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Deputies: Respond to scene where body found in Spartanburg County FOX CarolinaUnfortunately, our website is currently unavailable in your country. We are engaged on the issue and committed to looking at options that support our full range of digital offerings to your market. We continue to identify technical compliance solutions that will provide all readers with our award-winning journalism.
St. Thomas is heading to the Division III College World Series, after winning two elimination games over Pacific on Monday and three in 24 hours in Collegeville, Minn.
The Tommies, needing to win twice Monday to advance to Cedar Rapids, Iowa, beat Pacific 7-4 in the first game after falling behind 4-0. They won 13-9 in Game 2, rallying for a five-run ninth after Pacific had gone ahead with five runs in the seventh.
Matthew Ench (Edina) went 6-for-7 in the doubleheader, and Charlie Bartholomew (Mahtomedi) went 4-for-7 with four RBI.
•Also advancing to the eight-team CWS is Johns Hopkins, which eliminated Northwestern (St. Paul) with a 3-2 victory Monday in the St. Paul regional.
The Carleton men's tennis program earned its first and second individual national championships Sunday, as senior Leo Vithoontien won the NCAA Division III singles championship, then teamed with Xander Suczek to claim the doubles title.
Vithoontien, the national runner-up in 2019, defeated Tufts' Boris Sorkin 6-4, 3-6, 6-3 in the finale. Six hours later, he and Zuczek won 6-3, 6-2 over Brandeis' Jeffrey Chen and Adam Tzeng in straight sets (6-3, 6-2). It was the 12th time in NCAA Division III men's tennis history that a player won the national championship in both singles and doubles.
The doubles national championship was nearly an All-MIAC finale, as the Gustavus All-America duo of Nick Aney and Alex Budde came up just short of a title match appearance, falling in the semifinals by a score of 6-3, 3-6, 6-7 (2).
Saints righthander Griffin Jax, who struck out 10 in six scoreless inning on Friday night against Iowa, was chosen the Triple-A East pitcher of the week.
Jax's victory in the Saints' first shutout of the season was part of a 6-0 week for St. Paul.
The 26-year-old Jax, a former third-round draft choice of the Twins out of the Air Force Academy, is 3-1 with a 3.33 ERA in five starts.
Jax was also named the Twins minor league pitcher of the week.
•After more than 600 days without playing a game, the Minnesota Wind Chill of the American Ultimate Disc League (AUDL) will return to the field this summer. The 2021 AUDL season is set to kick off this weekend, as the Wind Chill travel to Madison to take on the Radicals on Friday night in a Central Division matchup.
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Dispatch: Crews on scene of accident involving motorcycle on Diamond Ave. 14 News WFIE Evansville[unable to retrieve full-text content]
Delays expected at top China port, virus outbreak set to push up shipping costs South China Morning Post
State troopers are responding to the area of Mountain Spring Road in Tolland for an ATV accident.
Troop C said they do not have any information about the extent of injuries or number of people involved.
Lifestar said they are responding to the accident.
No additional information was immediately available.
MIAMI (CBSMiami) – Memorial Day weekend 2021 on Miami Beach may be remembered for everything it wasn’t.
As of Monday, there were no major disruptions reported, and the number of arrests and citations was nowhere near what it was two months ago.
READ MORE: Sensor Tech More Than A Decade & $100 Million In The Making Promises To Stop Drunk Driving Before It BeginsIn stands in stark contrast to this year’s spring break on Miami Beach, when there were fights in public, crime and violence.
A curfew was imposed and access to the beach was limited.
“We are proud of all the planning that went into this event – not only from the police department but the city as a whole, including our partners across Miami-Dade County. It is a success and something we look forward to next year,” said Officer Ernesto Rodriguez, spokesman for the Miami Beach Police Department.
READ MORE: Miami Heat's Arena Undergoing Name ChangeThat planning included adding hundreds of police officers, rerouting traffic out of the entertainment district at night and adding license plate readers to keep criminals off the beach.
“The message we are sending to the world if you are coming here to go nuts, go somewhere else. If you are coming here to break the rules, you are going to get arrested. Come here and appreciate our veterans, those that gave the ultimate measure of their lives for our country,” said Miami Beach Mayor Dan Gelber.
CBS4 spoke to a family visiting from Kansas City about their experience this Memorial holiday weekend and how they felt about the extra police presence.
“It’s been a little crazy, but overall how big the city is, I think they handled it right,” said Blayne Kearney.
MORE NEWS: Graduation For Miami-Dade Seniors Begin Tuesday At 3 Venues“We haven’t seen any issues. They are on top of everything, everyone feeling safe. Overall it’s been a good atmosphere. It’s a good experience, our first time in Florida,” said Martell Saulsberry.
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Veterans remembered on Memorial Day Washington Post
Treating port wine birthmarks with pulsed dye laser (PDL) can be safely done within the first few days after birth as an in-office procedure without any complications, results from a single-center study showed.
"The current modality of choice for the treatment of port wine birthmarks is pulsed dye laser," Chelsea Grimes Fidai, MD, said during the annual conference of the American Society for Laser Medicine and Surgery. "When performed by a highly trained expert at efficient frequencies, PDL is a safe, effective treatment that is successful in the majority of patients. We know that earlier treatment yields maximal clearance. However, just how early can you initiate treatment?"
To find out, Fidai, Roy G. Geronemus, MD, and colleagues at the Laser and Skin Surgery Center of New York, conducted a retrospective chart review of 39 infants with port wine birthmarks who were treated with a 595-nm PDL between 2015 and 2020 at the center. Of the 39 infants, the average age at first treatment was 18 days, with a range from 5 to 29 days. The youngest patient was born prematurely at 35 weeks' gestation and presented for his first treatment even before his expected due date. Most (74%) had facial lesions with the remaining distributed on the trunk or extremities. The average number of treatments was 15 over the course of 15 months.
The initial settings chosen for facial lesions were a 10-mm spot size, a fluence of 8.0 J/cm2, and a 1.5-millisecond pulse duration. For body lesions, the typical initial settings were a 12-mm spot size, a fluence of 6.7 J/cm2, and 1.5-millisecond pulse duration. Corneal eye shields were placed for all cases with port wine birthmarks approaching the eyelid. "We do recommend a treatment interval of every 2-3 weeks, with longer intervals for patients of darker skin type until the child is 2 years old, at which time the interval is increased to every 3-6 months," said Fidai.
Patients in the study experienced the expected short-term side effects of erythema, edema, purpura, and mild transient postinflammatory hyperpigmentation, but there were no cases of atrophy, scarring, infection, or permanent pigmentary change.
"Families seeking early treatment of port wine birthmarks can be reassured that it can be safely initiated within the first few days after birth," Fidai concluded. "This procedure can be quickly and confidently performed as an in-office procedure without any complications. The early intervention allows for treatment without general anesthesia and it maximizes the chance of significant clearance as early in life as possible."
During a question-and-answer session, the abstract section chair, Albert Wolkerstorfer, MD, PhD, expressed concern about the effect of PDL on developing infants. "We do repeated treatments at this young age without any type of anesthesia," said Wolkerstorfer, a dermatologist at the Netherlands Institute for Pigment Disorders, department of dermatology, University of Amsterdam.
"Will that influence the development of the child, especially when I hear there might be 15 or 20 treatments done within the first year of life? I think this is a problem where we need to ask the experts in the field of pain management in children, like pediatric anesthesiologists, to find the right way, because I think that the results that you showed are fantastic. I don't think we can achieve that at a later age, although there's no direct comparison at this moment."
Fidai said that she understood the concern, but pointed to a 2020 article by Geronemus and colleagues that assessed treatment tolerance and parental perspective of outpatient PDL treatment for port-wine birthmarks without general anesthesia in infants and toddlers. "The kids recover pretty quickly after the treatment," she said. "There has never been any longstanding issue from the parents' perspective."
Fidai reported having no financial disclosures. Geronemus disclosed having financial conflicts with numerous device and pharmaceutical companies. Wolkerstorfer disclosed that he has received consulting fees from Lumenis and InCyte and equipment from Humeca and PerfAction Technologies. He has also received grant funding from Novartis and InCyte and he is a member of InCyte's advisory board.
This article originally appeared on MDedge.com, part of the Medscape Professional Network.
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Hillsborough sheriff’s office on scene of death investigation at Carrollwood-area home WFLA[unable to retrieve full-text content]
Homicide detectives at scene after body found in South Boston WCVB Boston
Peak shipping season is approaching quickly and the congestion of California ports continue, with Oakland surpassing Los Angeles/Long Beach as the epicenter of the crowding.
Shipping giant Maersk warned in a customer advisory that Los Angeles and Long Beach "remain strained with vessel wait times averaging between one to two weeks," according to American Shipper.
But the company was reported as saying that, "the situation is even more dire at the Port of Oakland, where wait times now extend up to three weeks."
West Coast port delays are having severe fallout for liner schedules and the congestion is equating to canceled voyages as ships can't get back to Asia in time to load cargo.
Even as U.S. import demand soars, the effective capacity in the trans-Pacific trade is being sharply curtailed by voyage cancellations, the news source reported.
Maersk said that 20 percent of its capacity from Asia to the West Coast has been lost year-to-date as a result of operationally induced “blank”, or canceled, sailings.
It currently expects 16 percent of its Asia-West Coast capacity to be lost from now until the end of June and 13 percent to be lost from now until the end of August.
To put current cancellations in context, they are now running at the same percentage that carriers intentionally blanked in Q2 2020 to compensate for the sudden collapse of import demand when U.S. businesses were shuttered by nationwide lockdowns.
Previously, Port of Los Angeles Executive Director Gene Seroka voiced a goal of June 1 for "few if any ships" at anchor in San Pedro Bay, however, that deadline will not be met.
The daily number of ships in the bay is down from January, though numbers have refused to fall further. As of a week ago, there were still 20 ships at anchor in San Pedro Bay.
When asked about his June 1 target for clear anchorages, Seroka told American Shipper, “Import volume continues to be heavy and consistent, more than we had anticipated earlier this year."
"Reduction in dwell times is leveling off and the subsequent decline in [ships at] anchorage has slowed. Our goal remains to clear as much of the at-anchorage situation as possible prior to late summer and the start of the traditional peak season.”
Maersk said peak season is expected to start early this year as retailers prepare for a strong back-to-school season that will likely blend into the end-of-year holiday peak season that typically starts in August.
According to carriers Maersk and Hapag-Lloyd, the problem at Oakland is a shortage of available longshore labor.
SEATTLE — Rock ‘n’ Roll has a complicated history. Like nearly every form of American music, it was created by Black artists. Yet, Black artists have often been made to feel unwelcome in the genre or had their contributions erased.
White men in particular have been overrepresented (to put it mildly) in almost every corner of what was the world’s most popular genre for generations. For years, it was — and in many circles, still is — all too common to attend a rock show and see three bands, each made up of white dudes with guitars.
Seattle, historically, is no exception.
But even a casual glance across the city’s contemporary rock landscape reveals a scene that is anything but homogenous. Though sonically they have little in common, many of the local leaders under the broader “rock” umbrella are Black, people of color, women or members of LGBTQ+ communities. (LGBTQ+ stands for lesbian, gay, bisexual, transgender and queer/questioning, with the + denoting everything along the gender and sexuality spectrum.) Consider four of the buzziest acts in town: Veteran hard rocker Ayron Jones is having his national breakout, lighting up rock radio across the country. This spring, Tacoma’s earwormy indie rockers, Enumclaw, drew praise from just about every national indie blog that matters, before ever playing a show.
Here at home, garage-y blues-punks The Black Tones have climbed the club ranks to become one of the most beloved and ubiquitous bands in town, while self-described “gunk-pop” trio Black Ends have dazzled local critics and peers, and deserve bigger opportunities as clubs reopen.
Each of those acts are made up of, or at least led by, rock artists who happen to be Black. That hasn’t always been the case in Seattle — and it’s just the tip of the iceberg.
“I’ve brought this up with people,” says Eva Walker of The Black Tones, “how there’s a renaissance happening with these bands and artists right now. And it’s awesome.”
Of course, rock has never been exclusively a white male sport, in Seattle and elsewhere. Artists of color, women, LGBTQ+ people have been integral to all eras of the genre, including hometown music icons from Jimi Hendrix and Heart to Brandi Carlile and members of Soundgarden and The Ventures. But in the past few years there’s been a gradual shift, as an increasingly diverse array of musicians are claiming more prominent roles in the local scene.
“In 2011, I don’t think we played a show with another Black band for a while,” Walker says of The Black Tones’ early days. “It’s not that they didn’t exist or something. I just think we didn’t know about each other. Because we all play this music, but most the time we all hide in our rooms because we’re not sure if we should be, because we don’t see ourselves everywhere else.”
Like Walker, Danny Denial recalls feeling uncomfortable — like “there was always this elephant in the room” — among clubs full of white people when the Los Angeles transplant started gigging around Seattle in 2015. At first, the scene felt “pretty much all white” until Denial saw The Black Tones and met Walker, who makes a point of reaching out to new Black or brown bands that land on her radar. (“After us being alone in this, I am not going to isolate other bands or make people not feel seen or welcome,” Walker says. “I’m going to do the opposite of what we had to do in 2011.”)
From there, Denial continued meeting more and more Black artists, and diverse lineups became increasingly commonplace at those once-homogenous shows. By 2018, the solo artist and lead singer of goth-punk quartet Dark Smith was landing national write-ups in outlets like Afropunk — a publication that focuses on alternative and genre-defying Black artists — often alongside other Seattleites. Denial realized something was happening a year or two ago, when the musician and filmmaker started getting messages from artists and fans outside of Seattle, including one astonished Canadian band.
“They messaged me like, ‘Wait, are you and Beverly Crusher and Black Ends, are y’all all in the same city?’” Denial says. “I’m like, ‘Yeah, we all know each other. We end up at the same shows just hanging out, drinking beers all the time.’ They’re like, ‘That’s crazy! We gotta go to Seattle.’
“It was then I realized, oh, a lot of the bands that are doing things right now are people of color. … It was kinda cool to feel like being a part of that, because it was such a different trajectory from where it started for me.”
Beyond just visibility, networking is key to community-building (not to mention holding space in a local music scene), and on that front Walker has been a catalyst. Aside from hosting and playing underrepresented voices on KEXP’s local show “Audioasis” and Seattle Channel’s music video program “Video Bebop,” behind the scenes, Walker started a small, laid-back jam session for women of color. As the singer/guitarist started meeting more Black and brown women making rock music, she wanted a space where they could be themselves around other artists they relate to, without feeling like they had something to prove.
“There’s a certain kind of you that you can be when you’re around people that either know the struggle or got the same hair as you, and you can shoot the [expletive],” says Walker, noting how she’s felt self-conscious at past jams with all white men.
Until the pandemic paused those biweekly sessions, Shaina Shepherd was among the core group of regulars alongside Whitney Monge, Tres Leches’ Alaia D’Alessandro, Maya Marie and Nicolle Swims of Black Ends. “I remember the first jam, we were all so nervous around each other because we’re all used to having to compete and earn our weight in rooms of men,” says Shepherd, a singer-songwriter and frontwoman with Bearaxe. “We all have our own ways of getting through that. But when we were in that room, I could see everybody’s own process and it brought us all really close together.”
As supportive as those relationships have been, Shepherd says that unity has been misconstrued and co-opted by white people in the industry, at times preventing artists of color from being seen as individuals or setting them up to compete against one another.
“It’s not even anybody doing it on purpose, it’s, ‘We notice your differences and we group you together,’” Shepherd says. “But then you think about what’s happening internally and it’s like, we don’t want to be grouped together. We became musicians, artists so we could find our individuality.”
Danny Denial knows the feeling. After Minneapolis police killed George Floyd last year, sparking worldwide protests against systemic racism and police brutality, there was a rush in the arts world to identify and uplift Black voices. Denial had just put out a beguiling solo record, “[Expletive] Danny Denial” — a set of alt-pop experiments and lo-fi rockers laced with Denial’s brooding baritone. It was getting “waaaaaayyyyy more attention” than past releases, often landing on lists of Black artists to support. “People, I think, had the right intention,” Denial says, “but it came off as this misguided tokenism a little bit. It felt out of the artists’ control.”
Denial recalls feeling “conflicted and weird about it,” like “everyone was kind of picking their representative.” The material support was real, but it felt conditional as long as race issues were “trending,” Denial says. By fall, the boost in Bandcamp sales had dried up.
In response to having his artistry categorized by skin color, the musician and filmmaker created “BAZZOOKA” — a sci-fi, punk rock web series set in dystopian Seattle, proudly featuring a Black, Indigenous and people of color cast and soundtrack. A host of musicians and members of the drag and film communities contributed to the first season, which ended this month and is available on YouTube. The idea of the production with a “‘by us, for us’ kind of vibe” was to showcase the talent and creativity of a diverse group of people, united, but on their own terms.
“‘BAZZOOKA’ was this idea of taking back the notion of grouping us all in, almost reclaiming that,” says Denial. “Because before, it could be frustrating or tokenizing, and sometimes a little bit invalidating in a way, because you put out an album and then almost everything that is part of the discussion around the album is all posturing to talk about Black Lives Matter and Black arts, when it’s like, ‘Well you know, I’m also an artist by my own merits and identity politics has nothing to do with that.’”
While a shift is occurring across the local scene, it’s hard to pinpoint exactly when or why it began. (Denial suspects the “Eva effect” and the cultural backlash to Donald Trump’s election have something to do with it.) But really, the local rock community has been pushing back against the idea of white male hegemony for at least the last 10 years.
Around a decade ago, the Seattle rock scene was coming out of its “beard rock” period, a pejorative title given to the lush, pastoral folk rock often made by follically advanced gentlemen. (Think Band of Horses, Fleet Foxes.) Tailing the early-2000s indie-rock boom, it was a sound Seattle and the Pacific Northwest became known for far beyond the Cascades.
Back then, pop-punk pillar Tacocat was a young band making its way in a musical climate that wasn’t necessarily geared toward a band combating sexism with witty punchlines wrapped in garage-pop melodies. “Especially at the time we were playing in Seattle, it still felt very male-dominated,” bassist Bree McKenna said in an interview last year. “There wasn’t a lot of room for the ideas we were having.”
What started as intentional space-making for women in the house party scene grew as the band’s audience did, slowly connecting communities of women, queer people and people of color, she said, acknowledging some of those communities still don’t have enough space. That era saw bands like Tacocat, Chastity Belt, La Luz — and later Thunderpussy — become some of Seattle’s defining rock bands of the 2010s.
While Walker credits Tacocat and Thunderpussy with helping The Black Tones build momentum in the Seattle scene, past movements rooted in feminism — like Olympia’s riot grrrl scene in the ‘90s, she says — haven’t always translated to gains for artists of color. Walker acknowledges the importance of women representation, but says she’s unmoved by any bill of predominantly cisgendered white women that excludes men of color or members of the nonbinary and trans communities.
“That doesn’t do anything for me,” Walker says of the riot grrrl era, “because I’ve seen them on TV and in magazines, and they’ve always been the standard of beauty and the standard of this and that.”
But looking at contemporary Seattle, the collective work — both intentional and organic — led by women and artists of color has helped foster a scene that’s more inclusive across the board than it was 10 years ago.
Cameron Lavi-Jones is happy about the progress that’s being made. But no one’s throwing any back-patting parties. The work is far from over, in Seattle and beyond, and trying to measure progress is a precarious endeavor considering rock’s full history, says the singer/guitarist with alt-rockers King Youngblood.
“If there is this concept of enough BIPOC folks in the rock world, I think that we’re kinda chasing something that is difficult to quantify,” Lavi-Jones says. “How do you define whether or not a genre that has been so warped and stolen from the people that created it, how do you quantify it really getting a chance to be returning to its roots? How do you quantify it getting a chance to be what it was in the first place, which was a Black genre?”
Besides recognizing the contemporary Black artists who are leaving their mark on the city, part of what needs to happen to undo the fallacy that rock is a white genre, he says, is getting more people to understand the history. That includes highlighting artists of color who may not have gotten their due during their heyday.
In March, KEXP aired a story about Tina Bell, a Black woman who fronted the proto-grunge band Bam Bam, which for a time, also featured Matt Cameron — later of Soundgarden and Pearl Jam — on drums. A dynamic singer and performer, Bell and Bam Bam’s first EP predated what are widely considered the earliest grunge recordings by about a year.
With its career stalled in Seattle, the band moved to London in the late ‘80s. Not long after, Bell left the band and gave up music altogether before her death in 2012.
The grunge origin stories have been mined and regurgitated ad nauseam for decades, yet Bell and Bam Bam are rarely (if ever) included in those conversations, her legacy largely unknown even in Seattle. The piece sent shock waves through the local music community.
“That is a perfect example within our own city, there’s a whitewashing, an erasure of Black people,” Lavi-Jones says.
Ayron Jones has a deep love and appreciation for Seattle’s rock tradition, a lineage the self-taught guitar hero takes with him as he enters a new chapter of his career, stepping into the national arena. In Jones’ early years working the Northwest blues circuit, eventually conquering Seattle rock clubs, he was unaware so many others who looked like him were part of that tradition, too.
“We were just trying to get on bigger and bigger stages. We didn’t realize at the time that we were a part of a legacy of brown bands in Seattle that have been working to do the same,” Jones says, pointing to Bell and the mighty Maktub as examples. “Just like we were following the trail that a lot of these other bands and artists had done in Seattle before us, we were leaving a trail.
“And out of that, when I look at the next generation of Seattle rock, it’s all led by Black women. … It’s kind of an anomaly, to be honest. But I think that’s because Seattle has always been the future of rock ‘n’ roll. We’ve always set the precedent for what is to come, and I think that you’re looking at the future.”
As Lavi-Jones points out, that visibility and representation play no small part in encouraging other would-be artists to contribute to a scene they otherwise might think they don’t have a place in. And it doesn’t stop with Black artists. The more that happens, the more everybody wins.
“Here’s the best part, my guy,” Lavi-Jones says. “It means we’re going to get a lot better [expletive] rock music. It means we’ll get way more powerful music, way more intentional music — music with stronger messages — because when Black and brown people are making things, this is second nature to us.”
Some in the industry want Nashville to step up and better support music venues as pandemic economic recovery continues. Also, an announcement today from China's government: Married couples may now have up to three children. The change in policy comes after new census numbers showed China's working-age population shrank over the last decade. And, a look at disaster preparedness in the U.S. with the official start to hurricane season one day away.
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PORT HURON, Mich. – Police in Port Huron are investigating the death of a woman after her body was found inside a home Saturday morning.
According to authorities, Port Huron police and fire crews were called to a house on Division Street, just south of the intersection of 18th and Oak streets. Police said they received a call at about 8:15 a.m. regarding a smoking house and a burned body inside.
Authorities said they found a body, believed to be the 28-year-old woman who lived at the residence.
Police won’t release the victim’s name until after the St. Clair County Medical Examiner’s Office completes its autopsy and confirms her identity.
Later that day, police said they executed a search warrant on a home on Hopps Avenue, just south of Lapeer Road, at about 10:40 p.m. and took into custody a 27-year-old man who was in a relationship with the victim.
The investigation is ongoing. Anyone with information is asked to contact the Port Huron Police Department at 810-984-8415 or 810-984-5383. Tips can be made anonymously at 810987-6688.
More: Crime News
It was a clear crisp Saturday morning in Port Austin Michigan. A fresh northeast breeze greeted the crowds visiting the Port Austin Farmers Market. Folks were happy to get out and check out the craft booths and prospect for a great deal on a unique work of art. Masks were optional on this first day of the 2021 summer season.
Huron County is at the tip of Michigan’s “Thumb”. With over 90 miles of shoreline on the big lake and some of the richest farmland in the entire state. Each Saturday morning during the summer season Port Austin plays host to 150 vendors at Port Austin Farmers Market, one of the largest regional open-air markets in the Great Lakes.
The Port Austin Farmers Market has a series of small stalls for craftsmen and vendors to sell their products even in inclement weather. The vendor stalls are reminiscent of Germany’s Christmas time markets in Europe.
Browse among fresh seasonal produce from local farms and orchards. Pick among the local artists in woodworking, pottery, painting, textiles, and photography. Sample delicious baked goods, homemade jams, sauces, and pickles. Fresh and smoked fish is available from several fisheries operating out of the Great Lakes.
If your tired of shopping have a seat in the market center and enjoy live music or take a chance at winning in the weekly 50/50 raffle. The people-watching and sites and smells of the Port Austin Farmers Market are worth spending a few minutes to enjoy on a Saturday morning.
There is a main stage near the north entrance to the market that provides shoppers with live entertainment. However, it’s also a common sight to see excellent street entertainment too. It makes a festive and inviting atmosphere in town.
The Port Austin Farmers Market is open each Saturday morning from 9 am to 1 pm during the summer season. Its located right in town so you can park anywhere and take a short stroll in. If you find parking is tight, head toward the water tower. There is ample parking at the Port Austin Butterfly House and Gardens.
This video is part of a promotional campaign for Port Austin Michigan produced by Huron County Economic Development Corporation. They are short and highlight the best aspects of our wonderful area. Worth a look. If you think this is pretty good stuff please Like and Share.
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Disney's live-action Cruella is now out in theaters and streaming on Disney+, but does it have a post-credits scene that viewers need to stick around for? Cruella is the latest example of Disney mining its library of classic animated movies and giving them live-action makeovers. This practice has seen them remake beloved movies like The Lion King and Beauty and the Beast, and put fresh takes on villains like Sleeping Beauty's villain Maleficent. Cruella firmly falls into the latter category, with Emma Stone starring in a prequel to 101 Dalmations that shows Cruella de Vil's background.
Directed by I, Tonya's Craig Gillepse, Cruella puts this origin story in 1970s London during the punk rock movement. Stone plays an aspiring fashion designer named Estelle as she navigates the competitive business field. Estelle is also a criminal before landing a job with Baroness von Hellman (Emma Thompson). Their pasts are intertwined in multiple ways, which creates a major rivalry between them as time goes on. This rivalry is central to Cruella and fuels Estelle's transformation from a lowly criminal and fashion designer to the iconic pop culture villain Cruella de Vil.
Cruella is the third live-action movie based on the 101 Dalmations franchise, so is there any setup for another in the form of an after-credits scene? Even though there aren't any confirmed plans to make a sequel, Cruella does have a mid-credits scene. The scene builds off the finale of the film and directly sets up where Cruella's story goes next. So, those checking the movie out in theaters or streaming on Disney+ should stick around through Cruella's credits to see the bonus scene.
Cruella's mid-credits scene is absolutely worth checking out for those who enjoy the live-action movie and fans of the original 101 Dalmatations story. Without getting into specific details about what the scene includes, it pushes the story of Emma Stone's version of Cruella closer to the villain viewers have seen before in animation and live-action. Specifically, the mid-credits scene makes reference to familiar figures from the franchise, while retconning the relationships between these characters. The changes Disney made to Cruella de Vil's origin in Cruella arguably makes her a hero instead of a villain due to the sympathy audiences will feel for her, but if a sequel happens, then Cruella's mid-credits scene could be the beginning of her more villainous portrayal — and a direct setup of the sequel's main story.
Disney has yet to announce plans for a Cruella sequel, but the mid-credits scene will still work even if it doesn't happen. The response to the movie has been quite positive, though. Emma Stone proved to be a great choice to play the iconic villain after Glenn Close played Cruella in the past. If the movie performs admirably at the box office and as a Premier Access title on Disney+, then it's possible this will become a franchise and explore what happens after Cruella's post-credits scene.
The Drewry Container Port Throughput Indices are a series of volume growth/decline indices based on monthly throughput data for a sample of over 235 ports worldwide, representing over 75% of global volumes. The base point for the indices is January 2012 = 100.
In March 2021, the Global Container Port Throughput index climbed to its highest-ever level of 140.8, showing a gain of close to 16% over February 2021 and more than 12% higher than the 125.4 points recorded in March 2020. When making comparisons to 2020 performance it is important to remember that the COVID-19 impact on port activity levels started in February 2020 in China, but quickly spread to other markets – first as the initial supply-side shock caused by Chinese lockdowns saw import volumes plummet, but quickly followed reduction in demand as major consumption economies imposed various degrees of lockdown.
The Chinese index reached 147 points in March 2021, representing 18% monthly and 12% annual growth. The top five Chinese ports (Guangzhou, Ningbo, Qingdao, Shanghai and Shenzhen), which together handle close to 55% of China’s total throughput, reported 15.2% average annual growth on the back of strong recovery in foreign (especially Transpacific) trade volumes.
The index for Asia (ex-China) reached its highest-ever level of 137 points in March 2021, registering 11.3% monthly and 4.4% annual growth, as the economic recovery from COVID-19 gains pace. Supply chain disruption continues to impact the region, with major hubs including Singapore, Tanjung Pelepas and Busan all reporting highest-ever monthly throughput in March as they steadily work through cargo backlogs.
The Middle East and South Asia region index reported close to 7% monthly and 14% annual growth in March 2021. The index has crossed the 140 points mark, with South Asia largely driving the growth. The two largest Indian ports, Jawaharlal Nehru and Mundra, registered close to 30% and 60% year-on-year growth respectively as a result of handling higher export and transhipment cargo.
North America is the stand-out performance in March 2021, reporting 42% annual and 20% monthly growth, which enabled the index to reach an all-time-high of 167 points. Chinese New Year provided none of its usual respite, and congestion remains an on-going issue at both Los Angeles (113% increase compared to March 2020) and Long Beach (62% increase), with terminals, rail operators and truckers all struggling to increase capacity to handle these record volumes.
The European Port Throughput index in March 2021 also improved by 5.7% monthly and 4.8% annually, albeit it should be noted that the COVID-19 disruption in the European market was only evident from mid-March. The economic recovery has also been more muted, with third-wave outbreaks resulting in lockdowns and other restrictions in 1Q21 which has put a brake on economic growth.
The Latin American index rose to 128.8 points after witnessing a 7.3% monthly and 15.6% annual growth in March 2021. Santos, the largest gateway port in the region, reported record annual growth in 1Q21, and Panama’s transhipment hubs have also seen volumes rise.
Oceania’s index also recovered to 141.1 points in March 2021 with 9.3% monthly and 22.7% annual growth. Africa was the only region showing negative growth on a monthly basis. However, the decline was of only half a percent with the index at 106.3 points in March 2021. We advise caution when considering the Africa index as it is based on a small sample size.
Source: Drewry
SOUTH LAKE TAHOE, Calif. — A South Lake Tahoe man who fled a crash scene was arrested in the Tahoe Keys area.
Corey Kalata, 31, was peacefully arrested on Saturday after multiple agencies combined to search and apprehend the suspect.
South Lake Tahoe Police responded to a report of a multiple car collision and that the suspect driver had fled the scene into the Keys area.
The department received reports from Keys residents that the vehicle was seen fleeing into state streets and driving erratically.
An officer located the suspect vehicle unoccupied at the dead end of Wyoming Avenue with extensive front end damage. According to the report, a resident told officers the driver was seen running into the meadow between the state streets and Tahoe Valley Elementary.
Officers set up a perimeter and asked for assistance from the El Dorado County Sheriff’s Office and Forest Service law enforcement officers in order to cover all possible exits from the meadow.
A Douglas County Sheriff’s Officer K9 unit also responded to assist with the search of the meadow.
Kalata was located and arrested for felony hit and run.
Kalata was held on $10,000 bail and according to El Dorado County Jail information, he has been released.
The driver of the victim’s vehicle was transported to the hospital.
South Lake Tahoe Police said in a release appreciated the assistance from the other agencies and also Keys residents who assisted law enforcement, The department also reminds motorists involved in collisions that it’s the law that they must pull over and exchange information with other parties.
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