DOCSLIB.ORG

KANSAS: POINT of KNOW RETURN TOUR COMES to the BROWARD CENTER Sextuple-Platinum Album to Be Performed in Its Entirety in Final Stop of the First Leg of the Tour

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KANSAS: POINT of KNOW RETURN TOUR COMES to the BROWARD CENTER Sextuple-Platinum Album to Be Performed in Its Entirety in Final Stop of the First Leg of the Tour November 16, 2018 Media Contact: Savannah Whaley Pierson Grant Public Relations 954.776.1999 ext. 225 Jan Goodheart, Broward Center 954.765.5814 KANSAS: POINT OF KNOW RETURN TOUR COMES TO THE BROWARD CENTER Sextuple-platinum album to be performed in its entirety in final stop of the first leg of the tour FORT LAUDERDALE – America’s preeminent progressive rock band, Kansas performs its landmark album Point of Know Return in the Au-Rene Theater at the Broward Center for the Performing Arts on Saturday, December 15 at 7:30 p.m. The tour features more than two hours of classic Kansas music including hit songs, deep cuts and songs never before performed live. Containing the smash hit and million-selling single “Dust in the Wind,” along with fan favorites such as “Portrait (He Knew),” “Closet Chronicles” and “Paradox,” Point of Know Return became the band’s greatest selling album. The concert at the Broward Center is the final stop on the first leg of the tour that premiered September 28 in Atlanta. Kansas will be touring select cities in the United States and Canada next spring, expanding the celebration of the 40th Anniversary the hit album. In 1977, KANSAS followed up the success of Leftoverture by releasing Point of Know Return, which peaked at No. 4 on Billboard’s Album charts, reached sextuple-platinum status with more than six million copies sold and had three Billboard Hot 100 singles. “After the success of the album Leftoverture, it was hard to imagine when we released Point of Know Return that this album would be even bigger, but it was,” comments Kansas guitarist, and original member, Richard Williams. “From the album artwork to the song ‘Dust in the Wind,’ the album Point of Know Return is really ingrained in rock and roll history and even in popular culture. For two years we played around 80 select shows performing the album Leftoverture in its entirety. We have been blown away by the positive fan response. Our hope is that fans will enjoy this Point of Know Return Tour just as much, and hopefully even more! So far, that has been the case and we hope to continue it!“ Kansas lead vocalist Ronnie Platt adds, “I often joke that I cannot be in charge of putting together a set list, because there are too many songs that I really want to perform. These shows, though, will be about as close as it gets. Of course, there will be hits like ‘Carry On Wayward Son,’ but to know we will be performing songs that Kansas has not performed live for twenty or thirty years, or even ever, that is just really exciting. It is going to be a lot of fun.” Tickets are $25 – $125 with $120 JetBlue Flight Deck on the Club Level tickets and $235 – $285 VIP packages that include a meet and greet, premium seating and other exclusives. Ticketmaster is the only official ticketing service of the Broward Center, Parker Playhouse and affiliated venues. Buy tickets online at BrowardCenter.org or Ticketmaster.com; by phone at 954.462.0222 or the Broward Center’s AutoNation Box Office. Know who you are buying from when you purchase tickets. All dates, times, programs, artists and ticket prices are subject to change without notice. The Broward Center for the Performing Arts is located in the Riverwalk Arts & Entertainment District at 201 SW Fifth Avenue in Fort Lauderdale. For more information visit BrowardCenter.org, like us on Facebook at Facebook.com/BrowardCenter, follow us on Twitter and Instagram @BrowardCenter, subscribe to our channel at Youtube.com/user/BrowardCenter and join the conversation with #BrowardCenter. The Broward Center 2018-2019 season is presented by the Broward Performing Arts Foundation. AutoNation, Bank of America, Brightline, Greater Fort Lauderdale Convention & Visitors Bureau, JetBlue, MasterCard and Canteen are proud sponsors of the Broward Center. ### 2019 KANSAS POINT OF KNOW RETURN ANNIVERSARY TOUR DATES: DATE CITY/STATE VENUE March 8 Des Moines, IA Hoyt Sherman Place March 9 Peoria, IL Peoria Civic Center Theater March 15 Salina, KS The Stiefel Theatre for the Performing Arts March 22 Charleston, WV Clay Center for the Arts & Sciences March 23 Louisville, KY Louisville Palace Theatre March 29 Beaver Creek, CO Vilar Performing Arts Center March 30 Denver, CO Paramount Theatre April 2 Tucson, AZ Fox Tucson Theatre April 4 San Diego, CA Balboa Theatre April 6 Los Angeles, CA The Orpheum Theatre April 7 Santa Barbara, CA Arlington Theatre April 10 Oakland, CA Paramount Theatre April 12 Portland, OR Arlene Schnitzer Concert Hall April 13 Seattle, WA Paramount Theatre April 24 Vancouver, BC The Orpheum April 26 Edmonton, AB Northern Alberta Jubilee Auditorium April 28 Calgary, AB Jack Singer Concert Hall April 30 Saskatoon, SK TCU Place May 1 Regina, SK Conexus Arts Centre May 3 Winnipeg, MB Burton Cummings Theatre for Performing Arts May 10 Rockford, IL Coronado Performing Arts Center May 11 Ft. Wayne, IN Foellinger Theater 2018 KANSAS POINT OF KNOW RETURN ANNIVERSARY TOUR DATES: DATE CITY/STATE VENUE September 28 Atlanta, GA Cobb Energy Performing Arts Centre September 29 Nashville, TN Ryman Auditorium – SOLD OUT October 5 Glenside, PA Keswick Theatre – SOLD OUT October 6 Pittsburgh, PA Heinz Hall October 12 Milwaukee, WI Pabst Theater October 13 Chicago, IL The Chicago Theater October 19 Kansas City, MO Arvest Bank Theatre at the Midland October 20 St. Louis, MO The Fabulous Fox Theatre October 26 Kalamazoo, MI The State Theatre October 27 Detroit, MI Fox Theatre November 2 San Antonio, TX The Tobin Center for Performing Arts November 3 Dallas, TX Majestic Theatre – SOLD OUT All dates, times, programs, artists and ticket prices are subject to change without notice. November 9 Cincinnati, OH Taft Theatre November 10 Indianapolis, IN Murat Theatre at Old National Centre November 16 Huntington, NY The Paramount November 17 Worcester, MA The Hanover Theatre November 23 Wilkes-Barre, PA F.M. Kirby Center November 24 Baltimore, MD The Modell Lyric November 30 Asheville, NC Thomas Wolfe Auditorium December 1 Columbia, SC Township Auditorium December 6 Mobile, AL Saenger Theatre December 8 Clearwater, FL Ruth Eckerd Hall December 14 Daytona Beach, FL Peabody Auditorium December 15 Fort Lauderdale, FL Au-Rene Theater at Broward Center About The Broward Center for the Performing Arts One of America’s premier performing arts venues, the Broward Center for the Performing Arts presents more than 700 performances each year to more than 700,000 patrons, showcasing a wide range of exciting cultural programming and events. Guest experiences at the Broward Center include the all-inclusive JetBlue Flight Deck on the Club Level, special events in the Huizenga Pavilion, waterfront dining at Marti’s New River Bistro and innovative classes and workshops for all ages at the Rose Miniaci Arts Education Center. With one of the largest arts-in-education programs in the United States, the Broward Center serves more than 150,000 students annually. The Broward Performing Arts Foundation, Inc. receives and maintains funds to sustain, develop and secure the future of the Broward Center. The Broward Center for the Performing Arts is located in the Riverwalk Arts & Entertainment District at 201 SW Fifth Ave. in Fort Lauderdale. For more information, visit BrowardCenter.org. The Riverwalk Arts & Entertainment Consortium is a cultural partnership between the Broward Center for the Performing Arts, Bonnet House Museum & Gardens, NSU Art Museum Fort Lauderdale, Florida Grand Opera, Fort Lauderdale History Center and the Historic Stranahan House Museum. It is supported by the Broward County Board of County Commissioners as recommended by the Broward Cultural Council and the Greater Fort Lauderdale Convention & Visitors Bureau. Programs are sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, the Florida Council on Arts and Culture. All dates, times, programs, artists and ticket prices are subject to change without notice. .
Load more

Recommended publications
  • RADIAL VELOCITIES in the ZODIACAL DUST CLOUD
    A SURVEY OF RADIAL VELOCITIES in the ZODIACAL DUST CLOUD Brian Harold May Astrophysics Group Department of Physics Imperial College London Thesis submitted for the Degree of Doctor of Philosophy to Imperial College of Science, Technology and Medicine London · 2007 · 2 Abstract This thesis documents the building of a pressure-scanned Fabry-Perot Spectrometer, equipped with a photomultiplier and pulse-counting electronics, and its deployment at the Observatorio del Teide at Izaña in Tenerife, at an altitude of 7,700 feet (2567 m), for the purpose of recording high-resolution spectra of the Zodiacal Light. The aim was to achieve the first systematic mapping of the MgI absorption line in the Night Sky, as a function of position in heliocentric coordinates, covering especially the plane of the ecliptic, for a wide variety of elongations from the Sun. More than 250 scans of both morning and evening Zodiacal Light were obtained, in two observing periods – September-October 1971, and April 1972. The scans, as expected, showed profiles modified by components variously Doppler-shifted with respect to the unshifted shape seen in daylight. Unexpectedly, MgI emission was also discovered. These observations covered for the first time a span of elongations from 25º East, through 180º (the Gegenschein), to 27º West, and recorded average shifts of up to six tenths of an angstrom, corresponding to a maximum radial velocity relative to the Earth of about 40 km/s. The set of spectra obtained is in this thesis compared with predictions made from a number of different models of a dust cloud, assuming various distributions of dust density as a function of position and particle size, and differing assumptions about their speed and direction.
    [Show full text]
  • Progressive Traits in the Music of Dream Theater Thesis Written for the Bachelor of Musicology University of Utrecht Supervised by Professor Karl Kügle June 2013 1
    2013 W. B. van Dijk 3196372 PROGRESSIVE TRAITS IN THE MUSIC OF DREAM THEATER THESIS WRITTEN FOR THE BACHELOR OF MUSICOLOGY UNIVERSITY OF UTRECHT SUPERVISED BY PROFESSOR KARL KÜGLE JUNE 2013 1 Table of Contents Chapter 1 – Foreword .......................................................................................................................... 2 Chapter 2: A definition of progressiveness ......................................................................................... 3 2.1 – Problematization ..................................................................................................................... 3 2.2 - A brief history of progressive rock ......................................................................................... 4 2.3 – Progressive rock in the classic age: 1968-1978 ...................................................................... 5 2.4 - A selective list of progressive traits ........................................................................................ 6 Chapter 3: Progressive Rock and Dream Theater ............................................................................... 9 3.1 – A short biography of the band Dream Theater ....................................................................... 9 3.2 - Progressive traits in Scenes from a Memory ......................................................................... 10 3.3 - Progressive traits in ‗The Dance of Eternity‘ ........................................................................ 12 Chapter 4: Discussion &
    [Show full text]
  • Lyrics Dust in the Wind
    Lyrics dust in the wind Continue This article is about a 1977 Kansas song. For the 1986 film Hou Xiao-Sien, see the dust in the wind (film). For Todd Rundgren's song, see something/anything? For the songs of King Gizzard and the lizard wizard, see your eyes like the sky. Dust in the WindSing Kansas from the album Point of Know ReturnB- sideParadoxSoped January 16, 1978DStudioWoodland Studios (Nashville)GenreSoft Rock-1'Length3:27LabelKirshnerSongwriter (s) Kerry LivgrenProducer (s) Jeff Glickman Kansas Singles Chronology Point know the return (1977) Dust in the Wind (1978) Portrait (He Knew) (1978) Point to Know The Return of the Track listing10 Tracks Point Know the Return of The Spider Portrait Paradox (He Knew) Closet Chronicles Lightning's Hand Dust in the Wind Sparks of the Tempest Nobody's Home Hopelessly Human Dust in the Wind - Song, recorded by the American progressive rock band Kansas and written by band member Kerry Livgren, first released on their 1977 album Point of Know Return. The song peaked at number six on the Billboard Hot 100 the week of April 22, 1978, making it kansas's only single to reach the top ten in the US. The 45-a-minute single was certified Gold for sale to one million RIAA units shortly after its high popularity as a hit single. More than 25 years later, the RIAA certified Gold Digital Format downloading songs, Kansas' only single to make it certified on September 17, 2008. The Kansas version of Inspiration The title of the song is a biblical reference, paraphrasing Ecclesiastes: I thought about everything that is achieved by man on earth, and I have come to the conclusion that everything he has achieved is useless - as the pursuit of the wind! Meditation on mortality and the inevitability of death, the lyrical theme bears a striking resemblance to the famous biblical passages of Genesis 3:19 (..
    [Show full text]
  • Kansas DOUBLE “DEVICE-VOICE-DRUM” LIVE 'BEST OF' CD RELEASED JAN
    Kansas DOUBLE “DEVICE-VOICE-DRUM” LIVE 'BEST OF' CD RELEASED JAN. 27TH 2003 ON SPV Phil Ehart - Drums Billy Greer - Bass & Vocals Robby Steinhardt - Vocals & Violin Steve Walsh - Vocals & Keyboards Richard Williams - Guitar American heartland art rock band Kansas, who have sold over 30 million albums during their long and illustrious career, are set to release 'Device - Voice - Drum', a double live CD (recorded at Earthlink Live! - Atlanta, Georgia - on June 15th 2002), on SPV Records on January 27th 2003. 'Device - Voice - Drum' is a live concert film recorded for DVD and CD. The 'Device - Voice - Drum' live CD also features a live multimedia bonus track not included on the upcoming DVD, which SPV are set to release later in the year. Formed in Topeka in 1972, Kansas have played a minimum of 100 concerts a year before a million people a year over the last decade. A specially selected career-spanning set list was chosen for the gig and this double live CD features performances of such mega hits as 'Dust In The Wind', 'Carry On Wayward Son' and 'Point Of Know Return'. 'Device - Voice - Drum' also features the vocal talents of 60 members of Atlanta’s New Advent Choir. Kansas appeared on the Billboard charts for over 200 weeks throughout the 70s and 80s and the band remains a staple of U.S. classic rock radio, with “Carry On Wayward Son” named as the Most Played Track of that format in 1997. 'Device - Voice - Drum' is being released as a double CD audio set with enhanced features. Creative Edge Advertising designed a multimedia platform that includes the video outtake of the song “Distant Vision,” screensavers for Mac and PC, and a photo album of the DVD production.
    [Show full text]
  • Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • 9/11 Report”), July 2, 2004, Pp
    Final FM.1pp 7/17/04 5:25 PM Page i THE 9/11 COMMISSION REPORT Final FM.1pp 7/17/04 5:25 PM Page v CONTENTS List of Illustrations and Tables ix Member List xi Staff List xiii–xiv Preface xv 1. “WE HAVE SOME PLANES” 1 1.1 Inside the Four Flights 1 1.2 Improvising a Homeland Defense 14 1.3 National Crisis Management 35 2. THE FOUNDATION OF THE NEW TERRORISM 47 2.1 A Declaration of War 47 2.2 Bin Ladin’s Appeal in the Islamic World 48 2.3 The Rise of Bin Ladin and al Qaeda (1988–1992) 55 2.4 Building an Organization, Declaring War on the United States (1992–1996) 59 2.5 Al Qaeda’s Renewal in Afghanistan (1996–1998) 63 3. COUNTERTERRORISM EVOLVES 71 3.1 From the Old Terrorism to the New: The First World Trade Center Bombing 71 3.2 Adaptation—and Nonadaptation— ...in the Law Enforcement Community 73 3.3 . and in the Federal Aviation Administration 82 3.4 . and in the Intelligence Community 86 v Final FM.1pp 7/17/04 5:25 PM Page vi 3.5 . and in the State Department and the Defense Department 93 3.6 . and in the White House 98 3.7 . and in the Congress 102 4. RESPONSES TO AL QAEDA’S INITIAL ASSAULTS 108 4.1 Before the Bombings in Kenya and Tanzania 108 4.2 Crisis:August 1998 115 4.3 Diplomacy 121 4.4 Covert Action 126 4.5 Searching for Fresh Options 134 5.
    [Show full text]
  • Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
    Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
    [Show full text]
  • June 2020 Volume 87 / Number 6
    JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]
  • Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
    DECEMBER 2019 VOLUME 86 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • The---Enterprise
    the----- ~, The Boston Strangler Enterprise Captain Shreve High School, Shreveport, Louisiana See p:~ge 4 Volume X Number 2 November 16, 1979 Students upset over grades by Vicky Nettles year, the·system will be in full Basic Phase Many juniors and seniors are swing, affecting all grades. A-3 points up in the air about the weighted The points given for grades B-2 points grade system because they feel received in the different phases C-1 point they were led to believe they are as follows: D-.5 points would be receiving weighted F-0 points grades in their phase classes this Enriched Phase These classes that will be year. However, the system only A-5 points weighted by the 1981-82 school affects this year's sophomores B-4 points year are the following: Phased and freshmen . C-3 points Courses-English I, English II, D-2 points English Ill, English IV, The system, designed to give F-0 points American History, Civics, more credit to the enriched phase Mathematics I, Mathematics II, because of the difference in General Phase General Science, and Biology. material presented, began with A-4 points Non-Phased Courses-Algebra I, last years freshmen. Every in­ B-3 points Algebra II , Advanced Mathe­ coming class of freshmen will be C-2 points matics, Biology, Physical receiving weighted grades from D-1 point Science, Chemistry, Physics, and Tommy Powell was recently promoted to assistant principal now on. By the 1981-82 school F-0 points Foreign language II, Ill, and IV. in charge of instruction and curriculum.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Idioms-And-Expressions.Pdf
    Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.
    [Show full text]