History Timeline from 13.7 Billion Years Ago to August 2013. 1 of 588 Pages This PDF History Timeline Has Been Extracted
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A Mixed Blessing at the Ballet 01
Daily Telegraph July 28 2001 A mixed blessing at the ballet Photo Sheila Rock As Anthony Dowell leaves the Royal Ballet, dance critic Ismene Brown assesses his 15-year regime as director - and stars pay tribute below AT THE Royal Ballet the countdown has begun to the end of an era. A week tonight, amid flowers, Champagne and tears, Sir Anthony Dowell, the longest-serving ballet director since the company’s founder, Ninette de Valois, will end his 15-year regime. He was undoubtedly one of the great world stars of dancing, and the “Celebration Programme” will mark his achievements as such. But about his success as director of the company, opinion is far from unanimous. What makes a good director? The question has never been more of a poser than during Dowell\s captaincy of the ballet, in the most turbulent years of the Royal Opera House’s history. There are many pluses on Dowell’s account sheet - his maintenance of high classical technical standards, his welcoming of key foreign artists into the Royal (particularly Sylvie Guillem and Irek Mukhamedov), his inspiring coaching, to which leading guest stars attest opposite. The rise of Darcey Bussell to world acclaim, the forging of a superb partnership between Mukhamedov and Viviana Durante, this final, nostalgic and beautiful 2000-01 season - these are positive memories. He will be noted as a conservative, and many welcomed this after an insecure period of modernising under his predecessor, Norman Morrice. Whether conservatism has served the company well for the future, though, is debatable. In the shifting landscape of ballet, conservatism is not enough to hold steady. -
2.Documentals, Pel.Lícules, Concerts, Ballet, Teatre
2.DOCUMENTALS, PEL.LÍCULES, CONCERTS, BALLET, TEATRE..... L’aparició del format DVD ha empès a que molts teatres, televisions, productores, etc hagin decidit reeeditar programes que havien contribuït a popularitzar i divulgar diferents aspectes culturals. També permet elaborar documents que en altres formats son prohibitius, per això avui en dia, hi ha molt a on triar. En aquest arxiu trobareu: -- Documentals a) dedicats a Wagner o la seva obra b) dedicats a altres músics, obres, cantants, directors, ... -- Grabacions de concerts i recitals a) D’ obres wagnerianes b) D’ altres obres i compositors -- Pel.lícules que ens acosten al món de la música -- Ballet clàssic -- Teatre clàssic Associació Wagneriana. Apartat postal 1159 Barcelona Http://www. associaciowagneriana.com. [email protected] DOCUMENTALS A) DEDICATS A WAGNER O LA SEVA OBRA 1. “The Golden Ring” DVD: DECCA Film de la BBC que mostre com es va grabar en disc La Tetralogia en 1965, dirigida per Georg Solti. El DVD es centre en la grabació del Götterdämmerung. Molt recomenable 2. Sing Faster. The Stagehands’Ring Cycle. DVD: Docurama Filmat per John Else presenta com es va preparar el montatge de la Tetralogia a San Francisco. Interesant ja que mostra la feina que cal realitzar en diferents àmbits per organitzar un Anell, però malhauradament la producció escenogrficament és bastant dolenta. 3. “Parsifal” DVD: Kultur. Del director Tony Palmer, el que va firmar la biografia deplorable del compositor Wagner, aquest documental ens apropa i allunya del Parsifal de Wagner. Ens apropa en les explicacions de Domingo i ens allunya amb les bestieses de Gutman. Prescindible. B) DEDICATS A ALTRES MÚSICS, OBRES, CANTANTS, DIRECTORS, .. -
Burma's Long Road to Democracy
UNITED STATES InsTITUTE OF PEACE www.usip.org SPECIAL REPORT 1200 17th Street NW • Washington, DC 20036 • 202.457.1700 • fax 202.429.6063 ABOUT THE REPORT Priscilla Clapp A career officer in the U.S. Foreign Service, Priscilla Clapp served as U.S. chargé d’affaires and chief of mission in Burma (Myanmar) from June 1999 to August 2002. After retiring from the Foreign Service, she has continued to Burma’s Long Road follow events in Burma closely and wrote a paper for the United States Institute of Peace entitled “Building Democracy in Burma,” published on the Institute’s Web site in July 2007 as Working Paper 2. In this Special to Democracy Report, the author draws heavily on her Working Paper to establish the historical context for the Saffron Revolution, explain the persistence of military rule in Burma, Summary and speculate on the country’s prospects for political transition to democracy. For more detail, particularly on • In August and September 2007, nearly twenty years after the 1988 popular uprising the task of building the institutions for stable democracy in Burma, public anger at the government’s economic policies once again spilled in Burma, see Working Paper 2 at www.usip.org. This into the country’s city streets in the form of mass protests. When tens of thousands project was directed by Eugene Martin, and sponsored by of Buddhist monks joined the protests, the military regime reacted with brute force, the Institute’s Center for Conflict Analysis and Prevention. beating, killing, and jailing thousands of people. Although the Saffron Revolution was put down, the regime still faces serious opposition and unrest. -
The Nutcracker
American Ballet Theatre Kevin McKenzie Rachel S. Moore Artistic Director Chief Executive Officer Alexei Ratmansky Artist in Residence HERMAN CORNEJO · MARCELO GOMES · DAVID HALLBERG PALOMA HERRERA · JULIE KENT · GILLIAN MURPHY · VERONIKA PART XIOMARA REYES · POLINA SEMIONOVA · HEE SEO · CORY STEARNS STELLA ABRERA · KRISTI BOONE · ISABELLA BOYLSTON · MISTY COPELAND ALEXANDRE HAMMOUDI · YURIKO KAJIYA · SARAH LANE · JARED MATTHEWS SIMONE MESSMER · SASCHA RADETSKY · CRAIG SALSTEIN · DANIIL SIMKIN · JAMES WHITESIDE Alexei Agoudine · Eun Young Ahn · Sterling Baca · Alexandra Basmagy · Gemma Bond · Kelley Boyd Julio Bragado-Young · Skylar Brandt · Puanani Brown · Marian Butler · Nicola Curry · Gray Davis Brittany DeGrofft · Grant DeLong · Roddy Doble · Kenneth Easter · Zhong-Jing Fang · Thomas Forster April Giangeruso · Joseph Gorak · Nicole Graniero · Melanie Hamrick · Blaine Hoven · Mikhail Ilyin Gabrielle Johnson · Jamie Kopit · Vitali Krauchenka · Courtney Lavine · Isadora Loyola · Duncan Lyle Daniel Mantei · Elina Miettinen · Patrick Ogle · Luciana Paris · Renata Pavam · Joseph Phillips · Lauren Post Kelley Potter · Luis Ribagorda · Calvin Royal III · Jessica Saund · Adrienne Schulte · Arron Scott Jose Sebastian · Gabe Stone Shayer · Christine Shevchenko · Sarah Smith* · Sean Stewart · Eric Tamm Devon Teuscher · Cassandra Trenary · Leann Underwood · Karen Uphoff · Luciana Voltolini Paulina Waski · Jennifer Whalen · Katherine Williams · Stephanie Williams · Roman Zhurbin Apprentices Claire Davison · Lindsay Karchin · Kaho Ogawa · Sem Sjouke · Bryn Watkins · Zhiyao Zhang Victor Barbee Associate Artistic Director Ormsby Wilkins Music Director Charles Barker David LaMarche Principal Conductor Conductor Ballet Masters Susan Jones · Irina Kolpakova · Clinton Luckett · Nancy Raffa * 2012 Jennifer Alexander Dancer ABT gratefully acknowledges Avery and Andrew Barth for their sponsorship of the corps de ballet in memory of Laima and Rudolph Barth and in recognition of former ABT corps dancer Carmen Barth. -
PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso. -
Bolshoi Theater
FOR IMMEDIATE RELEASE Contact: Dick Caples Tel: 212.221.7909 E-mail: [email protected] Lar Lubovitch awarded the 20th annual prize for best choreography by the Prix Benois de la Danse at the Bolshoi Theater. He is the first head of an American dance company ever to be so honored. New York, NY, May 23, 2012 – Last night at the Bolshoi Theater in Moscow, Lar Lubovitch was awarded the 20th annual prize for best choreography by the Prix Benois de la Danse. Lubovitch is the first head of an American dance company ever presented with the award. He was honored for his creation of Crisis Variations, which premiered at the Baryshnikov Arts Center in New York City on November 9, 2011. The work, for seven dancers, is set to a commissioned score by composer Yevgeniy Sharlat, and the score was performed live at its premiere by the ensemble Le Train Bleu, under the direction of conductor Ransom Wilson. To celebrate the occasion, the Lar Lubovitch Dance Company performed the duet from Meadow for the audience of 2,500 at the Bolshoi. The dancers in the duet were Katarzyna Skarpetowska and Brian McGinnis. The laureates for best choreography over the previous 19 years include: John Neumeier, Jiri Kylian, Roland Petit, Angelin Preljocaj, Nacho Duato, Alexei Ratmansky, Boris Eifman, Wayne McGregor, Sidi Larbi Cherkaoui, and Jorma Elo. Other star performers and important international figures from the world of dance received prizes at this year’s award ceremony. In addition to the award for choreography given to Lubovitch, the winners in other categories were: For the best performance by a ballerina: Alina Cojocaru for the role of Julie in “Liliom” at the Hamburg Ballet. -
Why Is Everyone Always Stealing Black Music?
Disclaimer: This is a machine generated PDF of selected content from our databases. This functionality is provided solely for your convenience and is in no way intended to replace original scanned PDF. Neither Cengage Learning nor its licensors make any representations or warranties with respect to the machine generated PDF. The PDF is automatically generated "AS IS" and "AS AVAILABLE" and are not retained in our systems. CENGAGE LEARNING AND ITS LICENSORS SPECIFICALLY DISCLAIM ANY AND ALL EXPRESS OR IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, ANY WARRANTIES FOR AVAILABILITY, ACCURACY, TIMELINESS, COMPLETENESS, NON-INFRINGEMENT, MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Your use of the machine generated PDF is subject to all use restrictions contained in The Cengage Learning Subscription and License Agreement and/or the Gale Academic OneFile Select Terms and Conditions and by using the machine generated PDF functionality you agree to forgo any and all claims against Cengage Learning or its licensors for your use of the machine generated PDF functionality and any output derived therefrom. Why Is Everyone Always Stealing Black Music? Author: Wesley Morris Date: Aug. 18, 2019 From: The New York Times Magazine Publisher: The New York Times Company Document Type: Article Length: 4,665 words Lexile Measure: 1190L Full Text: I've got a friend who's an incurable Pandora guy, and one Saturday while we were making dinner, he found a station called Yacht Rock. ''A tongue-in-cheek name for the breezy sounds of late '70s/early '80s soft rock'' is Pandora's definition, accompanied by an exhortation to ''put on your Dockers, pull up a deck chair and relax.'' With a single exception, the passengers aboard the yacht were all dudes. -
Biographie De Pablo Picasso
DOSSIER DE PRESSE 1 SOMMAIRE Introduction et informations pratiques 3 Une exposition, deux ensembles thématiques 5 « Picasso Côte d’Azur » « Picasso dans la Collection Nahmad » 7 La famille Nahmad, 50 années au service de l’art 9 Présentation des Commissaires 12 Le parcours scénographique 13 La Biographie de Picasso et dates repères 16 Les séjours de Picasso sur la côte d’Azur 1920-1939 21 Imagier Presse 27 Le Grimaldi Forum 37 Les Partenaires 39 2 INTRODUCTION Cet été, le Grimaldi Forum crée l’événement en produisant l’exposition « Monaco fête Picasso », un hommage rendu à l'occasion du 40ème anniversaire de la disparition de cet artiste mondialement reconnu. La volonté du Grimaldi Forum Monaco est d’offrir un regard inédit sur sa production artistique, révélant non seulement les liens privilégiés qu’il a entretenus avec la Côte d’Azur, mais également une sélection exceptionnelle d’œuvres majeures issues d’une collection privée remarquable. Deux ensembles thématiques illustrent cette exposition à travers 160 œuvres : « Picasso Côte d'Azur » emmènera les visiteurs autour d’Antibes-Juan-les-Pins, Golfe-Juan, Mougins, Cannes, dans cette région qui a tant attiré Pablo Picasso l’été, entre 1920 et 1946, et où la lumière méditerranéenne, la mer et le littoral furent pour lui des sources directes d’inspiration. « Picasso dans la Collection Nahmad » mettra en lumière les chefs-d’œuvre de l’artiste qui occupent une place essentielle dans cette collection unique au monde, de par son importance et sa qualité, constituée par Ezra et David Nahmad durant ces cinquante dernières années. Le commissariat de l’exposition est conjointement assuré par Jean-Louis ANDRAL, Directeur du Musée Picasso d’Antibes, Marilyn McCULLY, spécialiste reconnue de Picasso, et Michael RAEBURN, écrivain qui a collaboré avec elle sur de nombreux ouvrages consacrés à Pablo Picasso. -
A „Szőke Tisza” Megmentésének Lehetőségei
A „SZŐKE TISZA” MEGMENTÉSÉNEK LEHETŐSÉGEI Tájékoztató Szentistványi Istvánnak, a szegedi Városkép- és Környezetvédelmi Bizottság elnökének Összeállította: Dr. Balogh Tamás © 2012.03.27. TIT – Hajózástörténeti, -Modellező és Hagyományőrző Egyesület 2 TÁJÉKOZTATÓ Szentistványi István, a szegedi Városkép- és Környezetvédelmi Bizottság elnöke részére a SZŐKE TISZA II. termesgőzössel kapcsolatban 2012. március 27-én Szentistványi István a szegedi Városkép- és Környezetvédelmi Bizottság elnöke e-mailben kért tájékoztatást Dr. Balogh Tamástól a TIT – Hajózástörténeti, -Modellező és Hagyományőrző Egyesület elnökétől a SZŐKE TISZA II. termesgőzössel kapcsolatban, hogy tájékozódjon a hajó megmentésének lehetőségéről – „akár jelentősebb anyagi ráfordítással, esetleges városi összefogással is”. A megkeresésre az alábbi tájékoztatást adom: A hajó 2012. február 26-án süllyedt el. Azt követően egyesületünk honlapján – egy a hajónak szentelt tematikus aloldalon – rendszeresen tettük közzé a hajóra és a mentésére vonatkozó információkat, képeket, videókat (http://hajosnep.hu/#!/lapok/lap/szoke-tisza-karmentes), amelyekből szinte napi ütemezésben nyomon követhetők a február 26-március 18 között történt események. A honlapon elérhető információkat nem kívánom itt megismételni. Egyebekben a hajó jelentőségéről és az esetleges városi véleménynyilvánítás elősegítésére az alábbiakat tartom szükségesnek kiemelni: I) A hajó jelentősége: Bár a Kulturális Örökségvédelmi Hivatal előtt jelenleg zajlik a hajó örökségi védelembe vételére irányuló eljárás (a hajó örökségi -
Journal of the Music & Entertainment Industry Educators Association
Journal of the Music & Entertainment Industry Educators Association Volume 19, Number 1 (2019) Bruce Ronkin, Editor Northeastern University Paul Linden, Associate Editor University of Southern Mississippi Ben O’Hara, Associate Editor (Book Reviews) Australian College of the Arts Published with Support from America’s First Unprofessional Songwriter: Stephen Foster and the Ritual Economy of Copyright in Early American Popular Music Jason Lee Guthrie Clayton State University This research was funded in part by a research grant from the Music & Entertainment Industry Educators Associa- tion. https://doi.org/10.25101/19.2 Abstract This article explores Stephen Foster’s understanding and use of copyright. It examines what his copyright strategy can reveal about his professionalism as a songwriter and about his worldview as an important influencer of early American popular culture. It adapts the anthropologi- cal theory of ritual economy to theorize how Foster’s economic decision making, as revealed in copyright and related business records, can offer material evidence of his worldview. Foster’s failure to secure copyrights for his early work, to establish himself as the author of his most popular songs to the music buying public, and to capitalize upon favorable song- writing contracts are considered. These sources may also illuminate how the precedent Foster set has shaped the discourse on professionalism in American popular music. Keywords: copyright law, early America, music business, music his- tory, Music Modernization Act, music piracy -
Monetary Transition the Case for Money Serving the Common Good Jézabel Couppey-Soubeyran* & Pierre Delandre**
Monetary Transition The Case for Money serving the Common Good Jézabel Couppey-Soubeyran* & Pierre Delandre** MAY 2021 Many recent proposals for monetary reform have argued the need to create a new mode of money issuance, in which the central bank or an issuing institution would decide, within the framework of renewed democratic governance, to issue the amount of central bank money required to pursue given objectives—for example, certain investments in the ecological transition where conventional financing would prove insufficient—by allocating it to a particular sector: the government, households, companies, etc. This note echoes these ideas, and proposes a “voluntary” mode of central bank money creation. The term “monetary transition” refers to the transition to this new mode of issuance, which could coexist with traditional bank credit money. Published in partnership with Etopia. * Senior Lecturer at the University of Paris 1 Panthéon-Sorbonne and an Associate Professor at the Paris School of Economics. Her research focuses on banking, financing of the economy, and monetary and prudential policies. (Corresponding author: [email protected]) ** Sociologist, qualified in public finance, and Associate Researcher at Etopia, a centre for events and research in political ecology. Acknowledgements: this note owes much to the proofreading of Wojtek Kalinowski, Dominique Plihon, Augustin Sersiron, Michel Crinetz, and to the constructive and considerate discussions that followed. We thank them all most warmly. It also owes much to the more tumultuous exchanges that took place via blog posts, opinion pieces and responses, and the social networks, Twitter in particular. We would like to thank Henri Sterdyniak, Julien Pinter and Eric Dor, to name but a few, with equal sincerity. -
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1 A Century of Rites: The Making of an Avant-Garde Tradition Lynn Garafola Since the premiere of The Rite of Spring in 1913, scores of choreographic works to the celebrated Stravinsky music have seen the light of day. In 1987, when Joan Acocella and I compiled a list of as many productions as we could document for the Dance Critics Association symposium "The Rite of Spring at Seventy-Five," the number was forty-four.' (Of course, that was in the Dark Ages before Google and th e Internet!) By the time we republished the list in Ballet Review in 1992, it had climbed to seventy-five, including more than twenty earlier versions we had missed.2 Since then the numbers have grown exponentially. In 1999 the Italian critic Ada d'Adamo counted ninety-three versions.3 Three years later, "Stravin sky the Global Dancer," the database developed by Stephanie Jordan and her col league Larraine Nicholas at Roehampton University in 2002, recorded 181 set tings of the score, with roughly half since 1990 and with several choreographers staging multiple versions.4 After a brief slackening, the numbers spiked again in 2013, with countless new productions and revivals of old ones marking The Rite's centenary. Seemingly the idea of the now-legendary work coupled with its memorable score posed an irresistible challenge. Even as the productions keep coming, like Vaslav Nijinsky's original they keep disappearing, with perhaps two dozen or so in active repertory. To be sure, few dance w9rks outlive the first decade of their creation. They may leave traces, documentary and otherwise, but as living works they enter the limbo of non-per formance, where they languish long after any hope of retrievability has gone.