Utopia looks to the future with new product line – Catering Insight

Utopia Tableware is focusing on future opportunities, as it is working on a range of protection equipment to aid with new safety measures as the market reopens.

Marketing director Kathryn Oldershaw detailed: The range represents a significant investment for Utopia and is being specifically developed for the hospitality industry.

One thing were very aware of is that foodservice operators do not want to feel that their PPE may be depriving healthcare workers, so were developing new sources that wont in any way interfere with NHS supplies.

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She emphasised that this builds on the companys solid foundations: Utopia entered 2020 in an excellent financial position with strong reserves and liquidity. We were delighted to launch our new look catalogue, showcasing our new collections, at Ambiente in the dedicated Horeca hall.

Nevertheless, Oldershaw acknowledged: Unfortunately those exciting times came to an abrupt end for all of us in the hospitality industry.

We acted decisively and quickly at the point that a lockdown became likely to secure our strong financial position. We have been planning our route out of lockdown ever since, taking into consideration the likely very slow return of the hospitality sector. Based on even the most pessimistic forecasts, were in the fortunate position that our business model works and we will continue to be financially secure and stable.

Utopia has remained open throughout this unprecedented period. We have operated with a skeleton staff working safely, determined to continue to provide our customers with the service that they expect.

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Utopia looks to the future with new product line - Catering Insight

ATX Television Festival Adds Perry Mason Reboot, Little Fires Everywhere, HBO Maxs Legendary And More – Deadline

ATX Television Festivals very first virtual edition titled ATX TV.From The Couch! has unveiled additional panels for the event which is set to take place June 5-7.

The fest will feature the marquee panel conversation with the cast and creatives of HBOs reboot of Perry Mason. Audiences will get a first look at the new gritty drama ahead of its June 21 premiere date. Hulu will also bringtheir original seriesLittle Fires Everywhere to the fest with a panel featuring showrunner/executive producer Liz Tigelaar, co-executive producer/writer Attica Locke, co-executive producer/writer Raamla Mohamed, co-executive producer/writer Amy Talkington, co-executive producer/writer Nancy Won, writer/producer Shannon Houston, writer/producer Harris Danow, and writer/producer Rosa Handelman

HBO Max, which launches May 27, will enter the fold, serving a panel Extravaganza with the cast from the new reality voguing competition, Legendary. There will also be a table readwith the executive producers and cast of Search Party ahead of its debut on the streaming platform Confirmed talent includes series creators and EPs Charles Rogers and Sarah-Violet Bliss, as well as stars Alia Shawkat, Meredith Hagner, John Early, John Reynolds and Brandon Micheal Hall.

FX Networks will present a Justified with creator/showrunner/executive producer Graham Yost, director/executive producer Michael Dinner, executive producer Sarah Timberman, and stars Timothy Olyphant and Joelle Carter.

NBCs new streaming platform Peacock, which launches July 27, and Wolf Entertainment will host a Live with OneChicago conversation with Chicago Fire showrunner/executive producer Derek Haas and cast members Jesse Spencer (Chicago Fire) and LaRoyce Hawkins (Chicago P.D.) with additional panelists announced soon. In addition,Peacock will present a Psych panel with creators Steve Franks and Chris Henze, as well as cast members James Roday, Dul Hill, Kirsten Nelson, Maggie Lawson and Corbin Bernsen ahead of the premiere of Psych 2: Lassie Come Home.

Other panels include a conversation with PopTVs One Day at a Time including showrunner/executive producer/director/actor Gloria Caldern Kellett as well as cast members Justina Machado, Rita Moreno, and Isabella Gomez. They will join viewers for an informal brunch conversation discussing the June 16 animated special, The Politics Episode. Showtime will bring their sports docu-series, Outcry, which examines the gripping story of high school football star Greg Kelley and a quest for truth and justice in central Texas. Emmy award-winning director and executive producer Pat Kondelis will be on hand for a conversation.

The fest will highlight the ways women support one another in television with a special Torchlighters panel, led by Pacesetter principal and executive producer Jessica Rhoades (Dirty John: The Betty Broderick Story, Sharp Objects, Utopia) creator/showrunner/executive producer/director Marti Noxon (Sharp Objects, Dietland, To the Bone), creator/showrunner/executive producer/director Tanya Saracho (Vida), Francesca Orsi (Executive Vice President and Head of Drama at HBO), writer Lindsey Villarreal (Vida) and writer Erika L Johnson (The Village, The Good Lord Bird), with additional panelists to be announced soon.

Last but not least, ATX will bid farewell to series that have ended or will end in 2020 with a panel appropriately titled, The End featuring creator/showrunner/executive producer Jason Rothenberg (The 100) and showrunner/creator/executive producer Martin Gero (Blindspot). Additional panelists will be announced soon.

ATXs previously announced programmingincludes panels for Scrubs, Cougar Town, The Bold Type, Nancy Drew, New Amsterdam, P-Valleyand more. The ATX Television Festival will stream for free on ATXs official YouTube channel, with an option for viewers to donate to fundraising efforts for Direct Relief and The Actors Fund in an effort to benefit those affected by COVID-19.

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ATX Television Festival Adds Perry Mason Reboot, Little Fires Everywhere, HBO Maxs Legendary And More - Deadline

We Want to Build Our Own Utopia: In Conversation with Dimitri Shapakidze of Laboratory of Architecture #3 – ArchDaily

We Want to Build Our Own Utopia: In Conversation with Dimitri Shapakidze of Laboratory of Architecture #3

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Founded in 2006, by three partners Dimitri Shapakidze, Irakli Abashidze, and Otar Nemsadze in Tbilisi, Georgia, Laboratory of Architecture #3 is known for such enigmatic projects as the Grove Design Hotel (2017), Mediatheque (2017), both in Tbilisi, and Visitor Center for Architectural Miniatures Park (2016) in Shekvetili, Georgia. Nemsadze left the partnership in 2011, to pursue his studies in the Netherlands to advance his independent career. In 2018, he co-founded Tbilisi Architecture Biannual and is currently undertaking his PhD at Tbilisi State University. The practice attracted attention from the very beginning. The partners first project was a private villa for a local entrepreneur and their hotel on Leselidze Street in Tbilisi was a result of a competition that they won in their inaugural year. After just six years since its inception, Laboratory of Architecture #3 was named the 2012 Best Architect of the year in Georgia. The current two partners, Shapakidze (b. 1983, Tbilisi) and Abashidze (b. 1984, Tbilisi) know each other since their childhood. They were neighbors and then studied at the Georgian Technical University in Tbilisi one year apart. They both worked for local architects while studying at the university and started their office right after graduation. The following interview with Dimitri Shapakidze took place over lunch at the Grove Design Hotel.

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Vladimir Belogolovsky: Could you talk about the intentions of your architecture?

Dimitri Shapakidze: To us, it is all about synthesis. What we enjoy most is bringing many different ideas and things together. We often deal with opposites, whether in terms of material qualities or forms that strangely fit and yet, attract. It is that resistance, the spark, so to speak, that bonds and fuses things almost in a welding-like process. It is that kind of tension that we are after. We like using opposites, contrasts, and counterforces to achieve something spontaneous and radical. There are two ways to pursue projects you either see the final result from the outset and you proceed toward realization right away, or you dont know what you are going to end up with and you start by asking all kinds of questions. For us, it is always the later. We want to discover things. We are curious. We are enjoying the process and thats why it is the synthesis thats important to us. Thats the reason why we refer to ourselves as a laboratory. We are experimenting with elements, coming up with different chemical reactions. Maybe things will blow up in our hands and we burn ourselves! Perhaps, there is a big risk to fail, but we want to try to see what we can do, anyway. What we want is to discover something new.

As we are working our way forward, we look around and we are competing against many talented architects of our generation here in Tbilisi. Many of us play with elements be it symbols of culture, history, politics, and so on. Many of these projects are attractive and cozy. Yet, we also see that some of these architects are working with things that are already proven and well known. They have become very comfortable with what they do and even know what is expected of them. We are not attracted to that. We want to reinvent things. We want to try things that we ourselves are not quite sure whether they are good or not. There are so many ideas. How will they be judged? Our way is this lets find out!

VB: You just used the word Synthesis. What other words would you use to describe your work or the kind of architecture you would like to achieve?

DS: Passion for design. For example, we love Archigram and its Plug-In City project. We collect design objects, especially of electronic nature and all kinds of gadgets, appliances, and devices. We see them as small-scale architecture. We learn from these examples a shaving machine, a steam engine, and so on. We use these gizmos for our inspiration because we see architecture in everything. It is our passion. I think our generation is one of the last generations that is still able to create complete buildings from scratch. In the future architects will mostly add to whats already there and will do projects collectively using the latest software and AI. There seems to be a decline in the importance of authorship. Another word and notion thats important to us is ambiguity. We like questioning whether something is inside or outside, historical or brand new, soft or hard, and so on.

VB: You want to discover your own architecture, right?

DS: Yes, we do. We want to be free in our choices and we dont want to depend on what we have done before. We want to reinvent traditions and expectations. We like to collide different forms, mutate them, in a way. We like things that are happening simultaneously. Thats the future. Our hands will be free, and our geometry will be free. This freedom is important. The freedom is in the fact that we dont have to do things in certain ways. You dont have to choose one or the other, it can be both. We like collages and colliding with other buildings. We dont like buildings that are like islands.

VB: Tbilisi is a historical city. Yet, there are many contemporary interventions here, which come in striking contrast with much older structures. This brave attitude is embraced and celebrated here. Yet, it is hard not to notice a new trend some local architects seem to be overindulging with history, even if it is very recent and not significant. They bring nostalgia into their work, which is more cherished than the freedom to design something from scratch that you just talked about. How do you deal with history in your own projects?

DS: I agree, and we also noticed many projects that seem to hide behind older structures with their cracks and patina of time. We try to stand on our own. We dont need a zombie hand sticking out of the grave. History can be very seductive, thats for sure. We know that because some of our clients ask us to be familiar to people.

VB: Could you give an example of that?

DS: We were working on our Platforma Design Hotel in the city center and our client asked us to be free on the inside but mimic a historical facade. We didnt want to compromise, so we developed our solution, which was inspired by a famous music work, called Suite in the Old Style,Op. 80 by Russian composer Alfred Schnittke. It is 15 minutes long and for the most part, it sounds like a post-baroque piece, as if you were listening to Bach, very formal. But closer toward the end, all the familiar sounds begin to melt away to reveal contrasting electronic-like sounds of striking atonality. It is fascinating mimetic music of quotations, allusions, and impromptu techniques. The point is that surprising beauty could be achieved by transforming what is familiar to something entirely new and unexpected. We are trying to find what is relevant to our own time. So, in this hotel project, we did something equivalent. We started with a classical faade thats being transforming into something entirely new in the most unexpected places. Is it an old building? Is it a new building? The whole thing is built from scratch. The entire faade is made up. Columns are not lined up with the actual structure. It is like Matrix the reality is melting into a vortex. The building is our interpretation of the Schnittke piece and response to our clients requirement. Of course, you will recognize this building as a contemporary work, but you need to pay close attention to details. So, if we absolutely have to work with history this is how we would approach it.

VB: In other words, the result may be contradictory, but it is your own and thats what makes your architecture contemporary.

DS: Absolutely. With every project, we want to build our own utopia, our own future. When we work on our projects, we grab ideas from every bucket, every source. But everything gets transformed. When you see the finished building, you would not identify where ideas come from. So even if we are inspired by history, we would never quote it directly.

VB: Could you talk about your design process?

DS: We start with discussions by putting all the objectives that we want to express in the project right in front of us. We dont care about how they look like or that they are radically different from each other, and we are not scared about how to proceed. It is a process. Ideas get crystalized. We throw everything in one bowl, and we know that something will inevitably happen there. Thats how we start, and we work as a team. We dont care who came up with a particular idea. It doesnt matter.

VB: Do you see yourselves as Georgian architects? Is it important to you? For example, in China, most local architects exploit their regional roots very explicitly. Here it is hard to tell. I wonder if such tendencies are purposely resisted.

DS: We are simply not preoccupied with such issues. For example, Peter Eisenman said that the only thing architects can achieve is a better architecture. In other words, architecture has nothing to do with pragmatics. We turn to poetry, literature, music, film, and so on, not because we want to solve problems, but because we want to rise above the mundane and the everyday. For example, Georgia is the land of conflicts, all kinds of conflicts. Dealing with conflicts is our context. We know our architecture will not solve them. As architects, we dont want to support one particular opinion. We want to fuse them to show a possibility of synthesis and to offer an alternative opinion. Of course, conflicts are not unique to Georgia. We dont think it is productive to be focused on regional issues, but it is important in some cases, to be contextual. Addressing specific context makes buildings more relevant to their place.

VB: Would you say you have your own agenda, independent of your clients briefs? In a way, you dont start from scratch every time. You bring your own inquiry into every project, right?

DS: Yes, of course, we do have an agenda of our own. We are interested in exploring our ideas in a certain way. We both were teaching at the university, for example. Just working on projects is not enough. We have our dreams. We always work on our ideas, whether related to projects or not. We have our imaginary, inner world that we want to be able to realize, our inner utopia. We have been accumulating whole baggage of ideas.

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We Want to Build Our Own Utopia: In Conversation with Dimitri Shapakidze of Laboratory of Architecture #3 - ArchDaily

School of the Art Institute of Chicago students share 18 visions of utopia – Dezeen

Students from the School of the Art Institute of Chicago (SAIC) have designed products to reflect their idea of a perfect place, shown here in this graduate show as part of VDF x Sight Unseen.

The Eighteen Perspectives on Utopia collection was envisioned by members of the university's Whatnot Studio course.

Across 18 furniture, homeware and product designs, it explores both our idealised views of a perfect society and how they fall short.

As the coronavirus pandemic has prevented students from accessing their workshops and finishing their projects, the collection is presented here as a work in process, captured by photographer Jonathan Allen in their studio.

"We decided to document the work and space just as we had left it an in-process array of ambition, intention, and imagination," explained Pete Oyler and Jonah Takagi, who lead the Whatnot Studio course.

Multiple students explored how gardens have been used in society's across the ages to create a sense of carefully manicured perfection.

Rachel Bergamini's Perennial vases feature fresh flowers captured within clear resin bodies in a nod to how immaculately maintained front lawns acted as signifiers of the idealised, white picket fence community of early American suburbs.

Similarly, Nadia Kiblinsky explored how 15th-century Italian gardens acted as microcosms of the Renaissance ideals of structure and beauty.

But instead of replicating their wasteful, grandiose fountains, she designed her Inverse Fountain to feeds water back into its own, cyclical system through arched steel tubes.

Our reliance on natural resources is also referenced in Shengxun Lin's Hard Water project (pictured top), which sees purified water encased in individual, transparent vinyl units.

This highlights the utopian ideal of easy, equal access to clean water and the dystopic reality of water contamination in modern America, as evidenced in the famous case of Flint, Michigan and its lead-infested water supply.

Various students also looked at utopian ideas in food, with Lola Dement Myers creating a porcelain dinner set, which encourages communal dining rather than enforcing an idealised, individualistic eating etiquette.

Rio Chen, meanwhile, chose to highlight the issue of over-packaging and plastic waste within the narrative of abundance and enjoyment in modern fast-food culture.

Others looked to architecture, such as Sheldon Bess who reimagined neoclassical columns to reflect not just America's history of white supremacy but also its steady decline.

Another student, Paula Moreno, created a material using concrete and salt, to illustrate the contradiction between a static, solid building material and the fragile, ever-changing nature of utopian ideals.

Several projects toy with ideas of perception, to suggest that someone's idea of utopia is always based on their specific point of view.

Design duo Sam Link and Tim Karoleff's EULA Screen is a room divider made from clear, lenticular lenses which reflect different perspectives.

And the Mirrerror project by Nicolas John is a dysfunctional mirror that blurs the viewer's direct reflection but leaves their peripheral vision clear, in a critique of our overemphasis on the individual over the community.

Others examined how notions of utopia are entangled with labour, with Hans Hwang emphasising the beauty of an organised workspace via his four-tiered Array Tray.

Kazuki Guzmn gave a new shape to the modern claw hammer, reimagining it with L-shaped or prismatic heads and colourful patination. The project is a rallying cry against automation and instead for an ideal world where hard work and time are valued above all.

Jessie Stone explored utopia in the home, creating a seating design clad in a strict grid of handmade tiles to show how hand-crafted object defy the ideals of uniformity.

Finally, Grace Jeon's Kerfed Rack was conceptualised based on the strict uniforms often adhered to in utopian cults in order to foster a sense of community.

The curved rail allows each item of clothing hang in a different and unique way, to suggest that there is no such thing as perfection.

Whatnot Studio is a course within SAIC's Designed Objects programme, which focuses on creative enquiry and iterative design.

VDF x Sight UnseenExhibitor: School of the Art Institute of ChicagoProject title: Eighteen Perspectives on UtopiaWebsite: whatnotstudio.designEmail: aiado@saic.edu

From 15 April to 30 June 2020 Dezeen is playing host to Virtual Design Festival, the world's first online design festival.

Sight Unseen is a New York-based digital magazine that covers design and visual arts, as well as curating exhibitions such as the annual Sight Unseen Offsite event.

The VDF x Sight Unseen collaboration presents projects by 51 international designers as an extension of this year's virtual Offsite Online exhibition.

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School of the Art Institute of Chicago students share 18 visions of utopia - Dezeen

Taylor Swift, Bob Hope and 8 more ways to get through the week – Minneapolis Star Tribune

Taylor Swift: City of Lover

Its not the giant stadium spectacle that fans expected to see in a handful of cities this summer (all dates have been called off), which actually might add to the charm of this intimate performance at LOlympia Theater in Paris last September. Swift not only makes a good case for the songs on her 2019 album Lover some stripped down to acoustic she also tells some fun stories behind them. Its a more lighthearted alternative to her also-excellent behind-the-scenes documentary, Miss Americana. Hulu and Disney+

Bob Hope: American Masters

In the 1970s, Bob Hope was a joke, and not in a good way. His prime-time specials depended more on his cue-card holders than his out-of-touch gag writers. This 2017 doc doesnt ignore that dark period, or his philandering, but in wisely chosen clips and testimonials Hope comes across as a pivotal figure in comedy, one whose spirited influence stretches from Woody Allens early films to Jimmy Fallons monologues. To see the onetime master at his nimblest, check out 1946s Road to Utopia, one of his best collaborations with Bing Crosby, now streaming on Peacock. 4 p.m. Sunday, TPT, Ch. 2

The Last Dance

Those who dont get ESPN can finally see what all the fuss is about. ABC is rebroadcasting this 10-hour documentary about the Chicago Bulls NBA championship runs during the 1990s. It may not be in the same league as ESPNs Oscar-winning 2016 doc O.J. Made in America, but for sports enthusiasts trying to survive the pandemic without live games, its a godsend, if only for the chance to crawl inside the psyche of Michael Jordan, one of the 20th centurys greatest athletes. 7 p.m. Saturdays through June 20, KSTP, Ch. 5

The Waltons

Anyone with a case of the blues is encouraged to stop by this Virginia familys household for a cup of coffee and a morale boost. The 1972-81 series was set during the Great Depression, but you wouldnt know it by how upbeat John-Boy and company remained every step of the way. Yes, the wholesome tone can get a bit nauseating, but the acting is impeccable. 2 and 3 p.m. weekdays, INSP

Normal People

Normal People the show is great. Which is a relief, because Normal People the book is excellent. Both tell the story of Connell and Marianne, played by Paul Mescal and Daisy Edgar-Jones, who go to high school together in Ireland. Connell is popular, athletic. Marianne is solitary, smart. They fall for each other, spending every afternoon together in bed. But Connell, afraid of what his friends will think, asks another girl to the dance, a decision that echoes in their relationship for years. In this moody, moving show, Connell and Marianne get together and break apart, each time forming something that feels both new and familiar. When words fail, they drink tea or have sex. You might have heard about the sex. Theres lots of it, sure, with dual full-frontal nudity. But its noteworthy because it reveals much more than bodies intimacy, exploration, shifts in power. Hulu

Brittany Runs a Marathon

Just because jogging is one of todays safest exercises doesnt mean youre going to start breaking a sweat. If you need some motivation, try this 2019 comedy about an overweight, self-hating woman who redefines herself while training for New Yorks big race. Star Jillian Bell nails all her jokes, but shes even more impressive in creating a three-dimensional character who isnt always easy to root for. Amazon Prime

Adam Sandler movies

Film buffs can finally stream the serious side of the Sandman when Uncut Gems drops Monday on Netflix. But be honest. What you really crave right now is something sillier. Try Murder Mystery, in which Sandler and Jennifer Aniston solve a series of crimes while bickering like a veteran vaudeville act. Even better is The Wrong Missy, a Sandler production that stars many members of his posse, including David Spade and Minnesotan Nick Swardson. Sandler doesnt appear in this one, but Lauren Lapkus fills in nicely as the goofball who sabotages a company retreat. Netflix

The Stubborn Light of Things

Host Melissa Harrison, whose voice has a lovely (English) lilt, takes walks in meadows, listens to birdsong, asks experts about the plants she finds and muses about our relationship to nature in this lovely new podcast, which she says shell continue at least through autumn. A former city dweller who took refuge in the country, she says her goal is to bring virtual nature to those who cant access it currently, but her words and sounds are a balm even if you can. Apple Podcasts, melissaharrison.co.uk

The Protector (Muhafz)

Hakan Demir (agatay Ulusoy) is an average guy with big dreams whos working a dead-end job at Kapal arsi, Istanbuls legendary grand bazaar, when a mystical Turkish coffee fortuneteller predicts that everything will change for him. His world turns upside down when he discovers hes part of an ancient line of protectors who must save Istanbul from the evil immortals, who want to recapture Ottoman-era weapons and destroy humankind. Wild plot twists and bizarre back stories keep this show interesting, as do the ever-present romantic triangles. Netflix

Have You Seen This Man?

A true-crime podcast without a resolution so far, that is. Lester Eubanks went to jail for murdering a 14-year-old girl in 1965. He behaved himself in prison, and this earned him a spot in a rehabilitation program that let convicted sex criminals leave prison and visit a shopping mall for a day. Yeah, not the best idea. He fled, and hes been in the wind ever since. The podcast documents the long search for Eubanks, and the means by which he may have avoided capture. ABCaudio.com

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Taylor Swift, Bob Hope and 8 more ways to get through the week - Minneapolis Star Tribune

The Last Time: Recalling Daily Life in New York Just Before the City Went Into the COVID-19 Lockdown – Vogue

The days of early March in New York were uncertain and eerie. Across the ocean, rising cases of the newly named novel coronavirus were being reported in Italy and France, killing hundreds and infecting thousands more, following an earlier deadly outbreak in China. In New York, fear was clearly beginning to mount, but much of the city's routine seemed intact. No one was wearing masks except medical workers. Restaurants and bars were still packed every night. The subways seemed less crowded than they had been a few weeks earlier, and yet millions of people were still making the daily commute to work. Life went on, if somewhat more cautiously than before.

Then on Thursday, March 19, it all changed. New York Gov. Andrew Cuomo announced that a stay-at-home order would be imposed across the state, effective at 8 p.m. on Sunday the 22nd. All but essential businesses, which included grocery stores, pharmacies and liquor stores, would have to shut their doors.

At Vogue, a new reality had already begun to take hold. The week before, most people on staff had started working from home. On the morning of March the 16th, that policy became official and the staff, now working remotely, had its first Zoom meeting (the first of hundreds over the next two months). And like everyone else in the city, we rushed to prepare for the lockdown: Stocking up on groceries, rushing to buy bottles of Lysol and hand-sanitizer, getting a last-minute haircut, moving in with family members who might offer a refuge from the densely populated city.

And for many of us, it also represented the last time we were able to take part in the daily rituals of our liveseating at a favorite restaurant, walking to the neighborhood playground or local ice cream store with a child, playing a couple of sets on a battered public tennis court, racing to catch a subway, picking out an outfit for workall small, mundane moments that, only now in retrospect, have taken on the power of a cherished memory. Here, from Vogue writers and editors, are a few glimpses of our lives before lockdown.

This is a picture of me and my son, Guyor more accurately, our shadowsas we walked to school in Brooklyn, in early March. (My wife, Biba, and daughter, Esme are behind us.) Our whole family walked to school every day before Biba and I headed off to work, and while getting out the door was a daily clock-racing, multitasking, forgetting-something-and-running-back-home-to-grab-it hecticness that I certainly dont miss, the steadying ritual of it allalong with the daily high-energy run-ins with so many of the kids friends along the short walknow seems like something out of a kind of utopia.

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The Last Time: Recalling Daily Life in New York Just Before the City Went Into the COVID-19 Lockdown - Vogue

African Utopia at the end of the coronavirus tunnel – Zimbabwe Independent

IN 1990, when Cameroons football team did the unthinkable and beat Argentina in the World Cup, the proportion of the worlds population living below the poverty line was 37,1%. Fast-forward 35 years later to 2015, following a global adoption of the United Nations Sustainable Development Goals (SDGs), this figure now stands at 9,6%.

Cesar AMba Abogogovt minister

The concept of a universal benevolent dictator a classic assumption in beginner economic courses to escape the complexities of real-world decision-making such a person would no doubt have said The world is doing infinitely better!

But on the contrary, the world has not been doing as well as it should. The fact is, there have been warning signs all along.

The proportion of people living below the poverty line in sub-Saharan Africa in 2015 was an astonishing 41%, about the same as the global rate of extreme poverty in 1981.

On October 17, 2018, the then president of the World Bank Group, Jim Yong Kim, presented a report titled Poverty and Shared Prosperity 2018: Piecing Together the Poverty Puzzle. With rigorous data but in a simple and direct way, the report clearly indicated that global conditions were not in place to bring the rate of extreme poverty below 3% by 2030.

The most alarming case in point was, where even in the most optimistic of scenarios, the poverty rate would continue to be in double digits.The report was a pitcher of cold water in my state of mind. But it was not the first time Jim had jolted me. A few years earlier in 2015, in Lima, Peru, at the Annual Meetings of the International Monetary Fund and the World Bank, during a panel moderated by Femi Oke, the British journalist of Yoruba descent, Jim Yong Kims projections caught my attention.

In attendance were Peruvian President Ollanta Moises Humala Tasso; Ban Ki-Moon, UN Secretary-General; Christine Lagarde, IMF managing director; and Justine Greening, UK Secretary of State for International Development.

For 90-minutes, they spoke eloquently about the type of partnerships that would be needed to make Agenda 2030 a reality; the international cooperation that would be deployed; the necessary financing mechanisms and formulas; and the creativity and citizen action required.

Gathered in this august venue, the guardians of the global architecture responsible for eradicating poverty spoke convincingly and articulately about the world of tomorrow. Collectively, they concluded that by 2030, we would end up, to quote Oscar Wilde, in a country called Utopia. The Road to Lima was a party.But barely three years later as 2018 dawned, the same global architecture presented us with a new story: The end of Utopia.

In December 2019, the United Nations Development Programme (UNDP) launched its Human Development Report titled Beyond Income, Beyond Averages, Beyond the Present: Human Development Inequalities in the 21st Century. As with the World Bank, the conclusion was straightforward and clear: while humanity is progressing, something is just not working in our globalised society. A new generation of inequalities, beyond basic capabilities, is emerging and threatens to render people living in developing countries obsolete in the future.

Combining the alarming 2018 World Bank report with the no less alarming 2019 UNDP report, the picture is not one of optimism: not only was the aspiration to eradicate poverty by 2030 not going to be met, but a new inequality gap was opening up as well.

These challenges had previously been the focus of the World Economic Forum Regional Strategy Group (WEF RSG), of which I had had the privilege of being a member.

One of the ideas behind the WEF RSG was very simple and irrefutable: Africa must leapfrog into the Fourth Industrial Revolution or risk being left behind inexorably.

In 2019 as well as in previous years, several countries, including Equatorial Guinea, my country, made important policy decisions to define and prioritise national development aspirations in alignment with the UNs Agenda 2030 and the African Unions Agenda 2063.Additionally, to take advantage of the Fourth Industrial Revolution we scaled up our investments in ICT and technology and in developing the capacity of our youth. And then, Covid-19 arrived!

In just a few short months the world has changed. When we return to normal, it will be a new normality and a brave new world.Covid-19 is an existential crisis. It is severely testing Africas social, economic and political resilience. In a post-Covid-19 world, the continents leaders will therefore have to rethink many prior assumptions and find new balances for individual and collective behaviour.

What I am absolutely certain of is that opportunities will emerge. Innovative minds previously imprisoned by institutional inertia and interest groups will rise to the challenges that we collectively face.What will the brave new world post-Covid-19 look like in Africa? The African Development Bank estimates that Africa will lose between US$35 and US$100 billion due to the fall in raw material prices caused by the pandemic.

WEF estimates that global losses for the continent will be in the order of US$275 billion.There is a real risk therefore that Africas inequality gap will worsen in the coming years.

Ever since the virus crossed the continents borders, regular bilateral and multilateral consultations among African finance ministers have philosophically revolved around the need to rethink our multifaceted responses to Covid-19 and other future threats that have equal or greater potential for disruption.

Today, African States are developing strategic and in-depth approaches to human development, regional integration, digitalisation, industrialisation, economic diversification, fiscal and monetary policies, and international solidarity. In short, they are rethinking the causes of the continents underdevelopment and coming up with feasible solutions. The outcomes will undoubtedly be good for Africa and for all humanity.

To better understand the scenarios before us, there are three sparks that could light a flame in the brave new world that is before us:In 2001, African leaders pledged to invest around 15% of their budgets in health. By 2020, only five countries have fulfilled this promise. No one doubts today that the health sector in Africa will be strengthened by the Covid-19. There are decisions that can no longer be postponed. In mid-March, a Togolese activist, Farida Nabourema, mocked African elites who used to go to Europe to have their ailments treated, saying: I would like to ask our African presidents who travel to Italy, Germany, France, the UK and other European countries for medical treatment, please when are you leaving? On April 2, Bloomberg published an article titled Trapped by Coronavirus, Nigerias Elite Faces Squalid Hospital, signed by journalist Dulue Mbachu. Things are going to change.

The vast majority of African countries, after Covid-19, will have to put in place social protection systems to mitigate the suffering of the continents most disadvantaged. Kenya and Equatorial Guinea offer excellent examples of countries that have regulated and put in place social protection systems that will survive and outlast our battle against this common enemy.

The continents poor pharmaceutical capacity has been a source of amazement to locals and foreigners alike. Bangladesh, a poorer country than many African countries, produces 97% of the national demand for medicines, in contrast to Africa which is almost 100% dependent on imports.

This last note has triggered another debate: the necessary industrialisation of Africa, to transform and add value to the continents vast and valuable raw materials.

Many African countries have already been deprived access to Covid-19 essentials. But there is much reason for optimism. African leaders recently lauded artemisia annua tonic that Andry Rajoelina, President of Madagascar, presented to the world as Africas solution to Covid-19 .Our enthusiasm as Africans, is rooted in wounded self-esteem. For way too long, we have been victims of marginalisation. The power to regain our dignity has too often been stripped away.

Today, nestled in the souls of all Africans is an unshakable faith that the most important resource that Africa needs in order to rise up, is none other than Africans themselves.

No one will help us if we do not help ourselves. Africa is no longer asking to be taught how to fish. Africa is already rowing towards the utopia enunciated in the UNs SDGs and the Africa Unions Agenda 2063.

In spite of dire predictions and narratives, humanity always has a way of ending up in that country called utopia. Africa is humanity.Abogo is Equatorial Guineas Minister of Finance, Economy and Planning and member of the Regional Action Group for Africa of the World Economic Forum.

Read more:

African Utopia at the end of the coronavirus tunnel - Zimbabwe Independent

TriggerMesh’s new EveryBridge: Event-driven apps are the endgame of serverless – SiliconANGLE

Wed all love to live in a serverless utopia where functions zoom like speed trains through the cloud. For now, though, most have an on-premises ball and chain tethering us to the Earth. Can we at least enjoy a slice of serverless heaven that will help modernize our hybridized information-technology environments?

You have all those big companies that have those slow-moving pieces Oracle DB, IBM MQand so on and they need to make those pieces relevant in a fast-moving internalized world and in a cloud-native world. How do you bridge that gap? askedSebastien Goasguen(pictured, right), co-founder and chief product officer of TriggerMesh Inc.

The answer, according toGoasguen, is with thelight but powerful integration capabilities of a serverless event bus. In fact, he argues, event-driven applications are the real desired end product of serverless-computing efforts.

Goasguen, along withMark Hinkle(pictured, left), co-founder and chief executive officer of TriggerMesh, spoke withStu Miniman, host oftheCUBE, SiliconANGLE Medias livestreaming studio, for a CUBE Conversation at our studio in Boston, Massachusetts.They discussed TriggerMeshs EveryBridge announcementthis morning and how to pragmatically fold serverless into hybrid IT.

To address what it saw as serverless computings integration problems, TriggerMesh set out to build a new sort of integration platform as a service. At the core of its offering is Kubernetes, the open-source platform for orchestrating containers (a virtualized method for running distributed applications).

The name TriggerMesh came from the idea that you trigger serverless functions and you [then] mesh architectures, whether they be legacy applications or cloud services or other serverless clouds across the fabric of the internet, Hinkle explained.

The company has announced a beta release of EveryBridge a cloud-native integration platform utilizing a serverless event bus with hosted access (not to be confused with Amazon Web Services Inc.s EventBridge). The platform allows users to construct applications as event flows with bridges that connect event sources to targets wherever they reside on-premises, in the cloud and the like. It achieves this with Kubernetes for cross-environment mobility and a new application program interface.

You want as much serverless as possible in the cloud but you have to deal with your on-premises databases and workloads and so on. So you have to be a pragmatic,Goasguen concluded.

Heres the complete video interview including todays news, one of manyCUBE Conversationsfrom SiliconANGLE and theCUBE:

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TriggerMesh's new EveryBridge: Event-driven apps are the endgame of serverless - SiliconANGLE

Travel – Why is New Zealand so progressive? – BBC News

Evening everyone, thought I would jump online and just check in with everyone as we all prepare to hunker down for a few weeks, said the New Zealand woman via Facebook Live as the country prepared for its month-long Covid-19 shutdown. She pointed to her grubby sweatshirt. It can be a messy business putting a toddler to bed.

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While travelling is on hold due to the coronavirus outbreak, BBC Travel will continue to inform and inspire our readers who want to learn about the world as much as they want to travel there, offering stories thatcelebrate the people, places and cultures that make this world so wonderfully diverse and amazing.

For travel information and stories specifically related to coronavirus, please readthe latest updates from ourcolleaguesat BBC News.

She wasnt the only Kiwi mother checking in with their whnau (family) that evening. But this woman was Jacinda Ardern, New Zealands prime minister, and the one who had decided on expert advice to go hard and go early, mandating one of the worlds earliest and toughest bans on international and internal travel and locking down her country for roughly a month from midnight on 25 March.

In three years, the 39-year-old has risen from a minor player in the low-polling opposition Labour Party to a global figure on Time magazines list of the worlds 100 most influential people. The New York Times described her as the progressive antithesis to right-wing strongmen like Trump, Orban and Modi.

Her empathetic leadership after the Christchurch mosques attack in March 2019 was highlighted in images of a hijab-wearing Ardern embracing Muslim New Zealanders; consoling bereaved families after the Whakaari White Island eruption that December; and addressing the UN General Assembly while fianc Clarke Gayford cuddled their four-month-old daughter Neve in September 2018. Her compassionate approach to politics where success is measured not only by the nations GDP but by better lives lived by its people has caused many to see New Zealand as a bastion of progressive government.

The Pacific nation, soon to reach a population of five million, lays claim to a number of social and political advances: creating indigenous parliamentary seats (1857); granting women the vote (1893); advocating an eight-hour working day (1840); state-funded old-age pensions (1898); the worlds most extensive system of pensions and welfare (1938); and its unique no-fault accident compensation scheme (1974).

From 1890 to 1920, New Zealand was regarded by foreign observers as a social laboratory due to its progressive policy initiatives, and Arderns determination to measure national progress in wellbeing targets raising income, improving environmental and social good has been characterised as a return to that aspiration.

But how did such a remote country come to have such apparently progressive politics? Stephen Levine, professor of political science at Victoria University of Wellington, writing in Te Ara, the nations official online encyclopaedia another world first says early British settlers and politicians were driven by notions of equality, fairness and honesty.

In 1948, New Zealands first professor of political science, Leslie Lipson, wrote that if New Zealanders chose to erect a statue like the Statue of Liberty, embodying the nations political outlook, it would probably be a Statue of Equality, he writes. This reflected New Zealanders view that equality (rather than freedom) was the most important political value and the most compelling goal for the society to strive for and protect.

Unlike other British colonies, the islands were not conquered, but founded on a treaty between Mori and the Crown: the 1840 Te Tiriti o Waitangi / Treaty of Waitangi.

Its not a constitution (New Zealand doesnt have a written document); rather, it was an arrangement to ensure the safety of settlers and, many would say, a fig leaf to lay claim to land and resources for Pkeh the term for non-Mori, English-speaking arrivals.

Overwhelming the indigenous people and their culture, often at gunpoint, merchants, farmers and tradespeople (mostly from the United Kingdom) imported their view of politics and government and their chance for new lives free from Europes conflicts and prejudices.

Crucially, they felt entitled to self-government and that everyone should be equal under the law in their proposed fair, equal and honest society. They also rejected having an official church; today New Zealand is one of the worlds most secular societies.

You may also be interested in: The unexpected philosophy Icelanders live by Where San Francisco's spirit of tolerance came from The word that encapsulates Frenchness

These early settlers were faced with remote mountains and valleys, into which they began carving farms. It was quickly apparent that they would need to create or repair machines from whatever scrap was lying around. This skill has become part of the national psyche, known as the No8 wire mentality after isolated farmers ability to use a length of fence wire to fix any misbehaving machine.

Egalitarianism bred another national characteristic. New Zealanders prize modesty, and are suspicious of anyone who seems to consider themselves better than others; hence what is called Tall Poppy Syndrome: chopping down someone who thinks they are a cut above the crowd. In typical Kiwi black humour, the unofficial national anthem celebrates complacency: John Clarkes We Dont Know How Lucky We Are.

To this day, New Zealanders like to see themselves as practical, coping with anything thrown at them, with good life skills and a cooperative can-do spirit. New Zealand, Levine writes, is not a large or powerful country but has an attractive self-image of inspiring others, leading by example, idealism and pragmatic innovation.

That positive outlook sees New Zealand ranked as the eighth-most-happy country in the 2019 UN World Happiness Report for the seventh year in a row, the only nation outside Europe in the top 10.

In the same survey, Wellington was ranked as the third-happiest city. Auckland and Christchurch are in the top 20, despite Christchurchs decade of devastating earthquakes and the attack that took 51 lives last year.

Readers of Britains Telegraph have named it their favourite country seven years in a row; and after Donald Trumps 2016 election, US migration inquiries to New Zealand immediately rose 24-fold, according to The Guardian.

Travellers are lured here by a world of constantly changing scenery packed into a comparatively small space: primordial forest; lakes; waterfalls; fiords; active volcanoes; hot-water springs; geysers; white- and black-sand beaches; alps and glaciers.

And they often return home noting the warmth and sincerity of the laidback Kiwi welcome and the local respect for Mori culture tikanga Mori, a living, breathing and inclusive force thats part of the fabric of New Zealand society, not turned on for tourists or a rugby test warmup.

But this remote nation is not as perfect as it seems. The treaty partnership and prominence of te reo Mori (one of New Zealand's three official languages, alongside English and signing) indicate little racial tension. However, racism does exist.

According to Massey University sociologist Dr PaulSpoonley, when interviewed for Radio New Zealand in 2018, Our race relations when seen globally are not too bad. We don't have hate crimes to the extent that you would findin European countries, he said. But we do have everyday and often casual racism around the country and youd be naive if you dont think it's there.

Social and racial stresses arose from widely differing interpretations of the treaty, which led to 135 years of conflict and grievance until the document was enshrined in law in 1975 and a truth and reconciliation commission formed. Today, the nation has shamefully unequal rates of Mori health, educational and judicial outcomes, and youth suicide statistics are tragically high.

Because of this disparity, many contemporary local commenters view the countrys progressive label with scepticism. They suggest many advances didnt happen because of a conscious desire to bring forth change, but because of the nations values of fairness and equality society simply thought they were the fair or decent thing to do at the time.

If you look at the right of women to vote, in the 1890s, no-one was saying, We want to be the first, said Professor Paul Moon, respected historian and social commentator. The concern was, This is an important right because it will enfranchise women or be more representative, more democratic and so on.

Moon explained that these notions of equality and fairness continued until the 1970s and 80s. I think there are some people who still hold to that it lasted a very long time and thats the base-level of the notion of New Zealand identity, Moon said.

While the multicultural nation continues to pass socially progressive laws marriage equality, decriminalising prostitution, treating abortion as a health not criminal issue Moon senses a change in motivation.

Now a lot of the rhetoric goes, Well, if we do this, well be a world leader. That has overtaken the importance of the progressive initiative in a lot of cases.

Aotearoa, to use New Zealand's Mori name, is not Utopia. The national response to the coronavirus pandemic, however, so far appears to lead the world. On 28 April, after five weeks of that severe lockdown, Ardern eased the restrictions slightly, announcing that her country had done what few countries have been able to do and contained the community spread of Covid-19. Global attention once again turned to the nation: while there was some criticism over how the government reacted, others said New Zealand offered a model response of empathy, clarity and trust in science.

And, perhaps invoking those earlier ideals of fairness and equality, the prime minister and ministers have taken a 20% pay cut for six months in solidarity with those whose income has been affected by coronavirus.

If there were ever a time to close the gap between groups of people across New Zealand in different positions, it is now, Ardern said.

Why We Are What We Are is a BBC Travel series examining the characteristics of a country and investigating whether they are true.

CORRECTION:A previous version of this story had the incorrect start date of New Zealand's nationwide lockdown. That information has been updated.

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Originally posted here:

Travel - Why is New Zealand so progressive? - BBC News

Drive-in Concerts Are the Latest Test for Concert Promoters. But Will They Last? – Rolling Stone

For the first time since the pandemic sidelined live music in the U.S. in March, veteran DJ D-Nice finally had the chance to play an in-person live gig. D-Nice, whos been a mainstay amid safer-at-home regulations with his popular Club Quarantine Instagram Live Sessions, flew out to Hallandale Beach, Florida and played a free set for first responders at the Drive-infieldFest, established after the Preakness InfieldFest in Baltimore, Maryland was canceled. But rather than perform for a sea of fans clamored shoulder to shoulder, he spun a set for a couple hundred cars spread out at the Gulfstream Park race tracks parking lot outside.

D-Nice was one of the first major performers to play in a noticeably growing trend of venues and event producers turning to drive-in concerts with most other means of mass gathering are still off-limits. (The Roots hosted the events livestream, which kept a virtual donation jar open.) D-Nice has spent the past two months adapting to unorthodox shows performing for his screenwith Club Quarantine. Still he says, adapting to an audience largely sitting in their cars had a bit of a learning curve.

It was definitely strange to adjust to performing to an audience of vehicles. The way people are moving in their cars, it took me about 15 minutes to adapt to that, D-Nice says. The call and response became them honking their horns, and once we all got into it, it started to feel like a party.

D-Nice isnt alone. Keith Urban played a small complementary drive-in gig for first responders in Nashville on May 14th as part of the Citi Concert Series, marking concert giant Live Nations first go at drive-ins in the U.S. Several other paid drive-in shows are moving forward now as well. The Texas Rangers will host eight concerts from four acts in Dallas outside of their new ballpark in June. At $40 per car or $80 for a VIP parking space toward the front of the stage, the first four shows sold out in minutes, with four added shows selling out in a few hours. The Tupelo Music Hall in Derry, New Hampshire is readying its second drive-in show this coming weekend, and rock band Spafford will play one at a drive-in movie theater in Mesa, Arizona on Sunday. Californias Tailgate Fest, a country festival going on its third year this August with Dierks Bentley as a headliner, had already toyed with the drive-in concept before the pandemic.

Weeks after Live Nation CEO Michael Rapino told investors on a quarterly earnings call that the company would experiment with drive-in shows this summer, Live Nation also sold out its first drive-in show in Denmark on Wednesday with 600 cars in attendance. Assuming all goes according to plan and more shows proceed stateside, Live Nation would put on these concerts in their amphitheaters, the company says, and allow fans to tailgate and give pod-style seating to keep social distancing measures active.

Our ultimate goal is to connect fans with artists to create those lasting memories, and we have teams around the world exploring unique ways to make that happen, Tom See, Live Nations president of venues, U.S., tells Rolling Stone. Theres not a one-size-fits-all approach to drive-in concerts, but were fortunate to have our venues and logistics in place to ramp these shows up quickly as communities are ready. Artists and fans are having fun with them, and employees and crews are glad to be working some shows, so for us its a win all around.

1/ST LIVE managing partner Jimmy Vargas, the Florida shows organizer, says his company plans on expanding drive-ins across the country. 1/ST LIVE, whose parent company the Stronach Group has ample real estate space through its horse racing tracks across the country, wants to expand shows to key markets where it has race tracks like San Francisco and Los Angeles when measures are allowed. While the show for first responders with D-Nice was free, Vargas said the company would likely implement some type of ticketing system for future shows.

But Vargas doesnt foresee allowing more than 300 cars in for a show; otherwise itd just be listening to a concert on the radio, he says. The quality of the show is better as fans wont get views obstructed by other cars, but the potential revenue per show is lower. Revenue could come from sponsorships and partnerships with different merchandisers and culinary partners, but its still a bigger challenge than monetizing a normal show. Its a matter of managing expectations for the artists and for the fans too, Vargas says. It aint the real thing. But its the closest were going to get right now.

Its an innovative idea that gives a glimmer of fun to an otherwise drab summer season more or less taken away due to the pandemic. And as the latest hope at a chance for live music and some revenue in a particularly dry period in 2020 the drive-in trend has grown quickly across the country, and other drive-in show announcements will surely surface in the coming weeks. Its no cash cow, though, and shouldnt be expected as such. None of the artists, venue owners or event organizers who spoke with Rolling Stonecalled the concept anything more than an opportunity to get fans out of the house for a show safely and maybe make a bit of cash too.

Our goal right now is to provide entertainment.This is one of those situations where 100 pennies makes a dollar. Were just gathering as many pennies as we can Scott Hayward, owner of the Tupelo Music Hall

Scott Hayward, owner of the Tupelo Music Hall, was one of the first to hold a drive-in concert through the pandemic, and after selling out one of the two 75-car capacity shows in the Tupelo parking lot earlier this month, he announced more shows this week, several of which are already nearing capacity. The music hall is charging $75 per car to attend, and hes selling food and beverages and hopes to set up a tent for a separate makeshift restaurant at the venue as social distancing continues to ease in New Hampshire. Tupelo will do multiple shows per day and wants to make some livestreaming revenue too.

Tupelo Music Hall Drive In

Jerry Lofaro, 2*

But all these ventures still only add up to a small fraction of what a normal concert brings in. Hayward is preparing for a second outbreak and hopes enough drive-in concerts through the summer can earn enough to pay his staff through the winter if a second wave hits and stricter social distancing measures are reinstated. Still, he says, hes cognizant of the risks a venue takes putting on a show and wouldnt organize a traditional concert if New Hampshire allowed them to happen.

The goal wasnt to match what we were doing; were supposed to be doing $300,000 a month in ticket sales, Hayward says. Its to provide shows to help some artists and play some shows. Its better than being closed. Our goal right now is to provide entertainment. If we can pay some bills, great.This is one of those situations where 100 pennies makes a dollar. Were just gathering as many pennies as we can.

And for the Texas Rangers, where Globe Life Park hosted concerts for the likes of Billy Joel and Paul McCartney last year, $40 tickets for a few hundred cars with no food, beverage and merchandise revenue just cant compare. As an industry, these are uncertain times; were calling for creative things, Rangers Executive Vice President for Sports and Entertainment Sean Decker tells Rolling Stone. These shows are about doing creative things to get folks outside and create and maintain jobs.

The concert experience could vary from show to show as well. Several venues have staggered cars across their lots both to make distancing easier and to help ensure cars dont block other attendees views of the stage.

Whereas Tupelo and 1/ST started with a PA system alongside a radio transmission to give fans a more authentic experience compared to traditional concerts, the Rangers are going radio-only for now to further encourage fans to stay in their cars. And while The Rangers and 1/ST geofence their radio streams so they cant be accessed outside of the parking grounds, Tupelos shows are more accessible. The tech isnt always perfect. For 1/STs show with D-Nice, attendees further from the stage had more delay on their radio streams from the PA than those who were closer in, Vargas says.

Answers to the live industrys financial woes or not, drive-ins have given artists and fans some of their first in-person tastes of a live show since March, a welcome addition for artists aching to get back on the road. Kasim Sulton, best known as the bass guitarist of the 1970s band Utopia featuring Todd Rundgren, will take a four-hour drive from New York to Derry, New Hampshire to play Tupelos second drive-in gig.

Sulton is playing solo instead of with a band to keep up social distancing, and he isnt expecting much of a payout hed be satisfied to make enough to pay expenses for the trip. But hes playing live again, and thats enough for now.This is my 44th year in the music biz performing live professionally. Ive been home since the middle of March, not because I want to but because I have to, Sulton says. That for me is an anomaly. Being forced to stay home doesnt feel right. To have the opportunity to perform in front of an audience, its a relief for me.

See the rest here:

Drive-in Concerts Are the Latest Test for Concert Promoters. But Will They Last? - Rolling Stone

The scandal of our care home crisis must be a wake-up call for the way society treats our older people – Impartial Reporter

Whod have thought that queuing for hours to dump you household rubbish would become something to look forward to?

Well, sort of, but as the lockdown was eased ever so slightly this week, people are daring to dream that maybe, just maybe theres the slightest chink of light that the peak has passed.

Youd need to wise up if you think well soon be back to normal, but people do seek comfort in the old sage saying that This too shall pass. Especially as were hearing some scientists suggest that this virus will burn itself out.

Moreover, the psychotherapist Julie Samuels book title This too shall pass: Stories of change, crisis and hopeful beginnings, suggests that we can adapt and thrive while surviving our most difficult experiences.

The optimists among us buy into that only too willingly and are convinced that when this is over, we will recalibrate or morph into a new much better, kinder normal.

After all, we had drifted into a world where selfishness ruled in a global economic culture of greed.

It would be easy to blame Thatcherism, and I lay the responsibility for a lot of things at her door. But she did say in 1987: Theres no such thing as society. There are individual men and women, and no Government can do anything except through the people, and people must look after themselves first.

Most people forget the next line of that quote: It is our duty to look after ourselves first, and then also to look after our neighbour, and its forgotten because too many people never got beyond looking after themselves.

Perhaps now that Covid has given society a kick up the backside, we will get back to helping our neighbour a bit more.

There are discouraging signs, though, that the greedy are still greedy and wont give up on their avarice too easily.

This week, the Sunday Times published its Rich List and the accompanying story revealed that 63 rich listers, including 20 billionnaires, were taking advantage of the Governments furlough scheme.

Noses in the trough, heaven forbid theyd have to help by dipping into their own deep pockets.

And one of them, Lord Sugar has since been quoted as saying: We have to get over it, taxing the rich wont help and austerity is unavoidable. Sugar is worth about 1.2 billion so lets hope austerity doesnt hit him too hard

So, be warned that perhaps the new normal mightnt be the utopia were hoping for.

There have been many things in the crisis that have been hard to get the head around. Perhaps one of the most jaw dropping for me was the callous disregard, even betrayal, of the older folk in our care homes. People were being released from hospital into care homes without being tested for Covid, into places crowded with the age group more disproportionately affected by the virus.

Let that sink in.

Id like to think that as we move forward, well acknowledge that betrayal and put it right. But here, too, there are worrying signs.

As the focus became more and more fixed on the scandalous numbers dying in care homes, the Health Secretary, Matt Hancock claimed: Right from the start weve tried to throw a protective ring around our care home. We set out our first advice in February, weve made sure care homes have the resources they need.

Lies, was Piers Morgans one-word reaction on Twitter, and whatever you think of Morgan, on this he hits the nail on the head; some protective ring with many thousands of people in care homes losing their lives across the UK.

You really dont get a sense at all from the Johnson administration that there is the slightest empathy for the elderly, their families and carers, who are also being let down by a lack of personal protection equipment.

In fairness to Northern Irelands health minister, Robin Swann did acknowledge some days ago that the battle here had shifted to care homes, where almost half of the deaths in Northern Ireland had happened, and he announced that all residents and staff would be tested by the end of June. The Commissioner for Older People in Northern Ireland, Eddie Lynch has been fulfilling his role well in championing the interests of the elderly in this crisis.

It was Mr. Lynch who campaigned for universal testing for staff and residents, despite the Chief Medical Officer, Mr. Michael McBride speaking against the idea last week. Now, its happening, although it will be the end of June before the promise is honoured, months into the Covid crisis with care homes so cruelly exposed.

Indeed, the website http://www.thedetail.tv revealed that the Department of Health decided to cease routine inspections of all care homes in Northern Ireland.

Inspections of care homes are normally conducted by the Regulation and Quality Improvement Authority (RQIA) which inspects and regulates some aspects of health and social care in Northern Ireland.

Such is the mess of the way figures are produced in Northern Ireland that we do not fully know the extent of Covid in care homes, but it is clear from what we do know that this is a situation of scandalous proportions. As the crisis unfolds, we await a public inquiry, probably in years to come but whether that will get to the truth of it remains to be seen.

The sad fact, though, is that we should not be surprised. The situation in our care homes was a disgrace long before this; with homes closing after inspections found poor care and safeguarding issues in some and journalists exposing abuse in others.

It has to be said that many private care homes are wonderfully run and give older people loving care. But the system must be much more robust and accountable for those who do not maintain the highest standards.

With increasing cases of dementia and other conditions, with under pressure relatives not living near loved ones and many other circumstances meaning families have to rely on care homes, and often paying through the nose for it, society needs to know that our older people are being looked after properly and are content.

Outside the homes, care packages for people living on their own also seem to be under pressure for resources, too, and a whole radical look must be taken at the social care aspect of our under-performing health authorities.

There are serious issues for the authorities, and indeed for us all in society about the way we treat our older folk, both in homes and in the community. If we really do want a kinder world, the proper care of our elderly would be one compassionate result of the wake-up call that this crisis has brought.

Originally posted here:

The scandal of our care home crisis must be a wake-up call for the way society treats our older people - Impartial Reporter

Global Tomato Paste Market Along With Covid-19 Impact Analysis and Industry Outlook 2020-2026 by Renfros, Barilla, UTOPIA – TigresNation

This Research report Tomato Paste Market 2020-2026 in Global gives an overview of the Global Tomato Paste Market as it stands today and details its evolution over the years. The report list out the key drivers of change as well as potential barriers to growth and also provides a future outlook and growth potential for Tomato Paste in the region.

The global Tomato Paste Market report maps the different stages of market evolution for key individual countries in the region and provides an in-depth outlook by regions (South East Asia, India, North America, Europe, Japan and China) and also other can be added. Worldwide Tomato Paste Market report provides market growth and key drivers of growth and barriers as well as key customer group profiles and trends for these countries.

NOTE: Our reports include the analysis of the impact of COVID-19 on this industry. Our new sample is updated which correspond in new report showing impact of Covid-19 on Industry trends. Also we are offering 20% discount

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The points that are discussed within the Tomato Paste Market report are the major market players that are involved in the market such as manufacturers, raw material suppliers, equipment suppliers, end users, traders, distributors and etc. The complete profile of the businesses is mentioned. And therefore the capacity, production, price, revenue, cost, gross, margin of profit, sales volume, sales revenue, consumption, rate of growth, import, export, supply, future strategies, and therefore the technological developments that theyre making also are included within the report. The historical data from 2015 to 2019 and forecast data from 2020 to 2026.

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HeinzMcCormickDel MonteAlce NeroConAgraMARSAnnalisaSimplot AustraliaCerebos LimitedRenfrosBarillaUTOPIA

The Tomato Paste Market report is segmented into following categories:

The Tomato Paste market report is segmented into Type by following categories;NaturalComposite

The Tomato Paste market report is segmented into Application by following categories;RestaurantHouseholdOthers

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Global Tomato Paste Market Depth Research 2020-2026

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Global Tomato Paste Market Along With Covid-19 Impact Analysis and Industry Outlook 2020-2026 by Renfros, Barilla, UTOPIA - TigresNation

Teaching in the new world of #remote #learning – FE News

O Brave New Worldhang on, I cant get my camera to work!

Thoughts on remote learning by Ben Brennan, Assistant Principal, and head of Sixth Form, at @TheHartSchool, a Creative Education Trust secondary school in Rugeley, Staffordshire:

Its fair to say that we have all moved (in some cases reluctantly) into a new way of teaching.

I think we all have a shared recollection of the moments that brought the majority of us to working from home a time when we didnt really have much of an idea how the educating of young people was going to look.

I must admit, working from home had always been something I strived for in a profession. However, with the rituals of classroom-based teaching being unchanged for centuries, I knew this was going to be unlikely. Like a lottery win, I could imagine what it would be like and I would fantasise at how I could spend my time (rather than money) more effectively. Alas, the chance of me ever getting to know the luxury of completing a piece of strategic planning, with daytime television in the background, was going to be as impossible as predicting those 6 numbers. As long as there were children in a classroom that is where I would be.

Friends and relatives who had already discovered the utopia of working from home were looked at with envy as they seemed to have everything. They spent more time with their kids, seemed more relaxed and (horror of horrors) were even more productive!

But now, the realities of working from home have sunk in. And boy, do I miss going to work!

Once this dreaded virus is gone, my teaching and the systems in place within the school will never be the same. Though I wrestled at first with making sure my background was tidy, talking whilst I was still on mute, forgetting to charge my laptop sufficiently you know, the rookie errors things changed rapidly.

The new tricks this old dog has learned would put me as a finalist on Britains Got Talent. Im conducting meetings with Microsoft Teams 20 colleagues from as many different schools sharing documents and information to build an exciting new curriculum. Im recording lessons with programmes like Bandicam and even adding narration to Powerpoints, so that students can follow the schemes of learning that we would have been covering in school. The use of software such as Class Charts means that, as a school, we can set work, give students announcements, and reward the hard work they are all doing under these incredibly difficult conditions. Programmes like Educake and Seneca reinforce our work and give students instant feedback, as well as teachers the ability to monitor and assess remotely. I know its a clich, but I am working just as hard as I would be in school.

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So, why do I miss work when Im clearly living my dream, with me writing this in the middle of a Wednesday, as Jeremy Vine exquisitely drones in the background?

I suppose, the thing that separates me from my aforementioned friends and family is that I work with young people. The buzz of a classroom, the unpredictability that comes from the mixes of students, is undeniably part of what makes school special. As an educator, and from my memories of school, the classroom was often a joyous and social place to be. This technology is incredible, and some of the products are game-changers but they cant replace the humanity that is so crucial to the art of teaching.

Ben Brennan, Assistant Principal, and head of Sixth Form, atThe Hart School

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Teaching in the new world of #remote #learning - FE News

Sylvia Rhone Emboldens Class Of 2020 To Find What ‘Sets Your Soul On Fire’ – iHeartRadio

Sylvia went on to discuss how the Class of 2020 will be able to "usher in the change in our nation" by simply following their passions.

"A DJ was home alone practicing social distancing and decided to play some music on IG Live for his friends. It resulted in D-Nice Hosting Club Quarantine with over 1 million viewers including Michelle Obama, the Kardashians, Rihanna, and Will Smith," she shared. "Discover what sets your soul on fire. You have something special and unique that no one else on this planet can duplicate. Whatever it is, whether you're good at making people smile, you can build things with your hands, you're great at math. You knowhow to paint or cook, or you love gardening, or writing, or organizing chaos. It doesn't matter."

Sylvia added, "Oprah Winfrey once said, 'You have to know what sparks a light in you, so that you, in your own way, can illuminate the world.' Guide us into a new advanced world of love, kindness, and compassion. Lead us into a utopia where wealth is great health, beautiful friendships, and living your passion. You are the change that the world needs right now."

The Epic Records CEO concluded her speech with one final message, telling graduates: "I want you to know and feel you have something special and unique that no one else on the planet can duplicate. We are counting on you to lead us into greatness, lead us into excellence, lead us into innovation, to lead the new Renaissance. Guide us into a new world where wealth is great health, beautiful friendships, and living your passion. You are the change that the world needs right now."

Congratulations to the Class of 2020! iHeartRadios "Commencement: Speeches for the Class of 2020 podcast celebrates this years graduating students as they take their next steps into the world. For more inspiring speeches from celebrities, athletes, business leaders and more, listen to the podcast on iHeartRadio.

Photo: Getty Images

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Sylvia Rhone Emboldens Class Of 2020 To Find What 'Sets Your Soul On Fire' - iHeartRadio

ANALYSIS-Rapid recovery of Russian oil production after the release of the Covenant OPEC+: reality or utopia? – The Times Hub

Olesya Astakhova

MOSCOW, may 20 (Reuters) the Ministry of energy promises to restore the capacity of oil production in Russia quickly after a few months or even weeks after the end of the restrictive trades OPEC+, but analysts familiar with the production process, the experts warn that it may take several years.

Pandemic coronavirus oil crisis of 2020 revealed the amazing ability of Russia to urgently remove from the market the millions of extra barrels. Now, many analysts, industry experts and market participants wonder how quickly after the restrictive trades OPEC+ Russia will be able to restore its production potential?

To cut production recovered very quickly, now the question is, how fast it will grow, said senior Director of the group on natural resources in the London office of Fitch Ratings Dmitry marinchenko.

By the end of April, when the OPEC transaction+ was not in effect, Russia has made 11,35 million barrels of oil and gas condensate.

The Ministry of energy of the Russian Federation predicts a rapid restoration of oil production after the completion of the transaction, the main part of the volume will be able to return in a few weeks, a small percentage of companies need about a month with a small to return to previous levels.

However, not all experts share the position of the Ministry of energy.

UTOPIA?

According to Roman Sudo, candidate of geological-mineralogical Sciences and a former chief geologist of the state Commission of the Russian Federation on mineral resources, history of oil production Russia 1990-ies shows that the restoration of the former building may take years.

To say that the prey can recover within weeks or months is unrealistic, its just a utopia. Oil extraction process is extremely complex, involving sharp cuts and sharp subsequent inclusions, it does not push the production pipeline, says Sudo.

According to him, the recovery of production on the project could run into at least quarters, but not weeks and months.

Senior analyst at the center for economic forecasting of Gazprombank, Kirill Kononov believes that given the commitments assumed by Russia under the Treaty OPEC+, the recovery of production should take 3 to 4 years.

The largest oil-producing province of Russia Yugra, which accounts for over 40% of oil production, said that after the deal is completed, the region will be able to return to the previous level of raw material production until two years later.

Under the Pact Russia cut oil production in may and June, approximately 19% from February 2020 to 10.5 million barrels per day. The overall reduction in raw materials production in Russia in 2020 will be 10% of the level in 2019, when the country produced 561 million tons of oil and gas condensate. The condensate is excluded from the transaction, its production in Russia is 0.7-0.8 million barrels per day.

The largest Russian oil company Rosneft (MCX:ROSN) announced last week that it plans to cut production in two stages: first, reduce the flow rate on higher margin projects, and after three months decide which of marginally profitable wells can be maintained, given the attendant risks.

According to marinchenko, there are no statistics showing what proportion of the reduction will be achieved by reducing flow rates (reduced well flow), and which due to the conservation of the wells (well suspension), it is difficult to predict the recovery rate of oil production in Russia.

The deal OPEC+ will continue until the spring of 2022 and provides for a gradual reduction of the volume reduction. According to its current conditions, oil production in Russia in two years will reach 9.5 million barrels compared to 8.5 million barrels in may-June 2020.

But given the fact that the output from the new transaction will be gradual, companies will have the opportunity to prepare, and no problems with the building of extraction should not occur hopes marinchenko.

However, the government of Yugra, the oil reserves which are mostly Mature since developed more than half a century, warned that some of the marginal wells after maintenance can be lost forever.

Geologist Sudo sure that marginal wells will never be able to go with the same flow rate after stopping for a few months. Fund marginal wells in Russia with high production of inventory tens of thousands, so some of these wells simply will not start without additional measures, which will require investment. But will these investments cost-effective at current oil prices?

The words of an expert on the need for additional investment to restore production after the limitation more than a few months, confirms the average production oil company Tatneft (MCX:TATN), which develops mostly in Mature projects.

Rosneft says that he sees no uncontrolled risks in the recovery of production, while the company warns of the danger of stopping their wells with viscous oil, as these projects are for the companys major growth point in the future. Other Russian companies are details not revealed his plans to reduce production of raw materials.

TO PREVENT!

In early April, after the transaction OPEC+, Russian energy Minister Alexander Novak said that Russian companies will not allow the loss of wells, reducing oil production. However, earlier threatened by the loss of wells was called by officials of the Russian Federation as a reason why Russia could not reduce production quickly in previous years.

The analyst Andrey Polishchuk from Raiffeisenbank believes that if wells gets hurt, then restore the production relatively soon, perhaps at the expense of more intensive drilling, this will reduce the recovery cycle of development wells, which may be less than a month. But then there is the question of economic feasibility of additional investments and expenses, the analyst says.

As for more intensive development of deposits can lead to lower oil recovery factor, it is likely more efficient to stretch the recovery of production for a longer period. Everything will depend on the price environment, puts Polishchuk.

Ugra authorities are warning that because of the depletion of deposits in the region to sustain production of raw materials necessary to drill, in conditions of low oil prices is unlikely to occur.

Roman Shipbuilding said that Russia in recent years were close to the limit of capacity in oil production, so the country has no new reserves that can be run quickly and efficiently.

New projects are additional attachments, the risk of insufficient knowledge and right shift for a few years to start and develop, said Sudo.

In addition, if the company wants to restore the productive capacity largely due to lightroomo production, that is, new projects with tax exemptions, the Ministry of Finance can block this fountain of generosity, the expert adds.

(Editors Ekaterina Golubkova and Mary Grabar)

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ANALYSIS-Rapid recovery of Russian oil production after the release of the Covenant OPEC+: reality or utopia? - The Times Hub

Neither Flood, Nor Fire, Nor Virus Shakes The Virtual Calm Of ‘Minecraft’ – WSKG.org

Honey, Im going out for an adventure!

E. closes the door behind him and steps out into the world. I stay put, cooking up ideas for home improvement.

Weve only known each other for a few months, but once the pandemic threw our lives off balance, we decided to move in together. In a house we built. In Minecraft.

The house is modest a pixelated, underground starter home made of dirt and cobblestone. In one corner is a large chest for storing our inventory. Nearby, a crafting table and a stove convert raw materials into something useful. Theres a bed for our re-spawn location, which means I wont get lost the next time I drown or get blown up by a creeper a recurring issue early on. And on the opposite wall, theres a pen of clucking chickens. On second thought, not the best place for the chickens.

Later, well upgrade to a multi-story castle atop a mountain but for now, its home.

Downloading Minecraft wasnt my first instinct when I stopped going to my office and everywhere else. Ive never self-identified as a gamer in my adult life, and I certainly didnt think the antidote to screen fatigue could be more screen time. Plus, video games always struck me as chaotic, and I was maxed out on chaos.

As kids, my older brother and I would settle into an afternoon of Tekken 4 or James Bond 007: Nightfire, battling enemies and each other on an otherwise calm day. It was thrilling, and Id ride that anxious buzz of trying to survive until it was time for something else. Its strange how much you can learn about yourself as a child when your avatar is a buxom woman named Pussy Galore. I discovered I only really had fun when my brother and I were on the same team, and friendly fire was turned off. I noticed that random civilian casualties made me feel sick. I questioned why lady avatars were scantily clad while dude avatars often werent. And I loved getting to sight-see.

Sightseeing is why Minecraft has had such an impact. Right now, my lifes parameters are my bedroom, my ambitions are the size of 80 bedrooms, and my Minecraft realm is the size of a zillion bedrooms. The game offers endless virtual space to roam when real-life space feels like a rare commodity. And relocation is the literal click of a button. When I tire of the mines, I try the mountains. When Im done with the mountains, I go to the jungle. And when Ive had it with the jungle, I hop in a boat that I made with oak from the jungle and find a new island to inhabit. Then I can do it all over again. The games natural world is artificial, but theres something kind of enchanting about that block-shaped moon overhead.

Offline, my weeks have been punctuated with worry about the strain Im putting on my households resources. But Minecraft promises a retreat where raw materials are always plentiful and useful water for putting out lava, iron for swords and pickaxes, cobwebs for string, animals for food. Neither climate change nor a pandemic can threaten this virtual cornucopia. Lately, Ive discovered an affinity for running through open fields and punching grass. The satisfying crunching sound leads me to five-minute punching sprees from time to time, but this isnt nihilism. Its practical. Every few squares of freshly punched grass unearth little seeds that keep my chickens procreating and my farm plentiful. Its a blissed-out vision of sustainability.

Lets be clear, though: Minecraft is not a utopia. Days whiz by, and when that 32-bit block of sun starts to set, monsters are coming for me. In the mines, too. Exploding creepers, arrow-toting skeletons, mumbling zombies, nimble spiders, and mystifying enderman you cant make eye contact with. Im not very good at fighting these yet, but at least I can count on the games sonic and visual cues to let me know danger is afoot. Plus, Im armed for battle. There are rules and boundaries within which I can almost guarantee safety. And if all else fails, Ill come back to life in the same place I started: My bed, in my simple underground house, out of harms way.

I cant say the same of the coronavirus.

These days, Im clinging to structure. Time is passing quickly, and if Im honest, I dont always yearn to make days feel longer or fuller. But when I close my bedroom door and open up a virtual world, I can feel the therapy of making things up as I go. Of itching for daylight so I can return to feeding chickens and building a castle on a mountain. Of experiencing something making actual memories when togetherness feels out of reach.

Kathryn Fink is a producer for 1A. Shes a native of Virginia, a new gamer, and an unapologetic lit nerd. She tweets at @finkcommakath.

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Neither Flood, Nor Fire, Nor Virus Shakes The Virtual Calm Of 'Minecraft' - WSKG.org

New Images Released From Disney+ Movie Phineas and Ferb The Movie: Candace Against the Universe – What’s On Disney Plus

Disney has released two new images from the upcoming Disney+ Original movie, Phineas and Ferb The Movie: Candace Against the Universe, which will be coming to Disney+ this summer.

The story will involve Phineas and Ferb traveling across the galaxy to rescue their sister Candace, who has been abducted by aliens and has found utopia in a far-off planet, free of pesky little brothers.

Many of the original cast is back for the series, including Ashley Tisdale, Vincent Martella, Caroline Rhea, Dee Bradley Bake, Alyson Stoner, Maulik Pancholy, Bobby Gaylor, Olivia Olson,Tyler Mann, along with the creators Dan Povenmire and Jeff Marsh. It was also revealed that David Errigo Jr. will be playing Ferb.

Check out the two new images below:

The Coronavirus situation has impacted on the production on the film, however the final touches on this movie are being done from home.

Are you looking forward to Phineas and Ferb The Movie: Candace Against the Universe?

Roger has been a Disney fan since he was a kid and this interest has grown over the years. He has visited Disney Parks around the globe and has a vast collection of Disney movies and collectibles. He is the owner of What's On Disney Plus & DisKingdom. Email: Roger@WhatsOnDisneyPlus.com Twitter: Twitter.com/RogPalmerUKFacebook: Facebook.com/rogpalmeruk

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New Images Released From Disney+ Movie Phineas and Ferb The Movie: Candace Against the Universe - What's On Disney Plus

New Hampshire venue hosts its first drive-in concert – Independent Tribune

DERRY, N.H. Sue Martin rolled up to the Tupelo Music Hall in her gray Dodge two hours early for the first show, which started at noon. The 56-year-old bus driver had never heard of the headliner, a local bar-band singer named Tim Theriault.

I dont care whos playing, Martin said. I just want to get out and go to a concert.

She did that on Saturday in a breezy, sun-drenched parking lot in southern New Hampshire. Elsewhere in America, recent days had seen armed protesters storming statehouses, a nasty argument outside a breakfast restaurant and, in Arkansas, officials blocking a Travis McCready gig booked for Friday inside a former Masonic temple. There was no noticeable tension in Derry, where town leaders blessed what was thought to be the first post-coronavirus sanctioned concert in the country. And the Tupelo Music Hall was not just reopening. It was reinventing itself.

Photo for The Washington Post by Adam Glanzman

The inside of the 700-seat hall was dark. Instead, the venue built an outdoor stage, installed a sound system and divided up the parking lot to accommodate 75 cars. It temporarily rebranded itself as the Tupelo Drive-In Experience.

You guys are part of history, Theriault said into the microphone after taking the stage.

Tupelo owner Scott Hayward came up with the outdoor concept in early May after Gov. Chris Sununu, a Republican, announced that some businesses, including drive-in movie theaters, could reopen May 11. Why not do a drive-in for music? he wondered.

Not wanting his staffers or patrons to get sick, he created a plan to follow social distancing guidelines. For $75, you got two parking spaces: one for your car, a second so you could bring a chair and sit outside. Hayward spent $6,000 on a golf cart to transport burgers, fries and soft drinks (the venue is not licensed for outdoor liquor sales) ordered by phone, eliminating food lines. He coordinated with local radio station 95.1 FM to broadcast the sets for those who wanted to sit inside their cars.

We have to figure out how to slowly open things back up, said Beverly Donovan, Derrys economic development director. This way, youre giving the people something that they need, which is a cultural experience, a shared experience, but youre doing it in a way thats very limited.

In largely liberal New England, New Hampshire is known for its conservative leanings and Live free or die motto. But Hayward said he was not interested in the polarizing politics of reopening. He wore a mask all day Saturday, as did his workers.

Forget about constitutional rights and all that stuff, he said. If you go to a restaurant, you have to wear a shirt. If the state said I could open my indoor venue, I wouldnt do that. You have to marry what you know about this and whats safe and what the governments allowing.

Workers deliver food to guests as they watch Tim Theriault perform at Tupelo Music Hall in Derry, N.H., on May 16, 2020, in the first drive-in concert there since the coronavirus outbreak. MUST CREDIT: Photo for The Washington Post by Adam Glanzman

Typically, Tupelo Music Hall brings in $300,000 a month in ticket sales with a slate of performers that has included blues legend Buddy Guy, English songwriter and guitarist Richard Thompson, and Hearts Ann Wilson. Hayward isnt expecting to approach that level of income this summer; he only hopes to earn enough to pay his staffers and offset some of the losses brought on by a season of cancellations.

For Saturdays inaugural drive-in event, he recruited Theriault, 48, whose pre-coronavirus schedule would have found him playing at the Red Parka Pub in Glen, New Hampshire. With his in-person gigs canceled, Theriault has had to rely on donations from the livestream concerts hes been doing in his buddy Bryans basement.

On Saturday, dressed all in black, Theriault played two 90-minute shows which started at noon and 3 p.m. packed with covers of Stevie Wonder, the Allman Brothers, Chicago and Aerosmith. Some people sat in their cars. Some sat in chairs. Elle Walsh, a home care nurse from Eliot, Maine, stood in her space the entire first show, bopping to the music.

Tims amazing, she said. He belongs on much bigger stages.

There were no signs or shouts about politics and the ongoing battle to beat down a global pandemic. There was a group from another New England concert venue, the Payomet Performing Arts Center in Truro, Massachusetts, scouting Haywards setup. That Cape Cod venue has had to postpone its summer slate of shows until at least August.

We want to see if this works, said Seth Rolbein, Payomets board president. Maybe we can do it on the Cape.

Marketing director Jacqueline Tkachuk created the logo for the Tupelo Drive-In Experience, which led to a new T-shirt line. Jack Grube, a retired shop teacher and club volunteer, built a rack of pine and plywood to convert the golf cart for food delivery. Hayward marked off the parking spaces himself with white spray paint.

Patrons were given two sheets when they arrived: one with the menu and a second detailing the states strict social distancing guidelines. New Hampshire has more than 3,500 confirmed cases of the coronavirus and 171 reported deaths.

There is no way to know whether Haywards precautions prevented any spread of germs, but Christopher Gill, an infectious-disease specialist and professor at the Boston University school of public health, was impressed after reviewing guidelines for the Tupelo shows.

As a society, we need to move away from this polarization, viewing this as an all-or-nothing affair, Gill commented a few days before the concert. It seems very responsible and it actually could work. And if nothing bad happens, weve learned something very useful. Not just for social events but it seems like the same model applies to work and reopening society.

In the parking lot, patrons said they would have stayed home if Hayward had not taken such care to keep them safe. They also said they will likely come to his other outdoor shows.

Sandra LaPointe, a nurse who lives about 10 minutes away in Londonderry, had talked to her husband, James, about going Saturday but never bought tickets. That day, as they gardened, James put on the livestream. Their son, Cameron, 8, heard Theriault playing a Tom Petty song he loved. They went online and bought tickets for the 3 p.m. show and drove to Derry.

We loved it, she said afterward. Were trying to decrease our exposure like everyone else. We dont even do grocery shopping.

But they see no reason they wont be back for future shows at the Tupelo drive-in. Kasim Sulton, the longtime Utopia bassist and singer, is playing two shows May 23.

If the setup is the same, wed love to do it again.

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New Hampshire venue hosts its first drive-in concert - Independent Tribune

Album Review: Bleed From Within Fracture – Kerrang!

As edgy and uncompromising as the city that spawned them, Glasgow quintet Bleed From Within have always had a grit and aggression that promised greatness. Simmering away for over a decade now, however, in a seemingly endless series of support slots for metalcores big guns, it had become easy to wonder whether their time mightve been and passed. Any sense of stagnation is blown away by smashing sixth album Fracture, though, as it promises fittingly to deliver the break theyve been waitingfor.

Key to that has been the bands desire to recalibrate and take control of their destiny. Eschewing darkness and negativity to reach for a more affirmative power and light on the horizon, theres a renewed sense of urgency and purpose across these ten tracks that invokes traditional two-stepping hardcore and stagediving thrash euphoria almost as often as the circle pitting grind of their contemporaries. The doubt and fear that consumed us for years have been replaced with an insatiable hunger to grow as people, reads a mission statement accompanying the release. Weve noticed this shift in energy and channelled it into our music. As a result, our new album is the strongest and most uplifting we have ever written.

Thats not to say theres anything soft-edged here. Right out of the gate, The End Of All We Know (a pivotal jumping off point for both band and listener) guarantees this ascendancy will be powered by violent upheaval. Having watched and learned for every second of those long stretches on the road, they deliver tangles of technically-oriented riffage that would do Lamb Of God proud, enough munch for Cancer Bats to have their fill, and the sort of airily uplifting gang-vocal chorus that While She Sleeps have made their stock in trade. I spent years on the ground looking up at the world for mercy, roars vocalist Scott Kennedy at one point, hammering home their rehabilitation. I shed myskin!

From there we spiral of down a path of power and invention, the sheer bludgeon of tracks like Pathfinder and Into Nothing displaying much of the same blunt force as 2018s Era, before Fall Away cranks up the pace and dynamism. The title track delivers a feast of high production (the albums understated synths deployed tastefully), melodic understanding and epic scale that calls to mind recent Architects releases, while the rich six-strings and fist-pumping snarl of Night Crossing pack the same stadium-seeking intent as recent ParkwayDrive.

Its in the final three songs that the record really signposts a route forward, as the tellingly-titled duo of Ascend and Utopia supercharge BFWs signature machine-tooled attack before A Depth That No One Dares deafeningly drops curtain. An atmospheric masterclass with real defiance as it dabbles in the old darkness, there could hardly be a clearer parting statement from a band whose heavyweight potential is flourishing onceagain.

Verdict:4/5

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Album Review: Bleed From Within Fracture - Kerrang!

The far-right assault on the multilateral order and the COVID-19 pandemic – EUROPP – European Politics and Policy

Giancarlo Summa, a Visiting Fellow at LSE, explains why the WHOs annual assembly earlier this week might have been a turning point in international relations, as we undergo a major reshuffle of the multilateral world order and see the rise of the far-right as a significant global actor.

The annual assembly of the World Health Organization, usually a subdued diplomatic event that doesnt stir much external attention, was breaking news all over the planet earlier this week and not just because of the obvious attention generated by the COVID-19 pandemic. On the assemblys opening day, 18 May, president Donald Trump made public in a tweet a letter he had just sent to the WHO Director General, containing a frontal attack against the Organization because of alleged failings in the handling of the pandemic, accusations of excessive closeness to China, and the explicit threat that the United States will permanently cut all financial contributions and leave the WHO unless it commits to major substantive improvements in the next 30 days.

The Chinese response, delivered by president Xi Jinping in a speech online, was very different, in tone and contents. He praised WHOs major contribution in leading and advancing the global response to COVID-19 and announced that Beijing would donate $2 billion over two years to fight the pandemic and would also dispatch doctors and medical supplies to Africa.

What happened at the WHO assembly may be remembered by future historians as a turning point in international relations. In the year that marks the 75th anniversary of the end of the Second World War and of the creation of the United Nations, we are seeing a major reshuffle of the multilateral world order the system of global governance institutions originally promoted by the United States and the allied nations that defeated Nazi fascism. The system is in crisis and appears increasingly fragile, as it is being eroded from within by some of the very same countries that for decades, with all the ups and downs, worked together to build a framework of rules and values that were accepted by most of the international community.

Not by chance, the crisis coincides with the emergence of the far-right as a major global actor, which has progressively moved from the margins of political life to positions of power in several crucial countries (the United States, Brazil, Hungary, Poland, India, Philippines and Turkey, among others). Traditionalists, who have profoundly shaped the far-right ideological debate in the last decades, as a recent book by Benjamin Teitelbaum effectively shows, tend to focus on criticism of modernity, intended in terms of secularism, democracy, and globalization.

The continuous expansion of the multilateral systems agenda beyond the United Nations narrow initial peace-keeping mission (to save succeeding generations from the scourge of war) has created a stark contrast between the practice of multilateralism and the image of ideal societies pursued by far-right movements and political leaders. The very concepts of human rights (including sexual, reproductive, and LGBTI rights), gender and racial equality, global mobility, and sustainable development collide with a political project that, in broad strokes, exalts a retrospective nationalistic utopia based on the traditional values of religion, motherland, and family. The idea of progress in terms of development, liberty and plurality is the antithesis of a world vision based on the aspiration to the return to a glorified golden age of clear social, racial and geographical hierarchies, and uncontested patriarchal dominance.

Over the decades, most international organizations and especially so the United Nations have made a real effort to evolve from a North-centric and strictly nation-based worldview, to painfully learn how to consider different cultural, political and social experiences with respect and interest. On the opposite trench, right-wing leaders of all latitudes have resorted more and more to discourses and political practices grounded on unashamed religion-based nationalism and otherness and on incessant efforts to control the public narrative on both social media and legacy media. Now, facing the emergence of new significant actors that challenge the status quo, right-wing authoritarian leaders and movements seem inclined to favour the progressive erosion of a multilateral system they cannot entirely control or steer.

It is a process that Stefanie Walters has defined as mass-based disintegration: disintegration, because it aims to partly or fully withdraw from the agreed rules of international institutions; and mass-based, because it is often based on a strong domestic support, either expressed through a referendum vote (such as Brexit) or as part of a candidates successful election campaign. Thus, mass-based disintegration is a process that starts at the national level, but has international implications as soon as a government, based on its internal constituency, puts pressure on the other Member States to modify the rules of an international organization, or unilaterally withdraws from specific rules (or from the entire institution).

What happened this week at the WHO assembly is a clear demonstration of such a dangerous trend. It is too early to know whether the Chinese government will really try to occupy the space in the international system that the Trump administration has been increasingly abandoning; much will of course depend on the results of next US presidential elections in November. But the danger posed by right-wing authoritarian leaders to the very fabric of the multilateral world order will not disappear even if Joe Biden will become the next POTUS.

For all who believe in multilateralism as the only way to tackle the global challenges of our time from the climate crisis to pandemics, from mass migrations to civil wars, from tax avoidance of transnational companies to mega data control it is imperative to identify and analyse the anti-multilateralism discursive narratives, political actions, and communication tools used by far-right leaders and movements in different countries, as well as their international connections. In the case of the COVID-19 emergency, right-wing leaders worldwide have often followed similar scripts: playing down the danger, opposing lockdown measures, trying to grab more power, praising the untested effect of hydroxychloroquine, and putting emphasis on the primacy of economic recovery over health concerns. Or all the above, as in the case of Brazils Jair Bolsonaro.

On the same day of the high-octane exchange between the Chinese and the U.S. leaders, the United Nations Secretary-General Antonio Guterres also addressed the WHO assembly over a video link. The COVID-19 pandemic has demonstrated our global fragility. [] Different countries have followed different, sometimes contradictory, strategies and we are all paying a heavy price, he said. Many countries have ignored the recommendations of the World Health Organization. As a result, the virus has spread across the world and is now moving into the Global South, where its impact may be even more devastating.

Demagogues and authoritarian leaders all over the world keep building their political fortunes on divisionary politics. Its time for multilateralists to react. To paraphrase the Churchillian aphorism about democracy, the multilateral world order, with the United Nations at its centre, is the most imperfect and ineffectual of all possible orders except all other forms of addressing global issues that have been ever tried.

This article represents the views of the author and not the position of the Media@LSE blog, nor of the London School of Economics and Political Science, and does not represent any kind of endorsement from the United Nations.

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The far-right assault on the multilateral order and the COVID-19 pandemic - EUROPP - European Politics and Policy