Rhone has tapped Philadelphia Eagles wide receiver Nelson Agholor, surfer Garrett McNamara, NFL trainer Tareq Azim and wakeboarder Steel Lafferty to be the faces of its inaugural Outliers campaign. Nate Checketts, Rhone’s cofounder and chief executive officer, said the company has been hesitant to take the route of many other brands that zero in on an athlete, pay him or her a fee and then hope that person connects with the consumer they’re trying to attract. “We wanted to focus instead on making the best product we could,” he said. “But we found that people want a representation of the embodiment of a brand.” So he sought out men that he believed excelled at their craft and stood out in their fields. Rather than calling them ambassadors, Rhone opted to borrow a title from the Malcolm Gladwell book “Outliers” about high achievers. The men will be featured in marketing materials for the brand on its web site as well as through social media and e-mails outreach. They will contribute to the brand’s blog, The Pursuit, where they will share tips and advice to encourage others. McNamara said he’s been “a longtime fan of Rhone and am honored to partner with a brand that I
MOTHER’S DAY HONOREES: Chelsea Clinton, vice chair of the Clinton Foundation; Artemis Patrick, chief merchandising officer, Sephora; Jessica Simpson, entertainer, founder and chief executive officer of Jessica Simpson Collection, and Jan Singer, ceo of Victoria’s Secret Lingerie, will be honored at the 40th Annual Outstanding Mother Awards.
The annual luncheon ceremony will be held Friday, May 11 at 12 p.m. at The Pierre Hotel in New York.
Joanna Coles, chief content officer of Hearst Magazines and a 2015 Outstanding Mother Award Honoree, will serve as mistress of ceremonies for the event.
Laurie Dowley, chairwoman of the National Mother’s Day Committee, said, “In a time [when] it feels especially important to recognize the accomplishments and strength of women working both in and outside the home, these women help to inspire others and epitomize everything this award represents.”
Proceeds of the 2018 awards luncheon will benefit Save the Children’s U.S. Programs, a not-for-profit organization dedicated to making lasting positive change in the lives of children living in poverty in the U.S.
It looks like that extra-long Nicole Kidman acceptance speech didn’t leave much room for anyone else to say what they need to say at the 69th Annual Primetime Emmy Awards
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No one who knows The Merchant of Venice is unaware of the famous and often considered odious character Shylock’s being a Jew both sinned against and sinning. Rarely, however, have I seen a production of William Shakespeare’s play where the anti-Semitism is more acute than in Deborah Findlay’s superlative Royal Shakespeare Company account. It’s screening today (August 23) and at other times elsewhere (check local listings), and is highly recommended.
Findlay’s handling of the tricky work achieves something not often attained. Shylock’s inflexible insistence on the bond he made with Antonio for a pound of flesh were the 3,000 ducats not repaid — that’s to say, Shylock’s unrelenting stance as a broader revenge on the Christians who’ve tormented him throughout life as a usurer — is decidedly matched by his tormenters’ virulent prejudice.
These include not only Antonio (Jamie Ballard), whose misfortunes put him in Shylock’s debt, and Antonio’s swaggering cronies. They also include the usually more gracious Portia (Patsy Ferran) and even the judge presiding over Shylock’s case when it’s brought to court. At times, all of them are portrayed as nothing more nor less than leering, sneering bigots.
The extent to which Shylock (the Palestinian actor Makram J. Khoury) is so severely humiliated that it’s difficult to decide, as Findlay has staged it, whether he’s any worse in refusing to show mercy (which Portia explains is “not strained”) towards Antonio than any of the others in their steely intolerance of him. Shylock talks about being spit on by Antonio, but in Findlay’s startling literal presentation, Antonio actually grabs Shylock, pulls him inches-close and violently spits in the man’s face twice. Moreover, he’s not the only one so inured to the society’s anti-Semitic sentiments that they can’t speak the word “Jew” without wrapping it in hatred and spitting in demonstration of their disdain.
While the Shylock plot is the most discussed when The Merchant of Venice is a topic, there’s another thick tread to the play: the love stories, each written and presented here in a tone far removed from the coruscating Shylock exploration. Indeed, these seem more in line with Shakespeare’s comedies or with the late romance Cymbeline, which repeats an episode concerning rings given and surrendered against the giver’s request. (Shakespeare often stole from himself, of course.)
The most prominent Merchant of Venice love story is the one involving Portia and Bassanio (Jacob Fortune-Lloyd), who wins her hand when he chooses the correct box of the three (gold, silver, lead) offered to Portia’s suitors for perusal. There’s also the Nerissa (Nadia Albina)-Gratiano (Ken Nwosu) alliance. Then there’s the love affair featuring Lorenzo (James Corrigan) and Shylock’s stolen daughter Jessica (Scarlett Brookes), who converts to Christianity–not, as Findlay and Brookes have it, without some remorse.
Findlay sometime unflinchingly, sometimes light-heartedly unfolds the intertwined tales on Johannes Schutz’s simple yet sumptuous set. The floor thrusting into the audience is glossy brass as is the reflecting upstage wall. (The brass, looking like gold underlines that theme of corrupting money that Shakespeare worked.) Just in front of the wall is a shiny ball on a long cord. It’s pushed with some force by Ferran when she enters as Portia. Subsequently, it swings pendulum-like throughout the play, as if unremittingly reminding the audience of time’s inexorable passage.
Only occasionally are pieces of furniture brought out, as the cast members, dressed by Anette Guther in very casual contemporary clothes, go about their poetic business. Tim Samuels as Launcelot Gobbo, encountered first in the audience and engaging a patron on his right, wears a painted-on mask, but otherwise no one is further gussied up. That’s unless a red party outfit Portia puts on counts as glamorous.
You could say also say that Antonio’s face is decorated with tears. As the action begins, he’s seen in the grip of acute sadness. Explaining his woe, he immediately establishes the high quality of the acting over which Findlay presides. Khoury’s Shylock and Ferran’s Portia deserve kudos and paragraphs for the range and subtlety — and when required — blunt anger they display. Their command of the characters’ complexities is complete.
No one in the cast is less than first-rate, and that goes especially for Albina as a lovely Nerissa, Fortune-Lloyd as an unabashed Bassanio and Nwosu as an irrepressible Gratiano. Brookes and Corrigan enact their beautifully-written “on such a night as this” scene with exquisite changes of mood.
The Merchant of Venice is often considered a problem play. Findlay and associates solve whatever problem there is by memorably attacking the dilemmas head-on. Cue heavy applause.
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This is an accessible and highly practical handbook for all childminders striving to achieve and offer a higher quality of childcare service. Since Ofsted introduced its new graded system in April 2005, there has been more and more pressure on childminders to prove that they are running an ‘outstanding’ business. Childminders have been caring for children successfully for many years however parents are now, quite rightly, demanding a much higher quality childcare service for their offspring, and in many cases the Ofsted grading awarded to individual childminders is the only way of initially showing the adequacy of the childcare provision. Indeed many parents admit that they would not even consider a childminder who has not at least achieved a ‘good’ grading and are prepared to pay more money and travel further to secure a place with an ‘outstanding provider’. More than two years have passed since the introduction of the new grading system by Ofsted and still it is seen by many as being an exceptionally difficult feat to achieve the highest grading. This book, written by a practising childminder who has herself achieved an outstanding grade for her childcare service, shows how it is possible to show the Ofsted inspector that you too are worthy of the highest award for your childminding service.
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Your expert guide to the dos and don’ts of getting married Your wedding should be fun, exciting, and worry-free-but most brides, grooms, and their families run into sticky situations or unique circumstances that surround etiquette. Now, there’s a definitive guide that provides the solutionsfor all those dilemmas big and small. Wedding Etiquette For Dummies provides sound information and guidance-whether it’s deciding how to handle divorced parents, inform guests of where the couple is registered, or tastefully incorporate new traditions into your ceremony and reception. You get plenty of proven advice and tips for everything from who pays for the wedding and properly announcing the engagement to hosting events leading up to the wedding and dealing with destination wedding snags and pitfalls. You’ll even see how to gracefully handle wedding cancellations and postponements. The dos and don’ts of wedding etiquette for any bride, groom, relatives, or friends of the marrying couple Tips for proper behavior during the engagement, ceremony, and reception Advice on dealing with the wedding party and opinionated or pushy in-laws Special considerations for second (or more) marriages and military, ethnic, and religious weddings How to set up a tasteful, interactive wedding website and write the all important thank you note Sue Fox is the author of Etiquette For Dummies, 2nd Edition and Business Etiquette For Dummies, 2nd Edition Leaving no wedding dilemma uncovered, Wedding Etiquette For Dummies is your one-stop guide for having the wedding of your dreams without the stress!
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