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Lafayette’s potent offense hits the road, Oxford travels to Grenada Oxfordeagle

Anthony Hart knew if Lafayette was going to take another step forward in turning the program around two years removed from a winless season, the offense needed to get better. […]

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8 dance performances to see in Chicago this autumn Wbez

The Joffrey’s Liliom , which closes Sunday, kicks off a fall season of dance in Chicago that’s busier than a tap solo, what with many out-of-town companies touring through the Harris or Auditorium Theaters and the homegrown dancers all fielding intriguing new-to-Chicago material. If you have to whittle the offerings down to a manageable few, here are a few suggestions. Green Room Newsletter You’re subscribed! Please check your inbox for your confirmation. Stay ahead of what’s hitting Chicago stages, galleries, museums and more with Green Room, WBEZ’s weekly arts & culture newsletter! Sorry, there was an error registering your email. Liliom Where: Lyric Opera House, 20 N. Wacker Dr. When : through Sep. 27 Legendary choreographer John Neumeier devised “Liliom” for his home company, the Hamburg Ballet, adapting the same 1909 Hungarian play that inspired the Rodgers and Hammerstein musical “Carousel,” setting it in neither Budapest nor Maine, but a nameless American city during the Great Depression. In this season opener, the Joffrey Ballet here brings “Liliom” to an American company for the first time after previous productions by only Hamburg and the Czech National Ballet. Neumeier enlisted composer Michel Legrand, a versatile musician known foremost for his film scores (“The Umbrellas of Cherbourg,” “Les Demoiselles de Rochefort,” “Yentl”), to write the music for the ballet. Legrand’s unusual instrumentation calls for both an orchestra in the pit and a jazz big band onstage, an arrangement that foregrounds the music more than in many ballets. After the Joffrey’s success with Neumeier’s “The Little Mermaid” a few years ago, “Liliom” looks likely to be another splash. Tickets from $47. “MATADORA” sounds bold — the description of the piece carries a content warning for body horror, harm and sensuality. Courtesy of Julie Lucas MATADORA Where : The Dance Center at Columbia College Chicago, 1306 S. Michigan Ave. When : Sep. 24–26 The Spanish word “matadora” derives from “matar”: to kill. “Matador,” without the terminal a, is familiar even to non-Spanish speakers as the term for a bullfighter, the killer of the bull (if the fight goes according to plan). The dancemaker INSÉKTA adds an -a to the end, a feminine affix, to title their evening-length world premiere about the suppressed feminine rage of an untameable beast. INSÉKTA, known as Camila Rivero Pooley outside of performing life, graduated in 2018 from Columbia College’s dance program. They staged an earlier version of the work at the Dance Center last year, and then were invited to open the center’s 2026-27 season with the five-dancer piece at its full length. The dance sounds bold — the description of the piece carries a content warning for body horror, harm and sensuality. Tickets from $10. TAKE Where : 3031 N. Rockwell St. When : Oct. 9–25 “Immersive” is the buzzword in all the arts, as groups try to break our Netflix-and-couch habits with increasingly sensory-filled performances that put audiences up close — and sometimes in — the action. In Chicago, the contemporary company Visceral Dance Chicago has been at the vanguard of the phenomenon. In October, the group remounts founder Nick Pupillo’s “Take,” an evening-length immersive work set in a Rockwell Street event space where dancers weave in and out of an audience positioned around the room. The dancing is vigorous, athletic and in your face. The live music, theatrics and invitation to join the dance party at the end will win over even the most committed couch potato. Tickets from $45. The world premiere of the full-length version of “All at Once” unifies six dancers and three percussionists to express the concept of showing all perspectives on a visual subject simultaneously, an idea that is central to cubism. Courtesy of A.Deran Photography All at Once Where : Studio5, 1934 Dempster St., Evanston When : Oct. 16–17 The dance company The Seldoms, now celebrating its 25th year, always approaches its projects thoughtfully, enlisting strong collaborators and underpinning the work with ideas. The world premiere of the full-length version of “All at Once” unifies six dancers and three percussionists to express the concept of showing all perspectives on a visual subject simultaneously, an idea that is central to cubism. Invoking Pablo Picasso’s foundational painting “Les Demoiselles d’Avignon,” which depicts five nude sex workers with sharp-angled figuration, Seldoms founder and choreographer Carrie Hanson brings angularity and torque to the dance. Percussionist Tim Daisy, a return Seldoms collaborator, composed the music with space for improvisation and chance, inserting an element of unpredictability. Another re-upping collaborator, Lara Miller, designed a progression of costumes that increases in volume throughout the work. It may not be ultimately possible for beings bound to three dimensions to fulfill cubism’s goal of all perspectives at once, but Hanson has at least thought through all the angles. Tickets from $18. Dance Theatre of Harlem’s version of Igor Stravinsky’s “Firebird” is set in the Caribbean, allowing for vibrant designs. Courtesy of Rachel Papo Dance Theatre of Harlem Where : Auditorium Theatre, 50 E. Ida B. Wells Dr. When : Oct. 17 Dance Theatre of Harlem, one of the first established Black-focused ballet companies, originally premiered its version of Igor Stravinsky’s Firebird in 1982. In their version of the Russian folktale where the title bird catalyzes the triumph of good over evil, DTH moved the action to the Caribbean, allowing for vibrant designs. The company shelved the ballet for about 20 years until reviving it recently, inviting alumni dancers back to re-create the choreography — originally by the mid-20th-century ballet master John Taras — for the current roster. They tour the revival here, where their Chicago stop-off also represents a return, as it’s their first time here since 2016. The program also includes George Balanchine’s “Donizetti Variations” and appropriately for a show with so many coming-back motifs, “Return,” by the company’s artistic director, Robert Garland. Tickets from $44. “Dance Me: The Music of Leonard Cohen” marks the Chicago debut of Ballets Jazz Montréal. Courtesy of Rolando Paolo Guerzoni Dance Me: The Music of Leonard Cohen Where : Auditorium Theatre When : Nov. 7 Everybody knows the music of Leonard Cohen, or at least the omnipresent “Hallelujah.” In addition to that tune, the half-crazy, pensive “Suzanne,” the famous “Famous Blue Raincoat” and several others provide the soundtrack to Ballets Jazz Montréal’s show “Dance Me: The Music of Leonard Cohen,” a Cohen-sanctioned contemporary dance show presented on the 10-year anniversary of Cohen’s death. “Dance Me” marks the Chicago debut of Ballets Jazz Montréal, but local audiences may recognize the style of one of the choreographers, Annabelle Lopez Ochoa, whose work has been performed here by Ballet Nacional de Cuba and Ballet Hispánico on tour, and by the Joffrey Ballet on its home turf, most recently in the Frida Kahlo-themed “Broken Wings.” Tickets from $44. Hubbard Street Dance Chicago Where : Downstairs theater at Steppenwolf Theatre Company, 1650 N. Halsted St. When : Nov. 13–22 Hubbard Street Dance Chicago has a tight relationship with the Verdon Fosse Legacy, the foundation that oversees the choreographic archive of Gwen Verdon and Bob Fosse, the dance minds behind the musical “Chicago,” the movie version of “Cabaret” and approximately a million jazz hands (which is five million jazz fingers). Hubbard Street is the only company authorized by the foundation to keep Fosse works in its repertoire, and they have done a number since the agreement was struck in 2024 . In its fall series program, HSDC will world-premiere not a Fosse work, but a Fosse-inspired work by Linda Haberman, the artistic director of the foundation and a veteran of several Fosse shows during her performing career. The company also premieres a second piece by Fernando Hernando Magadan, a choreographer connected with Nederlands Dans Theater. Tickets from $20. “Sol Invictus” takes its name from the sun god of the ancient Roman empire known as the “unconquered,” and the costumes have a tunic kind of flair. Courtesy of Mirabelwhite Sol Invictus Where: Harris Theater, 205 E. Randolph St. When : Nov. 14 The dance style of Compagnie Hervé Koubi lives somewhere between contemporary dance, gymnastics, capoeira, cheer and breaking. Dancers spin on their heads. They are launched through the air by their fellow dancers. They do handsprings and flips. But it’s fundamentally dance under the ample pyrotechnics, one step over the dividing line from circus, waving at Cirque du Soleil on the other side. “Sol Invictus,” the work the company is currently touring, takes its name from the sun god of the ancient Roman empire known as the “unconquered,” and the costumes have a tunic kind of flair that makes sure not to get in the way of flaunting abs and pecs. At earlier stops on the tour, reviewers raved about the part of the performance that involves a huge, shiny gold cloth that the dancers spin on and around, swirling and billowing. Tickets from $40. Cassie Walker Burke contributed reporting.

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8 dance performances to see in Chicago this autumn Chicago Suntimes

The Joffrey’s Liliom , which closes Sunday, kicks off a fall season of dance in Chicago that’s busier than a tap solo, what with many out-of-town companies touring through the Harris or Auditorium Theaters and the homegrown dancers all fielding intriguing new-to-Chicago material. If you have to whittle the offerings down to a manageable few, here are a few suggestions. Green Room Newsletter You’re subscribed! Please check your inbox for your confirmation. Stay ahead of what’s hitting Chicago stages, galleries, museums and more with Green Room, WBEZ’s weekly arts & culture newsletter! Sorry, there was an error registering your email. Liliom Where: Lyric Opera House, 20 N. Wacker Dr. When : through Sep. 27 Legendary choreographer John Neumeier devised “Liliom” for his home company, the Hamburg Ballet, adapting the same 1909 Hungarian play that inspired the Rodgers and Hammerstein musical “Carousel,” setting it in neither Budapest nor Maine, but a nameless American city during the Great Depression. In this season opener, the Joffrey Ballet here brings “Liliom” to an American company for the first time after previous productions by only Hamburg and the Czech National Ballet. Neumeier enlisted composer Michel Legrand, a versatile musician known foremost for his film scores (“The Umbrellas of Cherbourg,” “Les Demoiselles de Rochefort,” “Yentl”), to write the music for the ballet. Legrand’s unusual instrumentation calls for both an orchestra in the pit and a jazz big band onstage, an arrangement that foregrounds the music more than in many ballets. After the Joffrey’s success with Neumeier’s “The Little Mermaid” a few years ago, “Liliom” looks likely to be another splash. Tickets from $47. “MATADORA” sounds bold — the description of the piece carries a content warning for body horror, harm and sensuality. Courtesy of Julie Lucas MATADORA Where : The Dance Center at Columbia College Chicago, 1306 S. Michigan Ave. When : Sep. 24–26 The Spanish word “matadora” derives from “matar”: to kill. “Matador,” without the terminal a, is familiar even to non-Spanish speakers as the term for a bullfighter, the killer of the bull (if the fight goes according to plan). The dancemaker INSÉKTA adds an -a to the end, a feminine affix, to title their evening-length world premiere about the suppressed feminine rage of an untameable beast. INSÉKTA, known as Camila Rivero Pooley outside of performing life, graduated in 2018 from Columbia College’s dance program. They staged an earlier version of the work at the Dance Center last year, and then were invited to open the center’s 2026-27 season with the five-dancer piece at its full length. The dance sounds bold — the description of the piece carries a content warning for body horror, harm and sensuality. Tickets from $10. TAKE Where : 3031 N. Rockwell St. When : Oct. 9–25 “Immersive” is the buzzword in all the arts, as groups try to break our Netflix-and-couch habits with increasingly sensory-filled performances that put audiences up close — and sometimes in — the action. In Chicago, the contemporary company Visceral Dance Chicago has been at the vanguard of the phenomenon. In October, the group remounts founder Nick Pupillo’s “Take,” an evening-length immersive work set in a Rockwell Street event space where dancers weave in and out of an audience positioned around the room. The dancing is vigorous, athletic and in your face. The live music, theatrics and invitation to join the dance party at the end will win over even the most committed couch potato. Tickets from $45. The world premiere of the full-length version of “All at Once” unifies six dancers and three percussionists to express the concept of showing all perspectives on a visual subject simultaneously, an idea that is central to cubism. Courtesy of A.Deran Photography All at Once Where : Studio5, 1934 Dempster St., Evanston When : Oct. 16–17 The dance company The Seldoms, now celebrating its 25th year, always approaches its projects thoughtfully, enlisting strong collaborators and underpinning the work with ideas. The world premiere of the full-length version of “All at Once” unifies six dancers and three percussionists to express the concept of showing all perspectives on a visual subject simultaneously, an idea that is central to cubism. Invoking Pablo Picasso’s foundational painting “Les Demoiselles d’Avignon,” which depicts five nude sex workers with sharp-angled figuration, Seldoms founder and choreographer Carrie Hanson brings angularity and torque to the dance. Percussionist Tim Daisy, a return Seldoms collaborator, composed the music with space for improvisation and chance, inserting an element of unpredictability. Another re-upping collaborator, Lara Miller, designed a progression of costumes that increases in volume throughout the work. It may not be ultimately possible for beings bound to three dimensions to fulfill cubism’s goal of all perspectives at once, but Hanson has at least thought through all the angles. Tickets from $18. Dance Theatre of Harlem’s version of Igor Stravinsky’s “Firebird” is set in the Caribbean, allowing for vibrant designs. Courtesy of Rachel Papo Dance Theatre of Harlem Where : Auditorium Theatre, 50 E. Ida B. Wells Dr. When : Oct. 17 Dance Theatre of Harlem, one of the first established Black-focused ballet companies, originally premiered its version of Igor Stravinsky’s Firebird in 1982. In their version of the Russian folktale where the title bird catalyzes the triumph of good over evil, DTH moved the action to the Caribbean, allowing for vibrant designs. The company shelved the ballet for about 20 years until reviving it recently, inviting alumni dancers back to re-create the choreography — originally by the mid-20th-century ballet master John Taras — for the current roster. They tour the revival here, where their Chicago stop-off also represents a return, as it’s their first time here since 2016. The program also includes George Balanchine’s “Donizetti Variations” and appropriately for a show with so many coming-back motifs, “Return,” by the company’s artistic director, Robert Garland. Tickets from $44. “Dance Me: The Music of Leonard Cohen” marks the Chicago debut of Ballets Jazz Montréal. Courtesy of Rolando Paolo Guerzoni Dance Me: The Music of Leonard Cohen Where : Auditorium Theatre When : Nov. 7 Everybody knows the music of Leonard Cohen, or at least the omnipresent “Hallelujah.” In addition to that tune, the half-crazy, pensive “Suzanne,” the famous “Famous Blue Raincoat” and several others provide the soundtrack to Ballets Jazz Montréal’s show “Dance Me: The Music of Leonard Cohen,” a Cohen-sanctioned contemporary dance show presented on the 10-year anniversary of Cohen’s death. “Dance Me” marks the Chicago debut of Ballets Jazz Montréal, but local audiences may recognize the style of one of the choreographers, Annabelle Lopez Ochoa, whose work has been performed here by Ballet Nacional de Cuba and Ballet Hispánico on tour, and by the Joffrey Ballet on its home turf, most recently in the Frida Kahlo-themed “Broken Wings.” Tickets from $44. Hubbard Street Dance Chicago Where : Downstairs theater at Steppenwolf Theatre Company, 1650 N. Halsted St. When : Nov. 13–22 Hubbard Street Dance Chicago has a tight relationship with the Verdon Fosse Legacy, the foundation that oversees the choreographic archive of Gwen Verdon and Bob Fosse, the dance minds behind the musical “Chicago,” the movie version of “Cabaret” and approximately a million jazz hands (which is five million jazz fingers). Hubbard Street is the only company authorized by the foundation to keep Fosse works in its repertoire, and they have done a number since the agreement was struck in 2024 . In its fall series program, HSDC will world-premiere not a Fosse work, but a Fosse-inspired work by Linda Haberman, the artistic director of the foundation and a veteran of several Fosse shows during her performing career. The company also premieres a second piece by Fernando Hernando Magadan, a choreographer connected with Nederlands Dans Theater. Tickets from $20. “Sol Invictus” takes its name from the sun god of the ancient Roman empire known as the “unconquered,” and the costumes have a tunic kind of flair. Courtesy of Mirabelwhite Sol Invictus Where: Harris Theater, 205 E. Randolph St. When : Nov. 14 The dance style of Compagnie Hervé Koubi lives somewhere between contemporary dance, gymnastics, capoeira, cheer and breaking. Dancers spin on their heads. They are launched through the air by their fellow dancers. They do handsprings and flips. But it’s fundamentally dance under the ample pyrotechnics, one step over the dividing line from circus, waving at Cirque du Soleil on the other side. “Sol Invictus,” the work the company is currently touring, takes its name from the sun god of the ancient Roman empire known as the “unconquered,” and the costumes have a tunic kind of flair that makes sure not to get in the way of flaunting abs and pecs. At earlier stops on the tour, reviewers raved about the part of the performance that involves a huge, shiny gold cloth that the dancers spin on and around, swirling and billowing. Tickets from $40. Cassie Walker Burke contributed reporting.

2 days ago Read article

Amazon Alexa camera alerts homeowner to Spring Hill fire Fox 13 Seattle

A smart home camera helped alert a Spring Hill homeowner to a fire Wednesday morning, giving firefighters a chance to contain the flames before they spread beyond one room. Hernando County Fire Rescue says no one was home when the fire started, except for the family's dog. Amazon Alexa alerts homeowners The Amazon Alexa camera detected smoke inside the home and sent an alert to the homeowner. The homeowner checked the camera, saw the smoke and called 911. Firefighters responded to the home and contained the fire to one room before bringing the dog to safety. The fire started in a bedroom, but smoke could be seen filling the living room in footage captured by the camera. Safety features in your phone The technology that helped in this fire is just one example of emergency features that may already be available in devices people use every day. iPhones 14 and newer, along with some Apple Watch models, have crash detection technology that can automatically call emergency services after a severe car crash. If the person is unresponsive, the iPhone can also provide first responders with the phone's latitude and longitude coordinates. Android smartphones offer a similar crash-detection feature. Other safety features Ian Marlow, CEO of FITECH Consultants, says homeowners can also connect other devices to their phones to receive alerts about potential problems. "I also have leak detection, like in my own home, which is a product from Kidde. They're very small, battery-powered, little lithium-ion, little circular pieces, and you put them under every sink, you put them in the air conditioning pan and whenever you, you don't get a leak of any form, I get a notification," he said. Newer General Motors vehicles, including Chevrolet, Buick, GMC and Cadillac models from 2025 and later also come with OnStar technology that can use built-in sensors to automatically notify a representative after a moderate to severe crash. Apple Watch users can also enable fall detection , which can help contact emergency services if the wearer takes a hard fall. Enabling the features Not all safety features are enabled automatically. Apple's crash detection feature is automatically enabled on supported devices, while other features, such as fall detection, need to be turned on in the device's settings. Marlow recommends taking a few minutes to check which emergency features are available on your devices — and making sure they're enabled before you need them.

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Hernando Chamber Highlights Business Collaboration, Toyota Video Newsbreak

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