Nominate a Woman Who Connects the World
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Brian Stokes Mitchell Outside at the Colonial
Press Contacts: Katie B. Watts Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For immediate release, please: Monday, July 20 at 10am Berkshire Theatre Group Announces An Intimate Performance with Two-time Tony Award-winner Brian Stokes Mitchell to Benefit Berkshire Theatre Group and a Portion of Sales to go to The Actors Fund and Black Theatre United Pittsfield, MA – Berkshire Theatre Group (BTG) and Kate Maguire (Artistic Director, CEO) are excited to announce two-time Tony Award-winner Brian Stokes Mitchell in an intimate performance and fundraiser to benefit Berkshire Theatre Group. In this very special one-night-only concert, Brian Stokes Mitchell will deliver an unforgettable performance to an audience of less than 100 people, outside under a tent at The Colonial Theatre on Labor Day Weekend, September 5 at 8pm. Dubbed “the last leading man” by The New York Times, Tony Award-winner Brian Stokes Mitchell has enjoyed a career that spans Broadway, television, film, and concert appearances with the country’s finest conductors and orchestras. He received Tony, Drama Desk, and Outer Critics Circle awards for his star turn in Kiss Me, Kate. He also gave Tony-nominated performances in Man of La Mancha, August Wilson’s King Hedley II, and Ragtime. Other notable Broadway shows include: Kiss of the Spider Woman, Jelly’s Last Jam, Women on the Verge of a Nervous Breakdown and Shuffle Along. In 2016 he was awarded his second Tony Award, the prestigious Isabelle Stevenson Tony for his Charitable work with The Actors Fund. -
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998). -
Celebrity and Race in Obama's America. London
Cashmore, Ellis. "To be spoken for, rather than with." Beyond Black: Celebrity and Race in Obama’s America. London: Bloomsbury Academic, 2012. 125–135. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781780931500.ch-011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 05:30 UTC. Copyright © Ellis Cashmore 2012. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 11 To be spoken for, rather than with ‘“I’m not going to put a label on it,” said Halle Berry about something everyone had grown accustomed to labeling. And with that short declaration she made herself arguably the most engaging black celebrity.’ uperheroes are a dime a dozen, or, if you prefer, ten a penny, on Planet SAmerica. Superman, Batman, Captain America, Green Lantern, Marvel Girl; I could fi ll the rest of this and the next page. The common denominator? They are all white. There are benevolent black superheroes, like Storm, played most famously in 2006 by Halle Berry (of whom more later) in X-Men: The Last Stand , and Frozone, voiced by Samuel L. Jackson in the 2004 animated fi lm The Incredibles. But they are a rarity. This is why Will Smith and Wesley Snipes are so unusual: they have both played superheroes – Smith the ham-fi sted boozer Hancock , and Snipes the vampire-human hybrid Blade . Pulling away from the parallel reality of superheroes, the two actors themselves offer case studies. -
The #1 Secret for Improving Your Speaking Voice
The #1 Secret for Improving Your Speaking Voice (That Most Voice Coaches Don’t Know!) Nancy Daniels 2 The #1 Secret For Improving Your Speaking Voice (That Most Voice Coaches Don’t Know!) by Nancy Daniels, The Voice Lady www.voicedynamic.com [email protected] 888-627-2824 856-627-6040 ©2010 3 Just When You Think You Have Your Act Together …You Hear Yourself on Your Answering Machine! Do you believe that the image you project has an impact on your professional or business life? I would imagine that your answer is yes. I would also imagine that you have heard yourself on some type of recording equipment – your voicemail, an answering machine, a camcorder, or maybe even an old audio tape recorder. When you hear your recorded voice, what is your reaction? Are you shocked, maybe embarrassed? How about humiliated? In all the years I have been speaking professionally about the sound of the voice, I always ask that question of my audience. 99% do not raise their hands. In fact, most tend to look around the room uncomfortably, possibly hoping I will not call upon them to speak. The reason for their discomfort is because, in being asked that question, they have an idea of what I am going to say next and they do not want to hear it. It goes something like this: The voice you hear on your voicemail or other type of recording equipment is how everyone else recognizes you. Let 4 me say that again. The voice which embarrasses, humiliates, disgusts, or shocks you is how everyone else recognizes you. -
Amazon's Antitrust Paradox
LINA M. KHAN Amazon’s Antitrust Paradox abstract. Amazon is the titan of twenty-first century commerce. In addition to being a re- tailer, it is now a marketing platform, a delivery and logistics network, a payment service, a credit lender, an auction house, a major book publisher, a producer of television and films, a fashion designer, a hardware manufacturer, and a leading host of cloud server space. Although Amazon has clocked staggering growth, it generates meager profits, choosing to price below-cost and ex- pand widely instead. Through this strategy, the company has positioned itself at the center of e- commerce and now serves as essential infrastructure for a host of other businesses that depend upon it. Elements of the firm’s structure and conduct pose anticompetitive concerns—yet it has escaped antitrust scrutiny. This Note argues that the current framework in antitrust—specifically its pegging competi- tion to “consumer welfare,” defined as short-term price effects—is unequipped to capture the ar- chitecture of market power in the modern economy. We cannot cognize the potential harms to competition posed by Amazon’s dominance if we measure competition primarily through price and output. Specifically, current doctrine underappreciates the risk of predatory pricing and how integration across distinct business lines may prove anticompetitive. These concerns are height- ened in the context of online platforms for two reasons. First, the economics of platform markets create incentives for a company to pursue growth over profits, a strategy that investors have re- warded. Under these conditions, predatory pricing becomes highly rational—even as existing doctrine treats it as irrational and therefore implausible. -
Lady Day at Emerson's Bar & Grill
PRESS RELEASE – FRIDAY 3 FEBRUARY 2017 RECORD SIX-TIME TONY AWARD-WINNER AUDRA McDONALD MAKES HER WEST END DEBUT IN LADY DAY AT EMERSON'S BAR & GRILL WYNDHAM’S THEATRE, LONDON From 17 June to 9 September 2017 PRODUCTION PHOTOGRAPHY AVAILABLE HERE Username: Lady Day | Password: Holiday TICKETS ON SALE HERE FROM MIDDAY ON FRIDAY 3 FEBRUARY After the joyous news of Audra McDonald’s unexpected pregnancy last year, producers of the postponed London run of Lady Day at Emerson’s Bar & Grill are delighted to announce that this summer, McDonald, the Tony, Grammy, and Emmy Award-winning singer and actress, will be making her long awaited West End debut portraying jazz legend Billie Holiday in a performance that won her a record-setting sixth Tony Award. This critically acclaimed production, which broke box office records at the Circle in the Square in New York, will run for a limited engagement at Wyndham’s Theatre from Saturday 17 June to Saturday 9 September, with opening night for press on Tuesday 27 June 2017. “Audra McDonald is a vocal genius! One of the greatest performances I ever hope to see.” New York Magazine Written by Lanie Robertson and directed by Lonny Price, Lady Day at Emerson’s Bar & Grill recounts Holiday's life story through the songs that made her famous, including “God Bless the Child,” “What a Little Moonlight Can Do,” “Strange Fruit” and “Taint Nobody’s Biz- ness.” “Mesmerizing! Pouring her heart into her voice, Audra McDonald breathes life into Billie Holiday’s greatest songs.” The New York Times Lady Day at Emerson’s Bar & Grill won two Tony Awards in 2014 including ‘Best Performance by a Leading Actress in a Play’ for Audra McDonald, making her Broadway’s most decorated performer, winner of six Tony Awards and the first and only person to receive awards in all four acting categories. -
Every Act of Life
EVERY ACT OF LIFE Featuring: Terrence McNally, F. Murray Abraham, Lynn Ahrens, Jon Robin Baitz, Christine Baranski, Dominic Cuskern, Tyne Daly, Edie Falco, Stephen Flaherty, John Glover, Anthony Heald, John Benjamin Hickey, Sheryl Kaller, John Kander, Roberta Kaplan, Tom Kirdahy, Larry Kramer, Nathan Lane, Angela Lansbury, Paul Libin, Joe Mantello, Marin Mazzie, Audra McDonald, Peter McNally, Lynne Meadow, Rita Moreno, Jack O’Brien, Billy Porter, Chita Rivera, Doris Roberts, Don Roos, John Slattery, Micah Stock, Richard Thomas, John Tillinger, & Patrick Wilson, the plus the voices of Dan Bucatinsky, Bryan Cranston, & Meryl Streep. “Wonderful . I wasn’t prepared for the emotional release of Every Act Of Life.” – The Paper “Poignant, incredibly inspiring . indispensable.” – The Village Voice “Really entertaining and illuminating . Bravo. – Edge Media “Riveting and revealing.” – Entertainment Weekly “Staggering, heart-warming, and inspiring beyond words.” – Joyce DiDonato “I just loved it. One of the best films I have seen at the festival.” – Rex Reed Short Synopsis: Four-time Tony-winning playwright Terrence McNally’s six ground-breaking decades in the theatre, the fight for LGBTQ rights, triumph over addiction, the pursuit of love and inspiration at every age, and the power of the arts to transform society. Synopsis: The son of an alcoholic beer distributor in southern Texas, Terrence traveled the world as tutor to John Steinbeck's children (Steinbeck’s only advice was, "Don't write for the theater, it will break your heart”); suffered an infamous Broadway flop in 1965 at age 24; and went on to write dozens of groundbreaking plays and musicals about sexuality, homophobia, faith, the power of art, the need to connect, and finding meaning in every moment of life. -
The Rules of #Metoo
University of Chicago Legal Forum Volume 2019 Article 3 2019 The Rules of #MeToo Jessica A. Clarke Follow this and additional works at: https://chicagounbound.uchicago.edu/uclf Part of the Law Commons Recommended Citation Clarke, Jessica A. (2019) "The Rules of #MeToo," University of Chicago Legal Forum: Vol. 2019 , Article 3. Available at: https://chicagounbound.uchicago.edu/uclf/vol2019/iss1/3 This Article is brought to you for free and open access by Chicago Unbound. It has been accepted for inclusion in University of Chicago Legal Forum by an authorized editor of Chicago Unbound. For more information, please contact [email protected]. The Rules of #MeToo Jessica A. Clarke† ABSTRACT Two revelations are central to the meaning of the #MeToo movement. First, sexual harassment and assault are ubiquitous. And second, traditional legal procedures have failed to redress these problems. In the absence of effective formal legal pro- cedures, a set of ad hoc processes have emerged for managing claims of sexual har- assment and assault against persons in high-level positions in business, media, and government. This Article sketches out the features of this informal process, in which journalists expose misconduct and employers, voters, audiences, consumers, or professional organizations are called upon to remove the accused from a position of power. Although this process exists largely in the shadow of the law, it has at- tracted criticisms in a legal register. President Trump tapped into a vein of popular backlash against the #MeToo movement in arguing that it is “a very scary time for young men in America” because “somebody could accuse you of something and you’re automatically guilty.” Yet this is not an apt characterization of #MeToo’s paradigm cases. -
News and Documentary Emmy Winners 2020
NEWS RELEASE WINNERS IN TELEVISION NEWS PROGRAMMING FOR THE 41ST ANNUAL NEWS & DOCUMENTARY EMMY® AWARDS ANNOUNCED Katy Tur, MSNBC Anchor & NBC News Correspondent and Tony Dokoupil, “CBS This Morning” Co-Host, Anchor the First of Two Ceremonies NEW YORK, SEPTEMBER 21, 2020 – Winners in Television News Programming for the 41th Annual News and Documentary Emmy® Awards were announced today by The National Academy of Television Arts & Sciences (NATAS). The News & Documentary Emmy® Awards are being presented as two individual ceremonies this year: categories honoring the Television News Programming were presented tonight. Tomorrow evening, Tuesday, September 22nd, 2020 at 8 p.m. categories honoring Documentaries will be presented. Both ceremonies are live-streamed on our dedicated platform powered by Vimeo. “Tonight, we proudly honored the outstanding professionals that make up the Television News Programming categories of the 41st Annual News & Documentary Emmy® Awards,” said Adam Sharp, President & CEO, NATAS. “As we continue to rise to the challenge of presenting a ‘live’ ceremony during Covid-19 with hosts, presenters and accepters all coming from their homes via the ‘virtual technology’ of the day, we continue to honor those that provide us with the necessary tools and information we need to make the crucial decisions that these challenging and unprecedented times call for.” All programming is available on the web at Watch.TheEmmys.TV and via The Emmys® apps for iOS, tvOS, Android, FireTV, and Roku (full list at apps.theemmys.tv). Tonight’s show and many other Emmy® Award events can be watched anytime, anywhere on this new platform. In addition to MSNBC Anchor and NBC. -
The Life and Death of an Icon Facil Ute Core Core Tie Modiam, Conulla
WW | xxxxxxxx THIS STORY ALWAYS HAD everything, didn’t it? The blushing young innocent who transformed herself into the most adored – and most hunted – woman in the world. The Cinderella who found her Prince Charming – or thought she did – and then entered the palace via the golden carriage. The fairytale but fraudulent wedding of the century, followed by that grim parable of death in the Paris tunnel. The romance, the adultery, the royal intrigue, the eternal, hopeless quest for love, the media’s crazed preoccupation and pursuit. TIn her lifetime, Diana was the People’s Princess who, in death, became the Sleeping Beauty and the Lady of the Lake. She was the stuff that myths are made of and, like her or not, believe it or not, hers was a tale of epic, monumental proportions, that mesmerised the world for 16 years – from the time she walked down the aisle in St Paul’s Cathedral to the time of her funeral in Westiminster Abbey, witnessed by, what was it, a quarter of the world’s population? permafrost and the duke’s Teutonic coldness Think of Marilyn Monroe, Princess Grace, to Diana’s single-minded pursuit of Prince Greta Garbo, Jackie Onassis, perhaps even Charles and her elder son, William’s, interest Mother Theresa, and roll them into one in becoming governor-general of Australia. iconic figure, and you might approach the The Diana Spencer that emerges from fame, the celebrity of Diana Spencer, the pages of Tina Brown’s The Diana Celebrated editor Tina Princess of Wales. As Martin Amis, the Chronicles is at once childish, scheming, Brown’s sensational new writer, once said, “Madonna sings. -
To Star in a Touring Broadway Musical
Winter 2017 / Volume 3 / Issue 1 WHAT’S IT LIKE To Star in a Touring Broadway Musical By Becky Mollenkamp, BA ’96 Watch: ‘BULLETS OVER BROADWAY National Tour’ Overnight success stories are mostly the stuff of legend. Actors typically get their ‘big break’ only after years of auditions and rejections and bit parts. Michael Williams, BFA ’15 , however, was among the lucky few to get a head-spinning start to his career. Williams graduated from the Leigh Gerdine College of Fine Arts with a degree in musical theatre. During spring break of his senior year at Webster, the young actor took part in an acting showcase in New York City. An assistant from a casting agency saw him and asked him to audition on camera. She sent the tape to several directors, and a few weeks later asked Williams to return to NYC to audition for the first touring company of Woody Allen’s musical, “Bullets Over Broadway.” He landed the lead role of David Shayne. “My situation is unique,” Photo by Lance Tilford he says. “I consider myself very fortunate.” The show began in October 2015 and, during its 8-month run, Williams performed in 207 shows in about 50 cities. Most recently, Williams did a short run as Young Ben in “Follies” at the Repertory Theater of St. Louis. I auditioned on Tuesday and got the part on Friday. It was a whirlwind of events. You always dream that it might happen that easily and that things will just fall into place, but it transcended anything I’d even imagined. -
Video Tapes Boxes 116 - 134
Box Item Location Sub-series Description Video Tapes Series 13: Video Tapes Boxes 116 - 134 116 1 01-8-26- Senate Democratic Leadership Council Conference, Cleveland 08-06-0-1 - April 1981 - VHS. 2 KNBC-TV, Los Angeles - interview of John Glenn during his 1984 presidential campaign - November 27, 1983 - VHS. 3 John Glenn speech given at The Ohio State University during his 1984 presidential campaign - November 30, 1983 - VHS. 4 John Glenn speech on nuclear arms control at The Ohio State University during his 1984 presidential campaign - December 1983 - VHS. 5 "Believe in the Future Again" - 1984 presidential campaign video - circa 1983-1984 - VHS. 6 "Believe in the Future Again" - 1984 presidential campaign - circa 1983-1984 - VHS (copy 2). 7 "International Dateline" - panel discussions on U.S./Israeli relations with Senators John Glenn, Robert Dole, and Christopher Dodd, sponsored by the United Jewish Appeal - May 12 & 19, 1985 - VHS. 8 Statements by Senators Howard Metzenbaum and John Glenn taped for a Cable in the Classroom Workshop, sponsored by Cox Cable Systems - circa 1985 - VHS. 9 John Glenn’s taped statement to the National Technological University graduation ceremony - Cambridge, Ohio - November 19, 1986 – VHS 10 Give Kids the World Foundation promotional video narrated by Walter Cronkite, produced by Disney- MGM Studios - circa 1986 - VHS. 11 Public service announcement, International Aerospace Hall of Fame - June 12, 1987 -VHS. 12 Floor statement on the Persian Gulf - June 17, 1987; Democratic debate on "Firing Line" - July 1, 1987; and Trade Bill hearing - July 14, 1987 - VHS. 13 John Glenn’s floor statement on the Republican Campaign Committee’s strategy of portraying Howard Metzenbaum as a communist sympathizer - July 29, 1987 - VHS.