winner 777

winner 777 Whitehall Coach: Tim Cunningham, 22nd year; 30th year overall, Whitehall and Pleasant Valley, 364-213 2023-24 record: 18-3 Class: 3A Twitter/social media: Twitter @zephyrwrestling; Instagram @zephyrswrestling Returning wrestlers: Jr. Wilmont Kai (114-121); Jr. Kade Pascoe (121-127); So. Rocco Delucia (133-139), Sr. Nolan Schmeckenbecher (133-139), Sr. Trokon Kai (133-145), Jr. James Hopkins (189-215), Sr. Elijah Brito (170), So. Justin Heckert (285) Newcomers: Jr. Tyrell Hoff (145-152), So. Layony Sanchez (172), Fr. Rocco Fonzone (139-145), Jr. Adam Gasteratos (114-121), Jr. Jacob Figueroa (172), Sr. Dayvion Marshmon (127-133), Sr. Alex Medina (160), Sr. Joel Guerrero Pena (114), So. Josiah Wright (121), Jr. Tyler Tehonica (215), Jr. Jahleel Garcia (189-215), Jr. Messiah Lugo (285), So. Bayne Brian (285) Top records from 2023-24 (SQ: state qualifier, RQ, regional qualifier): W. Kai 39-7 (PIAA 7th), Hopkins 34-10 (RQ); Pascoe 29-15 (RQ); Delucia 21-13, Schmeckenbecher 22-10, T. Kai 21-11 (RQ); Heckert 6-3 Wrestler you don’t know now, but will by March: So. Bayne Brian (285) Dual match to watch: Parkland, Jan. 16 Outlook: Last year’s impressive Zephyr squad showed the box Whitehall is in pretty well. 18 wins, a trip to the D-11 duals, the first state medalist since 2010 in the slippery, dynamic, fun-to-watch Kai, four regional qualifiers; all terrific accomplishments. The three losses? Bethlehem Catholic and Nazareth, then Northampton in the D-11 duals. We like to refer to the Zephyrs, Parkland, Emmaus, the Bethlehem public schools and Stroudsburg as the EPC’s “middle class” – they are several cuts above the rest of the league and they compete against each other with zeal and elan, but they are not near scaling the top of the league. Nothing would be better for D-11 wrestling than for some of the “middle class” to become elite, but that’s an enormous ask. Whitehall’s start to 2024-25 is typical: a 58-12 loss to Nazareth, then romping to win the Case Flynn Duals at Pottsville with six dual triumphs, the closest by 21 points. The Zephyrs can, and will, beat anybody outside of the very elite. But the D-11 3A powers – to which Notre Dame is now added – are just at another level. Whitehall’s focus for improvement could be in getting more state qualifiers and medalists, and with all four regional qualifiers from last back, including state medalist Wilmont Kai, that seems a reasonable ask. A prediction or two: Another fine season, perhaps at the head of the “middle class”. A couple more state qualifiers (Pascoe and Hopkins?) perhaps; Kai higher on the state medal stand. Thank you for relying on us to provide the journalism you can trust. Please consider supporting lehighvalleylive.com with a subscription. Brad Wilson may be reached at bwilson@lehighvalleylive.com . ©2024 Advance Local Media LLC. Visit lehighvalleylive.com . Distributed by Tribune Content Agency, LLC.November 26 - Guests of the Dallas Cowboys on Thanksgiving Day, the visiting Giants were still taking inventory of available players 48 hours before the scheduled kickoff in Arlington, Texas. Quarterback Tommy DeVito was limited with a forearm injury and Drew Lock, passed over last week for the No. 1 job taken from Daniel Jones, could suddenly find himself in the huddle operating the Giants' offense. "My whole body is kind of sore. First time playing in awhile, took a couple of shots," DeVito said Tuesday, two days after he was sacked four times by the Buccaneers in a 30-7 loss. "I'm planning to play. See how I feel (Wednesday). Hopefully I feel a little bit better after some more treatment." DeVito jumped Lock from No. 3 on the depth chart and started Sunday. He completed 21 of 31 passes for 189 yards and is expected to be the starter if healthy. But DeVito, who made his seventh career start last week, is "not 100 percent" to play, head coach Brian Daboll clarified on Tuesday when Lock received the reps with the first-team offense. "His forearm is sore. We'll see where we're at," Daboll said. "He threw in the walkthrough (and) he's going to test it out here in practice. So I'm hopeful. But it's not 100 percent." A fifth-year pro drafted by the Broncos and traded to the Seattle Seahawks in the Russell Wilson deal, Lock has 23 career starts and signed a one-year, $5 million deal in free agency to be the No. 2 quarterback behind Jones. --Field Level Media Our Standards: The Thomson Reuters Trust Principles. , opens new tab

BURLINGTON, N.J., Nov. 26, 2024 (GLOBE NEWSWIRE) -- Burlington Stores, Inc. (NYSE: BURL), a nationally recognized off-price retailer of high-quality, branded apparel, footwear, accessories, and merchandise for the home at everyday low prices, announced today that Shira Goodman, former Chief Executive Officer of Staples, Inc., is joining its Board of Directors and its Audit Committee effective January 1, 2025. John Mahoney, Chairman of the Board, stated, “We are very pleased to welcome Shira to our Board as a highly accomplished business leader with considerable public company board experience. I believe that she will enhance the depth and strength of our Board as it continues to oversee the Company’s continued strategic growth.” Michael O’Sullivan, Chief Executive Officer, stated, “We are very excited to have Shira as a Board member. She has almost three decades of experience in the retail industry, and her perspectives and expertise will benefit us as we continue to execute on the Burlington 2.0 strategy and aim to drive sales and earnings growth in the years ahead.” Ms. Goodman added, “I am excited to join Burlington’s Board and work with the leadership team. I believe the Company is well positioned for continued growth and I am eager to contribute to the Company's continued success.” About Shira Goodman Ms. Goodman has served as an Advisory Director to Charlesbank Capital Partners, a private equity firm, since January 2019. She previously served as the Chief Executive Officer of Staples, Inc. from September 2016 to January 2018. Ms. Goodman served in roles with increasing responsibility at Staples since joining the company in 1992, including President and Interim Chief Executive Officer from June 2016 to September 2016, President, North American Operations from January 2016 to June 2016, and President, North American Commercial from February 2014 to June 2016. Prior to that, she served as Executive Vice President of Global Growth from February 2012 to February 2014, Executive Vice President of Human Resources from March 2009 to February 2012, Executive Vice President of Marketing from May 2001 to March 2009, and in various other management positions. Prior to Staples, Ms. Goodman worked at Bain & Company from 1986 to 1992, in project design, client relationships and case team management. She currently serves on the board of directors of CarMax, Inc. and CBRE Group, Inc., and previously served on the board of directors of Henry Schein, Inc., Staples, Inc. and The Stride Rite Corporation. About Burlington Stores, Inc. Burlington Stores, Inc., headquartered in New Jersey, is a nationally recognized off-price retailer with Fiscal 2023 net sales of $9.7 billion. The Company is a Fortune 500 company and its common stock is traded on the New York Stock Exchange under the ticker symbol “BURL.” The Company operated 1,103 stores as of the end of the third quarter of Fiscal 2024, in 46 states, Washington D.C. and Puerto Rico, principally under the name Burlington Stores. The Company’s stores offer an extensive selection of in-season, fashion-focused merchandise at up to 60% off other retailers' prices, including women’s ready-to-wear apparel, menswear, youth apparel, baby, beauty, footwear, accessories, home, toys, gifts and coats. For more information about the Company, visit www.burlington.com . Investor Relations Contacts: David J. Glick Daniel Delrosario 855-973-8445 Info@BurlingtonInvestors.com Allison Malkin ICR, Inc. 203-682-8225 Safe Harbor for Forward-Looking and Cautionary Statements This release contains forward-looking statements within the meaning of Section 27A of the Securities Act of 1933, as amended, and Section 21E of the Securities Exchange Act of 1934, as amended. All statements other than statements of historical fact included in this release are forward-looking statements. Forward-looking statements discuss our current expectations and projections relating to our financial condition, results of operations, plans, objectives, future performance and business. You can identify forward-looking statements by the fact that they do not relate strictly to historical or current facts. We do not undertake to publicly update or revise our forward-looking statements, except as required by law, even if experience or future changes make it clear that any projected results expressed or implied in such statements will not be realized. If we do update one or more forward-looking statements, no inference should be made that we will make additional updates with respect to those or other forward-looking statements. All forward-looking statements are subject to risks and uncertainties that may cause actual events or results to differ materially from those we expected, including general economic conditions, such as inflation, and the domestic and international political situation and the related impact on consumer confidence and spending; competitive factors, including the scale and potential consolidation of some of our competitors, rise of e-commerce spending, pricing and promotional activities of major competitors, and an increase in competition within the markets in which we compete; seasonal fluctuations in our net sales, operating income and inventory levels; the reduction in traffic to, or the closing of, the other destination retailers in the shopping areas where our stores are located; our ability to identify changing consumer preferences and demand; our ability to meet our environmental, social or governance (“ESG”) goals or otherwise expectations of our stakeholders with respect to ESG matters; extreme and/or unseasonable weather conditions caused by climate change or otherwise adversely impacting demand; effects of public health crises, epidemics or pandemics; our ability to sustain our growth plans or successfully implement our long-range strategic plans; our ability to execute our opportunistic buying and inventory management process; our ability to optimize our existing stores or maintain favorable lease terms; the availability, selection and purchasing of attractive brand name merchandise on favorable terms; our ability to attract, train and retain quality employees and temporary personnel in sufficient numbers; labor costs and our ability to manage a large workforce; the solvency of parties with whom we do business and their willingness to perform their obligations to us; import risks, including tax and trade policies, tariffs and government regulations; disruption in our distribution network; our ability to protect our protect our information systems against service interruption, misappropriation of data, breaches of security, or other cyber-related attacks; risks related to the methods of payment we accept; the success of our advertising and marketing programs in generating sufficient levels of customer traffic and awareness; damage to our corporate reputation or brand; impact of potential loss of executives or other key personnel; our ability to comply with existing and changing laws, rules, regulations and local codes; lack of or insufficient insurance coverage; issues with merchandise safety and shrinkage; our ability to comply with increasingly rigorous privacy and data security regulations; impact of legal and regulatory proceedings relating to us; use of social media by us or by third parties our direction in violation of applicable laws and regulations; our ability to generate sufficient cash to fund our operations and service our debt obligations; our ability to comply with covenants in our debt agreements; the consequences of the possible conversion of our convertible notes; our reliance on dividends, distributions and other payments, advance and transfers of funds from our subsidiaries to meet our obligations; the volatility of our stock price; the impact of the anti-takeover provisions in our governing documents; impact of potential shareholder activism; and each of the factors that may be described from time to time in our filings with the U.S. Securities and Exchange Commission, including under the heading “Risk Factors” in our most recent Annual Report on Form 10-K. For each of these factors, the Company claims the protection of the safe harbor for forward-looking statements contained in the Private Securities Litigation Reform Act of 1995, as amended.QA operates 300 aircraft, transports 200,000 passengers daily: CEOSubscribe 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 Facebook

None