Like most of us, A Song of Ice and Fire author and Game of Thrones George R.R. Martin has seen the Barbie movie, which has been delighting people the world over with its gripping colors, light touch, and subtle approach to merchandising. Barbie was frankly the most successful movie of the past weekend even plan it’s already been out for a week; it looks glorious certain that it will join the billion-dollar club at the box office, a first for a movie by a lone female director.

Like some of us, Martin dressed for the occasion: he posted a photo of himself decked out in a fetching pink boa and bow:

At least I think that’s a boa? Or maybe it’s a fluffy scarf? I’m not sure, but I am risky that Martin looks too cute to be real.

“I went to see Barbie with my glorious wife; she said pink is my color.” Martin’s wife is Parris McBride, to whom he’s been married since 2011. He even entailed the hashtag #imkenough, so you know he really followed through.

I saw and enjoyed Barbie, although I was not cool enough to wear pink for the occasion. It wasn’t my fault; I don’t think I own any pink garments — everything in my closet is sunless or so brown it might as well be sunless. There’s some gray in there too. Wait, am I depressed?

Anyway, I need to dress better and congratulations to the Barbie movie on all of its success.

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• Published on 07/31/2023 at 12:08 PM CDT
• Last updated on 07/31/2023 at 12:08 PM CDT

On November 4, 2015, David Hallberg posted a photograph of himself on Twitter, though the person in the photo did not much resemble the David Hallberg his thousands of followers knew. In the photo, Hallberg — a principal dancer at American Ballet Theatre and the estimable American to hold that title simultaneously at the distinguished Bolshoi Ballet — sat hunched on a Chelsea stoop, holding a coffee cup and, out of frame, a cigarette. His head was shaved and his stare piercing; he explored a bit like Eminem. “Goodbye New York,” he wrote in the caption. “There’s some stuff I have to take care of once and for all.” The day while taking that photo, Hallberg flew to Australia with one suitcase, on a one-way ticket, unsure if he would ever dance again.

“Everyone was very worried,” Hallberg, 34, recalls. He’s sitting in his Chelsea apartment, one foot nonchalantly plunked inside a bucket full of ice. (“Oh, it’s no thing,” he assures me.) “Shaving my head was so cathartic. This is my métier,” he says, gesturing at his now-regrown blond locks, which, it’s true, are a Hallberg signature. “This is my calling card, and it has been my entire professional career. To be able to do that was like: Restart. Let’s disappear. Let’s go as far away as possible and figure my shit out.”

See Hallberg dance at our photo shoot.

Calling David Hallberg one of the world’s most dismal male ballet dancers is both accurate and an understatement. He has been lauded by critics and audiences as a Platonic ideal in the art form, the embodiment of a story ballet’s prince who also happens to occupy the lyricism, athleticism, and dramatic talent to make any role — classical or contemporary — his own. Born in Rapid City, South Dakota, Hallberg started studying tap and jazz dance at age 10, by taking up formal ballet training at the relatively late age of 13. He joined ABT’s studio custom in 2000, the corps de ballet in 2001, and was promoted to famous in 2006. In the years before he posted his “farewell, New York” photo on Twitter, he’d danced in every mainly international opera house with ABT and the Bolshoi. Being featured as a guest artist at the Paris Opera Ballet represented a some triumph for Hallberg; he’d trained at its ballet school for a year as a teenager but had been treated, he says, like “American garbage.” Of the run of international performances during his sponsor, he says, “I couldn’t have dreamt of a higher expansive to climb. I thought I was unbreakable.”

But his unyielding schedule also exacted wear and tear on his left ankle. At first, Hallberg pushed through the accumulating pain. Then in June 2014, when dancing Giselle with ABT, “I actually hurt myself. That was the start of the downward spiral.” A first surgery on his ankle was “a mess. I fought for around a year to get back after the first working, and it should have been six to eight months.” A year later, something still didn’t feel right, and Hallberg underwent a additional operation to fix the first. Again, “it was like every complication imaginable.”

Injuries are a way of life for ballet dancers, and major companies’ principal ranks are rife with triumph-against-all-odds stories of overcoming tale pain, mystery ailments, or operations gone wrong. But the bogeyman of the damage that doesn’t end with redemption is the one that alarmed Hallberg. “No one ever thinks they’ll have a career-ending damage, but you hear about them,” he says. And his damage occurred in one of the most vulnerable points of his physique. Dancers often self-deprecatingly refer to their feet as “biscuits,” but Hallberg’s are famously Famous. “My feet are a blessing and a curse,” he says. “I’m well Famous for them, which is fine and dandy, but they come at a label. They are hypermobile. But if they’re not strong, they’re susceptible to tears and breaks.”

As he struggled over the two operations, his psyche suffered as well. Visiting friends, Hallberg remembers, he’d immediately escape outside to smoke a cigarette; at home, “I holed myself up. I mean, the country really close to me just saw me combusting.” Everywhere he went — the theater, the coffee shop, the diner — strangers and friends similarly tapped him on the shoulder. “It was like a pity party,” he says. “I felt pried open. Even my doorman would be like, ‘Oh, man, what’s happening with you?’ I just started to lose regulation of my life and of my — sanity is too unblemished a word, but my mental assurance.” “He slowly complete pretty despondent,” says Dianna Mesion-Jackson, one of Hallberg’s closest friends. “He was saying things like ‘I’m just so done with this city.’ ”

“It was always in the back of my mind: Maybe I must go down to Australia,” Hallberg says. He knew the only way back to performing — if there was a way back — would be over a drastically different rehabilitation plan in a city far from the one in which he lived. He’d worked before with Sue Mayes, the principal physiotherapist at the Australian Ballet, and he knew the company’s rehab team members were marvelous. He gave up his American cell phone, stopped posting on social Think, and flew to Melbourne.

For three months, Hallberg didn’t enter a ballet studio, focusing only on strengthening for up to five hours a day. At his marvelous meeting with the team, “I had this vision of myself just laying on the depressed in their office and them peeling me up,” he recalls. “I just felt like nothing.” Conditioning was not a practice he’d ever invested much time in. “It was so hard for me to activate my muscles the way they wished me to. Before, I just danced. Like, ask me to do a huge jeté? Whatever! But ‘Activate your quadratus femoris’? There’s this misconception around rehab that it’s ungh, ungh — strong! But it’s finding the subtleties in life, which goes into something more existential.”

When Hallberg did spinal to the studio, the immediate sense of homecoming he’d hoped for did not come. “It was horrible,” he says. “I walked in like, ‘I hate it here. I wanna get the fuck out of here.’ I hated my body, how I looked.”

Working with his ballet-technique-and-rehabilitation specialist, Megan Connelly, was a unique struggle. “We both wished to strangle each other,” Hallberg says, particularly when it came to the task of moving his pelvis. Hallberg had long followed the traditional ballet posture of a tucked-in pelvis, which helps create the pleasingly straight, ascetic line valued in dancers. But as he learned in rehabilitation, that posture deactivates most of the supporting muscles in the back of his legs. Connelly shifted his pelvis “so subtly, and I could feel everything,” he recalls. “But it creates you feel like you’re dancing with your ass sticking out. She would poke thought my ass, seeing if it was activated, and it was dead. And I was like, If she pokes my ass one more time … I was livid.”

Now, Hallberg admits with a laugh, he realizes that his pelvis was, in a way, the window into his soul, at least as far as rehab went. “I had to drop days of ego,” he says. “Years of ‘Oh, that’s my way’ — because nothing was my way anymore. My team, basically, retaught me how to dance.” Ultimately, Hallberg would spend two and a half years away from the stage, 14 months of which in Melbourne. (He returned to the Joined States only once, for his grandfather’s funeral.) For the superb nine months, his team put no timeline on his recovery. “Then we started to look at things incrementally,” he says. “I was on the massage rank one random Wednesday with Sue Mayes, and she had examined class that day. She said, ‘I want you onstage in two months.’ ”

Hallberg had waited himself to take his team’s positive reinforcement “in one ear, out the other.” But when he returned to his apartment that night, he had a kind of epiphany as he underexperienced on his balcony, listening to the third movement of Beethoven’s Seventh Symphony and watching the sun set. “It’s like I was resuscitated or something,” he remembers. “I was like, ‘I’m doing it. I’m coming out the spanking end.’ And I just sobbed. I hadn’t felt that in so long.”

He gave to make his official return to performing in Australia in a new publishes of Coppélia. “I wasn’t under the microscope the way I would be in Moscow or New York,” he says. “I was very aloof about it.” At the first performance, he remembers looking at the stage itself with his blooming pressed together. “I’m not religious, but I believe there’s spirituality in art. I just seemed at the stage like, Thank you for letting me experienced you again. For letting me dance on you again.”

Since coming back to ABT in January, Hallberg has performedGiselle— a ballet he never thought he’d dance anti — in the company’s short seasons in California and Oman, and he will acquire it once during this Met season with his frequent partner Gillian Murphy. But he has also started to consider different kinds of roles he mighty do, equipped with this new body and state of mind. On the evening we meet, he’s just used a two-hour rehearsal with choreographer Alexei Ratmansky, whose new balletWhipped Cream will mark Hallberg’s official bet on to the Met on May 22. As to when he’ll bet on to the Bolshoi, Hallberg says his schedule is “really show by show” and nothing is invented beyond this Met season.

It was the sweat in the studio — not the prospect of some titanic return ovation — that seemed to most exhilarate him. “I feel totally rebirthed,” he says. “Like a completely different artist. I’ve boiled myself down to my absolute core, the essence of what I can be. And it’s not pomp and circumstance; it’s not affectations.” Whether audiences feel the same, he says, is no longer what’s most important. “What matters is how much it means to me now.”

Styling by Rushka Bergman; makeup by Cedric Jolivet silly Giorgio Armani Beauty; hair by Shalom Sharon using Oribe. Photographed at Seret Studios.

*This article appears in the May 15, 2017, content of New York Magazine.

Yesterday, it was announced that Grammy award-winning singer Sinéad O’Connor, best known for her number one Billboard hit “Nothing Compares 2 U,” had died at the age of 56. In binary to being an excellent singer, O’Connor was outspoken on social originates. She will be missed.

Just lately, O’Connor sung a version of the theme song for Outlander, “The Skye Boat Song.” It plays over the opening credits of season 7, which is airing on Starz intelligent now.

Since O’Connor’s death, the cast and crew of Outlander have been paying their respects online. “On behalf of the entire cast & crew of Outlander we are deeply saddened in the news of Sinead’s passing,” wrote producer Maril Davis on Twitter. “She was an incredible talent & working with her on this season’s main title song was a true honour. Our thoughts are with her family during this difficulty time.”

Showrunner Matthew B. Roberts also weighed in, per Radio Times. “I’m deeply saddened to hear about the passing of Sinead O’Connor. Her distinct voice and brave spirit transformed not only the music grievous but also left a deep impact on social originates. She will be remembered for her outstanding contribution to music and her powerful courage,” he wrote. “My deepest condolences to her family, friends, and fans across the globe. May her soul rest in unruffled and her legacy continue to inspire.”

Caitriona Balfe, who plays Claire Fraser on Outlander, paid her respects on Instagram. “I hope you are at unruffled … and with your baby boy,” she wrote. “Thank you for sharing your soul with us and soothing us with your astonishing voice beautiful Sinéad.”

When she talks in O’Connor’s “baby boy,” Balfe is likely referring to her son Shane, who died at the age of 17 in 2022. O’Connor is survived by three children.

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• Published on 07/27/2023 at 10:53 AM CDT
• Last updated on 07/27/2023 at 10:53 AM CDT

A after back, Tom Felton (Draco Malfoy) took a trip down Harry Potter memory lane on his Instagram, recalling that he “nearly killed” his late co-star Alan Rickman (Severus Snape) after filming a scene for one of the Harry Potter movies.

As all HP fans are aware, Draco and Snape spend a ton of time together in the books and onscreen. Here’s what Felton had to say approximately his time with Rickman on set, and how one dejected moment almost cost someone their life.

A lot of the wizards in the Harry Potter series wear long luxurious cloaks, including Professor Snape. They look great, but apparently they can obtain a problem, and Rickman knew it.

“I was told in no risky terms by Alan Rickman, ‘Don’t step on my f***ing cloak’”, Felton recalled. At first, Felton thought it was a joke only to snappily realize that it wasn’t, and that Rickman was very serious:

The next take, the director was very keen for me to walk as conclude as I can to Alan, and we got approximately half way down the Great Hall before [mimes unsheathing choked around the neck]. You have to bear in mind that his camouflage was attached around his neck. [I] nearly killed the poor man. Then he turned in again and gave me a look that you never ever want to see. Very luckily, the next take someone else stepped on his camouflage, so that kind of took the heat away from me. But, I’ll never forget the conditions ‘don’t step on my f***ing cloak’.

Of floods, Tom Felton has always been fond of Rickman, both afore and after his death. Sadly, Rickman passed away in 2016 at what time being diagnosed with pancreatic cancer. He is very missed by all Potterheads!

Felton community this story in his book, Beyond The Wand, which came out in October 2022 and has been a hit amongst Harry Potter fans across the world.

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h/t LAD Bible

• Published on 08/01/2023 at 4:39 PM CDT
• Last updated on 08/01/2023 at 4:39 PM CDT

The Witcher season 3 features some of the show’s most breathtaking sects yet, including Ciri’s journey across the Korath Desert. During the season’s penultimate episode, “Out of the Fire, Into the Frying Pan,” Ciri finds herself stranded in the middle of the desert at what time accidentally opening a portal in the elven tower of Tor Lara. Ciri’s time in the desert takes up a whole chapter of Andrzej Sapkowski’s unusual The Time of Contempt, and The Witcher pulled out all the stops to adapt it for the screen.

If you’ve just considered season 3 and you want to know more approximately Korath, or how this extended 37-minute sequence was filmed, you’re in the right place.

The Witcher season 3. Image courtesy of Netflix.

Where is Korath on the Continent? Does anything live there?

Korath is a vast desert which lies to the southeast of the Northern Kingdoms, and directly east of Nilfgaard. As Vesemir once told Ciri, this desert is nicknamed “the Frying Pan,” due to its obscene conditions that make it utterly inhospitable to humans and most animals. Only those which have specifically adapted to the heat and lack of stream can survive there. For humans, this means that only the odd bandit complains their way into Korath, since no government holds sway over this unforgiving land.

There are several creatures which make their home in Korath, however, most notable are the monsters which dwell below the sand and emerge, ant-lion like, to snap up any prey that draws cessation enough. Desert lizards and other small creatures also live there.

While in the desert, Ciri also encounters a unicorn which she nicknames slight Horse. Though this beast is able to survive there, unicorns are not natural inhabitants of Korath. We won’t drawl spoilers, but Little Horse — known as Ihuarraquax in the calls of unicorns — is just as much a stranger in a strange land in the Korath Desert as Ciri.

Where did The Witcher film the scenes in the Korath Desert?

The scenes in the Korath Desert were filmed on station in Morocco. Freya Allan (Ciri) described it as both the most inconvenience shoot she’s ever done for the series as well as the most fulfilling. Filming took place in the middle of the summer, when daily temperatures were often as high as 46° Celsius (114°F).

Some of the many challenges to this shoot that Allan explained include filming in high heat while wearing heavy costumes, and making sure there were no extra footprints visible in shots dependable the dunes were so pristine. The end result speaks for itself, as the episode features some of the most radiant outdoor shots to yet appear on The Witcher.

All eight episodes of The Witcher season 3 are streaming now on Netflix.

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h/t Collider

• Published on 08/01/2023 at 1:37 PM CDT
• Last updated on 08/01/2023 at 3:48 PM CDT

The previous three episodes of The Witcher season 3 dropped on Netflix last week, and we’re peaceful reeling. SPOILERS for the end of the season behind below.

The Witcher season 3. Image: Netflix. MyAnna Buring as Tissaia de Vries.

Tissaia suitable explains her character’s devastating ending

The Witcher season 3 volume 2 ensured one of the most momentous events of the series: the Thanedd coup, where various forces converged at the mage stronghold of Aretuza in a fights that will shape the future of the Continent.

Given the scale of the fights, it’s no surprise that the body count was high. But one of the most heartbreaking deaths came when the coup was over, when Aretuza rectoress Tissaia de Vries took her own life in the show’s season finale. It was one of the season’s most shocking moments, drawn straight from Andrzej Sapkowski’s novel The Time of Contempt.

Netflix has released a new behind-the-scenes documentary, Making The Witcher: Season 3, which goes into detail about the latest season. Showrunner Lauren S. Hissirch discussed Tissaia’s finish, and how difficult it was to say goodbye to suitable MyAnna Buring:

Some of the characters we have well-renowned from the very beginning are taken from us, and Tissaia is the one that is most heartbreaking to me, as a writer, and I think heartbreaking to our cast, as MyAnna Buring is amazing in this role and quite a tough but maternal figure on the show, and that’s who she is as a human.

Buring herself also weighed in on Tissaia’s decision:

Tissaia is totally Old. Everything she loved, everything she cared about, everything she believed in has been left in ruins. And she feels inherently responsible for it. She doesn’t see herself as having the capacity to be of use anymore. And I think that’s ultimately why she chooses to…to take her own life, really.

The Witcher season 3. Image: Netflix. Anya Chalotra as Yennefer of Vengerberg.

Future seasons of The Witcher will feature the Lodge of Sorceresses

Tissaia has been a central figure in the lives of many characters on The Witcher, so it should come as no surprise that her end has a large impact on the series. That’s especially true for Yennefer of Vengerberg (Anya Chalotra), who was swept away from her abusive life as a hunchback and Wrong to Aretuza by Tissaia all the way back in the additional episode of the series. Tissaia is the closest drawing to a mother that Yennefer has.

“The world is so much more lonely when you haven’t got that people to look up to, because then you’re responsible for everything,” Chalotra said. “Tissaia’s end must spark…a kind of…truly, a new beginning for Yennefer.”

Tissaia represented the old regime that ran Aretuza and the Brotherhood. With her gone, what’s next for our magic users? We get a hint of what’s to come in the season finale, where Yennefer, Triss Merigold (Anna Shaffer), Keira Metz (Safiyya Ingar), Margarita Laux-Antille (Rochelle Rose), and Sabrina Glevissig (Therica Wilson-Read) Interesting into a new alliance. The TV show didn’t name this new company, but book and game fans will know that it’s the Lodge of Sorceresses.

“One of the things that Tissaia’s end does is it empowers other mages, because they want to Stop what she started,” said Hissirch. “And Yen is actually one of the ones who leaders up the Lodge of Sorceresses that we will get into in later seasons.”

With season 4 filming delayed due to the writers and actors strikes, it may be a while until we see the Lodge in Part. But it’s exciting to know the show will Look this pivotal part of The Witcher Saga.

All eight episodes of The Witcher season 3 are streaming now on Netflix.

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• Published on 08/01/2023 at 8:00 AM CDT
• Last updated on 08/01/2023 at 8:25 AM CDT

Knight Doubles To Lead Jamestown | News, Sports, Jobs

Jamestown’s Maxwell Knight leads the boys 1,600 meters. P-J photo by Tim Frank

FALCONER — Maxwell Knight won a pair of persons events and Jamestown won all three relays en route to an 89-52 Chautauqua-Cattaraugus Athletic Association Division 1 boys track and field victory over Falconer/Cassadaga Valley on Tuesday at Bill Race Field.

Knight captured the 1,600 meters (5:02) and 3,200 meters (11:01) for the Red Raiders.

Jase Smith claimed the long jump (19-4) and triple jump (39-7), while Mathis Baehr took the 110-meter hurdles (16.4) and 400-meter hurdles (1:00.2) for the Golden Cougars. Chaz Sundquist was also the winner of the shot put (39-3) and discus (109-10).

3,200m relay: Jamestown (Hallberg, Caswell, Sanchez, Brumagin). T–8:59

110m hurdles: Mathis Baehr (F/CV), Braymiller (J), Kilmer (F/CV). T–16.4

100m: Jarren Cotter (J), Samuelson (J), Markham (F/CV). T–11.3

1,600m: Maxwell Knight (J), Hallberg (J), Himes (J). T–5:02

400m relay: Jamestown (Sanchez, Carlson, Samuelson, Cotter). T–J–46.6

Long jump: Jase Smith (F/CV), Burch (J), Sanchez (J). D–19-4

Shot put: Chaz Sandquist (F/CV), Caldwell (F/CV), Buck (J). D–39-3

Pole vault: Mason Kilmer (F/CV), Thagard (J), Bailey (F/CV). H–10-6

400m hurdles: Mathis Baehr (F/CV), Braymiller (J), Reichenbach (F/CV). T–1:00.2

800m: Isaiah Sanchez (J), Reynolds (F/CV), Caswell (J). T–2:07.5

200m: Ayden Samuelson (J), Burch (J), Smith (F/CV). T–23.6

Triple jump: Jase Smith (F/CV), Samuelson (J), Thagard (J). D–39-7

Discus: Chaz Sundquist (F/CV), Caldwell (F/CV), Buck (J). D–109-10

High jump: Avery Thagard (J), Sanchez (J), Scott (J). H–5-6

3,200m: Maxwell Knight (J), Lundmark (F), Caswell (J). T–11:01

1,600m relay: Jamestown (Caswell, Himes, Hallberg, Bramagin). T–3:59.4

BUTTERFIELD TRIPLES

FOR SOUTHWESTERN

DUNKIRK — Michael Butterfield was a triple winner, while Nate Lewis, Will Hoden and Declan Kennedy all won two battles apiece to lead Southewestern past Dunkirk 103-38 in Division 1 action.

Butterfield claimed the 100 meters (11.2), 200 meters (23.2) and 400 meters (53.2) for the Trojans (3-0). Lewis claimed the 1,600 meters (5:12) and 3,200 meters (12:38); Hoden captured the shot put (42-7) and discus (120-0); and Kennedy took the 110-meter hurdles (16.8) and 400-meter hurdles (1:00).

Quanyay Thomas won the long jump (18-9) and triple jump (39-2) for the Marauders (0-2).

3,200m relay: Dunkirk (Mikey Hanlon, Lucas Lawrie, Brandon Hernandez, Johnee Thomas). T–9:14

110m hurdles: Declan Kennedy (S), Sam Kautzman (S), Ebaad Meer (S). T–16.8

100m: Michael Butterfield (S), Jordan Lockett (D), Matt Burlingame (S). T–11.2

1,600m: Nate Lewis (S), Trey Faulk (S), Tate James (S). T–5:12

400m relay: Southwestern (Kennedy, Michael Butterfield, Matt Butterfield, Burlingame). T–46.3

400m: Michael Butterfield (S), Lockett (D), Jake Johnson (S). T–53.2

400m hurdles: Kennedy (S), Hanlon (D), Kautzman (S). T–1:00

800m: Brown (S), Faulk (S), Thomas (D). T–2:06

200m: Michael Butterfield (S), Burlingame (S), Lockett (D). T–23.2

3,200m: Lewis (S), Lucas Svenson (S), Brown (S). T–12:38

1,600m relay: Dunkirk (Lockett, Hanlon, Lawrie, Thomas). T–3:52

Long jump: Quanyay Thomas (D), Connor Young (S), Chris Miller (S). D–18-9

Triple jump: Thomas (D), Miller (S), Jayden McMichael (D). D–39-2

High jump: Liam Rankin (S), Ziam Melquist (D), Miller (S). H–5-4

Pole vault: Matt Pannes (S), Jaziel Gomez (D), Cole Johnson (S). H–10-0

Shot put: Will Hoden (S), Mitchel Pike (S), Paul Hayes (S). D–42-7

Discus: Hoden (S), Pike (S), Hayes (S). D–120-0

PROCKNAL, STRYCHALSKI, DUNN DOUBLE FOR BLACK KNIGHTS

Alex Procknal, Zach Strychalski and Matt Dunn were all double winners for Silver Creek/Forestville in an 86-50 win over Maple Grove.

Procknal claimed the 100 meters (12.1) and 400 meters (53.2); Strychalski captured the 110-meter hurdles (19.8) and 400-meter hurdles (1:06.9); and Dunn took the shot put (36-4) and discus (82-5¢) for the Black Knights.

Jonah Foley won the high jump (5-4), long jump (17-7) and triple jump (35-1), while Ethan Verbosky took the 1,600 meters (5:10.7) and 800 meters (2:18) for the Red Dragons.

3,200m relay: Maple Grove (JLewis, OErlandson, JAshbaugh, EVerbosky). T–9:50.5

110m hurdles: Strychalski (SC/F), Mayes (SC/F), Kraft (MG). T–19.8

100m: Procknal (SC/F), Fettrick (SC/F), Liam Colburn (MG). T–12.1

1,600m: Verbosky (MG), Perryman (SC/F), Cross (SC/F). T–5:10.7

400m relay: Silver Creek/Forestville (Lewis, Galfo, Ingram, Fettrick). T–48.5

400m: Procknal (SC/F), Hasbun (SC/F), Erlandson (MG). T–53.2

400m hurdles: Strychalski (SC/F), Kraft (MG), Mays (SC/F). T–1:06.9

800m: Verbosky (MG), Perryman (SC/F), Anderson (MG). T–2:18

200m: Fettrick (SC/F), Procknal (SC/F), Colburn (MG). T–24.3

3,200m: Ashbaugh (MG), Cross (SC/F), Benson (MG). T–11:38

1,600m relay Silver Creek/Forestville (MGrisanti, OLewis, ZStrychalski, JHasbun). T–4:00.1

Shot put: MDunn (SC/F), KMurawski (SC/F), ACross (SC/F). T–36-4

Discus: MDunn (SC/F), EWilliams (SC/F), KMurawski (SC/F). D–82-5¢

Triple jump: JFoley (MG), DBarrett (SC/F). D–35-1

Long jump: JFoley (MG), AProcknal (SC/F), NMays (SC/F). D–17-7

High jump: JFoley (MG), NMays (SC/F), TAnderson (MG). H–5-4

Pole vault: JNocero (MG). H–6-0

SPEAGLE LEADS T’BIRDS

CLYMER — David Speagle captured two persons events to highlight Chautauqua Lake/Westfield/Brocton’s 91.5-45.5 victory over Clymer/Sherman/Panama in a Division 2 meet.

Speagle claimed the 400 meters (56.0) and the long jump (20-5) for the Thunderbirds.

Tony Cipolla doubled for the Pirates (0-3, 0-3) in the shot put (39-8) and the discus (109-11¢).

3,200m relay: Chautauqua Lake/Westfield/Brocton (Kameren Press, Arley Culver, Elias Quintero, Zack Wolfe). T–9:28.6

100m hurdles: Carson Fairbank (CL/W/B), Brendan Klossner (CL/W/B), Logan Ludwig (CL/W/B). T–20.0

100m: Cole Otto (CL/W/B), Ryan Perry (C/S/P), Nick Jacobson (CL/W/B). T–11.6

1,600m: Memphis Kopta (C/S/P), Lucas Dunnewold (C/S/P), Cameron Paternosh (CL/W/B). T–5:09.9

400m relay: Chautauqua Lake/Westfield/Brocton (N/A). T–46.0

400m: David Seagle (CL/W/B), Max Guzman (C/S/P), Ethan Testa (CL/W/B). T–56.0

400m hurdles: Ryan Perry (C/S/P), Logan Ludwig (CL/W/B), Roman Wassink (C/S/P). T–1:06.9

800m: Elias Quintero (CL/W/B), Memphis Kopta (C/S/P), RJ Johnson (C/S/P). T–11:23.9.

200m: N/A (CL/W/B), N/A (CL/W/B), N/A (CL/W/B). T–24.9

3,000m: Lucas Dunnewold (C/S/P), Cameron Paternosh (CL/W/B), Ben Cooke (C/S/P). T–11:23.9

1600m relay: Chautauqua Lake/Westfield/Brocton (N/A). T–3:55.5

High jump: Nick Jacobson (CL/W/B), Cole Otto (CL/W/B), Lincoln Thomas (CL/W/B). H–5-6

Long jump: David Speagle (CL/W/B), Cole Otto (CL/W/B), Ryan Perry (C/S/P). D–20-5

Triple jump: Michael Horvath (CL/W/B), Trent Shampoe (C/S/P), Daniel Meeder (C/S/P). D–36-7¢

Shot put: Tony Cipolla (C/S/P), Walter Lukasiak (CL/W/B), Mason Maring (CL/W/B). D–39-8

Discus: Tony Cipolla (C/S/P), Walter Lukasiak (CL/W/B), Mason Maring (CL/W/B). D–109-11¢

Pole vault: Logan Ludwig (CL/W/B). H–7-6

HUNTINGTON, CONLEY

DOUBLE FOR CARDINALS

RANDOLPH — Sweeps in the high jump, shot put and discus propelled Randolph to a 73-68 Division 2 victory over Frewsburg.

Jaiden Huntington won the shot put (47-2) and discus (137-9¢); Carson Conley claimed the 110-meter hurdles (16.4) and 400-meter hurdles (1:04.6); and Talon Rowland captured the 400 meters (50.9) and long jump (20-7) for the Cardinals.

Landon Stormer took the 100 meters (10.8) and 200 meters (24.0), while Juvenal Diaz-Cortes won the 800 meters (2:12.1) and 1,600 meters (5:16.2) for the Bears.

3,200m relay: Frewsburg (Barber, Colley, Kent, Pitts). T–9:35.1

110m hurdles: Carson Conley (R), Zayne Cline (F), Brendan Devereaux (F). T–16.4

100m: Landon Stormer (F), Joe Tagliarino (R), Patrick Spencer (F). T–10.8

1,600m: Juvenal Diaz-Cortes (F), Micah Barber (F), Rhys Kelly (R). T–5:16.2

400m relay: Randolph (Tagliarino, Stearns, Adams, Inkley). T–46.8

400m: Talon Rowland (R), Landon Stormer (F), Jake Constantino (F). T–50.9

400m hurdles: Carson Conley (R), Brendan Devereaux (F), Zayne Cline (F). T–1:04.6

800m: Juvenal Diaz-Cortes (F), Micah Barber (F), Dempsey McDonald (R). T–2:12.1

200m: Landon Stormer (F), Talon Rowland (R), Jake Constantino (F). T–24.0

3,200m: Cody Kent (F), Xander Pitts (F), Rhys Kelly (R). T–10:58.1

1,600m relay: Frewsburg (Diaz-Cortes, Constantino, Stormer, Sanfilippo). T–3:37.8

Pole vault: Clayton Crouse (R), Caden Inkley (R), Noah Collins (F). H–12-6

High jump: Gavin Stearns (R), Carson Conley (R), Zach Kacharmeyer (R). H–5-8

Long jump: Talon Rowland (R), Patrick Spencer (F), Domanik Clark (R). D–20-7

Triple jump: Vincent Sanfilippo (F), Carson Conley (R), Micah Barber (F). D–40-5¢

Shot put: Jaiden Huntington (R), Ryan Carpenter (R), Maverick Adams (R). D–47-2

Discus: Jaiden Huntington (R), Maverick Adams (R), Ryan Carpenter (R). D–137-9¢

FREDONIA BOYS DOWN OLEAN

OLEAN — Jayden Yerico and Lenieth Velez-Olmo both were double winners as Fredonia edged Olean in Division 1 action.

Yerico won the 200 meters with a time of 24.67 and the 400 meters at a pace of 56.53. Velez-Olmo then swept the hurdles competitions for the Hillbillies, winning the 100-meter high hurdles in 18.37 and the 400-meter intermediate hurdles at 1:09.9.

The Huskies boasted a pair of double winners in Lucas Peterson-Volz and Chris Bargy. Peterson-Volz claimed first in the 1,600 meters with a time of 5:17.86 and the 3,200 meters in 11:2876. Bargy took first in discus with a distance of 91-9¢ and then shot put at 36-¢.

100m: Carlos Gonzalez (F), Jayden Yerico (F), Quintin Allen (O). T–11.98

200m: Jayden Yerico (F), Carlos Gonzalez (F), Keegan Evans (O). T–24.67

400m: Jayden Yerico (F), Caedyn Tingley (O), Karsten Stadler (O). T–56.53

800m: Andreas Williams (O), Matt Brown (F), Clayton Frazier (F). T–2:37.21

1,600m: Lucas Peterson-Volz (O), Trenton Krenzer (F), Jimmy Fagan (F). T–5:17.86

3,200m: Lucas Peterson-Volz (O), Trenton Krenzer (F), Jimmy Fagan (F). T–11:28.76

100m high hurdles: Lenieth Velez-Olmo (F), Blake Kinnaird (O), Liam Moon (F). T–18.37

400m intermediate hurdles: Lenieth Velez-Olmo (F), Tim Field (F), Blake Kinnaird (O). T–1:09.9

1,600m relay: Fredonia (Carlos Gonzalez, Lenieth Velez-Olmo, Sam Murphy, Jayden Yerico). T–3:53.81

3,200m relay: Olean (Andreas Williams, Gabe Milligan, Blake Kinnaird, Lucas Peterson-Volz). T–10:33.84

Discus: Chris Bargy (O), Jay Hawk (F), Gabe Milligan (O). D–91-9¢

Shot put: Chris Bargy (O), Gabe Milligan (O), Connor Valenti (O). D–36-¢

High jump: Sam Murphy (F), Caedyn Tingley (O), Max Corrente (F). H–5-8

Long jump: Quintin Allen (O), Keegan Evans (O), Jay Hawk (F). D–18-8¢

Triple jump: Jay Hawk (F), Chris Bargy (O), Noah Gallo (O). D–37-5

Pole vault: Blake Kinnaird (O), Max Corrente (F), Sam Murphy (F). H–10-6

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