Presskit Show Overview
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Michael Jackson the Perform a N C
MICHAEL JACKSON 101 THE PERFORMANCES MICHAEL JACKSON 101 THE PERFORMANCES &E Andy Healy MICHAEL JACKSON 101 THE PERFORMANCES . Andy Healy 2016 Michael gave the world a wealth of music. Songs that would become a part of our collective sound track. Under the Creative Commons licence you are free to share, copy, distribute and transmit this work with the proviso that the work not be altered in any way, shape or form and that all And for that the 101 series is dedicated to Michael written works are credited to Andy Healy as author. This Creative Commons licence does not and all the musicians and producers who brought the music to life. extend to the copyrights held by the photographers and their respective works. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. This special Performances supplement is also dedicated to the choreographers, dancers, directors and musicians who helped realise Michael’s vision. I do not claim any ownership of the photographs featured and all rights reside with the original copyright holders. Images are used under the Fair Use Act and do not intend to infringe on the copyright holders. By a fan for the fans. &E 101 hat makes a great performance? Is it one that delivers a wow factor? W One that stays with an audience long after the houselights have come on? One that stands the test of time? Is it one that signifies a time and place? A turning point in a career? Or simply one that never fails to give you goose bumps and leave you in awe? Michael Jackson was, without doubt, the consummate performer. -
Michael Jackson's Gesamtkunstwerk
Liminalities: A Journal of Performance Studies Vol. 11, No. 5 (November 2015) Michael Jackson’s Gesamtkunstwerk: Artistic Interrelation, Immersion, and Interactivity From the Studio to the Stadium Sylvia J. Martin Michael Jackson produced art in its most total sense. Throughout his forty-year career Jackson merged art forms, melded genres and styles, and promoted an ethos of unity in his work. Jackson’s mastery of combined song and dance is generally acknowledged as the hallmark of his performance. Scholars have not- ed Jackson’s place in the lengthy soul tradition of enmeshed movement and mu- sic (Mercer 39; Neal 2012) with musicologist Jacqueline Warwick describing Jackson as “embodied musicality” (Warwick 249). Jackson’s colleagues have also attested that even when off-stage and off-camera, singing and dancing were frequently inseparable for Jackson. James Ingram, co-songwriter of the Thriller album hit “PYT,” was astonished when he observed Jackson burst into dance moves while recording that song, since in Ingram’s studio experience singers typically conserve their breath for recording (Smiley). Similarly, Bruce Swedien, Jackson’s longtime studio recording engineer, told National Public Radio, “Re- cording [with Jackson] was never a static event. We used to record with the lights out in the studio, and I had him on my drum platform. Michael would dance on that as he did the vocals” (Swedien ix-x). Surveying his life-long body of work, Jackson’s creative capacities, in fact, encompassed acting, directing, producing, staging, and design as well as lyri- cism, music composition, dance, and choreography—and many of these across genres (Brackett 2012). -
Migration and Climate Change
Migration and Climate Change No. 31 The opinions expressed in the report are those of the authors and do not necessarily reflect the views of the International Organization for Migration (IOM). The designations employed and the presentation of material throughout the report do not imply the expression of any opinion whatsoever on the part of IOM concerning the legal status of any country, territory, city or area, or of its authorities, or concerning its frontiers or boundaries. _______________ IOM is committed to the principle that humane and orderly migration benefits migrants and society. As an intergovernmental organization, IOM acts with its partners in the international community to: assist in meeting the operational challenges of migration; advance understanding of migration issues; encourage social and economic development through migration; and uphold the human dignity and well-being of migrants. _______________ Publisher: International Organization for Migration 17 route des Morillons 1211 Geneva 19 Switzerland Tel: +41.22.717 91 11 Fax: +41.22.798 61 50 E-mail: [email protected] Internet: http://www.iom.int Copy Editor: Ilse Pinto-Dobernig _______________ ISSN 1607-338X © 2008 International Organization for Migration (IOM) _______________ All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior written permission of the publisher. 11_08 Migration and Climate Change1 Prepared for IOM by Oli Brown2 International Organization for Migration Geneva CONTENTS Abbreviations 5 Acknowledgements 7 Executive Summary 9 1. Introduction 11 A growing crisis 11 200 million climate migrants by 2050? 11 A complex, unpredictable relationship 12 Refugee or migrant? 1 2. -
2019 MHSA Final Standings (Banquet Program)
2019 MARYLAND HORSE SHOWS ASSOCIATION ANNUAL MEETING & AWARDS BANQUET “Creating horse show traditions since 1932” Horse & Pony of the Year • Horse Show of the Year John A. Wagner Jr. Award • Distinguished Service Award Elizabeth Solter Award • Perfect Parent Award Short Stop Award • Hall of Fame Induction Silent Auction Saturday • November 30 • 2019 Oriole Park at Camden Yards 333 W. Camden Street Baltimore, Maryland 21230 www.mdhsa.org Objectives of the MHSA The objectives of this Association, as set forth in the Certificate of Incorporation, are: To promote and/or conduct horse shows, forums, clinics and other special events To coordinate and cooperate with the show committees and exhibitors of horse shows To work in the interest of and for the improvement of horses And in furtherance of such objects To assign show dates to member shows and to make adequate and fair rules governing competitions and to enforce them for the common benefit To serve and promote the best interests of member shows and exhibitors who participate in them. To license horse show judges, stewards and other officials To otherwise assist in connection with the exhibition of horses and ponies To protect the health, safety, and well being of participants AGENDA 4:00-4:30 PM Horse Show Industry Open Forum 4:30 PM-5:00 PM MHSA Open Forum 5:00 PM-6:00 PM MHSA Annual Meeting 6:00 PM-7:00 PM Reception & Silent Auction 7:00 PM-11:00PM Buffet Dinner & Awards Ceremony 2019 MHSA BOARD OF DIRECTORS Officers President ...............Streett Moore 1st Vice President ............... Lara McPherson 2nd Vice President ...............Katie Petronelli Treasurer .............. -
1270637 Depeche Mode 1255282 Coldplay 1222948 Ed Shee
1 2,244,721 Guns N’ Roses 51 387,237 Cirque du Soleil - “Amaluna” 2 2,138,160 U2 52 379,648 Def Leppard 3 1,511,953 “Disney On Ice” 53 372,249 Cirque du Soleil - “Kooza” 4 1,270,637 Depeche Mode 54 358,517 Jason Aldean 5 1,255,282 Coldplay 55 357,451 Journey 6 1,222,948 Ed Sheeran 56 352,006 Chance The Rapper 7 1,007,839 Justin Bieber 57 346,231 The Chainsmokers 8 949,255 Bruno Mars 58 345,422 The Lumineers 9 886,858 Metallica 59 335,490 J. Cole 10 875,862 Eric Church 60 327,635 Kings Of Leon 11 841,242 Florida Georgia Line 61 313,708 Olly Murs 12 839,142 Ringling Bros. and Barnum & Bailey Circus 62 310,974 “Paw Patrol Live!” 13 769,649 Tim McGraw / Faith Hill 63 304,448 Cirque du Soleil - “Volta” 14 757,153 “World Wrestling Entertainment” 64 299,609 Kendrick Lamar 15 751,940 Red Hot Chili Peppers 65 296,057 Elton John 16 723,280 John Mayer 66 295,675 “The Illusionists” 17 699,990 Ariana Grande 67 291,252 Bryan Adams 18 649,504 Future 68 290,198 Train 19 625,477 Dierks Bentley 69 287,732 Jeff Dunham 20 617,344 Celine Dion 70 283,135 Little Mix 21 608,973 Shawn Mendes 71 280,753 Micky Flanagan 22 594,944 Tom Petty & The Heartbreakers 72 280,447 Jerry Seinfeld 23 587,206 The Weeknd 73 278,482 Chris Rock 24 573,099 Sting 74 275,671 “Marvel Universe Live!” 25 556,773 Green Day 75 267,785 “Riverdance” 26 555,522 Sam Hunt 76 261,184 Bruce Springsteen & The E Street Band 27 545,687 Iron Maiden 77 258,130 Chris Brown 28 518,003 The Harlem Globetrotters 78 252,669 Robbie Williams 29 517,013 Cirque du Soleil - “Varekai” 79 252,479 Jack Johnson -
Cut It out December 26, 2018
Cut It Out December 26, 2018 Christmas was yesterday. You know what that means? No more Christmas music! Is that a good or bad thing? I love Christmas music. All people may not like Christmas music, but we all like music. The most popular artists on the radio are Ariana Grande, Halsey, and Panic! at the Disco. Several students at Bullock County High School listen to NBA Youngboy. My favorite artists include Whitney Houston, Garth Brooks and Michael Jackson. My absolute favorite is Michael Jackson. In second grade I wore my Michael Jackson jacket with all the zippers for picture day. I could not get enough Michael Jackson. His second album with producer Quincy Jones was absolutely incredible. In just over a year, the Thriller album became the world’s best-selling album, having sold an estimated 66 million copies. Bestselling! I admire people who are at the top of their profession and over the years I’ve studied them because I want to know how they did it. As an educator I spend time with top teachers and ask them questions. I have researched Chick-fil-a, Apple, Nike and other top companies. As a coach, I spend time with several coaches each season with the goal of learning so that one day I can be the best. I probably know more about Nick Saban than most Alabama fans and I don’t own any Alabama paraphernalia. His path to greatness is encouraging, especially the four seasons he was the defensive coordinator for Bill Belichick and had only one winning season. -
Susan Willis I WANT the BLACK ONE
new formations NUMBER 10 SPRING 1990 Susan Willis I WANT THE BLACK ONE: IS THERE A PLACE FOR AFRO-AMERICAN CULTURE IN COMMODITY CULTURE? BEING DIFFERENT Adults, older girls, shops, magazines, newspapers, window signs - all the world had agreed that a blue-eyed, yellow-haired, pink-skinned doll was what every girl child treasured. (Morrison, The Bluest Eye, 20) In her powerfully compressed first novel, The Bluest Eye, Toni Morrison scrutinizes the influence of the white-dominated culture industry on the lives and identities of black Americans. She tells the story of three young girls: Claudia and Frieda, who are sisters; and Pecola, who comes to stay with them during a period when her own brawling parents are cast out of their store-front home. The book's setting is a working-class urban black neighbourhood during the 1930s and 1940s, a time when it is already clear that American culture means white culture, and that this in turn is synonymous with mass media culture. Morrison singles out the apparently innocuous - or as Frieda and Pecola put it, 'cu-ute',1 Shirley Temple, her dimpled face reproduced on cups, saucers, and baby dolls, to show how the icons of mass culture subtly and insidiously intervene in the daily lives of Afro-Americans. Of the three girls, Claudia is the renegade. She hates Shirley Temple, and seethes with anger when she sees the blue-eyed, curly-haired child actress dancing alongside the culture hero that Claudia claims for herself: Bojangles. As she sees it, 'Bojangles is [her] friend, [her] uncle, [her] daddy, [and he] ought to have been soft-shoeing it and chuckling with [her]'.2 Claudia's intractable hostility towards Shirley Temple originates in her realization that in our society, she, like all racial 'others', participates in dominant culture as a consumer, but not as a producer. -
The Mars Volta and the Symbolic Boundaries of Progressive Rock
GENRE AND/AS DISTINCTION: THE MARS VOLTA AND THE SYMBOLIC BOUNDARIES OF PROGRESSIVE ROCK R. Justin Frankeny A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in Musicology in the School of Music. Chapel Hill 2020 Approved by: Aaron Harcus Michael A. Figueroa David F. Garcia © 2020 R. Justin Frankeny ALL RIGHTS RESERVED ii ABSTRACT R. Justin Frankeny: Genre and/as Distinction: The Mars Volta and the Symbolic Boundaries of Progressive Rock (Under the direction of Dr. Aaron Harcus) In the early 2000’s, The Mars Volta’s popularity among prog(ressive) rock fandom was, in many ways, a conundrum. Unlike 1970s prog rock that drew heavily on Western classical music, TMV members Omar Rodriguez-Lopez and Cedric Bixler-Zavala routinely insisted on the integral importance of salsa music to their style and asserted an ambivalent relationship to classic prog rock. This thesis builds on existing scholarship on cultural omnivorousness to assert that an increase in omnivorous musical tastes since prog rock’s inception in the 1970s not only explains The Mars Volta’s affiliation with the genre in the early 2000s, but also explains their mixed reception within a divided prog rock fanbase. Contrary to existing scholarship that suggests that the omnivore had largely supplanted the highbrow snob, this study suggests that the snob persisted in the prog rock fanbase during progressive rock’s resurgence (ca. 1997-2012), as distinguished by their assertion of the superiority of prog rock through discourses of musical complexity adapted from classical music. -
Directions to Cirque Du Soleil Miami
Directions To Cirque Du Soleil Miami Acuminate and caressive Mohammad undermanning, but Ignacio cattishly interfered her Dahomey. Bryce arraigners.forerun stammeringly. Seborrheic and connecting Dyson never quiesces mezzo when Bay unshrouds his At hard rock stadium gates, and film and every sense of creativity to ensure proper social and refresh this game at ticketmaster to be creating new york Let me know about whether cookies and directions to teach on cruise the course, at hard rock stadium. For the to time Cirque du Soleil's creative front-line staffers seem concerned. The new YVE Hotel Miami offers trapeze classes at possible school across. Get driving directions from Miami to Newport News about distance 03 miles The ahead line distance. Alumni Benefits Nova Southeastern University. Book your feet do not available parking lot of these dates or lime garage is offering a talented cast! You will update your reset link in response to reach their point of madelyn miller working three decades, directions to cirque miami has everything is working. J-Milton Divisions Property Management. Mar 16 6 PM 10 PM 212 Northeast 59th Street Miami FL USA Directions. Florida Department public Health Guidelines Miami-Dade Broward Palm Beach Monroe St Lucie Public Access. Prices include keywords taken directly. Private Party Takeout Water View Serving Dinner Parking Valet Parking. The directions to ensure that. Hard Rock Stadium Homepage. Disney's West Side opened in 1997 and is the freight to Cirque du Soleil DisneyQuest and said of Blues. Cirque du Soleil first staged Alegria 25 years ago being the Canada-based human circus producer has charm the tower a makeover that you. -
Final Degree Dissertation
UNIVERSIDAD PONTIFICIA COMILLAS Facultad de Ciencias Humanas y Sociales Bachelor’s Degree in International Relations Final Degree Dissertation A LOCATION ANALYSIS FOR CIRQUE DU SOLEIL’S ESTABLISHMENT OF RESIDENT SHOWS Student: María Domínguez Pérez Supervisor: Santiago Urío Rodríguez Madrid, April 2018 “They can do anything, from a permanent location on Broadway, to a traveling show that pops into towns for two to three weeks, to a show that just appears for a day on a football field. That is easy to say and very hard to execute” - Dawn Hudson (cited in Rastello, 2017) - ACKNOWLEDGEMENTS First of all, I would like to thank Santiago Urío for his constant support and guidance, not only throughout the elaboration of this dissertation, but also during the past couple of years. Through his lessons and expertise, I have been able to discover my passion for International Strategy and Business Management, which I hope to develop further during my professional career. In addition, a special thanks to Jesús Méndez for always lending an ear and for encouraging me to strive for excellence and pursue my dreams of working for a major entertainment firm such as Cirque du Soleil. Finally, to my family for their words of encouragement and unconditional support. Thank you for helping me find my way out of the most stressful moments during the year. Abstract With the development of the international business field, the study of location gained importance. It began to distinguish between firms that initiated their internationalisation process to reduce production costs and those that did it in order to access new markets. -
One-Page Outline Guidelines
The one-page outline Having the ability to pitch your ideas succinctly, in written and verbal forms, is a key skill the emerging screenwriter needs to have because you are unlikely to get an established producer or director, agent or studio executive to read your treatment or script without first giving him/her a good reason to read it, and in a form that is easily consumable, because they are busy people who always have a pile of scripts and treatments waiting for them to read. The one-page outline is designed to give them that reason and is attractive because they can tell it will only take a few moments to read and whether your idea stands out from the others. The guidelines that follow provide the foundations for writing this selling document well. The point of the outline is to sell your idea to the reader. You need to make the reader able to conceive, visualise and determine the kind of film it would be just from reading this document. He/she should be able to tell what kind of production values it will have, including whether its success would be dependent on a name actor and/or director and whether they would be interested in it; he would have an idea what audience the film would appeal to and whether you have the professional capabilities as a screenwriter to deliver on your promise and, finally – and don’t underestimate the importance of this – he/she would be able to tell whether this is his/her (or the company’s) kind of film. -
The Magazine of the Fashion Institute of Technology SUMMER/FALL 2019 NUMBER 3 | 3 NUMBER | VOLUME 12 on the Cover
The Magazine of the Fashion Institute of Technology of Institute Fashion The Magazine the of VOLUME 12 | NUMBER 3 | SUMMER/FALL 2019 On the Cover Take a second look at our cover image: it’s embroi- dered! When the School of Art and Design received The Magazine of the Fashion a state-of-the-art digital embroidery machine as Institute of Technology part of a major 25-machine donation from Brother International Corporation, we had to test it out. We Hue is for alumni and friends of FIT, a college of art and design, business and sent a photo to the Brother team (at right), and they technology. It is published three times made the magic happen. The final result, stitched a year by the Division of Communications on the Brother PR1050X, has 29 colors and 155,183 and External Relations, 227 West stitches, and it took five hours of continuous sewing 27th Street, Room B905, New York, to create. Bet your granny can’t do that! NY 10001-5992, (212) 217-4700. The embroidery machine will be used mainly by Fashion Design students looking for innovative Above: Melissa Heinz, a senior project manager in Brother’s embellishments. The detail (below left) shows the Home Appliance Division, and Cindy Hogan, digital embroidery expert and Brother brand ambassador, created stitches up close. the embroidery for our cover. Below: The machine at work. Vice President for Communications Our cover model is Anna Forde, International and External Relations Trade and Marketing, wearing her commencement Loretta Lawrence Keane robe and an ecstatic expression. Hue found Forde Assistant Vice President on Instagram via the hashtag for Communications #fitgrad.