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Madeinla DVD Cover.Jpg
MADE IN L.A. A feature documentary by Almudena Carracedo and Robert Bahar "An excellent documentary... about basic human dignity" –NEW YORK TIMES “A rousing true story of solidarity, perseverance and triumph” –VARIETY "Heartrending and inspiring.” –LA JORNADA "Combative, full of humanity” –EL PAIS "A valuable and moving film – entertaining as well… precious. The document of an experience" –LOS ANGELES TIMES “Si, se puede” –NEW YORKER Contact: Robert Bahar, Producer Almudena Carracedo, Producer/Director [email protected] Office: (+1) 310-770-6408 www.MadeinLA.com Synopsis María, Lupe and Maura are three Latina immigrants struggling to survive in Los Angeles sweatshops. But one day, determined to win basic labor protections, they embark on a three-year odyssey that will transform their lives forever. Compelling, humorous, deeply human, Made in L.A. is a story about immigration, the power of unity, and the courage it takes to find your voice. ••• Lupe Hernandez, a five-foot tall dynamo who learned survival skills at an early age, has been working in Los Angeles garment factories for over 15 years since she left Mexico City at age 17. Maura Colorado left her three children in the care of relatives in El Salvador while she sought work in L.A. to support them. She found that the low-paid work came with a high price — wretched conditions in the factories and an “undocumented” status that deprived her of seeing her children for over eighteen years. María Pineda came to Southern California from Mexico in hopes of a better life at 18, with an equally young husband. -
Oral History Interview with Gronk, 1997 Jan. 20-23
Oral history interview with Gronk, 1997 Jan. 20-23 The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Gronk on January 20 & 23, 1997. The interview took place in Los Angeles, California, and was conducted by Jeffrey Rangel for the Archives of American Art, Smithsonian Institution. Interview G: Gronk JR: Jeffrey Rangel [Session 1] JR: Okay, this is an interview for the Archives of American Art, Smithsonian Institution, with Gronk. Today is January 20, 1997, at the artist’s studio in downtown Los Angeles. The interviewer is Jeff Rangel and we’re ready to get started. G: Okay, good. JR: Welcome. G: Thank you. JR: Like I said, normally we like to start out with any recollections about family and kind of where you grew up, where your family was from, things of that nature. G: Okay. My parents were both born here in Los Angeles, and my grandparents came from Mexico. I grew up, basically, with a single parent, my mother. I grew up in East Los Angeles. Early on—at five years old—I can remember that the things that I did best was to make things. And those were the most exciting times, I believe —when somebody gave me a pencil and a sheet of paper—was to create a world for myself, basically. -
Edition 3 | 2019-2020
TABLE OF CONTENTS DVOŘÁK CELLO CONCERTO X February 21 & 22, 2020 HOLLYWOOD HITS XVII February 28, 2020 ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2020. All rights reserved. Printed in the U.S.A. San Antonio Symphony I EDUCATION Dear Friends, As someone who is deeply passionate about symphonic music and the profound ways that it can impact us, I often get chills looking over our upcoming programming and thinking about how it might sound coming from our world-class San Antonio Symphony. I imagine how the audience will react and marvel at how those from different walks of life can experience something wonderful—together—and yet with the music also speaking to each one individually. I know that, as a patron, you experience our Symphony in ways that can be exhilarating and at times deeply moving. Music is an art form that knows few boundaries and can express even those things that can’t be said. For most, these encounters are something that we hunger for and would love to share with those we care about, including our children and grandchildren. I humbly invite you to join me in forging a renewed sense of pride in our San Antonio Symphony, not only for our subscription concert offerings, but for the vast array of education programs that we bring to the community. -
La Leyenda De MOVIELAND; Historia Del Cine En El Estado De Durango
La Leyenda de MOVIELAND; Historia del Cine en el Estado de Durango (1897 - 2004) Antonio Avitia Hernández México, 2005 Introducción De manera casi tan fortuita y tan veleidosa como los criterios y las posibilidades económicas de las compañías cinematográficas, de los productores y de los directores de cine, algunos paisajes naturales del estado de Durango han sido seleccionados como escenario del rodaje de diversas películas. Hasta donde se ha podido investigar, entre los años de 1897 a 2004, se han filmado un total de doscientos setenta y ocho (278) cintas en la entidad. De éstas, treinta (30) son de la época del cine silente, producidas entre 1897 y 1936. Noventa y ocho (98) son de formato de ocho, super ocho y dieciséis milímetros, independientes, así como filmes documentales científicos, antropológicos y culturales, entre otros. Con respecto al cine industrial, ciento cincuenta (150) han sido los filmes rodados en territorio durangueño entre los años de 1954 a 2004. Los objetivos principales de esta historia del cine en Durango son: hacer el recuento cuantitativo y cronológico, la ubicación histórica, la reseña de las sinopsis argumentales, las fichas filmográficas y la relación de los personajes y locaciones sobresalientes de las películas rodadas en la entidad, así como describir la impresión que, en el imaginario colectivo regional, ha tenido el cinematógrafo, en tanto séptimo arte e industria cinematográfica. De manera colateral, hasta donde ha sido posible, se hace referencia a la suerte de los filmes en lo que respecta a su distribución. En el primer capítulo El cine silente en Durango se hace el recuento, sinopsis argumental, situación histórica y establecimiento de los treinta filmes del periodo silente rodados en la entidad, desde el arribo de los enviados de Edison en 1897 hasta la cinta documental de propaganda política laudatoria, grabada por encargo del gobernador del estado coronel Enrique R. -
KARIM ELMAHMOUDI SUMMARY Composer of Music for the Concert Stage, Film, and Video Games COMPOSER
KARIM ELMAHMOUDI SUMMARY Composer of music for the concert stage, film, and video games COMPOSER EXPERIENCE Composer Residencies > 2016: Nova Vista Symphony Orchestra, George Yefchak, cond. > 2015: Wayzata Symphony Orchestra, Marlene Pauley, cond. > 2014: Orchestra Northern Arizona, David Cripps cond. > 2008 – 2015: Los Angeles Doctors Symphony Orchestra, Ivan Shulman, cond. > 2007: Master Sinfonia, Palo Alto, CA 2006-8 Composer, Arranger, Lead Scoring Assistant Gilchrist Music, Inc. > 2006-8: In house music assistant for composer Christopher Young. > Responsible for arranging, orchestrating, conducting, proofreading, and scheduling all musical related activities including scoring multi-million dollar budget projects. > Music arranging, scoring, and orchestration 2003-present Composer, Orchestrator, Arranger > Advising music director on contemporary music rehearsal and selection. > Provide an original piece of music for performance each year. > Assist up and coming composers, musicians, and students on music related details. 1997-2002 Sony Computer Entertainment America Project Manager, Associate Music Editor > Managed various electronic entertainment projects including managing budgets, schedules, assets, and resources. > Served as liaison with Sony Computer Entertainment Japan and game 5553 West 6th Street, # 2109 development studios. Los Angeles, CA 90036 PERFORMANCE SKILLS (310) 998-7107 > Piano (1990-2, 2002-5) [email protected] > Trumpet (1983-4) http://www.karelm.com > Trombone (1984-9, 2002-5) > Violin (2007-8) EDUCATION KARIM ELMAHMOUDI -
George Duning, Awards and More 28 Twenty Years Gone 5 Record Label Camille Fielding Remembers Jerry
Original Music Soundtracks for Motion Pictures and TV V OLUME 5, NUMBER 2 The Good, the Bad, and the Oscars... page 19 ANY GIVEN COMPOSER Oliver Stone’s Score-O-Matic CD REVIEWS An Uncommonly Positive Batch! JERRYJERRY FIELDINGFIELDING A 20th AAnniversary 20th ReminiscenceAnniversary Tribute Ht: 0.816", Wd: 1.4872", Mag: 80% BWR: 1 $4.95 U.S. • $5.95 Canada CONTENTS FEBRUARY 2000 cover story departments 24 Music by Jerry Fielding 2 Editorial On the 20th anniversary of the legendary Words of wisdom composer’s passing, we reminisce about his work and its impact. 4 News By Nick Redman George Duning, awards and more 28 Twenty Years Gone 5 Record Label Camille Fielding remembers Jerry. Round-up What’s on the way 6 Now Playing Movies and CDs in Twenty years after his death, he f e a t u r e s release remains a one-of-a-kind. 8 Concerts page 24 Live performances 19 The Good, the Bad around the globe and the Oscars 10 Upcoming Film How shall we remember the soundtracks of Assignments 1999? Here’s a rollicking wrap-up of the year. Who’s writing what By Jonathan Z. Kaplan, Doug Adams, Jeff Bond and Jesus Weinstein 13 Mail Bag Phantom premonitions 22 Top Picks for ’99 The “keepers” of the year. 16 Downbeat Roustabouts and rumbles 30 Any Given Composer Oliver Stone assembles a crack team of musicians 33 Score for his football epic. Our special “C.H. How do 12 cameras, six editors, By Jeff Bond Levenson All-Positive and nine composers work for one Reviews” installment director? page 30 32 Power Plays The unintended, unexpected success of 34 Pocket Reviews NFL’s greatest hits. -
Edition 1 | 2019-2020
TABLE OF CONTENTS MAHLER’S “RESURRECTION” XV September 20 & 21, 2019 (c) Todd Rosenberg (c) Todd GERSHWIN! XX October 4 & 5, 2019 REVOLUTION: XXVI THE MUSIC OF THE BEATLES. A SYMPHONIC EXPERIENCE November 1 & 2, 2019 SCHEHERAZADE XXVIII November 8 & 9, 2019 (c) Andrew Bogard (c) Andrew MOZART REQUIEM XXXIV November 22 & 23, 2019 ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2019. All rights reserved. Printed in the U.S.A. San Antonio Symphony I EDUCATION The San Antonio Symphony’s education initiatives strive to establish lifelong learning for all ages and segments of our diverse community by promoting the enjoyment, understanding, and appreciation of symphonic music. Each season, we engage over 50,000 students through meaningful education programming, including our Young People’s Concerts, Open Rehearsals for Students, High School Residency Program and more. YOUNG PEOPLE’S CONCERTS The San Antonio Symphony is proud to have one of the longest-running Young People’s Concert programs in the country. These 45-minute, school-day field trip performances have introduced area youth to live symphonic music since the 1940s. Programs are geared to grades 3-5 and designed to align with state teaching objectives for the Fine Arts and a rotating core subject area. Along with teaching materials and docent presentations provided in advance, these unique, multi-sensory presentations combine engaging symphonic music, visual enhancements, guest artistry, interactive components, and carefully-planned lecture to create meaningful student experiences that frequently sell out and consistently receive high ratings from attending teachers. -
International Commissioning and Touring Report Page 53
International Commissioning and Touring Report Page 53 APPENDICES Appendix A - Project Participants Appendix B - Case Study Interview Guide Appendix C - CASE STUDY SUMMARIES Appendix D - Data Collection Technical Appendix Appendix E - Examples of Projects with U.S./Non-U.S. Public/Private Funding Mix International Commissioning and Touring Report A-1 APPENDIX A PROJECT PARTICIPANTS ADVISORY COMMITTEE Alicia Adams Director of Special Programming The John F. Kennedy Center for the Performing Arts Washington,D.C. 20566-0001 Lisa Booth President Lisa Booth Management, Inc. 145 West 45th St., #602 New York, NY 10036 Bau Graves Artistic Director Center for Cultural Exchange One Longfellow Square Portland, ME 04101 Sylvia Sherman Artistic Director La Pena Cultural Center 3105 Shattuck Avenue Berkeley, CA 94705 Roberta Uno Artistic Director New World Theater University of Massachusetts P.O. Box 31810 Amherst, MA 01003 International Commissioning and Touring Report A-2 Miami Focus Group Meeting Miami-Dade Community College, Wolson Campus May 26, 1999 Participants Ed Allen Fantasy Theatre Project, Miami, FL Sheila Austin Miami-Dade Cultural Affairs Council, Miami, FL Elizabeth Boone Miami Light Project, Miami, FL Susan Cataballo INDAMI Intercultural Dance & Music, Miami, FL Ina Dittke Rhythm Foundation, Miami, FL Dr. William Hipp School of Music, University of Miami, Miami, FL Mary Luft Tigertail Productions, Miami, FL Jan Mapou Sosyete Koukouy, Miami, FL Georgianna Pickett Cultural Affairs Department, Miami-Dade Community College, Miami, FL Sydney -
Kronosquartet 25Years
KronosQuartet 25Years David Harrington, violin John Sherba, violin Hank Dutt, viola Joan Jeanrenaud, cello Table of Contents Track listing 4 Chronology 15 Notes by: Alan Rich 15 Robert Hurwitz 25 K. Robert Schwarz 35 Commissions / Premieres 68 Texts: Missa Syllabica 74 Different Trains 78 Discography 81 Credits 86 Opposite, clockwise from top left: David Harrington, John Sherba, Hank Dutt, Joan Jeanrenaud Disc Two Ken Benshoof (b. 1933, near Newman Grove, Nebraska) 1 Traveling Music (1973) (18:57) 2 Arvo Pärt 1. I. Gentle, easy (2:15) (b. 1935, Paide, Estonia) 2. II. Moderate (8:19) 3. III. Driving (8:19) 12. Fratres (1977/1989) (9:25) 4. Song of Twenty Shadows (1994) (11:17) Disc One 13. Psalom (1985/1991, rev. 1993) (2:00) Ken Benshoof John Adams 14. Summa (1977/1991) (5:11) (b. 1947, Worcester, Massachusetts) Astor Piazzolla Missa Syllabica (1977) (12:38) (b. 1921, Mar del Plata, Argentina; d. 1992, Buenos Aires, Argentina) John’s Book of Alleged Dances (1994) (33:16) 15. Kyrie (2:06) 1. Judah to Ocean (2:22) 16. Gloria (2:45) Five Tango Sensations (1989) (26:46) 2. Toot Nipple (1:13) 17. Credo (4:27) 5. Asleep (5:23) 3. Dogjam (2:30) 18. Sanctus (0:55) 6. Loving (6:11) 4. Pavane: She’s So Fine (6:29) 19. Agnus Dei (1:45) 7. Anxiety (4:52) 5. Rag the Bone (2:59) 20. Ite, missa est (0:25) 8. Despertar (6:03) 6. Habanera (4:46) Ellen Hargis, soprano 9. Fear (4:00) 7. Stubble Crotchet (2:39) Suzanne Elder, alto 8. -
Paul Espinosa Papers
http://oac.cdlib.org/findaid/ark:/13030/c84f1wxg No online items Paul Espinosa Papers Special Collections & Archives, UC San Diego Special Collections & Archives, UC San Diego Copyright 2016 9500 Gilman Drive La Jolla 92093-0175 [email protected] URL: http://libraries.ucsd.edu/collections/sca/index.html Paul Espinosa Papers MSS 0768 1 Descriptive Summary Languages: English Contributing Institution: Special Collections & Archives, UC San Diego 9500 Gilman Drive La Jolla 92093-0175 Title: Paul Espinosa Papers Creator: Espinosa, Paul Identifier/Call Number: MSS 0768 Physical Description: 110.5 Linear feet(212 archives boxes, 7 shoeboxes, 23 cartons, and 6 oversize folders) Date (inclusive): 1970-2008 Abstract: Papers of Paul Espinosa, an award-winning filmmaker and producer specializing in documentary and dramatic films focused on the U.S.-Mexico border region. Scope and Content of Collection Papers of Paul Espinosa, an award-winning independent filmmaker and producer specializing in documentary and dramatic films focused on the U.S.-Mexico border region, and Professor Emeritus in the School of Transborder Studies at Arizona State University. The collection primarily consists of production files relating to Espinosa's decades-long filmmaking career, and office and subject files from his many years as a senior and executive producer at the public television station KPBS in San Diego, where he produced, directed, wrote and hosted numerous programs for PBS. The files contain research and subject materials, planning documents, production-related content, and other papers and media files documenting Espinosa's professional interests and documentary work. Arranged in seven series: 1) EARLY RESEARCH AND DISSERTATION; 2) KPBS OFFICE AND SUBJECT FILES; 3) PRODUCTION FILES; 4) CALIFAS (1982); 5) GROUPS, CONFERENCES & ORGANIZATIONS; 6) SOUND RECORDINGS; and 7) MOVING IMAGE RECORDINGS. -
In P.O.V.'S “Made in L.A.,” Three Immigrant Women Stand up To
For Immediate Release P.O.V. Communications: 212-989-7425 Cynthia López, [email protected]; Cathy Fisher, [email protected]; Neyda Martinez, [email protected] P.O.V. online pressroom: www.pbs.org/pov/pressroom In P.O.V.’s “Made in L.A.,” Three Immigrant Women Stand Up To the California Fashion Industry, Tuesday, Sept. 4 on PBS Who Are America’s Immigrant Workers? Documentary Reveals New Americans and the Human Cost of Fashion A co-production of the Independent Television Service (ITVS). A Diverse Voices Project Co-production. A co-presentation with Latino Public Broadcasting. Lupe Hernandez, a five-foot tall dynamo who learned survival skills at an early age, has been working in Los Angeles garment factories for over 15 years since she left Mexico City at age 17. Maura Colorado left her three children in the care of relatives in El Salvador 18 years ago while she sought work in L.A. to support them. She found that the low-paid work came with a high price — wretched conditions in the factories and an “undocumented” status that deprived her of seeing her children. María Pineda came to Southern California from Mexico in hopes of a better life when she was 18, with an equally young husband. After 23 years, substandard working conditions, a meager salary and domestic abuse have left her struggling for her children’s future and for her own human dignity. These three women, along with other immigrant workers, as movingly portrayed in the new P.O.V. documentary Made in L.A., came together in 2001 at L.A.’s Garment Worker Center to take a stand for their rights. -
Saturday, March 12, 2016, 7:30 PM Sunday, March 13, 2016, 3:00 PM
ROGUE VALLEY CHORALE PRESENTS Saturday, March 12, 2016, 7:30 PM AND Sunday, March 13, 2016, 3:00 PM Laurie Anne Hunter Artistic Director/Conductor Joseph Julian Gonzalez Composer He has composed a multitude of musical scores for film and TV including the Academy Award-nominated documentary Colors Straight Up, the Emmy Award-winning Made In LA, and Showtime’s longest running Latino series Resurrection Blvd. His latest project, the 6-part miniseries, Latino Americans, recently won the 2014 Peabody Award. Joseph’s symphonic and choral work, Misa Azteca, is a musical composition which combines Spanish and Latin texts of the Roman Catholic liturgy with songs from the Cantares Mexicanos, the largest collection of pre-Columbian Nahuatl songs or poems to have been recorded. Gonzalez was influenced by Bach’s Mass in B Minor, and sought to create a similar blend of old and new, giving the piece a neo-Baroque flavor. Joseph Julian Gonzalez Misa Azteca is an inspirational MISA AZTECA COMPOSER composition that has enriched audiences Joseph Julian Gonzalez studied classical around the globe. The work continues guitar with Theodore Norman, and to draw people to performances in composition for motion picture and grand concert halls worldwide, and will television from famed film composer continue to do so long into the future. David Raksin Laura, Forever Amber at UCLA. After touring with several groups, Joseph started off his career by becoming music director of Luis Valdez’s La Bamba, Zoot Suit much heralded theater company El Teatro Campesino. There he composed the music score for La Pastorela, a PBS Great Performances Christmas special, launching a career composing pieces performed by such artists as Los Lobos, Jose Feliciano, Kronos String Quartet, Linda Rondstadt, as well as working and collaborating with Quentin Tarantino and Slash from Guns ‘n Roses.