Lens Blog: Sirkka-Liisa Konttinen's Photos of Her Newcastle Neighborhood

On clear days in Newcastle-Upon-Tyne, a small yet bustling working-class city in northeast England, the view from the hills of Byker can be spectacular. That shabby neighborhood’s rows of brick houses and terraced streets overlook a historic city center, the river and sometimes far beyond.

Those vistas were rare in 1969, when Sirkka-Liisa Konttinen, a 21-year-old Finnish photographer, arrived. The landscape was cloaked in an industrial fog belched from the coal and shipbuilding industries.

Despite the grayness, the laughter and vivacity that radiated from this close-knit community appealed to Ms. Konttinen. It welcomed a young foreigner whose presence stoked curiosity, but also generosity. They joked with her in pubs. Some of the older women took her under their wing — she kindled a protective instinct in them.

“People were baffled by my choice to live there,” Ms. Konttinen recalled. “Not that many people had any idea where Finland was, but if they did, they thought it such a beautiful clean country, and why would I choose to come to Byker?”

She had ventured there because of Amber Collective, a progressive documentary project that she helped found, which chronicled the lives of working people in northeast England. The group was formed in London by a handful of students who made a film following Vietnam War demonstrations at Grosvenor Square that turned violent. Titled “All You Need Is Dynamite,” it was just a student effort, but its makers found they shared a philosophy.

Before long, they had relocated to Newcastle.

The city was in decline. Urban planners sought flashy new development projects, and some sections, like Byker, were scheduled for demolition. Ms. Konttinen was unaware that she was documenting a place that was about to disappear. Not drawn to gloomy topics, she found the place spirited and interesting.

“Initially, I don’t think we ever thought that we need to document it because it will be the only thing left for people to remember the place and what the area was like,” she said. “I personally have never felt that that was my mission.”

The Amber Collective has produced an enormous amount of material, dating back decades, that is focused on the communities of northeast England, although Ms. Konttinen’s Byker pictures are probably the collective’s best-known project. That work was published as a book in 1983; Amber also released a film companion of the same name, and in 2011 her documentation was registered with the Unesco U.K. Memory of the World. For the first time, the series as a whole will be shown in the United States, on view at the L. Parker Stephenson Gallery from Feb. 15 through May 18. Ms. Konttinen will also deliver a lecture at the International Center for Photography on Feb. 13.

In recent years, she returned to Byker. The new Byker is changed — more on that Friday — and the changes required her to reconsider her approach when she decided to photograph it. The newer project, “Byker Revisited,” is a result of a far more collaborative endeavor. Not that she hadn’t collaborated in other ways with a subject before. Her 1971 photo of Heather (Slide 3) brought about one such relationship.

“I heard music coming from a derelict house,” she said. “This was one of the last terraces before the final demolition, and there were no steps left to the house, but upstairs I heard music, piano, coming out the windows.”

She entered the house, climbing a rickety staircase to where the music was coming from. She found a girl, Heather, “playing the piano, banging the notes that were kind of stuck and unstuck.”

Ms. Konttinen and Heather started talking, and Ms. Konttinen taught her a simple tune.

“I told her if she ever wanted to come and play, she could come and play it again on my piano,” Ms. Konttinen said. Heather showed up a few days later, with her little brother. On Ms. Konttinen’s piano, they played the tune together.

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Friday: Returning to Byker, in color.

“Byker” will be on view at the L. Parker Stephenson Gallery from Feb. 15 through May 18. Ms. Konttinen will also deliver a lecture at the International Center for Photography on Feb. 13.

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Cam Gigandet Welcomes a Son - Rekker Radley

Mom & Babies
Celebrity Baby Blog

02/07/2013 at 11:00 AM ET

Pacific Coast News

It’s a boy!

Cam Gigandet and his fiancée Dominique Geisendorff welcomed their second child on Wednesday, Jan. 23, his rep confirms to JustJared.com.

Son Rekker Radley Gigandet, who weighed in at 9 lbs. 9 oz., joins the couple’s daughter Everleigh Rae, 3½.

“All are happy and healthy,” the actor’s rep says in a statement.

Gigandet, 30, and Geisendorff confirmed that they were expanding their family in July.

The new dad has a number of upcoming films set for release later this year, including Red Sky, Free Ride, Johnson, In the Blood, One Square Mile and Plush.

– Anya Leon

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New whooping cough strain in US raises questions

NEW YORK (AP) — Researchers have discovered the first U.S. cases of whooping cough caused by a germ that may be resistant to the vaccine.

Health officials are looking into whether cases like the dozen found in Philadelphia might be one reason the nation just had its worst year for whooping cough in six decades. The new bug was previously reported in Japan, France and Finland.

"It's quite intriguing. It's the first time we've seen this here," said Dr. Tom Clark of the Centers for Disease Control and Prevention.

The U.S. cases are detailed in a brief report from the CDC and other researchers in Thursday's New England Journal of Medicine.

Whooping cough is a highly contagious disease that can strike people of any age but is most dangerous to children. It was once common, but cases in the U.S. dropped after a vaccine was introduced in the 1940s.

An increase in illnesses in recent years has been partially blamed on a version of the vaccine used since the 1990s, which doesn't last as long. Last year, the CDC received reports of 41,880 cases, according to a preliminary count. That included 18 deaths.

The new study suggests that the new whooping cough strain may be why more people have been getting sick. Experts don't think it's more deadly, but the shots may not work as well against it.

In a small, soon-to-be published study, French researchers found the vaccine seemed to lower the risk of severe disease from the new strain in infants. But it didn't prevent illness completely, said Nicole Guiso of the Pasteur Institute, one of the researchers.

The new germ was first identified in France, where more extensive testing is routinely done for whooping cough. The strain now accounts for 14 percent of cases there, Guiso said.

In the United States, doctors usually rely on a rapid test to help make a diagnosis. The extra lab work isn't done often enough to give health officials a good idea how common the new type is here, experts said.

"We definitely need some more information about this before we can draw any conclusions," the CDC's Clark said.

The U.S. cases were found in the past two years in patients at St. Christopher's Hospital for Children in Philadelphia. One of the study's researchers works for a subsidiary of Johnson & Johnson, which makes a version of the old whooping cough vaccine that is sold in other countries.

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JournaL: http://www.nejm.org

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Wall Street extends losses; Nasdaq off 1 percent

NEW YORK (Reuters) - U.S. stocks fell further on Thursday, with the Nasdaq falling 1 percent, as a sharp drop in the euro against the safe-haven dollar and yen curbed investors' appetite for risky assets.

The Dow Jones industrial average <.dji> was down 119.84 points, or 0.86 percent, at 13,866.68. The Standard & Poor's 500 Index <.spx> was down 12.31 points, or 0.81 percent, at 1,499.81. The Nasdaq Composite Index <.ixic> was down 30.76 points, or 0.97 percent, at 3,137.72.

(Reporting By Angela Moon; Editing by Kenneth Barry)

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IHT Rendezvous: 'Rigoletto' in Vegas, 'Manon Lescaut' in the Metro

BRUSSELS—The day after the Metropolitan Opera in New York unveiled a production of Verdi’s “Rigoletto” set in Las Vegas during the 1960s, I was in Belgium, where another exercise in operatic updating is underway at the Théâtre royal de la Monnaie. Here, Mariusz Trelinski’s staging of Puccini’s “Manon Lescaut” — through Feb. 8 — situates the opera in the waiting room of a subway station.

Opera goers are often incensed by productions like these, yet updating is potentially a relatively mild device. Once the new setting is established, the action can play out coherently and essentially traditionally. This happened with “La Bohème” last summer at the Salzburg Festival, staged by Damiano Michieletto.

One could object to the hovel of the bohemians’ Parisian loft, but there was something touching about seeing Anna Netrebko as Mimì crouched in the snow behind a hotdog truck near the city’s peripheral expressway, as she overheard Rodolfo and Marcello discussing her fragile health.

By contrast, La Scala’s recent “Lohengrin” directed by Claus Guth, which focused on the repressiveness of German society at the time of the opera’s composition and, in Mr. Guth’s fanciful interpretation, its bizarre effects on the psyche of the title character, counts as truly radical.

The Met’s take on “Rigoletto” had a widely acknowledged antecedent in Jonathan Miller’s production of the opera for the English National Opera, which was set in New York’s Little Italy and seen in that city on a 1984 tour. The Met’s new production by Michael Mayer is reportedly less successful. Writing in The New York Times, Anthony Tommasini detected “dynamic elements in this colorful, if muddled and ill-defined ‘Rigoletto’” but noted that “there are big holes” in Mr. Mayer’s concept. The criticism is directed not so much at the updating itself but the lack of disciplined follow-through.

The updating of “Manon Lescaut,” which is specified to take place in the 18th century, comes off as inherently misguided. Boris Kudlicka’s chic-looking set is essentially all in black, although city lights are sometimes visible, as if seen from a moving train. A system map is on one wall, pay telephones on another.

The mismatch is apparent from the first measures of Puccini’s sparkling orchestral introduction to Act 1. This is music designed for the outdoors—a public square in Amiens—not a space underground. It announces something special is in the works, not dreary routine. It conveys youthful high spirits, not gloom. Also, the mores of pre-revolutionary France are important in the opera.

Whether Mr. Trelinski’s conception of Manon herself is an outgrowth of his updating, or the other way around, it robs her of her allure. When, early on, the smitten Des Grieux declares his love for her, Manon sits at the end of a bar wearing a red coat and dark glasses and smoking a cigarette—the very image of a prostitute. Manon is a material girl all right, but one with such irresistible femininity she gets what she wants from men without having to market herself. You never sense this here. Further, a demimonde element weighs on the first two acts. Manon’s benefactor, Geronte (the bass Giovanni Furlanetto, in excellent voice), is depicted as a crime figure, and there is some curious activity involving topless girls and golf clubs.

Mr. Trelinski’s approach also intensifies an acknowledged structural weakness of the opera. All the opera’s gaiety is concentrated in the first two acts, whereas Act 3 and 4—in which Manon is deported from France and then dies in the New World—are uniformly gloomy. But here, Acts 1 and 2 are gloomy too.

Mr. Trelinski, who is artistic director of the Teatr Wielki in Warsaw, where the production originated, is a respected director with some notable achievements. I have admired his double bill of Bartok’s “Bluebeard’s Castle” and Tchaikovsky’s “Iolanta,” which will be seen at the Met in a future season. His work here has some redeeming aspects, especially in Act 4. Puccini’s setting for this act—a vast desert near the outskirts of New Orleans—is one of opera’s most implausible, so it is no great loss to see it supplanted. Fascinatingly, Mr. Trelinski ensures that Des Grieux suffers here as much as Manon does, as he becomes delusional and, apparently, starts to see double. A second Manon appears, whom Des Grieux cannot seem to distinguish from the first.

Carlo Rizzi presides over a colorful reading of the score and a cast headed by an excellent pair of lovers in Eva-Maria Westbroek and Brandon Jovanovich. When the two sang their big duet in Act 2, you could forget about the production and become wrapped up in Puccini’s drama. Ms. Westbroek’s commanding soprano is a bit large for Manon, whose music can profit from greater tonal delicacy. Still, she offers some splendid singing, apart from some difficulty on top, and gives an especially gripping account of Manon’s final aria, “Solo, perduta, abbandonata.”

In this production Des Grieux emerges as the more emotionally vibrant lover, and Mr. Janovich’s clear, virile singing makes the most of the opportunity. Unfortunately, he was in ill health and departed the performance after Act 2, but the intervention of Hector Sandoval, the alternate Des Grieux, allowed the performance, which was streamed to movie theaters, to continue without a hitch. He sang well and knew intricacies of the staging, flaws and all.

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Nate Berkus Told His Dad That He Was Born Gay - It Wasn't a Choice

Design star Nate Berkus says gaining his father's trust and respect as he explained that he was born gay – and it wasn't a choice – changed their relationship and helped him move forward in his life.

Berkus, speaking candidly to his mentor, Oprah Winfrey on her Super Soul Sunday series, opened up in a two-part interview, sharing the emotional moments that came with discussing his sexuality.

"I asked my father: 'Do you trust me? Do you respect me? Do you think I'm smart?' He said, 'Yes,' " Berkus, 41, tells Winfrey.

"I said, 'Why would I choose to make my life more difficult – why would anyone choose to make their life more difficult? Do you think I would choose to have this hair? Do you think that I would choose to be 5'9"? I would have been 6'1". It's the exact same thing. The truth of the matter is being gay is the way I was born. I believe this to the core of my being.' "

Berkus continued: "I said, 'Dad, we are never going to have a real relationship if you don’t believe me.' He said, 'If you say you are born this way, and you didn't have a choice, then we are good.' That was really the moment. Then, I knew if I had this base level of respect that I could move forward."

The Chicago-based interior designer, whose latest book is The Things That Matter, rose to national prominence after he was invited in 2002 to do a makeover on a space for The Oprah Winfrey Show, where he become a frequent and charismatic guest. He was later given his own program, The Nate Berkus Show, which aired from 2010 to 2012.

Berkus also speaks to Oprah about the death of his longtime partner, Fernando Bengoechea, who was swept away from the beach resort where the couple was vacationing during the 2004 Indian Ocean tsunami.

The show, Oprah & Nate Berkus, The Things That Matter, will air on Feb. 10 and Feb. 17 on OWN: Oprah Winfrey Network.

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Critics seek to delay NYC sugary drinks size limit

NEW YORK (AP) — Opponents are pressing to delay enforcement of the city's novel plan to crack down on supersized, sugary drinks, saying businesses shouldn't have to spend millions of dollars to comply until a court rules on whether the measure is legal.

With the rule set to take effect March 12, beverage industry, restaurant and other business groups have asked a judge to put it on hold at least until there's a ruling on their lawsuit seeking to block it altogether. The measure would bar many eateries from selling high-sugar drinks in cups or containers bigger than 16 ounces.

"It would be a tremendous waste of expense, time, and effort for our members to incur all of the harm and costs associated with the ban if this court decides that the ban is illegal," Chong Sik Le, president of the New York Korean-American Grocers Association, said in court papers filed Friday.

City lawyers are fighting the lawsuit and oppose postponing the restriction, which the city Board of Health approved in September. They said Tuesday they expect to prevail.

"The obesity epidemic kills nearly 6,000 New Yorkers each year. We see no reason to delay the Board of Health's reasonable and legal actions to combat this major, growing problem," Mark Muschenheim, a city attorney, said in a statement.

Another city lawyer, Thomas Merrill, has said officials believe businesses have had enough time to get ready for the new rule. He has noted that the city doesn't plan to seek fines until June.

Mayor Michael Bloomberg and other city officials see the first-of-its-kind limit as a coup for public health. The city's obesity rate is rising, and studies have linked sugary drinks to weight gain, they note.

"This is the biggest step a city has taken to curb obesity," Bloomberg said when the measure passed.

Soda makers and other critics view the rule as an unwarranted intrusion into people's dietary choices and an unfair, uneven burden on business. The restriction won't apply at supermarkets and many convenience stores because the city doesn't regulate them.

While the dispute plays out in court, "the impacted businesses would like some more certainty on when and how they might need to adjust operations," American Beverage Industry spokesman Christopher Gindlesperger said Tuesday.

Those adjustments are expected to cost the association's members about $600,000 in labeling and other expenses for bottles, Vice President Mike Redman said in court papers. Reconfiguring "16-ounce" cups that are actually made slightly bigger, to leave room at the top, is expected to take cup manufacturers three months to a year and cost them anywhere from more than $100,000 to several millions of dollars, Foodservice Packaging Institute President Lynn Dyer said in court documents.

Movie theaters, meanwhile, are concerned because beverages account for more than 20 percent of their overall profits and about 98 percent of soda sales are in containers greater than 16 ounces, according to Robert Sunshine, executive director of the National Association of Theatre Owners of New York State.

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Follow Jennifer Peltz at http://twitter.com/jennpeltz

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Wall Street flat as rally runs out of steam, results eyed

NEW YORK (Reuters) - U.S. stocks were little changed in late morning trading on Wednesday as investors awaited fresh trading incentives after recent rallies took the S&P 500 to five-year highs.

Transportation stocks were among the worst performers, weighed down by a 10-percent drop in CH Robinson Worldwide to $60.49 after it reported fourth-quarter earnings.

The Dow Jones Transportation index <.djt> shed 0.5 percent after closing at a record high Tuesday for a gain of more than 10 percent in 2013.

A 6-percent advance this year so far has lifted the benchmark S&P 500 index to its highest since December 2007, while the Dow <.dji> briefly climbed above 14,000 recently, making it a challenge for investors to continue pushing the equity market upward in the absence of strong catalysts.

"Overall, we believe that the next near-term market dip should provide an opportunity to buy stocks ahead of rallies higher in the coming months, but we are skeptical about the long-term sustainability of these gains due to the maturing age of the bull market," said Ari Wald, equity research analyst at C&Co\PrinceRidge in New York.

The tech-heavy Nasdaq index was supported by Apple Inc , which rose 1.2 percent to $463.62.

Walt Disney Co was among the bright spots, up 0.9 percent at $54.77, after the company beat estimates for quarterly adjusted earnings and gave an optimistic outlook for the next few quarters.

According to Thomson Reuters data through Wednesday morning, of 301 companies in the S&P 500 <.spx> that have reported earnings, 68.1 percent have exceeded analysts' expectations, above a 62 percent average since 1994 and 65 percent over the past four quarters. In terms of revenue, 65.8 percent of companies have topped forecasts.

Looking ahead, fourth-quarter earnings for S&P 500 companies are expected to grow 4.7 percent, according to the data, above a 1.9 percent forecast at the start of the earnings season.

The Dow Jones industrial average <.dji> was down 11.25 points, or 0.08 percent, at 13,968.05. The Standard & Poor's 500 Index <.spx> was up 0.05 points, or 0.00 percent, at 1,511.34. The Nasdaq Composite Index <.ixic> was up 2.69 points, or 0.08 percent, at 3,174.27.

The benchmark S&P index rose 1.04 percent Tuesday, its biggest percentage gain since a 2.5-percent advance on January 2, when legislators sidestepped a "fiscal cliff" of spending cuts and tax hikes that could have hurt a fragile U.S. economic recovery.

Ralph Lauren Corp climbed 7.1 percent to $176.57 as the best performer on the S&P 500 after reporting renewed momentum in its holiday-quarter sales and profits.

Time Warner Inc jumped 4.1 percent to $51.99 after reporting higher fourth-quarter profit that beat Wall Street estimates, as growth in its cable networks offset declines in its film, TV entertainment and publishing units.

(Editing by Bernadette Baum)

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At War Blog: Remembering Chris Kyle, a Deadly American Sniper

In the fall of 2006, my infantry platoon gathered in a dusty patrol base in Baghdad to watch our own being killed in fuzzy, pixilated video clips. An insurgent sniper named Juba was terrorizing Baghdad with precise and methodical shots at allied troops, and it was all captured on film. A soldier in a turret falls in a puff of smoke. Another soldier standing along a road is shot in the head.

“Don’t let this be you,” our platoon sergeant said, and we headed out for another patrol.

No one knew if Juba was real or a myth. He was a European mercenary or a Syrian jihadist, depending on whom you asked. For American troops, Juba was a terror, but for the insurgents, he must have been a comforting legend.

Chris Kyle, a former Navy SEAL who was killed Saturday along with another man at a gun range in Texas, was our Juba. Mr. Kyle, 38, wasn’t just a legend. He was The Legend, with four tours in Iraq, two Purple Hearts and a hand in every major battle during the conflict.

Mr. Kyle earned the title of America’s deadliest sniper, something not lost on the Iraqi insurgency. They put a bounty on his head and called him Al Shaitan Ramadi: the Devil of Ramadi. Mr. Kyle’s book, “American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History,” was published last year.

Snipers have enjoyed a disproportionate amount of influence on the battlefield since colonial sharpshooters began targeting British officers in the Revolutionary War — an act regarded as ungentlemanly at the time. They have bogged down invading forces and shredded morale into ribbons. When the Soviet Union invaded Finland during the Winter War of 1939-40, the Finnish sniper Simo Hayha took on entire units by himself, racking up more than 500 confirmed kills in less than 100 days. The Soviets called him White Death. It seems that only snipers and generals earn nicknames and respect from their enemies.

A vital job of Mr. Kyle’s was to provide overwatch for American soldiers and Marines as they maneuvered during patrols and raids — an angel of sorts for coalition troops. Mr. Kyle took that idea to form Fitco Cares Foundation, a nonprofit organization that helps veterans cope with post-traumatic stress disorder. Mr. Kyle often took veterans struggling with PTSD to gun ranges for a therapy of sorts, and in a tragic twist, the former Marine accused of killing Mr. Kyle was a veteran who may have been struggling with the disorder.

RIP CHRIS KYLE. You were a great sniper, honorable navy seal, and great human being.

— Tim Kennedy (@TimKennedyMMA) February 3, 2013

Mr. Kyle’s impact on troops and veterans was apparent when news of his death spread quickly on Facebook and Twitter. “In Memory of Chris Kyle, American Hero,” said one image posted to a page for war veterans on Facebook. A tribute page for him was set up within hours of his death, which posted a picture of Mr. Kyle against a black background. “Chris Kyle, 1974-2013, U.S. Navy SEAL, 160 confirmed kills. Gone,” the accompanying text says, “but not forgotten.”

To the man that stared down evil in the crosshairs.. we salute you Chris Kyle.The Devil of Ramadi NAVY SEAL 1974-2013 twitter.com/SEALofHonor/st…

— SEALofHonor (@SEALofHonor) February 3, 2013

@mattgallagher83 All the things he did and lived through and he got murdered at a gun range in America?That’s Ira Hayes tragic.

— rarey4 (@rarey4) February 3, 2013

Troops and veterans understand that snipers are not simply precise killers, but watchers of men, on both sides. They spot for artillery and scan for enemy movement. They disrupt enemy snipers, harass enemy troops and haunt the dreams of their generals. For that, they are pursued relentlessly.

But Mr. Kyle’s grim talent of killing the enemy was not a source of guilt for him. What did seem to bother him were the things that he couldn’t do.

“It was my duty to shoot the enemy, and I don’t regret it,” he told Texas Monthly last year. “My regrets are for the people I couldn’t save: Marines, soldiers, buddies.”

A profound dedication to the safety of fellow troops will always mark snipers generally, and Mr. Kyle in particular, both in and out of war. And for the battle to return home that can last decades, veterans everywhere lost a good man watching over them.

I’m willing to bet Iraqi insurgents had the same debates and fears about the Devil of Ramadi that we did about Juba. Was he even real? Could he ever be killed? For both sides, only one thing was certain: he was more than a man and a rifle.

Thanks for looking out, Chris.

Alex Horton is a public affairs specialist at the Department of Veterans Affairs, where he writes for the department’s blog, Vantage Point. He served for 15 months as an infantryman in Iraq with the Third Stryker Brigade, Second Infantry Division. Follow him on Twitter.


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Kate Winslet Shows Off Her Wedding Ring From Ned Rocknroll

Stylewatch
Style News Now

02/05/2013 at 11:22 AM ET

Bauer-Griffin

When Kate Winslet married Ned Rocknroll in December, she got a killer new family name — and it turns out the ring that came with it isn’t half-bad either!

While grocery shopping in Hampshire, England, the actress, 37, gave the first glimpse of her engagement ring since Rocknroll, 34, proposed last summer — plus the wedding band she received from him in early December. It appears to be a simple yellow-gold setting with a solitaire stone and a matching band.

It would seem that Winslet has a preference for bold, chunky rings; her previous wedding ring (from her marriage to Sam Mendes) consisted of thick silver-colored bands with inlaid stones.

Tell us: What do you think of Winslet’s rings from Ned Rocknroll?
–Alex Apatoff

PHOTOS: SEE MORE STAR MEMBERS OF THE ‘GINORMOUS CARAT CLUB!’

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