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“From the Cracks in the Sidewalks of NYC”: The
“From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 by Elizabeth Healy Matassa B.A. in Italian and French Studies, May 2003, University of Delaware M.A. in Geography, May 2006, Louisiana State University A Dissertation submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy January 31, 2014 Dissertation directed by Suleiman Osman Associate Professor of American Studies The Columbian College of Arts and Sciences of the George Washington University certifies that Elizabeth Healy Matassa has passed the Final Examination for the degree of Doctor of Philosophy as of August 21, 2013. This is the final and approved form of the dissertation. “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 Elizabeth Healy Matassa Dissertation Research Committee: Suleiman Osman, Associate Professor of American Studies, Dissertation Director Elaine Peña, Associate Professor of American Studies, Committee Member Elizabeth Chacko, Associate Professor of Geography and International Affairs, Committee Member ii ©Copyright 2013 by Elizabeth Healy Matassa All rights reserved iii Dedication The author wishes to dedicate this dissertation to the five boroughs. From Woodlawn to the Rockaways: this one’s for you. iv Abstract of Dissertation “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 This dissertation argues that New York City’s 1970s fiscal crisis was not only an economic crisis, but was also a spatial and embodied one. -
The Eagle High School Choral Union
The Eagle High School Choral Union End of Year Concert, Part One April 6, 2021 7:30 PM EHS Gymnasium Seth McMullen, Director of Choirs Laurann Taylor & Zach Davies, Piano Megan Ward, Bass Matthew Seideman, Percussion Concert Choir The Handsome Butcher, Matyas Seiber from “Three Hungarian Folk Songs” Traditional Hungarian Folk Elijah Dan Davison Text based on I Kings 18:18-38 Bella Voce Shout for Joy Dan Davison Text from Psalm 98:4-8 I Am Not Yours David Childs Text by Sara Teasdale Sung in English: I am not yours, not lost in you not lost, although I long to be lost in you Lost as a candle lit at noon, lost as a snowflake in the sea You love me, and I find you still a spirit beautiful and bright Yet I am I who long to be lost as a light is lost, lost in light Oh plunge me deep in love, put out my senses – leave me deaf and blind! Swept by the tempest of your love, a taper in a rushing wind. Bring Me Little Water, Silvy Huddie W. “Leadbelly” Ledbetter arr. Moira Smiley Premium Blend Haven’t We Met Ruth Batchelor & Kenny Rankin arr. Rosana Eckert Natasha Deutsche, Talia Murphy, Easton Fabrizio, Tomo Lin Soli Quartet Eric Larsen, Vocal Improvisation Underneath the Stars Kate Rusby arr. Jim Clements Abi Freeman Premium Blend, continued She Will Be Loved Adam Levine & James Valentine arr. Deke Sharon & Robert Dietz Easton Fabrizio, Eric Larsen, Abi Freeman, Natasha Deutsche, Tomo Lin, Jayden Sorenson, Seth Galbraith, Jake Davies, Talia Murphy, Amber Deutsche Let’s Sing Again Jimmy McHugh arr. -
Wild Bulls, Discarded Foreigners, and Brash Champions: US Empire and the Cultural Constructions of Argentine Boxers Daniel Fridman & David Sheinin
Wild Bulls, Discarded Foreigners, and Brash Champions: US Empire and the Cultural Constructions of Argentine Boxers Daniel Fridman & David Sheinin In the past decade, scholars have devoted growing attention to American cultural influences and impact in the Philippines, Panama, and other societies where the United States exerted violent imperial influences.1 In countries where US imperi- alism was less devastating to local political cultures, the nature of American cultur- al influence and the impact such force had is less clear and less well documented.2 Argentina is one such example. American political and cultural influences in twen- tieth-century Argentina cannot be equated with the cases of Mexico or the Dominican Republic, nor can they be said to have had as profound an impact on national cultures. At the same time, after 1900, US cultural influences were perva- sive in and had a lasting impact on Argentina. There is, to be sure, a danger of trivializing the force of American Empire by confusing Argentines with Filipinos as subject peoples. Argentina is not a “classic” case of US imperialism in Latin America. While the United States supported the 1976 coup d’état in Argentina, for example, there is no evidence of Central Intelligence Agency (CIA) and US military backing on a scale equivalent to the 1964 military coup in Brazil or the 1973 overthrow of democracy in Chile. Although American weapons and military strategies were employed by the Argentine armed forces in state terror operations after 1960, there was no Argentine equivalent -
A Season of Thrilling Intrigue and Grand Spectacle –
A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents. -
Pugilistic Death and the Intricacies of Fighting Identity
Copyright By Omar Gonzalez 2019 A History of Violence, Masculinity, and Nationalism: Pugilistic Death and the Intricacies of Fighting Identity By Omar Gonzalez, B.A. A Thesis Submitted to the Department of History California State University Bakersfield In Partial Fulfillment for the Degree of Master of Arts in History 2019 A Historyof Violence, Masculinity, and Nationalism: Pugilistic Death and the Intricacies of Fighting Identity By Omar Gonzalez This thesishas beenacce ted on behalf of theDepartment of History by their supervisory CommitteeChair 6 Kate Mulry, PhD Cliona Murphy, PhD DEDICATION To my wife Berenice Luna Gonzalez, for her love and patience. To my family, my mother Belen and father Jose who have given me the love and support I needed during my academic career. Their efforts to raise a good man motivates me every day. To my sister Diana, who has grown to be a smart and incredible young woman. To my brother Mario, whose kindness reaches the highest peaks of the Sierra Nevada and who has been an inspiration in my life. And to my twin brother Miguel, his incredible support, his wisdom, and his kindness have not only guided my life but have inspired my journey as a historian. i ACKNOWLEDGMENTS This thesis is a result of over two years of research during my time at CSU Bakersfield. First and foremost, I owe my appreciation to Dr. Stephen D. Allen, who has guided me through my challenging years as a graduate student. Since our first encounter in the fall of 2016, his knowledge of history, including Mexican boxing, has enhanced my understanding of Latin American History, especially Modern Mexico. -
Fight Year Duration (Mins)
Fight Year Duration (mins) 1921 Jack Dempsey vs Georges Carpentier (23:10) 1921 23 1932 Max Schmeling vs Mickey Walker (23:17) 1932 23 1933 Primo Carnera vs Jack Sharkey-II (23:15) 1933 23 1933 Max Schmeling vs Max Baer (23:18) 1933 23 1934 Max Baer vs Primo Carnera (24:19) 1934 25 1936 Tony Canzoneri vs Jimmy McLarnin (19:11) 1936 20 1938 James J. Braddock vs Tommy Farr (20:00) 1938 20 1940 Joe Louis vs Arturo Godoy-I (23:09) 1940 23 1940 Max Baer vs Pat Comiskey (10:06) – 15 min 1940 10 1940 Max Baer vs Tony Galento (20:48) 1940 21 1941 Joe Louis vs Billy Conn-I (23:46) 1941 24 1946 Joe Louis vs Billy Conn-II (21:48) 1946 22 1950 Joe Louis vs Ezzard Charles (1:04:45) - 1HR 1950 65 version also available 1950 Sandy Saddler vs Charley Riley (47:21) 1950 47 1951 Rocky Marciano vs Rex Layne (17:10) 1951 17 1951 Joe Louis vs Rocky Marciano (23:55) 1951 24 1951 Kid Gavilan vs Billy Graham-III (47:34) 1951 48 1951 Sugar Ray Robinson vs Jake LaMotta-VI (47:30) 1951 47 1951 Harry “Kid” Matthews vs Danny Nardico (40:00) 1951 40 1951 Harry Matthews vs Bob Murphy (23:11) 1951 23 1951 Joe Louis vs Cesar Brion (43:32) 1951 44 1951 Joey Maxim vs Bob Murphy (47:07) 1951 47 1951 Ezzard Charles vs Joe Walcott-II & III (21:45) 1951 21 1951 Archie Moore vs Jimmy Bivins-V (22:48) 1951 23 1951 Sugar Ray Robinson vs Randy Turpin-II (19:48) 1951 20 1952 Billy Graham vs Joey Giardello-II (22:53) 1952 23 1952 Jake LaMotta vs Eugene Hairston-II (41:15) 1952 41 1952 Rocky Graziano vs Chuck Davey (45:30) 1952 46 1952 Rocky Marciano vs Joe Walcott-I (47:13) 1952 -
Download Download
FALL 2002 29 Laughter and Ethnicity in John Leguizamo's One-Man Worlds Miriam M. Chirico John Leguizamo's life is the substance of his art. His unflinching and uncompromising look at his own life and the lives of those closest to him provides the basis for his one-man shows, Mambo Mouth, Spic-O-Rama, the Tony-nominated play Freak and Sexaholix...A Love Story. Leguizamo has stamped his stand-up comic style as a playwright and his energetic characterizations as an actor onto the Broadway stage and the Hollywood screen. As the first Latino performer ever to produce a one-man show on Broadway, he is a spokesperson for a minority culture that vies to be heard within a dominant Anglo-Saxon one, and his dramatic sketches are tinged with a political undercurrent that questions the status quo of race relations in America. Leguizamo never allows his content to become too cerebral or heavy, but instead manipulates the comic impulse to bring his characters to life, providing the audience a means of empathizing with these characters and understanding the social and political issues at stake. Nor are his characters stereotypical representations of race and gender, as sometimes occurs in comedy. Rather, as each character confides his or her story to the audience, the facade they have brazenly put forth begins to erode under their frank admissions of fears and doubts. His characters are earnest and quirky, and derive their appeal not only from the stories they tell but also from the vocal and physical skills Leguizamo brings to each character. -
Billy Budd Cast Biographies
Billy Budd Cast Biographies William Burden sang George Bailey in San Francisco Opera’s West Coast premiere of Jake Heggie’s It’s a Wonderful Life in fall 2018. The American tenor made his San Francisco Opera debut in 1992 as Count Lerma in Don Carlo and has returned in roles including Laca in Jenůfa, Tom Rakewell in The Rake’s Progress and he created the roles of Dan Hill in Christopher Theofanidis’ Heart of a Soldier and Peter in Mark Adamo’s The Gospel of Mary Magdalene. An alumnus of the San Francisco Opera’s Merola Opera Program, Burden is a member of the voice faculty at The Juilliard School and the Mannes School of Music. Appearing in prestigious opera houses in the United States and Europe, his repertoire also includes the title roles of Les Contes d'Hoffmann, Faust, Pelléas et Mélisande, Roméo et Juliette, Béatrice and Bénédict, Candide, and Acis and Galatea; Loge in Das Rheingold, Aschenbach in Death in Venice, Florestan in Fidelio, Don José in Carmen, Pylade in Iphigénie en Tauride, Edgardo in Lucia di Lammermoor, Ferrando in Così fan tutte and Lensky in Eugene Onegin. A supporter of new works, he appeared in the U.S. premiere of Henze’s Phaedra at Opera Philadelphia and created the roles of George Bailey at Houston Grand Opera, Frank Harris in Theodore Morrison's Oscar at the Santa Fe Opera, Gilbert Griffiths in Tobias Picker’s An American Tragedy at the Metropolitan Opera, Dodge in Daron Hagen’s Amelia at Seattle Opera, Ruben Iglesias in Jimmy López's Bel Canto at Lyric Opera of Chicago, and Nikolaus Sprink in Kevin Puts’ Pulitzer Prize-winning Silent Night at Minnesota Opera. -
Blo 2021/22 Season Release Draft
LIVE OPERA RETURNS THIS FALL, ALONGSIDE CINEMATIC INNOVATIONS THAT MAKE BLO AN INDUSTRY-LEADING PRODUCER Three new productions anchor an on-stage and on-screen season. J’Nai Bridges stars in “Cavalleria Rusticana” live on stage in October. Deborah Voigt’s 1991 BLO debut, “Ariadne auf Naxos,” available today on operabox.tv. BOSTON – MAY 20, 2021 – Boston Lyric Opera’s (BLO) 2021/22 Season marks a return to live, on-stage opera, and continuation of the company’s on-screen programming throughout the year. The new season is anchored by three new productions, and return of the BLO Street Stage, which brings live music to communities throughout the region. Acting General & Artistic Director Bradley Vernatter says the company has rethought the traditional notion of an opera season. “BLO is an active, year-round member of this community,” he says, “and we will make classical and contemporary operas accessible 365 days a year,” he says. “Audiences will be able to experience live performances in Boston and its surrounding communities, alongside BLO’s growing cinematic repertoire on our operabox.tv platform. From next month’s premiere of ‘desert in’ to classics like ‘Cavalleria Rusticana’ and ‘Ariadne auf Naxos,’ the breadth and diversity of our programming offer the full palette of what opera can be, and more accurately reflect our community onstage and onscreen.” After internal reflection, and discussions with Company leadership and the original creative team, BLO has changed previously announced plans to mount a new production of Puccini’s “Madama Butterfly.” Vernatter says the change reaffirms BLO’s commitment to creating inclusive environments and intentional storytelling for its audiences and its artists. -
Translated Excerpt Reinhard Kleist Knock Out!
Translated excerpt Reinhard Kleist Knock Out! Die Geschichte von Emile Griffith Carlsen Verlag, Hamburg 2019 ISBN 978-3-551-73363-4 pp. 84-104 Reinhard Kleist Knock Out! The Story of Emile Griffith Translated by Michael Waaler © 2019 Carlsen Verlag / © 2020 Litrix.de Knock Out! © 2019 Carlsen Verlag / © 2020 Litrix.de 1 GET RID OF THEM!!! IT’S MR. CLANCY. WHY CAN’T THEY JUST LEAVE ME ON PEACE?!? © 2019 Carlsen Verlag / © 84 2020 Litrix.de 2 I’M SORRY THAT YOU’VE COME ALL THIS WAY FOR NOTHING AGAIN, MR. CLANCY. I DON’T WANT TO SEE ANYONE! TELL HIM, I UNDERSTAND AND THAT HE KNOWS WHERE TO FIND ME. MOMMY ALWAYS TAKES CARE OF ME. © 2019 Carlsen Verlag / © 85 2020 Litrix.de 3 HI. © 2019 Carlsen Verlag / © 86 2020 Litrix.de 4 GOOD IDEA. SORRY, OTHERWISE, YOU’D I DON’T CLANCY, I GOT BE THE FIRST IN EVEN WANNA TO GO HOME MY CLUB TO BOX BOX... I JUST AGAIN. I FORGOT NAKED! WANNA...… MY LOCKER KEY. WHY YOU STANDING AROUND LIKE THAT, KID? NOT WHAT? BE HOME ALONE. CAN’T WE PING-PONG? WELL, OKAY OKAY THEN. JUST PLAY NOW YOU THEN. TWO LET’S WORK ON PING-PONG WANNA PLAY DOLLARS FOR YOUR LEG WORK, INSTEAD? PING-PONG!?! THE WINNER! OKAY? © 2019 Carlsen Verlag / © 87 2020 Litrix.de 5 © 2019 Carlsen Verlag / © 88 2020 Litrix.de 6 HEY! THAT WAS NET, CLANCY!! I STILL WON. HAND OVER MY TWO DOLLARS! THERE’S THE EMILE THEN I KNOW, NOT THE ONE JUST I WANNA WHO SLUNK IN HERE GIVE ME REMATCH! A MOMENT AGO. -
1999 Page 19 Artsarts Andand Entertainmententertainment
A WATCHUNG COMMUNICATIONS, INC. PUBLICATION The Westfield Leader and THE TIMES of Scotch Plains – Fanwood Thursday, July 15, 1999 Page 19 ArtsArts andand EntertainmentEntertainment nnnnnnnnnn SSTATE OF THE AART The Dining Table nnnnnnnnnn nnnnnnnnnn nnnnnnnnnn nnnnnnnnnn Music Fantasy Discussion Group will con- vene on Thursday, July 22, at 7:30 LA GRIGLIA RESTAURANT Shirley Alston Reeves, original p.m. to discus fantasy novel, “Ship 740 Boulevard, Kenilworth, (908) 241-0031 lead singer of The Shirelles, will of Magic,” by Robin Hobb. perform with Who’s Johnny on Barnes & Noble in Clark will Wednesday, July 21, at 7:30 p.m. at host a Cooking Demonstration and By DR. JOSEPH P. DE ALESSANDRO chicken and veal, headed up with Echo Lake Park. The Vivian Panham Tasting with cookbook authors Specially Written for The Westfield Leader and The Times Chicken Arrabiata (which means an- Quintet will hold a classical concert Marvin and Walter Rosen of “Wel- If it swims, you’ll find it at LaGriglia! gry chicken), boneless breast of chicken on Wednesday, July 21, at 7:30 p.m. come to Juniors” on Thursday, July A great seafood gem in the middle of sauteed with garlic, fresh oregano and at Memorial Park in Berkeley 15, at 7:30 p.m. Teresa of Spiritual Heights. Big Band Music will be COME TO THE CABARET... Jody Karin Applebaum and Marc-André Hamelin Union County, the menu boasts of more balsamic vinegar with a touch of demi- Communications will host a work- will present an evening of cabaret music on Friday, July 16, at 8 p.m. -
Much Ado About Nothing… / Summer of Sam De Spike Lee]
Document generated on 09/30/2021 1:10 a.m. 24 images Much Ado About Nothing… Summer of Sam de Spike Lee Gilles Marsolais Quand la culture devient marchandise Number 98-99, Fall 1999 URI: https://id.erudit.org/iderudit/25046ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Marsolais, G. (1999). Review of [Much Ado About Nothing… / Summer of Sam de Spike Lee]. 24 images, (98-99), 88–88. Tous droits réservés © 24 images, 1999 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Summer of Sam de Spike Lee MUCH ADO ABOUT NOTHING PAR GILLES MARSOLAIS pike Lee s'est imposé avec Do déluge d'effers visuels et sonores, il S the Right Thing (1989) et procède à la description d'un groupe Jungle Fever (1991) qui se dis social d'une façon qui, même à travers tinguent par leur style enfiévré et le sa cocasserie, peut ressembler à un radicalisme de leur contenu, à une règlement de comptes tribal (imaginez époque où le militantisme semblait la réaction si Forcier se permettait de relégué aux oubliettes.