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One key area where Lazio could exploit Inter Milan's weaknesses is in defense. While the Nerazzurri have been impressive going forward, they have shown vulnerability at the back, especially against teams with clinical finishers. Lazio, with the likes of Immobile and Anderson leading the line, have the firepower to trouble Inter Milan's defense and capitalize on any lapses in concentration.Jimmy Carter: Many evolutions for a centenarian ‘citizen of the world’

United Way gets $1.3M federal grant for youth job trainingTHERE are more than 200 CCTV cameras keeping an eye on coming and goings at schools in one part of Gwent. Across four secondary schools and 31 primary schools in Monmouthshire there are 223 CCTV cameras. They make up just under half of the 472 cameras owned by Monmouthshire County Council. Across council sites there are 92 external cameras and 102 internal ones covering inside council buildings. The authority also has 48 public space CCTV cameras in four towns, Abergavenny, Chepstow, Caldicot and Monmouth, and seven “deployable cameras” that can be moved to different locations. It is unclear if the number of cameras has increased since 2023 however as a Freedom of Information request found that the council only held partial records which stated there were 149 held by it corporately, a figure that now stands at the 194 internal and external cameras on council sites, but it was noted it wasn’t a complete count. The cameras are managed either by the council directly or by the Shared Resource Service (SRS) technology provision collaboration for a number of public bodies in Gwent. A Monmouthshire County Council meeting was told in June 2023 that it monitors some 60 cameras on behalf of the councils with a 24 hour rota , with one person on shift from 5pm to 8am and at weekends, with a team leader also working during the day. Councillors were told cameras are set to focus and zoom on “specific activity that is highlighted to the operator” with operators also undertaking tasks such as tracking people for Gwent Police. Torfaen Borough Council is also a part of the SRS collaboration and it has 120 owned or operated CCTV cameras but its figures do not include those at schools. The council hasn’t increased the number of CCTV cameras it owns or operates this year and said, in response to a Freedom of Information request, the 120 figure dates back to 2023. It also controls some CCTV cameras itself with others managed by the shared service. We want our comments to be a lively and valuable part of our community - a place where readers can debate and engage with the most important local issues. The ability to comment on our stories is a privilege, not a right, however, and that privilege may be withdrawn if it is abused or misused. Please report any comments that break our rules.Middle East latest: Syrians celebrate Assad's fall as US seeks a peaceful political transition

Girls soccer: Wolf Pack trying to find groove before start of TCALReports: Eagles coach Nick Sirianni apologizes to Commanders TE Zach Ertz

Lea Miller-Tooley hopped off a call to welcome the Baylor women’s basketball team to the Atlantis resort in the Bahamas, where 80-degree temperatures made it easy for the Bears to settle in on Paradise Island a week before Thanksgiving. About 5,000 miles west of the Caribbean nation, similar climes awaited Maui Invitational men's teams in Hawaii. They’ve often been greeted with leis, the traditional Hawaiian welcome of friendship. College basketball teams and fans look forward to this time of the year. The holiday week tournaments feature buzzworthy matchups and all-day TV coverage, sure, but there is a familiarity about them as they help ward off the November chill. For four decades, these sandy-beach getaways filled with basketball have become a beloved mainstay of the sport itself. “When you see (ESPN’s) ‘Feast Week’ of college basketball on TV, when you see the Battle 4 Atlantis on TV, you know college basketball is back,” said Miller-Tooley , the founder and organizer of the Battle 4 Atlantis men's and women's tournaments. “Because it’s a saturated time of the year with the NFL, college football and the NBA. But when you see these gorgeous events in these beautiful places, you realize, ‘Wow, hoops are back, let’s get excited.’” The Great Alaska Shootout was the trend-setting multiple-team event (MTE) nearly five decades ago. The brainchild of late Alaska-Anchorage coach Bob Rachal sought to raise his program’s profile by bringing in national-power programs, which could take advantage of NCAA rules allowing them to exceed the maximum allotment of regular-season games if they played the three-game tournament outside the contiguous 48 states. The first edition, named the Sea Wolf Classic, saw N.C. State beat Louisville 72-66 for the title on Nov. 26, 1978. The Maui Invitational followed in November 1984, borne from the buzz of NAIA program Chaminade’s shocking upset of top-ranked Virginia and 7-foot-4 star Ralph Sampson in Hawaii two years earlier. Events kept coming, with warm-weather locales getting in on the action. The Paradise Jam in the U.S. Virgin Islands. The Cancun Challenge in Mexico. The Cayman Islands Classic. The Jamaica Classic. The Myrtle Beach Invitational joining the Charleston Classic in South Carolina. Numerous tournaments in Florida. Some events have faded away like the Puerto Rico Tipoff and the Great Alaska Shootout, the latter in 2017 amid event competition and schools opting for warm-weather locales. Miller-Tooley’s push to build an MTE for Atlantis began as a December 2010 doubleheader with Georgia Tech beating Richmond and Virginia Tech beating Mississippi State in a prove-it moment for a tournament’s viability. It also required changing NCAA legislation to permit MTEs in the Bahamas. Approval came in March 2011; the first eight-team Atlantis men’s tournament followed in November. That tournament quickly earned marquee status with big-name fields, with Atlantis champions Villanova (2017) and Virginia (2018) later winning that season’s NCAA title. Games run in a ballroom-turned-arena at the resort, where players also check out massive swimming pools, water slides and inner-tube rapids surrounded by palm trees and the Atlantic Ocean. “It’s just the value of getting your passport stamped, that will never get old,” Miller-Tooley said. “Watching some of these kids, this may be their first and last time — and staff and families — that they ever travel outside the United States. ... You can see through these kids’ eyes that it’s really an unbelievable experience.” ACC Network analyst Luke Hancock knows that firsthand. His Louisville team finished second at Atlantis in 2012 and won that year’s later-vacated NCAA title, with Hancock as the Final Four's most outstanding player. “I remember (then-coach Rick Pitino) saying something to the effect of: ‘Some of you guys might never get this opportunity again. We’re staying in this unbelievable place, you’re doing it with people you love,’” Hancock said. “It was a business trip for us there at Thanksgiving, but he definitely had a tone of ‘We’ve got to enjoy this as well.’” Maui offers similar vibes, though 2024 could be a little different as Lahaina recovers from deadly 2023 wildfires that forced the event's relocation last year. North Carolina assistant coach Sean May played for the Tar Heels’ Maui winner in 2004 and was part of UNC’s staff for the 2016 champion, with both teams later winning the NCAA title. May said “you just feel the peacefulness” of the area — even while focusing on games — and savors memories of the team taking a boat out on the Pacific Ocean after title runs under now-retired Hall of Famer Roy Williams. “Teams like us, Dukes, UConns – you want to go to places that are very well-run,” May said. “Maui, Lea Miller with her group at the Battle 4 Atlantis, that’s what drives teams to come back because you know you’re going to get standard A-quality of not only the preparation but the tournament with the way it’s run. Everything is top-notch. And I think that brings guys back year after year.” That’s why Colorado coach Tad Boyle is so excited for the Buffaloes’ first Maui appearance since 2009. “We’ve been trying to get in the tournament since I got here,” said Boyle, now in his 15th season. And of course, that warm-weather setting sure doesn’t hurt. “If you talk about the Marquettes of the world, St. John’s, Providence — they don’t want that cold weather,” said NBA and college TV analyst Terrence Oglesby, who played for Clemson in the 2007 San Juan Invitational in Puerto Rico. “They’re going to have to deal with that all January and February. You might as well get a taste of what the sun feels like.” The men’s Baha Mar Championship in Nassau, Bahamas, got things rolling last week with No. 11 Tennessee routing No. 13 Baylor for the title. The week ahead could boast matchups befitting the Final Four, with teams having two weeks of action since any opening-night hiccups. “It’s a special kickoff to the college basketball season,” Oglesby said. “It’s just without the rust.” On the women’s side, Atlantis began its fourth eight-team women’s tournament Saturday with No. 16 North Carolina and No. 18 Baylor, while the nearby Baha Mar resort follows with two four-team women’s brackets that include No. 2 UConn, No. 7 LSU, No. 17 Mississippi and No. 20 N.C. State. Then come the men’s headliners. The Maui Invitational turns 40 as it opens Monday back in Lahaina . It features second-ranked and two-time reigning national champion UConn , No. 4 Auburn , No. 5 Iowa State and No. 10 North Carolina. The Battle 4 Atlantis opens its 13th men’s tournament Wednesday, topped by No. 3 Gonzaga, No. 16 Indiana and No. 17 Arizona. Michigan State Hall of Famer Tom Izzo is making his fourth trip to Maui, where he debuted as Jud Heathcote’s successor at the 1995 tournament. Izzo's Spartans have twice competed at Atlantis, last in 2021 . “They’re important because they give you something in November or December that is exciting,” Izzo said. Any drawbacks? “It’s a 10-hour flight,” he said of Hawaii. AP Sports Writers Pat Graham in Colorado and Larry Lage in Michigan contributed to this report. Get poll alerts and updates on the AP Top 25 throughout the season. Sign up here . AP college basketball: https://apnews.com/hub/ap-top-25-college-basketball-poll and https://apnews.com/hub/college-basketballWorld number one Luke Humphries retained his Players Championship Finals title with an 11-7 victory over teenager Luke Littler in Minehead. Littler, who won the Grand Slam of Darts last week, hit checkouts of 170, 164 and 136 as he threatened to overturn an early deficit, but Humphries held his nerve to win the last three legs. “I’m really, really proud of that one to be honest,” Humphries told Sky Sports. FOR THE SECOND TIME 🏆🏆 Luke Humphries retains his 2024 Ladbrokes Players Championship Finals title, beating Luke Littler 11-7 in the final. pic.twitter.com/QUhxvSbGeu — PDC Darts (@OfficialPDC) November 24, 2024 “I didn’t feel myself this week playing-wise, I felt like I was a dart behind in a lot of the scenarios but there’s something that Luke does to you. He really drives me, makes me want to be a better player and I enjoy playing him. “He let me in really early in that first session to go 4-1 up, I never looked back and I’m proud that I didn’t take my foot off the gas. These big games are what I live for. “Luke is a special talent and he was right – I said to him I’ve got to get these (titles) early before he wins them all. “I’d love to be up here and hitting 105 averages like Luke is all the time but he’s a different calibre, he’s probably the best player in the world right now but there’s something about me that never gives up. “This is a great way to go into the worlds.” HUMPHRIES GOES BACK-TO-BACK! 🏆 Luke Humphries retains his Players Championship Finals title! Cool Hand puts on an absolute clinic to defeat Luke Littler 11-7 in an epic final! 📺 https://t.co/AmuG0PMn18 #PCF2024 | Final pic.twitter.com/nZDWPUVjWE — PDC Darts (@OfficialPDC) November 24, 2024 Littler, who lost the world championship final to Humphries last year, said: “It was tough, missed a few doubles and if you don’t take chances early on, it’s a lot to come back. “I hit the 170 and the 164 but just didn’t have enough in the end. “It’s been a good past two weeks. I just can’t wait to go home, chill out, obviously practice at home for the worlds. That’s it now, leading up to the big one.”

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Subscribe to our newsletter Privacy Policy Success! Your account was created and you’re signed in. Please visit My Account to verify and manage your account. An account was already registered with this email. Please check your inbox for an authentication link. Support Independent Arts Journalism As an independent publication, we rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider becoming a member today . Already a member? Sign in here. We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member . Conceptual artist and critic Lorraine O’Grady, known for pivotal works that subverted the binaries of Western thought, died at the age of 90 in New York City on Friday, December 13. O’Grady has left an indelible impact across nearly five decades of performance, film, photography, collage, and text-based analysis that both contribute to and critique the contemporary arts sphere from a Black feminist perspective. The news of her death was confirmed by Mariane Ibrahim Gallery, which began representing the artist last year. O’Grady was born in 1934 to a middle-class immigrant Jamaican family in Boston, Massachusetts, where her parents Edwin and Lena were instrumental in establishing the first West Indian Episcopal church in the area. She was deeply impacted by the aesthetics of Episcopalianism but lost her faith during her mid-20s after the unexpected death of her only sister, Devonia Evangeline. O’Grady was educated in the city’s Girls’ Latin School and went on to graduate from Wellesley College with a degree in Economics and a minor in Spanish Literature. Soon after receiving her degree, she opted to find stability by working for the federal government, having cleared the challenging Management Intern Program exam as one of only six women and 200 total individuals who passed out of 20,000 candidates. The dawn of O’Grady’s art career was decades away as she worked for the Department of Labor as a research economist at the Bureau of Labor Statistics — which she described as a boys’ club and difficult to navigate as a single mother at the time. Finding no upward mobility, she switched gears and pivoted to translation while living in Chicago with her second husband, where she flourished due to her early education in Latin and her studies in Spanish literature. After an incomplete graduate education in fiction writing at the University of Iowa, she moved into writing as a rock music critic for the Rolling Stone and the Village Voice in the early ’70s. Get the latest art news, reviews and opinions from Hyperallergic. Daily Weekly Opportunities Her visual arts endeavors started with Cutting Out the New York Times (1977), a collage series that O’Grady embarked on after accepting a position teaching literature at the School of Visual Arts and becoming interested in the works of the Futurists, Dadaists, and Surrealists. For 26 consecutive Sundays, she trimmed snippets of headlines from the publication and reorganized them to form her own poetry, which she has referred to as her first artwork. Then came “ Mademoiselle Bourgeoise Noire ,” a persona who donned a gown and cape made from 180 white leather gloves stitched together whom O’Grady embodied in performances from 1980 to 1983. The artist debuted the character, who was modeled after a ’50s pageant queen, at the Black-owned avant-garde gallery Just Above Midtown (JAM), turning heads by lashing herself with what she called “the whip-that-made-plantations-move” and shouting poetry. The piece targeted NYC’s art institutions for racial discrimination and Black artists whom she found to be suppressing their true sense of self to cater their practices to White audiences and collectors. Mademoiselle Bourgeoise Noire “invaded” exhibition and gallery openings throughout the city for three years, including at the New Museum for Contemporary Art. This fierce foray into performance art opened the floodgates for O’Grady, who soon staged her second performance work at JAM. “ Nefertiti/Devonia Evangeline ” (1980) not only analogized her relationship to her late older sister Devonia to that of Nefertiti and her younger sister Mutnedjmet, but also critiqued Black artists’ attempts to attach themselves to broader African traditions through their practice and the prevalence of racism in the field of Egyptology. Singular, site-specific performances such as “ Rivers, First Draft ” (1982) and “ Art is ... ” (1983) followed soon after. O’Grady began integrating photographic media into her practice after a years-long withdrawal from the arts precipitated by her mother’s declining health, specifically deploying the diptych in her artistic critiques of “both/and” and “either/or” binaries. Using family photos, archival images, and experimental photography and footage of herself, the artist’s serial photomontages often navigated the intersections of race, class, gender, sexuality, colonialism, and documented histories through confrontational and discomforting juxtapositions. O’Grady was a fervent writer and critic in addition to her art practice, making waves in 1992 with her seminal essay “ Olympia’s Maid ,” which identified the blatant lack of scholarly attention to the Black servant depicted in Édouard Manet’s “Olympia” (1863) (painted after the Black model Laure ) as a prime example of prejudice in the fine arts. “Olympia’s maid, like all the other ‘peripheral Negroes,’ is a robot conveniently made to disappear into the background drapery,” O’Grady wrote in the essay. “Laura’s [sic] place is outside what can be conceived of as woman. She is the chaos that must be excised, and it is her excision that stabilizes the West’s construct of the female body, for the ‘femininity’ of the white female body is ensured by assigning the not-white to a chaos safely removed from sight.” In 2020, the Duke University Press published Lorraine O’Grady: Writing in Space (1973–2019) , edited by critic Aruna D’Souza, spotlighting the artist’s writing from her time as a rock music critic throughout her artistic career, incorporating her interviews, scholarly essays, and performance transcripts that canonized the written word as essential to her practice. That same year, Hyperallergic published O’Grady’s essay that was included in Boston’s Apollo, Thomas McKeller and John Singer Sargent, including several photos documenting the artist’s upbringing in the Boston neighborhood of Roxbury. O’Grady became the subject of newfound institutional appreciation in recent solo shows, group exhibitions , and profiles , as well as in her 2021 retrospective at the Brooklyn Museum . Many of her works have found homes in the collections of the Art Institute of Chicago, the Brooklyn Museum, the Museum of Modern Art, the Los Angeles County Museum of Art, the Pérez Art Museum Miami, and several others. O’Grady is survived by her son and daughter-in-law, Guy David Jones and Annette Olbert Jones, her three grandchildren, and her eight great-grandchildren. We hope you enjoyed this article! Before you keep reading, please consider supporting Hyperallergic ’s journalism during a time when independent, critical reporting is increasingly scarce. Unlike many in the art world, we are not beholden to large corporations or billionaires. Our journalism is funded by readers like you , ensuring integrity and independence in our coverage. We strive to offer trustworthy perspectives on everything from art history to contemporary art. We spotlight artist-led social movements, uncover overlooked stories, and challenge established norms to make art more inclusive and accessible. With your support, we can continue to provide global coverage without the elitism often found in art journalism. If you can, please join us as a member today . Millions rely on Hyperallergic for free, reliable information. By becoming a member, you help keep our journalism free, independent, and accessible to all. Thank you for reading. Share Copied to clipboard Mail Bluesky Threads LinkedIn Facebook1. Strengthened Regulation: The government will enhance regulatory measures to curb speculation, control excessive leverage, and promote transparency in the real estate market. Stricter enforcement of rules and regulations will be put in place to ensure compliance and deter unlawful practices.Title: Taobao Global's GMV Surpasses $20 Billion USD This Year | Exclusive Report by 36Kr

One of the key highlights of the seminar was the presentation of case studies and success stories of companies that have successfully navigated the complex terrain of intellectual property rights protection in e-commerce. Participants had the opportunity to learn from real-world examples and engage in thought-provoking discussions on how to effectively safeguard intellectual property assets in the digital marketplace.