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[…] Montague (MI) High School grad Brandon Moore (whom AYBT News featured earlier this summer – at http://aybt.localsportsjournal.com/2013/06/moore-reflects-on-lessons-learned-at-aybt-fort-wayne-even…) , as he wins his second of three slam dunk titles, at the Fort Wayne […]<eot>A typical borrower takes 7-11 loans per year in Ashdown. And the percentage of quick loans reaches 200% per year.
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The equity markets mostly traded on the sidelines throughout the day, however, some recovery was seen in the afternoon trade led by heavyweight banking stocks which led the indices to close with minimal losses. At close, the 30-share pack Sensex was down 29.22 points at 58,250.26, and the Nifty-50 was down 8.60 points at 17,353.50.
"In a volatile session of trade today, the bulls managed to stage a smart comeback led by the pace of vaccinations and accumulation witnessed in Kotak Mahindra Bank," said S Ranganathan, Head of Research, LKP Securities.
The BSE Sensex witnessed buying interest in 15 stocks and similarly selling in 15 stocks in the intraday session on Wednesday, September 8. Shares of Maruti Suzuki, Bajaj Auto, and Bajaj Finance shed over a per cent each, while Nestle dipped more than two per cent. On the flipside, Kotak Mahindra, Axis Bank, Titan and NTPC were top gainers adding between 1-2 per cent each.
The broader markets however outperformed the benchmark indices in the day's trade. The BSE Midcap index closed with a gain of nearly 200 points, and Smallcap index jumped more than 150 points. Info Edge was the top newsmaker in the Midcap space as the stock jumped over nine per cent, while shares of Adani Power and Adani Green also gained nearly five per cent each.
Sectorally today, the Auto, IT, Pharma, FMCG, and Realty bleed red, while Banks and Metal counters saw healthy buying interest in the intraday session. The technology counters saw major profit booking after a sharp rally in the previous few sessions. Wipro, TCS, and Mindtree were the top losers in the pack, falling over a per cent each.
In the overall market breadth today, 961 shares advanced and 812 shares declined in the NSE.
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https://www.sfgate.com/warriors/article/Warriors-Bogut-springs-to-action-to-prove-he-can-4874189.php
Warriors' Bogut springs to action to prove he can
Updated 8:33 pm, Sunday, October 6, 2013
Andrew Bogut (left) steals the ball from the Lakers' Chris Kaman in the Warriors' 104-95 exhibition loss Saturday.
When the Warriors' coaches and players review video of Saturday's preseason-opening loss to the Lakers, they have to watch for only about 2 1/2 minutes to see Andrew Bogut inhaling rebounds, diving on the floor and racing back on defense to single-handedly stop a 3-on-1 fastbreak.
Bogut didn't compete like an undrafted rookie trying to make the team merely for show.
"I'm not trying to impress anybody," Bogut said after putting up seven points, 12 rebounds, an assist and a steal in 17 minutes. "I'm trying to prove to myself that I can get back to the form I had when I was All-NBA third-team."
The 2005 No. 1 overall selection averaged a double-double in three straight seasons (2008-2011), was voted an NBA All-leaguer in 2009-10 and led the league in blocked shots per game (2.58) in 2010-11. However, he has missed 180 regular-season games over the past five seasons while recovering from gruesome elbow and ankle injuries.
Last season, he returned too soon from a microfracture procedure on his ankle and didn't fully recover. He got back to full health this summer and was allowed to condition and train regularly - losing about 15 pounds in the process.
The preseason games might be called exhibitions, but Bogut has no plans of taking them casually.
"No, I can't. I can't afford to," Bogut said. "I need to get back to the way I know how to play and to what got me to this point. I'm trying to use this to get the rust off. I tried to use last (regular) season to get the rust off, and that didn't pan out too well. So I'm trying to get it done in the preseason and make sure that I'm 110 percent ready for that first regular-season game."
Some of the rust obviously remains.
Bogut missed six of his eight field-goal attempts - many of which were lightly contested chippies. But he made three of four free-throw tries, showed a lively body moving within the offense and even led some fast breaks.
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Mostly Opera, a blog that has all the news you can use, especially when some of us are off on our tangents, reviews Alfred Kirchner's Götterdämmerung, out on DVD. I trod the same soil a while back. Here are my comments.
Our correspondent from Copenhagen, however, hits the nail on the head when she notes,
My comment would be: Look at the epithet applied to the Kirchner Ring. It's not called the "designer Ring" because it is a sensible, intelligent, and sensitive approach to a cycle of music-dramas that demands nothing less. I am sorry, but most avant-garde fashion is the triumph of form over utility or substance.
On later viewing, I was reminded of nothing more than, say, P. T. Anderson's Magnolia. Kirchner's Ring is a very slick, very stylish, and very smart production that doesn't say a whole lot on its own power. It has a good cast, a good conductor, and an audience that likes it some Wagner. Nevertheless, it skates on the surface of the Ring.
This goes back, in my mind, beyond Chéreau and Kupfer, back to Wieland Wagner's stagings.
A.C. Douglas has a view of Wagner's designs that places them at the root of the Welt-Asch of Regietheater (Eurotrash) interpretations of Richard Wagner's music-dramas. The intent, [as Mr. Douglas points out - see below], behind Wieland's designs was - in my view - to strip away eighty or so years of baggage and superfluities and arrive at a staging that allowed the fundamental drama and music to make their points. Regietheater, by its very name, makes it pretty clear that the "fundamental drama" is the last thing on the book for these productions.
The problem is one of a tipping point. If you carry this minimalism and text/music-focus too far, you arrive at a place where the reduced and decentralized surface becomes the focus. In other words, you're too busy looking at Brünnhilde's fabulous bloomers to worry much with Wotan's Farewell or the prelude duet from Götterdämmerung. To put it still another way, you arrive at a situation where the surface becomes an end in itself.
The music and drama are left in the dust, and the artistry of the Konzept becomes the primary concern. Just like haute couture.
Not an outcome devoutly to be desired, to put it mildly.
Revision: 20 March 2008
A.C. Douglas, in the comments section to this post, notes, "You've given the impression here that I've said otherwise, and took a negative view of Wieland's original stagings of the Ring. I did no such thing."
For context, and since the link is what Mr. Douglas left us with, here is the relevant passage from his post, "Elegy,"
And who was the very first there to break totally with Bayreuth tradition and Wagner's original stagings of his works, and replace them entirely with his own? None other than Wagner's grandson, the hugely gifted producer, stage designer, and director, Wieland Wagner. His so-called New Bayreuth production of the Ring — first presented in 1951, and subsequently each succeeding year thereafter through 1958 (and about which I here write as firsthand witness) — set a new standard for Wagner productions worldwide, and showed what could be done by the use of inspired modern stagecraft in the service of Wagner's own idealized dramatic vision, that last being the key to this production's great artistic success.
With the production's almost total absence of stage furniture, and its use of non-period-or-place-committal costumes, and the creative use of lighting to model and shape space and the characters who inhabit it, Wieland — taking his grandfather at his word when in 1853 he declared that the yet unwritten music of the Ring "will be such that people shall hear what they cannot see" — created, so to speak, a neutral "frame" for the tetralogy that permitted the music itself, working in tandem with the audience's own imagination, to fill in all the missing stage detail as if it all were right in front of their eyes. It was a brilliant stroke, a stroke of genius even, as it made manifest to the audience in the most intimate way imaginable Richard Wagner's deepest interior vision of the Ring, while rendering Wieland's all but invisible.
Unhappily, this wasn't to last. Along with Wagner's physiognomy, Wieland inherited as well Wagner's monstrous ego, and it wasn't long before he began not only to replace Wagner's original stagings with his own, but Wagner's original idealized vision as well, and thus did Regietheater first ensconce itself within the Bayreuther Festspiele where it still reigns supreme to this very day, influencing Wagner productions everywhere.
As Mr. Douglas has pointed out, he does not take a negative view of Wieland's Neu Bayreuth style, but apparently objects to later designs (i.e., 1958-1966) that "replace[d] Wagner's original staging with [Wieland's] own." Point taken. He does, however, place, as I paraphrased, Wieland at the top of the flowchart from Neu Bayreuth to Schlingensief's execrable Parsifal.
On a less-contentious issue, has Mr. Douglas ever addressed his own 1958(?) visit to Bayreuth at length? I can't recall, and - since, with the release of the Keilberth set and the Knappertsbusch set from 1956 having made the rounds for a while now, interest in the Golden Age seems high - it would interest me, and likely others.
posted by Patrick J. Smith @ 9:29:00 PM 8 comments
At 12:47 AM, A.C. Douglas said...
A.C. Douglas has a view of [Wieland] Wagner's designs that places them at the root of the Welt-Asch of Regietheater (Eurotrash) interpretations of Richard Wagner's music-dramas. The intent, however, behind Wieland's designs was - in my view - to strip away eighty or so years of baggage and superfluities and arrive at a staging that allowed the fundamental drama and music to make their points.
Which is precisely what I said. You've given the impression here that I've said otherwise, and took a negative view of Wieland's original stagings of the Ring. I did no such thing. See here for my remarks in full.
At 10:34 AM, daland said...
A.C.Douglas - rightly - blames Chéreau's 1976 opening of Das Rheingold in a hydro-power plant. But at least there we have some reminiscence of water, the "fundamental element" of the fundamental drama.
Today Claus Guth moves much, much forward. In his Hamburg production, still on stage, instead of the Rhine-bed, he shows us a cot, in a children's bedroom!
At 2:42 PM, A.C. Douglas said...
On a less-contentious issue, has Mr. Douglas ever addressed his own 1958(?) visit to Bayreuth at length?
No, he hasn't, and for good reason, too. At the time, Mr. Douglas had no special love for Wagner — in fact considered him a vulgar musical bloviator — and attended that 1958 Bayreuth performance only because a business acquaintance of his father's gave up his ticket so that Mr. Douglas could accompany his wife to the performance. It was only some 14 years later that Mr. Douglas's love affair with Wagner began, and he then had to back-remember that performance and put it all together in his head where it now made sense — what he could remember of it, that is.
At 2:45 PM, A.C. Douglas said...
Oh, forgot to thank you for the revision to your original post.
At 5:17 PM, A.C. Douglas said...
...a business acquaintance of his father's gave up his ticket so that Mr. Douglas could accompany his wife to the performance
the "his wife" refers to the business acquaintance's wife, not mine. I was a mere 19 years old at the time.
At 9:06 PM, Patrick J. Smith said...
That seems as good a reason as any of which I can think. Of course, despite the temporal distance between going to Bayreuth and kindling a 'love affair' with Wagner, there is still something to be said for getting while the getting was good.<eot>If Independance Day had bombed or any of the other countless invasion films crashed, they wouldn't be making more.. plain and simple as that.
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