crafted and hand painted by artisans in Japan. The Herringbone oak wood floors, with brass inlay flow through the butler's pantry into the kitchen. The butler's pantry has custom made hardware on the cabinetry and Calcutta marble countertops. This room holds one of three sinks with Waterworks fittings and features a wine refrigerator and an ice maker. Separated from the foyer with a pocket door, the grand gourmet kitchen, made by GD Cucina in Italy, boasts all custom cabinetry. Crown moldings and white Calcutta marble countertops, thicker than most seen on the market today, and full wall sheet of Calcutta marble backsplash create an elegance within. A large center island with two waterfall sides holds one of two kitchen sinks, with Waterworks fittings, a hidden microwave oven and storage. All the appliances are European, by Gaggenau and include a sixburner gas range with Waterworks pot filler, two full refrigerators and freezers, a steam oven, a warming drawer and convection oven, and two dishwashers. Open to the spacious breakfast area with French doors to the rear patio, an inviting family room features a double sided glass gas fireplace, with book-matched Calcutta marble sitting atop, shared with the living room. Completing this floor is a separate wing with mudroom, access to the 3 car garage, outside entrance to the patio, walk-in closet, walk-in pantry, and full bathroom. On the second floor, a serene and over-sized master suite includes a bedroom with fielded wall moldings, high tray ceilings, plus an incredible master bath with all custom made Carrera marble walls and antique mirror, a custom twin vanity with leather panels, and a glass-enclosed steam room with three sets of exposed Lefroy Brooks shower/bath fittings and free-standing Waterworks tub. Two custom-fitted closets add to the suite's luxury, but not to mention a separate custom woman's closet, the size of a bedroom, with Marble Island. Completing this floor are three bedrooms all with baths en suite and beautifully appointed with custom designed tilework. The full finished basement is another level of living and entertaining for both the children and adults, and features a play area and art studio, a study, a glass-walled wine cellar, a gym/dance studio with mirrored wall and dance bar, as well as two bedrooms and two full baths. The basement also has a spacious laundry room, with custom subway tiling, featuring two full size Electrolux washers and dryers. With great attention to details and quality materials, this spectacular residence has everything you could imagine in the home of your dreams.


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Universal Pictures' SON OF FRANKENSTEIN (1939)
My absolute favorite horror movies are those produced by Universal Pictures during the studio's horror hey day. Today I am dedicating a post to a prime example of the era, one that stands among my favorites from the Universal entries that tell the continuing saga of Frankenstein and his monster – Rowland Lee's Son of Frankenstein (1939) starring Basil Rathbone, Boris Karloff and Bela Lugosi.
In the Universal Frankenstein timeline Son of Frankenstein follows and is a sequel to James Whale's masterful The Bride of Frankenstein (1935) and proves to be a worthy successor. That is despite the inconsistency following what we thought was the final destruction of The Monster in Bride. If you happen to enjoy Universal horror movies, however, inconsistencies are part of the charm and if you watch all of those Universal entries from the 1940s you'll note The Monster is hard to kill. That said if you care about monster spoilers don't read on!
When The Bride of Frankenstein ends we see The Monster rejected by his Bride, the new creation of Dr. Henry Frankenstein (Colin Clive) and the exuberant Dr. Pretorius (Ernest Thesiger). Hurt and angry The Monster declares "we belong dead" referring to himself, his estranged bride and Pretorius and proceeds to pull the lever, which results in the explosion of the castle and laboratory and – one would think – of all creations within the structure's brick walls. That's not the case, however, as we see in Son of Frankenstein, which story goes something like this…
Baron Wolf von Frankenstein (Rathbone) has a last name synonymous with horror, a name he is determined to restore to glory. The Baron and his family – wife Elsa (Josephine Hutchinson) and young son, Peter (Donnie Dunagan) – are not welcomed by law enforcement and townspeople who look upon him with fear and disgust when the family arrives in the castle where Henry had performed experiments that terrorized. It's been decades since Henry had succeeded in revitalizing dead tissue, but the terror still permeates the village. Wolf feels his father's reputation is unwarranted, however, as the murders and mayhem caused by his father's creation resulted from the bungling of Henry's assistant who'd brought him the brain of a killer.
Not making matters easier for Wolf von Frankenstein is the fact that although decades have passed since his father's Monster terrorized locals six unsolved murders have been committed. It's widely believed that The Monster was destroyed, but superstitions abound as to murdering ghosts and other such things and few doubt that a Frankenstein must be to blame. In truth the evil that permeates the village is made of flesh and blood and the young Dr. Frankenstein is unaware of its presence.
Lurking in the shadows and dungeons of Frankenstein's castle is Ygor (Lugosi) who is presumed dead as he'd already been sentenced to death and hanged. Unfortunately for the villagers Ygor's hanging was unsuccessful serving only to break his neck and leave him disfigured. It is Ygor who's responsible for the mysterious murders and it is Ygor who's happy to have a new Frankenstein in the house. Wasting little time to put his master plan in motion Ygor lures Wolf into the belly of the castle where the crypts of his father and grandfather lie next to the immobile body of The Monster. We learn, as Wolf does, that The Monster had not been destroyed at the end of Bride as we were led to believe – Ygor saved him.
Well, it doesn't take much convincing from Ygor for Wolf von Frankenstein to be enthralled by the prospect of doing good by his father's creation and vindicating his name. Wolf begins work to revive The Monster all the while encouraged by Ygor who has a vested interest in his friend being brought back to life.
Meanwhile – Ygor, who the townspeople now know is alive and kicking, is called before a tribunal as he's suspected of the six mysterious murders. And who can blame them? It turns out that the six dead are members of the jury who'd sentenced Ygor to death by hanging.
Old friends Karloff and Lugosi as The Monster and Ygor
When Wolf von Frankenstein discovers Ygor's actions, which involve getting The Monster to murder on his behalf the Dr. confronts the deformed man and eventually shoots him dead (except Ygor is alive again – thank goodness – in The Ghost of Frankenstein, the sequel to this movie). In any case, at this point Ygor is dead and when The Monster finds his friend's body realizing he's been killed he takes Wolf's son Peter in revenge. After a mighty (and entertaining) final confrontation Wolf is able to knock The Monster into a pit of molten sulfur killing the creation once and for all (by Universal monster continuity standards) and saving his son.
Monstrous asides…
Boris Karloff portrays The Monster for the third and last time in Son of Frankenstein and gives his most famous character a fantastic farewell with another affecting performance. Especially welcomed in this entry is The Monster's silence as the role is reverted to a (primarily) non-speaking part as it should have always been. If I were forced to find a weakness in The Bride of Frankenstein it is the fact that The Monster speaks, which diminishes Karloff's performance. The actor himself was displeased with the dialogue The Monster was given in Bride, which often comes off as comical in contrast to the otherwise superb gothic horror story depicted in the film. Well, not counting Una O'Connor or Thesiger.
Worthy of note is that Boris Karloff is once again under the guise created by Jack Pierce in Son of Frankenstein and the results are wonderful. Pierce's attention to detail following the look of the weathered monster in The Bride of Frankenstein pay tribute to the continuity often lost in the overall story. If you care about such things in any case.
You might want to take a look at this short video compilation of behind-the-scenes shots of Karloff and Pierce from color tests of the make-up and wardrobe for this movie.
There are many memorable scenes in Son of Frankenstein, but I'll mention two that stand out for me. The first is the scene of the first encounter between Wolf von Frankenstein and his reanimated creation. Wolf stands in his laboratory, facing us in a close up with his head down while busy with a task. Ever so slowly we see the shadow of a figure rise up over the doctor's shoulder. (I couldn't find a picture of the shadow to post here, but it's a scene that never fails to send chills up and down my spine.) As The Monster's face becomes clear to us, the doctor raises his head, aware of the force that approaches from behind. The Monster raises his arm and puts a hand on the shoulder of the one who brought him back to life. It's an introduction worthy of the one, true Monster and for my money as effective as The Monster's original introduction in Frankenstein (1931). By the way this scene is tremendously enhanced by Rathbone's reaction. Karloff's Monster aside, I could hardly take my eyes off Wolf von Frankenstein. He is stunning.
The other scene I am moved by follows the one I just described. While in the laboratory, The Monster happens across a mirror and sees his own reflection for the first time. He takes the time to fully comprehend the demon that stares back at him by moving his arms. When the realization hits that he is, in fact, looking at himself – a monster – he asks, "Why" in a way that breaks my heart – utter agony made clear with one word. This is an instant when The Monster speaks in this movie, but it is worth the word. The Monster didn't ask to be brought upon this Earth or to be made to suffer, to make others suffer and it is a fate too horrible to bear. Beautifully done. Also, it should be noted that this is not the first time The Monster has seen his own reflection and has reacted with similar abhorrence of his own countenance, but man he's revived yet again and they never make the poor guy look prettier. I mean, I like him the way he is, but clearly he'd like to not make people scream when they see him. OK, moving on…
Although I mention two scenes featuring Karloff as favorites, mostly because I have a monster soft spot for The Monster, the overall performance winner in Son of Frankenstein is Bela Lugosi who's fantastic. Ygor is mischievous, creepy, funny and all that make a character memorable. Lugosi made Son of Frankenstein after a string of (mostly) forgettable movies, but shines brightly as the mastermind behind the evil in this one. In fact Ygor may well be the legendary actor's best performance and the ultimate highlight in a most entertaining film. I'll go one further – Lugosi's Ygor should stand alongside the other Universal monsters of repute. After all, Ygor is as recognizable a horror name as any other and an important part of the Frankenstein lore. Bela deserves the credit for this.
As far as the rest of the cast goes all players are good with Rathbone being a special treat for this fan who happens to think he's a particularly good Dr. Frankenstein. I must also mention Lionel Atwill who plays Inspector Krogh who hounds Frankenstein from the moment he arrives in the village. Atwill is a Universal horror staple and always entertaining to watch. The only problem with his stint in this movie is that it's nearly impossible to watch him as Krogh with the stiff, artificial arm – thanks to a previous run-in with The Monster – with a straight face thanks to Mel Brooks and his band of comic geniuses. There are two other bit parts worthy of note in Son of Frankenstein – Ward Bond is uncredited as a police officer guarding the gate and Dwight Frye, who was so crucial to Universal's Dracula (1931) is also uncredited here as one of the villagers.
Publicity still of Lionel Atwill, Josephine Hutchinson and Basil Rathbone
Aside from the great performances in Son of Frankenstein the movie also features lavish sets, moody lighting and a terrific score (check out the complete cast and crew list for credits) that place it alongside its Whale predecessors. Perhaps no one should expect the "art" of Whale's films to be equaled here, but Son of Frankenstein is damned entertaining as well as damned overshadowed, underrated and wrongly ignored. I strongly suggest you go watch it now and then visit The Universal Pictures Blogathon hosted by Silver Scenes for a full slate of movie commentary on all things Universal.
Posted in Classic MoviesTagged Basil Rathbone, Bela Lugosi, Boris Karloff, Donnie Dunagan, Frankenstein, Josephine Hutchinson, Lionel Atwill, Son of Frankenstein, Universal Horror, Universal Pictures, Ygor
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Great review and pictures. Love that little video clip too.Thank you
It wasn't until a recent viewing that I was struck by just how marvelous Bela is as Ygor. Previously, I kicked back and enjoyed the film long nervous breakdown that was Basil Rathbone's performance. Usually, if you say of a movie that the set is enthralling it means that something is lacking in other departments, but not in "Son of Frankenstein". Those hallways and angles, and bleak walls are all a part of the wonderful experience. You chose a dandy and did it proud.
You've definitely made me want to revisit all 3 films. Thank you for a great review.
monstergirl says:
Reblogged this on The Last Drive In and commented:
Aurora at Once Upon a Screen is paying tribute to one of Universal horror's great guilty pleasures. Starring Karloff Lugosi and Rathbone who could ask for anything more! Son of Frankenstein… just in time for Halloween…
Thanks much, Joey! You're true blue!
Constance Rose Metzinger says:
It has been years since I have seen Son of Frankenstein but I am anxious to watch it again just to see those two scenes you mentioned. A fantastic post! Thank you for including it in the Universal Blogathon. 🙂
This started the second wave of horrors after a couple of years hiatus. Rathbone, a non-genre actor, was an prestigious "get" as Star. The colr footage is not tests, just home movies taken on set, now owned by Karloff's daughter.
Thanks for that!
Regarding whether or not the Monster should speak: I always saw BRIDE as a natural evolution of the character. Just as he longs for companionship, he also longs to communicate like everyone else. The world may treat him like a freak of nature, but he doesn't want to be one. That's why having him speak, however crudely, doesn't bother me. But I guess your mileage may vary.
Great view and evolution of the character makes sense. Crude is effective, but dialogue was rather silly. I love the character and film, but do think Karloff's performance was affected.
tammayauthor says:
I think this is the only one of the 1930's Frankenstein trilogy I haven't seen. Definitely going to hunt this one up. I loved Frankenstein and Bride Of Frankenstein.
Let me know what you think of it when you see it. 🙂
Jim K. says:
Thank you for a great commentary on a wonderful film, Aurora! This movie has it all; great acting, sets, music, atmosphere, the works. All it lacks is James Whale's direction; but then, it would have been a very different film! This is not to take anything away from the excellent job Rowland Lee did though. He and many of the same actors and crew also did the very entertaining "Tower of London" the same year. (Sorry for the late reply; I've been moving!)
Thanks Jim! Hope your moving went smoothly. This is terrific! And you reminded me I haven't seen TOWER OF LONDON in far too long!
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Here are some suggested menus, perfect for wooing the one you love. But hurry – some end today.
ICELAND has a great deal on steak, chips and strawberries for £5.50, saving £3 on the usual price. You can get your hands on the offer until Sunday.
Main course: Iceland luxury gaucho sirloin steak (227g), down to £2.50 from £4. With Iceland steak-cut chips, 1.25kg, £1.
Main course: Irresistible chicken in white wine sauce, with side of Irresistible dauphinoise potatoes.
Dessert: Irresistible chocolate melt-in-the-middle puddings.
WAITROSE has a £20 deal for a starter, main course, two side dishes, dessert and wine, fizz or chocolates. There's a big selection and if you pick the items below you'll be saving £13.17 compared with their usual price. Be quick though – the offer ends today.
To start: Vegetarian mushroom arancini.
Main course: Two ribeye steaks and bearnaise butter with sweet potato chips and Waitrose cauliflower cheese.
Dessert: Waitrose 1 two raspberry panna cottas.
To drink: Les Dauphins cotes du Rhone villages.
MORRISONS The Best Dine-In Deal for Valentine's includes a starter, main, a side to share, a dessert and a bottle of wine, soft drink or chocolates, all for £15. The selection below – one of a huge range of choices for meat eaters, vegetarians and vegans – saves £12 on buying the items individually. Offer runs until Sunday.
To start: Tear and share bread and French camembert.
Main course: Beef Wellington with side of The Best green vegetable medley.
Dessert: The Best Belgian chocolate and salted caramel sharing heart.
To drink: The Best prosecco spumante.
CHOOSE individual main dishes with Tesco's meal deal including any starter, two mains, side, dessert, a half bottle of Champagne, full bottle of Prosecco, wine, or a box of chocolates, for £20. The deal can save customers up to £13.70. The offer ends today.
To start: Finest tomato and mozzarella tartlets.
Main course: Finest lobster mac and cheese with Finest caramelised onion and cheddar rosti hearts.
Dessert: Finest chocolate brownie heart.
To drink: Finest Premier Cru non-vintage Champagne, 37.5cl.
SAINSBURY'S £18.25 bundle for Valentine's has delicious choices for meat and fish lovers. Hurry though, the deals ends today.
To start: Sainsbury's sweet chilli prawns, were £2.75, now £2.50.
Main course: Sainsbury's two rump steaks with heart-shaped pink peppercorn butter, £6. With side of crispy triple-cooked chips in beef dripping, 400g, down to £2 from £2.60.
Dessert: Gü zillionaires' salted caramel cheesecake desserts, down to £1.50 from £3.
To drink: Edizione 789 Di Mondelli Prosecco, £6.25.
ASDA'S Extra Special Valentine's Day meal deal is £15 and includes a starter, a main, two side dishes, a dessert and a drink. Vegan options too. The deal ends today.
To start: Extra Special Cornish Camembert with a sloe gin & cranberry dip.
Main course: Chorizo-wrapped chicken in Chianti sauce. With roast root vegetables with shallot & dijon butter and fondant potatoes. All from the Extra Special range.
Dessert: Extra Special red velvet melting puddings.
To drink: Extra Special rosé cava.
MARKS & Spencer has a £20 deal, giving romantics the choice of 35 dishes, which means more than 200 different menu combinations. Diners can tuck in to a delicious starter, main, side, dessert, box of chocolates and bottle of fizz for two people – with a maximum saving of £19.30. The offer runs until Saturday.
To start: Coquille St Jacques.
Main course: Gastropub lamb shanks with dauphinoise potatoes.
To drink: Conte Priuli prosecco.
Plus: Milk and dark chocolate hearts.
Place the dried mushrooms in a large bowl and pour over 400ml boiling water. Set aside to soak. Cook the pasta in boiling water according to the packet instructions.
Over a medium to high heat, toast the walnuts in a large saucepan for two minutes until crisp and golden. Transfer to a plate and set aside. Return the pan to the heat, add the oil and sauté the shallots for three minutes.
Drain the mushrooms, reserving some of the water, and squeeze out any excess water. Add the garlic and thyme to the shallots and cook for a further minute. Then reduce to a low-medium heat and stir through the butter and mushrooms. Cook for five minutes until warmed through.
Stir the mustard and Marsala into the mushrooms and cook for about 15 seconds, then pour over the cream and lemon juice and cook for one minute.
Drain the pasta and toss it through the mushrooms with half the toasted walnuts and a little of the mushroom water to loosen the sauce. Transfer to plates and scatter with the remaining walnuts and lemon zest to serve.
Crush the mini meringue nests in a mixing bowl and stir in the crème fraîche.
Hull and halve most of the strawberries and toss the halves into the meringue mixture before carefully spooning into a dish big enough for two to share.
Then decorate with the whole strawberries.
Keep chilled until you're ready for your dessert and then drizzle over the chocolate sauce just before serving.


text:
from __future__ import unicode_literals

from django.db import models, migrations
from django.conf import settings

class Migration(migrations.Migration):

    dependencies = [
        migrations.swappable_dependency(settings.AUTH_USER_MODEL),
        ('accounts', '0001_initial'),
    ]

    operations = [
        migrations.CreateModel(
            name='settings',
            fields=[
                ('id', models.AutoField(primary_key=True, verbose_name='ID', serialize=False, auto_created=True)),
                ('user', models.OneToOneField(to=settings.AUTH_USER_MODEL)),
            ],
        ),
    ]

redpajama_set_name: RedPajamaGithub


text:
AUG 19-29 • Kentucky Expo Center
Agland
Food & Music Tents
Health Horizons
Main Street Kentucky
Pride of the Counties
South Wing Shops
Championship Drive
Texas Roadhouse Concert Series
Talent Classic
Submit DNA
Talent Events
Kentucky State Fair Announces Presenting Sponsor and Texas Roadhouse Concert Series Lineup
The Kentucky State Fair announced GenCanna as the presenting sponsor of this year's summer celebration as well as the lineup of Texas Roadhouse Concert Series at a press conference today.
"The state fair is all about two things GenCanna cares deeply about- Kentucky and agriculture," said Matty Mangone-Miranda, CEO of GenCanna. "Hemp production, both in agriculture and science, has a promising future in Kentucky. We're proud to help showcase the great work done here in the Commonwealth as the presenting sponsor of the 2019 Kentucky State Fair."
"Through partnerships with successful Kentucky-based businesses like GenCanna and Texas Roadhouse, we'll be able to make the 2019 Kentucky State Fair a wonderful experience to remember," said David S. Beck, President and CEO of Kentucky Venues.
Held August 15-25 during the Kentucky State Fair presented by GenCanna, the Texas Roadhouse Concert Series features a wide range of musical artists with a different concert every night, for a total of 26 bands. This year all concerts are free with paid gate admission.
The Texas Roadhouse Concert Series lineup:
Thursday, August 15 Montgomery Gentry featuring Eddie Montgomery with special guests Exile and Layla Spring
Friday, August 16 Sheila E
Saturday, August 17 Black Stone Cherry, Tyler Bryant & The Shakedown and The Josephines
Sunday, August 18 The Oak Ridge Boys with special guest Lee Greenwood
Monday, August 19 for KING & COUNTRY with special guest Young Escape
Tuesday, August 20 Herman's Hermits starring Peter Noone with special guests Gary Lewis and the Playboys, and Mitch Ryder
Wednesday, August 21 Granger Smith featuring Earl Dibbles Jr. with special guest
Thursday, August 22 lovelytheband with special guest The Mowgli's
Friday, August 23 Dylan Scott and Mitchell Tenpenny with special guest Jake Rose
Saturday, August 24 Vince Neil of Mötley Crüe and with special guest KIX
Sunday, August 25 Lauren Daigle with special guest AHI
Thursday, Aug. 15, 8 p.m.
Kentucky band Montgomery Gentry charted 14 Billboard Top 10 singles on the country charts including "Where I Come From," "Something To Be Proud Of" and "Lucky Man" and sold millions of albums around the world. After many years as a duo, Troy Gentry tragically died in a helicopter crash in 2017. Before his death, Montgomery Gentry recorded their latest album, "Here's to You" which was dedicated to Gentry's memory. The album debuted at No. 3 on Top Country Album chart. Eddie Montgomery continues touring, continuing the iconic duos music and legacy. www.montgomerygentry.com
Hailing from Richmond Kentucky, Exile started as an American rock band before moving into country music in the 80s with numerous hits, including No. 1 songs "Woke Up in Love," She's A Miracle" and "Give Me One More Chance." www.exile.biz
Marion County native Layla Spring rose to fame on Season 16 of American Idol. She made the top 24 on her season of the show. www.facebook.com/laylaspringmusic
Friday, Aug. 16, 8 p.m.
Sheila E began her career as a percussionist and singer for The George Duke Band before embarking on a successful solo career. Her first solo album "The Glamorous Life" debuted to critical acclaim and was certified gold by the RCAA. Her second album "Romance 1600" also reached gold certification. Shelia E is known as the Queen of Percussion. www.sheilae.com
Saturday, Aug. 17, 8 p.m.
Hailing from Edmonton, Kentucky – Black Stone Cherry hits the stage after releasing their sixth album, "Family Tree." Known for their hard-rocking, southern-fried songs, the group is popular overseas as well, with their last five albums hitting No. 1 on the U.K. rock charts. www.blackstonecherry.com
At the age 11 Tyler Bryant & The Shakedown knew he wanted to be a musician. After selling his Christmas present, a dirtbike, he bought his first guitar. Guitarist Vince Gill said Bryant was, "Hands down a future guitar god."
tylerbryantandtheshakedown.com
The Josephines combine alternative, rock and country in a sound that is entirely their own. These Kentucky musicians from just down I-65 in Bowling Green are the embodiment of the country rebel spirit.
thejosephines.bigcartel.com
Sunday, Aug. 18, 8 p.m.
A country and gospel quartet, The Oak Ridge Boys have been entertaining Kentucky State Fair audiences for 44 years. The group has scored 12 gold, three platinum and one double platinum album; earned Grammy, Country Music Association and Academy of Country Music Awards; and were recently inducted into the Country Music Hall of Fame. www.oakridgeboys.com
Best known for his patriotic song "God Bless the U.S.A." Lee Greenwood is an accomplished country music artist. He has released more than 20 major-label albums and charted more than 25 singles on the Billboard country music charts. His No. 1 hits include "Somebody's Gonna Love You," "Going, Going, Gone" and "Dixie Road." www.leegreenwood.com
Monday, Aug. 19, 8 p.m.
Australian brothers Joel and Luke Smallbone hit the music scene in 2012 as for KING & COUNTRY, winning fans and Billboard's New Artists to Watch. Their 2018 album "Burn the Ships" hit No. 1 on the U.S. Christian charts with two singles hitting the top of the U.S. Christian Airplay chart. If the duo looks familiar, they have performed on "The View," "The Today Show," "The Tonight Show" and "Jimmy Kimmel Live." www.forkingandcountry.com
The Young Escape, an electronic pop band, consists of siblings Ryan, McKenna, Kyrsten, and Luke Johns. The band's debut single "Good Life" rose to the top of the Billboard Hot AC chart followed shortly by their second No. 1 single "Love Me Like You." theyoungescape.com
Tuesday, Aug. 20, 8 p.m.
Back with the original lead singer, Herman's Hermits starring Peter Noone returns with many of your favorite hits from the 60s. After their debut album rose to No. 2 on the Billboard Top 200, Herman's Hermits had 11 hits across different charts including "I'm Henry VIII, I Am," "Can't You Hear My Heartbeat" and "I'm into Something Good." peternoone.com
Gary Lewis and the Playboys are best known for their No. 1 single "This Diamond Ring." Their first seven releases reached the top 10 on the Billboard Hot 100. Hits include "Everybody Loves a Clown" and "Sure Gonna Miss Her." www.garylewisandtheplayboys.com
Mitch Ryder is has recorded more than two dozen albums over more than four decades. He is best known for hits "Devil with a Blue Dress On" and Sock It to Me-Baby."
Wednesday, Aug. 21, 8 p.m.
Granger Smith also known by his alter ego Earl Dibbles Jr. is an American country music singer and songwriter. He has released nine studio albums, one live album, and one EP. His latest two albums, "Remington" and "When the Good Guys Win" reached No. 3 and No. 2 on the U.S. County chart. His BMI Country Award winning song "Backroads Song" peaked at No. 1 on the U.S. Country Airplay chart. He was also nominated for an iHeartRadio Music Award for Best New Country Artist. www.grangersmith.com
www.earldibblesjr.com
Raised in a small town in Tennessee, Brandon Lay is a country singer/songwriter with a rock and roll spirit. Recognized for his songwriting ability, Lay won the Harold Adamson Lyric Award in 2015. He has gained a following in college towns and his autobiographical single "Speakers, Bleachers and Preachers" has more than 600,000 streams on the Spotify U.S. Viral Chart. www.brandonlay.com
American indie pop group, lovelytheband's debut single "Broken" raked in more than three million streams on Spotify and charted on several Billboard Charts, including the Billboard Alternative and Billboard Rock Airplay charts. The bad was nominated for two 2019 Billboard Music Awards and three iHeartRadio Music Awards where they won for Best New Rock/Alternative Artist. lovelytheband.com
The Mowgli's rose to prominence when their debut single "San Francisco" peaked at No. 2 on the Adult Alternative Songs chart and was named the single of the week on iTunes. The alternative band hailing out of California has performed on Jimmy Kimmel Live and Conan. Their first studio album "Waiting for the Dawn" reached No. 2 on the U.S. Heatseekers chart with the follow-up album "Kits in Love" rising to the top of the charts. www.themowglis.net
One of Spotify's Spotlight on 2016 Country Artists, Dylan Scott's respect for traditional country, embrace of modern genres, unique voice and warm personality have made him a favorite with fans. Numerous singles have charted on the U.S. Country Airplay chart with "My Girl" reaching the No. 1 spot and "Hooked" rising to No. 2. His debut album reached the No. 5 spot on the U.S. Country chart. dylanscottcountry.com
Best known for his single, "Drunk Me," which hit No. 2 on the U.S. Country Airplay chart, Mitchell Tenpenny has released one studio album and two extended plays. His 2017 EP "Linden Ave" charted at No. 10 on Billboard's Independent Albums, No. 6 in Heatseeker Albums and No. 12 in Country Albums.
www.mitchell10penny.com
Jake Rose grew up on the farm and following his dad's country band. While touring with his former band "New Medicine" he began honing his songwriting skills. Rose has written songs for Meatloaf, Colt Ford, Keith Urban and Kid Rock. The multi-talented artist is currently making his debut solo record with Grammy award winning producer Nathan Chapman. www.jakeroserocks.com
Vince Neil, the legendary front man of Mötley Crüe, sings many of the greatest rock songs of a generation including "Wild Side", "Home Sweet Home," and "Girls, Girls, Girls." Those are just a few of the more than 22 hit singles the band achieved during their run. Despite Mötley Crüe's departure from the rock world, Neil has not slowed down. He performs all the classic Mötley Crüe hits with select cuts from his three solo albums on "The Legacy Continues Tour." www.vinceneil.info
KIX's popularity may have peaked in the 1980s, but they're still rocking just as hard. Best known for their platinum certificated, fourth album, "Blow My Fuse." Their power ballad "Don't Close Your Eyes" peaked at No. 11 on the Billboard Hot 100 chart. www.kixband.com
Since releasing her first album in 2015, Lauren Daigle quickly took over the Christian Contemporary scene. She was awarded New Artist of the Year at the 2015 GMA Dove Awards and also took home the Song of the Year Award. Her album, "How Can It Be," was nominated for a 2016 Grammy Award for Best Contemporary Christian Music Album. Since then, she has won four additional Dove Awards, two Grammy Awards, two American Music Awards and racked up 11 nominations. All three of her albums have reached No. 1 on the U.S. Christian charts with six singles reaching the No. 1 spot. laurendaigle.com
AHI is an award-winning Canadian folk singer-songwriter who won the Canadian Songwriting Competition as well as the Stingray Rising Star Award at the Folk Music Ontario conference. His album "In Our Times" was nominated for a Juno Award for Contemporary Roots Album of the Year. ahimusic.com
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photo of Trevor Barron in the 2012 Olympic Trials race.
My special thanks to longterm homeschool advocate and conservative political candidate Sue Ann Means of Bethel Park PA for alerting me to the story of homeschool graduate Trevor Barron. Trevor just competed on Saturday, August 4th, in the London Olympics-- at just age 19, he was the youngest competitor ever in the mens' 20 kilometer race-walking competition. He finished a very respectable 26th place in the event, out of 56 competitors-- it was the 2nd best time in his life, and he was all smiles upon finishing. Racewalking is a much more common sport in other countries-- but I think that perhaps Trevor's pluck and courage and drive just may spark more *homeschoolers* to look into this unique sport.
Swimming was Trevor's first love, and he had emerged as one of the best swimmers in the East Region. But in the fall of 2005, he was swimming the 200-meter individual medley when he was struck by a seizure in the middle of the race. He was dragged from the pool and helped to the deck, where Bruce [Trevor's father] came to be by his side.
Deep down, Bruce knew what this latest seizure meant for Trevor.
"My wife and I had a friend with epilepsy, and she drowned in the bathtub," Bruce said.
Racewalkers have to follow two rules, according to the International Association of Athletics Federations: First, at least a part of one foot must be touching the ground at all times. Second, the advancing leg must be straightened (not bent at the knee) from the moment of first contact with the ground until the vertical upright position.
To stay in accordance, racewalkers move their hips and arms in a way that critics consider more feminine than masculine. Trevor would train in South Park where many of his classmates could see him practicing his peculiar sport, and he struggled to block out the snickers and name-calling.
"I was very susceptible to the ridicule I was receiving," Trevor said.
So susceptible that he decided to leave the sport after his first international competition in May 2008 and become a runner, a period which lasted six months. Trevor watched the Beijing Olympics and realized that he was missing out on the chance of a lifetime, to compete and make new friends all over the world. And because of what? Some kids?
"I just said, 'I'm doing this, and I'm going to London,' " Trevor said. "I'm going to the Olympics, and what are they doing? They're just wasting their time without understanding what I'm doing."
The Barron family went all-in for London 2012. Because Nancy's job working with visually impaired children could pay the bills, Bruce, a freelance writer, had the time to home-school Trevor for his final two years of high school. Home-schooling freed Trevor to travel wherever he needed to go for racewalking, and it gave father and son plenty to discuss as they walked thousands of miles together through South Park.
Trevor's training regimen demanded that he walk 130 kilometers (about 85 miles) a week, and Bruce wasn't going to let him do it alone. Bruce was already in good shape, but he would push himself to the limit, jogging just about all of those miles next to Trevor, ready with water whenever the boy was thirsty. They would talk about school topics such as Russian history and calculus as they traversed the park, day after day, and Trevor was ever-appreciative of his father's commitment.
"I probably wouldn't still be training if he didn't support me in that way," Trevor said.
"Being homeschooled gives me the freedom not to be confined to just a classroom for learning. I'm learning everywhere, everyday. My classroom really is the world! I travel to competitions in countries all of the world and we use that as party of my studies.
Hope everyone is enjoying the Olympics-- and enjoying seeing how homeschooling has been a help to many terrific young athletes!


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Justia Dockets & Filings Seventh Circuit Indiana Southern District FORTNER v. RR DONNELLEY et al Filing 21
FORTNER v. RR DONNELLEY et al
ENTRY ON DEFENDANTS' MOTION TO DISMISS: For the foregoing reasons, the Defendants' motion to dismiss 5 is GRANTED. However, district courts routinely do not terminate a case at the same time that they grant a motion to dismiss; rather , they generally dismiss the plaintiff's complaint without prejudice and give the plaintiff at least one opportunity to amend her complaint. Foster v. DeLuca, 545 F.3d 582, 584 (7th Cir. 2008); see also Barry Aviation, Inc. v. Land O'Lake s Mun. Airport Comm'n, 377 F.3d 682, 687 (7th Cir. 2004) (better practice is to allow at least one amendment regardless of how unpromising the initial pleading appears). Such a result is appropriate here. Fortner shall have until September 3, 2 013, to file an amended complaint that does not include claims that are outside the scope of her EEOC charge. If she does not do so by that date, this case will be dismissed with prejudice ***SEE ENTRY FOR ADDITIONAL INFORMATION***. Signed by Judge William T. Lawrence on 7/29/2013.(DW)
UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF INDIANA INDIANAPOLIS DIVISION CATHY M. FORTNER, ) ) ) ) ) ) ) ) ) Plaintiff, vs. RR DONNELLEY, et al., Defendants. Cause No. 1:13-cv-619-WTL-MJD ENTRY ON DEFENDANTS' MOTION TO DISMISS This cause is before the Court on the Defendant's motion to dismiss. Dkt. No. 5. The motion is fully briefed, and the Court, being duly advised, rules as follows. I. STANDARD In reviewing a motion to dismiss under Rule 12(b)(6), the Court takes the facts alleged in the complaint as true and draws all reasonable inferences in favor of the plaintiff. The complaint must contain only "a short and plain statement of the claim showing that the pleader is entitled to relief," Fed. R. Civ. P. 8(a)(2), and there is no need for detailed factual allegations. However, the statement must "give the defendant fair notice of what the . . . claim is and the grounds upon which it rests" and the "[f]actual allegations must be enough to raise a right to relief above the speculative level." Pisciotta v. Old Nat. Bancorp, 499 F.3d 629, 633 (7th Cir. 2007) (quoting Bell Atl. Corp. v. Twombly, 550 U.S. 544, 555 (2007)). II. BACKGROUND Plaintiff Cathy M. Fortner ("Fortner") worked for Defendant RR Donnelley ("Donnelley"), beginning in September 2000. On September 26, 2012, Fortner filed a Charge of Discrimination with the Equal Employment Opportunity Commission ("EEOC"), alleging discrimination by Donnelley. In the charge, she indicated by checking a box that the discrimination was based on her sex. In the factual narrative of the charge, Fortner wrote: I am a female who started working for the organization on September 15, 2000. My present position with the Company is that of Material Handler. Over the course of the past 12 months, I have applied for the position of Hoist Operator two times. The first time I applied was in November, 2011. I was not awarded the position. Instead, a much younger male was given the job. I was more than qualified for the position. I believe more so than the employee who was selected. Further, I believe I had more years with the Company. It must be noted that when there is a need for a Hoist Operator to be relieved or when a Hoist Operator is away from the position for any great length of time, I am the individual the Company utilizes to fill in for that operator. There have been periods of many months when I have been asked and I have performed successfully the position of Hoist Operator. In July, 2012, I applied, once again, for the position of Hoist Operator. On or about 1 September, 2012, I received a letter informing me that I did not get the position. The individual who got the position was Mark Pettry. I believe I have had more experience in the position and more experience in the department than Mr. Pettry, however, he was given the job. The Company did not even grant me an interview. I believe I have been discriminated against by not being promoted into the Hoist Operator position because of my sex, in violation of Title VII of the Civil Rights Act of 1964, as amended. Fortner's employment with Donnelley was terminated on September 28, 2012. The EEOC issued Fortner a "Notice of Right to Sue" on February 11, 2013. On April 15, 2013, Fortner filed the instant suit under Title VII of the Civil Rights Act of 1964. In her Complaint, Fortner alleges that she is entitled to relief because "I feel my Manufacturing Supervisor's Tim Elmore and Erica Eppard were in the wrong by the step's they took in terminating me." Fortner attached a narrative description of the circumstances leading to her discharge, which the Court takes as true for the purposes of this motion. One day in the summer of 2011, Fortner obtained an operating hoist from the mechanic shop of Donnelley's facility. Hoists in the shop needing repair are "tagged," which indicates that 2 a hoist should not be used. Once a damaged hoist is repaired, the tag is removed and an employee may operate the hoist as needed. On this particular day, there were no hoist mechanics on duty during Fortner's shift. Fortner obtained a hoist without a repair tag and proceeded to operate it. However, the hoist began to malfunction soon afterward and Fortner informed her supervisor of the problem. Defendant Tim Elmore, a manufacturing supervisor employed by Donnelley, subsequently presented Fortner with a "Formal Reminder" dated July 13, 2011. Fortner believes that a hoist mechanic informed a supervisor that the hoist in question had been tagged, leading Fortner's supervisor to believe that Fortner had purposefully removed the tag before obtaining and operating the hoist. On the day of the incident, not all of the hoists in the mechanic area had been tagged, but the next day when Fortner reported to work all of the hoists had been tagged. In a separate incident, Fortner was observed using her cellphone at work by Defendant Erica Eppard, a manufacturing supervisor employed by Donnelley. Although Fortner was not given a written document regarding Donnelley's cellphone use policy and there are no posted cell phone policies on bulletin boards or in the office, a policy apparently existed. Specifically, when a "Secure Title" is being run, there are notices posted on bulletin boards and around the Donnelley office area advising that cellphone usage is prohibited. However, at the time of the incident, there was no "Secure Title" being run. Fortner's employment was terminated by Donnelley on September 28, 2012. Fortner alleges in her Complaint that Donnelley was "in the wrong in [terminating Fortner] for these reasons." As a consequence of her termination, Fortner lost her seniority, vacation time, pay rate, and workplace pride. 3 III. DISCUSSION The Defendants have now moved to dismiss Fortner's discriminatory discharge claim. The Defendants make two arguments in support of their motion: (1) the discharge claim is beyond the scope of her EEOC charge; and (2) Elmore and Eppard cannot be held individually liable under Title VII. The Court addresses each argument in turn. A. The EEOC Charge The Defendants argue that because Fortner's wrongful discharge claim is wholly inconsistent with and outside the scope of the failure to promote allegations of her EEOC charge, this claim should be dismissed. As a general rule, a Title VII plaintiff cannot bring claims that were not included in her EEOC charge unless they are: (1) "like or reasonably related" to the charges already in the EEOC claim, and (2) can be expected to grow out of an EEOC investigation of those charges. E.g., Cheek v. W. & S. Life Ins. Co., 31 F.3d 497, 500 (7th Cir. 1994). "Like or reasonably related" means the claims have a factual relationship between them. Id. at 501. To be "like or reasonably related," the relevant claim and the EEOC charge "must, at minimum, describe the same conduct and implicate the same individuals." Moore v. Vital Prods., Inc., 641 F.3d 253, 257 (7th Cir. 2011) (quoting Cheek, 31 F.3d at 501); see also Rush v. McDonald's Corp., 966 F.2d 1104, 1110 (7th Cir. 1992) ("An aggrieved employee may not complain to the EEOC of only certain instances of discrimination, and then seek judicial relief for different instances of discrimination."). "The standard is a liberal one in order to effectuate the remedial purposes of Title VII, which itself depends on lay persons, often unschooled, to enforce its provisions." Babrocky v. Jewel Food Co., 773 F.2d 857, 864 (7th Cir. 1985). This so-called "four corners" 4 rule serves two purposes: (1) it affords the EEOC an opportunity to settle the dispute between the employee and employer; and (2) it puts the employer on notice of the charges against it. In the present case, Fortner's EEOC charge alleges that Donnelley failed to promote her to hoist operator because of her sex. Fortner's Complaint, however, asserts a claim for wrongful discharge on account of an apparent miscommunication about malfunctioning hoists and violation of a cell phone policy she did not know about. Fortner's wrongful discharge claim in her Complaint is therefore not "like or reasonably related" to her EEOC charge allegations. Likewise, Fortner's wrongful discharge claim cannot be reasonably expected to grow out of an investigation into Donnelley's alleged failure to promote her. In fact, according to Fortner, she was terminated after she filed her EEOC charge. As such, even the most liberal reading of the EEOC charge's factual narrative does not raise wrongful discharge. Accordingly, Fortner's claim under Title VII for wrongful discharge must be dismissed. B. Individual Title VII Liability of Supervisors The Defendants argue that Elmore and Eppard should be dismissed from this action as they cannot be held liable under Title VII. The Court agrees. Title VII gives an employee the right to sue her "employer" for discrimination. 42 U.S.C. §§ 2000e-2, -5(b). Supervisory employees do not, however, fall within Title VII's definition of employer. Williams v. Banning, 72 F.3d 552, 555 (7th Cir. 1995). Accordingly, Elmore and Eppard are entitled to dismissal. IV. CONCLUSION For the foregoing reasons, the Defendants' motion to dismiss is GRANTED. However, district courts routinely do not terminate a case at the same time that they grant a motion to dismiss; rather, they generally dismiss the plaintiff's complaint without prejudice and give the plaintiff at least one opportunity to amend her complaint. Foster v. DeLuca, 545 F.3d 582, 584 5 (7th Cir. 2008); see also Barry Aviation, Inc. v. Land O'Lakes Mun. Airport Comm'n, 377 F.3d 682, 687 (7th Cir. 2004) (better practice is to allow at least one amendment regardless of how unpromising the initial pleading appears). Such a result is appropriate here. Fortner shall have until September 3, 2013, to file an amended complaint that does not include claims that are outside the scope of her EEOC charge. If she does not do so by that date, this case will be dismissed with prejudice. SO ORDERED: 07/29/2013 _______________________________ Hon. William T. Lawrence, Judge United States District Court Southern District of Indiana Copies to all counsel of record via electronic communication. 6


Come here to be challenged.
Leave ready to take on the most important challenges of our time.
Integrity in all endeavours, teamwork that reaches beyond oneself in a supportive community and a time-honoured belief that the highest-quality learning comes from connecting amazing students with leading scholars. Around the world, people recognize these values as the foundation of FBS.
Teamwork that reaches beyond oneself in a supportive community and a time-honoured belief that the highest-quality learning comes from connecting amazing students with leading scholars.
FBS develops critical thinkers and curious, creative leaders who aspire to use their talents to better the world.


Besides their jobs, do you know what else are pilots doing in the cockpit?
How much fuel does one 400-ton 747 Jumbo jet can load when taking off?
Why each flying crew needs to have different meal varieties especially for pilots?
These are just parts of the speech by Mr Mark Ma, former captain of EVA Airways with 18 years track record. Plenty of stories and adventures along with his career were shared by slices. He walked us through some details which we may miss out during the flight, and helped us realising the importance of in-flight safety from buckle-up to first-aid, scheme of anti-terrorism to in-flight CCTV network which are related to passengers. The career with dead-or-live moments also made his beliefs to cherish his family, and keen to better serve the communities.
Mark is now the Friend of Rotarians for Auckland South and will be joining as a member shortly.


text:
Yonkers Raceway's Friday night $44,000 co-featured Opens -- a handicap for distaff pacers and a blind draw all socially-acceptable trotters -- were won by odds-on numbers Robin Cruiser (Jordan Stratton, $3.70) and Bee A Magician (Brian Sears, $3.10)....read on
'Magician' & 'Madness' To Yonkers
When more than $6.8 million of career class and cash hit town, notice is summarily taken....read on
"People Just Expect Her To Win"
After watching Bee A Magician put together an 18-race win streak that began at age two and covered her entire three-year-old season, harness racing fans wanted to know what was wrong with the 2013 Horse of the Year as she went winless in her first four starts this season....read on
Meadowlands Pace Undercard Complete
The Jimmy Takter and Ron Burke stables dominated a star-studded Meadowlands Pace undercard at the Meadowlands Racetrack on Saturday night....read on
The 'Queen Bee' To Meet 'Royalty'
Bee A Magician will try to return to her winning ways when she faces 13 male rivals – including last year's Hambletonian Stakes winner Royalty For Life – in Saturday's $484,850 Hambletonian Maturity for four-year-old trotters at Meadowlands Racetrack....read on
Stars, 2YOs In Friday Qualifiers
The Meadowlands Racetrack and Mohawk Racetrack each held massive qualifying sessions on Friday, June 27, meaning that returning starts and budding prospects were in abundance under perfect racing conditions....read on
Bee A Magician To Face The Boys
Not only is Bee A Magician's trainer not concerned with her performance in the 2014 Armbro Flight last Saturday, he's planning on racing her next -- for the first time -- against male counterparts....read on
Historical Mile For Perfect Alliance
Some of the world's most talented trotting mares were in action Monday evening at Woodbine Racetrack in the first leg of the Miss Versatility Series, and the star of the show proved to be Perfect Alliance....read on
Bee A Magician Better Than Ever?
"I think she's better than she was last year. She had a great winter with two nice qualifiers and she's turned into a big strapping filly."...read on
Bee A Magician In To Go
Canada's 2013 Horse of the Year, Bee A Magician, has been entered to make her seasonal pari-mutuel debut....read on
Another Star-Studded Qualifying Session
The Meadowlands qualifiers on Saturday, May 10 got underway on a fast track at 60 degrees under skies clearing from an overnight fog with minimal wind....read on
Bee A Magician Makes 2014 Debut
Qualifiers were contested at the Meadowlands on Kentucky Derby Day under ideal conditions with sunny skies, warm temperatures and little wind....read on
The Queen Bee Starts Buzzing
"We saw Maven last year and she was competitive with the boys. I think she'll be able to step up. It will be interesting to see how it all shakes out."...read on
Bee A Magician's Return Close
Two trotting standouts are expected to head to qualifiers in the near future....read on
HOY Dedicated To Hall Of Famer
As Bee A Magician earned her second 2013 Horse of the Year title last Sunday at the Dan Patch Awards banquet in Dover, Delaware, co-owner Herb Liverman dedicated the special honour to a great gentleman of the sport....read on


text:
Q: Disable Drag of MetroApps/Desktop ability on Windows 8.1 I am trying to figure out how to complety disable the drag functionality of MetroApps/Desktop (not the whole drag and drop of files/folders) on Windows 8.1 so far no luck.
The only thing I could manage to find till now is to prevent the drag to close with those registry entries.
HKEY_CURRENT_USER\Software\Microsoft\Windows\CurrentVersion\ImmersiveShell\Switcher
MouseCloseThresholdPercent (REG_DWORD) 0
TouchCloseThresholdPercent (REG_DWORD) 0

But how can I completly disable this functionality?
Hope you can help me out.

A: You can't easily do that. However since you mentioned that you are developing a Kiosk mode you should switch the device to Assigned Access first
In assigned access many of the shortcuts ALT+F4 and CTRL+ALT+DEL are disabled and your app will run in full screen mode, which means there is no risk to being dragged around.
The hardware Windows button is disabled as well so you are guaranteed that your app always runs as the main app.

redpajama_set_name: RedPajamaStackExchange


text:
Fuller's issues warning over earnings after train strike hit
Pub group Fuller's has warned over annual earnings after train strikes left it nursing a sales hit of around £4 million and impacted its festive trading.
The group said sales in the four weeks over Christmas and new year fell 5% compared with the same period in 2019 before the pandemic struck.
It blamed the drop on the train strikes in the lead-up to Christmas.
It said that, since the start of October, industrial action has reduced its sales by some £4 million and added the "consequent impact on profitability means that we now expect to report earnings below market expectations for the full year".
Simon Emeny, chief executive of Fuller's, said it was "frustrating that the train strikes have set back our reported sales and earnings".
Although strike action and the cost-of-living crisis create short-term hurdles to our post-pandemic recovery, we remain confident in the resilience of the pub and the future opportunity for Fuller's
He said: "While ongoing strike action will dampen sales, demand from customers remains good and we are optimistic that 2023 will deliver further sales growth through a busy calendar of events, and as office workers and tourists continue to return to the capital."
The group said on an underlying basis, like-for-like sales in the 43 weeks to January 21 were at 97% of the level of those seen in 2019-20, but up 20% year-on-year.
Pubs and restaurants were hit hard by the train strikes throughout December, impacting demand in the crucial Christmas period and seeing swathes of festive parties cancelled.
The sector is also under pressure due to soaring energy bills, costs and wage demands.
Mr Emeny said: "We are operating in a high inflation environment and that continues to impact our operating costs and margins.
"While some of these costs may be temporary in nature, others – such as the national living wage increase – are more permanent and we are focused on taking action to mitigate these costs wherever we can.
"Although strike action and the cost-of-living crisis create short-term hurdles to our post-pandemic recovery, we remain confident in the resilience of the pub and the future opportunity for Fuller's."
CityFullersPA


The I-CAN Centre will be hosting its 1st Business Breakfast within the course of the Entrepreneurship Week! The event will be crowned with Chris Louw, Regional Manager of the National Empowerment Fund and Councillor Siyabulela Mamkeli "Executive Mayor's Area Representative for Central". The Councillor will inform us about development and economic opportunities within City of Cape Town. Chris Louw will focusing on how businesses can apply for funding and share best-practices in securing that applications are compliant! The cost of the Business Breakfast is R50.00 (including 300MB FREE Limited WiFi Data).