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ACRONYM 13 - Round 6 Written by Danny Vopava, Erik Nelson, Blake Andert, Rahul Rao-Potharaju, William Golden, and Auroni Gupta
ACRONYM 13 - Round 6 Written by Danny Vopava, Erik Nelson, Blake Andert, Rahul Rao-Potharaju, William Golden, and Auroni Gupta 1. This album was conceived after the master tapes to the album Cigarettes and Valentines were stolen. A letter reading "I got a rock and roll girlfriend" is described in a multi-part song at the end of this album. A teenager described in this albumis called the "son of rage and love" and can't fully remember a figure he only calls (*) "Whatsername." A "redneck agenda" is decried in the title song of this album, which inspired a musical centered onthe "Jesus of Suburbia." "Boulevard of Broken Dreams" appears on, for 10 points, what 2004 album by Green Day? ANSWER: American Idiot <Nelson> 2. In 1958, Donald Duck became the first non-human to appear in this TV role, which was originated by Douglas Fairbanks and William C. DeMille. James Franco appeared in drag while serving in this role, which went unfilled in 2019 after (*) Kevin Hart backed out. The most-retweeted tweet ever was initiated by a woman occupying this role, which was done nine other times by Billy Crystal. While holding this role in 2017, Jimmy Kimmel shouted "Warren, what did you do?!" upon the discovery of an envelope mix-up. For 10 points, name this role whose holder cracks jokes between film awards. ANSWER: hosting the Oscars [accept similar answers describing being the host of the Academy Awards; prompt on less specific answers like award show host or TV show host] <Nelson> 3. As of December 2019, players of this game can nowmake Dinosaur Mayonnaise thanks to its far-reaching 1.4 version update, nicknamed the "Everything Update." Every single NPC in this game hates being given the Mermaid's Pendant at the Festival of the Winter Star because it's only meant to be used for this game's (*) marriage proposals. -
OFFICIAL PROGRAM for BROADWAY in DETROIT at the Detroit Opera House MADE IN
OFFICIAL PROGRAM FOR BROADWAY IN DETROIT AT THE Detroit Opera HOUSE MADE IN PEOPLE MAGNET. REALIZES EVERY DAY IS A BLESSING. ENJOYS WORKING AT COSTCO. APPRECIATES HIS SECOND CHANCE IN LIFE. 100 % SAM ZIEMAN XL CHARACTER We have character. Thousands of them, actually. Like Sam, our residents won’t just steal the show... they’ll steal your heart. Visit americanhouse.com/testimonials to watch videos and learn more about our incredible cast of characters. For information on our communities visit americanhouse.com or call (800) 351-5224. Residences • Dining • Activities • Education • Wellness • Transportation • Support Services* TDD (800) 649-3777 *Support Services provided by third party not affiliated with American House. job number: 50679_B24_C1-1 date: 10/07/11 client: RLX advertiser: RLX dtp: color: cs: acct: client: please contact thelab at 212-209-1333 with any questions or concerns regarding these materials. Proof: 12/23/11; 8:30PM Million Dollar Quartet JERRY LEE JOHNNY Tom Hulce & Ira Pittelman Work Light Productions Publication: ELVIS CARL Vivek J. Tiwary Latitude Link Scott M. Delman Broadway in Detroit programAllan for S. Gordon MagicSpace Entertainment PRESLEY PERKINS “Wicked” LEWIS CASH In Association with Run dates: 12/7/11 tpAbbie 12/31/11 M. Strassler John Domo Lorenzo Thione & Jay Kuo Size: full page full bleed Present trim size: 5-3/8” x 8-3/8” THE BROADWAY MUSICAL bleed: 1/8” inside margin: 1/4” For: Nederlander Detroit (Fisher Theatre & others) Music by Lyrics by Design: Frank Bach, Green Day Billie Joe Armstrong INSPIRED BY THE ELECTRIFYING TRUE STORY Bach & Associates; Book by Phone 313-822-43038;Billie Joe Armstrong and Michael Mayer [email protected] Van Hughes Scott J. -
HAMILTON Project Profile 6 8 20
“HAMILTON” ONE-LINER: An unforgettable cinematic stage performance, the filmed version of the original Broadway production of “Hamilton” combines the best elements of live theater, film and streaming to bring the cultural phenomenon to homes around the world for a thrilling, once-in-a-lifetime experience. OFFICIAL BOILERPLATE: An unforgettable cinematic stage performance, the filmed version of the original Broadway production of “Hamilton” combines the best elements of live theater, film and streaming to bring the cultural phenomenon to homes around the world for a thrilling, once-in-a-lifetime experience. “Hamilton” is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, “Hamilton” has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. Filmed at The Richard Rodgers Theatre on Broadway in June of 2016, the film transports its audience into the world of the Broadway show in a uniquely intimate way. With book, music, and lyrics by Lin-Manuel Miranda and direction by Thomas Kail, “Hamilton” is inspired by the book “Alexander Hamilton” by Ron Chernow and produced by Thomas Kail, Lin-Manuel Miranda and Jeffrey Seller, with Sander Jacobs and Jill Furman serving as executive producers. The 11-time-Tony Award®-, GRAMMY Award®-, Olivier Award- and Pulitzer Prize-winning stage musical stars: Daveed Diggs as Marquis de Lafayette/Thomas Jefferson; Renée Elise Goldsberry as Angelica Schuyler; Jonathan Groff as King George; Christopher Jackson as George Washington; Jasmine Cephas Jones as Peggy Schuyler/Maria Reynolds; Lin-Manuel Miranda as Alexander Hamilton; Leslie Odom, Jr. -
Policeman Files Suit Against Westfield and Former Chief by PAUL J
Ad Populos, Non Aditus, Pervenimus Published Every Thursday Since September 3, 1890 (908) 232-4407 USPS 680020 Thursday, December 1, 2005 OUR 115th YEAR – ISSUE NO. 48-2005 Periodical – Postage Paid at Westfield, N.J. www.goleader.com [email protected] SIXTY CENTS Policeman Files Suit Against Westfield and Former Chief By PAUL J. PEYTON department computers to conduct ille- contacted Officer Kasko about the Specially Written for The Westfield Leader gal background checks in 2004 on alleged illegal background checks. WESTFIELD – A Westfield police several town residents and alleged re- Officer Kasko questioned officers on officer has filed a lawsuit against the taliation the officer faced when he whether they knew of inappropriate town on allegations that he was ha- attempted to look into the validity of use of the police computer systems to rassed and retaliated against after he the illegal background checks. run criminal histories of any town reported information to town offi- “During a telephone conversation residents. cials per the town’s “whistle blower” with the editor of a local Westfield Upon learning of Officer Kasko’s policy. newspaper (The Westfield Leader), inquiries, Chief Tracy ordered a de- Officer Gregory Kasko filed a law- Chief Tracy advised the editor that he tailed report from Officer Kasko ex- suit on November 14 in U.S. District maintained files on certain Westfield plaining “why (the) plaintiff had not Court in Newark, a suit assigned to residents, which contained illegal personally advised him (Chief Tracy) Judge William Martini. The three- criminal background checks that he of the matter,” the suit charges. -
Program You Will Find a Special Note from Barry About the Brothers Size
FEBRUARY 2013 Welcome to It’s official: Barry Edelstein has arrived! As of January 1, The Old Globe and San Diego’s theatre community have a new artistic voice. With Barry’s arrival, the Globe completes its transition to a dual-leadership structure, the model in place at most regional theatres, with Barry serving as Artistic Director and Michael G. Murphy as Managing Director. DOUG GATES Managing Director Michael G. Murphy and recently appointed In this time of great energy and excitement, we are Artistic Director Barry Edelstein. implementing our leadership transition plan, which will help Barry become acquainted with his new hometown and give him the opportunity to get to know the many constituencies of The Old Globe. Over the next few months, Barry will be meeting with Globe artists, staff, Board members, volunteers, donors and others. As The Brothers Size and Pygmalion begin performances, we look forward to the opportunity to introduce Barry to the Globe’s most important constituency: you, our audience. On page 9 of this program you will find a special note from Barry about The Brothers Size. Look for this ongoing feature for each of our future productions. We hope it gives you some insight into the artistic significance of the work on our stages and deepens your theatregoing experience. This production of The Brothers Size marks the San Diego debut of Tea Alagic´, an extraordinary director and longtime collaborator of playwright Tarell Alvin McCraney. Remember those two names — they are theatre artists to watch, and we are proud to welcome them to the Globe. -
2021 Primetime Emmy® Awards Ballot
2021 Primetime Emmy® Awards Ballot Outstanding Lead Actor In A Comedy Series Tim Allen as Mike Baxter Last Man Standing Brian Jordan Alvarez as Marco Social Distance Anthony Anderson as Andre "Dre" Johnson black-ish Joseph Lee Anderson as Rocky Johnson Young Rock Fred Armisen as Skip Moonbase 8 Iain Armitage as Sheldon Young Sheldon Dylan Baker as Neil Currier Social Distance Asante Blackk as Corey Social Distance Cedric The Entertainer as Calvin Butler The Neighborhood Michael Che as Che That Damn Michael Che Eddie Cibrian as Beau Country Comfort Michael Cimino as Victor Salazar Love, Victor Mike Colter as Ike Social Distance Ted Danson as Mayor Neil Bremer Mr. Mayor Michael Douglas as Sandy Kominsky The Kominsky Method Mike Epps as Bennie Upshaw The Upshaws Ben Feldman as Jonah Superstore Jamie Foxx as Brian Dixon Dad Stop Embarrassing Me! Martin Freeman as Paul Breeders Billy Gardell as Bob Wheeler Bob Hearts Abishola Jeff Garlin as Murray Goldberg The Goldbergs Brian Gleeson as Frank Frank Of Ireland Walton Goggins as Wade The Unicorn John Goodman as Dan Conner The Conners Topher Grace as Tom Hayworth Home Economics Max Greenfield as Dave Johnson The Neighborhood Kadeem Hardison as Bowser Jenkins Teenage Bounty Hunters Kevin Heffernan as Chief Terry McConky Tacoma FD Tim Heidecker as Rook Moonbase 8 Ed Helms as Nathan Rutherford Rutherford Falls Glenn Howerton as Jack Griffin A.P. Bio Gabriel "Fluffy" Iglesias as Gabe Iglesias Mr. Iglesias Cheyenne Jackson as Max Call Me Kat Trevor Jackson as Aaron Jackson grown-ish Kevin James as Kevin Gibson The Crew Adhir Kalyan as Al United States Of Al Steve Lemme as Captain Eddie Penisi Tacoma FD Ron Livingston as Sam Loudermilk Loudermilk Ralph Macchio as Daniel LaRusso Cobra Kai William H. -
Who Lives, Who Dies, Who Tells Your Story?: Gendered Legacies in Hamilton
Who Lives, Who Dies, Who Tells Your Story?: Gendered Legacies in Hamilton JESSICA SEYMOUR Hamilton: An American Musical, written, composed by, and starring Lin- Manuel Miranda, made its Broadway debut in August 2015. Since then, Hamilton has won the Pulitzer Prize for Drama and a record-breaking sixteen Tony Award nominations. Miranda also received a $625,000 MacArthur Fellowship, more commonly referred to as a “Genius Grant”. Hamilton has been heralded as a game-changer for Broadway musicals, starring a racially- diverse cast and supported by contemporary music styles including rap, hip hop, and jazz. It is one of the most popularly successful musicals in recent memory, inspired by the life and times of American founding-father Alexander Hamilton. One of the key themes in the Hamilton musical is the concept of legacy. In historical terms, a legacy is handed down from one generation to another. Glenn Llopis writes in an article for Forbes that leaving a legacy should be a key concern for leaders who want to perform to the best of their ability in business: “The best leadership legacies are a consequence of success coming to those who are surrounded by people that want their success to continue.” Other authors and analysts (see Kerr, Wallace, Hunt, Galford and Maruca) write that workers can and should tailor their careers to suit the personal legacy they wish to leave behind. In a Time magazine interview written by JJ Abrams, Lin-Manuel Miranda stated that he has been preoccupied with legacy “since [he] was a kid”: We have this amount of time. -
June 2013 Welcome To
June 2013 Welcome to The 2013 Summer Shakespeare Festival marks Adrian Noble’s fourth and final year as Festival Artistic Director. We want to take this opportunity to thank not only Adrian (see Barry’s note on page 23) and his fellow director this season, Ian Talbot, but also the truly excellent repertory company Adrian has built at the Globe over the past four years. These actors make a unique commitment to the Globe; from first rehearsal to closing night, they spend over DOUG GATES five months with us. The process of rehearsing Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. three plays simultaneously and then performing a different one every night requires mental focus, transformative skill and the kind of trust that turns a cast into a company. They accomplish this feat with the support of some of the best stage managers and crew in the business, and we salute them as well. This also seems the perfect moment to reaffirm Shakespeare’s central place, not just in our history, but also in the future of The Old Globe. Next season, with Barry’s production of The Winter’s Tale, Shakespeare’s work will return indoors at the Globe for the first time in more than a decade. In the seasons ahead, we look forward to exploring Shakespeare on all three of the Globe’s stages, alongside the world classics, new American writing and musicals that make up the broad range of our programming. We are also committed to building new platforms, finding new ways to bring Shakespeare and our other work out into the San Diego community, making the finest plays ever written accessible to everyone in America’s finest city. -
Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences, and the Community at Large
JANUARY 2015 WELCOME Welcome to the music and mayhem of Murder for Two! We’re delighted to introduce San Diego audiences to the talented writing team of Kellen Blair and Joe Kinosian. Not only will you get to enjoy the ingenious story they’ve crafted (driven by Kellen’s clever lyrics and Joe’s engaging tunes), but you will have the added pleasure of watching Joe wear multiple hats. Literally. In this production, composer and co-book writer Joe Kinosian will step on stage to play 10 different roles as he and fellow performer Ian Lowe take us through all the twists and turns of a classic murder mystery. Murder for Two also brings director Scott Schwartz back to the Globe. This is Scott’s sixth directing outing here, so if you’re a frequent Globe theatregoer, you may have already seen and enjoyed his work on DOUGLAS GATES Golda’s Balcony, Lost in Yonkers, Brighton Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. Beach Memoirs, Broadway Bound, or A Room with a View. It’s a pleasure to welcome him back to the Globe stage. This year marks a major milestone for The Old Globe: in 2015, we observe our 80th year. Throughout the year, we’ll be celebrating and reminiscing with stories and photographs that take us back through Globe history as we commemorate eight decades and nearly 900 productions. We hope you enjoy these memories and join us in drawing inspiration from them for the next 80 years. Barry Edelstein, Artistic Director Michael G. Murphy, Managing Director MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. -
It's No Longer a Man's World
THURSDAY, MARCH 11, 2021 It’s no longer a man’s world By Thor Jourgensen of president, rents tents, chairs ITEM STAFF and an array of other items for functions and events. After Jim Appleton has worked half months of social event cancel- a lifetime in a job dominated by lations slammed his business, burly guys loading heavy stuff Appleton is optimistic about a into big trucks. But women are recovery fueled in part, he said, changing a rental industry pre- by ways women have reshaped viously dominated by men and the rental industry. Appleton has had to change too. When he started working in “There are a lot more women the family business in 1979, swinging a sledgehammer onto women were relegated to the of- a tent stake,” he said. ce, answering telephones and ITEM PHOTO | SPENSER HASAK Appleton’s Lynn-based family scheduling orders. business, Ronald L. Appleton Ronald L. Appleton Inc. employees Mary Rodriguez of Lynn, left, and Maritza Lopez of Inc., where he holds the title WORLD, A2 Lynn fold an large tablecloth after running it through an industrial-sized iron. Crighton EDIC touts bill means to aid business employees, in Lynn employers By Allysha Dunnigan ITEM STAFF By Allysha Dunnigan LYNN — The Lynn Partnership ITEM STAFF Program will provide digital busi- LYNN — State Sen. Brendan ness training, mentoring, technical Crighton (D-Lynn) announced support and seed funding to 15 ear- updates to a proposed COVID-19 ly-stage Latino entrepreneurs in the relief bill to assist employers and restaurant, retail and service sectors, employees in the Commonwealth courtesy of a $100,000 grant from during a virtual government af- the Baker-Polito administration. -
A Marxist Analysis of "Hamilton" and Its Relationship to the Broadway Economic System
Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Spring 4-26-2021 Who Lives, Who Dies, Who Tells Your Story? A Marxist Analysis of "Hamilton" and its Relationship to the Broadway Economic System Alana Ritt [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the American Popular Culture Commons, Critical and Cultural Studies Commons, Dramatic Literature, Criticism and Theory Commons, and the United States History Commons Repository Citation Ritt, Alana, "Who Lives, Who Dies, Who Tells Your Story? A Marxist Analysis of "Hamilton" and its Relationship to the Broadway Economic System" (2021). Honors Projects. 563. https://scholarworks.bgsu.edu/honorsprojects/563 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. WHO LIVES, WHO DIES, WHO TELLS YOUR STORY? A MARXIST ANALYSIS OF HAMILTON AND ITS RELATIONSHIP TO THE BROADWAY ECONOMIC SYSTEM ALANA RITT HONORS PROJECT Submitted to the Honors College at Bowling Green State University in partial fulfillment of the requirements for graduation with UNIVERSITY HONORS APRIL 26, 2021 ____________________________, Advisor Prof. Robert Sloane, Department of American Culture Studies ____________________________, Advisor Dr. Michael Ellison, Department of Theater ____________________________, Advisor Dr. Andrew Schocket, Department of History A MARXIST ANALYSIS OF HAMILTON -
Intersectional Temporalities in Hamilton, an American Musical
City University of New York (CUNY) CUNY Academic Works Publications and Research York College 2017 Who Tells Our Story: Intersectional Temporalities in Hamilton, An American Musical Andie Silva CUNY York College Shereen Inayatulla CUNY York College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/yc_pubs/194 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Abstract: This article examines the ways in which Hamilton: An American Musical can be read less as a historical account and more as a prediction of a future immigrant, who is called upon to (re)define US nationhood. Keeping with the tempo of the musical as well as the broader issues of time, space, and identity it attempts to address, this article is presented as a dialogical rap. The co-authors’ discussion frames Hamilton as an example of the power of unplottable, time- arresting immigrant bodies, to whom the colonial imposition of linear history does not apply. From this framework, the authors’ conversation shifts to critiques of racialized tropes running through the production as well as the inaccessibility of theatre tickets. The goal of this dialogical analysis is to invite further debate about the kinds of immigrant time/space travel that make visible questions of agency, representation, and access. Keywords: Hamilton, immigrant, temporality, race Who Tells Our Story: Intersectional Temporalities in Hamilton, An American Musical Lin-Manuel Miranda’s (re)imagined hip-hop tale opens from the perspective of its self- proclaimed villain, Aaron Burr (2015).