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A tragic piece of family history surfaced following the screening of "Crooked," the documentary about The Crooked Road and the history of old-time traditional music in our area.
Mac Traynham, a musician and instrument maker who is among those featured in the film, played an old song written by D.M. Shank as a hymn and recorded by the Carter Family and The Blue Ridge Ramblers.
Called "The Story of Freeda Bolt," the song tells the sad story of an 18-year-old, love-struck, pregnant Floyd County woman who thought she would be eloping with her 20-year-old boyfriend but he killed her on December 12, 1929, and left her body near the top of Bent Mountain. He tried to kill her and dumped her body but came back a day later and found her still alive, so he completed the murder.
Blue Ridge Institutes tells the story.
Freeda Bolt was my step-aunt, a sister to Truman Bolt Sr., my step-father. My mother, Ethel McPeak Thompson, married him eight years after my father died in an industrial accident in Tampa, Florida, in 1949.
As a child, I knew the story of Freeda Bolt and the family anger at Buren Harman, the man who killed her. I also knew it wasn't something we discussed. Her death brought calls that he be lynched. A Roanoke County judge sent him to prison for life but the governor of Virginia pardoned him 18 years later and some expected one or more of the Bolt brothers might take him out if he ever showed up in the Floyd County again.
The story made national news and helped make the career of New York newspaperman Jim Bishop, who came to Floyd and covered the trial. Bishop later became a columnist and wrote books about the deaths of Abraham Lincoln and John F. Kennedy.
I met with Bishop in 1977 and talked about the death of Freeda Bolt. He said the story haunted him for years.
"In interviews, I discovered she was a bright attractive young woman who faced life with joy and hope for the future," he said. "She had so much to live for."
I talked about her death with my step-father shortly before he died. We had never discussed it before and was it difficult for him. He still felt a lot of sorrow and pain more than 50 years after her death.
Harman died in 1969 and is buried in Floyd County.
My step father died in 1985. His brothers and sisters are gone as well. Most lived long and well: Except for one — young Freeda Bolt.


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subset: commoncrawl


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A privately owned family business offering traditional and contemporary funeral services, cremations, and pre-planning.
Mabel E. Soto
Mabel E. Soto, of Wescosville passed away August 1 at her home. Born in Paterson, NJ, she was the wife of Jose Soto since 1958.
Services are private, arrangements by Nicos C. Elias Funeral Home, Allentown.


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Susan Tucker, Katherine Ott, Patricia P. Buckler, eds. The Scrapbook in American Life. Philadelphia: Temple University Press, 2006. x + 332 pp. $25.95 (paper), ISBN 978-1-59213-478-6.
Reviewed by Laura Vance (Department of Sociology, Georgia Southwestern State University)
Published on H-Amstdy (August, 2006)
Reflections of the Self and Society: The Scrapbook as Cultural Artifact
The proliferation of scrapbooking books, materials and paraphernalia is sometimes perceived as a recent phenomenon--not so, according to evidence presented in The Scrapbook in American Life. This collection of essays carefully examines historical aspects of the development and use of the scrapbook in American life with attention to the way in which the scrapbook both reifies an individual's construction of meaning and frames that meaning within the culturally available ephemera, material, and/or scraps of a particular geographical location and historical epoch.
The work begins with an excellent historical introduction to scrapbooks by Katherine Ott, Susan Tucker and Patricia P. Buckler, and then presents two compilations of essays, the first of which examines scrapbooks and scrapbook making as an historical socio-cultural phenomenon, and the second of which explicates the ways in which the self is represented via collection and presentation of materials in a scrapbook (or, sometimes, in a photograph album). Taken together, these essays provide the student of cultural studies with an insightful and provocative investigation into the historical, economic, social, psychological, familial, and aesthetic elements of this seemingly trivial practice.
Noting the custom, by medieval pilgrims, of attaching souvenirs to the pages of religious texts, Ott, Tucker, and Buckler trace the practice of compiling albums through collections of art encouraged by Giogio Vasari (1511-74), and the use of a commonplace book to record words for speeches and other uses, to--with the proliferation of printed materials, especially color images--bound books that resembled scrapbooks. Like previous authors, this historical analysis notes the significance of friendship albums in the development of the scrapbooking tradition, but also gives attention to the importance of the intersection between technological advances and economic innovations in the emergence and proliferation of scrapbooking.[1] Such developments as the explosion of printed color ephemera (advertising cards, religious cards, wrapping paper, ticket stubs, and so on) and photography, for example, are explicated vis-à-vis the rise of scrapbooking here more thoroughly than elsewhere.
Indeed, there is no extant examination of scrapbooks as historical, socio-cultural, economic and psychological artifacts. Buckler's previous work analyzes an historical scrapbook and offers some generalizations about understanding it in context, but no previous analysis matches the ambition and breadth of this work.[2] Essays explore not only specific scrapbooks; but each considers the socio-cultural milieu in which the collection was created, and explores the impact of the larger historical and social context on its construction. In addition, the authors provide careful attention to economic, political, educational, and other influences on the phenomenon.
Careful to note that scrapbooks are created by individuals but shaped by socio-cultural context, the essays in the work are divided into two sections, each of which focuses on one part of this equation. In the first half of the work, authors detail scrapbooks of nineteenth-century medical practitioners; a multi-generational scrapbook kept by women on a Southern plantation between 1855 and 1983; a scrapbook of the Mexican War and another of the 1893 Chicago World's Fair; use of advertising and religious cards in scrapbooks; scrapbook houses for paper dolls; and artist Hannah Höch's Wiemar-era scrapbook. In the second half of the work, authors explore individual aspects scrapbook creation, still with attention to historical and cultural influences. Here there is explication of the scrapbook of a nineteenth-century prostitute; Willa Cather's childhood scrapbook; images used in children's scrapbooks historically; photograph albums as representations of social networks in the 1860s; scrapbooks of Fletcher Henderson and Juanita Page Johnson, nineteenth-century African Americans; the family albums of writers Ernest Hemmingway and Christopher Isherwood; nineteenth-century advice on how to keep a photograph album; and the scrapbook of Lucy Jenkins, a Depression-era adolescent.
This work is important in several regards. Despite a plethora of popular works on scrapbooking, and the proliferation of the practice itself, this work is the first to provide a systematic qualitative examination of the historical development of scrapbooks, and to explicate not only the individualistic aspects of their creation, but the ways in which the material culture available to an individual influences the collection and display of ephemera. The authors are able to provide both micro-level analysis of individual collections--their aesthetics, construction, materials, and so on--and macro-level insights into, for example, the ways in which technological innovations influenced availability of materials, the ways in which political culture influenced individuals' representation of events, and how social location (race, class, and gender) influence both individuals' perceptions and representations of culture. The authors call into question some widely held misconceptions about scrapbooking--that it is fundamentally a female pastime, that collections of ephemera are trivial and tell us little about culture--in a way that invites scholars to explore these representations of self and society in the future more often and more systematically.
While many of the essays included in The Scrapbook in American Life could stand alone as interesting works on various historical aspects of the scrapbooking tradition, together they provide the first methodical and wide-ranging examination of a widespread but often ignored aspect of material culture. At a minimum, this work will draw scholars' attention to these individual and social constructions of material culture.
[1]. For discussion of the friendship album see Starr Ockenga, On Women and Friendship: A Collection of Victorian Keepsakes and Traditions (New York: Stewart, Tabori and Chang, 1993).
[2]. Of particular import is Patricia Buckler's "A Silent Woman Speaks: The Poetry in a Woman's Scrapbook of the 1840s," Prospects 16 (1991): pp. 149-69.
If there is additional discussion of this review, you may access it through the network, at: https://networks.h-net.org/h-amstdy.
Laura Vance. Review of Tucker, Susan; Ott, Katherine; Buckler, Patricia P., eds., The Scrapbook in American Life.
H-Amstdy, H-Net Reviews.
August, 2006.
URL: http://www.h-net.org/reviews/showrev.php?id=12114
Copyright © 2006 by H-Net, all rights reserved. H-Net permits the redistribution and reprinting of this work for nonprofit, educational purposes, with full and accurate attribution to the author, web location, date of publication, originating list, and H-Net: Humanities & Social Sciences Online. For any other proposed use, contact the Reviews editorial staff at email@example.com.


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Pierre and Gilles: Love Stories (2000)
Directed by Mike Aho
Genres - Visual Arts | Sub-Genres - Biography | Run Time - 57 min. | MPAA Rating - NR
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Synopsis by Steve Blackburn
Pierre's the photographer, Gilles is the painter. This video follows the pair of French artists for one year as they team to concoct their patented bizarre and beautiful imaginary world in pictures, often conflating gay, Hollywood, and religious iconography. They've attracted as models such international celebrities and stars as Michael Jackson, Nina Hagen, Madonna, Boy George, Mark Almond, Catherine Deneuve, Rupert Everett, Jean-Paul Gaultier, and Prince. Some critics dismiss their work as simply kitsch, while some of the world's top art galleries have held shows celebrating the duo's work. The program is in French and English, with English subtitles where necessary.
artist, flamboyant, France, homosexual, icon, imagination


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Small furniture deceptions a matter of style
By Fred Taylor
We all know from experience that with almost everything we see advertised or promoted, not everything we are told is always exactly correct all of the time. Some of it is probably true all the time (the car is probably always called a Buick), but some of the other information might only be correct under narrowly defined circumstances. For example, it may get 28 mpg on a dry, cool day with a moderate wind and a light load but it won't get that all of the time. We all know that, and unconsciously discount for it just like we know the satellite dish TV will not really get 47 NFL games every weekend.
The same kind of quiet undisturbed deception crept into furniture production and marketing at the beginning of the 20th century and has continued unabated since. The seemingly harmless deception falls into two main categories – style and construction.
The deceptions in style fall mainly in the naming category that tries to lead someone into believing
that a piece of furniture is other than what it truly is. One of the most egregious examples of this was practiced by the otherwise straight arrow soap maker Larkin Soap Company. In 1892, John D. Larkin ordered 80,000 oak Morris chairs and 125,000 oak dining chairs to be given away as premiums for buying his soap products. Soon after, Larkin opened his own furniture factory in Buffalo, New York, and started making his own oak furniture for premiums. Initially, most of what he made was just like that of Sears in quality and style. The style was later to be called simply "Golden Oak."
But in 1908, Larkin offered something different. He offered a library table with heavy scroll legs and turned under feet. It was listed in the 1908 catalog as "Colonial Library Table No. 616 – A true Colonial design Library Table." Unfortunately, the design was far from Colonial. It was the revival of the cyma curve legs and feet of the Late Classicism period of the 1840s – an Empire Revival, if you prefer.
Why did Larkin call it "Colonial"? He did it to tie into the growing period of Colonial Revival furniture styles that had begun after the Centennial Exposition in Philadelphia in 1876. After the Exposition, everyone wanted their furniture to look like that used by George Washington and Thomas Jefferson. They wanted things from the colonial era. Or at least things that looked like they were from that era.
Many furniture manufacturers had already picked up on the Colonial Revival movement and were turning out true hand-made or bench-made reproductions of 18th century Colonial period furniture. The earliest versions of these were called "Centennial" furniture because of the link to the Exposition.
Apparently, Larkin did not have his designers research the term "colonial" deeply enough or he just didn't want to make a major change in manufacturing style and direction. So he just soldiered on. In the same 1908 catalog was also offered a "Colonial" parlor table of similar design, and subsequent issues featured "Colonial" dining tables, buffets, chairs, servers, sleigh beds, dressers and chiffoniers. The style was offered into the 1920s when the real Colonial revival became mainstream and the old style was not popular anymore.
The other minor deception has to do with a style named after a cabinetmaker. As discussed in a previous Furniture Detective column about furniture descriptions (read it in its entirety>>>), everyone knows what Duncan Phyfe style furniture looks like. Or do you? Duncan Phyfe (1768-1854) was a Scottish cabinetmaker who came to America in 1784, changing his name from Fife to Phyfe. He served his apprenticeship in Albany, New York, before moving to Manhattan in 1790.
He worked in all the popular styles of the day including Federal, Neo-Classic, Empire, Regency and Rococo Revival. The style he didn't work in was "Duncan Phyfe" because there was not then – and is not today – a style by that name. Somehow his name became attached to any piece of furniture from any period that has sweeping legs extending from a pedestal or a base. While it is true he made some furniture in that style, so did every other cabinetmaker in New York. The sweeping legs were actually in style before Phyfe was born. It was an English Georgian style used in pedestal dining tables just after the middle of the 18th century.
In fact, Phyfe never made a dining table and did not make a buffet or china cabinet. He also did not ever make a "Duncan Phyfe" style sofa or chest of drawers. That should put to rest the question about whether grandma's Duncan Phyfe dining table and chairs are genuine "Duncan Phyfe's" or simply reproductions. They are neither since he did not make them and did make anything like them to be reproduced.
They are simply 20th century furniture deceptions.


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Vilar Center, Hooked restaurant in Beaver Creek team up
Hooked on the Vilar Center lineup
Jan. 8: Danielle Ate The Sandwich, $22
Jan. 15: Paula Cole, $35
Jan. 22: Jaimee Paul, $25
Jan. 29: Susan Werner, $20
For tickets, visit http://www.vilarpac.org or call 970-845-TIXS.
The six-course seafood and wine pairing dinner at Hooked is 75 with wine pairings and $55 without wine. Seatings begin at 5 p.m. Reservations required. Call 970-949-4321.
BEAVER CREEK — Partnering with Hooked restaurant in Beaver Creek, the Vilar Performing Arts Center invites you to get "Hooked on the VPAC" this month with Wednesday night performances from four different talented women and dinner specials each night to pair with the evening's entertainment.
Spanning genres including folk, rock, jazz and more, the four female artists scheduled for Wednesdays in January — Danielle Ate the Sandwich (Jan. 8), Paula Cole (Jan. 15), Jaimee Paul (Jan. 22) and Susan Werner (Jan. 29) — will impress with their incredible vocal and musical stylings. Individual show tickets range from $20 to $35.
Dinner before the show
Seafood restaurant Hooked, located just across from the escalator entrance to the Vilar Performing Arts Center in Beaver Creek village, invites show attendees to enjoy a special dinner before each of the above mentioned performances. Seatings begin at 5 p.m. Reservations are required.
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Six-course pairing
Chef Riley Romanin, of Hooked, will create a six-course seafood and wine pairing that will perfectly complement each concert. The cost per person is $75 with wine pairings and $55 without wine and will include a first course of oysters on the half shell or baked oysters Parmigiano, paired with cava sparkling wine; a second course of clam chowder or a Hooked salad, paired with Boniface Apremont; followed by an "intermezzo course" of a winter citrus salad; a third course of a Hooked roll paired with La Pierre Beaujolais; a fourth course of Crimpster and mushroom risotto paired with Hitching Post Pinot Noir; and a fifth course of Mission Fig bread pudding, paired with a Barolo Chinato cocktail.
Tickets for the performances range from $20 to $35 and are available online at http://www.vilar pac.org, by phone at 970-845-TIXS or in person at the Vilar Box Office in Beaver Creek.


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To begin with, I went with a bunch of my friends to see Guardians of the Galaxy, Vol. 2 on Friday night. It was welcome both for the camaraderie, and the fact that the majority of my day consisted of walking in a torrential downpour. A warm, dry theater full of Marvel Cinematic Universe geeks was just what the doctor ordered.
I loved the movie. Loved it. As much as the first. It was a bit more talky, and perhaps the character arc elements were handled in a somewhat heavy-handed way, but these minor flaws were expertly balanced by loads of action, humor, cool special effects, and more Easter Eggs than a church social on the third Sunday in April.
While I have traditionally been more of a DC fan than a Marvel one as far as comics go, Guardians of the Galaxy is one of the Marvel properties I was really into as a kid. I mean, a team of outer space superheroes battling alien oppression in the distant future - what's not to like?
The more modern incarnation of the Guardians, which resembles the movie team a lot more, has also been pretty good overall, and so when the Marvel Cinematic Universe decides to mix both new and old together for a film, well, they're playing my song.
In addition to seeing the movie, I got together with some friends I don't get to game with all that often to run a one-shot of Star Frontiers.
I modified one of the classic TSR modules, Mission to Alcazzar, and ran the three players through it with a focus on fast paced, zany combat, and snappy dialogue. Seeing Guardians of the Galaxy 2 obviously influenced my approach.
Well that's all for now, back very soon with some additional musings on Space Opera Science Fiction role playing.
Thrusters to Maximum!
Barking Alien


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by Adeola Ogunleye
According to a notable and international news agency, Agence France-Presse (AFP), as reported in a Fifa news item
Sir Alex Ferguson will take his Manchester United side to the Reebok Stadium on Sunday [September 26th 2011] concerned about how Wayne Rooney's personal life is starting to affect his form. The United and England striker has been hit hard by recent revelations that have seen media scrutiny into his life increase tenfold. Rooney has scored just twice so far this season, whereas last term he already had six goals to his name by this point and there seems little doubt that he is struggling to cope with his new-found infamy.
"I don't believe he has a confidence problem, but the boy is starting to realise finally, without any question, what kind of focus is on him as a human being. He is realising what it means to be at the centre of media attention for non-football-related questions. I don't think the boy can turn a corner at the moment without a camera on him."
"Is charisma enough?"
Over the past 36 years, Sir Alex Ferguson, who has mostly been portrayed as a charismatic leader, has a bevy of achievements as proof of his undeniable talent and outstanding expertise as a football coach and sports leader. Fergie as he is widely called is also known for his mind games and bullying methods in and out of the dressing room, even with the press, the English FA and match officials. These, to my mind bring to bear the fact that unlike a Barack Obama charismatic type that involves a functionalist or action approach, the situation of a sport leader is slightly different and though charisma may be important at the initial stages of a coach's career, it is not enough.
Leaders on and off the pitch
In the case of action teams (like a football team) participants have to perform on the pitch with the coach watching on from the sidelines. The leadership type needed becomes more complex. According to leadership author Gary Yukl, 'Leaders influence and are influenced by the specific situations they are placed in'. Transformational leadership, a modernist version of charisma, requires that a leader elevates the levels of maturity, achievements and well-being beyond that of narrow ('transactional') self interest." It therefore behoves a sports leader to identify and display a style which matches his of her prevailing predicaments or dilemmas.
Here we see Ferguson refraining from his sometimes autocratic and usual 'lash-out at the press' style to a more subtle way of sharing the blame of Rooney's poor scoring form in recent times between the player's error of judgement and unrelenting media attention. In this situation he displays a protective leadership side for the young player to help him through this patch and severally insists that he is not worried about Wayne Rooney's scoring abilities to boost his confidence and keep the dressing room morale.
Ferguson again confirms that differing situation require an assortment of styles in order to meet expectations. He must indeed manage this Rooney situation tactfully as current and potential injury may result in a selection dilemma for the United Manager in the near future. Ferguson's approach appears apt following mixed reactions and a poor outing at the recent World Cup tournament, in the wake of Fabio Capello's handling of the John Terry versus Wayne Bridge saga.
No "one-size fits all"
According to Dr Sue Bridgewater in her book 'Football Management', the particular context in which football managers work plays an important part in their success. She argues that for football managers, success is contingent on doing the right things for the circumstances which surround them. This is supported by House's "path-goal" theory of leadership which discusses different leadership styles which might work for different types of task and with different types of followers.
Her proposal suggests that there is no "one-size fits all" approach to sports leadership. Football is a results-oriented business. However, football managers are no longer judged only on the actual performance of their teams but also on all-round management, including their stewardship to club owners, maintaining fan support, media appeal, and dressing-room morale amongst other things.


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Josh Shaw - Director/Designer/LibrettistEiki Isomura - Conductor/LibrettistNaoko Suga - Chorus MasterSueko Oshimoto - Costume Designer
Saturday April 6 7:00 PM
Saturday April 13 7:00 PM
Sunday April 14 2:00 PM
So what if... what if a brash American naval officer and a young Japanese girl met and fell in love? How would they communicate? (Certainly not in Italian!) In POP's most ambitous production to date, Artistic Director Josh Shaw's long-time dream of a bilingual Madama Butterfly comes to life at The Aratani Theatre in Little Tokyo. With a new libretto by Josh Shaw and Eiki Isomura, all Japanese roles will be sung in Japanese (by Japanese-American artists) and all American roles will be sung in English. This is a co-production with Opera in the Heights (Houston). This production is sponsored in part by an Innovations Grant from Opera America.
Advisory Committee: Snehal Desai (East West Players), Shigemi Matsumoto (USC, CSLB, CSNR), Doug Cooney (Diversity in American Theater), and Padraic Costello (Ethnomusicologist).
Community Engagement Manager: Yumi Mizui.
もし…もし明治時代に、アメリカ海軍士官が日本人の少女と出会い、恋に落ちたとしたら…二人はいったいどうやって会話を…?(どう考えてもイタリア語を使ったはずは無いでしょう。) POP史上最も大胆なプロジェクト、芸術監督Josh Shawの長年の夢、プッチーニの「蝶々夫人」のバイリンガル演出がLittle TokyoのAratani Theatreで開幕される。日本人キャラは日系アメリカ人歌手が日本語で演じ、アメリカ人キャラはアメリカ人歌手が英語で演じます。公演は英語と日本語 両方の字幕を表示して行われます。ヒューストンのOpera in the Heightsとの共同作であるこのプロダクションはフルの演出、衣装、オーケストラと合唱団を用いて上演されます。
This production is sponsored in part by a Innovations grant from Opera America and a grant from the National Endowment for the Arts and supported by The Japan Foundation of Los Angeles.
Makeup for this production is generously sponsored by Star of the Color, Kaori Nara Turner.
Josh Shaw (Director/Designer/Librettist) One of Musical America's Top 30 Innovators in Classical Music in 2016, Josh Shaw is the Executive and Artistic Director of Pacific Opera Project, a Los Angeles based company dedicated to presenting accessible, affordable, and ENTERTAINING opera. Over the past eight seasons, he has directed over 30 productions at POP including The Rake's Progress, Ariadne auf Naxos, La calisto, Tosca: A Moving Production, and La boheme: AKA "The Hipsters". Mr. Shaw's reimagining of Die Entführung aus dem Serail as an episode of Star Trek has gained national attention and has been produced by eight companies selling out houses with record-breaking numbers. Since turning his attention to directing in 2011, he has directed over 70 productions at companies including Opera Santa Barbara, New Orleans Opera, The Southern Illinois Music Festival, Opera Neo, Alamo City Opera, Queen City Opera, Opera Orlando, and Salt Marsh Opera.
2018 began with Mr. Shaw's debut at New Orleans Opera, directing Tabasco: A Burlesque Opera, a newly rediscovered operetta by G. W. Chadwick, last performed in 1894. Mr. Shaw also wrote a new book and additional lyrics for the project which celebrated the McIlhenney Company's 150th anniversary. Other 2018 engagements included productions of Il barbiere di Siviglia, Don Giovanni, La gazzetta(Rossini), La traviata, Die Zauberflöte, and Carmen. In addition to the rewrite of Tabasco and the new book and lyrics for Abduction from the Seraglio, Mr. Shaw has written several English version librettos for operas including a Wild West setting of Die Lustige Witwe, a contemporary setting of Die Schauspieldirektor, and The Magic Flute, which set the show in the worlds of Mario Bros. and Zelda. His most ambitious production to date is the bilingual Madama Butterfly, which is enjoying national support from the NEA and Opera America. Other upcoming productions include Il trovatore at The Southern Illinois Music Festival, Gianni Schicchi at Opera Columbus, I pagliacci at Salt Marsh Opera, and Le Docteur Miracle at Opera Santa Barbara. More details at joshshaw.org.
Eiki Isomura (Opera in the Heights Artistic Director, Conductor, Librettist) Japanese-American conductor Eiki Isomura is in his second season as artistic director and principal conductor of Opera in the Heights (OH), where he has led over seventy performances of over fifteen operas, drawing consistent praise for elevating the company's performance standard. "The orchestra has never sounded so focused," wrote the Houston Press, "Down the line, this is ensemble playing of fine caliber... The OH chorus is ultra-fine, too, smooth and lustrous... Maestro Isomura deserves our thanks." In recent years he has served on the music staff of Opera in the Ozarks as conductor and pianist, as well as HGOco, preparing the premieres of numerous chamber operas for Houston Grand Opera. Prior to his appointment as artistic director at OH, Eiki served as director of orchestral activities at Lone Star College-Montgomery. Eiki holds a doctorate in orchestral conducting from the University of Michigan, where he studied with Kenneth Kiesler, who also mentored him as a conducting fellow at the National Arts Centre in Ottawa to work with the NAC Orchestra. Eiki's conducting teachers also include Thomas Cockrell, Colin Metters, Gustav Meier, and Mark Gibson. He resides in Houston with his wife and most trusted collaborator, mezzo-soprano, Monica Isomura, and their 1 year-old, Edison.
Naoko Suga (Chorus Master) Ms. Suga has worked as a vocal coach/repetiture with Kentucky Opera, Des Moines Metro Opera, and the Boulder Opera Company. She has worked under such conductors as Steven Crawford, Richard Buckley, Joseph Mechavich, and Kelly Kuo. She has served as music director for Opera Iowa, music staff in Des Moines Metro Opera's 2011 festival season, Opera in the Ozarks, and the Land of Enchantment Opera Institute. Ms. Suga has also served as a staff member at the University of Colorado Boulder where her responsibilities included playing for lessons, recitals, opera rehearsals, and coaching singers. After moving to Los Angeles, she has been involved in many Japanese community projects, including the American premier of Hideaki Hirai's opera, Kaguya Hime, at the Aratani Theater in Little Tokyo (2015). In 2016 she was appointed as the Chorus Master for Orange County Friendship Choir's collaboration with the LADoctor's Symphony's performance of Brahms' Deutsches Requiem. In addition to her private music studio in the Covina Valley and theSouthbay area, she directs the LA Oratorio Chorus, her women's ensemble Voice Lab, and the South Bay Singers.
Sueko Oshimoto (Costume Designer) Known for her innovative costume design in the futuristic, classic, and fantasy genres, her imaginative use of unconventional materials, and infinite eye for detail, the work of Sueko Oshimoto has been featured in award-winning fashion film, television, and international magazines such as VOGUE Italia, VOGUE Germany and L'OFFICIEL India. Her powerful use of color to tell stories on screen and the combination of exaggerated proportions in silhouette with a couture fashion edge has quickly become her trademark. Throughout the years, Sueko has designed dresses for celebrities such as Miranda Kerr, Carmen Electra, and Gwen Stefani. Her background consists of academic studies in Japanese culture, architecture, flower arrangement, color consultation, and over 22 years as a kimono master. For multiple years since 2013, Sueko designed Miss Universe Japan national costumes which won her 5th Prize in the National Costume category. Her work as a costume designer in film has recently caught the eye of some of Hollywood's most noted film directors. She is a member of the Costume Designers Guild/IATSE 892 and is the owner of KIMONO SK, a costume house specializing in Japanese kimono. She is based in L.A. and Japan. www.suekooshimoto.com
Keiko Clark (Cho-Cho-san) Keiko Clark, soprano, has thrilled audiences across the globe with a voice remarkably pure and clear, and a stage presence fresh and engaging. From performing the most demanding operatic roles, to an emotional rendition of the U.S. National Anthem at Dodger Stadium, Ms. Clark takes command of her stage with a warmth and generosity of spirit that audiences take to heart.
Ms. Clark's repertoire includes the title roles of Juliette, in Roméo et Juliette, and Lucia, in Lucia di Lammermoor. She has performed the lead roles of Constanza and Blonde, in The Abduction from the Seraglio, Norina, in Don Pasquale, and Madame Goldentrill in The Impresario. She has performed multiple renditions of the menacing Queen of the Night in The Magic Flute with Riverside Lyric Opera, Repertory Opera, Pasadena Lyric Opera, Bakersfield Symphony, Pacific Palisade Symphony and USC Thornton Opera. A native of Tokyo, Japan, Ms. Clark trained under a scholarship with legendary tenor Carlo Bergonzi. She holds a Masters of Music degree in Vocal Arts from the University of Southern California, a Bachelors degree in Vocal Performance from New England Conservatory in Boston, as well as a teaching credential in music from Cal State Long Beach, Calif. In addition to her live performances, Ms. Clark has worked as adjunct instructor at Loyola Marymount University, co-founded a youth choir at The Church of Jesus Christ the Latter Day Saints and currently works as the choral director and theatre director for North Torrance High School.
Peter Lake (B. F. Pinkerton) Peter Lake is an internationally performing tenor who in the summer of 2018 made his role debut as Faust in Natchez Festival of Music's production of Faust, and sang Pang in Mississippi Opera's Turandot. In August, he performed as a Festival Artist for the Savannah Voice Festival in multiple concerts and covered Alfredo while singing Gastone in La traviata. In March of 2018, he was invited to perform as a soloist on the Sherrill Milnes Gala Honoring Denyce Graves, and in February he performed the role of Don José in a condensed Carmen for the Mobile Opera Gala. In 2017 as a Resident Artist for Opera North Peter made his role and house debut as Paris in La belle Hélène where www.vnews.com reviewed him as "…relatably earnest, and his voice carries a lush, warm timbre." In December 2017 Peter was invited to China to perform a series of American Art song recitals where he sang selections by Samuel Barber, Rorem, Ives, and Foster at several prestigious universities including Central Conservatory of Music and Shandong University. In May 2019 Peter will return to Natchez to sing Rodolfo in their production of La bohème, and then to Savannah Opera in August to perform in Forever Plaid.
Kenneth Stavert (Sharpless) Praised for his strong "sense of theatricality," Baritone Kenneth Stavert has performed on operatic, concert and recital stages throughout the United States, Europe and Asia. Some of his recent highlights include Silvio in Pagliacci, Papageno in Die Zauberflöte, and Ping in Turandot (Dayton Opera), Harlekin in Ariadne auf Naxos (Palm Beach Opera), Yamadori in Madama Butterfly (Santa Fe Opera) and Renato in Un ballo in maschera (Opera in the Heights). Kenneth's orchestral credits include Berlioz's Lélio, Fauré's Requiem, Orff's Carmina Burana, Handel's Messiah and Mozart's Vesperae solennes de confessore. He has also been a featured recitalist throughout the United States specializing in less performed English art song. Upcoming engagements for Kenneth include a return to Dayton Opera where he will perform Marcello in La bohème.
Kimberly Sogioka (Suzuki) Praised by Opera (UK) as "...the most opulent female sound on the stage..." young mezzo-soprano Kimberly Sogioka is drawing much attention as an exciting artist on opera and concert stages. This season, Kim performs Nicklausse in Les Contes d'Hoffmann with Opera Orlando, Suzuki in Madama Butterfly with Opera in the Heights and Pacific Opera Project, and as a soloist in concerts in St. John's of Lattingtown and with the Whatcom Chorale. Last season, Ms. Sogioka sang in Symphony Silicon Valley's Misa Tango concert, which explored the style of the Argentine tango in the form of large scale orchestral compositions as opposed to its origins as dance music, and as a soloist in Beethoven's Symphony No. 9. Additional recent engagements include Carmen in scenes from Carmen with the Metropolitan Opera Guild, workshops of Bruce Wolosoff's The Great Good Thing and Sarah Mattox's Heart Mountain, Berta in Il barbiere di Siviglia with Opera Grand Rapids, and productions with Michigan Opera Theater as Siébel in Faust and Suzuki in Madama Butterfly, which she also performed with Northern Lights Music Festival. She also performed the role of Stephano in Roméo et Juliette with Opera Tampa as well as in a new co-production with Opera Carolina, Virginia Opera, Toledo Opera, Lyric Opera Baltimore, and Opera Grand Rapids.
Eiji Miura (Goro) Japanese-American tenor Eiji Miura, a San Francisco native, is an active and sought-after Boston-based singer and educator. As a performer, Miura regularly appears in concerts, operas, musicals, and in the sacred music scene in and around the Boston area, and also records vocals for video game soundtracks. In addition to his active performing career, he holds faculty positions at the Boston Conservatory at Berklee College of Music, and the Massachusetts Institute of Technology, and has previously taught at the New England Conservatory Preparatory School and Clark University (Worcester, MA). Miura earned is M.M. in Vocal Performance and Pedagogy from the Boston Conservatory.
Hisato Masuyama (Bonze) Hisato Masuyama was originally raised in Tokyo, Japan. At 18, he came to the US and earned his BM in vocal arts and music education from USC. Always loving the theatre, his opera debut was as Ping in Turandot. His other credits include: tour- 42nd Street w/ Marietta Hartley, Mame w/ Juliet Prowse, Pacific Overtures w/ Mako. Japan Broadway productions: Chicago, as Mary Sunshine, Phantom, Tommy. Other favorites include: Dreamgirls, Anything Goes, The Student Prince, Rumors, The Music Man, The Producers. As translator/ voice over: Tokyo Disneyland, Tokyo Sesame Place. Also a counter tenor, he has toured all over Japan in concert. Dedicated to Todd Ball.
Steve Moritsugu (Prince Yamadori) Steve Moritsugu is thrilled to make his debut with POP. His previous tenor roles include Verdi (Alfredo, Don Carlo, Dr Caius, Gastone, Manrico, Otello, Radames), Puccini (Cavaradossi, Pinkerton, Rodolfo), Rossini (Almaviva, Prince Ramiro), Mozart (Don Ottavio, Monostatos, Tamino) and Tybalt, El Remandado, and Mayor Upfold with LA Metropolitan Opera, Repertory Opera, Vineyard Touring Opera, Intimate Opera, Long Beach Opera chorus and as soloist with several symphony orchestras. He sang the role in Japanese of Middle Counselor Chunagon in the US premiere of the opera Kaguya-Hime by Hideaki Hirai at the Aratani Theatre. He studies voice with MET baritone Richard Fredricks in LA.
Chelsea Obermeier (Kate Pinkerton) Chelsea is so excited to be joining POP for this groundbreaking production of Madama Butterfly. Chelsea has performed throughout the US both professionally and in her studies. A native of Nebraska, Chelsea has performed with Opera Omaha singing the Dog in the Hans Krása's Brundibár, at the Ralston Theatre as Tuptim in The King and I, and with the University of Nebraska Opera Theatre as Nancy in Britten's Albert Herring. She has also participated as a young artist with Opera Carolina's OperaXpress educational outreach program, singing the Tortoise in the Tortoise and the Hare set to the music of Rossini. Additionally, she has trained as a young artist with the CoOPERAtive Program and the Crittenden Opera Workshop. During her time in California, Chelsea joined POP in their 2018 season in the chorus of Carmen at the Ford Amphitheatre and also Don Giovanni. Chelsea holds a Bachelor of Music degree from the University of Nebraska-Lincoln and a Master of Music degree from Temple University in Philadelphia.
Norge Yip (Imperial Commissioner) Norge Yip is honored to return to the opera stage in his first Pacific Opera Project appearance. He has been a featured soloist with Southeast Symphony, San Fernando Valley Master Chorale, Burbank Chorale, San Gabriel Valley Choral Company, University Campus Choir, and Claremont Chorale. He has been involved in many ensembles throughout Southern California as well as recordings for albums, video game and movie soundtracks, studio demos, and premiere performances for composers such as William V. Malpede, Joe Giarrusso, Michael Pawlicki, David Avshalomov, Ken Neufeld, Mark Brymer, Eric Whitacre, David Troy Francis, and Morten Lauridsen. He has toured internationally and performed at Walt Disney Concert Hall, Carnegie Hall, St. Peter's in London, St. Patrick's in Dublin, and many of the chateaux throughout the Loire Valley in France. Norge has been seen most recently on stage as Caiaphas in Jesus Christ Superstar, and The Dungeon Master in Comic-Con: The Musical: The Workshop, and on television on Chris Hardwick's @midnight and on Masters of Illusion. Previous stage credits include performances with The Society of Revolutionary Operettists, El Dorado Opera, Lyric Opera of Los Angeles, Long Beach Opera, Emerald Opera Festival, La Bella Voce Opera, and Los Angeles Opera Orchestra.
Takuya Matsumoto (Registrar) Takuya Matsumoto is a classically trained theatre actor following the Russian/British traditions. He has been in Los Angeles for five years after London, Paris, Boston, and Tokyo where he is originally from. His theatre credits include: Tartuffe (Orgon), Marriage (Podkolyosin), The Government Inspector (Luka Lukich Khlopov), Macbeth (Ross), The Fifteen Minute Hamlet (Hamlet), A Midsummer Night's Dream (Egeus), Fame the Musical (Mr Myers). His TV/film credits include: 'Me, Myself, and I', Angie Tribeca, Johnny English, Murphy's Law, Der gestohlene Mond. He had a fun experience when he coached Rowan Atkinson (Mr Bean) a one-liner in Japanese.
He met opera when Plácido Domingo was in Tokyo in 2010 leading Arena di Verona. What was going to be a small job turned out to be an encounter with passion through witnessing a grand master at work on and behind the stage. Since then he has been in productions of Aida, Turandot, Così fan tutte, L'elisir d'amore, and The Telephone as a singer. Takuya speaks five languages and currently he is learning Russian.
Janet Todd (Cho-Cho-san cover) Janet Todd is an Australian soprano based in Los Angeles. She recently completed her Master of Music at the Manhattan School of Music in New York where she performed roles including Cecile in Conrad Susa's Dangerous Liaisons, Konstanze in Mozart's Die Entführung aus dem Serail, Noemie in Massenet's Cendrillon and Angelica in new work The Leopard with New York Opera Projects. Other New York highlights include soprano soloist in both Mozart's C Minor Mass, and Mahler's Symphony of a Thousand in a collaboration with MSM and the New York Oratorio Society. In 2018 Janet performed Cho-Cho-san in Madama Butterfly with Opera Columbus, she was the soprano soloist in Bach's B Minor Mass with The Sydney Philharmonia, soloist in the Messiah with Perth Symphonic Chorus, performed recitals with Melbourne's Peninsula Summer Music Festival, and performed a leading role in the Los Angeles premier of Mark Lanz Weiser's opera The Place Where You Started. In her home country, Janet has performed with several major companies including Opera Australia (Pamina, The Magic Flute; Zerlina, Don Giovanni; Donna Elvira, Don Giovanni), Victorian Opera (Pamina, The Magic Flute; Sophie, Der Rosenkavalier; The Prince in Cinderella (Gill), Liesgen in Bach's Coffee Cantata), Pinchgut Opera, Sydney (Miss Hawk in Salieri's The Chimney Sweep, and Zelmira in Haydn's Armida, Canberra's Handel in the Theatre (Esther Esther, Iole Hercules), The Production Company, Melbourne State Theatre (Marsinah in Kismet). Janet has also appeared as a soprano soloist for productions with The Australian Ballet.


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Vetiva is a Pan-African Financial Services Company incorporated in Nigeria; duly regulated and registered by the Securities & Exchange Commission. Our wholly-owned subsidiaries Vetiva Securities Limited (a dealing member of the Nigerian Stock Exchange); Vetiva Fund Managers Limited and Vetiva Trustees Limited act as Broker/Dealers, Fund/Portfolio Managers and Corporate Trustees respectively.
The "Griffin in a Seal" logo represents the essence of Vetiva's Brand.
The Griffin
This is a mythical animal typically having the head, forepart and wings of an Eagle and the body, hind legs, and tail of a Lion, thus symbolising Wisdom, Strength, Solidarity and Heraldry. The Griffin is blessed with the speed, flight and penetrating vision of the Eagle and the strength, courage and majesty of the Lion. Thus, it is the Ultimate Protector!
The Seal
This proves authenticity and privacy of information. The Seal is an extremely powerful device that symbolises Trust and Integrity. Historically, the Seal would have been embossed by Royalty!
Our Vision is..."To build a world class Investment Banking Practice with core Pan-African competence."
Our Mission is..."To be the leading Independent Investment Banking Institution in Nigeria and Sub-Saharan Africa."
At Vetiva, we take a strategic view of our workforce and we recognize that our people are what make the company succcessful. Our philosophy is to treat our employees well so that they will treat our clients well.
Vetiva is an equal opportunities employer.
Please note that all CVs should be sent to firstname.lastname@example.com.
Vetiva Capital Management Limited (VCML) VCML is the Group holding company and acts as the operating vehicle for our investment banking business It also provides corporate and strategic services to subsidiary companies
Vetiva is a Pan-African Financial Services Company incorporated in Nigeria; duly regulated and registered by the Securities & Exchange Commission. Our wholly-owned subsidiaries Vetiva Securities Limited (a dealing member of the Nigerian Stock Exchange); Vetiva Fund Managers Limited and Vetiva Trustees Limited act as Broker/Dealers, Fund/Portfolio Managers and Corporate Trustees respectively.
Vetiva Securities Limited ("VSL") is registered by the Nigerian Securities and Exchange Commission as a Broker/Dealer. The Company provides Equities and Fixed Income Brokerage services to a diverse range of Retail and Institutional clientele.
Vetiva Trustees Limited ("VTL") is registered by the Nigerian Securities and Exchange Commission to provide Trustee services in the Nigerian Capital Market. In addition to Private Trust Services, the company acts as Corporate Trustees to Bond Issuances, Trust Scheme, Mutual Funds etc.
Fidelis was educated at the Universities of Lagos and Oxford. He qualified as a Nigerian lawyer in 1985 and as an English lawyer in 1993. He began his legal career at Oxford University, England in 1989 after his doctoral degree, and taught corporate finance, corporate insolvency, company law, contracts and trusts for many years before going into full time commercial practice in the City of London at South Square Chambers, Gray's Inn, London. There he practised as a commercial barrister providing transactional advice, drafting and litigation services to clients, both in England and abroad. In 2003, he was appointed a Queen's Counsel (QC) in England and on his appointment in 2004 as a Senior Advocate of Nigeria (SAN), the Nigerian equivalent of an English QC, he set up ODITAH with some of his Lagos-based colleagues.
Fidelis has extensive knowledge and practical experience of Nigerian and English commercial law, banking and finance, corporate law, energy and natural resources and insolvency. He has advised oil and gas companies, banks, multinational companies and small businesses on various aspects of Nigerian commercial law and practice. Clients value his practical and authoritative advice, his hands-on approach, accessibility and his great understanding of the marketplace.
With his combined experience as an English QC, a Nigerian SAN and a leading arbitrator with considerable experience of local and international commercial and investment arbitration, he is much sought after for heavy weight and complex disputes in Nigeria.
Fidelis has lectured and written extensively on contracts, banking and finance, company law, commercial arbitration, public law, legal practice and insolvency.
Mr. Eseka is an Investment Banker with extensive experience covering merchant and investment banking activities.
He is a graduate of Accounting from the University of Lagos, a Fellow of the Chartered Institute of Stockbrokers and a member of the Institute of Chartered Accountants of Nigeria. He is also an authorised dealer of The Nigerian Stock Exchange. Mr. Eseka has managed the emergence of Vetiva into one of the most respected, innovative and efficient investment banks in Nigeria.
Mr. Eseka is especially formidable in deal origination, structuring and execution and is vastly experienced in corporate restructuring/repositioning as well as privatisation advisory structures; having been involved in a number of significant transactions in the financial services and real sectors of the Nigerian economy.
He is regarded as one of the foremost investment bankers in Nigeria today with broad complementary competences covering financial, operational and legal related issues in the real sectors of the Nigerian economy over the past 16 years.
Dr. Mudasiru is an Investment Banker with extensive experience covering Stockbroking, Asset Management and other aspects of investment banking activities. He holds an MSc in International Securities, Investments and Banking from the ICMA Centre of The University of Reading, UK, an M.B;B.S. Degree from the College of Medicine, University of Lagos, Nigeria and he is an Alumunus of the Stanford University Graduate School of Business
He is a Dealing Member of the London Stock Exchange, an Associate of the Chartered Institute of Stockbrokers, Nigeria as well as being a member of the Medical & Dental Council of Nigeria. He is also a recipient of the Chevening Scholarship, which is granted to 'mid-career high flyers' globally by the British Government.
Dr. Mudasiru is quite versatile and his 16 years of experience span the spectrum of Investment Banking covering Wealth Management, Financial Intermediation, Trading & Dealing and executing various transactions in the Financial Services Industry.
Mr. Ade Odunsi graduated with a BSc. Honours Degree in Economics from the Essex University, United Kingdom. He is an Associate Member of the Institute of Chartered Accountants of England, Wales and Nigeria. He commenced his working career as a trainee Chartered Accountant at BDO Stoyhayward's London Office, where he rose to the position of Assistant Manager. In BDO Stoyhayward, he was involved in Financial Auditing, Contract Negotiation, Management Buy-Outs and also played a critical role in the development of internal control and reporting systems within the Oil & Gas Industry.
Subsequent to a stint as Internal Auditor at the National Audit Commission, in the United Kingdom, Mr. Odunsi moved to the Isle of Man's offices of Sahara Energy Resource Limited he served as the pioneer CFO with the overall responsibility for the Finance, Internal Control & Strategy Directorate where he continues to handle tasks involving raising lines of credit, price exposure risk management and hedging on major international petroleum exchanges.
He joined the board of Vetiva in June 2005.
Mallam Muhammed Lawan Buba has a BA Hons. from the Ahmadu Bello University, Zaria, Kaduna State, Nigeria. He served in numerous capacities at the University of Maiduguri including being the Deputy Registrar in Charge of Physical Developments/Council Matters, as well as being the Registrar and Secretary to the Council of the University.
Mallam Buba also held several Public Service positions in Borno State. At different times before and during his service at the University of Maiduguri, he was selected as the Administration Officer in charge of Monguno Local Government, Borno State and served as the Commissioner for Health. He was also appointed Member of the State Executive Council. He joined the Nigerian National Petroleum Company ("NNPC") in 1990 where his first assignment was at HYSON/CALSON, where he served as Executive Director in charge of Services. He rose to become the Managing Director in 1991. He also served as the Managing Director of the Pipelines and Products Marketing Company (PPMC) Limited as Group General Manager, Downstream Investments and ended his career with the NNPC in 1999, as the Group Executive Director, Commercial & Investment.
Mallam Buba is widely travelled in Africa, Asia, Europe and the Americas. Though he has retired from Public Service, he has continued to play an active role in the continuous evolution of Public Private Partnerships.
He joined the Board of Vetiva in June 2005.
Ethical Business And Professional Practices:
We are committed to a professional and result-oriented culture. Integrity and honesty are at the heart of our business, we share a commitment to high ethical standards.
Perseverance And Tenacity:
We strive to act reliably, fairly and honestly at all times. To succeed, we have a relentless attention to detail and a focus on results-based performance.
Innovation And Service Excellence:
We are constantly promoting unconventional wisdom and developing new solutions to meet our clients' needs. We strive to be imaginative and creative in all that we do.
Our Commitment To People
Provide our clients with the finest products backed by consistently top-quality service;
Delivery these products and services efficiently, thus ensuring fairness to clients and sound earnings for our shareholders;
Satisify our clients and placing them at the center of all our activities;
Do ordinary things extra-ordinarily well;
Insist on an inclusive work environment where every single person is given the encouragement, support and opportunity to be successful. We seek to hire people who think like leaders and make decisions based on their convictions rather than their fears.


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- Bromocriptine
- Cabergoline
- Carbidopa–Levodopa
- Carbidopa–Levodopa–Entacapone
- Citicoline
- Citicoline–Piracetam
- Entacapone
- Pramipex
- Pramipexole
- Pramirol
- Procyclidine
- Rasagiline
- Ropinirole
- Selegiline
- Trihexyphenidyl
- Generic drugs are chemically identical to brand-name drugs in terms of active ingredient(s), intended use, quality, dosage, safety, bioavailability and effectiveness.
- Generic drugs are cheaper than brand-name drugs.
What is Generic for Madopar* used for?
Generic for Madopar* (Carbidopa-Levodopa) is a combination medication indicated for the treatment of Parkinson's disease. Generic for Madopar* relieves Parkinson symptoms such as poor muscle control, tremors, muscle stiffness, shakiness, and spasms. This medicine may also be used to treat other conditions as determined by your doctor.
What is the recommended dosage of Generic for Madopar*?
The dosage of Generic for Madopar* prescribed to each patient will vary. Always follow your physician?s instructions and/or the directions on the prescription drug label.
Generic for Madopar* can be taken with or without food.
What if you miss a dose of Generic for Madopar*?
If your physician has instructed or directed you to take Generic for Madopar* medication in a regular schedule and you have missed a dose of this medicine, use it as soon as you remember. However, if it is almost time for your next dose, then skip the missed dose and go back to your regular dosing schedule. Do not double the doses unless otherwise directed.
What if you overdose on Generic for Madopar*?
Any medication taken in excess can have serious consequences. If you suspect an overdose of Generic for Madopar*, seek medical attention immediately.
What other drugs could interact with Generic for Madopar*?
- Amitriptyline
- Chlorpromazine
- Doxepin
- Haloperidol
- Isoniazid
- Metoclopramide
- Nortriptyline
- Papaverine
- Phenytoin
- Prochlorperazine
- Risperidone
It may be noted that drugs other than those listed above may also interact with Generic for Madopar*.
Usually drug interactions occur when it is taken with another drug or with food. Before you take a medication for a particular ailment, you should inform the health expert about intake of any other medications including non-prescription medications, over-the-counter medicines that may increase the effect of Generic for Madopar*, and dietary supplements like vitamins, minerals and herbal, so that the doctor can warn you of any possible drug interactions.
Generic for Madopar* can interact with other Parkinson's medications, blood pressure medications, and antidepressants.
Do let your doctor know if you smoke, consume alcohol or caffeinated drinks, or use illegal drugs as these may interfere with the action of your medication. Make sure to inform your doctor of any medical conditions you may have, or any family history of medical problems. Do not start or stop using any medicine without consulting your doctor.
What are the side effects of Generic for Madopar*?
Like other medicines, Generic for Madopar* can cause some side effects. If they do occur, the side effects of Generic are most likely to be minor and temporary. However, some may be serious and may require the individual to inform the doctor or visit the nearest hospital immediately.
It is pertinent to note that side effects of Generic for Madopar* cannot be anticipated. If any side effects of Generic for Madopar* develop or change in intensity, the doctor should be informed as soon as possible.
Generic can cause side effects such as loss of appetite, cough, dry mouth, heartburn, diarrhea, constipation, insomnia, muscle pain, dizziness, and blurred vision. This is not a complete list of all side effects. Do concur with your doctor and follow his directions completely when you are taking Generic for Madopar*.
What are the questions to ask your doctor before taking Generic for Madopar*?
Is it possible for me to take Generic for Madopar* with other drugs?
Should certain beverages, foods and other products be avoided when I take Generic for Madopar*?
What are the possible drug interactions of Generic for Madopar*?
How will Generic for Madopar* work in my body?
How should Generic for Madopar* be taken?
How to reduce the risk of Generic for Madopar* drug interactions and side effects?
The health and medical information provided here is intended to supplement and not substitute for the expertise and judgment of your physician, pharmacists or other health care professional. It should not be understood to indicate that the use of Generic for Madopar* is safe, appropriate or effective for you. Always consult your health care professional before using this, or any other, drug.


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Are you looking for help with planning your retirement? Maybe you are seeking professional advice on how to manage your budget or spendings. You may even be seeking assistance for managing your risk of investment. Whatever your reason is, a financial advisor can help guide you and assist you in making informed decisions in regards to the way that you are spending your finances. Apart from advising you, a financial advisor can also be a great means for making connections, as he or she introduces you to their professional network.
In order to find the best match for you, you will want to ask your financial advisor certain questions to ensure that he or she is the right advisor for you and your needs. Watch our video "10 questions you need to ask a financial advisor" or read our list of the 10 questions below, to really get you started in your journey with your potential financial advisor.
Fours reasons you may need a financial advisor
- to help you plan for retirement.
- to be introduced to their professional network.
- to help you manage investment risk.
- to manage budget or spend.
1. What services do you specialize in?
The first question, you can ask a financial advisor is what services do they specialize in. A few of these services might be trust and estate planning, tax planning, insurance planning, education planning, and alternative investments. It's really important that you find the right kind of financial advisor for you that specializes in area that you truly need help with.
2. What are your investment principles?
These investment principles are critical because knowing what their investment strategy is, if they prefer diversification if they have certain asset categories that they want to invest in, if they have a high margin of safety, how they manage risk, and what kind of investment time range they typically set.
This is really important because when you're trying to find a financial advisor, you're really trying to find somebody who fits your mood and temperament. Also, you ultimately want to find somebody whose principles and investment strategies you can somewhat understand. If it's too complex or sounds out of this world, that may not be the best thing for you. Ultimately, you need someone who you can understand so that you know where your money is going.
3. What life event motivated you to become an FA?
One thing that might happen is if you ask this question is you may get this response:
"My father was killed in a tragic financial plan accident. Since that fateful day, I've been obsessed with minimizing all risk. I wear an antimicrobial plastic or around myself to prevent unnecessary risk."
We're exaggerating but the point is: This is somebody who's going to be a financial advisor for someone who's not very risk prone. You may be somebody who would love a financial advisor like this. So ask yourself a critical question. Ask yourself, what kind of financial advisor would you most prefer? And if the response from your financial advisor is this, then you may be someone who's not very risk prone. You may be risk averse.
4. How often do you communicate with your clients?
This is incredibly important because if your financial advisor is not going to be communicating with you the way that you want to be communicated with, it's going to cause a strain on the relationship. Ultimately, a financial adviser somebody you want around for a very long time.
You want somebody who understands you intimately well and understands your finances. So knowing if they do monthly check-ins with their clients, quarterly, semi-annually, annually, whatever the frequency is, it's important to get that right.
5. What is your account minimum?
Asking a financial advisor what their account minimum is also highly critical. You want to make sure that you actually qualify for this financial advisors portfolio.
If you do not meet their minimum standard, if you are not able to hit the one thousand dollars in the account, then this may simply not be the right kind of person for you. Also, you may not want to enter into an account that has too high of a minimum because it was too high then you may be putting yourself into a risky situation. So, know what it is like beforehand before you move any steps forward with that certain financial advisor.
Related: Financial Services are Highly Exclusive – But They Shouldn't Be
6. How do you get paid?
This is also important. There are some financial advisors who have certain payment structures that are a little bit unorthodox and may even be unethical. So it's important that you understand if they're going to have a fee-based payment structure, hourly wages, or a percentage of total assets under management.
You may find that you like a percentage of total assets under management because it's more Performance Based. If that individual likes to have their success, then it is better to have somebody who is going to have more of their performance rewarded. And that might be the person that you want to be managing your money.
7. What is the median performance of your accounts?
This is one way to check if your financial advisor actually knows what they're doing. If you can see what kind of results they've generated for their clients, then they will probably generate good results for you if they had done a good job with them.
Also, you want to be wary of long proposals. If their proposals are too long or unwieldy than it may be a diversion tactic. It's possible that the financial advisor may be trying to dissuade you with a long proposal to make it more difficult for you to spot their strategies on how they might be deceiving you.
So it's important to understand, "is this person creating a purposefully confusing structure to maybe pull the wool over my eyes?" So make sure you understand that.
8. What transformations has the investing landscape undergone throughout your career?
This is important because ultimately you want a financial advisor who understands and adapts to changes. There might be changes in fintech, Emerging Markets, new asset classes, risk-averse strategies, fee based pricing, or fiduciary duty and if they don't really understand the changes that are occurring within the investment landscape, they may not be the right financial advisor for you.
It may be better to hold out and find somebody who's more agile and able to adapt to change.
9. What kind of introductions could you provide me?
As mentioned at the beginning, it's important to know because if this financial advisor can help you in more ways than just managing your money, that's a huge plus. They can give you references to accountants, attorneys, and business introductions.
Ultimately, if you're a client of theirs, they're going to want to keep you around. So if you ask for a few intros and they know somebody that can help you, they'll usually do it.
10. What portion of your own wealth do you invest in your strategies?
So this is a way for your financial advisors to put their money where their mouth is. If a financial advisor isn't using their own investment strategies for themselves, then that should definitely be a red flag.
A lot of financial advisers don't follow their own strategies and that is very hypocritical. So you want to find somebody who really really really knows their stuff and is willing to invest their own money into their own strategies.
Bonus questions
You may want to ask a few questions additionally, like, "are you a fiduciary?" Or, "do you consider a tax impact of your investment decisions?" Somebody who considers the tax impact of their investment decisions is usually a little bit more prudent with their money and aware of the full implications of their decisions. Though that is somebody who's more responsible and may be a better fit for you.
This could be helpful if you're a small business or if you're investing into cryptocurrencies. There were some side effects of people who invested in cryptocurrencies who may not have understood that the tax impact of those investment decisions. Being a fiduciary is also an important question you could ask because it shows a certain type of ethical commitment that a financial advisor may have to an individual. So you want to make sure that these two questions could be asked as well to check if a financial advisor is right for you.
And that's a wrap. We hope that you enjoyed this article on 10 questions to ask your financial advisor. Don't forget to also check out our video "10 Questions to ask a Financial Advisor."
Related: The 11 Best High Yield Savings Accounts in 2019


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Mick Jagger
Goddess in the Doorway
- Virgin
He's already being badgered by reports of slow sales of this disc, but that doesn't means Mick Jagger's latest solo album isn't well worth tracking down.
The Rolling Stones' frontman enlisted some serious comrades for this, his first solo effort in seven years. Pete Townshend, Bono, Lenny Kravitz, Joe Perry, and Rob Thomas are just a few of the A-list players gathered for this set. And while they all help, it's undoubtedly Jagger himself who rises to the top while turning in the best solo album of his career.
Goddess in the Doorway is a collection of first-rate songs, starting with the pop-tinged "Visions of Paradise," which was penned by Jagger, former Stones guest keyboardist Matt Clifford and Matchbox Twenty's Thomas. It's a killer kick-off for a disc that rarely lets up and rarely lets down the rest of the way.
At 58, Jagger's voice is still remarkably intact. He proves that frequently here, most notably while roaring through the hard-edged lead single "God Gave Me Everything," which he co-wrote with Kravitz, who also plays guitars, bass, and drums on the track. Jagger even shows a spiritual side on one of the set's most evocative songs, "Joy." For that blast of thick gospel-fueled funk, he's is joined by guitarist Townshend and U2's Bono, who vamps his way vocally through the electrifying ending.
The big names may bring out the best in Jagger, but he also does just fine on some of the less-star studded selections, like the smooth grooves of "Dancing in the Starlight" and the heart-tugging tale of redemption, "Brand New Set of Rules," which features backing harmonies from his daughters Elizabeth and Georgia May Jagger.


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A healthy lifestyle can be rewarding in many ways; improved enjoyment of life, increased energy and reduced expenses can all result from simple changes to your diet, exercise regimen or habits. Healthy living can also result in reduced costs for medical care, life insurance and even health
Archives for May 2013
Blog Posts For May/2013
Improve Your Health and Get the Most Out Of Life
May 17, 2013 at 3:27 pm
Do You Practice Motorcycle Safety?
May 7, 2013 at 2:11 pm
Few experiences can offer the same sense of freedom and enjoyment as cruising Louisiana roads on your motorcycle. Unfortunately, the joy you get from riding is not without risk – motorcycle accidents are far too common, and often result in serious injuries and death. While no amount of effort


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What to Write in a Father's Day Card for Your Stepdad
Sadie has been a proud stepmother for over 25 years. She writes about blended family issues and modern family dynamics.
How to Say "Happy Father's Day, Stepdad"
How you choose to acknowledge your stepfather on Father's Day depends on the relationship you have with him, how often you see him, or how long he has been in your life. If you aren't sure what to write in their card, you could start by acknowledging your stepfather's important role in your life. Here are some suggestions.
Father's Day Messages and Wishes for Stepdads
- Our lives have been blessed since that day you met Mom. Thanks for being such an important part of our lives!
- Thank you so much for what you do for our family. You have always been there to offer your unconditional love, support, and encouragement. You are a fantastic stepfather!
- I know I don't say this often enough, but I want you to know that you are an important part of my life. I am lucky to have such a funny, kind, generous, and wise stepfather!
- Thank you for being a role model to me and my brothers and sisters. You have shown us what it means to be someone who gives his very best to his family each and every day!
- I had no idea when I first met you how easy it would be to get to love you the way a son or daughter loves his/her father.
- Thanks for "signing up" to be my stepfather. I know it isn't always easy for us to see eye-to-eye, but I can't imagine where my mom and I would be without all the love and support you have given us.
- Thanks for looking out for us, like a true father should. You have filled a hole in my life that I thought would always be empty.
- You've always been my dad! Happy Father's Day to an amazing stepfather!
Picking out a Card
Once you've decided what you want to write in your Father's Day card, it's time to pick out your card. If you feel comfortable giving your stepdad a store-bought card with just the words "Dad" or "Father" on it and no reference to stepfather or stepdad, then you'll have plenty of cards to choose from at any grocery store, card shop, or dollar store. You may even be able to find a Father's Day card with "Stepdad" or "Stepfather" printed on it, but you probably won't have many options to choose from.
Here's a better idea: Give your stepfather a handmade Father's Day card and then write your personalized message on the inside. Check out the video tutorial on how to make a super cute card shaped like a shirt and tie.
Read More From Holidappy
Father's Day Writing Prompts
If you still can't decide on a suitable card greeting, here are a few writing prompts that might help:
- Write about anything that you remember from the first time you met your stepfather. What were your first impressions of him? Did they change as you got to know him?
- Tell your stepdad three things that you like about him or that you enjoy doing with him. Do you go fishing together? Does he always show up and cheer for you from the sidelines at soccer practice? Does he make the world's best pancakes on Sunday mornings? Find just a few things that you like about your stepfather and tell him! After all, Father's Day is about giving thanks, and your stepdad deserves a big high-five too!
- Share how your mom's life changed after she met your stepfather.
- Write about some family-oriented things that you want to do together with your stepfather, like going on a vacation, having a big barbecue, etc.
- Write about a special skill or talent that your stepfather has that you would like to learn from him (e.g., how to barbecue a steak to perfection, refinish a piece of furniture, tell a joke, or get the best deal on a used car).
Here's another suggestion: Include a quote on fatherhood from his favorite author, movie star, comedian, or world leader. Find a quote about the characteristics and qualities you admire in your stepfather.
© 2015 Sadie Holloway
Keynan Fox on June 15, 2019:


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Jill Moss is surprised when she receives her Uncle Neil Bryant's bible and discovers that it has certain, odd passages marked. Then she learns that her uncle has discovered an artifact in Mexico that consists of sixteen separate pieces that have been sent to people he knows and trusts. He needs her to travel all over the world to collect all sixteen pieces.
News & reviews for the fiction lover in us all!


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seen on TV @ TCM
Did you know that William Powell and Myrna Loy made 14 movies together? I mean, that's amazing when you think about it - the two of them not only had their own franchise, the Thin Man series (six films), but people loved seeing the two of them together so much that they appeared in eight other movies - including a Best Picture Oscar winner, The Great Ziegfeld - and all of this in the space of only 13 years. No matter how you slice it, this is an incredible streak of success as an on-screen duo, the kind one almost never sees anymore.
In her book I Do and I Don't: A History of Marriage in the Movies, author Jeanine Basinger talks about "love couples," on-screen pairings, often (but not always) in romantic comedies, that the audience tends to imagine as a natural pairing, "married" in the audience's minds if not necessarily in reality.
Powell and Loy might be the quintessential example of this. In films like Libeled Lady, while their characters aren't married, they spent a lot of time together and inevitably fall in love. This was their fifth movie together, after the twin successes of Ziegfeld and the first Thin Man, and by this time I think it's clear how easy and comfortable they feel together. Just look at them!
Powell and Loy looked glamorous, but they weren't sex symbols in the sense that Clark Gable or the young Joan Crawford were considered sexy. Their sex appeal came from their chemistry together, an elusive quality to be sure, but one that's not difficult to recognize, and time has obviously borne this out.
Powell was the kind of guy who was more dashing than sexy, especially in a tuxedo, but was still a bit rough around the edges. You can hear it in his voice. His kind of charm was different than that of, say, Fred Astaire, to whom everything seemed to come so effortlessly. Powell's characters always seem a bit more roguish, as if they had to work to obtain and perfect their charm. In Lady he gets some choice scenes with Jean Harlow too, his fiancee at the time, so making this movie must've been loads of fun for him!
As for Loy, it's funny, but I used to think she was kinda funny looking. Something about her eyes, or perhaps the shape of her face or her lips, I'm not sure, but while I never thought she was out and out ugly, I was never sold on her looks until watching Lady. Now I totally see it, especially in the scene I linked to above. She looks absolutely stunning in that dress. I'd probably react the same way as Powell if she proposed to me!
|The dress in question.
It's completely silly, but Powell and Loy make it worth watching (the fishing scene in particular is a hoot), as does Harlow. It begins with this odd pre-credit image of the four stars merrily marching towards us, dressed to the nines, arm in arm in arm in arm, as if they're all so darn happy to be together. I know this was made during the Depression, when the studios wanted to sell glamor, but still. And the movie doesn't end so much as stop.
This was the first movie I watched as part of TCM's Saturday night "Essentials" series, which Robert Osborne co-hosts with Drew Barrymore, of the prolific Barrymore acting clan. For the longest time, even after she became an adult, I could never shake the image of Barrymore as the little kid from E.T., possibly because even as an adult she still looked childlike. Then she got all toned and muscled up for Charlie's Angels and she didn't look like a kid anymore. Now, though, it looks like she's slowly settling into middle age. She's got a kind of Joan Cusack look going now. It's not surprising that she knows classic movies, given the family she comes from, and even if she's not quite as erudite as Osborne on the subject, it's nice to see her in this role.


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Portland Luxury Real Estate for Sale
Talk to the Local Agent: (971) 361-8888
Available Toll-Free
Portland Luxury Real Estate for Sale
Talk to the Local Agent: (971) 361-8888
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Talk to the Local Agent: (971) 361-8888
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Ramada Inn Speedway, Daytona Beach
Ramada Inn Speedway1798 West International Speedway Boulevard
A 2006/2007 Pinnacle Award Winning Hotel. The Ramada Speedway Daytona is located directly across the street from Daytona International Speedway home of NASCAR and Daytona USA. The Ramada Speedway Daytona is 1 mile from Daytona International Airport and 5 miles from Daytona Beaches. Other attractions near the Ramada Speedway Daytona are Daytona Beaches, Volusia Mall and Indigo Lakes Golf course all within a few miles radius of our hotel. This hotel features standard amenities such as Free High Speed Wireless Internet Access, Plush Beds, Free Shuttle Service to/from Daytona International Airport, Local Colleges and Hospitals. Unos Chicago Grill is located within this full service hotel serving breakfast, lunch, dinner and room service daily. The Ramada Speedway Daytona also offers Meeting/Banquet Facilities.


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High blood pressure, also referred to as hypertension, is a very serious health condition. It can damage your vital organs such as your kidneys, heart, and brain. It is not a rare health condition but one that many people have, especially as they get older. Instead of taking blood pressure medication you can reduce and control your high blood pressure without medication. If you have been prescribed medication do not stop taking it without talking to your physician first.
1. Reduce your salt intake
Many people have the bad habit of adding salt without tasting it so make sure that you taste your food before you add salt. Junk food and processed foods have a high amount of sodium, aka salt, so try to avoid including them in your diet as much as you can. Avoid preserved foods altogether as they have a very high sodium level. Flavor the foods that you cook with different salt-free seasonings, herbal seasonings, or fresh herbs. You should try to limit your salt intake to two thousand three hundred milligrams a day or less and if you are over the age of fifty you should keep it at fifteen hundred milligrams or less a day. This might sound like a lot of salt but actually one level teaspoon will give you two thousand three hundred milligrams, your daily allotment.
2. Reduce your caffeine intake
Cut back on how much coffee you drink during the day and switch to decaffeinated coffee and tea. If you just have to have a cup of coffee to get you going in the morning limit yourself to just one cup. It is important to remember that coffee is not the only thing you may be drinking that has caffeine like soda pop and energy drinks. Switch to soda pop that has no caffeine and stay away from energy drinks. Drink green tea because it is full of antioxidants which makes it good for you.
3. Start Exercising
Exercising is one of the best ways in which to help lower your blood pressure and help keep it under control. Even moderate exercised such as yoga or walking can help to reduce your blood pressure. One big advantage of doing yoga is that it can help to lower your stress levels because this type of exercise helps to relax your mind and body. Yoga can also be done at home and if you have a stressful day at work, do yoga when you get home to lower your stress level. Starting to exercise is a natural way to help lower your blood pressure. You should try to exercise thirty to sixty minutes a day for at least four days a week.
4. Eat Food That Is Rich In Potassium And Sodium
In your body you need to have the levels of potassium and sodium balanced because if your sodium intake is high it can lead to retaining water along with hypertension. When you eat foods that are rich in potassium it can help to flush out the excess sodium from your body. This will help to lower your blood pressure. Some of the foods that are rich in potassium that you should include in your diet are bananas, sweet potatoes, cantaloupe, spinach, and asparagus.
5. Lose Those Extra Pounds
Yes, this is easier said than done most of the time but if your Body Mass Index is more than what it should be you need to work at loosing those extra pounds. This is especially true if the extra weight you are carrying is around your waistline. This extra flab around your waist is referred to as "visceral fat" and is the most dangerous fat of all because it will increase your risk of developing diabetes and heart diseases. Talk to your physician about a weight loss program to get rid of this dangerous fat.
6. Limit How Much Alcohol You Drink
When you are drinking too much alcohol it can cause your blood pressure to rise sharply and increase your risk of having a stroke so reduce the intake of alcohol to no more than one to two drinks a day.
7. Control Your Stress Level
For most people stress at work is the biggest contributor to causing your stress level to rise, especially if they are working long hours. Personal problems can also cause a rise in your stress level. Although the spikes in your blood pressure from a high stress level do not last long it can still put you at a risk for developing hypertension. When you feel stressed out try to find a way to relax such as taking a long warm bath, listening to soothing music, mild exercise like going for a walk or yoga, etc.
8. DASH Diet
DASH stands for Dietary Approaches to Stop Hypertension. On this type of diet you need to make sure that you are eating whole grains, low-fat dairy products, vegetables, and fruits. To help you stay on the diet keep a food diary and write down what you eat for a week to see what your true eating habits are. This will help you see what you are eating, when, why, and how much. Once you know the answers then you can start making changes in your diet and start to lower your blood pressure. To make it easier to stay on the diet allow yourself a treat once a week like a chocolate candy bar, a cookie, some mashed potatoes, etc.
9. Stop Smoking
You should also try to avoid second hand smoke. In addition to raising your blood pressure smoking can also cause cancer and other cardiovascular diseases.
10. Lemons
Drink a cup of warm water with the juice of a half lemon every morning when you get up. Make sure that you are drinking it on an empty stomach to get the best results. You should not add sugar or salt to the drink but if it is too sour you can add a couple of drops of honey.
Lemons will help to keep your blood vessels pliable and soft. When you are removing the rigidity in the blood vessels you will also lower your high blood pressure and also lower your chance of suffering from heart failure.
11. Watermelon seeds
Grind an equal amount of poppy seeds and dried watermelon seeds and take one teaspoon each morning on an empty stomach and another teaspoon before you go to bed.
There is a compound found in watermelon seeds called cucurbocitrin that helps to widen your blood capillaries and will help improve your kidney function along with helping to lower your blood pressure.
12. Garlic
Using either raw or cooked garlic will help to reduce and control your blood pressure by helping to relax the blood vessels.
• You can eat one or two gently crushed cloves of garlic each day
• Add it to your foods when cooking
• In four ounces of water add five or six drops of garlic juice, mixing well. You should take it twice a day.
13. Celery
In celery you will find the compound phthalides that help to control your blood pressure by relaxing the muscles around and in your arterial walls. This will create more space to allow your blood to flow in without any problems along with helping to reduce the stress hormones that can constrict your blood vessels. You should eat a stalk of celery with a full glass of water each day.
14. Cayenne pepper
Eating cayenne pepper will help to prevent the platelets from clumping together and eventually accumulate in your blood. Keeping them from clumping together will help you have a smooth blood flow and reduce your blood pressure. You only need a little bit to add to your soup, chili, vegetable salad, meats, etc. It is a very spicy herb.
15. Honey
Using honey it can have a calming effect on your blood vessels and reduce the pressure from your heart, reducing your blood pressure. In the morning on an empty stomach eat two teaspoons.


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Offering a scenic location of the banks of the Ishim River, Prestige is just a 5-minute walk from Astana City Park. A 24-hour reception, a café and contemporary-style rooms with free Wi-Fi are offered.
Rooms at Hotel Prestige feature traditional furniture and carpet floors, and are equipped with a modern flat-screen TV. The stylish bathrooms include toiletries and slippers.
The sleek café offers a daily breakfast buffet, and Ukrainian specialities are available for lunch and dinner.
The hotel is 550 yrd from Astana Aqua Park and a 5-minute drive from the city centre. Astana Airport is just a 15-minute drive away, and a shuttle service can be booked.


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In a grueling softball sectional, Oak Creek once again stands to be a tough out
In the preliminary stages of the World Cup, the most difficult grouping of four teams is generally referred to as the "Group of Death."
The term can sometimes be applied at the high school level, as well. Just ask the teams in Sectional 8 in Division 1 softball this season.
That sectional has three teams listed in this week's top 10 coaches poll in Greenfield, Oak Creek and Kenosha Bradford. Greenfield comes in as the likely top seed at No. 4 with a record of 18-0, just three spots ahead of the Knights at No. 7. Bradford, which fell to eventual state semifinalist Oak Creek in the sectional final last year, is listed among the honorable mentions.
"I think we have one of the tougher sectionals in the state," Oak Creek head coach Jeff Trask said.
While the Knights may not end up as the top seed in this year's playoffs, there won't be anyone taking them lightly. They proved just as much with an 11-3 defeat of Franklin on Tuesday night to improve to 13-3 overall and 10-0 in the Southeast Conference.
"I think you look at our start to the season going just about as well as we could have asked, but we still know that there is a hurdle to get over with the teams in our sectional," Greenfield head coach Jack Miller said. "Oak Creek is always going to be a tough team to beat."
RELATED:Why this could finally be the year for Greenfield softball, still perfect at 17-0
RELATED:Oak Creek's Becca Oleniczak hits three homers and throws no-hitter in same game; Knights also shine at star-studded tourney
Stacked lineup
The Knights entered the year with senior pitcher Becca Oleniczak leading the charge but looking to replace a large graduating class around the rest of the diamond. And while Oleniczak has more than answered the call with a 10-2 record and 1.52 earned run average while posting an OPS over 1.570 at the plate, the rest of the team has stepped up just as much.
With the bats of Oleniczak, Sara Traxel, Jenna Trewyn, Julia Veloz, Athena Binelas and others leading the charge, Oak Creek has averaged 7.3 runs per game through its first 16 contests.
"Offensively, we knew we had a few proven hitters returning in Becca, Sara Traxel, and Jenna Trewyn, but from there, we had to figure out where the rest of the offense would come from," Trask said. "We're not as powerful as we have been in the past, but we've been just as consistent in terms of putting the ball in play."
Another big help for the Knights: there are no easy outs for the opposing pitcher.
"We don't rely on just one or two kids to get us runs," Trask said. "We're fairly confident we'll get production from anyone in our lineup, including our subs, who are always ready when we call on them to step up."
Making the plays
But even with a dominant pitcher and a potent offense, what stands out most to Trask has been his team's defense.
"We graduated our entire infield and most of our outfield from last year, and part of our success last year was our ability to play fairly airtight defense," Trask said. "We've had a great group of hard-working kids step up defensively, and so far, we've been just as good as last year defensively, so that has been a pleasant surprise."
With just four games remaining in the regular season, the Knights are starting to round into form. In just the last week, Oleniczak had three homers and threw a no-hitter in the same game, and the Knights then exploded offensively against a strong Franklin team that took the Knights to the brink in their first meeting, 1-0.
Now it's just a matter of getting through a most challenging sectional.
"Most of the schools in our sectional have quality pitchers and are always prepared and coached well," Trask said. "I wouldn't be surprised at all to see some lower-seeded teams in our sectional upset some of the higher seeds. I think we have a chance to be right in the mix if we can continue to play at a high level and play to the best of our ability."


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The University will officially remove Chick-fil-A from the Cox Hall Food Court this summer.
Food Advisory Committee Emory (FACE) presented three proposed floor plans for Cox Hall at a student feedback meeting on March 7, none of which contained the Chick-fil-A currently present in the building. Chick-fil-A will be eliminated as a food option in Cox Hall as part of a facelift the food court will undergo during the summer, according to David Furhman, the senior director of Emory's Food Service Administration.
The adopted floor plan will place a pizza and pasta venue where Chick-fil-A currently resides. Other changes will include the expansion of both the Mexican food and salad areas, as well as the construction of both a grab-and-go station and a coffee and bakery area.
Furhman said the decision to remove Chick-fil-A from all three of the proposed floor plans was based solely on student feedback that his office has received through a series of surveys and focus groups. The removal of Chick-fil-A was not a politically motivated move, nor was it spurred by the outcries against it that have taken place on campus, Furhman said.
"What we learned was that there was no great affinity or love for Chick-fil-A," Furhman said. "It was more of an affinity or love of the convenience, and what students also told us was that they didn't really love Chick-fil-A."
Controversy regarding the national restaurant chain arose last summer when Chick-fil-A COO and President Dan Cathy publicly stated his opposition to gay marriage. Since then, members of Emory's Lesbian, Gay, Bisexual and Transgender (LGBT) community formed a committee calling for Chick-fil-A's removal from Cox Hall, and the Student Government Association (SGA) passed a resolution against Chick-fil-A's presence on campus in December. Students also held a protest last semester.
Furhman said Chick-fil-A has existed on Emory's campus for 29 years. Given FACE's commitment to variety, he said, it was time to "shake things up a bit."
Chick-fil-A did not meet Campus Life and student values, according to College sophomore Karoline Porcello, a FACE co-chair. She also specified that Chick-fil-A's values were not the deciding factor in the removal of Chick-fil-A, though she said they were a contributing factor.
Student feedback was one of six criteria FACE used in determining whether current restaurants in Cox Hall would remain in their respective locations or be removed, according to College sophomore Michael Sacks, a FACE co-chair.
The six criteria included menu variety and flavor profiles, menu quality – for example, minimally processed and fresh –, brand commitment to sustainability, brand ethos and consistency with Campus Life core values, preferential survey data, and business, operational and financial considerations.
– By Asst. News Editor Dustin Slade
Photo by Photography Editor Emily Lin
A full version of this story will be published in next Friday's issue.