Rare eastern black rhinoceros born at Chicago’s Lincoln Park Zoo

first_img(Courtesy Lincoln Park Zoo) An eastern black rhinoceros named Kapuki gave birth to a calf at Lincoln Park Zoo, Chicago, May 19, 2019.(CHICAGO) — Chicago’s Lincoln Park Zoo recently welcomed the birth of a critically endangered black rhinoceros after more than a year of waiting.A 13-year-old eastern black rhino named Kapuki went into labor Sunday, after 15 months of pregnancy, and gave birth to a healthy calf in her enclosure that evening. The zoo has not yet named the newborn or announced its sex.The calf began to stand on its own after just 53 minutes and has been seen nursing several times, which are “important milestones,” according to the zoo.Animal care and veterinary staff are giving Kapuki and her calf privacy while closely monitoring them from afar via video cameras. The pair will not be visible to the public until further notice.“The first 48 hours of a calf’s life are critical and we remain cautiously optimistic,” Lincoln Park Zoo said in a Facebook post on Monday.The eastern black rhino, also known as the East African black rhino, is a subspecies of the black rhino and is listed as critically endangered on the International Union for Conservation of Nature’s Red List of Threatened Species.“The potential of a successful calf means much more than a cute face at the zoo,” Mike Murray, curator of mammals at Lincoln Park Zoo, said in a March 20 statement. “A birth represents preservation of a critically endangered species that faces a lot of challenges.”The global population of black rhinos has declined by more than 97% since 1960, mainly due to poaching and the soaring demand for their horns in Asia, where they are coveted for their perceived healing properties, according to the International Union for Conservation of Nature. The population has steadily increased since bottoming out in 1995, but the numbers are still 90% lower today than three generations ago.Copyright © 2019, ABC Radio. All rights reserved.last_img read more

Charting a path for the Silkroad

first_img ‘I want to make it felt’ The Daily Gazette Sign up for daily emails to get the latest Harvard news. These divisions in the United States have not just appeared; they’ve always been here. Now, they’re just a little bit more obvious, a little bit more on the surface. And music is just such a powerful tool, but you have to use it in a way that’s rooted in understanding and rooted in knowledge, because it’s in telling these stories of our musical roots that I think the fullness of the power of what we do musically, what we do artistically as culture, comes out. It’s knowing where the banjo comes from, knowing that it’s an African-derived instrument. Then you begin to understand the sort of cultural conversation that goes back and forth for hundreds of years and has influenced all these different musical forms. And different cultures have taken different aspects of it, and it was this real emblem of America for a long time and then was twisted for certain reasons. I mean, if you follow the history of the music, you really follow the history of who we are. And so, I think getting that history out there is key.In addition, music is blameless in a lot of ways. It’s very hard to get mad at a song. Some art is created to be incendiary, or racist, or whatever. But overall, the music and what comes out of people playing together is innocent. And I think it’s a powerful tool for that reason, because it’s pretty hard if you’re marveling at this piece of music to take offense. Instead it’s a way to absorb the idea that we are more alike than we are different. And the ways that we are different are ways to be celebrated because they’re all reflecting the same thing: the core of who we are, as humans. We have the same worries; we have the same desires. It’s just that how we talk about them and how we express them is different, how we express ourselves artistically is different. But because they’re about the same things, I think we always find these points of connection, and that’s really where the true understanding comes.GAZETTE: What are your plans for connecting with the Harvard community?GIDDENS: There are always too many ideas. Ideas and what to do are never going to be a problem. I think the important thing is to maintain and to develop relationships, and also examine how they are giving back to the community, and how things are being represented, and how are things that Silkroad is coming up with being expanded even more effectively into important partnerships. You can always strive for more, and I definitely have many thoughts about how all of these art forms work together.Then there are the historical connections to some of this music and how it interacts with American history, how it interacts with world history. I think that there’s so much scope for collaborative projects and ways to disseminate the message of Silkroad across multiple platforms, not just shows or concerts, although that’s an important piece. There are also the academic connections and making those connections even stronger and really being clear about how this can be a more widely known thing. I am so proud because it’s such a beautiful organization and ensemble and the amount of talent wrapped up in this group is just phenomenal. One of the reasons I came on board is that I’ve always felt that the [Silkroad] Ensemble is not well enough known. I just think that there should be more awareness of what Silkroad is doing. And, in different places and different groups.GAZETTE: What does music-making look like in the age of COVID for you? GIDDENS: For me personally, I’ve still been able to make music over long distance with people and put the music out and make videos. But you know, it’s a different kind of art. You adapt to what you have. And of course, nobody wants to do this forever. But there are things that you can find that you wouldn’t have found before. I’m talking to people I was never talking to before. I never did Zoom. I never connected in this way. So, you take all the good you can out of having to adapt. You have to kind of pivot and just say, “OK, this is where we are. What can we get out of this moment? And sometimes it’s actually quite a lot.” “[T]he ways that we are different are ways to be celebrated because they’re all reflecting the same thing: the core of who we are, as humans.” A classically trained opera singer, accomplished fiddler and banjo player, Rhiannon Giddens knows plenty about various musical traditions, and now she’s bringing that knowledge to the Silkroad. The MacArthur grant recipient and co-founder of the Grammy-winning Carolina Chocolate Drops, Giddens was recently named artistic director of Silkroad, the University-based nonprofit organization conceived by cellist and Harvard graduate Yo-Yo Ma ’76 in 2000 to promote multicultural artistic exchange. Giddens spoke with the Gazette about how her own musical background helped prepare her for her new role, about Silkroad’s Harvard collaborations, and about its road ahead.Q&ARhiannon GiddensGAZETTE: What attracted you to this role?GIDDENS: It came at a really opportune moment in my life. I’ve been digging, obviously, in American music for a while now and sort of uncovering things and trying to add to the conversation in a positive way, particularly with African American contributions to the picture. But a couple of years ago I made the acquaintance of and started forming a partnership and a friendship with [Grammy-nominated multi-instrumentalist] Francesco Turrisi, and what it did was kind of bring into focus where American music is in a global context, and the idea of what happened beforehand, before folks started coming over to America, and how all of those musical patterns happened over and over again. I started getting a broader awareness of that, of where American music fits in a global context. And so, I’ve been sort of sitting with that and realizing that that’s where I wanted to start focusing my energy. And then this opportunity came in, and it just felt like it was the right thing at the right time. If it had come in a couple years before, I wouldn’t have been sure. I would have thought that I still didn’t know enough. I wouldn’t have been equipped back then. But now I feel like I’m at least more aware and can learn the things that I need to learn.GAZETTE: Can you say a little bit more about your musical background, and if you feel your experience will help you in this position?GIDDENS: Most of my background is very much kind of bridge-like positioning. I have a degree in operatic and classical singing, and I studied a lot of Western art music. I had an apprenticeship in the folk tradition with an elder, African American fiddler. My family is multiracial, so I’m kind of seeing both sides there. I grew up spending part of my life in the country, part of my life in the city. So, in many aspects of my life, I can see both sides of the coin. And I think that kind of flexibility is really good for a position like this, to understand there’s not one way of doing things. I’m just very comfortable saying what I know, and I’m very comfortable saying what I don’t know, because I realize there is so much to learn.,GAZETTE: Silkroad engages with music from all over the world, but given your background will you try to bring an even sharper focus to the American musical tradition?GIDDENS: The focus has always been on the idea of cultures meeting and taking these cultures, especially in the beginning those cultures that lined the Silk Road, and exploring how we are more alike than we are different. In my mind, the American piece of that has never been really thoroughly explored. I feel like that is part of what I’m bringing to the role, because I’m so historically based. I’m very interested in all of the cultural elements that make up America, and they are global. It’s a question of examining what happened here in the 1800s; what happened here in the 1900s; and asking, “How does that affect our music? How does that affect who we are in the world?” All of the traditions reflected in the Silk Road showed up in America. I think there’s so much scope for connecting it to the American narrative and making people understand that the American narrative is a global narrative.We have sort of been told that the American story is this very narrow sort of WASP-y kind of American triumph, but that’s not it at all. You look at America, and you see these incredibly multifaceted, multilayered cultural collaborations going on all over the place. And then you have capitalistic and suppressed white supremacy structures, dividing and putting in artificial divisions where culturally things come together. So, I think that there’s a lot of opportunity to expand, to connect the mission even deeper to what’s going on here because, as we can see, these divisions are not superficial, and they’re not going away anytime soon. Anything that we can do to promote the idea that these divisions are false, that race is a completely artificial construct, is critical. Music is one of those ways that people see how naturally we come together. And that’s so important.GAZETTE: Do you think the arts, and music more specifically, can help us move toward a society that’s more inclusive and tolerant?GIDDENS: I think it shows the best of us. Nobody is born who doesn’t need music in some way — despite what people are saying about who’s essential and who’s not, and who we should be giving help and money to. The arts seem to be completely forgotten, even though everybody says, “Oh, you’re getting us through this pandemic. Please, put the shows on. Do this; do that.” Everybody needs it, but it doesn’t seem like it’s respected in the same way. That’s not really the answer to your question, but it is all connected because the arts need to be respected and because artists are cultural ambassadors. We respond to what’s going on in the culture in our art; I think the best art does, anyway. And it shows the best of humanity. So why don’t we celebrate that even more? “Nobody is born who doesn’t need music in some way.” GAZETTE: Have you been pleasantly surprised by anything while working remotely?GIDDENS: Well, just the possibilities like when Yo-Yo Ma reached out and asked if I wanted to do something for Juneteenth. Previously, I would have said “Juneteenth 2022 or 2023?” because we are typically so booked up. But then we were both in our houses, and all of a sudden it made a collaboration possible that wasn’t possible before. I had just written this song; it was an effort to respond to what was going on during the thick of protests. And so, I recorded part of that, and he added to it, and then you sit back and you watch it and think, “That’s pretty darn cool.” I really appreciate those moments that wouldn’t have happened in the before times, as we call them.GAZETTE: What will Yo-Yo’s involvement be moving forward?GIDDENS: You don’t have Silkroad without Yo-Yo Ma, because he is the genesis of it. He’s in the history; he’s in the DNA. He’s going to remain involved. He’s not going to be there all the time, but when there are moments it makes sense for him, and it makes sense for Silkroad, it will happen. But whatever happens with how much Yo-Yo can play with Silkroad, part of my mission is getting people to know what Silkroad is regardless of Yo-Yo’s involvement, in other words giving Silkroad an identity outside of Yo-Yo. And that means that he can engage with the ensemble in a way that’s organic, and there’s this special connection, of course, because of his long-term involvement.GAZETTE: Regarding your song “Build a House” to commemorate Juneteenth, you wrote: “This song came knocking about a week ago, and I had to open the door and let it in. What can I say about what’s been happening, what has happened, and what is continuing to happen, in this country, in the world? There’s too many words and none, all at once. So I let the music speak, as usual. What a thing to mark this 155th anniversary of Juneteenth with that beautiful soul Yo-Yo Ma. Honored to have it out in the world.” Are you working on other music that speaks to this moment?GIDDENS: I love to collaborate and when people reach out and want to say something and donate money to something that’s really important, I love to do that. I just released a cover of Portishead’s “It’s a Fire” with Amanda Palmer in a very different style than I usually do. All the proceeds of that song support the Free Black University Fund. So as long as that continues, as opportunities come, I’ll do it. In terms of songwriting, when it comes through me, and the emotions come in and it happens, I write it. The Juneteenth piece, “Build a House,” was the perfect storm of writing it and then having the opportunity to make the video with Yo-Yo. I have a song coming out soon that I wrote five years ago in response to the Charleston massacre at the [Emanuel African Methodist Episcopal Church, where white nationalist Dylann Roof shot and killed nine African Americans during Bible study]. It’s always going to be a piece of what I do. I feel so helpless here living in Ireland. All my family’s in the States, and I just keep reading the headlines every morning and thinking, “Oh my God. What can I do?” So, I just make what I can and get it out there.GAZETTE: Do you anticipate these kinds of collaborations happening with Silkroad?GIDDENS: Yes, and that makes me excited about the future. As strange as that sounds right now, you have to be excited because there’s so much to be depressed about. I feel so lucky because this is a really beautiful spot in my life and I’m getting to know people in the ensemble, and they’re all just really wonderful human beings in addition to being incredible creators and artists. And there’s so much love and so much desire to make a difference. So, this is where we have to live, in the hope of making things that can help make the world a better place. That’s where I’m living right now.Interview was lightly edited for clarity and length. Yo-Yo Ma and Philharmonic director Borda discuss music as a force for social justice Relatedlast_img read more

Filmmakers receive Student Academy Award nomination

first_imgPhoto courtesy of USC School of Cinematic ArtsRoad to the red carpet · Halima Lucas, a third-year Masters of Fine Arts student in the production program at the School of Cinematic Arts, works with actress Kira Jane Pinkney on the set of Amelia’s Closet.Two graduate students from the School of Cinematic Arts received nominations earlier this month for Student Academy Awards from the Academy of Motion Picture Arts and Sciences.Halima Lucas, a student pursuing an MFA within the production department, worked on her film, Amelia’s Closet, for her Thesis 581 class. Lucas did everything herself, from developing ideas to post-production. She credits her success to her team’s cohesiveness. “It has been an amazing collaborative effort from an amazing team,” Lucas said in an interview with the Cinematic Arts department. “We made the film on God’s grace and gaff tape.”Lucas’ story of an 11-year-old girl learning how to face harsh words received recognition under the Narrative category. She is one of seven finalists.“I was stunned and humbled,” Lucas said. “I couldn’t wait to tell the team what we had accomplished. Truly it came together with a team of people who were passionate about the story and deeply committed to the project no matter what we were facing or resources we had.”Lucas worked closely with Helaine Head, an associate professor at SCA. Head mentored Lucas, offering advice and strengthening her direction. According to Head, Lucas’ story captured a perspective not commonly told.“I thought her ideas were great,” Head said. “She had a very personal and unique point of view and experiences not everybody had. She’s a really talented filmmaker who has some interesting ideas and more stories to tell that we would be interested in seeing.”But Head didn’t overwhelm Lucas with guidance. He let her have her own artistic direction to enhance her learning experience.“She can address the problems the way she wants, as opposed to saying, ‘You should put this here,’” Head said, “The object of this exercise was so that people can make a film that reflects their point of view. That will make them stronger when they leave here.”Head felt that Lucas’ production style aligned with the school’s stance on diversity. The school’s admissions team has tried to foster diversity by hiring faculty from different backgrounds and expanding academic opportunities, according to an SCA statement.“This is a place that tries to foster the vision of the students who come here, and we get students that come from a lot of different places and points of view within the United States,” Head said. “Hopefully, they’ll be part of a new wave. Halima will be one of the people who will change the stories that are told and how they will be told.”The Student Academy Awards were established in 1972, and its awardees have included industry giants such as Robert Zemeckis, Spike Lee and Trey Parker, according to the Academy. Student candidates cannot apply individually, but need the endorsement of a faculty adviser in their film school to be considered for an award.Alicja Jasina, a master’s student from the John C. Hench Division of Animation & Digital Arts, created the short film Once Upon a Line. Her story features how a man escapes his dull life by falling in love. She was nominated under the Animation category.The awards ceremony will take place Sept. 22. The University has had long-standing success with Student Academy Awards, with their first victory dating back to 1975. Last year, then-graduate student Alexandre Peralta won the gold medal in the Documentary category for his film Looking at the Stars.last_img read more

Bel’s record play in WPGA event

first_img12 May 2014 Bel’s record play in WPGA event England U16 squad player Bel Wardle set a new amateur course record and claimed a runners-up place when she teed up for the first time against a field of women professionals.Bel, 14, shot a one-under par 71 at Dunham Forest, Cheshire, in the first of this year’s events on the WPGA One Day Series.Her score clipped a shot off the old record and left her in a three-way tie for second place and just one-stroke behind the winner, Claire Duffy of Test Valley, who used to play on the Ladies European Tour.Bel, from Prestbury in Cheshire, trains with the England Golf U16 North West Squad. She was quick to grasp the opportunity when the WPGA opened up entry to this season’s one day events to U16 and U18 girls from the regional squads.She was one of five squad players in the field and was joined in the top 10 by the new Durham ladies’ champion, Jessica Hall (Bishop Auckland), who tied for seventh place with a 74. Bel reached the turn at three-over par but came home in a sizzling four-under on the back nine.Her performance underlines a great run of form. She teamed up with Emily McBurney, also 14, (Royal Liverpool) to win the Northern Ladies’ Foursomes when it was held last month at Ringway in Cheshire. Then, just over a week ago, she was runner-up in the Cheshire ladies’ championship. Along the way she’s cut her handicap this season from 4.7 to 2.5.Her father, Paul Wardle, remarked: “Bel has definitely benefitted from being in the North West Squad and I think the hard work over the winter is paying off. She’s been very consistent this season.”Rebecca Wood, the England Golf Women’s Performance Manager, commented: “I want to congratulate all five players for taking up the chance to tee it up with the professionals in this first event and it is fantastic to see two players finishing in the top ten.“I have had enthusiastic comments back from players and I want to take the opportunity to thank the PGA again for providing this unique experience to the girls. Apart from the second event at Little Aston GC on Monday 19th May, there are spaces in the remaining events for regional U16 and U18 players to snap up and they should contact the Performance office for further details.”Click here for full results.last_img read more

Will the Pirates ever erect a permanent statue of Josh Gibson?

first_img“They (Nats ownership) came to me to ask whether we’d be interested in erecting a statue in my great-grandfather’s likeness on Nats’ property.” Sean Gibson said it was a no-brainer, considering Josh played several seasons in D.C., and considered the nation’s capital his “second home,” where he and the Grays played their home games in Northwest D.C. at Griffith Stadium from 1940-1948. Annual football clashes between Howard University and Lincoln University also occurred at the stadium, which was located in a Black section of D.C., near the Howard University campus. The stadium was demolished in 1965. Today, Howard University Hospital sits on the former site, while a moniker denotes the once-thriving stadium’s former existence. The stadium was also home to the NFL’s Washington Redskins and the Washington Senators baseball team.“I was fully aware of and involved in the entire process of having the statue in D.C.,” Sean Gibson told the New Pittsburgh Courier in an exclusive interview.Meanwhile, it should be known that Josh Gibson was born in Buena Vista, Ga., and moved to Pittsburgh’s North Side at age 11. As a ball player, he lived in the Hill District’s “Sugartop” section, said Sean Gibson.Notably, in 2005, the Pirates constructed what was then called Legacy Park in honor of Pittsburgh’s two successful Negro League franchises, the Homestead Grays and the Pittsburgh Crawfords, and their legendary owners and players. Statues and monikers of players such as Josh Gibson, Satchel Paige and James “Cool Papa” Bell were erected. But in 2015, Legacy Park was dismantled by Bucco ownership—providing Sean Gibson’s foundation with a chance to purchase the statues and ultimately auction them off for profit.Retired Courier sportswriter Eddie Jefferies said he’s still disappointed with the Pirates’ decision to remove the statues.“Upon learning that the Pirates had dismantled PNC Legacy Park I immediately harkened back to episodes in ‘Baseball’s Great Experiment’ (1983), where author Jules Tygiel alleges that the Pirates offered Negro League players tryouts at Forbes Field, opportunities that were subsequently and mysteriously cancelled,” said Jefferies.Meanwhile, Rob Ruck, a University of Pittsburgh history professor and author of publications related to Negro League Baseball history, said he harbors mixed emotions concerning the removal of Legacy Park.“Really, I was stunned when I heard the statues were gone,” he said, noting that the significant historical benefits that Legacy Park provided mainstream baseball fans, especially the youth, would be lost.He continued by crediting Pirates ownership for their groundbreaking management decisions related to acknowledging the Negro League ball play.“In the fall of 1988, the Pirates were the first Major League franchise to celebrate the Negro Leagues, with the 40th anniversary of the Homestead Grays Negro League Championship,” said Ruck. “The Pirates brought all the former ball players back to Three Rivers Stadium, and then-owner of the Pirates (Carl Barger) apologized for MLB’s overt racism in keeping Black ball players from joining the league. That was a groundbreaking move,” said Ruck, who’s authored “Sandlot Seasons,” an account of Pittsburgh’s rich sports history and the city’s impact on the development of the Negro Leagues.He’s also the author of “Raceball: How the Major Leagues Colonized the Black and Latin Game.” In July he published “Tropic of Football,” a book paying homage to American Samoan athletes who find success in the NFL. Retired Steelers star Troy Polamalu, the late Junior Seau and quarterback Marcus Mariota are three such Samoan success stories.In supporting the Pirates, Ruck states, “We shouldn’t be too hard on Bucco ownership. They put up banners at Three Rivers Stadium in honor of the Grays and the Crawfords. And they developed Legacy Park in honor of the Black players. They erected the statues and played videos to commemorate the great players. Yes, they really did a lot,” he said. “We have to give them credit for what they did.”Ruck noted that the Heinz History Center provides a significant display paying homage to Pittsburgh’s professional Black baseball teams, in addition to the former Homestead High-Level Bridge. “The bridge has since been renamed the Homestead Grays Bridge, and there are historical markers on the bridge depicting several of the legendary players,” he said.Ruck, 68, is a longtime Pittsburgh resident born in Iowa, but reared in Mount Lebanon. He also lived in Bloomfield, he said.  As a University of Pitt student, he had a friend who lived in Homestead. Both were intrigued by steel mill activity occurring across the Monongahela River at Homestead’s U.S. Steel Works, which was easily observed from their Oakland dormitories.“My buddy knew a little about the rich history of Homestead’s Black baseball legacy, but we couldn’t find much information when we started to research those facts. That intrigued me to learn more about those topics,” said Ruck.People like Gus Greenlee (owner of the Crawfords) and Cumberland Posey (owner of the Grays) were names that began to surface, as Ruck’s research actions began to spread. He also speaks about the Black Fives pro basketball team and Black social club-sponsored baseball teams like the Monteciellos and the Loendis who were synonymous with Black Pittsburgh sporting success.On July 12, a week before this year’s MLB All-Star Game, Sean Gibson was invited to Ben’s Chili Bowl restaurant in Northwest D.C. where a famous mural now includes his great-grandfather’s artistic image. The mural also includes President Barack Obama and Michelle Obama, Muhammad Ali, Dick Gregory, Prince and Go-Go musician and D.C. native, Chuck Brown. Bill Cosby was once featured on the eatery’s mural, but his image was removed in June 2017 amid his controversial legal issues.Sean Gibson said he was more than ecstatic that MLB supported honoring the Grays and Josh Gibson’s legacy in the nation’s capital.Ben’s Chili Bowl is a D.C. landmark known for its famous chili and beef/sausage hot dogs known as “half-smokes.” The restaurant is located on U Street and was founded in 1958 by Trinidadian native Ben Ali and his wife, Virginia. The business remains family-owned, although Mr. Ali died in June 2009. AT THIS YEAR’S MLB ALL-STAR GAME, thousands of fans, many of whom were visitors to the D.C. area, saw the Josh Gibson statue as they walked into Nationals Park. The Pittsburgh Pirates removed a number of statues honoring Negro League legends in 2015. THE JOSH GIBSON STATUE stands permanently near Nationals Park in Washington, D.C. (Photos by Timothy Cox)WASHINGTON, D.C.—When nearly 45,000 baseball fans embarked on Nationals Stadium for the 2018 Major League Baseball All-Star Game here in July, they likely noticed three statues dotting the entrance.In addition to statues paying homage to Washington baseball legends Frank Howard and Walter “Big Train” Johnson, a bronze memento of Josh Gibson also lines the entry way.The question that immediately arises is why Gibson, the legendary Negro League catcher from Pittsburgh’s Homestead Grays, is being lauded by a D.C. franchise, but the Pittsburgh Pirates currently do not have a statue in front of PNC Park paying homage to Gibson, a hometown hero?“Josh Gibson actually played for the Washington Grays when the franchise moved from Homestead to D.C.,” explained Sean Gibson, Josh Gibson’s great-grandson, a Pittsburgh native and CEO of the Josh Gibson Foundation.center_img Like us at https://www.facebook.com/pages/New-Pittsburgh-Courier/143866755628836?ref=hlFollow @NewPghCourier on Twitter  https://twitter.com/NewPghCourierlast_img read more

Gardening: A Lifetime Interest

first_imgBy John BurtonRED BANK – Borough Council President Cindy Burnham offered a little tidbit to a handful of women at the Red Bank Senior Center as they completed their plantings in the newly established garden: “Nothing’s better than coming back to your garden and picking a cherry tomato and popping it in your mouth.”The women, whose ages range from the mid-60s to late 80s, nodded in agreement, recalling the joy of gardening.“The best part is touching the earth,” putting your bare hands in the soil for the vegetables and herbs to grow, offered Enilza Andrade, an 83- year-old resident of Wesleyan Arms senior apartments here in the borough.Burnham, in addition to serving as council president for the year, is the council liaison to the senior center, 80 Shrewsbury Ave. She personally purchased four elevated planting beds and the needed soil to establish a garden in the center’s back yard area, overlooking the Swimming River.With the helpful assistance of employees of the borough Department of Public Utilities, Burnham said, they stacked the four beds, costing about $200, on top of one another, placing the approximately $300 worth of soil in the beds, and then including mushroom compost in the mix. Having the beds elevated makes it easier for the seniors to participate in planting, said both Burnham and Jackie Reynolds, director of the municipality-run senior center and programs.Among the items planted for the season are cherry tomatoes, Italian peppers, rosemary, garlic, chives, cilantro, basil and nasturtium, an annual flower and leaves that are both decorative and edible.“This is something I’ve done all my life in my home,” having her own small garden, said Rosalie Jackson, 83, Red Bank.And for 85-year-old Betty Albert, who lives in Fair Haven, it brought back some fond memories. “My grandparents were farmers,” and she recalled visiting them and doing some work on their farm.For Jackson, the best part of the effort is “seeing everything grow.”It is late in the planting season, Burnham acknowledged, “but better late than never.”Next year, she hoped the group would consider some autumn items to plant.This is something she’s wanted to do since before she ran for borough council, “just for the love of it,” said Burnham, who is running for re-election in the November election as an independent candidate.Prior to her tenure on the governing body, Burnham had advocated for and help establish the borough community garden and the Maple Cove open space and public access area to the Navesink River at the northern end of Maple Avenue.This project “is very senior friendly,” Reynolds pointed out, helping with their socialization, offering an outdoor activity and even providing some cognitive stimulation. And Reynolds suspected others who regularly come to the senior center for its programs and company will look to participate in the gardening.Approximately 65 seniors are “in and out” of the senior center daily, totalling roughly 400 a week, according to Reynolds.The center and its activities are available to residents of the borough and surrounding communities as long as they are at least 60-years-old.last_img read more


first_imgRAFAEL BEJARANO, LUMINANCE, FOURTH AS EVEN MONEY FAVORITE:  “She broke a little slow, so I didn’t have the position I wanted to have early.  She tried really hard, but those fillies didn’t stop.”  TRAINER QUOTES JOCKEY QUOTES            STEWART ELLIOTT, GLORYZAPPER, WINNER: “She ran really well in her last out (her only start on turf) but she just didn’t have that turn of foot on the grass, like a lot of grass horses do. Phil knew it and said he would put her back on the dirt and shorten her up a bit. That’s what she’s good at.“With the way she ran today…she got tested and she fought to win, so I could see the Breeders’ Cup as a possibility.”             PHIL D’AMATO, GLORYZAPPER, WINNER: “She gave us a good performance. She’s always a fighter, she always pushes on. Stewart did a great job. The four (favored Luminance) broke a little slow so Stewart put Gloryzapper into the race early and she fought everybody off.“I love her in this scenario. When she has her head in front of the rest of the opposition, she loves the fight. She loves to hold them off. Passing horses, she’s just ok, but she loves to be in the mix and fight them off.“We’ll see what’s next. Maybe the Breeders’ Cup Filly and Mare Sprint but, we’ll see. We’ll see how she comes out of it.” NOTES: The winning owners are A.C. Hebert, of Vinton, Louisiana, who races as Hebert Bloodstock, Andrew Leggio of Metairie, Louisiana and Peter Peluso of Glen Head, New York.last_img read more

Foreign media explore South African innovation projects

first_imgJohannesburg, 7 November 2013 – Foreign correspondents based in South Africa who are being hosted on a Brand South Africa media tour aimed at profiling the country’s innovation, will today visit the iThemba Labs in Cape Town where nuclear medicine will be profiled.The tour is aimed at profiling South Africa’s innovation, and coincided with the country’s inaugural Competitiveness Forum, which took place at Gallagher Estate in Gauteng on Tuesday 5 November. The South African Competitiveness Forum brought together leaders in government, business and civil society, to discuss the factors that impact on South Africa’s global competitiveness.JohannesburgOn Monday 4 November 2013, the group held discussions with the Auditor General’s office, the Association of Public Accounts Committees, the Innovation Hub and SpringAge.Later in the day they visited Mobile Money, for a fist-hand look at innovation in the financial services industry – bringing banking services to the unbanked using only a valid mobile number to transfer money.PretoriaJournalists also visited the Council for Scientific and Industrial Research (CSIR) in Pretoria on Wednesday 6 November 2013. The CSIR conducts ground-breaking work in science, engineering and technology. At the site, journalists were briefed about world-first digital laser technology, which is being tested by scientists at the CSIR.The delegation also visited Pretoria’s Innovation Hub, which is a science and technology park which supports innovation and the competitiveness of businesses and knowledge-based institutions. At the park, journalists were taken on a tour of Sappi’s Technology Centre and the manufacturer’s pulping and bleaching processes, as well as research and development initiatives.Brand South Africa CEO Miller Matola commented on the significance of the media tour, saying it is important that South Africans shape the narrative we want told about our country: “South Africa scores highly on international indices, in the areas of innovation and business creativity. We are making great strides in the fields of science and technology, attested to the projects being showcased during this week. The inspiring work being carried out by young South Africans in the medical, science and technology fields will assist us to achieve the objectives set out in the National Development Plan at all levels. Through this we can reshape our narrative and our developmental trajectory,” Mr Matola said.In Cape Town, the delegation will visit various innovation projects and sites, including: iThemba Labs, Robben Island, the Cape Town Port and explore the wine route.About Brand South AfricaBrand South Africa is the official marketing agency of South Africa, with a mandate to build the country’s brand reputation, in order to improve its global competitiveness abroad. Its aim is also to build pride and patriotism among South Africans, in order to contribute to social cohesion and nation brand ambassadorship.Further resources from Brand South AfricaMedia are invited to visit http://www.southafrica.info/ for further resources which can be reproduced without any copyright infringement.  Kindly attribute to Brand South Africa.Follow Brand South [email protected]_SA (https://twitter.com/Brand_SA)For more information or to set up interviews, please contact:Nadia Samie-JacobsPublic Relations DomesticTel: +27 11 712 5007 Mobile: +27 (0)72 777 9399Email: [email protected]last_img read more

New private Halifax clinic deeply troubling Nova Scotia NDP says

first_imgHALIFAX – Nova Scotia’s NDP says the emergence of a new private Halifax clinic that aims to reduce the strain on the public health-care system is “deeply troubling.”Unified Health bills itself as a “community triage centre” where patients are assessed for a fee by nurse practitioners, not doctors.Unified Health, which opened late last month, says it aims to help “redirect some of the non-emergency traffic that visits the emergency room.”In the legislature Tuesday, NDP Leader Gary Burrill suggested the clinic only exists because the provincial government has been unable to fix a chronic doctor shortage that has left many Nova Scotians without a family physician.“Is it right that a person in our province should have to pay $35 for a medical appointment?” Burrill asked Premier Stephen McNeil.“A person could fairly conclude that the emergence of a private, for-profit clinic providing a service that is supposed to be provided in Nova Scotia free indicates that the job the government is doing on providing health care is missing the mark at a pretty basic level.”In a July news release, Unified Health said patients will be re-directed to emergency services if required, but otherwise nurse practitioners “can provide both acute and ongoing care.” The centre also has on site physiotherapy, massage and osteopathic services.“This system ensures that only medical cases use medical resources and that non-medical cases don’t go untreated,” it said in the release, which says the clinic aims “to help reduce the strain” on the public system.Unified Health calls its clinic on Joseph Howe Drive in Halifax a pilot project, and suggests there will be more locations. Its website says it is “bringing wellness and efficiency back into Canada’s health-care system.”“It’s not that doctors can’t or don’t want to help, we just don’t have enough of them to go around … but we do have other resources that we can start with to pre-screen certain things, like a sore back or shoulder. You just need someone to point you in the right direction,” Alan Attwater, president of Unified Health, said in the July release.A legislature committee heard last December that 42,000 Nova Scotians are actively seeking a family physician, although federal statistics place that number at closer to 100,000 — including people who simply aren’t looking for a doctor.McNeil said Tuesday the province has recruited new family doctors, created new residency positions and taken other measures to provide Nova Scotians with primary health care.As to the NDP’s questions about Unified Health, McNeil said simply: “The health care system is publicly funded in this province and we expect all of the institutions that are providing health care services to meet the Canada Health Act.”last_img read more

Akwesasne residents hold protest demanding new deal with Canadian border agency

first_img(Antoine Delormier, 67, before heading out on protest. APTN/Photo)APTN National NewsA handful of Akwesasne residents on Saturday marched to the Canadian border post on the edge of their territory demanding the next federal government deliver a new deal between the Canadian Border Services Agency (CBSA) and the community.The small protest was sparked after Antoine Delormier, a 67 year-old Akwesasne man suffering from a heart condition, was manhandled last month by CBSA agents after he crossed through from his home on Cornwall Island on the way to the hospital. The Sept. 24 incident is currently under investigation and the family has contacted a lawyer.Delormier spent a week in hospital partly as a result of the incident.“It is sickening going through this every day,” said Delormier. “Those people over there (CBDA) need to have a little respect for the Native people that live here.”Delormier drove through the border post Saturday as a group of about 15 demonstrators waved signs next to the customs post and urged other drivers to honk their horns. The CBSA agent in the booth did not ask for Delormier’s name or that of the APTN reporter in the truck as he stopped to check-in. The agent just waved the truck through.The people who marched Saturday said they were upset about what happened to him.“If this happens to an elder, who is going to be next, our kids?” said Pascale Delormier, who is sister-in-law to Antoine Delormier.Akwesasne straddles the borders of Ontario, Quebec and New York State.The protestors, with signs reading, “New CBSA deal now” and “CBSA brutalized Antoine Delormier,” want CBSA to create a lane-way specifically for residents of Cornwall Island, which is one of the districts in Akwesasne within the Canadian boundary.Akwesasne residents who live on Cornwall Island, which sits in the St. Lawrence River, are forced to report at the Canadian border post any time they leave their homes to travel into Cornwall, Ont., and beyond.“We have to make the government understands we need them to stop this abuse at customs,” said Kanento Boots.A group of about 15 Akwesasne residents protested Saturday outside CBSA post on edge of their territory.The relationship between Akwesasne and CBSA has remained tense since 2009 when the agency abandoned its original post on the island after community residents protested plans to arm border guards.CBSA moved its border post to Cornwall which put the island in a type of no-man’s land between the Canadian border post and the U.S. port of entry which sits on the south bank of the St. Lawrence River.Of the three districts of Akwesasne in Ontario and Quebec,  Cornwall Island is the only one accessible by road directly from Canada. The two other districts, St. Regis Village and Snye, can only be accessed by road through the U.S.Canadian and U.S. authorities say Akwesasne’s location has made it a hub for smuggling.last_img read more