Big John Richardson is making his return to the stage in Evansville headlining the “Special Leap Day” Comedy Show on Saturday, February 29 at 8pm in the O’Grady Entertainment Room at Pat Coslett’s Simplicity! Joining him will be the incredible Mo Alexander and funnyman Jamie Utley!
When Mo Alexander hits the stage, it’s clear that you’re in the hands of a man who knows what he’s doing. With comedy influences such as Bill Hicks, Paul Mooney, and Richard Pryor, Mo combines intelligence and debauchery into a product that is just as funny as it is important. With an ability to access both the smartest and the stupidest parts of your brain, there’s a reason this comedy phenom has been headlining comedy clubs nationwide for over 20 years. Mo began his professional full-time comedy career in July 1996 featuring in clubs throughout the United States and by 1999 he was headlining.
Jamie Utley was born a beautiful, normal, healthy baby…and then things went wrong. Jamie takes the audience on a roller coaster thrill-ride, showing them what the world looks like through his eyes as he guides them along the twists and turns of his experiences with his dysfunctional family, relationships, being a single parent, staying sober in recovery, and male-bonding. Jamie Utley toured on the Monsters of Comedy with Ralphie May and Jim Breuer, starred on Laughs on FOX, and has appeared on The Bob and Tom Show and Fridays with Jim Breuer on SiriusXM Satellite Radio.
Tickets are only $10 at the door and drinks will be available for purchase from Bubbles of the world famous Pub and Carne Asada! We hope to see you then!
Expert: If you haven’t already, you should check out the article by The New Yorker, “How Ivanka Trump and Donald Trump, Jr., Avoided a Criminal Indictment.” To be brief, the Trump family was under investigation in 2012 by the Manhattan District Attorney’s office for misleading potential buyers about their Trump SoHo property. This is being overly concise, but the investigation was dropped after Trump’s attorney made a $25,000 donation to the campaign of the Manhattan District Attorney, Cyrus Vance. That report by The New Yorker was essentially overshadowed in the media cycle due to another story related to Cyrus Vance. Harvey Weinstein’s lawyer donated $10,000 to Vance’s campaign days after the sexual assault case against Weinstein was dropped. Anyhow, that monetary figure of $25,000 is a relevant number as it was the amount of money donated from the Donald J. Trump foundation to the Political Action Committee (PAC) of Florida Attorney General, Pam Bondi. Bear in mind, Pam Bondi personally sought a donation from Donald Trump six days before it was received and this occurred while her staff was considering a case against Trump University. Predictably, that case never came to fruition and Bondi was named as a top member of Trump’s transition team. To be clear, it’s illegal for charities to make political donations. Furthermore, Trump’s organization didn’t properly disclose the source of the contribution by listing another group with a similar name. Despite this horribly unethical and illegal behavior, Donald Trump was merely fined $2,500 by the IRS. The issue of campaign finance receives a rather cursory level of media attention during every presidential election cycle. However, there are numerous lower-level races, the type that only policy wonks seem to follow, in which the issue is virtually ignored by the press. Unfortunately, these elections fly under the radar of the average voter, such as District Attorney or State Attorney General, even though these are positions that have a tremendous impact on our society. During the campaign, Donald Trump openly stated that he personally knew the ins and outs of how special interests have corrupted the system. After all, with a smirk, he also alluded to his own role in this systemic corruption, without providing exact details. Hence, that type of rhetoric appealed to his base because they believed that he would reform the system. Obviously, that hasn’t happened and that brings us back to the present with the latest articles from The New Yorker. This is fantastic investigative journalism. In fact, the content is so impressive that it may leave you wishing that our government officials were acting in the same manner. Here’s the bitter truth. Often times, the heavy lifting of an important investigation gets spiked at the end by an ambitious bureaucrat. In both of these stories, the Manhattan District Attorney overruled his staff and dropped the case. Suffice it to say, the prison industrial complex is a finely tuned machine as long as the defendants aren’t wealthy white-collar criminals or the social elite. The Manhattan District Attorney’s Office, like most others in the country, has a history of implementing a two-tiered justice system. Nonetheless, Cyrus Vance had received a lot of positive press as a “progressive” prosecutor by simply recognizing the problems. For instance, in 2014 he allowed the Vera Institute to examine the complete records of his office to examine racial disparities, which earned him a lot of kudos in liberal circles. However, Vance’s office has seemingly only practiced “progressivism” when it involved wealthy defendants, such as when it dropped the case against Harvey Weinstein despite possessing an audio tape of Weinstein admitting to committing the crime. The Manhattan District Attorney’s Office has aggressively prosecuted misdemeanor offenses, with minorities being the primary targets. Last year, black and Hispanic defendants were convicted of marijuana possession in Manhattan at rates of 51% and 46% respectively. Whereas, white defendants were only convicted 23% of the time for the same offense. That was the widest disparity in all five boroughs. This is the same office that is supposed to preside over Wall Street, yet not a single executive of a “Too Big to Fail” bank faced criminal charges after the 2008 mortgage-fraud scandal. The lack of action can’t be blamed on a lack of evidence. Instead, there were several highly-credible whistleblowers who came forward with solid information that should have resulted in putting many white-collar criminals behind bars and creating legal consequences for predatory behavior in the future. In particular, Matt Taibbi profiled a JPMorgan Chase whistleblower, Alayne Fleischman, who singlehandedly gave a slam-dunk case to the DOJ. However, in the end, Jamie Dimon negotiated a settlement in which the company avoided any criminal charges, didn’t have to admit to any wrongdoing, and the financial penalty essentially served as a tax write-off. That wasn’t a one-off situation as there were several other whistleblowers who risked their careers all for naught, such as Citigroup executive Richard M. Bowen. However, time and again, the DOJ avoided Wall Street’s power players like the plague. Instead, New York’s prosecutors have built solid careers by targeting vice crimes, such as drugs, gambling, and prostitution. After all, it’s a wise career decision for bureaucrats to avoid confronting our nation’s most powerful white-collar criminals because there’s a better payday in the future. (This is one of the themes of my book series, Rackets.) One of the central causes behind this systemic corruption is the revolving door between government and the private sector. After serving as the U.S. Attorney General in the aftermath of the largest financial scandal in our nation’s history, Eric Holder returned to the private practice and a multi-million dollar salary. In fairness, it would be inaccurate to single-out Holder as the only former DOJ official to cash-in on his way out. Holder’s former Assistant Attorney General, Lanny Breuer, went to the same firm for reportedly $4 million a year. In fact, there were other members of Holder’s team at the DOJ who returned to Covington & Burling, which happens to be one of the top defense firms for Wall Street’s high-profile clientele. There are many ways in which the revolving door has corrupted our system. Most notably, there has been a mass exodus from Capitol Hill to K Street. Remarkably, there are now 434 former members of Congress working as professional lobbyists and the conflict of interest is obvious. Congressmen can make much more money on the backend as lobbyists as long as they play ball for the special interest groups while in office. This type of quid pro quo relationship is quite visible with government regulators as well. There are too many examples to list in an article, but the current opioid crisis may be the most relevant. It’s no secret that various drug manufacturers and distributors played a major role in the current problem. On the other hand, it isn’t widely known that the DEA regulates those drugs and sets the maximum production levels. The DEA continued setting higher production quotas while the crisis escalated. Bear in mind, many of the former DEA officials who were directly involved in these regulations subsequently found lucrative work with the same drug companies. Then again, Barack Obama was supposed to “fundamentally transform” the way Washington D.C. functioned. In a campaign speech, he promised to “turn the page on policies that put greed and irresponsibility by Wall Street before the hard work and sacrifice of folks on Main Street.” Understandably, it’s much easier to read a speech than to implement actual political reforms at the highest level. However, Obama never acted upon the progressive rhetoric that launched him into office. Thus, he’s now quite welcome on Wall Street. As a matter of fact, it was reported recently that the Obamas are considering purchasing an apartment in Manhattan’s Upper East Side. Their potential new home is only a ten-minute drive from Wall Street, which would be very convenient for his next paid speaking gig. As a reminder, just three months after leaving office, Obama accepted a $400,000 speaking fee from the investment bank, Cantor Fitzgerald. Sure, he can read a teleprompter with the best of them, but no one can truly justify such speaking fees in the free market, particularly Wall Street firms that are laser-focused on profitability. That is, unless, such fees are actually helpful for a firm’s bottom line. Hence, there’s no other way to look at such exorbitant fees as anything other than part of an unofficial kickback scheme. Hillary Clinton deservedly took a lot of flak for participating in this corrupt practice, which, in her case, functioned like a preemptive bribe. Conversely, Obama’s $400,000 speaking gig was more like payment for services rendered. By the way, that $400,000 figure is very symbolic because Obama vetoed a bill that would have reduced pensions for former presidents if their incomes surpass $400,000. Even more symbolic, he vetoed that bill on his last possible day in office. Obviously, these types of speeches involving former presidents or presidential candidates capture much media coverage. However, this paid-speaking racket is also fairly common among our nation’s most prominent former financial regulators. For instance, Ben Bernanke, the past chairman of the Federal Reserve who presided over the banking industry in the wake of the 2008 financial crisis, received $250,000 for a single speech after leaving office. He’s not alone. Virtually, every high-level official from the Federal Reserve or the Treasury Department has participated in this shady practice, including Timothy Geithner, Alan Greenspan, Larry Summers, among many more. To wrap up, Donald Trump accurately labeled our political system as a “rigged game,” but there may be a bright spot. Trump’s numerous blunders and scandals seem to be providing the public with a valuable education about the flaws of our government. With luck, this newfound attention may force some necessary reforms. http://clubof.info/
Tom Dixon (1959, Sfax, Túnez ) es un diseñador inglés autodidacta de madre francesa y padre británico.
Tom Dixon se trasladó a Gran Bretaña en 1963 a los cuatro años de edad. Estuvo un tiempo estudiando en la Escuela de Arte de Chelsea, pero salió para tocar el bajo en la banda de música Funkapolitan.
Su carrera artística comenzó cuando descubrió el placer de la soldadura mientras reparaba el cuadro de su motocicleta averiada en un accidente.
Desde ese momento Tom Dixon abandonó el estilo de vida rebelde de bajista y promotor de clubes nocturnos, para dedicarse a experimentar con metales y técnicas de soldadura hasta conseguir destacar, a mediados de los años ochenta, como “el talentoso diseñador inexperto” que da vida a sus primeros muebles a partir de materiales de reciclaje.
Se familiarizó con diferentes técnicas industriales que posteriormente utilizó para crear una serie de productos. Dixon obtuvo reconocimiento como artista a fines de la década de los ochenta cuando su primer diseño, la S Chair, fue fabricada por la prestigiosa firma italiana Marco Capellini; un éxito absoluto y el primero de una larga serie.
En 1987 fundó la compañía de fabricación de muebles y lámparas, Dixon PID, que más tarde se convirtió en Space, dedicada a la fabricación de lámparas en edición exclusiva o limitada.
Los diseños de Dixon en la década de los noventa fueron menos artesanales y más escultóricos. En 1998, Sir Terence Conan, dueño de la tienda Habitat e ícono del diseño británico del siglo XX, nombra a Tom Dixon Jefe de diseño de su firma, y más tarde Director creativo hasta 2008. Dixon fue así la cara pública de un equipo colectivo responsable de rejuvenecer la marca.
En el año 2002 estableció su propia marca con el nombre de “Tom Dixon” volcada en el diseño de mobiliario y luminarias. Un negocio multifacético, junto con el economista David Begg, que es Estudio de diseño, Sala de exposiciones, Salón de té y Restaurante, con sede en un almacén victoriano en los muelles de Portobello (Londres).
En 2004, Proventus, la compañía de inversión privada con sede en Suecia, se asoció con Tom Dixon para establecer Design Research, un holding de diseño y desarrollo de producto.
En 2007 Dixon lanzó Design Research Studio, un estudio de diseño de interiores y arquitectura. Entre sus proyectos de alto nivel están el restaurante en la Academia Real en Londres; el restaurante Barbecoa (Londres), del mediático cocinero Jamie Oliver, y la casa de Shoreditch.
Más recientemente, Design Research Studio anunció su primer proyecto hotelero, re-diseñando la emblemática Thames-side Sea Containers House en colaboración con el gigante de hoteles Morgans Hotel Group, finalizado en el verano de 2014.
Tom Dixon es sensible tanto a las habilidades artesanales locales (por ejemplo sus luminarias Beat Shade están hechas a mano por artesanos en el norte de la India) como a las tecnologías y los nuevos métodos de producción.
Con sus diseños pretende llevar lo extraordinario a lo cotidiano, produciendo hermosos objetos que son, aún así, lo suficientemente resistentes para el uso diario.
Obsesionado con los materiales nobles, y con un gran compromiso para innovar en el diseño y en la fabricación, Tom Dixon está comprometido con la innovación y con repensar y revivir la industria del mueble británico.
Los productos de la compañía Tom Dixon se venden internacionalmente en 65 países y lanza nuevas colecciones de iluminación y mobiliario dos veces al año en la Feria del Mueble de Milán y en el London Design Festival.
Diseños icónicos como el Copper Ball; Beat y Luster Shade han consolidado la marca Tom Dixon como una de las marcas contemporáneas más elegantes y a la vez provocativas -con una pequeña dosis de excentricidad en sus creaciones- tanto en el espacio de diseño interior comercial, como en el espacio doméstico.
Entre sus reconocimientos están la distinción de la Orden del Imperio Británico (OBE) 2001 por sus servicios al diseño británico; y doctorados honorarios por la Universidad de Birmingham (2004), y por la Universidad de las Artes de Londres en 2007.
Sus obras están en los museos de todo el mundo, entre ellos el Victoria & Albert Museum; el Museum of Modern Art de Nueva York, y el Centre Georges Pompidou de París.
Tom Dixon (pág. web).
Tom Dixon y su serie de lámparas “Beat Shade”, luminarias en bronce patinado inspiradas en la sencillez escultórica de las ollas de cobre tradicionales.
AllABCDEFGHIJKLMNOPQRSTUVWXYZ
A
Alessandro Mendini
Alfredo Häberli
Alvar Aalto
Andrea Branzi
Andreu Carulla
Andy Martin
Antonio Citterio
Arend Groosman
Arik Levy
Arne Jacobsen
Autoban
B
BarberOsgerby
Benjamin Graindorge
Benjamin Hubert
Bertjan Pot
Boca do Lobo
C
Carlo Mollino
Charles Rennie Mackintosh
Charles y Ray Eames
Claudio Colucci
D
David Adjaye
DimoreStudio
Doshi Levien
E
Edward van Vliet
Eero Saarinen
Enzo Mari
Ettore Sottsass
F
Fabio Novembre
Fernando Mastrangelo
Finn Juhl
Francesco Rota
Frank Gehry
Frank Lloyd Wright
Fredrikson Stallard
G
Gabriella Crespi
George Nelson
Goula Figuera
H
Hermanos Campana
Hervé Van der Straeten
I
Inga Sempé
J
Jaime Hayón
Jasper Morrison
Jean Prouvé
Joaquim Tenreiro
Joe Colombo
Jonathan Adler
Jörg Schellmann
K
Kelly Wearstler
L
Lex Pott
Ludovica y Roberto Palomba
M
Marc Newson
Marcel Breuer
Max Lamb
Michael Anastassiades.
Mies van Der Rohe
N
Naoto Fukasawa
Nendo
Nigel Coates
O
Olivier Mourgue
P
Paolo Lomazzi
Patricia Urquiola
Pierre Paulin
Piet Hein Eek
Q
Quentin de Coster
R
Rick Owens
Rodolfo Dordoni
Ron Arad
S
Sacha Lakic
Scholten & Baijings
Seung-Yong Song
Simone Simonelli
Studio Job
T
Tapio Wirkkala
Tejo Remy
Thomas Sandell
Tom Dixon
Toni Grilo
U
Ueli y Susi Berger
V
Verner Panton
Vico Magistretti
Vincenzo de Cotiis
Vladimir Kagan
Von Pelt
W
William Sawaya
X
Xavier Lust
Y
Yrjo Kukkapuro
Z
Zaha Hadid
Zanuso
from http://decorador.online/disenadores-destacados/tom-dixon/
New York Fashion Week could easily be considered the epitome of fashion trends and beauty. However, the major event has been lacking in terms of its inclusion of diverse models and its representation of bodies that don’t fit the typical mold.
In 2014, designer Carrie Hammer featured successful women in business and film who had physical disabilities. The runway show included the first ever model in a wheelchair as well as actress Jamie Breuer who was also one of the first models with down syndrome to walk on the runway.
“I think this challenges what we’ve been seeing for way too long. Uniformity. It’s time to see not just diversity — but reality,”
In 2016, the FTL Moda fashion show highlighted models with physical disabilities. This included congenital amputee models as well as Madeleine Stuart, a young model with down syndrome.
"It's obvious I don't have the typical cookie-cutter model look, so I want to show people that you don't need to be 'perfect' to be beautiful," she said. "Uniqueness is what makes us beautiful."
"How One Designer Is Using 'Role Models Not Runway Models' To Empower Women". The Huffington Post. N.p., 2017. Web. 10 Mar. 2017.
"These Amputee Models Rocked The Runway At New York Fashion Week". mindbodygreen. N.p., 2017. Web. 10 Mar. 2017.
Nowandgen: I am so proud to support @heb’s movement: Texans supporting Texans ♥️
I love HEB’s movement and it inspired me to purchase 10 $100 gift cards that I will personally send to 10 people who are nominated in the comments below. If you want to get involved and don’t live in Texas you 100% can support by sharing a photo to your stories or feed showing how you’re helping your neighbors, friends, small businesses etc 😁 use the tag @heb and the hashtag #texanshelpingtexans so that we can see all of the amazing things that are going on in our state and around the world 🙏🏻
Behind The Scenes Video for BELLO Magazine's 9 page editorial titled "FLOWER POWER" appearing as the Fashion Cover of the Music Issue #36
Available on ITUNES, IPHONE, and IPAD or by heading to http://bellomag.com
Photographed by Aleksandar Tomovic
www.alekandsteph.com
Art Direction by Jamie Breuer
www.jamiebreuer.com
Twitter - @jamiebreuer
Fashion Styling by Holly Copeland
www.hollycopeland.com
Makeup by Mathias Alan
www.mathias4makeup.com
Twitter - @mathias4makeup
Hair by Kristin Heitkotter
www.celestineagency.com/hair/kristin-heitkotter
All post production for video done by Mathias Alan
Mathias Alan is a makeup and hair artist that began his career in Los Angeles over 10 years ago and is extremely talented, creative, and passionate about his craft! Mathias has painted gorgeous faces and created eye catching hairstyles for the red carpet, pop music icons, on air talent, and numerous commercials and music videos. In addition to his experience choreographing runway shows, hosting cosmetics educational seminars, and keying fashion week makeup teams, he is also featured as an on air celebrity makeup artist expert with the Cloutier Remix agency.
MATHIAS ALAN
Beauty Editor of Bello Magazine
http://www.bellomag.com/
WEBSITE http://www.mathias4makeup.com
TWITTER http://www.twitter.com/mathias4makeup
FACEBOOK FAN PAGE http://www.facebook.com/mathias4makeup
YOUTUBE http://www.youtube.com/kamra33