Thebrown&White
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Withering Heights
Withering Heights When one mentions the Presbyterian Church, the name that first comes to mind is that of the Scottish Calvinist clergyman John Knox. This dynamic religious leader of the Protestant Reformation founded the Presbyterian denomination and was at the beginning of his ministry in Edinburgh when he lost his beloved wife Marjorie Bowes. In 1564 he married again, but the marriage received a great deal of attention. This was because she was remotely connected with the royal family, and Knox was almost three times the age of this young lady of only seventeen years. She was Margaret Stewart, daughter of Andrew Stewart, 2nd Lord of Ochiltree. She bore Knox three daughters, of whom Elizabeth became the wife of John Welsh, the famous minister of Ayr. Their daughter Lucy married another clergyman, the Reverend James Alexander Witherspoon. Their descendant, John Knox Witherspoon (son of another Reverend James Alexander Witherspoon), signed the Declaration of Independence on behalf of New Jersey and (in keeping with family tradition) was also a minister, in fact the only minister to sign the historic document. John Knox Witherspoon (1723 – 1794), clergyman, Princeton’s sixth president and signer of the Declaration of Independence. Just like Declaration of Independence signatory John Witherspoon, actress Reese Witherspoon is also descended from Reverend James Alexander Witherspoon and his wife Lucy (and therefore John Knox). The future Academy Award winner, born Laura Jeanne Reese Witherspoon, was born in New Orleans, having made her début appearance at Southern Baptist Hospital on March 22, 1976. New Orleans born Academy Award winning actress, Reese Witherspoon Reese did not get to play Emily Brontë’s Cathy in “Wuthering Heights” but she did portray Becky Sharp in Thackeray’s “Vanity Fair”. -
Legally Blonde: Introduction
Being true to yourself never goes out of style! WINNER BEST NEW MUSICAL 2011 OLIVIER AWARD EDUCATION KIT AUSTRALIAN PREMIERE SEASON • SYDNEY LYRIC LegallyBlonde.com.au facebook.com/ legallyblondemusical @legallyblondeoz Legally Blonde: INTRODUCTION INTRODUCTION This teacher’s guide has been developed as a teaching tool to assist teachers who are bringing their students to see the show. This guide is based on Camp Broadway’s StageNOTES, conceived for the original Broadway musical adaptation of Amanda Brown’s 2001 novel and the film released that same year, and has been adapted for use within the UK and Australia. The Australian Education Pack is intended to offer some pathways into the production, and focuses on some of the topics covered in Legally Blonde which may interest students and teachers. It is not an exhaustive analysis of the musical or the production, but instead aims to offer a variety of stimuli for debate, discussion and practical exploration. It is anticipated that the Education Pack will be best utilised after a group of students have seen the production with their teacher, and can engage in an informed discussion based on a sound awareness of the musical. We hope that the information provided here will both enhance the live theatre experience and provide readers with information they may not otherwise have been able to access. Legally Blonde is an uplifting, energising, feel-good show and with that in mind we hope this pack will be enjoyed through equally energising and enjoyable practical work in the classroom and drama studio. 1 Legally Blonde: INTRODUCTION LEgally Blonde Education Pack CONTENTS PAGE INTODUCTION 1. -
Director's Notes
DIRECTOR’S NOTES Thoughts on LEGALLY BLONDE The musical Legally Blonde is based on a novel by Amanda Brown and the 2001 film of the same name directed by Robert Luketic. The film was nominated for a Golden Globe Award for Best Motion Picture: Musical or Comedy and ranks 29th on Bravo’s 2007 list of “100 Funniest Movies.” Premiering on January 23, 2007 in San Francisco, the Broadway musical version of Legally Blonde opened in NYC at the Palace Theatre on April 29, 2007. The show’s stars, Laura Bell Bundy, Christian Borle, and Orfeh were all nominated for Tony Awards. Later, the Broadway show was the focus of an MTV reality TV series called “Legally Blonde – The Musical: The Search for Elle Woods,” in which the winner would take over the role of Elle on Broadway. The Broadway show closed on October 19, 2008 after 595 performances. But even more successful than the Broadway run of Legally Blonde, was a highly lauded 3 year run at the Savoy Theatre in London’s West End, in which the show was nominated for five Laurence Olivier Awards. It won three, including Best New Musical. Since then, Legally Blonde has enjoyed international success in productions seen in South Korea, The Netherlands, France, The Philippines, Sweden, and Finland. Certainly, it is undeniable that both film and musical are pure escapist joy. But Legally Blonde does have a point beyond its camp wondrousness – and that is to challenge the way people make assumptions about appearance. For whether you are a beautiful bubbly blonde (like our heroine, Elle) or someone more “serious” in nature, we all have had to, at one time or another, battle prejudice against ourselves. -
Legally Blonde Cast List
Legally Blonde Cast List Elle Woods………………………………………………………………………………….Kaylie Tuttle/Greer King Emmett Forrester……………………………………...……………………………………………….Jordan Pogue Paulette Bonafonte’………………………………………………………………………..….…..…….Skyler Ward Warner Huntington III…………………..………………………………………………….….……Brittin Sullivan Brooke Wyndham………………………………………………………………………………….………Avery Bruce Professor Callahan…………………………..……………………………………………………….……Sam Gibson Vivienne Kensington……………………………………………………….………………………..Elizabeth Ring Margot………………………………………………………………….……….………….……….Brooklyn Jennings Serena…………………………………………….……………………………………….………………….Natalie Way Pilar…………….………………………………….…..……………………….………Sarah Mitchell/Kelsey Drees Kate…………………………………………………......…….………………………….…………………Nicole Vincent Gaelen…………………………………………..……………………………………………………….Bailey Weathers Tiffany………………………………………..…………………………………………………………………Rainey Ross Courtney…………………………………..……………………………………………………………..Mikee Olegario Sandi…………………………………………..………………………………………………………………..Payton King Angel…………………………………………….………………………….…………………….…………Lizzie Schaefer Enid……………………………………………...……………………………………………………………..Lauren Black Mr. Woods……………………………………..………………………………………………………….David Nichols Mrs. Woods………………………………….……………………..………………………………….Emily Freeman Chutney Wyndham…………………………...………………………………………………………Bethie Butera Kyle……………………………………....……………………………………………………………………Harris Sutton Winthrop………………………………………..………………………………………………………Lane Burchfield Judge……………………………………………………………………………………….……….Autumne Kendricks Grandmaster Chad…………………………………………………………………..……………………..DJ Boswell Dewey……………………………………………………..…….………………………..Easton -
Some Dumb Girl Syndrome: Challenging and Subverting Destructive Stereotypes of Female Attorneys
William & Mary Journal of Race, Gender, and Social Justice Volume 11 (2004-2005) Issue 2 William & Mary Journal of Women and the Law: Symposium: Attrition of Women from Article 6 the Legal Profession February 2005 Some Dumb Girl Syndrome: Challenging and Subverting Destructive Stereotypes of Female Attorneys Ann Bartow Follow this and additional works at: https://scholarship.law.wm.edu/wmjowl Part of the Law and Gender Commons, and the Legal Profession Commons Repository Citation Ann Bartow, Some Dumb Girl Syndrome: Challenging and Subverting Destructive Stereotypes of Female Attorneys, 11 Wm. & Mary J. Women & L. 221 (2005), https://scholarship.law.wm.edu/ wmjowl/vol11/iss2/6 Copyright c 2005 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/wmjowl SOME DUMB GIRL SYNDROME: CHALLENGING AND SUBVERTING DESTRUCTIVE STEREOTYPES OF FEMALE ATTORNEYS ANN BARTOW* I. INTRODUCTION Almost every woman has had the experience of being trivialized, regarded as if she is just 'some dumb girl,' of whom few productive accomplishments can be expected. When viewed simply as 'some dumb girls,' women are treated dismissively, as if their thoughts or contributions are unlikely to be of value and are unworthy of consideration. 'Some Dumb Girl Syndrome' can arise in deeply personal spheres. A friend once described an instance of this phenomenon: When a hurricane threatened her coastal community, her husband, a military pilot, was ordered to fly his airplane to a base in the Midwest, far from the destructive reach of the impending storm. This left her alone with their two small children. -
Aspen Ideas Festival Confirmed Speakers
Aspen Ideas Festival Confirmed Speakers Carol Adelman , President, Movers and Shakespeares; Senior Fellow and Director, Center for Global Prosperity, The Hudson Institute Kenneth Adelman , Vice President, Movers and Shakespeares; Executive Director, Arts & Ideas Series, The Aspen Institute Stephen J. Adler , Editor-in-Chief, BusinessWeek Pamela A. Aguilar , Producer, Documentary Filmmaker; After Brown , Shut Up and Sing Madeleine K. Albright , founder, The Albright Group, LLC; former US Secretary of State; Trustee, The Aspen Institute T. Alexander Aleinikoff , Professor of Law and Dean, Georgetown University Law Center Elizabeth Alexander , Poet; Professor and Chair, African American Studies Department, Yale University Yousef Al Otaiba , United Arab Emirates Ambassador to the United States Kurt Andersen , Writer, Broadcaster, Editor; Host and Co-Creator, Public Radio International’s “Studio 360” Paula S. Apsell , Senior Executive Producer, PBS’s “NOVA” Anders Åslund , Senior Fellow, Peter G. Peterson Institute for International Economics Byron Auguste , Senior Partner, Worldwide Managing Director, Social Sector Office, McKinsey & Company Dean Baker , Co-Director, Center for Economic and Policy Research; Columnist, The Guardian ; Blogger, “Beat the Press,” The American Prospect James A. Baker III , Senior Partner, Baker Botts, LLP; former US Secretary of State Bharat Balasubramanian , Vice President, Group Research and Advanced Engineering; Product Innovations & Process Technologies, Daimler AG Jack M. Balkin , Knight Professor of Constitutional -
Journalism Awards Winners Press
Media Contact: Debra Caruso Marrone @NYPressClub DJC Communications (212) 971-9708 [email protected] THE NEW YORK TIMES WINS GOLD KEYBOARD IN 2020 NEW YORK PRESS CLUB JOURNALISM AWARDS The New York Times is the major winner in the latest New York Press Club Awards for Journalism. Times reporter Bruce Rosenthal won the 2020 Gold Keyboard Award, the competition’s highest, for “Taken for a Ride,” an investigative series on corruption in the New York City taxi medallion business. As previously announced, NY Times Writers Megan Twohey and Jodi Kantor will receive this year’s “Gabe Pressman Truth to Power Award” for their reporting on the Harvey Weinstein Case. The Gabe Pressman Truth to Power Award recognizes the club’s late president, friend and supporter who was a staunch supporter of the First Amendment. Other major award winners were Spectrum News NY1 for Spot News Reporting on a helicopter crash in Midtown Manhattan in June 2019 and WCBS Newsradio 880 for a shooting at a Kosher delicatessen in Jersey City in December 2019. The winners of the Mychal Judge Heart of New York Award were: Alex Vadukul for “Stories of New York” in The New York Times (newspaper); Sara Fishko, Olivia Briley, Bill Moss, Karen Frillmann of WNYC for “Wright and the Guggenheim” (radio); “Pizza-Spinning Chef Helps Others Get a Slice of the American Dream” by Matt Frucci, Jill Billante, George Itzhak, Mohammed Syed, Terry Tousey of NBC News/Nightly News with Lester Holt (TV) and “The Art of Surviving” from Elizabeth Van Brocklin of The Trace (online). In addition, Claudia Irizarry Aponte, who covers Brooklyn for THE CITY, was named the Nellie Bly Cub Reporter for 2020. -
In the Studio: the Role of Recording Techniques in Rock Music (2006)
21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio. -
Rap in the Context of African-American Cultural Memory Levern G
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to -
PAJ77/No.03 Chin-C
AIN’T NO SUNSHINE The Cinema in 2003 Larry Qualls and Daryl Chin s 2003 came to a close, the usual plethora of critics’ awards found themselves usurped by the decision of the Motion Picture Producers Association of A America to disallow the distribution of screeners to its members, and to any organization which adheres to MPAA guidelines (which includes the Motion Picture Academy of Arts and Sciences). This became the rallying cry of the Independent Feature Project, as those producers who had created some of the most notable “independent” films of the year tried to find a way to guarantee visibility during award season. This issue soon swamped all discussions of year-end appraisals, as everyone, from critics to filmmakers to studio executives, seemed to weigh in with an opinion on the matter of screeners. Yet, despite this media tempest, the actual situation of film continues to be precarious. As an example, in the summer of 2003 the distribution of films proved even more restrictive, as theatres throughout the United States were block-booked with the endless cycle of sequels that came from the studios (Legally Blonde 2, Charlie’s Angels: Full Throttle, Terminator 3, The Matrix Revolutions, X-2: X-Men United, etc.). A number of smaller films, such as the nature documentary Winged Migration and the New Zealand coming-of-age saga Whale Rider, managed to infiltrate the summer doldrums, but the continued conglomeration of distribution and exhibition has brought the motion picture industry to a stultifying crisis. And the issue of the screeners was the rallying cry for those working on the fringes of the industry, the “independent” producers and directors and small distributors. -
Saturday, September 23, 2017 Letter from the Presenting Sponsor
present the Environmental Media Awards Celebrating OUTSTANDING achievement within the ENTERTAINMENT and ENVIRONMENTAL communities #EMAAWARDS Saturday, September 23, 2017 Letter from the presenting sponsor Good evening ladies and gentleman, On behalf of Toyota and Lexus, welcome to the 27th annual Environmental Media Awards! Tonight we are honored to serve as presenting sponsors and celebrate the 17th anniversary of our partnership with the Environmental Media Association. Over the past 17 years, we’ve helped honor the thought leaders that inspire millions to lead more environmentally conscious lives. Tonight we continue to celebrate the efforts of the entertainment industry and celebrities that shape our culture. After all these years, we are still inspired by EMA’s efforts to promote environmental awareness using the powerful medium of entertainment. Tonight we’ve brought an inspiring vehicle line up to the party. The 2017 Toyota Mirai hydrogen fuel cell vehicle returns to the green carpet. As one of the world’s first mass-produced hydrogen fuel cell electric vehicles, the Toyota Mirai is a four-door, mid- size sedan with performance that fully competes with traditional internal combustion engines – but uses no gasoline. Instead, Mirai creates electricity on demand using hydrogen, oxygen and a fuel cell, and emits nothing but water vapor in the process. Lexus is excited to showcase its all-new hybrid luxury sedan, the LS 500h. With smooth power and an estimated 33 miles per gallon on the highway, it has a range of more than 600 miles of luxurious driving. On sale in February 2018 with a starting price around $80,000, the LS 500h will be the luxury sedan of choice for environmentally minded drivers. -
In “Legally Blonde”
® A FIELD GUIDE FOR TEACHERS TM StageNOTES A tool for using the theater across the curriculum to meet LEGALLY BLONDE National Standards for Education n Production Overview n Lesson Guides n Student Activities n At-Home Projects n Reproducibles Copyright 2007, Camp Broadway, LLC All rights reserved. This publication is based on Legally Blonde, The Musical with book by Heather Hach and music & lyrics by Laurence O’Keefe and Nell Benjamin. The content of the Legally Blonde, The Musical edition of StageNOTES: A Field Guide for Teachers is fully protected under the copyright laws of the United States of America and all other countries with which the United States has reciprocal copyright relations. All rights regarding publishing, reprint permissions, public readings, and mechanical or electronic reproduction, including but not limited to, CD-ROM, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages are strictly reserved. Legally Blonde, The Musical is a trademark of Metro-Goldwyn-Mayer Studios Inc. All Rights Reserved. Printed in the United States of America. First Printing and Digital Edition: April 2007 For more information on StageNOTES and other theatre arts related programs, contact: Camp Broadway, LLC 336 West 37th Street, Suite 460 New York, New York 10018 Telephone: (212) 575-2929 Facsimile: (212) 575-3125 Email: [email protected] www.campbroadway.com CAMP BROADWAY LLC ® N e w Yo r k StageNOTESA FIELD GUIDE FOR TEACHERS Table of Contents Using the Field Guide......................................................................................................................3