Known primarily for channeling convict Dayanara Diaz on "Orange is the New Black," the Dominican actress recently used the hit Netflix series as a stepping stone to a high-profile Hollywood role — as Jennifer Lawrence's best friend in the new film, "Joy."
For Polanco, the fact both projects received a handful of Golden Globe nominations Sunday is a further sign her career is headed in the right direction.
"'Orange' has opened many more opportunities for me, such as 'Joy,' and 'Joy' will open more opportunities for me to have a consistent career," Polanco, 33, tells Viva.
"The goal here is to be consistent, to be great, and then to also open the door and lend a hand to those that are coming along."
Polanco says working with Lawrence, Robert De Niro, Bradley Cooper and director David O. Russell on "Joy" — loosely based on the life of Miracle Mop inventor Joy Mangano — was somewhat intimidating at first, given the quartet's track record for collaborating on such acclaimed films as "Silver Linings Playbook" and "American Hustle."
"You feel pressure, you feel insecurity, you feel fear. But once I walked in there, I felt like I belonged," says Polanco, who'll appear in the romantic comedy "The Perfect Match," starring Paula Patton, later this year.
"You become part of this whole creative process, and it motives you as an actor to bring your A-game."
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In March 2013, I planted a garden for honeybees on an abandoned field in Murano, Italy. This was conceived as an ongoing project, it has flourished and was also an integral part of my 2017 Venice Biennale exhibition, titled "Propagation: Bees + Seeds". This exhibition is currently at The Coral Gables Museum in Miami, FL. I am also creating new artworks for an upcoming exhibition in 2018, continuing the theme of bringing awareness to honeybees and the beauty and fragility of life.
In March, 2013, I planted a garden for honeybees on an abandoned field in Murano, Italy. This was conceived as an ongoing project and it has flourished. The exhibition title was “DENATURED: Honeybees + Murano.” “DENATURED” was born of my concern for the worldwide environmental threat to the honeybee population and the increasing decline of handcrafted glassmaking in Murano, home to the distinctive art of Venice for seven centuries. Today we are losing 50 million honeybees a day. At the factory where I have worked since 1988, there were 75 glass masters, and today there are four.
Now, in the Murano Honey garden, the four hives have grown to eight as new Queen Bees have been born. There are pomegranates, peaches, pears, lavender, rosemary, roses and strawberries being enjoyed by the glass masters and visitors of the factory. These aromatic and beautiful flowers, fruits and trees infuse the honey we produce with the help of the honeybees. The glass factory is getting more attention and sales due to the Honey Garden and the press it continues to receive. However, the factory and the honeybees are still endangered. The maintenance of the garden, the beekeeper and all of the supplies are paid for through the sales of honey, art works, and donations from visitors to the garden—and it is not enough.
My project is to direct awareness toward the endangered honeybees and the glassmakers of Venice, these two fragile colonies of beauty. The theme throughout my work is the fragility of life and the search for beauty. But I have come to realize that the entire food chain is under threat. This led me to research seed vaults.
The largest in the world is the Svalbard Global Seed Vault. Opened in 2008 inside a frozen Norwegian mountain, it preserves more than 850,000 species of seeds, deposited there in case of a global disaster. Like the honeybees and the artisans of Venice, seeds are fundamental to the fragile, increasingly threatened chain of life.
I have participated in the 2015 and 2017 Venice Biennale in a collateral exhibition with the Honey Garden and a series of related artworks which I am creating in my New York studio and Murano, Venice. For this exhibition I created 1500 unique seeds in Murano glass, as well as paintings, video and additional glass sculptures, which were installed in a palace on the Grand Canal.
For 2018, I am invited to participate in The Venice Glass Week, September 9-16. I am creating a seriese of paintings and a Murano glass Centerpiece inspired by the flowers, fruits, vegetable and Honeybees thriving in the Honey Garden.
The Artspire Fiscal Sponsorship continues allow me to raise the funds to produce the work for this upcoming show and maintain the Honey Garden, which is now 5 years old and always the heart of my projects.
With the subject of honeybees and the material of Murano glass, my research and inspiration are boundless. But the future of honeybee colonies and the culture of Murano are not comparably secure. If the decline of honeybees continues at the current rate, they will be extinct by the year 2035. Murano glass factories have an expiration date as well. The beehive and the glass factory are highly evolved and specialized systems. Living without the richness and beauty of their respective products seems unthinkable. To protect both is a labor of love. — Judi Harvest, January 2013
The Martin Beck Theater, at 302 West 45th Street off Eighth Avenue, is about to change hands. William L. McKnight, board chairman of the Minnesota Mining and Manufacturing Corporation, confirmed reports yesterday that he was purchasing the 1,280-seat house for $1.5 million as a personal investment.View Full Article in Timesmachine »
A version of this archives appears in print on December 23, 1965, on Page 19 of the New York edition with the headline: 3-M CHIEF BUYING THE MARTIN BECK; McKnight to Pay 1.5 Million for 41-Year-Old Theater. Order Reprints| Today's Paper|Subscribe
A version of this archives appears in print on May 12, 1975, on Page 28 of the New York edition with the headline: In Memoriam. Order Reprints| Today's Paper|Subscribe
The villagers acted quickly: they set up temporary homes along the embankment, with two upright string beds for walls and a third thrown atop them like a roof. But the slits between the strings exposed the makeshift roofs, so the villagers filled these with the twisting branches of the ak plant, a kind of milkweed the women had plucked from the banks of a nearby canal. The plant’s tendrils now hung from their ceilings like flimsy chandeliers, with bees and flies dancing around the rotting bulbs.
“As you can see,” said the young reporter with the microphone in his hand, frowning at the camera in the harsh afternoon light, “these people have been living like this for three whole weeks.” His testimony was sent via satellite to the channel’s headquarters some 500 miles to the northeast in Lahore, and was airing live in the big cities and towns of Pakistan.
A sweating, bespectacled farmer who was standing behind the camera said that all the snakes had come out of the water and climbed into the trees. “In some places there are 20 snakes to a tree,” he said.
“Oh, yes,” said the farmer, laughing at my question, which had prodded the deadly reality of his predicament. “Oh, yes.”
“Who did you vote for in the last election?” asked the reporter, and offered his microphone to a thin, bearded man who was standing next to his shack on the embankment.
“You heard him,” said the reporter, reclaiming the microphone and looking defiantly into the camera. “He says he will not vote for the same politician, who has done nothing to help his constituents in this desperate time.”
A few hours later, when we had retired to a rest house in town, our TV crew got a call from a bureaucrat. He had been criticized in our transmission and was calling to say that he was sick — an explanation for his absence from the scene of the flood. The crew politely offered to interview him at his house. “But I am at the doctor’s right now,” he pleaded.
The next phone call came from the office of the landlord-politician whose tenants we had interviewed. The big man himself was in another city, but a staff member was calling to insist that his men had been helping the displaced people. There were just so many of them right now; would we meet him in a few hours at a relief camp in the town? He would like to offer his explanation there.
We weren’t satisfied. We had been sent here to break a big story and make a big difference — all the big TV channels of Pakistan had sent out their crews to interrogate the victims’ elected representatives — and here we had two late, paltry excuses, both relayed by telephone, both issuing from the still-invisible officials of a famously corrupt local government.
We agreed to meet the man at the relief camp. We were scheduled to do another transmission at night, and hoped that in it we would confront him with the complaints and demands of the villagers his boss had abandoned.
At dusk, just as we were heading to the relief camp, a police officer called from the nearby town of Dera Allahyar. “It’s an emergency,” he said. “Please come to my office right away.”
His office glowed at the end of a lightless road, a large whitewashed building with low outer walls and a long driveway — an eerie reminder in this desolate province of the British-colonial pretensions (and origins) of Pakistan’s omnipresent bureaucracy. Inside, through a slender corridor with high ceilings, we were led to the officer’s room: he was sitting at his desk in the soundless, air-conditioned cold, a plump, uniformed man with perfect black hair and mustache, an enormous, highly detailed map of the district hanging on the wall beside him. “The water is coming this way,” he said wretchedly, his elbow on the desk, his plump hand on his brow.
There was a highway, he explained, on a berm above the fields and towns nearby, that ran on the border between Baluchistan and Sindh Province to the south. On the Sindhi side lived a land-owning politician who wanted to cut a hole in the highway that would divert the water to this very town. The politician was claiming that he needed to protect Jacobabad, an important small city on his side of the highway, though he was obviously trying to save his 400 acres of rice fields.
He said: “We will have to make announcements from the loudspeakers of mosques. We have no other way.”
A gray-haired man wearing a traditional shalwar kameez came into the room — the civil commissioner — and together the two men made a string of phone calls to their subordinates, announcing the emergency and ordering the evacuation of houses.
The armed forces were going to save the base at all costs, he explained. But they didn’t want to draw attention to their own role — or to their interest — in the diversion of the water. Hence the presence of the land-owning politician; if there was any fallout, he would take the blame, and the soldiers would appear to have acted on his personal wishes.
The commissioner and then the police officer departed for the highway, leaving our TV crew behind in the room. Could we break the story we had just heard?
“I don’t think so,” said one reporter. “You don’t want the intelligence agencies to come after you.” The last time he had broken such a story, he said, a whole team of officers from the feared Directorate for Inter-Services Intelligence had come to see him in his office.
Another said, with sudden formality, “It is considered unpatriotic to criticize the security forces.”
“We can release some information,” suggested the first reporter. “We can say the highway is being breached. At least we can alert people that way.”
The others agreed, and he rushed out to the driveway to set up his equipment in the van. After some minutes he returned; the news bulletin had gone through. Now we had nothing to do, and after waiting another hour we decided to go back to the rest house.
But the policeman called: he wanted us to come to the highway after all. “People have brought out their guns,” he said. “Please come quickly.”
We sped toward the highway, our headlights illuminating the stark figures moving in the other direction on the road: herds of swaying buffalo, barefoot men and women urging them on with sticks and switches. Behind them were donkeys and cows pulling rickety wooden carts laden with goats, chickens, children, tin trunks and sacks of grain. Some of them had been traveling for days — the jutting ribs of the unfed animals showed even in the night — while others had just heard the evacuation warning on the loudspeakers of their mosques and had decided to flee the water, though they had nowhere to go.
We reached the wedge-shaped breach in the highway. It was incomplete; the water was still on the Sindh side. The police officer was standing next to the breach, but there was no landlord, no soldiers.
The policeman said that when he arrived the landlord and an army major were standing on the highway and supervising the giant excavators making the breach. But the policeman and his commissioner had pleaded with them to stop. And another tribal chieftain-turned-politician from an endangered village on the dry side had appeared with his armed guards and joined the commotion.
“It was turning into a fight between the provinces,” said the policeman darkly. “But then, I asked the major, ‘Are you from the Pakistani army or the Sindh army?’ And that shook him. He understood what I was saying. He apologized and withdrew the excavators.”
That was oddly simple. Was that all it took to deter the powerful military — a reminder of its theoretical neutrality in political matters? Or had the major detected a threat in the policeman’s words?
And so the camera came out again, and the police officer spoke softly and humbly into the microphone, surrounded by the evidence of his unlikely victory. The direction and levels of the floodwater were mentioned; the conniving landlord and his rice fields were mentioned. But the soldiers and the airbase — still mysterious and forbidding — were not.
The soldiers had made the breach after all: but in another location, and quietly, without arousing suspicion.
In one place our car ran into the flood. It was swallowing the road. There was another way out — a six-hour drive west to the city of Quetta. Unfortunately, Baluch separatists had struck: they were stopping vehicles, pulling out Punjabi passengers and shooting them. Most of the men in our crew weren’t Punjabis, and they took that route. But I am a Punjabi, as are two of the reporters, and we had to find another way.
The highway again, the vehicles on it now stranded for a full mile. There were people on tractors and trucks and the wooden carts we had seen the night before; many more were going by foot. A bloated dead buffalo was lying on its side in the dust, and a skinny dog was frantically tearing out its stomach.
Bent children with grain sacks on their backs rushed past it. A blind woman, holding the hand of a little girl, was trying to find her family, scraping her one free hand along the forms and shapes she passed. A blinkered donkey could no longer pull the load it was carrying — the salvaged possessions of just one family — and its thin legs were shaking uncontrollably. Behind it was a tractor carrying several families; and behind that was a truck carrying many more.
The water rose smoothly and steadily beneath the highway, spilling from one field into the next, claiming house after house. At some point in the night, when the water around us was no longer visible, a group of shouting men appeared with sticks and rifles and forcibly cleared up the traffic jam. The trucks and tractors ahead of us began to move. And then our car got out.
FOR days now I have been trying to call some of the people I met in Dera Allahyar. But their phones aren’t working. The area around the highway is under 16 feet of water. Dozens of people have drowned, and at least 21 people have died from gastroenteritis in the last three days alone, with hundreds of thousands stranded on the dry land that remains. In some places the military has set up functioning relief camps. But the people’s needs far exceed the aid at hand.
The airbase came up last week when the country’s health minister told a parliamentary committee that it was “controlled by the Americans.” But the military rejected the story right away: the base is used for Pakistani aircraft only, said one senior official, and Americans come there only to impart technical training for the F-16s.
The story has died, and the image of Pakistan’s military as the sole protector of its people is whole again, with all those videos of soldiers rescuing people from the water playing endlessly on TV screens. At least two high-profile politicians have asked for a military “intervention” to relieve the country of its inefficient civilian rulers.
The Western media’s coverage of the flood, meanwhile, is dominated by fears of Islamic charities with militant wings. Here, too, the implication is the same — Pakistanis are unable to govern themselves — and dovetails with the emerging demand for a strongman.
A version of this op-ed appears in print on August 26, 2010, on Page A27 of the New York edition with the headline: Pakistan, Drowning in Neglect. Today's Paper|Subscribe
The Ohio State Reformatory in Mansfield, Ohio. Much of “The Shawshank Redemption” was shot on the reformatory's grounds.CreditCreditNick Fancher for The New York Times
Richland County refers to itself, because of its character and geographical location, as the “heart of Ohio.” But for a large number of visitors, it is better known as the home of perhaps the most storied prison in movie history.
Despite seven Oscar nominations, including one for best picture, “The Shawshank Redemption” — starring Tim Robbins as one (very) unfortunate accountant by the name of Andy Dufresne and Morgan Freeman as a convict named Red — barely made back its $25 million budget following its 1994 premiere. But after significant video sales and seemingly endless showings on TNT (151 hours of total televised airtime last year alone), Americans fell in love with the TV equivalent of a houseguest who won’t leave.
But the film, based on a 1982 Stephen King short story, doesn’t just resonate because it’s always on. " ‘Shawshank’ flatters us while still residing in a real, powerful place,” is how Will Leitch, who reviews movies for the sports site Deadspin, explains the story’s staying power. “We imagine ourselves as Andy Dufresne and want to believe we would be as strong as he was. Our daily struggles aren’t nearly as overpowering as his, but he still chooses to live, to survive — that feeling of needing to live that’s universal, and timeless.”
All of this ardor helped boost the recent fortunes of Mansfield, Ashland and Upper Sandusky, Ohio, three towns that share 13 sites that appeared in the movie. (The Tappan Stove Company, Westinghouse and General Motors plants have all closed.)
Tourism has increased every year since “Shawshank” had its premiere; according to the Mansfield/Richland County Convention and Visitors Bureau, the movie brought in more than 18,000 visitors, and produced an estimated $3 million boost to the local economy in 2013. The enthusiasm is so intense that the bureau’s web page now directs drivers to each of the Andy and Red focal points in the form of the newly designated Shawshank Trail while also recommending all the Redemption I.P.A.s, Reformatory Red Wines, Jail House Javas and Shawshank Bundt Cakes they can purchase along the way.
The oak tree that marked where Andy buried directions to guide Red toward his post-jailbreak home in the film. The tree is in Lucas, Ohio.CreditNick Fancher for The New York Times
(If one were so inclined, one could consume a Redemption Pizza Pie at Two Cousins’ Pizza, wash it down with a Prison Break Soda at Richland Carrousel Park and then eat a scene from the movie made out of chocolate at Squirrel’s Den, all within a block radius of one another in downtown Mansfield. )
In May I went there to explore, enjoy and eat my way through the county that will celebrate the film’s 20th anniversary Aug. 29 to 31.
“I saw who the real fans of that movie were,” recalled Bob Gunton, the 68-year-old actor who portrayed the evil Warden Samuel Norton, after he paid a visit to the area last summer, “and the movie’s message really connected with them.”
The connection should be apparent on Labor Day weekend when the region will once again double as a town just outside Portland, Me., where an innocent man found freedom, his inmate pal found that “hope is a good thing” and the extremely corrupt head of the prison found ...well, he ended up finding the business end of an office pistol — but that was a good thing for the prisoners.
My first stop was near the entrance to Malabar Farm State Park in Lucas, Ohio, across from one very giving tree (the old oak that marked where Andy buried directions to guide Red toward his post-jailbreak home), while offering the type of scenery and sensibility that Norman Rockwell would just as soon live in as paint.
The warden's office from the film at the Ohio State Reformatory.CreditNick Fancher for The New York Times
“The terrain is so completely different south of Mansfield than it is north of the town,” said Mr. Gunton who, as an avid biker, pedaled through much of the landscape when he wasn’t filming. “North is pretty flat, and in the south, there’s quite a bit of elevation. I would have a completely different experience depending on which area I’d ride.”
This 917-acre oasis that is Malabar Farm has been part of the Ohio State Parks system since 1972 and is best known for being the longtime home of the author Louis Bromfield, who won the 1927 Best Novel Pulitzer Prize for “Early Autumn.” But for the purposes of my pilgrimage, it also happens to be across the street from Andy’s solitary oak, within a field that looked, as he told Red, “like something out of a Robert Frost poem.”
Because of a thunderstorm in 2011, the photo op is half the tree it used to be. The overall site (along with a cabin featured in the opening scene where Andy is about to confront his cheating wife with a loaded gun and an empty bottle) is still a nice enough visual, but the real gem is the adjoining park, with Bromfield’s 32-room Western Reserve-style home smack dab in the middle of it all.
The tour included everything from a pair of Grandma Moses paintings (a “thank you” present to Bromfield for writing an introduction to her 1947 autobiogrpahy, “Grandma Moses: American Primitive”) to a walk-through of Humphrey Bogart and Lauren Bacall’s honeymoon suite (Mr. Bogart was a longtime friend of the author’s, and the couple had their 1945 wedding at his home).
“It was funny to go outside my door, while they were filming, and see a sheriff’s car there for security during the tree scene,” said Sondra Hupp, a Malabar tour guide when she isn’t working at a local bird sanctuary. Ms. Hupp also lived next to the property where the director Frank Darabont shot the scene. “That was the first thing that came to my head, thinking there might have been a prison break” from the town’s correctional facility.
The Malabar Farm Restaurant, in an 1820 building within the park, has a reputation for its hamburgers (the restaurant uses beef from cattle raised next door). From there it was off to see the centerpiece of the Shawshank experience, the Ohio State Reformatory, which closed in 1990, four years before the site was immortalized on film.
“The O.S.R. had 80,000 visitors last year,” said the president of the tourism bureau, Lee Tasseff. “The film went from saving it from the wrecking ball to becoming a tourism icon.”
Keith Fischer, a volunteer guide, knows every inch of the 250,000-square-foot fortress, which opened in 1896 and is now a state landmark.
“We’ve got a haunted prison tour happening tonight,” Mr. Fischer said as we walked past walls of rusted-out cells. “Lots of amateur ghost hunters come here, due to the place’s past.”
Much of the film was shot on these grounds, and many of the props remain, including the sewage pipe Andy spent 19 years breaking into, and eventually crawled out of, to freedom.
Other nods to notable plot points within the facility include the other half of the storm-split oak tree propped outside the entrance, and Warden Norton’s office, complete with the safe where he discovered Andy’s nub of a rock hammer in a hollowed-out Bible. Last summer, a group of tourists was lucky enough to bump into the coldhearted disciplinarian himself.
“I was taking the tour,” Mr. Gunton said, “and sat behind the desk right when about 60 people come into the very same room. Immediately the place was lit up with cellphone cameras.
“So I held an impromptu news conference,” he said, “explaining how we shot various scenes, including the warden’s demise, while sitting in that seat, and the logistics that went through that.”
The 118-year-old reformatory, which resembles the Tower of London, is still visited by ex-convicts. “About once a week we’ll get a former inmate in here,” Mr. Fischer said as we made our way through the world’s largest free-standing steel cellblock. “They get some closure. And it gives them some new perspective. They always looked up at the tower. Now they can go up there and look down.”
The next day I drove 46 miles to Upper Sandusky, to pay a visit to the Shawshank Woodshop, the closest thing the area has to a full-on museum devoted to the movie. This was where Red and the rest of his crew heard Andy play Mozart’s “Marriage of Figaro” over the prison sound system and, as Red narrates, “It was like some beautiful bird flapped into our drab little cage and made those walls dissolve away, and for the briefest of moments, every last man in Shawshank felt free.”
The owners of the wood shop, Bill and April Mullen, were smart enough to get in on the film tourism trade earlier than most. As a result, they’ve acquired more artifacts from the movie than can even be found at the reformatory: everything from the novelty prison trays Hollywood attendees used before the premiere at Mansfield’s gorgeous Renaissance Theater to the 1937 Ford bus that Andy arrived in with the rest of the “fresh fish.”
“Morgan Freeman hasn’t said he won’t come in August,” said Mr. Mullen, who became friends with the actor after meeting him in 2012 at the Ground Zero Blues Club, the Clarksdale, Miss., spot that Mr. Freeman co-owns. “We’re holding out hope.” (A representative for Mr. Freeman said the event is currently not on the actor’s schedule.) Mr. Mullen said Mr. Robbins had also been contacted, but his publicist said he’d be out of the country.
“Tim was very soft-spoken, and we were all wondering how anyone was going to hear him on screen,” said Bob Wachtman, a retired Upper Sandusky native and an extra in a scene filmed at the nearby Wyandot County Courthouse, as he walked through the wood shop with Mr. Mullen and me. “Once my shot was done, they never ordered me out of the building, so I just sat there and watched them film the whole day.”
As Mr. Wachtman spoke in almost reverential tones about a small chapter in the town’s history that occurred two decades ago, I thought of the more recent moment when a reformatory guide told me of the fan weddings that the prison hosts and then added, almost as an afterthought, that he too would be getting hitched on the grounds the very next weekend.
Not everyone can schedule on-site nuptials (they start at $1,000), but there are always the souvenir T-shirts reading Property of Ohio State Reformatory. Those go for $15.
An article last Sunday about tourism in Mansfield, Ashland and Upper Sandusky, Ohio, where much of “The Shawshank Redemption” was filmed, described incorrectly at one point the location of an old oak tree that was featured in the film. As the article correctly noted elsewhere, it is across the road from Malabar Farm State Park, not in the park. And the article misstated the direction of Upper Sandusky from Mansfield; it is west, not east.
Martini’s on Main, in Mansfield, offers pizza made from scratch and gets most of its ingredients from local farms (108 North Main Street, 419-775-5936; martinisonmain.net). Closed Sundays.
Rocky’s Pub & Grill (22 South Park Street, 419-522-1342; rockyspub.com) is a nearly 40-year-old Mansfield institution near the Carrousel District that offers up a great selection of steak, seafood and Scotch.
A two-day bus tour (Aug. 29 and 30) takes visitors to the 13 film locations at $139 per ticket (shawshank20.com).
A version of this article appears in print on , on Page TR10 of the New York edition with the headline: Freedom to Explore the Shawshank Trail. Order Reprints | Today’s Paper | Subscribe
News about Laura Albert (JT LeRoy), including commentary and archival articles published in The New York Times.
“Author: The JT LeRoy Story” has excerpts from phone calls a hoaxer secretly recorded while posing as JT LeRoy. Many on tape are now vexed.
Jeff Feuerzeig’s documentary charts the invention of an underage H.I.V.-positive hustler, and how the famous and nonfamous were taken in until the hoax was exposed.
Laura Albert, who posed as a teenage male-prostitute-turned-novelist in the late ’90s, reflects on how times have changed.
In the last two years Laura Albert has lost, in no particular order, her livelihood, her boyfriend, a piece of her identity, quite possibly her apartment and a civil fraud trial in Manhattan.
Laura Albert, the fiction writer known as JT LeRoy, was found by a jury last month to have engaged in fraud by signing her nom de plume to a movie contract for her acclaimed first novel, “Sarah.”
Laura Albert, who signed a movie contract with her nom de plume, JT Leroy, was ordered to pay $116,500.
The tension between art and commerce has formed the not-so-subtle subtext at the fraud trial of Laura Albert, the talented yet troubled writer also known as JT Leroy.
Laura Albert, the writer known as JT Leroy, took the witness stand Wednesday at her civil fraud trial in Manhattan.
A first tentative answer to questions about Laura Albert, the true creative force behind the author JT Leroy, was revealed when Ms. Albert’s mother took the witness stand.
Laura Albert, who wrote novels under the fictive alter ego JT Leroy, is being sued by a film production company.
Salman Rushdie and John Irving support Günter Grass, fictitious author, but real lawsuit, Paris Mayor deplores Holocaust cartoons and more culture news.
The fictitious author J T Leroy has enmeshed his publisher, his manager and the San Francisco woman identified as the actual author of his works in a lawsuit brought by a production company that optioned the film rights to the J T Leroy novel ''Sarah.'' Saying it was a victim of an elaborate literary hoax, Antidote Films, an independent film company run by the producers Jeffrey Levy-Hinte and Mary Jane Skalski, filed the suit against Bloomsbury Publishers; Laura Albert, the author; and Judi Farkas, J T Leroy's Hollywood manager, on Aug. 11 in District Court in Manhattan. The company is seeking to recover $45,000 in option payments, along with an additional $60,000 in development costs. In the complaint the producers wrote that they thought that they were buying the rights to the story of a real-life ''talented, anguished artist, androgynous ingénue and recluse.'' Following revelations of the hoax, they charged, the book they optioned was ''discredited and a joke in the eyes of many.'' They said in court papers that they had abandoned the project. The defendants were not immediately available for comment. WARREN ST. JOHN
Celebrating clunky sentences and mixed metaphors, self-indulgent prose and just plain old bad writing, Lit Lite, a weekly literary series, invites performers to select and read from their favorite bad books. And so one evening last week at the Chelsea restaurant Elmo, Greg Walloch, a stand-up comic, chose to deliver passages from two novels by the actor Ethan Hawke, ''The Hottest State'' and ''Ash Wednesday.'' ''Man, when I first met Christy -- and this is no joke, a cliché but no joke -- it was like my heart was literally stuck on my esophagus,'' Mr. Walloch read from ''Ash Wednesday'' as an audience of more than 40 groaned and giggled. It was soon revealed that Christy is a woman with a posterior so ''dynamite,'' that, ''if you looked at her from the back you'd swear she was a black chick.'' Mr. Walloch, who is white, deadpanned, ''That happens to me all the time.''
It’s like strawberry milkshake for your fingertips. May or may not bring all the boys to the yard. Water permeable and breathable nail polish.
Kester Black take theirethical positioning seriously. Below you’ll find the list of accreditations that Kester Black holds.
Jennifer Conlon and daughter Emma want more active traffic calming measures in their neighbourhood. Photo / Steven McNicholl
All five speed camera boxes posted on West Auckland streets have been disabled after failing calibration tests, police revealed yesterday.
These include what was the country's second busiest camera site, on Great North Rd, Glendene, and another near Titirangi, which was ranked No 9.
Decisions on whether to replace them with radar-based cameras will depend on a national review of the best sites for combating dangerous speeding.
But Superintendent John Kelly, the Waitemata road policing manager, said West Auckland motorists would be ill-advised to take advantage of the hiatus because his staff still had two camera vans and an array of hand-held anti-speeding devices in action.
The police disclosure followed a complaint to the Herald by a resident of Atkinson Rd in Titirangi that a camera box near her home had been vandalised more than four weeks ago and there had been no attempt to fix it.
Jennifer Conlon is concerned about the safety of children, including her two young daughters, after a camera in the box recorded a motorist coming down the hill from Titirangi at more than 200km/h.
More than 2000 people have signed her petition calling for Auckland Transport to provide more active "traffic calming" measures such as speed humps. But after being told yesterday that the box may not be reinstated, she said the campaign appeared to have "gone backwards".
Although the police sent 2152 tickets to motorists caught speeding past the Atkinson Rd site last year, the box has been left disabled for several months, awaiting a decision. It has been defaced with blue spray paint, which Mrs Conlon fears is an invitation to motorists to speed down the hill.
The Glendene camera box caught 8662 drivers last year, second only to one in Palmerston North, from which 11,815 tickets were issued.
But all five sites in West Auckland, through which a single camera was rotated, relied on traffic loops under road surfaces - technology which is to be replaced by digital and radar-based systems. Mr Kelly could not say when decisions would be made, and a police national headquarters official in charge of the review could not be reached.
The Waitemata police chief said future locations of cameras would be heavily influenced by crash histories, and the Atkinson Rd site was "marginal". But he said the concerns of local residents would also be considered.
Asked why the camera box could not be cleaned up to turn it back into some sort of deterrent to speeding motorists, he said arrangements had been made to remove the graffiti.
Mrs Conlon said there were many crashes in her road which the police did not record because they had not caused injuries, but that was only by good luck, and she feared for the safety of children of three nearby schools.
Auckland Transport spokesman Mark Hannan said the council agency was aware of speed and safety "issues" on Atkinson Rd and was working with police, the Waitakere Ranges Local Board and Mrs Conlon's group to make improvements.
It hoped to upgrade an intersection outside Kaurilands Primary with either a roundabout or traffic lights in January, and to improve a nearby footpath and parking area.
This page has been created to answer questions which are commonly asked about NZKGI and New Zealand’s kiwifruit industry. Click on the arrows to reveal the answer.
If you are a school leaver and considering a career in horticulture you may want to visit our horticultural training page. Alternatively, you can start with work experience to learn the industry from the ground up. Click here for contact details of post harvest facilities near you or contact NZKGI on 0800 232 505.
If you are looking for a change of career and would like to buy or work on an orchard, Zespri provides new growers with a ‘grower pack’ which features advice on buying and leasing as well as the services and techniques used on an orchard.
You might also want to check out NZKGI’s Kiwifruit Book which provides the latest in-depth information about the industry from all angles.
No. Zespri markets New Zealand’s kiwifruit internationally, whereas NZKGI is a grower advocacy organisation that works to give growers a voice in the industry. NZKGI and Zespri do work together as required to promote kiwifruit matters, make improvements to our industry and resolve any issues that may arise.
The NZKGI Forum meets eight times a year and meetings are open to all growers. The Forum receives the latest industry information to report back to their regions and receive feedback from the wider grower base. The Forum debates issues that affect growers and form a NZKGI/grower view. These views are tabled at the meetings of the Industry Supply Group, the Industry Advisory Council, and the Zespri Board. Click here for more information about the NZKGI Forum.
Ministry of Social Development (MSD)who have the Pipeline Project, which identifies unemployed people and assists them into permanent work placement in the industry.
If you wish to discuss any matters concerning staff and seasonal workers, contact NZKGI’s Labour Portfolio leader Mark Mayston . You can also visit our Labour page to see what initiatives NZKGI have in place that focus on long-term skilled labour, seasonal labour and upskilling growers.
You can head to our horticultural training page, where you will find a comprehensive list of different full-time and part-time horticultural courses available across the country.
If starting from scratch, you will need to contact Zespri to speak with one of their Grower Liaison Officers who will assist you with the process. It is also a good idea to speak to a horticultural consultant to help establish if the land you have is adequate for starting an orchard on.
You should contact the Zespri Grower Services team on 0800 155 355, who will send you a Zespri New Grower Pack and organise a KPIN (Kiwifruit Property Identification Number) for you and talk you through buying Shares and Variety Licences. The New Grower Pack is full of helpful resources such as a Buying Selling Leasing Guide, the latest industry publications, orchard techniques and tips. NZKGI’s ‘Kiwifruit Book’ is also an excellent resource for new growers, and it covers everything from orchard practices and budgeting, post harvest processes as well as Zespri’s role in the industry.
You also need to choose a post harvest operator to pack your fruit. For anything the grower needs help with, the Zespri Liaison Officers can help with key decisions. All post harvest operators have supply entity groups that act as a go-between you and the post harvest operator, and can assist you if you have any questions.
The process for buying an established orchard is like buying a house.  However, you will still need to contact Zespri Grower Services to arrange the licensing, KPIN and shares if applicable. With an already established orchard, most of the time the existing KPIN will remain the same. There will be alternate forms you will need to fill out for licensing and shares.
NZKGI Grower Representatives and staff are an important contact point to discuss industry issues, pass on your views or to address any queries or concerns that you may have. If you have any concerns about Zespri’s performance, you can contact our Performance Portfolio Representatives.
NZKGI helps the grower community to make key decisions and act as an advocate for the industry at government level. We are here to help growers. If you are needing guidance or support with any aspects of your orchard, our staff, Forum and Executive Committee will be able to assist you with any query you may have. Please click here to find a list of names and contact links.
We strongly condemn illegal and unscrupulous actions in the kiwifruit industry and we fully support the government taking strong action against the people responsible. In general, NZKGI believes that cases of worker exploitation are rare, isolated incidents and there is no reason that any specific group is to blame for worker exploitation. The vast majority of growers are good employers.
We encourage anyone who knows of illegal labour practices in the kiwifruit industry to contact NZKGI and MBIE.
Or you can email julie@nzma.org.nz or call us on 0800 65 61 61 and we can send you an application form.
Please email julie@nzma.org.nz with your request, or call 0800 65 61 61. Please ensure you include your mailing address so we send it to the correct place.
A number of the doctors in our practice are members/would like to become members. Does NZMA offer group membership?
The discount applies to full membership subscription, or low income rate (if applicable), and payment is made via the group rather than by individuals. At least 75% of doctors in the group must become members to be eligible for the discount. For more information or to apply for group membership, please contact Operations Manager Robyn Fell: robyn@nzma.org.nz or call 0800 65 61 61. Please click here for the information flyer.
While you are overseas you are eligible for a reduced overseas membership rate. Before you move, please email julie@nzma.org.nz or call us on 0800 65 61 61 with your new overseas contact details so we can invoice you correctly and stay in touch with you while you are out of NZ.
We welcome membership from overseas doctors who are registered to practise in NZ. If you are a member of your home country’s Medical Association, we are pleased to offer you 6 months’ FREE introductory membership to the NZMA. You should receive an invitation to join NZMA soon after you are registered in New Zealand; if you have not received this and would like to join the NZMA, please email julie@nzma.org.nz or call 0800 65 61 61.
Where can I find a copy of my membership subscription invoice? I need this information for tax purposes/to give to my employer for reimbursement.
Please email our Membership Coordinator julie@nzma.org.nz with which year you require the invoice for and this information will be sent to you within seven working days. Please note that we can only include details of subscription payments that have actually been made to date.
Our membership subscription year runs from 1 October to 30 September. Each October you will be sent, via mail or email, a renewal letter and membership invoice.
To be eligible for the low income membership subscription, you must earn below $80,000 (gross) per annum, or work less than 4 sessions per week. To access this rate you will need to sign a low income declaration. If you think you may qualify for this rate, please email julie@nzma.org.nz.
If you think you are being charged the wrong rate, please contact julie@nzma.org.nz or call us on 0800 65 61 61. We base your membership subscription rate on the information you have provided for us when you became a member. If your situation changes (for example you obtain Fellowship and are employed as a consultant/GP; you reduce your hours and subsequently your income; or you retire or move overseas) please let us know so we can ensure you are on the correct rate, and keep our database up to date.
Yes. When you start medical school, you will be given the option of signing up for joint membership with your University medical students' association (either AUMSA or OUMSA), NZMSA and NZMA. Most medical students sign up via this option. If you did not sign up via joint membership you can still join at anytime for a one-off membership subscription of $40 which will last until you graduate. You can join online here. Or please contact julie@nzma.org.nz or call 0800 65 61 61 for more details.
When you graduate you will be moved from medical student membership to our RMO rate—you'll be sent a renewal letter and invoice in November. Prior to graduation, we offer all Trainee Interns a special membership offer for your first year of RMO membership, which is $10 per month providing you sign up to pay by direct debit ($90 total for your first year of RMO membership). We contact all Trainee Intern NZMA members before graduation with information about this offer, so keep an eye on your email inbox.
As long as you are fully retired and no longer practicing, you are eligible for our reduced retired rate. If you are only semi-retired, you may be eligible for our low income rate if your total yearly earnings are below $80,000 (gross), or you are working less than 4 sessions per week. If you are fully retired, aged 65 or over AND have been a member of the NZMA for over 30 years, you are eligible for our Honorary rate which is free life membership. Please contact us before you retire so we can ensure you are being charged the correct rate.
Information about payment methods is included with your membership subscription invoice, sent to you each October. Please note we cannot take direct debits from credit cards. You will need to fill out a Membership Direct Debit form to pay by direct debit. If you would like to change the way you pay your membership subscription, please email julie@nzma.org.nz or call 0800 65 61 61.
If you have chosen to pay by monthly direct debit, your membership payment will be debited from your nominated bank account on the 20th of each calendar month. Direct Debit payments are taken out 10 months of the year (there are NO payments taken in September and October).
To change the bank account we have on file for you, you will need to fill out a Membership Direct Debit form and return it to us. You can find a copy of this form here. If you are only wanting to change the suffix of your bank account, please email julie@nzma.org.nz with your request (you do not need to fill out the form).
Please note: Direct Debit payments are taken out on the 20th of each calendar month (excluding September and October), if you wish to change your account number we need to receive a completed Membership Direct Debit form by the 15th of the month in order to make the change in time.
Please see above for the details required to log into our website. If you have tried this and you still cannot log in, please contact us via email julie@nzma.org.nz or call us on 0800 65 61 61 (between the hours of 8.30am and 5pm Monday to Friday). Please note: for security reasons, you will be locked out of the log-in system after three unsuccessful attempts. In this instance you will need to contact us (see details above) so we can unlock your login.
You can reset your password by clicking here, or by clicking on 'Forgot password?' which is below the log-in boxes on the home screen of our website. You will be asked to enter your username, which is the email address we have on file for you. An email will be sent to you with instructions on resetting your password.
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