Donovan Marsh • David Jammy • Atandwa Kani • Janine Eser
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2021 Source Book Owner-Trainer-Jockey Biographies Stakes Winning Jockeys & Trainers Biographical Sketches 2021
2021 SOURCE BOOK OWNER-TRAINER-JOCKEY BIOGRAPHIES STAKES WINNING JOCKEYS & TRAINERS BIOGRAPHICAL SKETCHES 2021 Hit the Road and jockey Umberto Rispoli have their photo taken in the “winner’s circle” following their victory in the 2020 Opening Day Runhappy Oceanside Stakes. Del Mar conducted racing despite the world-wide pandemic, but it did so without fans and also minus a winner’s circle in line with social distance guidelines. Owners ...................................3 Trainers .................................28 Jockeys ..................................61 u Del Mar thanks Equibase for their statistical aid in compiling this publication. Owners’ Del Mar statistics are for that owner, or owner group, only. No partnerships are considered, except where specifically noted. On the cover: The strange scenario of a land full of masks played out throughout the year at Del Mar and our photographers – Benoit and Associates – captured the community of horsemen going along with the program, one by one. Photos by Benoit & Associates Owner Profiles • Del Mar 2021 Del Mar Thoroughbred Club Owner Proles — 2021 O W trust, turned his dealership over to his son and daughter Nick Alexander N and headed north to the Central California wine and E Born: September 13, 1942 horse country of the Santa Ynez Valley. R Santa Monica, California • There he purchased his 280-acre ranch – Horse Haven S Reside: Santa Ynez and Del Mar, – in the town of Santa Ynez and went all in as a rancher California specializing in racehorses. These days he notes that the ranch is home to approximately 100 horses, including Silks: White, blue yoke, orange 30 broodmares, 25 to 30 racehorses and dozens of and white “MM” on juveniles, yearlings and foals/weanlings. -
Gary Barber Born: in 1957 in Johannesburg, South Africa Residence: Los Angeles, California Family: Three Daughters Education: Earned a B.S
Gary Barber Born: In 1957 in Johannesburg, South Africa Residence: Los Angeles, California Family: Three daughters Education: Earned a B.S. in accounting at Witwatersand University in South Africa while on a soccer scholarship. Business: He was the chairman and CEO of MGM Studios in Hollywood for eight years until March 2018. • Worked as a chartered accountant in South Africa and as a certified public accountant in the United States before moving into the film industry. He came to the United States in 1982, following his brother, Cecil, who came in 1979. • Co-founder, along with Roger Birnbaum, and CEO of Spyglass Entertainment, which has produced such motion pictures as “Seabiscuit,” “Memoirs of a Geisha,” “The Insider,” and “The Sixth Sense.” The original Spyglass shuttered when its co-founders went to work at MGM in 2010. He has been the executive producer of more than 50 movies. Together with Lantern Entertainment, he relaunched Spyglass Media Group in early 2019 as a content distribution company. • Has been a major player in Southern California over the years, racking up impressive victories with The Deputy, winner of 2000 Santa Anita Derby (G1), as a partner with Team Valor; Gitano Hernando, Red Arrow, Reine de Romance and $50,000 claim, Cost of Freedom, who was a graded stakes winner on his way to becoming a third-place finisher in the 2009 Sprint. • His stable has an international flavor as well as being prominent in North America, scoring big wins in France, Ireland, Australia and his homeland, South Africa. He has owned a number of horses in partnership with Team Valor International, Eclipse Thoroughbred Partners, Altamira Racing, Kevin Tsujihara and trainer Jerry Hollendorfer. -
Lionsgate Reports Results for First Quarter Fiscal 2022
LIONSGATE REPORTS RESULTS FOR FIRST QUARTER FISCAL 2022 First Quarter Revenue was $901.2 Million; Operating Income was $20.3 Million; Net Loss Attributable to Lionsgate Shareholders was $45.4 Million or $0.20 Diluted Net Loss per Share Adjusted OIBDA was $119.8 Million Global Media Networks Subscribers were 28.9 Million Global Streaming Subscribers were 16.7 Million, reflecting 58% Year-Over-Year Growth; STARZPLAY International Subscribers More than Doubled Year-Over-Year to 7.0 Million Film & Television Library Revenue was $740 Million for Trailing 12 Months SANTA MONICA, CA, and VANCOUVER, BC, August 5, 2021 – Lionsgate (NYSE: LGF.A, LGF.B) today reported first quarter (quarter ended June 30, 2021) revenue of $901.2 million, operating income of $20.3 million and net loss attributable to Lionsgate shareholders of $45.4 million or $0.20 diluted net loss per share on 221.8 million diluted weighted average common shares outstanding. Adjusted net income attributable to Lionsgate shareholders in the quarter was $42.4 million or adjusted diluted EPS of $0.18 on 229.2 million diluted weighted average common shares outstanding, with adjusted OIBDA of $119.8 million. “I’m pleased to report that we were able to lean into our resilient business model to drive strong financial results in the quarter,” said Lionsgate CEO Jon Feltheimer. “We filled our content pipelines with exciting new properties and added valuable new titles to our library. Like the rest of the industry, Starz subscriber growth was impacted by the decline in at home viewership and, importantly, a light content quarter due to COVID-driven production delays. -
Newsletter 08/07 DIGITAL EDITION Nr
ISSN 1610-2606 ISSN 1610-2606 newsletter 08/07 DIGITAL EDITION Nr. 205 - April 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 08/07 (Nr. 205) April 2007 editorial Gefühlvoll, aber nie kitschig: Susanne Biers Hallo Laserdisc- und DVD-Fans, da wieder ganz schön viel zusammen- Familiendrama über Lügen und Geheimnisse, liebe Filmfreunde! gekommen. An Nachschub für Ihr schmerzhafte Enthüllungen und tiefgreifenden Kaum ist Ostern vorbei, überraschen Entscheidungen ist ein Meisterwerk an Heimkino fehlt es also ganz bestimmt Inszenierung und Darstellung. wir Sie mit einer weiteren Ausgabe nicht. Unsere ganz persönlichen Favo- unseres Newsletters. Eigentlich woll- riten bei den deutschen Veröffentli- Schon lange hat sich der dänische Film von ten wir unseren Bradford-Bericht in chungen: THEM (offensichtlich jetzt Übervater Lars von Trier und „Dogma“ genau dieser Ausgabe präsentieren, emanzipiert, seine Nachfolger probieren andere doch im korrekten 1:2.35-Bildformat) Wege, ohne das Gelernte über Bord zu werfen. doch das Bilderbuchwetter zu Ostern und BUBBA HO-TEP. Zwei Titel, die Geblieben ist vor allem die Stärke des hat uns einen Strich durch die Rech- in keiner Sammlung fehlen sollten und Geschichtenerzählens, der Blick hinter die nung gemacht. Und wir haben es ge- bestimmt ein interessantes Double- Fassade, die Lust an der Brüchigkeit von nossen! Gerne haben wir die Tastatur Beziehungen. Denn nichts scheint den Dänen Feature für Ihren nächsten Heimkino- verdächtiger als Harmonie und Glück oder eine gegen Rucksack und Wanderschuhe abend abgeben würden. -
A Theory for Subjectivity in the Psychological Humanities Complicities
PALGRAVE STUDIES IN THE THEORY AND HISTORY OF PSYCHOLOGY Complicities A theory for subjectivity in the psychological humanities Natasha Distiller Palgrave Studies in the Theory and History of Psychology Series Editor Thomas Teo Department of Psychology York University Toronto, ON, Canada Palgrave Studies in the Teory and History of Psychology publishes schol- arly books that use historical and theoretical methods to critically examine the historical development and contemporary status of psychological con- cepts, methods, research, theories, and interventions. Books in this series are characterised by one, or a combination of, the following: (a) an empha- sis on the concrete particulars of psychologists' scientifc and professional practices, together with a critical examination of the assumptions that attend their use; (b) expanding the horizon of the discipline to include more interdisciplinary and transdisciplinary work performed by researchers and practitioners inside and outside of the discipline, increasing the knowl- edge created by the psychological humanities; (c) “doing justice” to the persons, communities, marginalized and oppressed people, or to academic ideas such as science or objectivity, or to critical concepts such social justice, resistance, agency, power, and democratic research. Tese examinations are anchored in clear, accessible descriptions of what psychologists do and believe about their activities. All the books in the series share the aim of advancing the scientifc and professional practices of psychology and psy- chologists, even as they ofer probing and detailed questioning and critical reconstructions of these practices. Te series welcomes proposals for edited and authored works, in the form of full-length monographs or Palgrave Pivots; contact [email protected] for further information. -
Wakanda Forever
3 Wakanda Forever Racism is a system whose function is to confer privilege. Tat privilege has two main components, economic and psychic. Racism as a system is fundamentally reliant on binary thinking in order to build the symbolic meanings on which its material practices are erected. Historically and philosophically, racism is an implicit part of the well-intentioned liberal- ism which has crafted the individualized subject of Western psychology. As Perry (2018) has shown, the processes of the Enlightenment, together with the genocide and slavery that accompanied the colonialism which made modernity, needed a category of nonpersons in order to authorize and enrich the gendered and classed person who was a product of these historical forces. Tese processes of person production were as much eco- nomic and legal as they were psychological, showing once more the imbrication of all these forces. Racism, of course, makes use of the construct of race to authorize itself. Tere is no scientifc validity to the construct of race. Tere is only one, human race, although there are geographically regional genetic vari- ants of humans. All the scientifc and psychological work on race and putative racial diferences in the nineteenth and twentieth centuries was research done on “something which was not there” (Richards, 2012, p. 19; © Te Author(s) 2022 73 N. Distiller, Complicities, Palgrave Studies in the Teory and History of Psychology, https://doi.org/10.1007/978-3-030-79675-4_3 74 N. Distiller see Posel, 2001; Richeson & Sommers, 2016). Or, as Oluo (2019, pp. 11–12) puts it, race is “a lie told to justify a crime” (see also Kendi, 2016). -
David Arquette Will Return to Pursue Ghostface As Dewey Riley in the Relaunch of Scream for Spyglass Media Group
DAVID ARQUETTE WILL RETURN TO PURSUE GHOSTFACE AS DEWEY RILEY IN THE RELAUNCH OF SCREAM FOR SPYGLASS MEDIA GROUP James Vanderbilt and Guy Busick to Co-write the Screenplay With Project X Entertainment Producing, Creator Kevin Williamson Serving as Executive Producer and the Filmmaking Collective Radio Silence at the Helm LOS ANGELES (May 18, 2020)— David Arquette will reprise his role as Dewey Riley in pursuit of Ghostface in the relaunch of “Scream,” it was announced today by Peter Oillataguerre, President of Production for Spyglass Media Group, LLC (“Spyglass”). Plot details are under wraps but the film will be an original story co-written by James Vanderbilt (“Murder Mystery,” “Zodiac,” “The Amazing Spider-Man”) and Guy Busick (“Ready or Not,” “Castle Rock,”) with Project X Entertainment’s Vanderbilt, Paul Neinstein and William Sherak producing for Spyglass. Creator Kevin Williamson will serve as executive producer. Matt Bettinelli- Olpin and Tyler Gillett of the filmmaking group Radio Silence (“Ready or Not,” “V/H/S”) will direct and the third member of the Radio Silence trio, Chad Villella, will executive produce alongside Williamson. Principal photography will begin later this year in Wilmington, North Carolina when safety protocols are in place. Arquette said, “I am thrilled to be playing Dewey again and to reunite with my ‘Scream’ family, old and new. ‘Scream’ has been such a big part of my life, and for both the fans and myself, I look forward to honoring Wes Craven’s legacy.” Though Arquette is the first member of the film’s ensemble to be officially announced, conversations are underway with other legacy cast. -
Carnegie Hall Announces 2014–2015 Season Ubuntu
Date: January 29, 2014 Contact: Synneve Carlino Tel: 212-903-9750 E-mail: [email protected] CARNEGIE HALL ANNOUNCES 2014–2015 SEASON UBUNTU: Music and Arts of South Africa Three-Week Citywide Festival Explores South Africa’s Dynamic and Diverse Culture With Dozens of Concerts and Events Including Music, Film, Visual Art, and More Perspectives: Joyce DiDonato and Anne-Sophie Mutter Renowned Mezzo-Soprano Joyce DiDonato Curates Multi-Event Series with Music Ranging from Baroque to Bel Canto to Premieres of New Works, Plus Participation in a Range of Carnegie Hall Music Education Initiatives Acclaimed Violinist Anne-Sophie Mutter Creates Six-Concert Series, Appearing as Orchestra Soloist, Chamber Musician, and Recitalist, Including Collaborations with Young Artists Debs Composer’s Chair: Meredith Monk Works by Visionary Composer Featured in Six-Concert Residency, Including Celebration of Monk’s 50th Anniversary of Creating Work in New York City Before Bach Month-Long Series in April 2015 Features 13 Concerts Showcasing Many of the World’s Most Exciting Early-Music Performers October 2014 Concerts by the Berliner Philharmoniker and Sir Simon Rattle, Including Opening Night Gala Performance with Anne-Sophie Mutter, Herald Start of New Season Featuring World’s Finest Artists and Ensembles Andris Nelsons Leads Inaugural New York City Concerts as Music Director of Boston Symphony Orchestra in April 2015 All-Star Duos Highlight Rich Line-Up of Chamber Music Concerts and Recitals, Including Performances by Leonidas Kavakos & Yuja Wang; Gidon -
Theatre Reviews
Multicultural Shakespeare: Translation, Appropriation and Performance Volume 8 Article 10 November 2011 Theatre Reviews Coen Heijes University of Groningen, the Netherlands Xenia Georgopoulou Department of Theatre Studies of the University of Athens, Greece Nektarios-Georgios Konstantinidis French Department of the University of Athens, Greece Follow this and additional works at: https://digijournals.uni.lodz.pl/multishake Part of the Theatre and Performance Studies Commons Recommended Citation Heijes, Coen; Georgopoulou, Xenia; and Konstantinidis, Nektarios-Georgios (2011) "Theatre Reviews," Multicultural Shakespeare: Translation, Appropriation and Performance: Vol. 8 , Article 10. DOI: 10.2478/v10224-011-0010-9 Available at: https://digijournals.uni.lodz.pl/multishake/vol8/iss23/10 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Multicultural Shakespeare: Translation, Appropriation and Performance by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Multicultural Shakespeare: Translation, Appropriation and Performance , vol. 8 (23), 2011 DOI: 10.2478/v10224-011-0010-9 Theatre Reviews The Tempest . Dir. Janice Honeyman. The Baxter Theatre Centre (Cape Town, South Africa) and the Royal Shakespeare Company (Stratford-upon- Avon, United Kingdom). a Reviewed by Coen Heijes The Multiple Faces of a Multicultural Society The last twenty lines of The Tempest are spoken by Prospero. They are an epilogue in which he asks the audience both for applause and for forgiveness in order to set him, the actor, free. The stage directions indicate that Prospero is by now alone on stage, all the other characters having left in the course of scene 5.1. -
Production Notes
junglebeatthemovie.com Sandcastle Studios and Sunrise Productions present Production Notes Writer/Director: Brent Dawes Producers: Jacqui Cunningham, Phil Cunningham, Tim Keller, Rita Mbanga, Joe Pistorius Executive Producers: Stuart Baxter, Jacqui Cunningham, Phil Cunningham, Ralph Kamp, Fred Kritzinger, Sanet Kritzinger Run time: 1:28 Asset Links: Jungle Beat: The Movie Press Assets Website https://junglebeatthemovie.com Social Media Links https://www.instagram.com/junglebeatthemovie https://www.facebook.com/junglebeatthemovie https://www.youtube.com/user/SunriseJungleBeat https://twitter.com/JungleBeatMovie Press Contacts: Hayley Porter, [email protected] Fumi Kitahara, [email protected] 2 Logline A homesick alien crash-lands his spaceship near the colorful African Jungle. His new animal friends need to get him back to his ship and teach him about friendship and fun before his Space-Conqueror father can take over the planet. Short Synopsis Jungle Beat: The Movie is a charming, family friendly adventure of epic proportions. One morning, the animals of the jungle wake up to discover that they can speak. They’re even more amazed when they learn the reason why: There’s an alien in the jungle! Little FNEEP has come to conquer the planet and has brought some crazy tech with him, including a translation device that lets them talk for the first time. Unfortunately for the intergalactic Scaldronian empire, but fortunately for the jungle, Fneep is a terrible conqueror: He’s homesick, he’s crashed his ship, and he’s no match for the antics of MUNKI, TRUNK and the gang. Our heroes won’t let a little alien conquest get in the way of a good time or a new friend! As the animals help him on his journey home, he learns that friendship could be the greatest force in the universe. -
Lantern Entertainment Partners with Gary Barber to Launch
EMBARGOED FOR WEDNESDAY, MARCH 13 AT NOON PT/3:00 PM ET SPYGLASS MEDIA GROUP LAUNCHES IN PARTNERSHIP WITH LANTERN ENTERTAINMENT AND GARY BARBER Eagle Pictures and Cineworld Group Invest As Strategic Partners Barber Appointed Chairman and Chief Executive Officer of the Premium Content Company CENTURY CITY, CA and DALLAS, TX (March 13, 2019)—Spyglass Media Group, LLC (“Spyglass”), an independent premium content company carrying the iconic Spyglass brand name, has been formed by Lantern Entertainment Co-Presidents Andy Mitchell and Milos Brajovic and former studio head Gary Barber. Concurrently, global industry heavyweights Eagle Pictures, the largest independent distributor in Italy and Cineworld Group, the second largest cinema chain in the world, have partnered as strategic investors. With this infusion of funding, Spyglass will be uniquely positioned to execute on its business plan to develop, finance and produce premium content for theatrical, network, cable and streaming platforms as well as acquire accretive assets and explore strategic opportunities. Headquartered in Century City, the company will be led by Barber who will serve as Chairman and Chief Executive Officer and oversee all operations. The announcement was made today by Barber, Mitchell and Brajovic. As a result of the partnership, Spyglass received a majority investment from Lantern Entertainment, an affiliate of Lantern Capital Partners, and is further capitalized with equity investments from strategic partners Eagle Pictures and Cineworld Group along with a substantial -
LESSONS from WAKANDA: Pan-Africanism As the Antidote to Robotisation,THE BLACK PANTHER PHENOMENON: Bridging the Rift Between
LESSONS FROM WAKANDA: Pan-Africanism as the antidote to robotisation By Horace G. Campbell In May 2013, the African Union launched Agenda 2063, a blueprint for an integrated, emancipated, prosperous and peaceful Africa. There was a renewed commitment to work for the full unification of Africa, with a common currency from one common bank of issue, a continental communication system, a common foreign policy and a common defence system featuring the African high command. Five years later, Hollywood came out with a fictional story of a bountiful, independent African state called Wakanda in the film Black Panther. Wakanda was described as the most scientifically and technologically advanced civilisation in the world — not to mention the wealthiest. It is not a coincidence that there is a straight line between the aspirations of the Global African Family, as expressed in Agenda 2063, and the depiction of a technologically advanced Africa. From the era of the writings of C. L. R James on the majesty of the Haitian Revolution to the current struggle for the dignity of black lives, the liberation and unification of Africa has always been presented as the basis for Pan-Africanism. Examining the meaning of Pan-Africanism in the current context of massive technological change requires a new language and a new orientation – an orientation that breaks away from the stultifying concepts embraced by a class of leaders who have no loyalty to Africa and who seek to turn citizens into tribal nanobots without a spiritual core. We are reminded that in this era of artificial intelligence (AI) the future of humanity is the struggle between humans that control machines and machines that control humans.