November 18, 2019 /Sports News – Local BYU Men’s Basketball Visits Boise State Wednesday Tags: Boise State Basketball/BYU Basketball FacebookTwitterLinkedInEmailBOISE, Idaho-Following a dramatic 72-71 win at Houston last Friday, BYU men’s basketball (3-1) hits the road again Wednesday by visiting the Boise State Broncos (1-2) of the Mountain West Conference at ExtraMile Arena.BYU head coach Mark Pope (3-1, .750 at BYU) seeks his third straight win as the Cougars’ head coach following a 76-71 loss to San Diego State November 9 at the Marriott Center.The Cougars currently average 71.8 points per game, ranking them 204th nationally in scoring offense.Filling in for currently-suspended star forward Yoeli Childs, senior guard Jake Toolson (15.3 points, 4 rebounds per game) is the Cougars’ statistical leader.Junior guard Alex Barcello (13 points per game) leads BYU in both steals (8) and blocked shots (2).Senior guard TJ Haws (12.5 points per game) is currently the Cougars’ leader in assists (15).Defensively, the Cougars are tied for Northwestern for 157th nationally in scoring defense, giving up 67 points per game.After successive losses to nationally-ranked Oregon (75-106) and UC Irvine (60-69), the Broncos are seeking their first win against a fellow Division I opponent. Boise State’s only win came over NAIA school Life Pacific (126-49) November 5.In his 10th season at Boise State, head coach Leon Rice is currently 179-118 (.603).The Broncos average 87 points per game, tying them for 20th nationally with Utah State.Redshirt junior guard Derrick Alston Jr. is tied for 13th nationally with Dayton’s Obi Toppin in averaging 25 points per game. He also averages 4.3 rebounds per contest. Alston Jr.’s 2 blocks lead the Broncos in that category as well.Senior forward RJ Williams nets 16 points and 11 rebounds per game for Boise State with senior guard Justinian Jessup posting 13 points and 4.3 boards per contest.Senior guard Alex Hobbs nets 12 points and 4 rebounds per game while his 10 assists tie him for the team lead with redshirt freshman guard Max Rice.The Broncos are tied for 267th nationally in scoring defense (74.7 points per game) with Vanderbilt and Georgia.The Cougars lead the all-time series 9-4 and are 2-3 all-time at Boise in the series. Written by Brad James
True confidence, surely, is the ability to dismiss half of your own career as “parasitic” and “imposing” – only an actor, director and playwright such as Steven Berkoff could do such a thing without raising any eyebrows, and this did indeed seem to be his agenda when he spoke at the English faculty on 20 May. Berkoff laments the “castration of the actor” by theatre directors, proclaiming the latter to be expensive and excessive; have we met a professional theatre practitioner with genuine humility, or is this a brilliantly sophisticated placing of his own work above and outside of even his own profession? Steven Berkoff studied drama in London and Paris and performed modest roles with repertory companies before forming the London Theatre Group in 1968. His first original play, East, was staged in 1975 at the Edinburgh festival, followed by an array of varied works including West, Decadence, Greek, Kvetch, Acapulco and Brighton Beach Scumbags, all written in his indulgent, aggressive, yet cerebral style . As a director, Berkoff has toured tens of productions such as Kafka’s Metamorphosis, The Trial, Agamemnon, Hamlet, Macbeth, Wilde’s Salome, Richard II and Coriolanus. Several of these were international tours, to Japan, Los Angeles and Germany to name but a few. As an actor, his one-man show has toured Britain, the USA, South Africa, Finland, Italy, Singapore and Australia. He has made several dubious film appearances, including A Clockwork Orange, Octopussy and Rambo, and he directed and costarred in a film version of his play, Decadence. He has published a variety of books such as, modestly, I Am Hamlet, Meditations on Metamorphosis and his autobiography, Free Association. But despite an extensive biography, Berkoff’s popularity is questionable. He has made several un-politically- correct moves in his career including death threats towards critics and breaking an actors’ union strike by working on a McDonalds commercial. On the whole his ego seems to dominate his press; he doesn’t seem able to keep it in check. This fact was evident when he lectured, especially in his assaults on directors, set designers and critics. Having said this, his skills as an actor cannot be denied. His recent visit to the Oxford Playhouse with his touring show, “Shakespeare’s Villains” was a real treat, perhaps becauseof his unrestrained ego – there is something riveting about watching a stage actor without a shred of modesty deliver classic Shakespeare monologues juxtaposed with his own character interpretations and method, academically presented. Berkoff spoke extensively about acting in his Fourth Week lecture too, heralding it as a “great sacrifice;” as far as I could discern, a sacrifice of one’s own self-consciousness. Deeply ironic, I thought, coming from the most utterly self-indulgent of all thespians. Nonetheless he continued on to propose some reasonable, and rather beautiful, musings on acting, as “exposure to the acid of audience observation” and “maintaining childhood and playfulness” seemingly justifying his participation in this aspect of theatre. On he ploughed, however, to paint a darker picture of the director; an invention of the twentieth century, apparently, which has cost the theatre the loss of the “actor-manager” tradition of the Olivier era. According to Berkoff, actors of the 1800s were “masters of the theatre,” able to return to roles time and again and “flower” into great artists. Today they are at the mercy of the “caveman of theatre;” the director, who paints a replica of reality onto the stage like primitive rock art – his obsession with naturalism is deep-rooted and constraining. Berkoff himself has not, it must be noted, been directed for thirty years, through sheer obstinacy I believe. His objection to directors as a category stems from their youthfulness, since he claims that directing is a natural progression from acting, and thus the great actors of his time should now be becoming directors in a process resembling evolution. Instead, he laments, the profession is overrun with young directors, too weak to act themselves, yet preventing the rites of passage of their seniors. The reasons for young people’s interest in directing seem logical and unsurprising to me – better wages, your n a m e stamped upon a p r o – d u c – tion in the manner formerly enjoyed by actors, and very little responsibility for negative criticism (which is invariably targeted towards actors or playwrights). It is no surprise that the profession is popular. As a director myself, I am very interested in Berkoff’s writing. Despite hearing him slate the profession of directing, I am preparing a production of his as we speak – Messiah : Scenes from a Crucifixion (Old Fire Station Theatre, Eighth Week). How can I defend the process, in the face of such ironic egomaniacal insult? Firstly, it is no coincidence that Steven Berkoff has been touring one-man shows for many years and has not worked with a director for equally as long; he neglects to mention the essential function of equalizationand balance which only a directorial “outsideeye” can perform. Rehearsals are periods of “mixing,” rather like the musicp r o d u c t i o n sense of the term; actors need pushing and p u l l i n g i n t o l i n e with each othersince they have, after all, competing egos just like Berkoff’s. Whether this is conscious or not differs from actor to actor. Once performance level is reached, the discrepancies in experience and skill in the company should be invisible. Secondly, it takes guts to use the level of poetic symbolism Berkoff calls for in directing. Trusting the audience to understand and appreciate the suggestive, the abstract, the minimal, is a sacrifice just as significant as that of the actor, for we are sacrificing the safety of offering our audience something easy, something real. A director who sticks to naturalism does so with good reason – it is expected of him, in a dire self-fulfilling prophecy which is only aggravated by the lamentations from famous names such as Berkoff. My production of Messiah is not, incidentally, one such naturalistic production; it proposes an alternative hypothesis for the story of Jesus, told with the premise that he is not a superhero but an ordinary Jew with charisma, brains and a penchant for spin-doctoring. His last days and his crucifixion are distinctly non-naturalistic; I am attempting to make that sacrifice of safety, and prove Berkoff wrong. I do not think I am, as the director, “parasitic”, “imposing” or “unnecessary” – my process is a consultative, team-building and communally creative one. A director who abhors directing is rather like a chef who refuses to use the electric oven; is it the ultimate self-challenge, or rather an utterly unashamed superiority complex? (“All other directors are parasitic / ineffectual / dull – but I’m the example of how it should be done”) – in Steven Berkoff’s case, the answer is written all over his unfathomable (yet somehow endearing) ego.ARCHIVE: 5th week TT 2004
Mar 30, 2007 (CIDRAP News) – A doctor who treated an Indonesian boy who died of suspected H5N1 avian influenza is now being treated for suspicious symptoms himself, according to media reports today.The doctor had treated a 15-year-old boy who died on Mar 25 at a hospital in Bandung. Reuters reported. Indonesian officials said 3 days ago that initial tests indicated the boy had the H5N1 virus.Yusuf Hadi, head of the bird flu department at Hasan Sadikin hospital in Bandung, told Reuters that 2 or 3 days after treating the boy, the doctor fell ill with a sore throat, fever, and respiratory symptoms, despite having worn protective equipment.”He is in an isolation room, doing fine,” Hadi told Reuters, adding that the doctor no longer has a fever.Test results are pending for the doctor, along with three other patients, a woman and two children, Reuters reported.By the World Health Organization (WHO) count, Indonesia has had 81 H5N1 cases with 63 deaths. But since Jan 29, Indonesia has reported at least nine cases not yet recognized by the WHO. Those include five reported this week in which further test results were awaited.In other news, Bangladesh officials said avian flu has spread to five more farms, bringing the number to 16 in five districts, Reuters reported today. The country has culled 60,000 birds so far, the report said.A report yesterday from Indonesia’s Antara news agency said the Bangladeshi army had been called out to supervise and monitor the culling.According to a report today from Bangladeshi officials to the World Organization for Animal Health (OIE), the country’s first H5N1 outbreaks began on Feb 2 and were confirmed on Mar 22. The report, which covers the first three outbreaks, says affected birds included layer flocks on poultry farms, all in Dhaka province near the Bangladeshi capital. The source of the outbreaks is unknown.The Asian Development Bank has been called in to help Bangladesh control the outbreaks, Reuters reported. The main laboratory at the Bangladesh Livestock Research Institute can’t conduct the range of H5N1 tests, and samples need to be sent to Bangkok for confirmation, the report said.So far, 100 poultry workers have tested negative for H5N1 infection, and 30 more from the newly affected farms are being monitored, Reuters reported. No human cases have been reported.Meanwhile, Egypt is considering banning the trade and transport of live birds to stem the spread of avian flu. Egyptian president Hosni Mubarak sent the law to the upper house of Egypt’s parliament for consideration 2 days ago, Reuters reported.Human H5N1 cases in Egypt have surged this year, with 12 so far. The country’s official WHO total stands at 29 cases, the third most, after Vietnam and Indonesia. Thirteen cases have been fatal.
Explaining the fall, Per Klitgård, chief executive at Danica Pension, said: “In 2013, we entered into some extraordinarily large agreements in both Norway and Sweden.“Contributions rose strongly because of this at 26% last year, and so this year we are seeing a fall in contributions in both countries.”The rise in contributions within Denmark was mainly due to Danica Pension’s cooperation with its parent Danske Bank, with contributions coming in via this channel rising by 25% to DKK3.3bn in the first three quarters.The rise in pre-tax profit was partly due to the fact Danica Pension had been able to book the whole risk allowance for all four interest rate groups because of the positive investment result in its traditional with-profits pensions business.The fall in market interest rates over the first nine months contributed to profits on bond investments, which had particularly benefited customers with traditional pensions, Danica said.The return on traditional pensions rose to 10% between January and September this year, from a loss of 0.1% in the same period last year.Group total assets rose to DKK353bn at the end of September from DKK324bn at the same point in 2013. Danica Pension, the pensions arm of Danske Bank, has reported a 7% increase in pension contributions within its Danish business in the first nine months of this year, but a fall in contributions garnered in other Nordic countries.Posting its group financial results for January to September, the commercial pensions provider said its pre-tax profit had more than doubled in the period to DKK1.42bn (€191m) from DKK606m in the same period last year.Contributions within Denmark rose to DKK14.8bn in the nine-month period, from DKK13.9bn a year earlier, while overall contributions climbed only slightly to DKK20.3bn from DKK20bn.Meanwhile, contributions in foreign business fell to DKK5.6bn from DKK6.1bn – with Swedish contributions totalling DKK4.3bn and those in Norway coming to DKK1.3bn.