Gateway Theater 1820 E Sunrise Blvd Ft. Lauderdale FL 33304

Total Page:16

File Type:pdf, Size:1020Kb

Gateway Theater 1820 E Sunrise Blvd Ft. Lauderdale FL 33304 ADMISSION: $5 Donation Suggested Festival Schedule Thursday, Nov. 5 6:30 p.m. Gala & Silent Auction ARTSERVE, Ft. Lauderdale 1350 East Sunrise Blvd. Friday, Nov. 6 1:00 p.m. Lipstick & Liquor (76 min) 2:30 p.m. Wisdom to Know the Difference Presented by Writers In Treatment, this multi-day event (114 min) celebrates film and creativity. The event showcases filmmakers who 4:45 p.m. Death of an Addict: The Tio Hardiman make honest films about addiction, alcoholism, behavioral disorders, treatment Story (60 min) and recovery. 6:00 p.m. Girl on the Edge (105 min) 8:00 p.m. The Other Side of Cannabis: Negative Effects of Marijuana on our Youth November 6 - 8, 2015 (72 min) 9:30 p.m. Paul Williams: Still Alive (84 min) Gateway Theater Saturday, Nov. 7 1820 E Sunrise Blvd 12:30 p.m. Art of Recovery (59 min) Ft. Lauderdale FL 33304 1:45 p.m. Who We Are When We Are Not Addicted: The Possible Human (59 min) 3:15 p.m. An American Epidemic (90 min) Amy - 128 min. How I Got Over - 87 min. 4:45 p.m. Lambert & Stamp (117 min) (2015) From BAFTA Award-winning director (2014) Fifteen formerly homeless or incarcer- 7:00 p.m. Amy (128 min) Asif Kapadia, AMY tells the incredible story of ated women craft an original play based on 9:30 p.m. Gridlock’d (91 min) six-time Grammy-winner Amy Winehouse - in their true-life stories. her own words. Featuring extensive unseen archival footage and previously unheard Sunday, Nov. 8 tracks. 12:00 p.m. How I Got Over (87 min) Lambert & Stamp - 117 min. 2:00 p.m. Grace (93 min) An American Epidemic - 90 min. (2014) Aspiring filmmakers Chris Stamp and (2015) From the Director of “Kids Are Dying” Kit Lambert set out to find a subject for their 4:00 p.m. Half Nelson (107 min) comes a documentary that took one state’s underground movie. The duo finally discover 6:00 p.m. Warning: Take Only as Directed (27 min) problem to a national level. “An American Epi- a band called the High Numbers. Abandon- demic” grew out of a New Jersey project ex- ing their plans to make a film, they instead posing the opioid and heroin epidemic and decide to mentor and manage this group, uncovers the far-reaching effects of America’s later called, The Who. The result was rock ‘n’ most serious public health crisis. roll history. Sponsored By Art of Recovery - 59 min. Lipstick & Liquor - 76 min. ((2015) Manny and Vic are two artists in (2011) On a cold day in December, 39 year- recovery; together they prepare for and art old Julie Kroll stumbles away from a minor exhibit entitled Lake Worth It in their home car accident, leaving behind her 8 yearold town of Lake Worth, Florida. They reflect daughter and an open container of alcohol. on the impact of art in their recovery while Mystery ensues. detailing the ups and downs of addiction. Paul Williams : Still Alive - 84 min. Death of an Addict: The Tio Hardiman (2012) A deeply personal portrait of legend- Story - 60 min. ary songwriter, television personality, and (2010) A brilliant and entertaining urban recovering addict/alcoholic Paul saga of director Tio Hardiman’s struggle to Williams, the Oscar-winning composer of understand and break the cycle of intergen- some of the most popular songs of the 70’s. erational drug addiction in his family and neighborhood. Girl on the Edge - 105 min. The Other Side of Cannabis: Negative (2014) A powerful true story about the Effects of Marijuana on our Youth - 72 min. journey of a troubled teenage girl who finds (2015) A documentary telling the stories of a healing in the most unlikely of places, and variety of individuals of all ages, as well as in- who must choose to either invest in her own terviews with top researchers across the United recovery or succumb to the trauma of her States, elaborating on the effects of marijuana past. on the brain. Grace - 93 min. Warning: Take Only as Directed - 27 min. (2014) Based on a true story, the film explores (2014) When Gracie wakes up half-naked the societal pressures on today’s teens on a Florida beach 1100 miles from home, including grades, college she’s given a choice: six months in jail or 90 looming on the horizon, boredom, and meetings of Alcoholics Anonymous in 90 relationships. Are drugs their solution? days. Enter to Win! There will be raffle prize Gridlock’d - 91 min. Wisdom to Know the Difference - giveaways each day of the event. (1997) After a friend overdoses, Spoon and 114 min. Stretch decide to kick their drug habits and Don’t miss your chance to win (2014) Award winning story of a man’s these great prizes including an attempt to enroll in a government detox journey to bring his sobriety full circle program. Their efforts are hampered by and help a young girl kick a serious drug Apple watch, gift cards, and much seemingly endless red tape, as they are addiction. Starring Daniel Baldwin, William more! Must be present to win. shuffled from one office to another while Baldwin, Lou Diamond Phillips, and Mayra being chased by drug dealers and the police. Neal. Half Nelson - 107 min. Who We Are When We Are Not Addicted: For more information, (2006) A high school girl’s basketball coach The Possible Human - 59 min. (Ryan Gosling) befriends one of his 13 year- (2012) A candid talk from North America’s head to: old players when she discovers him secretly leading expert in the field of smoking crack in the locker room bathroom addiction. Dr. Gabor Mate exhibits unwaivering faith in the individual’s ability to transcend labels. www.farronline.org/reel.
Recommended publications
  • Tipped Over the Edge
    Tipped Over The edge Gender Inequity in the Restaurant Industry BY THE RESTAURANT OPPORTUNITIES CENTERS UNITED AND FAMILY VALUES @ WORK HERvotes COALITION INSTITUTE FOR WOMEN’S POLICY RESEARCH MOMSRISING NATIONAL COALITION ON BLACK CIVIC PARTICIPATION’S BLACK WOMEN’S ROUNDTABLE NATIONAL COUNCIL FOR RESEARCH ON WOMEN NATIONAL ORGANIZATION FOR WOMEN Foundation NATIONAL PARTNERSHIP FOR WOMEN & FAMILIES NATIONAL WOMEN’S LAW CENTER WIDER OPPORTUNITIES FOR WOMEN February 13, 2012 WOMEN OF COLOR POLICY NETWORK, NYU WAGNER 9TO5, National Association OF WORKING WOMEN RESEARCH SUPPORT The Ford Foundation The Moriah Fund The Open Society Foundations The Rockefeller Foundation February 13, 2012 Tipped Over The edge Gender Inequity in the Restaurant Industry AND FAMILY VALUES @ WORK HERvotes COALITION INSTITUTE FOR WOMEN’S POLICY RESEARCH MOMSRISING NATIONAL COALITION ON BLACK CIVIC PARTICIPATION’S BLACK WOMEN’S ROUNDTABLE NATIONAL COUNCIL FOR RESEARCH ON WOMEN NATIONAL ORGANIZATION FOR WOMEN Foundation NATIONAL PARTNERSHIP FOR WOMEN & FAMILIES NATIONAL WOMEN’S LAW CENTER WIDER OPPORTUNITIES FOR WOMEN WOMEN OF COLOR POLICY NETWORK, NYU WAGNER 9TO5, National Association OF WORKING WOMEN RESEARCH SUPPORT The Ford Foundation The Moriah Fund The Open Society Foundations The Rockefeller Foundation February 13, 2012 Tipped Over The edge Gender Inequity in the Restaurant Industry BY THE RESTAURANT OPPORTUNITIES CENTERS UNITED AND FAMILY VALUES @ WORK HERvotes COALITION INSTITUTE FOR WOMEN’S POLICY RESEARCH MOMSRISING NATIONAL COALITION ON BLACK CIVIC PARTICIPATION’S
    [Show full text]
  • SONG ACTIVITY – Beautiful Day by U2
    SONG ACTIVITY – Beautiful Day by U2 Name: Group: Date: / / 1. Work in small groups. Read the definition for the word “resilient”. Discuss the questions. resilient /rɪˈzɪliənt/ adj 1 able to become strong, healthy or successful again after something bad happens. 2 able to return to an original shape after being pulled, stretched, pressed, bent, etc. Adapted from: https://www.merriam-webster.com/dictionary/resilient a. Can you think of a situation in your life when you or a person you know were resilient? Talk about it. b. What can teenagers do to develop resilience? c. What do you usually do when you are having a difficult day? 2. Work with a partner. You are going to listen to the song Beautiful Day, by U2. The words in the cloud are in the lyrics of the song. How do you associate them with a beautiful day? Discuss your ideas and take notes in the lines below. ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ ________________________________________________________________________________ 3. Now listen to the song. Were the words in Activity 2 associated to the idea of a beautiful day in the way you imagined? SONG ACTIVITY – Beautiful Day by U2 4. Listen to the song again. Check (✓) the alternative that best explains the lines in italics, in the context of the song. a. The heart is a bloom / Shoots up through the stony ground. [ ] Love is resilient and can overcome all difficulties. [ ] Love is blind to all problems and difficulties. b. The traffic is stuck / And you’re not moving anywhere. [ ] Traffic jams can ruin even the most beautiful day.
    [Show full text]
  • HITMAKERS – 6 X 60M Drama
    HITMAKERS – 6 x 60m drama LOGLINE In Sixties London, the managers of the Beatles, the Stones and the Who struggle to marry art and commerce in a bid to become the world’s biggest hitmakers. CHARACTERS Andrew Oldham (19), Beatles publicist and then manager of the Rolling Stones. A flash, mouthy trouble-maker desperate to emulate Brian Epstein’s success. His bid to create the anti-Beatles turns him from Epstein wannabe to out-of-control anarchist, corrupted by the Stones lifestyle and alienated from his girlfriend Sheila. For him, everything is a hustle – work, relationships, his own psyche – but always underpinned by a desire to surprise and entertain. Suffers from (initially undiagnosed) bi-polar disorder, which is exacerbated by increasing drug use, with every high followed by a self-destructive low. Nobody in the Sixties burns brighter: his is the legend that’s never been told on screen, the story at the heart of Hitmakers. Brian Epstein (28), the manager of the Beatles. A man striving to create with the Beatles the success he never achieved in entertainment himself (as either actor or fashion designer). Driven by a naive, egotistical sense of destiny, in the process he basically invents what we think of as the modern pop manager. He’s an emperor by the age of 30 – but this empire is constantly at risk of being undone by his desperate (and – to him – shameful) homosexual desires for inappropriate men, and the machinations of enemies jealous of his unprecedented, upstart success. At first he sees Andrew as a protege and confidant, but progressively as a threat.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
    [Show full text]
  • Extending the Enterprise to the Edge Your Guide to Converging Operational and Information Technology
    Extending the Enterprise to the Edge Your Guide to Converging Operational and Information Technology Traditionally, agencies have approached information technology as a separate discipline from operational technology, which includes data acquisition systems, control systems, industrial-class networks, and a wide variety of internet-connected devices that operate far beyond the walls of the data center. However, it is increasingly clear that the data gathered at the edge of operations can provide in- sights that agencies can use to improve the efficiency of their operations and deliver new services to support the mission. The key? Converging OT capabilities with enterprise-class IT systems in single box and deploying them at the edge. GovLoop, Affigent and Hewlett Packard Enterprise (HPE) collaborated on this worksheet to help you take advantage of this new wave of edge computing. Three Ways to Leverage OT-IT Convergence The benefits of converging OT and IT systems fall into three main categories: Physical systems Software and data Process convergence convergence convergence IT systems (compute, storage, Enterprise IT applications IT and OT teams agree to collaborate management, and security) collaborating with OT applications on end-to-end workflows and integrate in the same system chassis are applied to both traditional dataflows. with OT systems (data acquisition enterprise data and data derived systems, control systems, and at the edge. industrial networks). Leveraging Data at the Edge: A Framework By integrating OT and IT systems, agencies can create a flow of data from the enterprise out to the edge. By integrating this data, agencies can see greater insights into their operations and services.
    [Show full text]
  • Exhibit Designs for Girls' Engagement a Guide to the EDGE Design Attributes
    Exhibit Designs for Girls’ Engagement A Guide to the EDGE Design Attributes EDGE visitor research Toni Dancstep (née Dancu) and Lisa Sindorf & evaluation This material is based upon work supported by the National Science Foundation under Grant No. 1323806. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation. How to cite: Dancstep (née Dancu), T. & Sindorf, L. (2016). Exhibit Designs for Girls’ Engagement: A Guide to the EDGE Design Attributes. San Francisco: Exploratorium. 2 EXHIBIT DESIGNS FOR GIRLS’ ENGAGEMENT Table of Contents 4–7 Introduction 8 –27 The EDGE Design Attributes 28 –41 Case Studies 42 –57 Appendix A: Assessing Exhibits 58 –61 Appendix B: Tested Design Attributes 62–65 References 66 –67 Acknowledgments EXHIBIT DESIGNS FOR GIRLS’ ENGAGEMENT | Table of Contents 3 Introduction 4 EXHIBIT DESIGNS FOR GIRLS’ ENGAGEMENT | Introduction As a child, Alice’s family encouraged her to Unfortunately, science museums aren’t always engage with science. But her visits to science working as well for girls as for boys, and many museums were less than positive. She remem- girls’ experiences may be similar to Alice’s. bers, “I would stand there, trying to figure out Some research has shown that girls visit what was so interesting, and usually fail at science museums less frequently than boys.4 doing so” and “I thought that I had to be able And once inside, girls often have different ex- to ‘figure out’ each exhibit to be ‘using the periences at exhibits than boys.
    [Show full text]
  • U2 3D Talent: Bono, the Edge, Larry Mullen, Adam Clayton. Directors
    U2 3D Talent: Bono, The Edge, Larry Mullen, Adam Clayton. Directors: Mark Pellington and Catherine Owens Duration: 85 minutes Classification: G We rate it: 3 and a half stars. There’s no denying that Irish rock band U2 are probably still the biggest live musical act in the world, even after twenty-odd years of touring. Aside from maybe the great outdoor extravaganzas mounted during the 1970s and 80s by Pink Floyd, U2’s live gigs are renowned as dazzling, cutting-edge spectacles, as politically and ideologically provocative as they are musically engaging. Bono, the acknowledged master of making fame itself humanely useful, still struts his stuff as if he’s a 25-year- old, and the band that supports him is as skilled as rock bands get. To see this chart- topping foursome filmed playing before staggeringly large crowds in state-of-the-art digital 3D and surround sound is, admittedly, quite a spectacle. The peculiar thing, however, about sitting in a cinema and watching U2 3D is that throughout the experience, stunning as it is, one can’t help but reflect upon the fact that one is sitting in a darkened room watching film of a band playing live in front of crowds of a hundred thousand people. There’s something decidedly strange about sitting passively and observing (through the suitably nerdy polarising 3D glasses) this massive rock show, whose actual filmed audiences just don’t stop screaming and waving for a second. As one ruminatively chews one’s popcorn and sips one’s soft- drink, one can’t help but feel faintly left out, to say the least.
    [Show full text]
  • Nawazuddin Siddiqui
    lifestyle WEDNESDAY, APRIL 1, 2015 Music & Movies Nawazuddin Siddiqui, farmer’s son turned ‘Hindi indie’ star t is a story worthy of a Bollywood plot: The son of a selected for the Cannes Film Festival, he turned heads in cinema hall to watch his films. north Indian farmer, one of nine children, rising to crime thrillers “Kahaani” (Story) and “Talaash” (Search). He will appear again with Salman Khan in upcoming Ibecome the face of independent Hindi cinema. But He said his family are still surprised by how far he has romantic drama “Bajrangi Bhaijaan”, and with Shah Rukh Nawazuddin Siddiqui is still getting used to his success. come. “And you cannot blame them. I am a five-foot six- Khan in “Raees” (Rich Man), in which he plays a cop who “When someone is looking at me, I feel they are looking inch, dark, ordinary-looking man. People didn’t imagine is chasing Khan’s mafia character. Siddiqui says he at someone standing behind me, not at me,” the 40-year- that I would make it,” he said. “It is the mindset of our admires Bollywood megastars for their longevity- old confessed to AFP during an interview at a Mumbai country too, that people like (me) don’t become stars. ”they’re very well-maintained”-and he wouldn’t rule out hotel. Maybe it’s a result of 200 years of colonial rule.” doing a song-and-dance number himself, despite his “I have not got used to it and I won’t allow myself to Industry outsider reservations about Bollywood musicals.
    [Show full text]
  • Notations Spring 2011
    The ASCAP Foundation Making music grow since 1975 www.ascapfoundation.org Notations Spring 2011 Tony Bennett & Susan Benedetto Honored at ASCAP Foundation Awards The ASCAP Foundation held its 15th Annual Awards Ceremony at the Allen Room, Frederick P. Rose Hall, Home of Jazz at Lincoln Center, in New York City on December 8, 2010. Hosted by ASCAP Foundation President, Paul Williams, the event honored vocal legend Tony Bennett and his wife, Susan Benedetto, with The ASCAP Foundation Champion Award in recognition of their unique and significant efforts in arts education. ASCAP Foundation Champion Award recipients Susan Benedetto (l) & Tony Bennett with Mary Rodgers (2nd from left), Mary Ellin A wide variety of ASCAP Foundation Scholarship Barrett (2nd from right), and ASCAP Foundation President Paul and Award recipients were also honored at the Williams (r). event, which included special performances by some of the honorees. For more details and photos of the event, please see our website. Bart Howard provides a Musical Gift The ASCAP Foundation is pleased to announce that composer, lyricist, pianist and ASCAP member Bart Howard (1915-2004) named The ASCAP Foundation as a major beneficiary of all royalties and copyrights from his musical compositions. In line with this generous bequest, The ASCAP Foundation has established programs designed to ensure the preservation of Bart Howard’s name and legacy. These efforts include: Songwriters: The Next Generation, presented by The ASCAP Foundation and made possible by the Bart Howard Estate which showcases the work of emerging songwriters and composers who perform on the Kennedy Center’s Millennium Stage. The ASCAP Foundation Bart Howard Songwriting Scholarship at Berklee College recog- nizes talent, professionalism, musical ability and career potential in songwriting.
    [Show full text]
  • “Quiet Please, It's a Bloody Opera”!
    UNIVERSITETET I OSLO “Quiet Please, it’s a bloody opera”! How is Tommy a part of the Opera History? Martin Nordahl Andersen [27.10.11] A theatre/performance/popular musicology master thesis on the rock opera Tommy by The Who ”Quiet please, it’s a bloody opera!” Martin Nordahl Andersen 2011 “Quiet please, it’s a bloody opera!” How is Tommy part of the Opera History? Print: Reprosentralen, University of Oslo All photos by Ross Halfin © All photos used with written permission. 1 ”Quiet please, it’s a bloody opera!” Aknowledgements I would like to thank my supervisors Ståle Wikshåland and Stan Hawkins for superb support and patience during the three years it took me to get my head around to finally finish this thesis. Thank you both for not giving up on me even when things were moving very slow. I am especially thankful for your support in my work in the combination of popular music/performance studies. A big thank you goes to Siren Leirvåg for guidance in the literature of theatre studies. Everybody at the Institute of Music at UiO for helping me when I came back after my student hiatus in 2007. I cannot over-exaggerate my gratitude towards Rob Lee, webmaster at www.thewho.com for helping me with finding important information on that site and his attempts at getting me an interview with one of the boys. The work being done on that site is fantastic. Also, a big thank you to my fellow Who fans. Discussing Who with you makes liking the band more fun.
    [Show full text]
  • X AMENDED COMPLAINT X JURISDICTION
    Case 1:17-cv-01471-DLC Document 38 Filed 06/26/17 Page 1 of 11 THE LAW OFFICE OF THOMAS M. MULLANEY 489 5rH Avenue, 19rH FLooR New York, New York 10017 212-223-0800 Attorneys for Plaintiff Paul Rose UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEV/ YORK ---------x PAUL ROSE, Case No. : I :17 -cv-147 1 (DLC) Plaintiff, -against AMENDED COMPLAINT PAUL DAVID HEWSON p/k/a BONO, DAVID HOÌVELL EVANS p/k/a THE EDGE or EDGE, ADAM CLAYTON, LAURENCE JOSEPH MULLEN.TR., and UMG RECORDINGS, INC. Defendants X Plaintiff PAUL ROSE ("Plaintiff'or Rose), by his attorney, Thomas M. Mullaney, as and for his complaint against Defendants PAUL DAVID HEWSON p/k/a BONO, DAVID HOWELL EVANS p/k/a THE EDGE or EDGE, ADAM CLAYTON, LAURENCE JOSEPH MULLEN JR., and UMG RECORDINGS, INC., (collectively "Defendants"), alleges as follows: JURISDICTION AND VENUE 1. This is an action is brought and subject matter jurisdiction lies within this Court, pursuant to 28 U.S.C. Sections 1331 and 1338. This Court has federal question jurisdiction in this matter in that Plaintiff seeks damages and injunctive relief against Defendants under Sections 501,502,504 and 505 of the Copyright Act of 1976,17 U.S.C. Section 101 et seq. The Court has pendent jurisdiction over the claims asserted herein that arise under state law, including the claim for quantum meruit and unjust enrichment, in that such claims flow from a Case 1:17-cv-01471-DLC Document 38 Filed 06/26/17 Page 2 of 11 common nucleus of operative facts.
    [Show full text]
  • Popular Imperialism: the British Pop Music Industry 1950- 1975 Richard
    Popular Imperialism: The British Pop Music Industry 1950- 1975 Richard Coopey Business History Unit, London School of Economics Abstract In this paper the general contours of the British popular music industry are outlined, charting the development of new technologies, new business forms and new market structures, which transformed the sector between 1950 and 1975. The paper then goes on to introduce some concepts and ideas related to the global impact of the business, including its relationship to the USA and wider markets, and specifically the role of London as a centre for production, but also as a key cultural idea in the pop world of the 1960s. Introduction The British popular music industry developed and transformed itself during the first decades following World War Two, becoming, alongside the USA, a major force in the global entertainment industry. This paper will outline the nature of this growth, examining its components and impact. The development of the pop music industry is a complex phenomenon. There has been much interest in recent years in the relationship between business and wider cultural and social dynamics. Scholars such as Ken Lipartito, Mick Rowlinson and Geoff Jones have been part of a ‘cultural turn’ in business history, examining the role of cultures, somehow defined, in influencing and shaping business strategy, trajectories and so on. With the pop music industry, however, we need to engage with a sector which trades in culture itself. An industry involved directly in the production of culture, and calling for analysis of an increasingly challenging nature. The pop music industry did not emerge de novo in the post war period.
    [Show full text]