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Fourth Annual Grand Park + the Music Center's 4Th of July Block Party To
Contact: Bonnie Goodman/The Music Center 213-308-9539 direct [email protected] FOR IMMEDIATE RELEASE Fourth Annual Grand Park + The Music Center’s 4th of July Block Party to Salute the Cultural Melting Pot of Los Angeles with Downtown L.A.’s Largest July 4th Celebration – All-New Fireworks Show to Create a Stunning Backdrop for L.A.’s Iconic City Hall – LOS ANGELES (June 2, 2016) – Angelenos will celebrate America L.A.-style with music, dancing, fireworks, food and more at the fourth annual Grand Park + The Music Center’s 4th of July Block Party on Monday, July 4, 2016, from 2:00 p.m. – 9:30 p.m. For the first time, the family-friendly event will include The Music Center Plaza as a site for entertainment and the best viewing location for an all-new fireworks show set to patriotic and contemporary music that will put L.A.’s iconic City Hall in the spotlight. The block party will cover five city blocks from Spring Street to Hope Street and from Temple Street to 1st Street. Two high-profile stages –The Fireworks Stage on The Music Center Plaza between Hope Street and Grand Avenue and The Backyard on Grand Park’s Performance Lawn between Grand Avenue and Hill Street – will honor Los Angeles County’s unique cultural identity with L.A.-based artists who represent diverse musical styles. Families will appreciate a dedicated play area on Grand Park’s Event Lawn between Broadway and Spring Street, where children age 4-14 can enjoy free games, such as themed tag, soccer and parachute play. -
2018 Board Report July Presentation
HIGHLIGHTS Room Night Goal Room & Booking Metrics As of As of August August 2018 2019 CVB 18.41% Definite Bookings 23 28 YTD of Goal Definite Room Nights 5,736 8,839 YTD Room Nights 5,736 8,839 Room Night Goals 46,000 48,000 8,839 YTD Room Nights Generated % of Goal 12.47% 18.41% 48,000 Room Night Goal Revenue Goal Revenue Goal As of As of August August 2018 2019 89.64% Annual Revenue Goal $2,494,000 $2,560,000 CONVENTION YTD of Goal YTD Revenue $1,616,388 $2,294,759 CENTER % of Goal 64.81% 89.64% Contracts Issued $217,982 $206,562 Revenue $2,294,759 YTD Revenue $2,560,000 Revenue Goal 89 53 28 Events Contracts Definite Added Written Bookings Revenue Goal Revenue Goal As of As of August August 2018 2019 Annual Revenue Goal $1,249,000 $1,260,000 CIVIC 40.46% AUDITORIUM YTD of Goal YTD Revenue $451,538 $509,810 % of Goal 36.15% 40.46% $509,810 YTD Revenue Contracts Issued $306,595 $50,100 $1,260,000 Revenue Goal Revenue 1 CVB SALES Hotel Trends July July August August 2018 2019 2018 2019 Occupancy 88.3 87.6 Occupancy 82.1 84.2 ADR $193.56 $180.34 ADR $186.48 $184.03 RevPAR $170.97 $157.99 RevPAR $153.11 $154.94 Revenue $12,317,013 $12,464,521 Revenue $11,030,493 $12,223,632 Contracted Room Nights & Active Leads 2015 to 2025 as of August 2019 60,000 50,000 40,000 30,000 20,000 10,000 0 2015 2016 2017 2018 2019 2020 2021 2022 2023 2024 2025 Active Leads 0 0 0 0 195 14,744 29,155 20,485 9,506 3,426 3,472 Contracted 34,409 48,988 34,420 54,599 30,927 26,333 7,826 5,416 0 0 0 2 MEETINGS SALES & MARKETING Sales Activities Site Visits • National Assn of County Engineers April 2021, 600 Room Nights • National Association of Productivity Organizing Professionals April 2021, 500 Room Nights • America Public Power Assn March 2021, 1,053 Room Nights • The National Academy of Television Arts & Sciences / Daytime Emmys May or June 2020, 131 Room nights Solara Medical Supplies & Meetings Made Easy ( July 23rd ) Tradeshows • ACCESSE Leadership Conference- Baltimore, MD • Destination International Annual Convention- St. -
Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 110 CONGRESS, FIRST SESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 110 CONGRESS, FIRST SESSION Vol. 153 WASHINGTON, MONDAY, JUNE 18, 2007 No. 98 House of Representatives The House met at 12:30 p.m. and was mismanagement, corruption, and a per- In this program, people receive an called to order by the Speaker pro tem- petual dependence upon foreign aid and overnight transfer from an American pore (Ms. HIRONO). remittances. Mexico must make tough bank account to a Mexican one. The f decisions and get its economy in shape. two central banks act as middlemen, Until then, Madam Speaker, we will taking a cut of about 67 cents no mat- DESIGNATION OF SPEAKER PRO continue to face massive immigration ter what the size of the transaction. TEMPORE from the south. According to Elizabeth McQuerry of The SPEAKER pro tempore laid be- While we are painfully aware of the the Federal Reserve, banks then typi- fore the House the following commu- problems illegal immigration is caus- cally charge $2.50 to $5 to transfer ing our society, consider what it is nication from the Speaker: about $350. In total, this new program doing to Mexico in the long run. The WASHINGTON, DC, cuts the costs of remittances by at June 18, 2007. massive immigration is draining many least half. In America, 200 banks are I hereby appoint the Honorable MAZIE K. villages across Mexico of their impor- now signed up for this service com- HIRONO to act as Speaker pro tempore on tant labor pool. -
Queens of Consciousness & Sex-Radicalism in Hip-Hop
Queens of Consciousness & Sex-Radicalism in Hip-Hop: On Erykah Badu & The Notorious K.I.M. by Greg Thomas, Ph.D. English Department Syracuse University Greg Thomas ([email protected]) is an Assistant Professor in the English Department at Syracuse University. His interests include Pan-Africanism, Hip-Hop and Black radical traditions. He is author of The Sexual Demon of Colonial Power: Pan-African Embodiment and Erotic Schemes of Empire (Indiana University Press, 2007). He is also editor of the e-journal, Proud Flesh: New Afrikan Journal of Culture, Politics & Consciousness. Abstract This article is a study of sex, politics and lyrical literature across what could be called “Hip-Hop & Hip-Hop Soul.” It champions the concept “sexual consciousness” against popular and academic assumptions that construe “sexuality” and “consciousness” to be antithetical--in the tradition of “the mind/body split” of the white bourgeois West. An alternative, radical articulation of consciousness with an alternative, radical politics of gender and sexuality is located in the musical writings of two contemporary “iconic” figures: Lil’ Kim of “Hip-Hop” and Erykah Badu of “Neo-Soul.” Underscoring continuities between these author-figures, one of whom is coded as an icon of “sexuality (without consciousness),” conventionally, and the other as an icon of “consciousness (without sexuality),” I show how Black popular music is a space where radical sexual identities and epistemic politics are innovated out of vibrant African/Diasporic traditions. 23 The Journal of Pan African Studies, vol. 1, no. 7, March 2007 The reputed “Father of African Cinema,” Ousmane Sembène is perhaps ironically famous for what we can call his sexual consciousness, a consciousness of the politics of sex or gender and sexuality, in his radical productions of Black independent film. -
By Erik Jensen
UpstateLIVE July / August 2008 : Issue #2 Herby One : editor/ad rep Music Guide Erik Jensen : senior writer Jennifer Hofstra : photography Welcome to the UpstateLIVE Music Guide. It was created to help promote LIVE www.UpstateLIVE.net MUSIC and MUSICIANS in Upstate New www.myspace.com/upstatelivenet York. It gives fans a chance to see what is happening in different regions of the state, Upcoming issues and gives industry insiders some much Issue #3 : SEPT-OCT (*Aug 22) needed networking. Issue #4 : NOV-DEC (*Oct 24) *Deadline It is distributed to live music bars and ------------------------------------------------------------- theatres, music stores and shops, cafes and UpstateLIVE Music Guide restaurants, and circulated by staff, street is published by team members, bands and fans at concerts GOLDSTAR Entertainment and festivals throughout the Upstate New PO Box 565 - Baldwinsville, NY 13027 York Region. The goal of UpstateLIVE is to create a statewide Live Music Community, joining each of the state’s local music scenes into one regional network. We are on our way! UpstateLIVE’s main objective is to showcase all of the outstanding local, regional, and national bands playing Upstate New York. Festivals, concerts, music venues, music shops and sponsors are also highlighted. UpstateLIVE is published 6 times per year (every 2 months), and is an everlasting archive of the great music we share in Upstate NY. For more information visit us on the internet at www.upstatelive.net and at myspace.com/upstatelivenet. Feel free to contact us at [email protected] Hello Friends! Erik Jensen here. I have written a ton PORTISHEAD - “THIRD” of stuff about Upstate area bands, venues and events Straight up darkness. -
Roslyn Cherie Burns Curriculum Vitae
Roslyn C. Burns [email protected] http://www.linguisticking.com Roslyn Cherie Burns Curriculum Vitae Education 2011-2016 University of California, Berkeley Ph.D., Linguistics Dissertation Title: New World Mennonite Low German: An Investigation of Changes in Progress Committee: Gary Holland (Chair), Keith Johnson, Thomas Shannon 2009-2011 University of California, Berkeley M.A., Linguistics 2007 Martin Luther Universit¨atHalle-Wittenberg, Lutherstadt-Wittenberg Exchange, Landeskunde 2006 Universidad de la Rioja Exchange, Filolog´ıaHispanica 2004-2008 Reed College B.A., Linguistics Publications1 expected 2019 The Current State of Research on Mennonite Low German Proceedings on the Symposium of the German Language in North America under review Diagnosing Language Contact Journal of Language Contact under review Gradient Conspiracies in Historical Phonology Diachronica under revision Religion and Settlement History Journal of Sociolinguistics under revision *Modeling Gradient Processes in Polabian Vowel Chain Shifting and Blocking Journal of Historical Linguistics expected 2019 *Mexico: Mennonites in Northern Mexico. Invited chapter forthcoming in Varieties of German Worldwide eds Hans Boas, Ana Deumert, Mark Louden, and Peter Maitz 2018 *Lechitic Vowel Developments in Eastern Low German Formal Approaches to Slavic Linguistics 25 : 79-99 1Publications with an asterisks are peer reviewed. 1 Roslyn C. Burns [email protected] http://www.linguisticking.com 2016 *The Plautdietsch Vowel Shift Across Space and Time Journal of Linguistic Geography 3(2): 79-94 2015 *Annual Workshop on Formal Approaches to Slavic Linguistics: The First Berkeley Meeting edited with Ma lgorzataSzajbel-Keck and Darya Kavitskaya 2013 *Abo Optional Anti-Agreement. Selected Proceedings of the 43rd Annual Conference on African Linguistics. 2013:130-140 2012 *Case-Gender Paradigms in North American Mennonite Low German. -
Finding Aid to the Historymakers ® Video Oral History with James Poyser
Finding Aid to The HistoryMakers ® Video Oral History with James Poyser Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Poyser, James, 1967- Title: The HistoryMakers® Video Oral History Interview with James Poyser, Dates: May 6, 2014 Bulk Dates: 2014 Physical 7 uncompressed MOV digital video files (3:06:29). Description: Abstract: Songwriter, producer, and musician James Poyser (1967 - ) was co-founder of the Axis Music Group and founding member of the musical collective Soulquarians. He was a Grammy award- winning songwriter, musician and multi-platinum producer. Poyser was also a regular member of The Roots, and joined them as the houseband for NBC's The Tonight Show Starring Jimmy Fallon. Poyser was interviewed by The HistoryMakers® on May 6, 2014, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2014_143 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award-winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole. -
Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe
Open Cultural Studies 2018; 2: 330–340 Research Article Nathalie Aghoro* Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe https://doi.org/10.1515/culture-2018-0030 Received May 21, 2018; accepted September 26, 2018 Abstract: This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monaé. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monáe use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience. Keywords: conceptual art, Afrofuturism, gender performance, black music, artistic persona We come in peace, but we mean business. (Janelle Monáe) In her Time’s up speech at the Grammys in January 2018, singer, songwriter, and actress Janelle Monáe sends out an assertive message from women to the music industry and the world in general. She repurposes the ambivalent first encounter trope “we come in peace” by turning it into a manifest for a present-day feminist movement. Merging futuristic, utopian ideas with contemporary political concerns pervades Monáe’s public appearances as much as it runs like a thread through her music. -
Stan Magazynu Caĺ†Oĺıäƒ Lp Cd Sacd Akcesoria.Xls
CENA WYKONAWCA/TYTUŁ BRUTTO NOŚNIK DOSTAWCA ALLMAN BROTHERS BAND - AT FILLMORE EAST 159,99 SACD BERTUS ALLMAN BROTHERS BAND - AT FILLMORE EAST (NUMBERED 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - BROTHERS AND SISTERS (NUMBE 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - EAT A PEACH (NUMBERED LIMIT 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - IDLEWILD SOUTH (GOLD CD) 129,99 CD GOLD MOBILE FIDELITY ALLMAN BROTHERS BAND - THE ALLMAN BROTHERS BAND (N 149,99 SACD MOBILE FIDELITY ASIA - ASIA 179,99 SACD BERTUS BAND - STAGE FRIGHT (HYBRID SACD) 89,99 SACD MOBILE FIDELITY BAND, THE - MUSIC FROM BIG PINK (NUMBERED LIMITED 89,99 SACD MOBILE FIDELITY BAND, THE - THE LAST WALTZ (NUMBERED LIMITED EDITI 179,99 2 SACD MOBILE FIDELITY BASIE, COUNT - LIVE AT THE SANDS: BEFORE FRANK (N 149,99 SACD MOBILE FIDELITY BIBB, ERIC - BLUES, BALLADS & WORK SONGS 89,99 SACD OPUS 3 BIBB, ERIC - JUST LIKE LOVE 89,99 SACD OPUS 3 BIBB, ERIC - RAINBOW PEOPLE 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - GOOD STUFF 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - SPIRIT & THE BLUES 89,99 SACD OPUS 3 BLIND FAITH - BLIND FAITH 159,99 SACD BERTUS BOTTLENECK, JOHN - ALL AROUND MAN 89,99 SACD OPUS 3 CAMEL - RAIN DANCES 139,99 SHMCD BERTUS CAMEL - SNOW GOOSE 99,99 SHMCD BERTUS CARAVAN - IN THE LAND OF GREY AND PINK 159,99 SACD BERTUS CARS - HEARTBEAT CITY (NUMBERED LIMITED EDITION HY 149,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS AFTER HOURS (NUMBERED LI 99,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS OF RAY CHARLES (NUMBERED 129,99 SACD MOBILE FIDELITY -
Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice. -
And Students Fight on Over 10 Per Cent Cut in Grant
rrr 18th February 1994 TVDEN Conservative Peers force amendment to NUS reform bill Patten forced to back down \ ohn Patten, Secretary of and Further Education, last sign". the victory was not yet could enable the University to State for Education, has Thursday to discuss the Bill. 13y Helen C tossley complete. exert undue influence." been forced by fellow Following the meeting, NUS Even so he was sceptical Ruse also expressed concern .onservatives into an were informed that Clause 20 another blow to Patten. who has about the introduction of the over the unfeasibilityil of some of embarrassing U•turn over will he dropped and a new been at the centre of a number new Clause and believes it the potential requirements. He student union reform. But clause, aptly titled Clause 21. of political blunders over the simply marks a transfer of said: "One of the suggestions student leaders have warned will now be agreed in last two years. power from the Education calls for the annual review and a 'we're not safe yet'. consultation with the National Patten made student union Secretary to the University. He vote by all members on The rebellion. led by Union of Students and the reform a key part of his speech said: "In effect, the University affiliations to external Baroness Blatch, Minister of CVCP the Committee of at the Conservative Party will become the Government's organisations. but the Union State for Education in the Chairmen and Vice conference last year, but his watchdog." Rose complained anti its societies have hundreds House of Lords, has forced Chancellors). -
Biographical Description for the Historymakers® Video Oral History with James Poyser
Biographical Description for The HistoryMakers® Video Oral History with James Poyser PERSON Poyser, James, 1967- Alternative Names: James Poyser; Life Dates: January 30, 1967- Place of Birth: Sheffield, England Work: Philadelphia, PA Occupations: Producer; Musician; Songwriter Biographical Note Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award- winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole. He was credited as writer/producer for multiple songs on Erykah Badu’s debut album, Baduizm; has writer, producer and musician credits on Lauryn Hill’s multiple Grammy-winning album, The Miseducation of Lauryn Hill; was a musician on Adele’s acclaimed album, 21; and served as executive co-producer and writer on Al Green’s Lay it Down. He was also the executive producer on Badu's highly celebrated albums, Mama's Gun and Worldwide Underground. He is an active session musician and has contributed to the works of other artists such as Norah Jones, Eric Clapton, Joss Stone, Ziggy Marley, Macy Gray and Femi Kuti.