CAESARS HEALTH CLUB - TREADMILL USER MANUAL.
The Twelve Caesars (Penguin Classics)
As private secretary to the Emperor Hadrian, the scholar Suetonius had access to the imperial archives and used them (along with eyewitness accounts) to produce one of the most colourful biographical works in history. "The Twelve Caesars" chronicles the public careers and private lives of the men who wielded absolute power over Rome, from the foundation of the empire under Julius Caesar and Augustus, to the decline into depravity and civil war under Nero and the recovery that came with his successors. A masterpiece of observation, anecdote and detailed physical description, "The Twelve Caesars" presents us with a gallery of vividly drawn - and all too human - individuals.89% (13)
Margaret Tyzack 1931 - 2011
One of Britain's most distinguished actors, known for her roles on stage and screen Margaret Tyzack, who has died aged 79, was one of Britain's greatest and most popular actors, working on stage, television and film for more than half a century. Sometimes described as being in the mould of Edith Evans and Flora Robson, she will be remembered particularly for performances in the golden age of BBC TV drama – Winifred in The Forsyte Saga (1967), Antonia in I, Claudius (1976) – as well as for stage performances such as Martha in the National Theatre's revival of Edward Albee's Who's Afraid of Virginia Woolf (1981), for which she won an Olivier award for best actress, and Lottie with Maggie Smith in Lettice and Lovage (1987 and 1990), which earned her both Tony and Variety Club stage actress of the year awards. In 2008, well into her 70s, she scored perhaps one of her finest triumphs on stage as the wily, wittily eccentric Mrs St Maugham in Michael Grandage's outstanding revival of Enid Bagnold's The Chalk Garden at the Donmar with Penelope Wilton. With her open face, broad eyes and generous mouth, there was perhaps always something a little melancholic about her – even pessimistic, a trait she readily admitted to – that found her playing more "mature" roles than her actual years. She once confessed: "I've always played older than myself." It was an asset that served her richly. Tyzack considered herself first and foremost a character actor, asserting that she "never wanted to be a star". Immensely versatile, unassuming, modest and largely unrecognisable offstage, she often boasted that she could go shopping without being spotted, and lived quietly with her mathematician husband, Alan Stephenson, in Blackheath, south-east London. She could play kind, benign, a pillar of the empire (such as Lady Bruton in Marleen Gorris's 1997 film of Virginia Woolf's Mrs Dalloway) or in the latter years of her career, a show-stealing, fur-clad battleaxe in His Girl Friday, John Guare's stage adaptation of Ben Hecht and Charles MacArthur's The Front Page (National Theatre, 2003). While there was something endearingly naive about her role as besotted Winifred, and comically understated as the reactionary matriarch in Mrs Dalloway, her depiction of Martha displayed a ferocity previously unrevealed in earlier roles that tended towards either the respectable, down to earth, or emotionally obsessive, sad or caring. In her later career, she seemed to acquire even greater force and magnetism with a trio of superb roles in Auntie and Me at Wyndham's (2003), opposite Alan Davies, Southwark Fair at the National (2006) and The Chalk Garden. Tyzack was born in Essex, brought up in Plaistow, east London, daughter of a Tate & Lyle foreman, and educated at St Angela's Ursuline convent in Forest Gate. She once said she had become an actor by chance. "Really, I'm a refugee from the typing pool. That would have been the alternative. Or maybe selling something in Harrods." She once mused on becoming a nurse. "A fortune teller," she noted, "used to tell me I had healing in my hands." She was saved by a "wonderful drama teacher" who came to her school and took an interest in her. She went on to train at Rada, where she won a prize for comedy – forgoing her first choice, speech training, through lack of the required academic qualifications. She then went into repertory in Chesterfield, Derbyshire, where she made her first stage appearance, as a bystander in Shaw's Pygmalion in 1951. Further work followed at the Royal Court and Nottingham Playhouse. In 1969 she won her first acting award, a Bafta for her role as Queen Anne in the BBC's The First Churchills. Two years later she took over from Eileen Atkins as Elizabeth I in Robert Bolt's Vivat! Vivat Regina! at the Piccadilly. The following year, with the Royal Shakespeare Company, she appeared as Volumnia in Coriolanus, Portia in Julius Caesar and Tamora in Titus Andronicus. As Volumnia, she was towering, a terrifying tigress fighting for her son's life but also reducing Ian Hogg's athletic warrior general to shuddering, childhood impotence. Tyzack was in the US in 1971, winning another award for her performance in the title role of a television version of Balzac's Cousin Bette. Then in 1976 came the landmark TV drama I, Claudius, followed by three years at Stratford, Ontario, where she took on roles as Mrs Alving in Ibsen's Ghosts, Queen Margaret in Richard III and the Countess in All's Well That Ends Well. If much of the early 1980s saw her exploiting her TV range, she also came even more into her own on stage. In 1983 she received a Tony nomination for her reprised role as the Countess in Trevor Nunn's RSC production of All's Well That Ends Well when it visited Broadway, and two years later was again picked out by New York's Drama Desk critics for her performance as Rose, Viv's mother, in Tom and Viv, Michael HastingsPavithra P.
So much to say, where to start! I'm currently heading towards wrapping up my last year of undergrad, in which (I hope) to successfully complete a double major in Health Studies & Sociology. Other than school, which is huge in and of itself, I've gotten involved in many clubs and committee's over the past 3 years that have really added to who I am as a person, and what skills I can bring to the table. In particular, I have been an active member of DECA U of T, two south asian youth groups, the Duke of Edinburgh award which I shall be completing at the gold level, and to top it all off have been actively pursuing the art of south indian music from a very young age. Has it been hectic? Definitely! But I wouldn't regret a single moment of it all; I strongly believe that your experiences shape your character, as well as how you tackle various situations that you come across in your academic and professional career; and if it wasn't for all the late nights, early mornings, and months worth of planning that I had to commit myself to for each and every one of these extracurricular activities, I certainly wouldn't have the same mindset or outlook that I hold now. I'm grateful for each and every experience I've gotten to live through so far, whether it's the people I've met or places I've gone to, and I certainly hope that the lessons I've learnt and memories I've created propel me towards a successful future! To wrap this little blurb about myself up, here's a quote that I am a strong proponent of :"Veni, vidi, vici"- I came, I saw, I conquered - J. Caesar.
Caesars, Paper TigersSee also:
Features the "Jerk It Out" as heard in the iPod Shuffle commercial. Hailed by Blender magazine for making music "as hot as a kiln," the Caesaers new album is richly layered power pop with a sound that melds the summer of ‘65 electric beat instrumentation with a 2005 wide-eyed urgency.
This is the second stateside album by this workmanlike Swedish power pop garage act. People who don’t use TiVo to skip through the adverts have already heard the best song on the album, "Jerk It Out," from that iPod Shuffle commercial. That tune’s been tacked on here even though it’s 3 years old, and it’s easy to see why it was resuscitated as it blows away its neighbors on this CD. Organ-driven, tight and cool, "Jerk" is the kind of song you just want to dance around a crowded room filled with cute people all dressed up like mods and ready to party. The lyrics are daft, but they’re young, and it’s just rock music, right? Not all the new tunes pale in comparison to "Jerk it Out," however. "Your Time Is Near" is a really good, suggesting collaboration between the Concretes and the Brian Jonestown Massacre, while "We Got To Leave" judiciously uses handclaps. In the end, however, this band does seem more like another trendy, sort-of retro, kind-of garage rockist group. --Mike McGonigal
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