Latest news with #BusStop
Toronto Star
a day ago
- Automotive
- Toronto Star
With Cup playoffs at stake, controversial limits of rough driving could be tested again at Richmond
Todd Gilliland (34), right, and Carson Hocevar (77) leave the Bus Stop during a NASCAR Cup Series auto race in Watkins Glen, N.Y., Sunday, Aug. 10, 2025. (AP Photo/Seth Wenig) SW flag wire: true flag sponsored: false article_type: : sWebsitePrimaryPublication : publications/toronto_star bHasMigratedAvatar : false :
RTÉ News
28-06-2025
- Entertainment
- RTÉ News
Co. Meath band Spearside cover Gary Numan classic on new EP
Co Meath psych hardcore band Spearside have covered Gary Numan and Tubeway Army's seventies synth pop classic Are 'Friends' Electric on their new EP, Hatchet Man. The EP also includes new songs Hatchet Man, Planning Our Escape, and All The Same and is out now on Kill Cool Records. Speaking about the meaning and influences behind the new release, Spearside's vocalist, guitarist and drummer Oisín Walsh said, "While you wait for the axe to drop, he bides his time. He does not live by our codes, does not abide by our ways. "He is a liminal figure. Nameless, faceless, he goes about his work mercilessly and efficiently. He does not enjoy it. "He has never felt joy. He gets dirty so they stay clean. He is the Hatchet Man. Spearside are all things punk - energy, volume, passion, abandon. Perhaps they are the true hatchet men, perhaps you are too?" Oisín is joined in the band by his brother Cian Walsh (vocals/bass) and the band produces all of their music from their own home studio in Trim, Co. Meath. Their previous singles include Bus Stop, Crack In Your Brain, Not Up To Much, Trendsetters, and Passion Merchant and they are currently putting finishing touches to their debut full-length.
Time of India
23-06-2025
- Politics
- Time of India
Velachery FOBs turn anti-social elements' den
Chennai: Would you use a zig-zag foot over bridge (FOB) with multiple steps and long footpaths to cross a road when a pedestrian-friendly signal is just a few steps away? Probably not—unless you're there for an early morning workout or a casual hangout. Tired of too many ads? go ad free now This is exactly the case with the two FOBs located on Velachery–Taramani Link Road — one near the Baby Nagar Bus Stop and the other adjacent to the Taramani 100-Feet Road Bus Stop. The FOBs were inaugurated 10 years ago by former chief minister J Jayalalithaa as part of a 30 crore project to "ease congestion" on the road, but both now wear a deserted look. They are dysfunctional and have turned into an anti-social den, with alcohol bottles and cigarette butts strewn around. The escalators do not work either. "Most pedestrians directly cross the road using the two nearby signals. Youngsters even jump across the median barriers. The footfall declined further after the escalators stopped working," said Selvi, who runs a shop near Baby Nagar Bus Stop FOB. Pedestrians flagged redundancy of the bridges, citing their complex design and long access paths. Claiming that traffic is usually manageable in the area, they said crossing at the signals was quicker and less tiring. With poor upkeep and diminishing utility, residents also raised concerns about safety and sanitation. "At night, people sleep along the path with cigarettes and beer bottles," said Ganesan, a resident of Velachery. Residents say it's better to demolish the FOBs so that the pavements can be reclaimed. However, these underused structures continue to receive funds and official backing. "People will start using the bridges once the escalators become functional. Tired of too many ads? go ad free now Do you want us to demolish them just because they are not used?" asked Velachery MLA J M H Aassan Maulaana. The govt has plans to revive them. "We are planning to repair the escalators through the Comprehensive Road Infrastructure Development Programme. The budget will be finalised soon," said Murugan, highways assistant engineer. "FOBs are a bad idea. These structures end up giving priority to cars while forcing pedestrians to climb and cross," said Sumana Narayanan of Citizen Consumer and Civic Action Group.
New York Times
20-05-2025
- Entertainment
- New York Times
‘Bus Stop' Review: Travelers Find Shelter From a Storm
When a blizzard strands stagecoach passengers in a lodge in Quentin Tarantino's 'The Hateful Eight,' violence and mayhem erupt. Death looms. Eight people are also marooned by a snowstorm in William Inge's 1955 play 'Bus Stop,' but what looms for them is life: Some take stock, others try to figure out what awaits. Best known for its movie adaptation starring Marilyn Monroe, 'Bus Stop' isn't seen much in New York these days, so Classic Stage Company, the National Asian American Theater Company and Transport Group should be thanked for this revival. The director Jack Cummings III staged Inge's 'Come Back, Little Sheba' and 'Picnic' in repertory for the Transport Group in 2017, and is familiar with the delicate bard of the Midwest, whose deceptively plain work captures the lives of working people. The most consequential decision here is to forgo amplification, creating a sense of intimacy at the Kansas diner where four bus passengers and their driver (David Shih) wait out the weather. The diner's owner Grace (Cindy Cheung) and a waitress, the high school student Elma (Delphi Borich), are used to parades of customers, but maybe not for such extended stays. Conversations stop and start as the visitors chat among themselves and with the locals, who include the sheriff, Will (David Lee Huynh). Elma, for example, is fascinated by Dr. Gerald Lyman (Rajesh Bose), a former professor whose flowery verbiage evokes a broader, more literate world than hers — and a more perverse one, too, as he has a taste for underage women. But the most striking of the newcomers is Cherie (Midori Francis), a nightclub singer who has been whisked away by Bo (Michael Hsu Rosen), a smitten young cowboy who plans to take her to his Montana ranch, whether she likes it or not. The story line is rattling to a contemporary audience. But the beauty, humanity and complexity of Inge's writing is that he makes us understand what drives Bo and, even more important, who Cherie is, and why she stays with Bo. Both naïve and wise to the ways of the world, she has been 'goin' with guys' since she was 14 — 'down in the Ozarks, we don't waste much time,' she says. Delivering the show's standout performance, Francis illuminates how Cherie realizes that she may have met someone who not only cares about her, but also doesn't mind what she had to do to survive. A performance of 'That Old Black Magic,' backed by Bo's friend, Virgil (Moses Villarama), on guitar, hits the right balance of awkwardness and sincerity: This Cherie is not wanting for pity or deserving of laughter. (Unfortunately, Rosen is not as assured as Bo, making the relationship more imbalanced than it should be.) Because the actors are not miked, they feel close to one another and to the audience. We feel as if we, too, are in the diner with them, especially when they talk at the counter or at a table. Cummings also suggests a kind of stasis, as if the roadside restaurant were a self-contained parenthesis outside of time and space. There is talk of the howling winds outside, but we don't hear them (the production does not have a sound designer), making the diner feel cut off. That directorial decision mostly works, but Cummings is on shakier ground when dramatizing the space itself. In scenes involving only two or three characters, the others often stare blankly, just sitting or standing there. This is at odds with the verisimilitude of the natural voices and saps the show of dramatic tension. It doesn't help that the set (by Peiyi Wong) and lighting (by R. Lee Kennedy) lack a sense of atmosphere and the cowboys' shirts and jeans are distractingly crisp (costumes by Mariko Ohigashi). Inge's main subjects are usually said to be loneliness and the search for connection. 'Bus Stop' has something else: Its examination of masculinity is particularly perceptive about the way it can instill feelings of inadequacy and shame, but also a quiet confidence. This production might not hit all the play's grace notes, but I'm still glad it pulled over for a while.
