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simmyfrobby · 8 months ago

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The Pugilist

Joe Nelson, Fan films unreal view of Vancouvers Kyle Burroughs hammering Wilds Brandon Duhaime | Ariel Glucklich, Sacred Pain: Hurting the Body for the Sake of the Soul | Canucks Army, Analyzing what the Canucks might like about Wild forward Brandon Duhaime | Mikki Tuohy, NHL Trade Rumours: Will the MN Wild Trade Brandon Duhaime? | René Girard, Violence and the Sacred | Kayla Hynnek, Brandon Duhaime Brings It Every Night For The Wild | Max Bultman and Dan Robson, The mental toll of hockey fighting goes beyond getting ‘punched in the face’ | Joel Auerbach via Getty Images | Anne Sexton | Kayla Hynnek | 1 Corinthians 4:9 | Bultman and Robson | Catherine of Siena, The Prayers of Catherine of Siena (trans. Noffke) | Tyson Cole, Analyzing what the Canucks might like about Wild forward Brandon Duhaime | Michelangelo Merisi da Caravaggio, The Martyrdom of Saint Matthew (c. 1599-1600) | Bultman and Robson | Joe Smith, ‘Vintage Flower’: Behind the scenes of Marc-Andre Fleury’s emotional night in Wild’s win | George Bataille, Guilty (trans. Bruce Boone) | Toni Calasanti, Feminist Gerontology and Old Men | Becoming Wild: Brandon Duhaime via YouTube | Cole | Eimear McBride, The Lesser Bohemians | Cole | Vitor Munhoz, NHLI via Getty Images | Elly McCausland, 'Mervayle what hit mente': Interpreting Pained Bodies in Malory's "Morte D’Arthur" | Capfriendly: Brandon Duhaime Injury Updates | Calasanti | McCausland| Kenneth Hodges, Wounded Masculinity: Injury and Gender in Sir Thomas Malory’s Le Morte DArthur | Becoming Wild: Brandon Duhaime | Dieric Bouts, Christ Crowned With Thorns | David Berding via Getty Images | Bataille | Brandon Duhaime vs Will Borgen Feb 24, 2024 | Michael Russo and Joe Smith, Brandon Duhaime traded by the Wild: Why they moved him, and what he adds to the Avalanche | The Winter House (2022) dir. Keith Boynton | Joe Smith, Wild’s special teams deliver, Fleury exits early on ‘Fight Night’: Key takeaways vs. Panthers | Vibeke Olson, Penetrating the Void: Picturing the wound in Christ’s side as a performative space | Joe Smith, What Brandon Duhaime’s deal means for Wild salary-cap situation and Filip Gustavsson talks | Girard | Ocean Vuong, Devotion | Caravaggio, Sacrifice of Isaac (1598) | Bultman and Robson | Bultman and Robson | Bultman and Robson | Amelia Arenas, Sex, Violence and Faith: The Art of Caravaggio | Fyodor Dostoevsky, The Brothers Karamazov | Girard | Michael Russo and Joe Smith, Wild GM Bill Guerin working phones ahead of trade deadline, no regrets over training-camp extensions | Concannon, “Not for an Olive Wreath, but Our Lives”: Gladiators, Athletes, and Early Christian Bodies | Matt Blewett - USA Sports | Michael Russo and Joe Smith, Wild trade tiers: Who is on the block? Who could be dangled? Who is untouchable? | Thornton Wilder, Our Town

#this got slightly out of hand #but i stand by it #brandon duhaime #parallels #blasphemy #hockey poetry posts #sorta kinda #minnesota wild

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staticsnowfall · 6 months ago

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balanchine’s “jewels”

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“the ballet had nothing to do with jewels. the dancers are just dressed like jewels.” — george balanchine

considered the first full length abstract ballet, jewels consists of three acts: emeralds, rubies, and diamonds.

each jewel has a different choreographic technique, costuming style, and composer assigned. all costumes are designed by the renowned designer, barbara karinska.

first, is emeralds, in the elegant and romantic french style, wearing long green tutus and intricate bodices, with composition by gabriel fauré. the middle act is rubies, in the flamboyant and acrobatic neoclassical style, dancers clad in vibrant red ensembles inspired by the american jazz movement, with composition by igor stravinsky. finally, comes diamonds, in the classic and precise russian technique, donning majestic and pristine white tutus, with composition by pyotr ilyich tchaikovsky.

jewels was inspired by the collection of new york city jeweler claude arpels, which balanchine had admired. pearls, black diamonds, and sapphires were also considered for additional or replacement acts, but ultimately balanchine settled on the renowned triptych of acts known today — because in his opinion, those gems were too difficult to stage.

jewels premiered on thursday, april 13th, 1967, at the then new york state theatre on the upper west side of manhattan. the roles were ultimately choreographed for the abilities of the original starring cast — emeralds featured mimi paul and violette verdy, rubies with patricia mcbride, patricia neary, and edward villella, and diamonds closed with a pas de deux between suzanne farrell and jaques d’amboise.

the choreography, costuming, and music come together to create a ballet akin to a concerto or set of modern paintings. with no set plot, the idea of different jewels only serves to connect the three acts of drastically different styles of dance, costuming, and music. the meaning can be interpreted to be anything the viewer desires. ultimately, it is a display of great achievement by the artists of the new york city ballet, and a pinnacle of balanchine’s intricate choreographic standard.

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choreo. by george balanchine, costumes by barbara karinska, photography by martha swope; 1967

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cyarsk5230 · 3 months ago

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1. Sonya Massey - "I rebuke you in the name of Jesus." 2. George Floyd - "I can't breathe." 3. Eric Garner - "I can't breathe." 4. Michael Brown - "I don't have a gun. Stop shooting." 5. Philando Castile - "I wasn't reaching for it." 6. Breonna Taylor - "Why did you shoot me?" 7. Freddie Gray - "I need a doctor." 8. Tamir Rice - "It's not real." 9. Oscar Grant - "You shot me! I got a four-year-old daughter!" 10. Laquan McDonald - No audible last words; shot while walking away. 11. Elijah McClain - "I can't breathe. I can't breathe. I can't breathe. I'm just different. I'm just different, that's all. I'm so sorry. I have no gun. I don't do that stuff. I don't do any fighting. Why are you attacking me?" 12. Alton Sterling - "What did I do?" 13. Walter Scott - "I’m just going home." 14. Botham Jean - "Why did you shoot me?" 15. Stephon Clark - "Grandma, call the police." 16. Atatiana Jefferson - "I’m here." 17. Sandra Bland - "Why am I being apprehended?" 18. Tony McDade - "I'm not armed." 19. Daniel Prude - "Give me your gun, I need it." 20. John Crawford III - "It's not real." 21. Manuel Ellis - "I can't breathe, sir." 22. Amadou Diallo - "Mom, I'm going to college." 23. Aiyana Stanley-Jones - No audible last words; shot while sleeping. 24. Terrence Crutcher - "I'm not doing anything." 25. Sean Bell - No audible last words; shot multiple times. 26. Jonathan Ferrell - No audible last words; shot while seeking help after a car crash. 27. Ezell Ford - "It's me, it’s me." 28. John Crawford III - "It's not real." 29. Renisha McBride - No audible last words; shot while seeking help after a car accident. 30. Kenneth Chamberlain Sr. - "Why are you doing this to me?" 31. Tamir Rice - "It's not real." 32. Eric Harris - "I'm losing my breath." 33. Jamar Clark - "Please don’t let me die." 34. Rayshard Brooks - "I don't want to hurt you." 35. Alfred Olango - "Please don’t shoot." 36. Shantel Davis - "What did I do?" 37. Kendra James - "Please don’t kill me." 38. Akai Gurley - No audible last words; shot in a dark stairwell. 39. Miriam Carey - No audible last words; shot in her car. 40. Timothy Russell - No audible last words; shot during a car chase. 41. Malissa Williams - No audible last words; shot during a car chase. 42. Jordan Edwards - No audible last words; shot while leaving a party. 43. Yvette Smith - "I'm coming out." 44. Jordan Davis - No audible last words; shot at a gas station. 45. Victor White III - No audible last words; died in police custody. 46. Dontre Hamilton - No audible last words; shot in a park. 47. Eric Reason - No audible last words; shot during a dispute. 48. Emantic "EJ" Bradford Jr. - No audible last words; shot in a mall. 49. Oscar Grant - "You shot me! I got a four-year-old daughter!" 50. Clinton Allen - No audible last words; shot during an encounter. 51. Ronnell Foster - No audible last words; shot during a foot chase. 52. Tony Robinson - No audible last words; shot during an altercation. 53. Charly Keunang - No audible last words; shot during an altercation. 54. Samuel DuBose - "I didn’t even do nothing." 55. Quintonio LeGrier - "I’m sorry." 56. Bettie Jones - "I've been shot." 57. India Kager - No audible last words; shot in a car. 58. Keith Lamont Scott - "Don't shoot him. He has no weapon." 59. Jordan Baker - No audible last words; shot during a confrontation. 60. Christian Taylor - No audible last words; shot during a confrontation. 61. Michael Dean - No audible last words; shot during a traffic stop. 62. Rumain Brisbon - No audible last words; shot during an altercation. 63. Gregory Gunn - No audible last words; shot during an encounter. 64. Yuvette Henderson - No audible last words; shot during a confrontation. 65. David Joseph - No audible last words; shot during a confrontation. 66. Calvin Reid - No audible last words; died in police custody. 67. Antonio Zambrano-Montes - No audible last words; shot during an encounter. 68. Zachary Hammond - "Why did you shoot me?"

69. Anthony Hill - No audible last words; shot while naked and unarmed.

70. Saheed Vassell - No audible last words; shot while holding a metal pipe.

71. Willie McCoy - No audible last words; shot while sleeping in a car.

72. Robert White - No audible last words; shot during an altercation.

73. Micheal Lorenzo Dean - No audible last words; shot during a traffic stop.

74. Monique Tillman - "I didn’t do anything wrong."

75. Randy Evans - No audible last words; died in police custody.

76. Vernell Bing Jr. - No audible last words; shot during a car chase.

77. Cameron Massey - No audible last words; shot during an altercation.

78. DeAndre Ballard - No audible last words; shot during a confrontation.

79. Maurice Gordon - "Can you let me out?"

80. Rayshard Brooks - "I don’t want to hurt you."

81. Pierre Loury - No audible last words; shot during a foot chase.

82. Deborah Danner - "I’m not feeling well."

83. Jason Harrison - "I’m sick."

84. Corey Jones - "Hold on, wait!"

85. Keith Childress - "Don't shoot."

86. Justine Damond - No audible last words; shot after calling 911.

87. Amilcar Perez-Lopez - No audible last words; shot during an altercation.

88. Mario Woods - "I'm not going to shoot you."

89. William Chapman II - "Don’t shoot me."

90. Chad Robertson - No audible last words; shot while running away.

91. Charlie Willie Kunzelman - No audible last words; shot during a confrontation.

92. Terrence Sterling - No audible last words; shot during a traffic stop.

93. Sylville Smith - "Why are you harassing me?"

94. Bruce Kelley Jr. - No audible last words; shot during an altercation.

95. Korryn Gaines - No audible last words; shot during a standoff.

96. Maurice Granton Jr. - No audible last words; shot during a foot chase.

97. Paul O'Neal - No audible last words; shot during a car chase.

98. Antwon Rose II - "Why are they shooting?"

99. Patrick Harmon - "I’ll go with you."

100. Aaron Bailey - "Why did you shoot me?"

101. Miles Hall - "No! Don't do it!"

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stairnaheireann · 2 years ago

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#OTD in 1887 – Birth of trade unionist and revolutionary, Winifred Carney, in Bangor, Co Down.

Close to the entrance of Milltown Cemetery is a limestone monument which marks the grave of a remarkable woman – Maria Winifred Carney. Winnie was born in Bangor, Co Down, but moved to the Falls Road in Belfast at an early age. She was born into a fairly comfortable family, and was one of seven children. Her mother and father Alfred and Sarah, were estranged, therefore, Sarah, was left to rear…

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#1916 Easter Rising #Éamon De Valera #Belfast #Belfast No.1 Branch #Co. Antrim #Cumann na mBan #Falls Road #George McBride #History of Ireland #Ireland #Irish History #James Connolly #Joe Devlin #Protestant #Shankill Road #Sinn Fein #Socialist #trade unionist #Winifred Carney

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roosterforme · 3 months ago

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From a Texas girlie I figure I give Jake writers some inspo (there are several Jake seresin (derogatory) types here, can’t find the good ones..yet) some songs every country boy fucks with

Pretty much everything Luke Bryan has ever done

She’s country-Jason Aldean

Dolly Parton (obviously)

All my exes live in Texas- George strait

Florida Georgia line

Carrie underwood-Miranda lambert (country woman murder songs) they hide that they listen to it..but they love it

Humble and kind- tim McGraw (makes me SOB, great for angsty -> fluff fics

In my daughters eyes- Martina McBride (also Tod Schroeder version) 🥹

I loved her first- heartland 🥹

Nonny, I love this. Thank you for sending me such a comprehensive list, because I am not much of a country fan. However, my favorite country song is on your list! (All My Ex's Live in Texas. That song slaps. Hard.) It's so easy to imagine Jake full on jamming to all of these.

#if you ask emily

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balanchine-ballet-master · 2 months ago

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Balanchine's Coppelia

In today's Times, Roslyn Sulcas has an article about the New York City Ballet's production of Coppelia, which celebrated its 50th anniversary this summer. It had its premiere at the Saratoga Performing Arts Center during the company's annual residency.

One thing that Sulcas fails to mention is that the role of Swanilda was originally supposed to have been shared by Patricia McBride and Gelsey Kirkland. But when Kirkland announced she was leaving the company, Balanchine gave all performances to McBride

‘Coppelia’ at 50: When City Ballet Took a Turn for ‘Fun and Funny’

Original cast members look back at George Balanchine and Alexandra Danilova’s staging of the 19th-century ballet. “Everyone knows when something is good,” one said.

By Roslyn Sulcas Sept. 23, 2024, 5:02 a.m. ET

George Balanchine’s decision to stage the 19th-century ballet “Coppelia,” in 1974, was a surprise. Although Balanchine, the co-founder and leader of New York City Ballet, occasionally created narrative ballets, like “The Nutcracker” and “A Midsummer Night’s Dream,” the company was identified with a lean, no-frills approach to classical dance. It was turned toward innovation and experimentation, rather than story, characters and elaborate costumes.

But the three-act “Coppelia,” with its lush, melodic Delibes score, fairy-tale set and extensive ensemble dances, was anything but experimental. City Ballet audiences were anticipating it “with a mixture of delight, incredulity and awe, and in some cases horror,” the critic Marcia B. Siegel wrote, shortly before the ballet’s July 17 premiere at the Saratoga Performing Arts Center in upstate New York. But Balanchine, who asked his Russian compatriot (and former romantic partner), the ballerina Alexandra Danilova, to assist him on staging the ballet, knew what he was doing. “Coppelia,” starring Patricia McBride as the heroine Swanilda, Helgi Tomasson as her swain Franz and Shaun O’Brien as the eccentric toymaker Doctor Coppelius, was a roaring success, and has been performed regularly ever since. This season’s performances—Sept. 27 to 29 and Oct. 5-6—are City Ballet’s 50th anniversary celebration of the ballet.

Above: Patricia McBride rehearsing Coppelia, 1974. Seated at left are Susan Hendl, who led the Waltz of the Golden Hours in Act 3 and Stephanie Saland, McBride's understudy, who also performed Swanilda. Standing, center: Lincoln Kirstein, Patricia McBride, George Balanchine. Leaning against the piano at right is Rosemary Dunleavy, the ballet mistress. Seated at right are Colleen Neary, who led the Discord & War divertissement in the third act, and Merrill Ashley, who danced the Dawn solo in the same act. Photo: Martha Swope via NYPL/NY Times

“Coppelia” was first choreographed by Arthur Saint-Léon for the Paris Opera Ballet in 1870, and then reworked by Marius Petipa in 1884 into the version we know today. The story is simple: Franz and Swanilda are happily affianced village sweethearts, until Franz falls for a pretty girl who turns out to be a life-size doll—the creation of Doctor Coppelius. By the end of the tale, which involves Swanilda impersonating the doll, Franz has learned a lesson about fantasy and Swanilda has secured her man. Cue wedding celebrations.

Balanchine asked Danilova, a famous Swanilda with a pitch-perfect memory of the Petipa version she had performed with the Ballets Russes de Monte Carlo, to set Acts I and II, although he added a few new dances. But Act III, omitted in many productions, is his alone, a series of divertissements that are a pure-dance coda to the story.

Megan Fairchild, who first performed Swanilda at 19, said she loved the character’s sassy personality. “It’s a more casual vibe,” she said. “She’s not a princess, and that resonates.”

“We do a lot of ballets that are sophisticated and intellectual, for highly developed dance watchers,” said Wendy Whelan, City Ballet’s associate artistic director. “This is lighthearted and warm and easy to watch. It’s a reminder of the beginnings of ballet: the storytelling, the classical dance, the pantomime.” Plus, Whelan added, “it’s fun and it’s funny.” In interviews, five original cast members talked about their memories of creating the ballet. Below are edited excerpts.

Above: Patricia McBride in Act I, 1975. Swanilda's friends in the background are Judith Fugate, unidentified, Delia Peters, and Debra Austin. Photo: Martha Swope via NYPL

Patricia McBride, Swanilda Madame Danilova’s memory was uncanny. She remembered every step for every character in the ballet, and she danced full out when she showed you the choreography. She wanted me to play it straight when I impersonated the doll, not for laughs, and she was very precise about the musicality and phrasing, and the intent of each step. We hadn’t done a lot of mime at City Ballet, but she was so clear, she made it easy to learn. I loved that beautiful Russian port de bras she had. You could see what a great Swanilda she had been.

Balanchine was very specific about the way I held my arms and body as the doll. He never spoke about characterization, or how he wanted it to look, but the musicality of the choreography was so natural and wonderful. He would show you the steps and it was done.

Madame Danilova and Balanchine would keep going all day long, moving from one scene to the next, talking together. It was like seeing history, the two of them in the room together. Mr. B never interfered with her staging. I think he really respected her knowledge and memory.

Sometimes I would feel quite choked up to think of their lives and history together. They were both in their 70s, but they had so much energy and vitality and love, and they had a lot of fun together. They were so young in spirit. I felt so fortunate to work with them, and to see their respect for each other and their love of dance.

Above: Helgi Tomasson in Act 3, Saratoga, 1974. Photo: Martha Swope via NYPL

Helgi Tomasson, Franz I was surprised and not surprised at Balanchine deciding to do “Coppelia.” He spoke about programming like creating a menu; he knew that he had to give the public varied dishes. And I think he loved those old Petipa pieces.

We were up in Saratoga when he started to choreograph my first-act variation. For some reason, he didn’t feel it was right. John Taras, the ballet master, was sitting next to him, and asked if I knew Balanchine’s “Sylvia” pas de deux, also to Delibes music. I had danced it with the Harkness Ballet, and Balanchine said, “Do you remember the variation? Let’s see it.” I did it, and he said, “Good, let’s keep that!”

For me, most of the dancing was in the third act. I loved the way Balanchine constructed the coda and how Patty and I came in and out of the group. He created speedy yet articulate steps that I think he felt suited me.

I remember that Patty and I did every performance of “Coppelia” in the first week, seven or eight in a row. At some point during that first week, I was so tired that in the scene where Franz is supposed to be asleep, I actually fell asleep. But the whole experience was a highlight of my career.

Above: Alexandra Danilova rehearsing Patricia McBride. Photo: Martha Swope via NYPL

Jean-Pierre Frohlich, Corps de Ballet I had been in the company two years and was just 19. I remember so well Balanchine and Danilova standing in front of the mirrors at the front of the studio. She was so elegant. I knew they had been an item in the Diaghilev era, and I was trying to see how those dynamics would have worked! You could see she still adored him.

Danilova loved to demonstrate steps. She wore ballet slippers with a little heel and ribbons. She had beautiful legs, and liked showing them off. She loved men; she was harder on the women than the men.

There was a very good ambience in the studio. They spoke in English, maybe occasionally in Russian, but I think they wanted the dancers to understand. She would never contradict him or say no to his suggestions. I felt she was very happy to be involved. But he was also very accommodating; he knew how much she had to offer.

Above: Gelsey Kirkland, originally scheduled to share the role of Swanilda with McBride, at rehearsal with ballet mistress Rosemary Dunleavy. Photo: Martha Swope via NYPL

Christine Redpath, Prayer Solo Madame Danilova was so charming. She would wear a gorgeous green sleeveless leotard, with a scoop neck and back, a belt and chiffon skirt, hiked up to show her fantastic legs, and her hair coifed with a little scarf tied behind her ears. You could see she still loved to dance, and it was very sweet to see she still loved Balanchine.

[In “Coppelia,” three allegorical female solos, Prayer, Dawn and Spinner, come near the start of Act III. ]

I learned my solo with Balanchine, but Madame Danilova was there because she had danced the Prayer solo in Russia. I think what he created on me was based on that. Balanchine never spoke about the meaning of the solo, but all the gestures are “up,” and the music seems spiritual to me. If you take what he has given you, it’s all there to tell you who you are and what this is.

At some point he showed me a picture of Marie Taglioni in a blue skirt and little top with puffed sleeves and a horseshoe crown with stars, and that’s what Karinska designed for my costume.

Danilova sent me a lovely card and flowers on the opening night. We were all very excited. Everyone knows when something is good.

Above: Merrill Ashley in the "Dawn" variation in Act 3. The costumes are the originals; they were replaced when the ballet was performed in New York the following year. Photo: Martha Swope via NYPL

Merrill Ashley, Dawn Solo The solo he made for me was fiendishly difficult, and it never became easier. There was fast footwork, lots of changes of direction and it ended in plié on pointe on one foot. I liked dancing it, but it scared me. There was one bit on a diagonal that was impossible, and it repeated three times. Eventually I said, I’m really struggling, would you consider changing it, and he said, “Dear, it’s yours, do what you want.”

Danilova choreographed the introduction to the solo, and that had more of a feeling of gentleness, awakening, offering something. Then the sun comes up over the horizon and, boom! Pyrotechnics!

You felt that Balanchine and Danilova were really friends and colleagues. He turned to her a lot; he really respected the knowledge and tradition she brought. I loved watching their interaction.

Above: Children from the School of American Ballet in Coppelia. The pink costumes replaced the golden ones used in Saratoga. Photo: Martha Swope via NYPL

Charlotte d’Amboise, Child Dancer David Richardson, a dancer in the company, was in charge of the kids, and to my twin sister and me he was God. We knew Balanchine was famous, but it was all about David. I was in the big dance in the last act, which I loved. We wore pink tutus and it was really dancey, and we had a whole section that was just us.

Balanchine really loved to have children involved and he could choreograph for them. He did it so easily, almost as if he didn’t think about it, just “go here, do this.” But he must have planned it.

At the first performance in Saratoga, one side of the elastic on my ballet slippers came off and was dangling while I was dancing. All I remember is thinking, David is seeing this—and he was so mad at me. I have never not paid attention to my shoes again!

I did pretty much all of the Balanchine ballets that had children in them, but “Coppelia” was my favorite. You felt like a ballerina, you had to have technique to dance it, and you felt like you were part of the corps de ballet. The best part of being a kid in these ballets was dancing next to these ballerinas and dancers who are goddesses and princes. To be surrounded by high art, to be part of it, affects you forever.

#Balanchine #Coppelia #Balanchine's Coppelia #Alexandra Danilova #Patricia McBride #Helgi Tomasson #Merrill Ashley #Christine Redpath #Jean-Pierre Frolich #Charlotte d'Amboise #Gelsey Kirkland #Saratoga Performing Arts Center #SPAC

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simshousewindsor · 1 month ago

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By Cameron Dorly | Published by SNN

EASTON, Windenburg (SNN) - - The Supreme Court announced the retirement of The Lord Dathren of Allameda (President) today. Justices are required to retire on becoming 75 years old, or may be removed on the address of both Houses of Parliament; Lord Dathren's is the former, turning 75 on 4 November.

Educated at St Leo's School, Windenburg, Dathren read history at New College, Stafford, and obtained the degree of LLM (Master of Laws) from the University of Britechester Law School in 1977. He was called to the bar at Middle Simple in 1977 and elected a Bencher in 1981.

He was appointed King's Counsel in 1983, a deputy judge of the High Court from 1984 to 1985, and judge of the High Court of Justice (Chansimery Division) in 1987.

On 20 December 1988, it was announced that Dathren would replace the late Lord Murray of McBride as a Justice of the Supreme Court of the United Kingdom. He was sworn in on 6 February 1989.

He received his customary knighthood from King Edward II in February 1989.

Dathren was appointed Deputy President of the Supreme Court of the United Kingdom in May 1993, succeeding Lord Muncen on his retirement. He was sworn into the new position on 6 June 1993.

On 24 July 1998, King George I declared his intention to appoint him President of the Supreme Court and to raise him to the peerage. He succeeded Baroness Jordan of Richland as President on 11 January 1999 on her retirement and on the same day was created a life peer as Baron Dathren of Allameda, of Sumter Park in the Easton Borough of Bromley. He was sworn in as president on 13 January and introduced to the House of Lords on 16 January 1999.

The Judicial Committee of the Privy Council voted on Tuesday evening to designate Baron Dathren “President Emeritus,” as the longtime Justice prepares to step away from the top brass of the courts. “Baron Dathren will go down as one of the greatest legislative leaders in Windenburg history,” said committee leader Hakeem Jennings.

When vacancies arise for Associate Justices of the Supreme Court, an independent selection commission is formed. It is composed of the President of the Supreme Court (the chair), another senior UK judge (not a Supreme Court Justice), and a member of the Judicial Appointments Commission of Windenburg and Brindleton Bay, and the Judicial Appointments Board for Windenburg. By law, at least one of these must be a non-lawyer. This was last done in 2022 when The Right Hon Lady Keisha Unders was appointed.

There is a similar but separate commission to appoint the next President of the Supreme Court, which is chaired by one of the non-lawyer members and features another Supreme Court Justice in the place of the President.

The President and Deputy President of the Supreme Court are appointed to those roles rather than being the most senior by tenure in office.

Dathren's retirement opened up the need for a new Justice, and President.

In a clearly pre-planned move, both commissions released joint statements signaling Dathren's retirement was not a surprise. The commission to appoint a new President selected Deputy President, Lady Ruth Allen Ginsburg, to fill the soon-to-be vacancy. They then selected Lord Arthur Roberts to be the next Deputy President. Both selections were approved by the Lord Chancellor, sent to the Prime Minister last week and, yesterday, approved by the Queen.

The Independent Selection Commission met over the past three weeks and selected Sir Lloyd Stephens to fill to upcoming Justice vacancy. They notified the Lord Chancellor of its choice who then approved the commission's selection. The Prime Minister recommend Stephens to the Queen for appointment last week, which was also approved yesterday.

Welcoming the announcement, current President of the Supreme Court, The Right Hon The Lord Charles Dathren of Allameda said:

"Although he arrives as I depart, I am delighted to welcome Lord Justice Stephens as a Justice to the Supreme Court. He will bring exceptional experience and ability to the Court following a distinguished career as a barrister and Judge. His experience in employment law, tax, public law and criminal law will be highly valuable to the Supreme Court and will further strengthen us as a Sims world-leading Court."

So, who is the (soon-to-be) new Associate Justice?

Sir Lloyd Stephens, styled The Hon. Mr Lloyd Stephens, is a judge of the High Court of Justice of the Courts of Windenburg and Brindleton Bay. He was counsel to the Leverton Inquiry.

He was educated at King's College School, a private fee paying school for boys in Brambledon in South West Easton. He won an Open Scholarship to New College, Stafford, where he obtained a first in jurisprudence.

Lloyd was called to the Bar at Middle Simple in 1985. From 1999 to 2001 he was one of the Junior Counsel to the Crown (Common Law). He was appointed King's Counsel in 2001. He was a recorder from 2002 to 2014 and was approved to sit as a deputy High Court judge.

He was counsel to the Leverton Inquiry into phone-hacking and media ethics, when he came to public attention due to televising and other reporting.

On 4 June 2017, he was appointed a High Court judge, receiving the customary knighthood in the 2017 Special Honors, and was assigned to the King's Bench Division.

In December 2020 he presided over a challenge made against the Government by Sims of the Earth that the National Planning Policy Framework (NPPF) document issued July 2020 was unlawful because it should have been reviewed for its impacts on the simvironment.

Stephens will take up appointment as a Justice of the Supreme Court of the United Kingdom on 9 December 2024, taking the judicial courtesy title of Lord Stephens.

New judges appointed to the Supreme Court after its creation do not necessarily receive peerages. Following a Royal Warrant dated 22 September 2008, all Justices of the Supreme Court of the United Kingdom not holding a peerage are entitled to the judicial courtesy title of Lord or Lady and retain this style for life.

The palace has not yet released a date as to when the new Justice will meet the Queen.

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