Women put the Tube back on trackOn 11 Jun 2002 in Personnel Today Previous Article Next Article A successful drive to increase the number of women train drivers by LondonUnderground (LU) has contributed to a much more reliable service for commuters.For the first time, more than 5,000 rush hour trains have run without asingle cancellation due to driver absence and much of this success has beenattributed to the increase in women drivers. The number of female drivers has jumped from 75 to 167 following an 18-monthrecruitment drive, which included an advertisement in Cosmopolitan magazine andled to 6,000 applications. The initiative was launched because there was a shortage of drivers to coverfor sickness, holiday leave and essential training, resulting in a growingnumber of train cancellations. Angela Johnson, head of resourcing at LU believes that a combination ofextra female drivers as well as a 1.5 per cent reduction in sickness absencethrough more efficient management have improved the service. “The new female recruits have greatly contributed to the reliability ofthe underground. It’s part of an all round strategy, as well as recruiting morestaff we’ve been improving the monitoring of sickness absence. Johnson said LU was now looking at new ideas to attract more women to theservice. www.thetube.com Comments are closed. Related posts:No related photos.
Comments are closed. Related posts:No related photos. Employers need to invest more in labour force skills, innovation, and goodsand services that provide companies with sustainable competitive advantages,according to Professor Michael Porter. US management guru Porter, who was commissioned by the DTI to look at thelink between management and productivity, presented his initial findings at theLondon School of Economics last week. He said business leaders should be given a key role in heading up nationalcompetitiveness initiatives, and that modern-management techniques must betaken up by more low and middle level managers. Contrary to the view of many HR professionals, Porter describes regulatoryintrusion on business as ‘very low’ although he accepts that some legislationfrom the EU has undermined UK strengths. Porter: skills and innovation key to productivityOn 28 Jan 2003 in Personnel Today Previous Article Next Article
Tags: Dominik Eberle/NCAA Division I FBS/USU Football Written by July 24, 2019 /Sports News – Local USU Football’s Dominik Eberle Named To Lou Groza Award Watch List FacebookTwitterLinkedInEmailWEST PALM BEACH, Fla.-Wednesday, Utah State senior kicker Dominik Eberle was named to the Lou Groza Award watch list, which is annually awarded to the best kicker in NCAA Division I FBS college football, as confirmed by the Palm Beach County Sports Commission.Eberle, a 6-2 195-pound kicker out of Nuremberg, Germany, is the only kicker from the Beehive State to make the watch list.Eberle is second all-time in school history in made field goals (43), fourth all-time in field goal attempts (57) and third all-time in field goal percentage (75.4 percent). Brad James
Fugro is participating in an EU co-funded research and innovation project. (Credit: Fugro) Fugro is participating in an EU co-funded research and innovation project to develop a remote solution for global satellite derived seafloor mapping.The 3-year project, named ‘4S’ (Satellite Seafloor Survey Suite), will develop an online cloud-based solution that will use highly automated earth observation algorithms and workflows to remotely map and monitor seafloor habitats, morphology and shallow water bathymetry. Fugro will lead the project’s business and integration actions, and their hydrographers and Geo-data specialists will evaluate the solution via several use cases around the globe.4S will leverage artificial intelligence, physics models, and satellite and airborne data to derisk marine site characterisation activities in the shallow water zone by quickly analysing seafloor properties using less personnel and equipment. The 4S consortium includes experts from the fields of satellite data analytics, hydrography and biology, and is being led by EOMAP, the world’s leading company for optical remote sensing of aquatic environments. Other project partners include the Hellenic Centre for Marine Research, QPS, Länsstyrelsen Västerbotten, CNR ISMAR, the Hydrographic Institute and Smith Warner International Ltd.Dr. Knut Hartmann, 4S Project Coordinator and COO of EOMAP, said: “The aim of 4S is to achieve a seamless integration of satellite-data analytics into marine and coastal workflows. We’re combining recent advances in satellite sensors, data analytics and cloud infrastructure to benefit marine reporting, monitoring and surveying methods.”Dhira Adhiwijna, Fugro’s 4S Project Manager, said: “Fugro is honoured to be part of an exciting EU innovation that could result in faster and safer Geo-data insights for our energy and infrastructure clients. Upon completion, 4S will be integrated into our high-speed hydrography offering and provide innovative solutions that will also derisk marine site characterisation activities.”This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No. 101004221. Source: Company Press Release Fugro will lead the project’s business and integration actions
At Merton’s last JCR meeting on Sunday of Third Week, a motion was proposed in Latin to withdraw the JCR’s affiliation with Sheffield Students’ Union. The motion did not pass.Oliver Pateman, who seconded the motion, said that he and Sam Banks, who proposed the motion, had wanted to “resolve the inconsistency” of Merton JCR’s affiliation with two different student unions.“In the case of OUSU, we have representation at OUSU Council, the right to vote in OUSU elections and the opportunity to get involved with and support OUSU campaigns among a whole gamut of benefits and responsibilities we get from OUSU membership,” Pateman stated. “By contrast, our ‘affiliation’ with Sheffield has brought the Merton JCR nothing other than a trip for two of its members to their SU bar while on an incidental visit to see a friend. We thought this disparity ought to be resolved by the [meeting].”He added that he and Banks had “decided to write the motion in Latin as a bit of a joke”, as there was no requirement that that a JCR motion had to be written in English.However, the majority of students present at the meeting did not support the motion and voted against it. Daniel Schwennicke and Toby Adkins both opposed to the motion being written in Latin, noting that it sounded pretentious.Noting the “mood of the JCR that evening,” Pateman said that he does not anticipate similar motions regarding the Sheffield SU in the future.“I think people find our ‘affiliation’ with Sheffield funny and unobtrusive enough in general to not be worth changing, which is why our motion struck the JCR as a bit of a waste of time,” Pateman said. However, he emphasised that he and Banks “did it with the best intentions, neither as a slight to Sheffield SU nor to the members of the Merton JCR who voted to affiliate initially.”
L4LM: Pivoting to this summer, LOCKN just announced a killer lineup, on a new weekend with a lineup that seems to appeal to a slightly different demographic than previous years with bands like Phish, Ween, My Morning Jacket replacing past headliners that included many members of the Dead and Dead-related projects. Was this a conscientious decision?PS: Me personally, after everything with Trey and Fare Thee Well, when I went to some of the Phish shows last summer I was really happy to see so many people there with Grateful Dead shirts. Every day already has a Dead thing already. We’re doing two nights of Joe Russo’s Almost Dead. I think a lot of the older Heads maybe haven’t seen Joe Russo’s Almost Dead yet, but that band is playing their music as good as anybody in the world right now. But the other guys have Dead and Company now which is doing a tour and playing around the East Coast at venues near us. The way the concert business works, if they’re already playing a pavilion in Virginia at the end of June, its hard to make sense of them headlining LOCKN’. And I love those guys, and who knows where things go. But you’re talking to a guy who’s about to do three nights of Phil this weekend in Vegas, and three nights with Phil in two weeks with Warren at the Cap. And we had all four members there last year. But we can’t just be one thing, any festival can’t.With the music this year, do I think it’s going to feel like LOCKN’ always does? Yes. We have a lot of returning bands like Chris Robinson, Derek Trucks, Umphrey’s McGee, and Lettuce. I happen to be a huge fan of Phish, My Morning Jacket, and Ween. I’m excited for LOCKN’ old schoolers to see that Jacket set. I would encourage people to see them live before commenting on them. And I think it’s a lot like what happened with Fare Thee Well, with a lot of people commenting about Trey’s selection. But overall it’s my dream lineup. And it’s very much in the spirit of the Grateful Dead, and there will be a lot of Grateful Dead aspects there. Joe Russo’s Almost Dead is one of my favorite bands, they started at Brooklyn Bowl. Anyone who loves the music of the Grateful Dead is gonna be talking about JRAD after, that I’m sure of.Just imagine if it was Ween>Phish>JRAD… Actually, that could be an L4LM exclusive. L4LM: So what is it like booking a band like Phish who usually plays only their own festivals, drew up to 100,000 people in their heyday, and is really selective about their festival plays? Is it a different process booking a band like that?PS: Yeah, definitely. It’s not normal. They very rarely play festivals with other bands, and I don’t think they’ve ever played multiple days doing multiple sets. To get them to do that is a process. Again, you have to prove cream rises. I think LOCKN’s reputation helps, me doing Fare Thee Well helps, obviously there’s other things that help, but it’s not any one of those things. Just the money doesn’t do it, just the reputation and friendship doesn’t do it, it has to be a totality of things. Phish doesn’t do things just for money. Phish doesn’t do things just because it’s a friend. They think through things carefully, deliberately, they’ve managed their career very well, and I think the timing was right. I feel very fortunate. And doing Fare Thee Well was different for Trey. And hopefully the way that went, being received well universally, put me and LOCKN’ in a position to be able to even have that conversation.L4LM: Last year you had a lot of tributes and specialty sets. What can we expect in terms of lineup additions, unique sets, and collaborations?PS: There will be additional announcements, but you’re looking at the core, we’re not gonna fully telegraph everything, and we don’t even know some of the stuff that’s gonna happen yet! That’s the magic of it. Like a good jam, LOCKN’ moves around a little. I don’t think it will be the same thing every year. I think it will have the same spirit, the same feel, the same vibe, but be a little different each time. But do I think some collaborative stuff will happen? Yes. Do I think we’ll announce it all? No. Do I know what it will all be? No. But do I think some cool shit is gonna happen? Yes.L4LM: What really sets LOCKN’ apart from other festivals in your opinion?PS: I’m proud that we’re only in our fourth year, and it’s got a distinct vibe, core, and feel, more than any other festival. If you look at the other major festivals – and they’re great festivals, I’ve been to all of them and I love them – but if you took the name off the major festivals, and just looked at the lineups, it would be difficult to tell which one was which. I don’t think you’d be able to name which one was Outside Lands, which one was Lollapalooza, which one was ACL, which one was Bonnaroo, but you could identify LOCKN’.L4LM: One last question… if you had to choose, what would your favorite Grateful Dead song be?PS: Sugar Magnolia. L4LM: Great choice. Thanks for your time Pete! Perhaps one of the most talked about figures in the music industry today, Peter Shapiro’s business ventures know no bounds. From reuniting Grateful Dead members for the legendary Fare Thee Well concerts this past summer, to consistently running some of the most beloved and successful venues including Brooklyn Bowl and the Capitol Theatre, to booking Phish for a rare festival appearance at this year’s LOCKN’ Festival, it’s hard to believe this guy still has time to go out and still be a live music fan.Live For Live Music’s Kunj Shah was fortunate enough to chat with the man himself, and what an inspiring conversation it was for anyone interested in the live music scene!Live for Live Music: So, the original Brooklyn Bowl is coming off one of its most successful years. What do you personally attribute your success to as an independent venue owner, in an age of mostly corporate-owned concert venues?Pete Shapiro: You know, cream rises. And if something is good, over time, people notice that, and they’ll gravitate towards it. And if something’s really good, it doesn’t get old. And I think with music venues, just like Red Rocks, SPAC, The Gorge, certain great venues, they never fade. They institutionalize, and if people love their favorite venue, they’ll keep going back. But the experience has to be really good on every level – the sound, the lighting, the experience, the security – and it can never be perfect, you always want to improve, and when it’s a big operation there’s always little things you can’t fully control that you wish you could. But overall you try to create an environment that people want to come back to, and bands want to come back to.2015 was our sixth year for Brooklyn Bowl and it was our best year. So it’s cool to see the vibe evolve. At this point I think people know it, and then word of mouth, it expands from there. And in this day and age with the importance of social media and your platforms and email lists, as you grow those grow. Brooklyn Bowl doesn’t do much traditional advertising, we have this big community of people who are on all our socials and email lists so when we get a cool show we have the ability to let them know. In the old days, at Wetlands, when we would have a big show, we’d have to run to the Xerox place and make cards and print them and stand outside shows and hand out flyers. And a lot of the good ones still do that stuff, but now you can just press a button to let people know last minute about things. So technology in many ways really augments the ability for bands and venues to get people out, much easier than I could when I started in 1996 at Wetlands. There was no Bandsintown, or Facebook.And because I’m independent, there’s controls that I can have to do our best to create an environment. People always come up to me and say “Oh, the Capitol Theatre, I love the vibe there.” And they don’t say it, and they might not even realize it, but a reason is because it’s not like the “MetroPCS Mezzanine Bar.” It’s just a bar. And when you go to a lot of venues now it is the “MetroPCS Mezzanine Bar,” so when you go to a bar and it’s not like that, you may not even overtly notice it, but subconsciously it feels different.Via Wetlands ArchiveL4LM: Did your experience managing and running a room like The Wetlands affect your current business model with your venues, and how so?PS: Running the Wetlands affects everything. It impacts a lot of what I do, because I was raised there basically. This was 20 years ago, I was 23. For 5-6 years I spent a lot of time there. The room itself wasn’t what you would define as a classic, awesome live music room. When it got packed it got hot as shit, and not everyone could see the stage. But I meet so many people who are like, “I met my wife there, I met my best friends there, we had the best times.” I think if you went to a traditional music venue like Bowery Ballroom, which is a great room, or Irving Plaza, you don’t have as many people saying that. Because the rooms were so good you’d just go in and watch the show. But because you couldn’t always see the show at Wetlands you had to go back to the bar, or to the basement, and you hung out with your friends. And you could hear the music but you couldn’t see it. So that forced you to go spend time hanging out by default, whereas with Bowery Ballroom you’d just kind of see the show and leave. So when we created Brooklyn Bowl, we decided you had to have both. If you want to watch the show we have a great GA floor with great sightlines and great air quality, and it’s still built to be a bit of a village where there’s different areas to go and hang out, like the restaurant and such. So that’s one way the Wetlands formed what Brooklyn Bowl became.L4LM: So after Brooklyn Bowl’s instantaneous success and helping to build up Williamsburg, you reopened the legendary Capitol Theatre, expanded Brooklyn Bowl to London and Las Vegas, and there’s even rumors of a Chicago Bowl. How do you decide on these locations and additional venues?PS: We don’t really have a grand strategy. It’s more looking at opportunities that come across the transom. Like Vegas, we had this crazy opportunity to build this venue not in a casino, in the center of the strip. It was just a great opportunity, and same with the Capitol. It was just like, holy cow, this is a great opportunity, let’s go for it. It’s kind of like music, where you have to be able to pivot and move with it, and that’s kind of what we’ve done, just going with what feels like the right direction. And it’s hard when you open new things in new markets, you start at zero. Just like you with Live for Live Music. But as you do it, as people experience it, again it has to be good. If it’s not good it ain’t gonna work, you’re dead. And if it’s good and you can get enough runway and put your head down. It sounds so obvious but you really have to work hard at first. When it’s easy it’s easy, when it’s hard it’s really hard. You’ve been there, when you have a show that’s just not doing well for example. It’s like, if you don’t know Jorma, you don’t know Jack. It’s kind of knowing when it’s there, and when it’s just not there. And adjusting, and believing. Especially with these new venues coming in, you gotta come out with a whole bunch of big shows, whether those bands are routing through or you make it happen. You get people in to experience the room, and then they come back.L4LM: So each new venue you started basically from the ground up.PS: We did. As you know I’m not a part of Live Nation or AEG or a big thing where I have the email lists in each market. So it’s hard! But we’re doing it. And I’ve heard the rumors of Chicago too and…I don’t want to get into the formality of confirming, but usually when there’s smoke, there’s fire.L4LM: So you guys made headlines around the world last year with the Grateful Dead Fare Thee Well concerts, grossing over $50 million. How far in advance for something like that does a conversation with the band and management start?PS: That one started probably a year before the event. It took six months to get everything in place and everyone to agree and come up with the plan, and then six months to make it all happen.L4LM: Who was the first one to throw Trey Anastasio’s name into the hat as lead guitarist, or was that something that was decided on from the getgo?PS: It was a communal thing, but it was from early on. I’m proud to have played a role in it too. It just felt like he was uniquely the right person for this moment. And I think in the end, when you look back, that was true. We made the right call, he was the right guy. So I’m glad it was Trey. It would have been awesome with other people too, but I’ve been seeing Phish for 25 years, and I saw the Phil and Friends with Trey and Page at The Warfield in ’99, which was kind of the first big collaboration between Trey and members of the Dead. And I just knew it needed to happen. When it was first announced I know there were a lot of people who doubted it. So I’m thankful that I was able to just focus on the execution of the event and not get caught up in all the “Why Trey?” “Why Chicago?” and all that. It’s hard with all that stuff going on, because there was a lot to do to make those shows happen, and we did it. But I just had to remind myself that in the end, what would be remembered was the shows. In the end, I think Chicago also ended up being uniquely special. I don’t think any other city could have done it and really embraced it like that.When you’re in the middle of it, one of the things I’ve learned to do is not think about stuff too much. Not sit there and be like I’m putting on this or that. Cause then you’ll just be fucked. It can all go wrong really quickly. Part of the game is to never let people see the problems. So I try not to think about things too much and just do it, because if you think too much you’ll just get caught up in your brain, and either come up with reasons why things won’t work or over think something. You don’t think about the meaning of things too much – at least not till after.L4LM: Those shows were basically a life highlight for hundreds of thousands, if not millions, of people around the world. What was your favorite part or takeaway from the whole experience?PS: Just taking over the entire city. From all the afterparty shows, I think there were like 40 a night, to every hotel and restaurant. That was one of the best parts of Fare Thee Well – obviously the shows and the music, but a really big part was the vibe and the city, and walking around everywhere and seeing people in tie-dye. Every bar was hanging flags, playing music. That was a big part of it. I spent time with the Mayor of Chicago, just to make sure everyone was kind of seeing the world the same way. And that helped the vibe at the stadium, with the police and all that, which is really important. I remember right before it all started just saying a prayer, because it was so big you can’t control it. And just hoping that it would all go well. And then everything pretty much broke the right way.One of the best parts, though, has been afterward. When I meet someone in an airport or on the street, and someone comes up to me and says “Hey, are you Peter? I just want to say thank you for the best weekend of my life. Can I hug you?” That’s a pretty rewarding experience.
Harvard and the University of Michigan have joined forces to combat the opioid crisis and are convening this month a summit of scholars, scientists, and practitioners to take a close look at the epidemic of drug use and overdose deaths that has swept the nation. Mary Bassett, director of the Harvard T.H. Chan School of Public Health’s François Xavier Bagnoud Center for Health and Human Rights and the François-Xavier Bagnoud Professor of the Practice of Health and Human Rights, got a close-up view of the epidemic as New York City’s health commissioner for four years. Bassett is the Harvard chair of the meeting, which examines stigma and access to treatment, on Oct. 10 at the Joseph B. Martin Conference Center on Harvard’s Longwood Campus in Boston. Bassett gave an update on the fight to combat overdose deaths nationally and a look ahead to the meeting.Q&AMary BassettGAZETTE: Where are we now with the opioid crisis? Have some states started bending the curve of overdose deaths downward?BASSETT: There is good news. Nationally, we have seen a modest decline, what I would describe as a flattening of the curve of overdose deaths. Overdose deaths in Massachusetts and Michigan are declining, but there are states where deaths are still rising. So, as a nation, we’re seeing fewer lives lost to the opioid crisis — and the data from 2019 look as if that’s been sustained — but there are states still struggling. Really, all of us are still struggling: Massachusetts, where deaths are declining, remains in the top 10 in terms of fatal overdose rates. This is not unusual in public health: We make progress, but there’s still a long way to go.GAZETTE: What are Massachusetts and Michigan doing that seems to be working that other states could learn from?BASSETT: The first thing was a prescription-monitoring program, which is an effort to modify the prescribing habits of doctors and other health workers who are allowed to prescribe. It requires doctors to look to see whether or not the patient they’re seeing has other opioid prescriptions. Then there is a direct educational effort to encourage clinicians to prescribe judiciously, to give lower doses for shorter durations. Michigan has pioneered a drug-give back program. One of the ways that people have access to prescription opioids is by “shopping the medicine cabinet” containing leftover pills from prior prescriptions. Both states have been energetic in reducing access to prescriptions. Conversations have come up recently on the other side of the problem, the fact that some providers are responding to the over-prescription of opioids by not prescribing them at all. We should be careful that the pendulum doesn’t swing too far. We don’t want to see patients abandoned or people who have been prescribed opioids and become dependent simply told, “Sorry, we’re no longer going to give them to you.” GAZETTE: We know overprescribing has been part of this epidemic. BASSETT: Absolutely, and it’s still the overarching problem. Compared to other wealthy nations, the U.S. is the absolute outlier in the number of opioids prescribed in this century. We’ve seen a quadrupling of prescriptions. This was encouraged by the pharmaceutical industry, which put out this idea in the mid-’90s that pain was the “fifth vital sign” and that no one should feel pain. GAZETTE: I think with all the coverage of the epidemic, it’s easy to think that all opioids are bad. What kind of pain and what kind of conditions are they still appropriate for?BASSETT: Opioids are appropriate for people in severe pain, like that of terminal cancer, for example. Instead, people have been given them for all kinds of pain. Those for whom a prescription is no longer appropriate need to be tapered off and should work out a program with their doctors, not be abruptly terminated. There are guidelines emerging that can help. My summit counterpart at the University of Michigan, Chad Brummett, has been very involved in drafting guidelines for the appropriate management of people who are on a high dose of opioids.GAZETTE: Why don’t we talk about the summit? Who is going to be there and is there a specific audience in mind? Or is the benefit expected to come from the participants networking?BASSETT: Like all epidemics, we need multiple disciplines in order to address it. There are people from multiple fields attending. In addition to public health and medicine, there will also be lawyers, policymakers, people with lived experience — the intention is to bring a multidisciplinary array of thinkers to the audience. It should include anyone concerned about a broader response to the overdose crisis and willing to engage in a wide-reaching conversation. Our focus is on stigma, which represents an often-underrecognized barrier to effective treatment. “The character of the response became much more sympathetic and much more accepting of the idea that people who have drug-use problems need help, not punishment.” Pharma-to-doc marketing a vulnerability in opioid fight GAZETTE: I noticed on the agenda for the summit is a conversation with a patient. Why is it important that someone who’s been through addiction and treatment address this summit?BASSETT: That’s one of the sessions as we begin the day. I think as we talk about all these facts and figures and show graphs on the whys of the overdose crisis, we should remember that real people have been affected. It’s important to remind ourselves that each one of those numbers is a human being, and that’s what I hope this conversation will do. Of course it takes a special clinician and a special patient to participate in this kind of conversation. It reflects the fact that people who use drugs are really part of the answer to this epidemic and shouldn’t need to hide. Nonetheless, it takes a certain amount of courage to step forward, and I’m very grateful to this individual. GAZETTE: Why is stigma important to look at in some depth here?BASSETT: Anyone who’s witnessed the current epidemic knows that the response changed when those who bore its burden shifted from largely poor members of communities of color to white, often middle-class, working people. The character of the response became much more sympathetic and much more accepting of the idea that people who have drug-use problems need help, not punishment. This is a good change, though it would have also been good during the heroin epidemic of the ’70s and ’80s, when the response was massively punitive. I think that stigma originates, partly, in how racialized our response to addiction has been. People who use drugs are characterized as irresponsible, just seeking to get high, as people who need to be monitored and punished for their problem drug use.So stigma is partly due to the history of drug use and the policy response in the United States. Part of it is also due to an enduring belief that people who use drugs have some kind of moral failure. This intensely individualistic society that we live in says everybody’s responsible for where they are. So people who use drugs often feel ashamed — their families are ashamed, too — and aren’t open about their drug use. Health-care workers find people with problem drug use disruptive to their practice, so they aren’t eager to offer treatment, which is also related to stigma. So stigma presents a huge barrier to timely access to effective treatment.GAZETTE: I see some panels will discuss stigma in different parts of the response, like law enforcement. How can stigma change the response to drug use and overdoses?BASSETT: Law enforcement has really been a particular example of change. Many senior members of police departments have said, “We can’t arrest our way out of this epidemic,” and that is true. They recognize that the people that they’re encountering need help, need to be directed to treatment, and don’t need to be in the criminal justice system. Many jurisdictions are experimenting, and we’ll hear about some pilot programs at the meeting that basically redirect people away from the criminal justice system. That is really forward thinking on the part of police departments, and I think we have a lot to learn from it. There are other programs where people get arrested and, if they get treatment, their cases won’t be pursued. I prefer to see people never enter the criminal justice system, but there’s no doubt law enforcement is working with public health in ways that they really haven’t before. GAZETTE: Medication-assisted treatment has been held up as an effective way to help people recover. Is there still resistance to it and is that related to stigma? BASSETT: The answer to both questions is yes. I just use the term “effective medical treatment” because when we talk about treatment for somebody with diabetes, we don’t call their insulin “medication-assisted treatment.” We have three drugs: methadone, which is highly stigmatized; buprenorphine, which is very underused; and naltrexone. The idea that a person who’s recovered from drug use should not be on medications to be completely “clean” is very, very strong. We need to dispel the idea that somebody who is on effective medical treatment is not in recovery. That person is in recovery: They have their life back; they can hold a job.We need to reduce the stigma associated with effective medical treatment. It’s pretty close to punishment to be on methadone and you have to go daily for your medication. Buprenorphine providers have to get special waivers. It’s less onerous than it once was, but they can write a prescription for the opioid that makes somebody dependent with nobody looking over their shoulder, but they have to get waivered to prescribe buprenorphine. These are policy questions that should be up for discussion: How do we make access to treatment less extraordinary and more ordinary, just like treating any other chronic disease?GAZETTE: The general thrust of these medicines is that they treat the craving without the high? So you can go and function, be a parent to your kids, and go to work?BASSETT: That’s correct. In New York City, we ran a campaign called “Living Proof,” which was a series of testimonials with real people talking about how they were living proof that treatment works. Media campaigns that help destigmatize treatment and show people on treatment, living their lives, are part of the answer to stigma. Yet this all-or-nothing approach may not be to patients’ advantage Proven opioid treatment faces roadblocks Harvard-Michigan summit on issue explores addiction, policy First-time opioid prescriptions drop by 50 percent Buprenorphine difficult to access, especially among patients with Medicaid coverage Related
The Broadway.com staff is crazy for Culturalist, the website that lets you choose and create your own top 10 lists. Every week, we’re challenging you with a new Broadway-themed topic to rank. We came. We saw. We hunted. Yes, The Wiz Live! is over, but there is more to be done. Wake up your tired twitter fingers, because we want to know which performer truly knocked it out of the park Emerald City. We need to know your top 10 performances in The Wiz Live! Broadway.com Managing Editor Beth Stevens kicked off this new challenge with her top 10. Now it’s your turn!STEP 1—SELECT: Visit Culturalist to see all of your options. Highlight your 10 favorites and click the “continue” button.STEP 2—RANK: Reorder your 10 choices by dragging them into the correct spot on your list. Click the “continue” button.STEP 3—PREVIEW: You will now see your complete top 10 list. If you like it, click the “publish” button.Once your list is published, you can see the overall rankings of everyone on the aggregate list.Pick your favorites, then tune in for the results next week on Broadway.com! View Comments
ATG Acquires Boston’s Colonial TheatreGood news for Boston theatergoers and history buffs. The Colonial Theatre, after facing an uncertain future when it shut its doors in 2015, the historic venue is set to reopen in January 2018. The U.K.-based Ambassador Theatre Group, which owns Broadway’s Lyric Theatre (the current home of Paramour), has acquired the 1680-seat Colonial, for a 40-year lease agreement with Emerson College. The theater first opened in 1900 and quickly became a go-to house for out-of-town tryouts of such Broadway staples as Anything Goes, Porgy and Bess, Carousel, A Little Night Music and La Cage aux Folles. In its later years, the venue was primarily a spot for national tours. ATG hopes to revive the tradition of out-of-town tryouts at the venue when it opens its doors once again.New Look at The Good FightLook out, Miriam Shor, because Christine Baranski is heading back to the small screen with an assortment of iconic statement necklaces. The Good Fight, the CBS All Access spin-off of The Good Wife, premieres on February 19, and it promises lots of drama and appearances from Broadway notables. Check out the (somewhat NSFW) trailer, featuring Tony winners Baranski and Bernadette Peters and Broadway alums Cush Jumbo and Sarah Steele, below. Crazy Ex-Girlfriend Renewed for Third SeasonThe CW’s Crazy Ex-Girlfriend has picked up an early renewal for a third season. The musical comedy series, starring Golden Globe winner and musical theater-obsessed Rachel Bloom and featuring a host of Broadway favorites, will wrap up its second season on January 27. While we contemplate which Tony winners will show up to sing about what when the show returns, brace yourselves for Patti LuPone as a rabbi in the January 13 episode. Get a taste (it’s kosher!) below. Emma Watson Sings in New Beauty SpotAt the 2017 Golden Globes, “musical theater nerds everywhere” had cause to celebrate as La La Land earned a record-breaking seven awards. But even the commercial breaks were a treat for Broadway enthusiasts, with Disney releasing a new TV spot for the upcoming live-action Beauty and the Beast. The ad features Emma Watson singing Belle’s title song and—fine, we’ll say it—serving some Sound of Music realness on a lush field. Take a look below, and catch the movie when it premieres on March 17. Here’s a quick roundup of stories and videos you may have missed today.The Color Purple’s Epic Swan SongFour shows played their final performances on Broadway on January 8, but only one signed off with an unapologetic riff-off. Following their last bows, the cast of The Color Purple launched into a fiery rendition of Richard Smallwood’s “Total Praise,” treating their audience (which included Hillary, Bill and Chelsea Clinton, Anna Wintour, Leslie Odom Jr. and Jonathan Groff) to a moment of revelry. Check out the clip, beginning with some touching words from Patrice Covington (who played Squeak in the Tony-winning revival) below, and look out for Cynthia Erivo and Jennifer Holliday’s wild parade of hallelujahs around 10:50. Jennifer Holliday & Cynthia Erivo(Photo: instagram.com/domcortia_) View Comments
It all began with a belt.A good friend of mine turned me on to Curtis Patton, the proprietor of Piney River Goods, when I was in the market for a handmade belt last year. Turns out that Curtis plays pedal steel and we ended up talking about music as much as leather. We eventually got around to chatting about a singer/songwriter, Saw Black, that Curtis plays with.Funny how the internet works out sometimes, as I now have a couple of Curtis’s belts and I am a big, big fan of Saw Black.Saw Black – given name, Justin – is a rising force in the Richmond, Virginia, folk and Americana scene. With hints of Neil Young and Jay Farrar in his voice and songwriting, he is poised to stand alongside such contemporaries as John Moreland and Tyler Childers, two young Americana stars with whom he has shared stages.Saw Black recently released Water Tower, on the Richmond based Crystal Pistol label. Trail Mix features the title track this month, a true story involving a suitor of Justin’s aunt who did climb to the top of the school’s water tower to announce his intentions by spraying her name upon it.“That’s a pretty badasss way of telling someone you love them,” says Black, “and it’s a hell of a lot cooler than just making it Facebook official. I wanted to tell the story from the boyfriend’s perspective. I hope to find that feeling someday, to be so in love that you have to write it on the highest possible place for everyone to see.”I recently caught up with Justin to chat about his hometown and to get the scoop on his nickname.BRO – Favorite place to catch a show?SB – That has to be Strange Matter. It’s got a really cool vibe, the sound is worn in and the history of the space is just cool. It’s considered more a part of the punk bar scene, but they host all sorts of underrated and up-and-coming bands, and I always get turned on to new music through their great calendar. Most recently, I saw Songs Molina, a tribute to the great Jason Molina, with members of Songs Ohia. I cried a few times.BRO – Best place to grab a post-show beer?SB – Check out Bamboo Cafe. It’s where all the musicians go if they have time after a gig. Usually, they are kicking out members from twenty or thirty bands after last call. Then we just move on to someone’s front porch or backyard.BRO – Best place to browse for vinyl?SB – Steady Sounds is my favorite record shop/vintage store combo. If you’re looking for cool clothes or some deals on great records, that’s the spot. Marty, the owner, also hosts in store performances with great bands on a regular basis. I saw Steve Gunn there a couple years ago and it was incredible.BRO – Favorite local band we might not know about?SB – There are so many great bands in Richmond right now. I have been living and playing here for about fifteen years and the place has exploded with talent the last couple of years. Here are three bands that everyone should know about, and this was hard, because I could have listed thirty. Ben Shepherd is an insanely good songwriter who has a new record coming out soon. Blush Face is killing it if you are into the alternative indie/Americana sound and their lyricist, Allie Smith, is just great. And one of my favorite bands in the world is Dogwood Tales, out of Harrisonburg. We’ve toured a bunch together and you’ll see them on big stages in the near future.BRO – One must-see spot for an out-of-towner if they come to town?SB – Get to the James River. Its absolutely beautiful. It’s the life blood of the city and it’s been said that the energy from the water is the true source of Richmond’s art/music scene. There’s rarely a day off that I don’t spend some time walking my dog at the river while thinking and decompressing. Some great river spots are Brown’s Island, Pipeline, or Texas Beach. But be careful, as the rapids are no joke.I asked Justin to give the story behind his nickname, Saw. He demured. We’ll save that for another chat on another day. In the meantime, you can catch Saw Black on Friday at The Golden Pony in Harrisonburg, VA, before he returns home on Saturday to celebrate the release of Water Tower at Hardywood in Richmond.For more information on Saw Black, other tour dates, or how you can grab a copy of the new record, check out his site on Bandcamp or find him on Facebook.In the meantime, take a listen to “Water Tower,” along with new tracks from Parker Milsap, Coco O’Connor, Fantastic Negrito, and many more on this month’s Trail Mix.