In most long-lived animal species, juveniles survive less well than adults. A potential mechanism is inferior foraging skills but longitudinal studies that follow the development of juvenile foraging are needed to test this. We used miniaturized activity loggers to record daily foraging times of juvenile and adult European shags Phalacrocorax aristotelis from fledging to the following spring. Juveniles became independent from their parents 40 days post-fledging. They compensated for poor foraging proficiency by foraging for approximately 3hd−1 longer than adults until constrained by day length in early November. Thereafter, juvenile foraging time tracked shortening day length up to the winter solstice, when foraging time of the two age classes converged and continued to track day length until early February. Few individuals died until midwinter and mortality peaked in January–February, with juvenile mortality (including some of the study birds) five times that of adults. In their last two weeks of life, juveniles showed a marked decline in foraging time consistent with individuals becoming moribund. Our results provide compelling evidence that juveniles compensate for poor foraging proficiency by increasing foraging time, a strategy that is limited by day length resulting in high winter mortality.
The nitrogen stable isotopic composition in nitrate (δ15N-NO−3) measured in ice cores from low-snow-accumulation regions in East Antarctica has the potential to provide constraints on past ultraviolet (UV) radiation and thereby total column ozone (TCO) due to the sensitivity of nitrate (NO−3) photolysis to UV radiation. However, understanding the transfer of reactive nitrogen at the air–snow interface in polar regions is paramount for the interpretation of ice core records of δ15N-NO−3 and NO−3 mass concentrations. As NO−3 undergoes a number of post-depositional processes before it is archived in ice cores, site-specific observations of δ15N-NO−3 and air–snow transfer modelling are necessary to understand and quantify the complex photochemical processes at play. As part of the Isotopic Constraints on Past Ozone Layer Thickness in Polar Ice (ISOL-ICE) project, we report new measurements of NO−3 mass concentration and δ15N-NO−3 in the atmosphere, skin layer (operationally defined as the top 5 mm of the snowpack), and snow pit depth profiles at Kohnen Station, Dronning Maud Land (DML), Antarctica. We compare the results to previous studies and new data, presented here, from Dome C on the East Antarctic Plateau. Additionally, we apply the conceptual 1D model of TRansfer of Atmospheric Nitrate Stable Isotopes To the Snow (TRANSITS) to assess the impact of NO−3 recycling on δ15N-NO−3 and NO−3 mass concentrations archived in snow and firn. We find clear evidence of NO−3 photolysis at DML and confirmation of previous theoretical, field, and laboratory studies that UV photolysis is driving NO−3 recycling and redistribution at DML. Firstly, strong denitrification of the snowpack is observed through the δ15N-NO−3 signature, which evolves from the enriched snowpack (−3 ‰ to 100 ‰), to the skin layer (−20 ‰ to 3 ‰), to the depleted atmosphere (−50 ‰ to −20 ‰), corresponding to mass loss of NO−3 from the snowpack. Based on the TRANSITS model, we find that NO−3 is recycled two times, on average, before it is archived in the snowpack below 15 cm and within 0.75 years (i.e. below the photic zone). Mean annual archived δ15N-NO−3 and NO−3 mass concentration values are 50 ‰ and 60 ng g−1, respectively, at the DML site. We report an e-folding depth (light attenuation) of 2–5 cm for the DML site, which is considerably lower than Dome C. A reduced photolytic loss of NO−3 at DML results in less enrichment of δ15N-NO−3 than at Dome C mainly due to the shallower e-folding depth but also due to the higher snow accumulation rate based on TRANSITS-modelled sensitivities. Even at a relatively low snow accumulation rate of 6 cm yr−1 (water equivalent; w.e.), the snow accumulation rate at DML is great enough to preserve the seasonal cycle of NO−3 mass concentration and δ15N-NO−3, in contrast to Dome C where the depth profiles are smoothed due to longer exposure of surface snow layers to incoming UV radiation before burial. TRANSITS sensitivity analysis of δ15N-NO−3 at DML highlights that the dominant factors controlling the archived δ15N-NO−3 signature are the e-folding depth and snow accumulation rate, with a smaller role from changes in the snowfall timing and TCO. Mean TRANSITS model sensitivities of archived δ15N-NO−3 at the DML site are 100 ‰ for an e-folding depth change of 8 cm, 110 ‰ for an annual snow accumulation rate change of 8.5 cm yr−1 w.e., 10 ‰ for a change in the dominant snow deposition season between winter and summer, and 10 ‰ for a TCO change of 100 DU (Dobson units). Here we set the framework for the interpretation of a 1000-year ice core record of δ15N-NO−3 from DML. Ice core δ15N-NO−3 records at DML will be less sensitive to changes in UV than at Dome C; however the higher snow accumulation rate and more accurate dating at DML allows for higher-resolution δ15N-NO−3 records.
An open letter to Oxford University Dramatic Society from Oxford’s theatre-going audience: Get over yourselves. Earlier this term, Cherwell stage editor Rob Morgan, in what is undoubtedly his job, decided to run reviews of most, but not all, of the plays showing in Oxford that week. The following Friday, in what was undoubtedly not their job, members of the cast of Guardians and key OUDS officers criticized Morgan in a letter to the editor, accusing him of leaving their play out because of its venue. Their argument was that their OUDS funding was a “greater guarantee of quality than venue”.It’s hard to know where to begin on this one – one column is hugely insufficient. Luckily, Thespionage has done half my job by mocking the ridiculous display of ego involved. Both student papers should be able to agree on one thing: OUDS does not get to dictate content. As long as there are more shows in Oxford than can be reviewed on a single page, there will be only one way to influence what’s in either paper – applying for a job.But the Guardians’ letter raises another question: what, actually, is the point of student theatre? Angels in America was said to be “the closest Oxford drama comes to professional quality”. Very well, but is getting close to professional quality really what Oxford drama should be striving for? Last year Naomi Hirst pointed out on Toast, “Oxford drama entirely mystifies the concept of supply and demand.” It’s true: we are oversupplied for our theatre needs. That’s fine. We’re also over-saturated in music, dance, debating, and (dare I say it?) newspapers.We have so many plays not because we have massive audiences, but because we have so many actors. While watching most other student endeavours (like choirs) is free, I’ve spent £16 on theatre in the last couple of weeks. But just because I could have seen the RSC for less, does that mean Oxford drama should be striving for equal standards – and as a result, for an equally competitive and exclusive environment? I don’t think so. While showcase means some people do get professional quality training while they’re here, those fifteen people are not the point of student drama.OUDS claims to have a purpose of cultivating relationships with drama societies and promoting a “cohesive dramatic body for its members”, It also claims to be dedicated to taking the odd risk and supporting a varied range of student drama. Which is great, when it works. Oscar Wood’s risky and original Big Breathe In was one of the few shows at Oxford worth the exorbitant ticket prices. But a brief glance over OUDS funding shows that most money ends up in not-exactly-daring plays involving “big names”. While Cuppers and New Writing are a good start, those who partake in them aren’t always supported after. In fact, it’s a challenge for a no-name show just to use the OUDS costume cupboard.The mere fact that Thespionage exists is a nod to the fact that hackery has seeped from Frewin Court into the Madding Crowd. No-one is surprised to find that some lesser thesps who wrote asking for auditions for Angels in America never got responses, or that that there are unsavoury rumours about Macbeth’s casting. But while OUSU can fine you posters, and the Union ever-so-rarely remembers to call tribunals, OUDS hackery streams steadily on, unchecked, cultivating an air of exclusivity that keeps many aspiring actors distant and throws a long shadow over more “amateur” shows that struggle to get funds and audiences. What is OUDS? A mini-conservatory trying to produce polished, commercial shows while teaching our budding thesps to network just like professionals? Or a student society devoted to promoting wide involvement in varied, interesting theatre while giving students an outlet to try something new? It’s unclear what, if anything, their funding ‘guarantees’. Many hard-working casts have found their review cut, just as many aspirant producers have had their funding rejected and scads of talented actors have felt overlooked. As long as many of Oxford’s thesps feel excluded, OUDS darlings are bound to get upstaged by an outsider sometimes. You would hope they’d accept a chorus role with grace.
An Allen County judge has enjoined Fort Wayne from enforcing an ordinance designed to curb “pay-to-play” arrangements that allegedly led to city contracts for businesses that contribute to local candidates’ campaigns.Allen Superior Judge Jennifer L. DeGroote on Tuesday blocked the enforcement of a local ordinance that prohibited “business entities” from bidding for city contracts for “professional services” if, within one year of the date of a city contract, they made contributions in excess of $2,000 to candidates or local officials responsible for awarding the contract. The prohibition also applied to the spouses and children living in the home of an individual qualifying as a business entity, any individual who owns at least a 10 percent share in the business entity and any subsidiaries directly controlled by the entity.“Professional services” are defined in the ordinance as accounting, architectural, legal and engineering services.The ordinance was passed in 2017 and amended in 2018 and was enacted both times over the veto of Fort Wayne Mayor Tom Henry. But local resident Kyle Witwer, owner of Witwer Construction, Inc., and his wife Kimberly sued the city in April, alleging enforcement of Ordinance S-57-18 would violate their free speech and equal protection rights.“Kyle, Kim and Witwer desire both to contribute to candidates to municipal office in accordance with the limitations established by the legislature and regulated through the Indiana Election Commission and also participate in the city’s bid process for professional services,” Fort Wayne attorney Mark GiaQuinta of Haller & Colvin wrote in the complaint. “… As a result of the penalties included in the Ordinance, the Witwers are reluctant to donate to candidates in the 2019 city elections in the amounts they might otherwise for fear that their combined contributions will render Kyle’s business ineligible to bid for city professional service contracts.”Speaking with Indiana Lawyer on Wednesday, GiaQuinta said the impetus for the ordinance was the upcoming 2019 mayoral race. The idea, he said, was to create what some viewed as a more even playing field between incumbent Democrat Mayor Tom Henry and his challengers.Similarly, in the Tuesday order issuing a permanent injunction, DeGroote said the Fort Wayne City Council “was concerned there is a perception among the public that individuals and businesses are conferring or promising to confer property in the form of campaign contributions upon public officials and candidates for office with the intent to control the awarding of professional service contracts. Council also determined that a need exists to maintain public confidence in the awarding of public contracts.”But GiaQuinta said there were also politics at work in the passage of the ordinance. For example, Republican Councilman Dr. John Crawford acknowledged during the hearings on the ordinance that there was no indication that any purveyor of professional services had received their work in Fort Wayne because of their political contributions. Additionally, GiaQuinta said the council passed an ordinance in 2012 “to ensure that those receiving contracts were qualified, and to ensure that they were awarded the contracts based on their qualifications and not on political contributions.”According to Democratic Councilman Geoff Paddock, those circumstances made the ordinance a solution in search of a problem. Even so, GiaQuinta says he thinks the council moved forward with the ordinance for political reasons — Henry is a Democrat, while most of the council members are Republicans.While DeGroote said the pay-to-play concerns underscoring the ordinance were “legitimate,” the ordinance was still unlawful. She determined the local law violated various provisions of the Home Rule Act, including Indiana Code sections 36-1-3-8(a)(12) and (7), by attempting to regulate campaign finance and contributions — areas of law already governed by state statute.Specifically, DeGroote said the Indiana Election Commission is statutorily vested with the administration of Indiana election laws, including campaign finance and contribution laws. “The only additional authority that has been extended by statute,” she wrote, “is that county election boards have been expressly granted powers and authority over campaign finance filings and the powers to investigate violations of campaign finance laws.”The judge noted the ordinance relies on I.C. 3-9-2-4(7), which limits corporations and labor organizations from making more than $2,000 a year in campaign contributions. But the Fort Wayne ordinance impermissibly expands on that statute by including individuals, firms, proprietorships corporations, limited liability companies, professional corporations, partnerships “or any other organization or association,” she said. Additionally, the ordinance extends to family/household members and in-kind contributions.Similarly, GiaQuinta told IL the ordinance was “unwieldy, overly broad and nonsensical.” He noted that contributions to a school board campaign that exceed the $2,000 limit could disqualify a contractor from bidding for unrelated city work. “The City of Fort Wayne attempted to address legitimate concerns regarding quid pro quo exchanges or pay to play arrangements that tie contracts for professional services to contributions made to elected government officials who have authority to influence the awards of such businesses,” DeGroote wrote. “However, the Court finds that efforts by Fort Wayne, as well-intentioned as they may be, to address such practices in the 2018 Ordinance is not permitted under current Indiana law as no such authority has been extended to municipalities.”GiaQuinta celebrated DeGroote’s ruling as recognizing that the ordinance penalized lawful political donations.“You’re penalizing a legal contribution, and the fine, if you will, is the loss of business which could reach hundreds of thousands of dollars,” he said. “Make no mistake about it: this is an extremely serious, very serious fine, and it ought to be treated as such.”In addition to statute, DeGroote cited to Indiana appellate court precedent to support her ruling, specifically the decision in Indianapolis v. Fields, 506 N.E.2d 1128 (Ind. Ct. App. 1987).However, the judge did determine the ordinance does not violate I.C. 36-1-3-8(a)(8), another section of the Home Rule Act, because it imposes civil, not criminal penalties, including disqualification from future city contracts. The ordinance also does not violate Indiana’s bribery or ghost employment statutes, she said.Indiana Attorney General Curtis Hill reached a similar conclusion on the validity of the ordinance when he weighed in last September with Official Opinion 2018-7, issued at the request of Accelerate Indiana Municipalities. Hill said former Attorney General Greg Zoeller addressed a similar ordinance in 2011 and likewise concluded municipalities could not regulate conduct, including campaign finance and contributions, already regulated under state law.“The City still lacks the authority today that it lacked in 2011,” Hill wrote. “Simply put, as indicated in 2011, Fort Wayne lacks the authority to legislate in a subject matter area preempted by the State, and particularly where the proposed legislation directly conflicts with the State’s proper and authorized legislative and executive activity.”“… In addition,” Hill continued, “the Ordinance imposes restrictions on political speech that likely violate the First Amendment by limiting the contributions on the part of those desiring to do business with public entities.”Attorneys from Taft Stettinius & Hollister, Kroger Gardis & Regas, and Ice Miller likewise found the ordinance would violate the Home Rule Act. Each law firm submitted an analysis of the ordinance to city attorney Carol Helton in November and December 2017. Those analyses were attached to the complaint as exhibits.Attorneys for Fort Wayne both in Allen and Marion counties did not respond to a request for comment on the ruling.The case in Allen Superior Court 3 is Kyle Witwer and Kimberly Suzanne Witwer v. City of Fort Wayne, 02D03-1904-MI-318. Judge Blocks Fort Wayne ‘Pay To Play’ OrdinanceJune 12, 2019 Olivia CovingtonIndiana Lawyer FacebookTwitterCopy LinkEmail
Dr Mary Ramsay, Head of Immunisations at Public Health England, said: The HPV vaccine for girls is already expected to save hundreds of lives every year and I am delighted that we will now be protecting even more people from this devastating disease by extending the vaccines to boys. Any vaccination programme must be firmly grounded in evidence to ensure that we can get the best outcomes for patients, but as a father to a son, I understand the relief that this will bring to parents. We are committed to leading a world-class vaccination programme and achieving some of the best cancer outcomes in the world – I am confident these measures today will bring us one step further to achieving this goal. Boys aged between 12 and 13 in England will be given a vaccine to protect them against HPV-related cancers, Public Health Minister Steve Brine has announced today.The decision follows new scientific evidence and advice from an independent panel of experts. Updated evidence from the Joint Committee on Vaccination and Immunisation (JCVI) recommends that the existing HPV vaccination programme for girls should be extended to boys as well.The vaccine not only protects men from HPV-related diseases – such as oral, throat and anal cancer – but also helps reduce the overall number of cervical cancers in women, though a process known as ‘herd immunity’.The extension of the vaccine to boys follows the success of England’s HPV vaccination programme for girls and the recent introduction of one for men who have sex with men. The programme is expected to vaccinate thousands of boys in England each year.England will now be one of a small number of countries to offer HPV vaccination for both girls and boys. The extension of the programme builds on the government’s commitment to achieving the best cancer outcomes in the world.Public Health Minister Steve Brine said: I’m pleased that adolescent boys will be offered the HPV vaccine. Almost all women under 25 have had the HPV vaccine and we’re confident that we will see a similarly high uptake in boys. This extended programme offers us the opportunity to make HPV-related diseases a thing of the past and build on the success of the girls’ programme, which has already reduced the prevalence of HPV 16 and 18, the main cancer-causing types, by over 80%. We can now be even more confident that we will reduce cervical and other cancers in both men and women in the future.
British Baker is delighted to kick off the search for the 2018 winners of the Baking Industry Awards.Now is not the time to be modest! So many of our previous winners and finalists have said they never thought they could win – when their professionalism over the years has made them a worthy entrant.If you do win a Baking Industry Award, your business can benefit from publicity, recognition from your peers, and a huge boost for yourself and your staff.Across 10 categories, we are looking for those at the top of their game, standing out from the incredible pool of talent in the British baking industry. And, if selected as a finalist, you and a partner can join us at the 2018 awards ceremony in London.This year’s event, with its glamorous ‘Oceanic’ theme, will begin with a champagne reception, followed by a three-course dinner, then the awards ceremony itself, hosted by a celebrity presenter. And you can enjoy entertainment into the wee hours with around 800 other bakery delegates at this premier networking event.Entering the awards is simple using our online system (see right). Entries from any professional bakery business are welcome, but if you have won a Baking Industry Award in the past three years you may not enter the same category again. If you want to enter more than one category, each entry must be by a different individual from your firm.How to enterGo to www.bakeryawards.co.uk and click on the ‘Enter’ buttonOn the next page is the ‘Enter Now’ button. Click on that and follow instructions. If you have any queries call us on 01293 610439Entry deadline is Tuesday 8 MayTo book tickets to the ceremonyWhen: Wednesday 5 SeptemberWhere: Hilton Hotel, Park Lane, London W 1Tickets: £290 a ticket, table of 10: £2,625Tickets sell out fast, so apply early to [email protected]: 01293 846593(Finalists and partners attend free)
FARMINGTON – Commissioners discussed the county’s tax increment financing district, the revolving loan fund and supporting U.T. businesses at Tuesday’s meeting.The discussions related to the use of tax increment finance funds collected from the Kibby wind power project. That money can be used by the commissioners to fund economic development and other improvements. In recent weeks, the commissioners and the TIF Advisory Committee – an advisory board made up of U.T. residents – have been discussing the support of businesses, rather than nonprofits. Such support is allowable under the TIF guidelines, although county support has mostly been constrained to nonprofits for trail development, tourism-related advertising and other activities.Tea Pond Lodge & Cabins’ owner Sandra Lamontagne has applied for funding to go toward a $120,000 project that would install an open air pavilion. That would provide a venue for weddings, concerts and other community events, Lamontagne told commissioners, noting she had three brides already lined up. The pavilion would end the practice of clearing out the restaurant during big events, and enable the hiring of servers, potentially another cook and an events planner.The TIF Committee recommended that the commissioners support the Tea Pond Lodge request with $50,000 in grant funding and $70,000 through the loan program.“We said this is exactly what the TIF was for,” TIF committee member Bob Carlton said Tuesday.Commissioners have discussed getting more use out of the county’s revolving loan fund, a pool of money available to businesses that is supported by the TIF but has seen little use. One idea to increase the interest in the loan fund would be to tie it to the grants, with funding requests receiving a percentage of its funding in the form of a grant. The exact percentage was debated, ranging from 25 to 50 percent, as was what interest rate should be charged on the loan fund.Greater Franklin Development Council Executive Director Charlie Woodworth suggested that he, County Clerk Julie Magoon and the committee work to develop some potential guidelines for the commissioners’ consideration. GFDC works with the county and the committee for TIF-related matters. Commissioners agreed to meet on Oct. 30 to review the guidelines.Commissioners did approve funding for two other nonprofit projects. While TIF committee members supported funding the Flagstaff Area Business Association, members varied on the level of support, from $20,000 to $46,000. Commissioners opted to support FABA at $40,000 – a little above last year’s $37,500 amount. Those funds are used to put out a booklet that is distributed across New England, run the organization’s website and pay for ads. Commissioner Charlie Webster said that he would support the request, but wanted to see information regarding the organization’s effectiveness prior to next year’s request.Longfellow Mountain Heritage Trails’ request of $41,000 was supported by the committee, with Magoon saying that she was waiting on a final report from the organization regarding a previous project prior to issuing new funding.
Sir Richard Branson‘s Virgin empire has expanded into a plethora of different lifestyle industries and entrepreneurial ventures over the years. The global organization’s latest venture hopes to connect winos and music fans with a new subscription-based club branded under their “Virgin Wines” division. The new initiative sees the Virgin brand partnering up with Direct Wines, one of the industry leaders in direct-to-consumer wine partnerships to allow fans to receive the products without leaving the comfort of home.Virgin Wines membership club features an impressive selection of both reds and whites, with bottle designs inspired by some of rock and roll’s most recognizable names, including a trio of “Gods of Rock Reds” with the Rolling Stones (50th Anniversary Cabernet Sauvignon), The Police (red blend), and KISS (Malbec). For just $79.99 (no shipping fees!) fans can start their membership with the “Greatest Hits” collection, which includes the three above mentioned artist-branded wines, as well as nine more bottles to keep folks warm in these chilly winter months. It’s worth noting that the price of a new wine shipment every three months goes up to $149.99 (plus $19.99 shipping & tax) after the introductory member offer of $79.99.Of course, it wouldn’t be a real rock and roll wine club without some tunes, which the club provides just as conveniently as their adult beverages. The Virgin Wines club even provides both members and non-members with customized Spotify playlists based on each unique bottle of wine. The different playlists can be referenced here.Other band-branded wines featured in the collection include Metallica (La Roccaccia Verdicchio di Matelica) and Prince (Prince de Courthezon Cotes du Rhone Blanc). Different rock eras and genres are also referenced by some of the customized bottles, including 90s grunge/alt rock (Black Crown Cabernet Sauvignon), the Rat Pack (Affogato Red Blend), 80s new wave (Lobo e Falcão White Blend), and jazz (Bees Knees Chenin Viognier).Fans an interested wine connoisseur can head over to virginwines.com to learn more about joining this wonderfully scented and tannin-friendly club.[H/T Broadway World]
“I went to this interview too quickly,” New York Times reporter David Rohde admitted to a Harvard Kennedy School audience on Tuesday (Dec. 7), about his 2008 meeting with a Taliban commander in Afghanistan.His haste led to seven months and 10 days of captivity.Associates of a top Taliban commander kidnapped Rohde, an author and Pulitzer prize-winning reporter, along with two Afghan colleagues, as Rohde gathered information for a book. Their scheduled interview was a trap.Speaking at the Joan Shorenstein Center on the Press, Politics and Public Policy, where he was once a fellow, Rohde was accompanied by his wife, Kristen Mulvihill. Together, they authored the 2010 book “A Rope and a Prayer: A Kidnapping from Two Sides,” which examines the experience from his and her perspective. They married just two months before the kidnapping.Soon after he was kidnapped, Rohde was taken to Pakistan. He described his captors’ network as well-organized, and he recalled that as they moved across the border all the government checkpoints had been abandoned by Pakistani security forces and were manned by Taliban gunmen.In a testament to their comfort level, Rohde’s kidnappers boldly kept him not far from a Pakistan military base, used a radio network for communications, and even allowed him to make an easily traceable call to his wife. Later Rohde said he noticed “seamless cooperation” between the Pakistani and Afghanistan Taliban forces when he was moved farther into the country.Though he was not beaten or tortured, Rohde discussed being exposed to “tremendous cultural differences” while in captivity. His effort to convince his kidnappers how much he missed his wife with a tearful plea, for example, wasn’t in retrospect the wisest tact.“To the Taliban, if you are crying that means that you are somehow guilty, because a Pashtun never wants to show that they are weak; it’s very shameful to show weakness. So that actually made them more suspicious. In a culture that is deeply religious, the notion “that you might want to go back and see your family,” Rohde said, “is a sign that you are too caught up in earthly pleasures.”After the initial shock of learning that her husband had been kidnapped, Mulvihill, a new photography editor at Cosmopolitan Magazine in New York City, said she took each moment as it came and “tried to learn as much as I could.”She ultimately chose to hire a private security firm based in Afghanistan to aid the search for her husband. The FBI offered assistance and training on how to take calls from the kidnappers. The U.S. military knew he was being held in a 20-square-mile area in Pakistan but could not provide further details.“We hired the contractors because there was a gap,” said Mulvihill, adding that “in the end [the FBI] really couldn’t advise us closely.”Eventually, Rohde and one of his colleagues were able to escape while their captors slept. They lowered themselves down a wall and headed for the nearby Pakistan military base, all the while “terrified,” said Rohde, “that an even more militant group would get us.”The couple said they hoped their book will serve as an inspiration for others struggling through difficult times.“In writing the book,” said Mulvihill, “we hope it resonates with anyone going through a situation where they are dealing with uncertainty.”
View Comments Guys, we’re finally defrosting from the polar vortex (even though the nation still seems pretty Frozen), but it’s time to get focused on the lessons we’ve learned this week on Broadway! From discovering that Patti LuPone’s ghost does her own laundry to Bradley Cooper getting less than picture perfect on stage, check out all the fascinating tidbits we’ve taken from the week’s headlines.Broadway Wants to Make Us Ugly CryWatching tearjerkers in your PJs with tissue bits stuck in your eyelashes is totally acceptable in the comfort of your own crumb-filled Snuggie, but now that Beaches is hitting the stage, get ready to sob uncontrollably in public. And don’t even get us started on The Bridges of Madison County! We know being sad means you absolutely need chocolate, but cool it with the Snowcaps at the theater. Smeared mascara and chocolate mouth? Not sexy. You Can’t Hide From the Internet Remember the video you made with your neighbor of your two-person production of Les Miz (in costume) and your dog played Gavroche? Sorry, but it’s probably on the Internet somewhere. Patti LuPone learned this lesson the hard way when a 1980s operetta featuring her performance as a laundromat-haunting ghost surfaced. Patti being Patti, of course, killed it. Her mullet, however, is the true star.Jarrod Spector Needs Time Travel to Play Strip PokerWe don’t need to leave the 21st century to choose who we’d love to play strip poker with—hello, Jonathan Groff’s Out 100 pics! But when we asked Jarrod Spector that question on opening night of Beautiful (inspired by a scene in the show), he diplomatically chose Marilyn Monroe. It seems Broadway’s sexiest man doesn’t want to upset fiancée Kelli Barrett by taking it off (theoretically) with someone from the present. What a gentleman!Idina’s Stylist Doesn’t Work on SundaysIdina, we love you. You’re so beautiful, it makes us totally jealous. But we’ve gotta ask: What were you wearing at The Lion King last week? It’s fun to get all safari-chic for the show, but Disney should’ve told you there was gonna be a photo sesh, because…were those jammies? Somehow amidst all the camo, combat boots and bedhead, you still looked gorgeous. (P.S. We need your skin routine—PM us @broadwaycom, thnx)Bobby Lopez Could Be an EGOT WinnerLet it gooooooooo, let it gooOOOooo—oh. Heyyyy. You’re still here. Sorry, but we just can’t stop singing Frozen’s Oscar-nominated and soon to be Broadway hit (neither can every kid in the world). Well, it makes sense, because it was composed by Emmy/Grammy/Tony winner Bobby Lopez (ya know, co-creator of Avenue Q and The Book of Mormon.) We’re on your side for the Oscars, Bobby! And fingers crossed for Idina! (Until then, we’ll be watching toddlers belt on YouTube.)Pumpkin Pillow Thingies Bond PrincessesWe don’t really know what that pumpkin thing was they were holding (fan gift? stage prop?), but Cinderella’s Broadway princesses Laura Osnes and Carly Rae Jepsen were having a royal ball with it! The two cuties were captured hanging in Laura’s (soon to be Carly’s) dressing room looking like Stewart/McKellen-style besties. Also: Squigs, score! You landed on Laura’s wall! Three timesPunxsutawney Phil Can DanceUm, Punxsutawney Phil is the cutest little guy ever (specifically if he doesn’t see his shadow—come on, spring!), but he might be amping up the “aww” factor in an all-singing, all-dancing Groundhog Day musical. At least composer Tim Minchin hopes so. After seeing Matilda, we know the kind of awesome imagination Minchin has, and we’re hoping his new stage adaptation will feature Phil Connors (Bill Murray in the movie) with a Minchin/Matilda hairstyle.If You Dream a Dream, It Could Come TrueCan’t you just imagine little baby Ramin Karimloo belting out “Castle on a Cloud” (babies’ vocal ranges can’t hit “Bring Him Home,” duh) and wishing he could meet Jean Valjean? Well, Ramin’s voice dropped, and he got to not only meet, but duet with his idol and Les Miz’s original Valjean Colm Wilkinson on stage in Toronto. Wow. Dreams really do come true!Lena Hall Rocking a Mustache Was ForeshadowingLena, Lena, Lena—you fooled us. We should have known your mustachioed Instagram pic from November was totally foreshadowing your cross-dressing role in Hedwig and the Angry Inch! We’re so excited to see you as a rock dude! Now excuse us while we scour your social media accounts for any hints you may have left about future roles. Wait… Awesome ’80s Prom?Bradley Cooper Will Bare His Soul On Stage A moment of silence please, for the beauty that is Bradley Cooper. We all know how in demand this hottie is. He can do anything, but our Bradley chose to take on The Elephant Man, which is one of the most physically demanding stage roles. The Oscar nominee is ready to strip down and dig deep to do this exhausting part night after night, instead of relaxing in Hollywood. We love it, and it doesn’t hurt that he’ll be shirtless.