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The lady sitting in the chair is Ariana, a member of the Bulls' dance team -- the Luvabulls, get it, its like they're lovable but also the word "Bulls" is in it -- and the person walking towards her is an inflatable version of Benny the Bull. OR IS IT:

The Chicago Bulls mascot is Benny the Bull. Benny is a red bull who wears a white jersey with the Bulls logo on it. He is known for his high-energy antics and his ability to entertain crowds. Benny was first introduced in 1969 and has been a part of the Bulls organization ever since. He is one of the most popular mascots in the NBA and is loved by fans of all ages.

Benny has bright red fur with large eyes, a tan snout, horns with red tips, a black and furry uni brow, orange and pink hair, a long red tail and black gloves with red fur on the back. Benny wears an authentic uniform (road red/black and home whites) and team-appointed athletic shoes. His jersey bore the name "Benny" above the number "1" on the back. From 2004 to modern times, the pupils of his eyes have gotten larger. Benny sports several different costumes based on the theme of the game as well as his overall "mood". His collection consists of a traditional Santa suit, an Latin/salsa suit, a black and a white tuxedo for classy events, a grim reaper hood, multiple plaid jackets, a green version of the regular uniform along with a leprechaun outfit for St. Patrick's day (that also comes with his red fur switched to green, or for a recycling campaign), Elvis Presley garb, and a large amount of other appearances.

To a considerable degree, the James H. Howard papers consist of manuscript copies of articles, book, speeches, and reviews that document his professional work in anthropology, ethnology, ethnohistory, archeology, linguistics, musicology, and folklore between 1950 and 1982. Among these are a few unpublished items. Notes are relatively scant, there being somewhat appreciable materials for the Chippewa, Choctaw, Creek, Dakota, Omaha, Ponca, Seminole, and Shawnee. The chief field materials represented in the collection are sound recordings and photographs, but many of the latter are yet to be unidentified. A series of color photographs of Indian artifacts in folders are mostly identified and represent the extensive American Indian Cultural collection of costumes and artifacts that Howard acquired and created. Other documents include copies of papers and other research materials of colleagues. There is very little original material related to archeological work in the collection and that which is present concerns contract work for the Lone State Steel Company.

Theatre Review by Matthew MurrayPerfection, if never achievable, is forever to be strived for, whether in ahome or in a musical. Certainly, the Fringe Festival production of Martha &Me isn't perfect, but like any given Thanksgiving dinner, what's there andin abundant supply is well worth savoring even if what's missing would helpmake it an ideal meal.For the show, what's there are a handful of good songs (by Robert Rokicki),the foundation of a fine book (by Sunny Dahlia Turner), strong direction (byAdam Levi), appropriate design elements (Olenka Denysenko designed the set,Sarah Greene the costumes, and Scott Earley the lights), eight excellentsupporting actors bringing believable life to some quirky roles, and onetruly glimmering star performance. There's even topical subject matter; theMartha of the title is domestic diva Martha Stewart, who faced criminalindictment last year and was convicted and sentenced earlier this year. The exact nature of her legal problems is never relevant to Martha & Me, nordoes Stewart appear as a character. What matters is the effect she has onpeople and the way they live their lives, though it's difficult at first totell if the effect on Betsey Parsait (Jennifer Allen) has been positive ornegative. She runs her life according to Stewart's strict guidelines, whichhas taken quite a toll on her family and friends, and this only intensifiesas they all gather at her house for Thanksgiving dinner. As the stresses of Thanksgiving begin, Betsey's obsession- and the way she deals with (or rather doesn't deal with) her problems -begins to haunt her: She's having marital difficulties with her husbandJohn (Edward Prostak), she can't appropriately listen to her conflictedolder son Jack (Ryland Shelton), or even see - until it's too late - thatPeter and Jenny Harrison (Eric Millegan and Kimberly Mahon), invited fordinner to spare them a traumatic holiday with their divorcing parents, arecausing the fragile Parsait family to crack apart at the seams.There are a lot of conflicting and overlapping stories here, yet Turnertangles and separates them in masterful, surprising, and often humorousways, though she's also capable of finding real depth in the characters'interactions. (The Betsey-Jack relationship is particularly strong.)Unfortunately, juggling nine characters sometimes taxes Turner a bit, and afew of her creations - particularly Uncle Joe (Larry Swansen) and Missy andTom Stevens (Bobbi Owens and Ernest Williams, Jr.), bickering friends ofJohn's - have comparatively little to do.At least Rokicki's given everyone plenty to sing. His songs recall aneclectic mix of William Finn and Jerry Herman, intelligently composed,dramatic or funny as necessary, and strongly integrated into Turner's book.(The musical director and arranger is Caren Cole.) If he doesn't succeed atdefining every character musically, when he hits, he scores a bull's-eye:The exquisitely operatic first act finale, and the song he's written for theotherwise minor Missy, an hilarious paean to the man she can't stand, butcan't stand to be without, are both brilliant creations. (The latter is amodern riff on "Can't Help Lovin' Dat Man," but stands solidly on its own.)The performances all gleam with professionalism, with Shelton and NickGabriel (playing Jack's brother, Benny) stand outs in their roles, bringingyouthfulness and endearing confusion to two young men at major turningpoints in their lives. Millegan and Mahon are also an absolute hoot as thebattling Harrisons, Mahon scoring one of the comic coups of the year whenher Julie repeatedly accuses Peter of turning everything he touches gay. But Allen drives the show with her commanding performance; she'smeticulously concocted a character as you're likely to find in a Broadwaymusical today. Simultaneously looking like she just stepped out of TheStepford Wives and seeming like the woman next door, Allen turns anever-so-slight turn of a can of cranberry sauce into a showstopping comicevent, and signals a complete psychological breakdown with nothing more thana quavering cheek. And her knockout voice is equally as suited todelivering a quasi-religious hymn to her idol as it is to raising therafters with a "Rose's Turn"-style 11-o'clock number.It's only during this number that the show overcomes its most significantproblem: a lack of size. Though dealing with deceptively serious themes(self-acceptance, coping with a painful loss, facing the world as it reallyis), there's never another moment Martha & Me doesn't feel perilously small,with things never seeming as important to us as they do to the show'scharacters. Turner and Rokicki just haven't found an effective way to makethis musical sitcom into a true musical comedy.But tightening up the book and score are real possibilities, and even if theshow's ideal shape hasn't been found, everyone's on the right track. IfMartha & Me doesn't feel quite ready for Broadway or even a commercial run,it at least has all the potential makings of a very, very good thing._____________________________International Fringe FestivalMartha & Me: A MusicalThrough August 29Running Time: 2 hours, with one 15-minute intermissionLinhart Theatre at 440 Studios, 440 Lafayette Street, 3rd floorSchedule and Tickets: 212.279.4488 Share: 041b061a72