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Helen Cammock Named Winner of Max Mara Art Prize for Women

ART AWARD: Max Mara has awarded Helen Cammock the Art Prize for women.
The biannual award from the Italian label held in association with Whitechapel Gallery was presented on Monday evening. The judging panel consisted of Iwona Blazwick, director of the Whitechapel Gallery; gallerist Vanessa Carlos; artist Laure Prouvost; collector Marcelle Joseph, and art critic Rachel Spence.
The London-based artist’s work spans across moving image, photography, writing, poetry, spoken word, song, performance, printmaking and installation.
“I have never before experienced a structured opportunity that encompasses travel, research, making and then showing over a sustained period,” said Cammock. “Over the six month residency I’ll find myself in a culture that is new to me, meet practitioners who work in different ways to me and consider how my practice can move into dialogue with new histories. It is an opportunity for space and time to focus on being an artist — this is perhaps the most significant aspect of this prize.”
Cammock’s residency will commence next month and she will travel to several Italian cities including Bologna, Florence, Venice, Rome, Palermo and Reggio Emilia. She plans to explore how emotions are expressed in Italian culture in formats such as opera, classical and folk music, art, poetry, writing

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Eurovision’s first ever winner Lys Assia dies

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Lottery Winner with Cancer Dies Three Weeks After Finally Being Able to Afford Doctor

A winning lottery ticket worth a million dollars offered hope to one New York man, but the life-changing event would be short-lived as he lost his life to stage 4 cancer just three weeks later.

Donald Savastano, a self-employed carpenter living in upstate New York, struck it rich when he was driving home from work in early January and stopped at a convenience to purchase lottery tickets. The 51-year-old walked in and bought a Merry Millionaire ticket, and scratched it while on his way back to the car—revealing he had hit the $ 1 million grand prize.

“I couldn’t believe it!” Savastano told the New York Lottery in an announcement of his prize. “I brought it back in and scanned it under the ticket checker and knew it was a winner.”

Savastano decided to take the one-time lump sum payment, totaling $ 661,800 after withholdings. The winnings, he said, would allow him to build for the years to come.

RELATED: 20-Year-Old Wins $ 451 Million Mega Millions Grand Prize, Hopes to ‘Do Good For Humanity’

“Being a self-employed carpenter, I didn’t really have a plan for retirement,” he said. “The money will help with that. I don’t have any other extravagant plans. I’ll buy a new truck, pay off some debt and invest for the future.”

One of those plans was finally going to the doctor for a check-up because he hadn’t been feeling well. But the visit resulted in terrifying news: Savastano had stage 4 metastatic cancer.

Danielle Scott, an employee at the store where the ticket was purchased, told ABC 7 that Savastano didn’t have insurance.

“He had a friend come and talk to me,” told ABC 7. “They told me that he was very sick and that he had brain and lung cancer and that he was in the hospital and they didn’t think he was gonna make it.”

Savastano died from the disease on January 26, just 23 days after purchasing his ticket.

“I was hoping that the money was maybe going to save his life,” Scott told the news station.

RELATED VIDEO: North Carolina Woman Wins Lottery Twice on the Same Day

An obituary for Savastano he learned carpentry from his father as a child growing up on Long Island.

“He was known for his high-quality work and perfectionism,” the obituary reads. “He always tried to reach out and help those he could by teaching them ‘the right way to do things.’ “

Savastano lived with his girlfriend of 12 years, Julie Wheeler, and helped to raise her two sons. The family is asking for donations to be made to the American Cancer Society in his memory.


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Addressing Veteran Suicide Head-on: Q&A With Oscar Winner Ellen Goosenberg Kent

One number: 22. That’s all it took to transform Ellen Goosenberg Kent from a filmmaker to a woman on a mission. “When I heard that 22 veterans are killing themselves every day, I thought: This is outrageous. That’s almost one every hour. I had to do something,” she said. Goosenberg Kent was already a strong voice on veterans’ issues. In 2007 she partnered with the late James Gandolfini to create Alive Day Memories, a heartwrenching documentary in which soldiers from the Iraq War reflected on the days they almost died in combat.

But suicide, that was a silent epidemic, one that needed to be addressed head-on. “I kept thinking: How can I make that number real for people? When I learned about the Veterans Crisis Line,” a suicide hotline created by the Department of Veterans Affairs in 2007, “I realized that this was an opportunity, a chance to capture a glimmer of hope in a sea of suffering.”

The director convinced the V.A. to grant her access to the crisis line’s Canandaigua, NY., facility, where she spent the next three months filming trained responders as they answered calls from suicidal veterans, some of them armed and ready to act. Goosenberg Kent spliced her footage into a 40-minute film that crackles with a disquieting, nervous energy. The movie has more drama than any action picture released this year and a greater grasp of the soldier experience than most of the war films of the last decade.

Crisis Hotline: Veterans Press 1 premiered on HBO last November. In February it won the Oscar for Best Documentary (Short Subject). And today, Independence Day, as millions nationwide honor our vets, Americans have the chance to watch the film with family, through HBO Go, Google Play and Amazon Instant Video.

Goosenberg Kent spoke with me about her film, the importance of the suicide hotline, and what each of us can do to help our veterans.

Kors: I have to challenge you about that statistic: 22 veteran suicides a day. It comes from the V.A., and you cite it in the beginning of the film. But how can we possibly know a number like that?

Goosenberg Kent: It’s an estimate. We spent a lot of time trying to vet it. But it’s very difficult to reliably gather suicide statistics. My sense is that the real figure may be much larger, that veterans’ suicides are widely underreported. But even if it is just 22 — one is too many. So 22 is insane.

Kors: And yet your film spends no time casting blame, not on the administration, not on the V.A. It’s focused on the crisis hotline responders, who display such intelligence and empathy as they to talk these veterans down from the brink.

Goosenberg Kent: That’s right. There’s a lot of blame to go around when it comes to these suicides. And exploring who is to blame is important. But I realized, we had an opportunity here, a chance for a fresh perspective by focusing on the good guys, the responders who are using compassion, training and focus to save lives. As a filmmaker, I wanted to do more than present the problem. I wanted to offer a lifeline of hope. That’s what the Veterans Crisis Line is.

Kors: It’s Ground Zero for the epidemic.

Goosenberg Kent: Absolutely. At the call center, it’s wave after wave of veterans, alone, in the dark, crying out for help. You spend a little time there, and you really get the scope of the problem.

Kors: How did you get access to the facility?

Goosenberg Kent: Well, the V.A. had let the New York Times in for a piece they produced in 2010. But what we wanted was a whole different level of access. Basically, we wanted to embed, to be there for three or four months and just watch the place work, to hear the soldiers in crisis and watch the responders as they assist them.

Kors: That’s one of the amazing ironies of the film: it captures the voice of veterans better than so many other movies, and yet the only voices in the movie are the responders’, not the callers’.

Goosenberg Kent: Because the V.A. doesn’t tape the calls.

Kors: It doesn’t?

Goosenberg Kent: No, it doesn’t. That surprised us too. We thought it would be like 911, which records all of its calls. But veterans’ conversations with the responders are just between them. To get access to the call center, we had to commit to not taping those calls either. Which meant that, with one side of the conversation, we didn’t know what we had. We didn’t know if there was enough to make a film.

Then we came back from our first few days of shooting and watched the footage. There was a call from a 20-year-old veteran whose best friend died in his arms. Maureen, [one of the crisis hotline responders], talked to him in a way that was incredibly moving. He thought this life was over, and she was able to seize on his ambivalence, keep him from acting on his impulse. She bought him some time to reconsider living, to realize that he wasn’t responsible for his friend’s death. On another call, Luis, who was an Army sergeant before becoming a responder, he talked about going through combat in such a powerful way. The caller was crying so loudly, you could hear it over the phone. Luis was emphatic. He told him: “If you ever feel like this again, you pick up the phone.” I thought we were going to be hearing phone therapy, but wow, this was different.

Dana Perry, who produced the film, her son committed suicide. When we first got to call center and started watching the responders, she got so silent. I asked her what’s going on, and she said, “It never occurred to me to call a hotline. Maybe if he had a hotline on the day he killed himself, maybe he wouldn’t have done it.” I realized, this is a message we had to get out to military families: There’s a place you can call, a place where you can be heard.

Kors: Were you worried that your film would look like a 40-minute commercial for the V.A.?

Goosenberg Kent: I was. But the failures of the V.A. have been amply reported. I was more concerned that there was this hotline out there, a bright light with top-notch people ready to help, and many military families didn’t even know it existed.

Kors: It is amazing how many veterans I talk to who are in crisis but don’t know about the hotline or have never thought to call.

Goosenberg Kent: Exactly. The longer we filmed at the call center, the more urgency I felt to tell soldiers what a resource they had there. I remember one call, an Army sniper who said, “I saw a child get blown away.” He wasn’t able to tell that story to his buddies or his wife. But to the responder, he could. It was an amazing moment. It was the beginning of something.

Kors: In the film, none of the calls end in suicide. Did you film any calls that ended unsuccessfully?

Goosenberg Kent: No, we didn’t capture anything like that. I know that occasionally it does happens. But not as often as you might think. When it does, usually the responder will find out much later: “You took a call a few weeks ago from a Marine in crisis. He didn’t make it.” But that didn’t happen while we were there.

Kors: Recently the Crisis Line has drawn fire from vets who say they called, needing immediate assistance, and instead were put on hold. I know Senator Bill Nelson has been looking into this. Was this a problem that you saw during your time at the call center?

Goosenberg Kent: No, I didn’t see anything like that. Believe me, if I saw responders putting veterans on hold, I would not have ignored that. But that’s not how the call center is set up. Responders don’t have a queue, with blinking lights for callers they have to get to. The center has 255 responders. And when each of them is talking with a veteran, the calls are rolled over to backup centers, which are also staffed with trained responders. I met several of them.

Kors: Did you ever meet a veteran who called the Crisis Line?

Goosenberg Kent: I did. The New America Foundation was screening our film, and a veteran at the screening told me she called the Crisis Line. She had been sexually assaulted while serving and was struggling with that. She said the Crisis Line saved her. To hear that from a veteran, in person, it was wonderful. She said that after the call, she got herself to a better place and got involved with [the Iraq and Afghanistan Veterans of America].

Kors: It is tough, though, for veterans to get to a place where they’re ready to call and ask for help.

Goosenberg Kent: I think it is. That’s part of the culture that I was hoping to chip away at, this idea that only the weak pick up the phone and ask for help. I remembering reading a series of articles about soldiers being bullied for seeking help, including soldiers at Fort Carson who were actively discouraged from seeking help. That was heartbreaking to me, and when I made this film, those articles very much in my mind. I wanted veterans to see that asking for help is actually a sign of strength. It’s an act of courage, one that doesn’t make you any less of a hero. In fact, it’s the beginning of getting your life back together.

Kors: Nonetheless, I bet a lot of civilians will see the movie and say, “It’s sad to hear that so many vets are in crisis. And it’s good that these responders are helping some of them. But either way, there’s not really anything I can do about it.”

Goosenberg Kent: No. That’s not true at all. In fact, that’s exactly the opposite of what I hope people will take from the film.

Kors: What do you want them to take from the film?

Goosenberg Kent: That they can be part of the solution. Even people with no training in psychology or counseling. You can ask a veteran how he’s doing. Let him know that you’re available to listen.

The worse feeling in the world is a sense of isolation. That’s what I learned from my time at the Crisis Line. You don’t have to have gone to war to understand pain or trauma, or empathy or understanding. The responders provide an example of how to open the lines of communications, how to be part of a conversation that all of us can engage in.

Follow Joshua Kors on Facebook at www.facebook.com/joshua.kors.

Follow Joshua Kors on Twitter at www.twitter.com/joshuakors.

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Carrie Underwood (Country Singer and 2005 American Idol Winner)

Carrie Underwood (Country Singer and 2005 American Idol Winner)


This book is part of Hyperink’s best little books series. This best little book is 4,000+ words of fast, entertaining information on a highly demanded topic. Based on reader feedback (including yours!), we may expand this book in the future. If we do so, we’ll send a free copy to all previous buyers. ABOUT THE BOOKFrom Oklahoma small town girl to platinum recording artist, Carrie Underwood has transformed before America’s eyes like a character in a modern fairy tale. Though Carrie began singing at the precocious age of three in her church choir, by the time she was twenty-one, a career in singing was far from her mind. Instead, the college senior was looking forward to graduation and pursuing a career in broadcast journalism. One fateful day in 2004, though, Carrie looked up the audition locations for the fourth season of American idol. With no professional singing experience, Carrie was certain she would not be chosen to go to Hollywood. Much to her surprise, however, judges Paula Abdul, Simon Cowell, and Randy Jackson loved the country sound of the small town girl. In 2005, Carrie breezed through the competition to become the fourth American Idol. The fairytale wasn’t quite over yet. Since her American Idol victory, Underwood has become one of the biggest names in country music, making three platinum albums. Underwood has won multiple Billboard Awards, Country Music Awards, American Music Awards, and five Grammy Awards. She has crisscrossed North America several times, performing in front of sold-out crowds to millions of fans. EXCERPT FROM THE BOOKBy the time Carrie was in college, she had made the decision to choose a practical career path. Singing was a dream that Carrie relegated to childhood. At Northeastern State University, Carrie concentrated on a degree in journalism. Underwood worked part-time at a pizzeria and interned with Oklahoma State Representative Bobby Frame. Underwood wasn’t all work and no play. In fact, Carrie joined the Sigma Sigma Sigma sorority,

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Beverly Hills Polo Club Big Winner Mens High Top Shoes

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Fit: Fits True To Size.Stay in Style with The Beverly Hills Polo Club Men’s Big Winner High Top Sneakers. These shoes feature a full lace up closure with metal Beverly Hills Logo tag on the laces, faux leather upper, cushioned interior and tongue for added support around the ankle, large Beverly Hills Polo and script logo on the side, rubber outsole with logo at the heel, and a cushioned footbed for added comfort. Established in 1982, the iconic brand quickly became a success in the USA, and grew to become a global brand. The luxury and history of Beverly Hills is the inspiration that embodies the lifestyle of a club member and the energy of the sport itself. Style: Big Winner

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Kenneth Cole NY Big Winner Mens Brown Leather Loafers Shoes

Kenneth Cole NY Big Winner Mens Brown Leather Loafers Shoes


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Congratulations, Beauty Contest Winner, Compliments Humor Greeting Card

Congratulations, Beauty Contest Winner, Compliments Humor Greeting Card


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Beverly Hills Polo Club Big Winner Mens High Top Shoes

Beverly Hills Polo Club Big Winner Mens High Top Shoes


Fit: Fits True To Size.Stay in Style with The Beverly Hills Polo Club Men’s Big Winner High Top Sneakers. These shoes feature a full lace up closure with metal Beverly Hills Logo tag on the laces, faux leather upper, cushioned interior and tongue for added support around the ankle, large Beverly Hills Polo and script logo on the side, rubber outsole with logo at the heel, and a cushioned footbed for added comfort. Established in 1982, the iconic brand quickly became a success in the USA, and grew to become a global brand. The luxury and history of Beverly Hills is the inspiration that embodies the lifestyle of a club member and the energy of the sport itself. Style: Big Winner

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UFC 183 winner Silva flunks Jan. 9 drug test

Anderson Silva tested positive for steroids in a sample taken prior to his UFC 183 match against Nick Diaz, who himself tested positive for pot after the fight.
ESPN.com
SuperStarTickets

Sharks net winner with 4.5 to go to stun Jets

Marc-Edouard Vlasic scored with 2.9 seconds remaining to give the San Jose Sharks a 3-2 win over the Winnipeg Jets on Monday night.
ESPN.com – NHL

Blackhawks edge Stars on Sharp’s OT winner

Patrick Sharp scored 1:17 into overtime to give the Chicago Blackhawks a 5-4 win over Dallas on Sunday night and snap the Stars’ four-game winning streak.
ESPN.com – NHL

Blake Lively Cooks with Top Chef Winner, Showcases Chic Kitchen Style

Blake Lively’s kitchen style is just as chic as we imagined. Mix one part Top Chef winner (Season 3’s Hung Huynh), one part artisan items from her website, Preserve, and one part well-dressed baby bump and voila! “Nothing better (or tastier) than an evening spent with friends who share your passion. What you don’t see is […]
InStyle
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Youre the Cats Meow Beauty Pageant Winner Congratulations Greeting Card

Youre the Cats Meow Beauty Pageant Winner Congratulations Greeting Card


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自然香调 Bare Escentuals 双色眼影 2.0 – The Winner Is… (# Chart Topper # Hit Single) 3g/0.1oz

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Ben Hogan Golf Legend signed cut signature PSA/DNA Slabbed Masters Winner

Ben Hogan Golf Legend signed cut signature PSA/DNA Slabbed Masters Winner


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Dave Stockton PGA Golf Golfer PGA Championship Ryder Cup Winner Signed Photo COA

Dave Stockton PGA Golf Golfer PGA Championship Ryder Cup Winner Signed Photo COA


Dave Stockton PGA Golf Golfer PGA Championship Ryder Cup Winner Signed Photo COA
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Cabaret: Everybody Loves A Winner Once

I read Michael Riedel’s column in last Friday’s New York Post with the kind of dumbfounded look I have on my face when I see really bad theater that somehow made it to Broadway. I thought: “Could anyone possibly think Cabaret should be eligible for a Tony Award for Best Revival? Could anyone think Michelle Williams would be ineligible?”

As I have written many times, the Tony Awards Administration Committee does what it wants. The rules it is tasked with interpreting are often unclear. In fact, I looked and could not find in the rules language that would explicitly deny Cabaret eligibility. However it seems ridiculous to me that it would be considered. This is a carbon copy production. Roundabout even announced it as such. As per the Roundabout website: “One of Broadway’s greatest productions returns! Alan Cumming (“The Good Wife,” Roundabout’s The Threepenny Opera) reprises his Tony®-winning performance in Sam Mendes (Skyfall, American Beauty) and Rob Marshall’s (Nine and Chicago, the films) Tony-winning production of Cabaret.” That’s right, this production already has its Tony. It should not be able to receive another one.

There is sadly precedent for it being eligible. Some of which is from long ago, some of which from not so long ago. The 1976 and 1981 revivals of My Fair Lady come to mind–both nominated for Best Revival (or whatever it was called during those times). The last Les Miserables revival was essentially a remount of the original production, yet it scored a Best Revival nomination anyway. And this issue has actually come up with regards to Cabaret before–the nominated 1987 revival was mostly faithful to the original production (including having the same Master of Ceremonies, which probably sounds familiar by now), but at least it had slight design team differences. Here, according to Roundabout itself, the company is simply bringing back its Tony winner.

What are the Tonys here for if not to honor theatrical creativity? What creativity is there in remounting a production at its original home? A play or musical is not eligible for the Best Play or Musical award if it substantially duplicates a previously presented play or musical. Why is a revival that exactly duplicates a revival capable of being nominated? (The “substantial duplication” language was created to keep producers from claiming barely revised work was “new.” It says that a play or musical can be eligible if it contains “substantially duplicate elements of productions” but only if “the duplicated and the original elements, in their totality, create a new play or musical.” While it was not created for this purpose, I believe its logic holds here. This is not a new revival.)

However, whatever the Administration Committee decides to do with Cabaret as a production, Williams and other new cast members will likely be eligible. “Regardless of whether a production of a play or musical is eligible for a Best Revival category, the elements of the production shall be eligible in those categories in which said elements do not, in the judgment of the Tony Awards Administration Committee, substantially duplicate any prior presentation of the play or musical…” So says the Tony rules. This wording has allowed many actors to be eligible in the past, including Christina Ricci for Time Stands Still and the actors from the return engagement of White Christmas. There has been no change in the language of the rule in recent years. Excluding Williams and her costars (with the exception of Cumming) from the nominations would be an unnecessary slight.

And so it goes every year – there is a fuzzy grey area and the Tony Administration Committee steps in. Last year they broke with tradition and went out on their own a little bit, defying some producers. I hope that continues with regards to Cabaret. A facsimile should not be treated as an award-worthy new entry in the theatrical landscape.
Arts – The Huffington Post
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Dave Stockton PGA Golf Golfer 2x PGA Championship Ryder Cup Winner Signed Photo

Dave Stockton PGA Golf Golfer 2x PGA Championship Ryder Cup Winner Signed Photo


Dave Stockton PGA Golf Golfer 2x PGA Championship Ryder Cup Winner Signed Photo
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