Latest news with #BlackMilk
Scottish Sun
13-05-2025
- Business
- Scottish Sun
Krispy Kreme fans go wild for new pistachio doughnut after Brits demanded it be brought to UK
Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) KRISPY Kreme has delighted its fans by bring a sought-after flavour to the UK. The American doughnut brand was hounded by its UK customers to introduce the Pistachio Overload flavour that had already hit stores in Australia. Sign up for Scottish Sun newsletter Sign up 5 Krispy Kreme has delighted UK and Ireland customers Credit: PA 5 It has launched the new flavour Pistachio Overload Credit: Facebook/Newfoodsuk 5 The flavour first went viral in Australia Credit: Black Milk Krispy Kreme told The Sun that "Brits begged the brand to bring the new flavour to the UK after seeing the delicious nutty treat go viral in Australia last month." Not only has Krispy Kreme brought the flavour from Australia to the UK, it teamed up with a British company to produce the yummy taste. The Pistachio Overload doughnut officially made it into stores on Monday (May 12), but was available at Krispy Kremes in Manchester a day earlier. That was due to the fact Krispy Kreme had teamed up with the Mancunian brand, Blackmilk, to create the iconic dessert. Blackmilk's beloved Pistachio Cream spread is being used in the baking of the new doughnut flavour. The green delight is topped with the Blackmilk cream, a white chocolate drizzle and candied pistachio nibs, while Krispy Kreme's trademarked pistachio cream fills the doughnut. Krispy Kreme confirmed to The Sun that Pistachio Overload will be available for £3.49 in all UK and Ireland stores until May 25. It will land in Tesco UK branches on May 19 until May 25. The UK shop that top star says should be on 'UK Heritage List' - as it's better than the Eiffel Tower Krispy Kreme announced the doughnut's arrival on social media and said it hoped the news would make up for the April Fools' joke it had played on its followers. On April 1, the brand posted a "message" from its managing director saying that after 87 years, it would be discontinuing its famous glazed doughnut. The joke letter said the decision had been made in order to create space for the reintroduced, raspberry glazed doughnut. The jam-filled treat was first discontinued in November 2024, causing a stir among sweet-toothed customers. Even Alison Hammond begged the brand not to axe her favourite flavour on ITV's This Morning. The flavour is back by popular demand thanks to a nationwide public vote - dubbed "The Great Doughbate". This poll took place in Krispy Kreme shops and across social media between March 17 and 23. Fans were given the opportunity to decide which discontinued favourite flavour to bring back. The Glazed Raspberry was pitted against another fan favourite, Chocolate Custard. However, the fruity flavour won out with the British public, receiving 66% of the total votes. 5 Krispy Kreme teamed up with British brand Black Milk to create the doughnut Credit: Black Milk
New York Times
26-03-2025
- Entertainment
- New York Times
Review: Can Hubbard Street Dance Chicago Find a New Voice?
The lights go up on two dancers, each isolated in a zone of light. As the two trade moves and trade places, recognizable elements keep recurring: the side-to-side head isolations of Indian dance, a duck walk from vogueing, a hip-hop crotch grab. The ingredients are familiar, but the combination is novel. Such is 'A Duo,' the most exciting of three New York premieres on Hubbard Street Dance Chicago's program at the Joyce Theater this week. Under the leadership of Linda-Denise Fisher-Harrell since 2021, the company still seems caught in the international-style conformity that has restricted it in the past. Previous directors had been connected to Nederlands Dance Theater and beholden to its aesthetic. They tended to program the same modish choreographers as seemingly every other repertory troupe. By the evidence of this program, Fisher-Harrell has not rejected that legacy. The bill starts with a work by the ubiquitous Ohad Naharin (the only selection not new in New York) and ends with one by the Nederlands alum Johan Inger. All the way through, what's most entertaining feels slight. But along the way come intimations of something fresh and distinctive. The choreographer of 'A Duo' is Aszure Barton, the company's resident artist. The opening night cast, Shota Miyoshi and Cyrie Topete, performed with sass and flair. What makes the piece work, though, is the music: tracks by the Catalan musician Marina Herlop that mix rhythmic syllables of the Indian Carnatic tradition with her own made-up vocalizations; it's an ersatz sound turned original. Barton's choreography matches every detail in the music with precision, and her own collage of borrowings and personal eccentricities becomes persuasive. The Naharin selection is a vintage one, 'Black Milk' from 1990. It's a primitivist ritual set to the driving yet circling marimba loops of Paul Smadbeck. Five men, shirtless in culottes, mark themselves with a dark, muddy liquid from a bucket, then process in a bouncy march or leap up and out in closely overlapping order. The work has a master choreographer's clarity but not yet a unique voice. 'Into Being,' the wispiest of the premieres, is by Alice Klock and Florian Lochner, a choreographic duo that came together as members of Hubbard Street and now goes by the name Flock. Their style involves non-gendered partnering and cat's cradle formations based on an end-over-end tumbling that can resemble, in blurred approximation, capoeira or contact improvisations. Flock seems to be after a gentle flow, but the result is an energy that doesn't make it through the body and out; everything ends up limp. No such problem troubles Inger's 'Impasse,' a high-energy, crowd-pleasing closer. Inger's scenic design begins with a house outlined in tubes of light. From the house's door emerges Simone Stevens, an ingenuous country girl greeting the day. Two pals join and mirror her in cavorting, but then people of a different sort slink out from the door: confident cool kids dressed in fashionable black. The cool kids, ferociously led by Topete, impose their style and install a smaller house in front of the first. From that house spills a showgirl, a lounge singer, Max from 'Where the Wild Things Are' and a sad-scary clown. All join in on the antics, playing chicken with dancers seated on other dancers' shoulders or everyone doing a pony step together. Inger is clever with trick moves, as when the original three dancers get into a linear loop, two swinging the third by a leg before the third gets back in line to swing the next. Tracks by the Lebanese-French trumpeter Ibrahim Maalouf support Inger's escalating structure with another eclectic mix: now Balkan, now Levantine, now Latin. Inger's message, pitting the perils of peer pressure against the power of community, is spelled out all too clearly in a program note as well as acted out onstage. But the self-pleased, knowingly manipulative tone — Topete repeatedly poking her head out of the door and yelling 'Wait!' — is itself an impasse. It kept me at a remove from full enjoyment. Giving their all to Inger's synthetic style, the Hubbard Street dancers look like kids playing dress up, not entirely at home. For a super-skilled company that I hope is growing out of its old conforming ways, that slight disconnect could be a good sign.
Express Tribune
13-03-2025
- Entertainment
- Express Tribune
On solidarity as solace: Echoes of Celan in Almadhoun
Almadhoun on Celan's 'black milk': drawing a line between the trauma of the Holocaust and the Palestinian struggle. Upon news of No Other Land's (2024) Oscar win, I am thinking of Black Milk. Of Ghayath Almadhoun, Palestinian poet born in a refugee camp in Damascus, now living in Sweden, and of Paul Celan, French poet born in Romania, survivor of the Holocaust. Where the two co-directors, Basel Adra and Hamdan Ballal, work together to highlight the differences between the current lived realities of the Israeli and the Palestinian, the poets work together to reiterate the role of the European in all this oppression– then, against the Jew, now, against the Palestinian. If No Other Land shows that there is the possibility of brotherhood between the two supposed enemies, the poems tell us that this brotherhood is a recognition of what it means to be belittled to a camp, but at different points in time. Celan's poem Death Fugue speaks of and from the concentration camp, and Almadhoun's Black Milk of the refugee camp and the guilt-ridden world outside it. Almadhoun not only remembers Celan, naming his poem after Celan's strongest image in Death Fugue, but also identifies with him, hears him call to Almadhoun, and draws upon his experience (and the language used to describe that experience) to make sense of his own present. He writes: 'And Paul Celan emerged from the River Seine And with his wet hand tapped me on the shoulder And in a trembling voice whispered in my ear Don't drink the black milk Don't drink … the black… milk Don't drink Don't And disappeared among the groups of Syrians marching northwards.' What is the 'black milk' and why is Celan advising Almadhoun not to drink it? Celan begins his poem with, 'Black milk of morning we drink you evenings // we drink you at noon and mornings we drink you at night // we drink and we drink.' This is repeated at the beginning of all four stanzas, clearly enunciating for us the repetition of a miserable routine. All the mornings and nights are being drunk before they even arrive. He speaks of a man who 'plays with the snakes' and 'whistles his jews to appear let a grave be dug in the earth,' pointing to the very cruel, fascist treatment of Jews. So then of course it makes sense that Almadhoun is remembering Celan as the guilt of leaving his country is overwhelming him. He first mentions Celan in the poem with an explicit comparison, a blatant display of the repetition of history: 'and my European friends withdraw from me quietly, and I remember how the Europeans withdrew from their Jewish friends seventy years ago, and I remember the black milk. And I try not to remember Paul Celan.' Why does Almadhoun pick Celan, out of all people, knowing his Jewish identity, when so much of his trauma and conflict with identity is a direct result of attack, apartheid, and oppression at the hands of Israel? It serves as a reminder that a lot of war-related traumas and memories are similar, no matter the identity. Cathy Caruth, in her 'traditional trauma theory,' suggests that 'history fails to adequately represent traumatic events such as war or genocide, since any representation is a type of fiction.' This begs the questions: what is adequate representation and to what extent does it matter? Criticism of Caruth by feminist, race, and postcolonial theorists argues regarding the social and cultural implications of trauma. For example, J. Brooks Bouson, in Quiet As It's Kept (2000), writes about the portrayal in Toni Morrisson novels of trauma carried out by racist institutions and practices. These are systemic events and actions that have universal impacts on the oppressed groups. Almadhoun, being an Arab and coming from a country targeted by the Israeli Jew, empathizes with a Jewish man and uses his experience as a lesson and reminder that Almadhoun's refuge in a foreign country for safety is reasonable no matter the associated guilt, as he knows they both have faced similar traumas. There is a resonance with an identity he is supposed to dislike, nowhere near the resonance he feels in the present with European people around him. In fact, the closest his European friends come to relating to his trauma is when they 'fantasize' about the Twin Towers 'collapsing.' Almadhoun and Celan, who share more tangible and bodily consequences, are hence united in their intense emotions of loss, guilt, and conflict in identity. Remembrance of the Holocaust and the vile treatment Jewish folks have been subjected to in history can look like the justification of an Israeli occupation in the present, or it can look like solidarity and carrying lessons from the past. Black Milk brilliantly draws connections between a Palestinian present and Jewish past, and through No Other Land, we see that the Jewish past is no longer the Jewish present. The need for a land for Jews does not look the same today as it did seven decades ago. It never should have come at the cost of the Palestinian people, but especially now, as we witness this genocide, the imbalance is glaring at us. We must empathize with the reality of Jews during the Holocaust, and may even derive solace with current realities through it as Almadhoun does, but we must not take that to mean that history is present. If history is bleeding into the now, it is in the ways that colonization is persisting, in the ways that the white man maintains his position at the expense of thousands. To achieve real brotherhood, real solidarity, real camaraderie, systems that have brutalized over and over, from one victim to the next, need to disintegrate. What we can identify so easily in history and present is the ever-common denominator – the backhand of the white man. It is imperative that Israeli citizens are able to recognize that their present-day reality is not what it was 75 years ago, and their state is only a medium that fulfills the white man's dream.
Chicago Tribune
14-02-2025
- Business
- Chicago Tribune
Afternoon Briefing: Kane County sheriff blames bail reform for increase in jail population
Good afternoon, Chicago. A former lobbyist for an Illinois environmental organization has filed a lawsuit against her former employer for pregnancy discrimination, alleging the organization's executive director told her not to have a baby during the legislative session and ultimately fired her when she was eight months pregnant. The lawsuit was filed by Lisa Koerner against the Illinois Environmental Council, an advocacy group that lobbies for environmental causes. Koerner worked as the group's government affairs director from June 2023 until she was terminated in February 2024, according to the lawsuit. Here's what else is happening today. And remember, for the latest breaking news in Chicago, visit and sign up to get our alerts on all your devices. Kane County sheriff says Illinois bail reform to blame for increase in jail population and arrest warrants At the Kane County Board Committee of the Whole meeting, Sheriff Ron Hain said the state's new bail reform is to blame for recent public safety data that shows an increase in the county's jail population and arrest warrant entries. Read more here. Can suspending a cage-free egg law solve the soaring price problem? Nevada takes a crack at it Back when egg prices remained securely under $2 a dozen in 2021, Nevada joined several other states concerned about animal welfare in requiring cage-free eggs. Read more here. Notre Dame reportedly hiring Detroit Lions executive Mike Martin as its football GM Mike Martin would join the Irish after two decades in scouting and personnel in the NFL. He spent four seasons with the Detroit Lions. Read more here. Review: Hubbard Street Dance is back on familiar ground for its winter series It's not a time capsule. Hubbard Street Dance Chicago's revival of Ohad Naharin's 'Black Milk' after more than 20 years in the vault is more a wink and a nod. Read more here. More top Eat. Watch. Do. stories: 30 things to know about 'Saturday Night Live' ahead of the 50th anniversary special
Chicago Tribune
14-02-2025
- Entertainment
- Chicago Tribune
Review: Hubbard Street Dance is back on familiar ground for its winter series
It's not a time capsule. Hubbard Street Dance Chicago's revival of Ohad Naharin's 'Black Milk' after more than 20 years in the vault is more a wink and a nod. After several seasons dibble-dabbling across the aesthetic spectrum — from Bob Fosse to Aszure Barton and everything in between — the Winter Series on now at the Harris Theater returns to familiar ground. That's not to say the Hubbard Street of 2002 was somehow better; rather, artistic director Linda-Denise Fisher-Harrell projects confidence in the 47-year-old institution, as if to say, 'Yeah, we still do that, too.' Naharin first created 'Black Milk' in 1985 for Israel's Kibbutz Contemporary Dance Company, later adding it to a compilation of seven dances called 'Minus One.' It's miles away from 'Minus 16,' Hubbard Street's first-ever acquisition by the ground-breaking choreographer, which propelled the company into a new era near the end of founder Lou Conte's tenure as artistic director. 'Black Milk,' acquired two years after 'Minus 16,' is pre-Gaga, the counter-technique Naharin developed, which has informed decades of dancemaking. Here, he draws from his background in the Martha Graham Dance Company and even the School of American Ballet, asking much of 'Black Milk's' five bare-chested dancers (which on Thursday included Aaron Choate, Elliot Hammans, Jack Henderson, Andrew Murdock and David Schultz). 'Black Milk' is thus just as hard as anything else Naharin's made, if less idiosyncratic — the stoicism of those techniques busted open with a deep-kneed, guttural vocabulary and thrilling partnering. Then there's the symbolism. Naharin offers little context apart from a silver pail of dark sludge methodically smeared across the dancers' faces, chests and thighs. Schultz is the quasi-protagonist, here, often moving separately from the rest, seemingly resistant to indoctrination into whatever discipleship they're apparently part of. By turns elegant and feral, there's a sense these dancers have each other's backs, even as Schultz breaks away to wash himself clean. But the vibe is more 'Get up, you fool!' than 'You got this, friend.' It's a piece that's aged well, even when put against three striking others from the 'now.' James Gregg makes his Hubbard Street debut with the evening's only world premiere, called 'Within the Frame.' The title is both a literal and figurative exploration, with four dancers spending most of their time confined to a square, white section of floor acting as the quartet's sandbox. They're rarely onstage altogether; Gregg was originally tasked with making a duet but apparently couldn't help himself. Indeed, 'Within the Frame' doesn't feel particularly communal in the way long, deep engagements do. Rather, it comes across more like the solidarity and community felt among strangers on a train — people with a common goal and, maybe, nothing else in common. Gregg prescribes periodic breaks from his luscious phrases; the dancers to step out completely or simply turn away and put their hands in their pockets. (Pockets! In dance costumes!!). Gregg's boundary-busting aesthetic draws from a wide variety of styles, honed from a storied performance career that started in Chicago. In a way, 'Within the Frame' interrogates that collection of experiences spanning jazz, contemporary, hip hop and vogue, but it's not navel-gazing. It feels for and about the quartet (Dominick Brown, Choate, Michele Dooley and Cyrie Topete), who thrive in 'Within the Frame's' gorgeous, monochromatic environment — pro forma for Gregg — built by Slick Jorgenson (lighting) and Hogan McLaughlin (costumes) and surrounded by a similarly multilayered score by Ben Waters. Hubbard Street alums Alice Klock and Florian Lochner, collectively called FLOCK, crafted 'Into Being' last year for Hubbard Street's series at the MCA. Somehow, in the cavernous-by-comparison Harris Theater, it feels more intimate, perhaps because of its placement in an otherwise chilly, mostly black-and-white program. 'Into Being' radiates complexity and warmth, and not just because of the bronze and gold separates its five dancers wear. It's also our first real glimpse at dancer Bianca Melidor, an expat of Dallas Black Dance Theatre who joined the company this fall. Though early in her career, Melidor already brings a wealth of maturity and nuance to her long, luxurious solo, a mirage placed midway through FLOCK's mostly meditative, meticulously crafted world. Then there's 'Impasse,' a fantastically wacky full company piece closing the program. Like 'Into Being,' 'Impasse' premiered at Hubbard Street last year and hasn't yet gotten the play time it deserves. Part jazz funeral, part 'Appalachian Spring,' Inger sends Schultz, Henderson and Simone Stevens in and out of a 2-D house positioned upstage multiple times. They seem shocked — appalled even — by what they encounter, which gets weirder every time: a mob of black-clothed people who seem to be having a better time than them, then a grab-bag of bizarre characters ranging from a crowned shirtless prince to a clown that's a little too close to Rob Zombie's Captain Spaulding for comfort. Maybe it's Narnia. Or perhaps what Alice finds beyond the looking-glass. Whatever it is, it's fleeting. A white-streaked black backdrop descends on this wonderful world, forcing our three adventurers to squeeze underneath, barely managing to escape. It's not immediately clear why they'd want to leave such a weird and wonderful joy bomb, a hesitancy sure shared by every audience member that night. Lauren Warnecke is a freelance critic. When: Through Sunday Where: Harris Theater for Music and Dance, 205 E. Randolph St. Originally Published: February 14, 2025 at 11:19 AM CST
