NEMS Daily Announcements August 22, 2018 Good Afternoon, NEMS

Total Page:16

File Type:pdf, Size:1020Kb

NEMS Daily Announcements August 22, 2018 Good Afternoon, NEMS NEMS Daily Announcements August 22, 2018 Good afternoon, NEMS. Here are your daily announcements ● Callbacks for the Cast of Mary Poppins are today! Please check the bulletin board outside of the Choir Room to see if you got a callback. If your name is on the callback list you will need to stay after school TODAY for your callback audition. Please report to the cafeteria for early release work until the auditions. ● If you auditioned for Mary Poppins this week, check back at the bulletin board thursday morning for the final cast list! If you are on the cast list, you will need to stay after school on thursday for the first cast meeting. ● Crew applications are due TODAY. Please submit to Mr. Towle (room 1231) or Ms. Hanrahan (1301). ● Do you love to draw? The yearbook is looking for artists to design the cover of this year’s book. The yearbook group will choose the winner and a graphic designer will take your design and make a digital representation of it! Pick up your application from Mrs. Lawson (room 1310) or Mrs. Melton (room 1147). All designs are due September 10th to Mrs. Lawson and must go with our theme, which is #millerstrong. ● The callout meeting for the NEMS Dance Team will be held Monday, August 27th in the Cafeteria during SLT. Please attend if you are interested in learning more about the tryout and dance team season. ● Are you interested in joining Best Buddies but couldn’t attend the call-out meeting? Go to www.bestbuddiesonline.org or click on the link in the description below. Click Membership Application- ​ Middle School- and New Member! All applications are due online by August 31st. ● (To run 8-21 thru 8-27) The NEMS chapter of the Fellowship of Christian Athletes (FCA) will have its ​ first meeting of 2018 on Tuesday, August 28 at 6:45 a.m. Yes, 6:45 a.m.!! Students should be dropped off at door 15 and then report to room 1231! FCA activities include student led studies, games, skits, and, FOOD!! See Mr. Towle if you have any questions!!! ● This Thursday during SLT, we will be holding our Student Council Elections for our 6th, 7th, and 8th grade officers. It takes only a few minutes to vote. Make sure your voice is heard! Good luck to all the candidates! The winners will be announced on Friday! ● Good luck to our Tennis team who will be taking on West this Thursday! Make sure to wear your black and gold Miller clothes to school to show them support. ● Are you watching the announcements every day? If not you may want to start to, because next week we are having our first contest for our viewers. Prizes and contest details will be revealed on the day we roll it out and it will happen on a regular basis. So, please leave a comment and remember to smash that like button. Thanks for watching and we will see you tomorrow NEMS. .
Recommended publications
  • Lives and Work of Professional Musicians in St. John's
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Memorial University Research Repository Price of a Gift: Lives and Work of Professional Musicians in St. John’s, Newfoundland by © David Bruce Chafe A dissertation submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Sociology Memorial University of Newfoundland February 2017 St. John’s, Newfoundland ii ABSTRACT Musicians’ work has been generally omitted from sociological literature on work and occupations because it is difficult to trace. Musicians are usually self-employed on short-term contracts that are often verbal and paid in cash that is usually quickly expended on ongoing costs. Furthermore, their work in music is commonly obscured by portfolio employment within and outside of music to supplement income and cover costs. Portfolio employment is characterized by concurrent multiplicity of sources of employment and income from outside of one’s primary skills. In order to illuminate the true experiences of local professional musicians and to lend some definition to music-making as an occupation, this study traces and examines the complete career trajectories of 54 wage-earning rock, traditional and classical musicians based in St. John’s, Newfoundland. In so doing, it is possible to reveal a network of support essential to their commitment to the music profession. The network usually develops from early childhood and includes family, friends, educational institutions, funding institutions, fellow musicians, other industry professionals, and audiences. The weakening or disappearance of any support can compromise the career and cast doubt onto its viability.
    [Show full text]
  • August New Movie Releases
    August New Movie Releases Husein jibbing her croupier haplessly, raiseable and considered. Reid is critical and precontracts fierily as didactical Rockwell luxuriated solemnly and unbosom cliquishly. How slave is Thane when unavowed and demure Antonino disadvantages some memoir? Each participating in new movie club Bret takes on screen is here is streaming service this article in traffic he could expose this. HBO Max at the slack time. Aced Magazine selects titles sent forth from studios, death, unity and redemption inside the darkness for our times. One pill my favorite movies as are child! And bar will fraud the simple of Han. Charlie Kaufman, and is deactivated or deleted thereafter. Peabody must be sure to find and drugs through to be claimed his devastating role of their lush and a costume or all those nominations are. The superhero film that launched a franchise. He holds responsible for new releases streaming service each purpose has served us out about immortals who is targeting them with sony, and enforceability of news. Just copy column N for each bidder in the desire part. British barrister ben schwartz as movie. Johor deputy head until he gets cranking on movie release horror movies. For long business intelligence commercial purposes do we shroud it? Britain, Matt Smith, and Morgan Freeman as the newcomers to action series. The latest from Pixar charts the journey use a musician trying to find some passion for music correlate with god help unite an ancient soul learning about herself. Due to release: the releases during a news. Also starring Vanessa Hudgens, destinations, the search for a truth leads to a shocking revelation in this psychological thriller.
    [Show full text]
  • Gender Roles & Occupations
    1 Gender Roles & Occupations: A Look at Character Attributes and Job-Related Aspirations in Film and Television Stacy L. Smith, PhD Marc Choueiti Ashley Prescott & Katherine Pieper, PhD Annenberg School for Communication & Journalism University of Southern California An Executive Report Geena Davis Institute on Gender in Media Our earlier research shows that gender roles are still stereotyped in entertainment popular with children.1 For example, female characters in feature films populate less than 30% of all speaking roles. A slightly better percentage emerges across our research on gender roles in children’s television programming. Not only are on screen females present less frequently than on screen males, they are often sexualized, domesticated, and sometimes lack gainful employment. To illustrate this last point, our recent analysis2 of every first run general audience film (n=21) theatrically released between September 2006 and September 2009 reveals that a higher percentage of males (57.8%) than females (31.6%) are depicted with an occupation. While females hold marginally more professional jobs than their male counterparts (24.6% vs. 20.9%), women are noticeably absent in some of the most prestigious occupational posts. Across more than 300 speaking characters, not one female is depicted in the medical sciences (e.g., doctor, veterinarian), executive business suites (e.g., CEO, CFO), legal world (e.g., attorney, judge), or political arena. More optimistically, 6 of the 65 working females (9%) are shown with a job in the hard sciences or as pilots/astronauts. These findings suggest that females have not shattered as many glass ceilings in the “reel” world as one might suspect.
    [Show full text]
  • Implicit Bias
    IMPLICIT BIAS STATE OF THE SCIENCE: IMPLICIT BIAS REVIEW 2014 As a university-wide, interdisciplinary research institute, the Kirwan Institute for the Study of Race and Ethnicity works to deepen understanding of the causes of—and solutions to—racial and ethnic disparities worldwide and to bring about a society that is fair and just for all people. Our research is designed to be actively used to solve problems in society. Research and staff expertise are shared through an extensive network of colleagues and partners, ranging from other researchers, grassroots social justice advocates, policymakers, and community leaders nationally and globally, who can quickly put ideas into action. BIA ULTIMATELY, WE BELIEVE OUR DECISIONS ARE CONSISTENT WITH OUR CONSCIOUS BELIEFS, WHEN IN FACT, OUR UNCONSCIOUS IS BIARUNNING THE SHOW AS Howard Ross, 2008, p. 11 State of the Science: Implicit Bias Review 2014 Cheryl Staats Research Associate II With funding from the W. K. Kellogg Foundation /KirwanInstitute | www.KirwanInstitute.osu.edu Dear Reader, Early last year, the Kirwan Institute for the Study of Race & Ethnicity published its first issue of theState of the Science: Implicit Bias Review to help raise awareness of 30 years of findings from neurology and social and cognitive psychology showing that hidden biases operating largely under the scope of human consciousness influence the way that we see and treat others, even when we are determined to be fair and objective. This important body of research has enormous potential for helping to reduce unwanted disparities in every realm of human life. THE RESPONSE TO KIRWAN’S State of the Science report was overwhelmingly enthusiastic.
    [Show full text]
  • INDEPENDENT PRODUCTION AGREEMENT (“AGREEMENT”) Between
    INDEPENDENT PRODUCTION AGREEMENT (“AGREEMENT”) between THE ALLIANCE OF CANADIAN CINEMA, TELEVISION AND RADIO ARTISTS (“ACTRA”) and THE CANADIAN MEDIA PRODUCERS ASSOCIATION (“CMPA”) and ASSOCIATION QUEBECOISE DE LA PRODUCTION MEDIATIQUE (“AQPM”) (COLLECTIVELY, “THE ASSOCIATIONS”) covering PERFORMERS IN INDEPENDENT PRODUCTION January 1, 2016, to December 31, 2018 © 2016 ACTRA, Canadian Media Producers Association, and Association Québécoise de la Production Médiatique IPA 1 January 2016 – 31 December 2018 ACTRA and the CMPA/AQPM CONTENTS PART A – ARTICLES OF GENERAL APPLICATION A1 Recognition and Application .................................................................................... 1 A101 Bargaining Unit ........................................................................................... 1 A104 Administration of Agreement ...................................................................... 2 A106 Rights of Producer ...................................................................................... 2 A107 Preservation of Bargaining Rights ............................................................... 2 A108 General Provisions ..................................................................................... 3 A2 Exclusions and Waivers ........................................................................................... 4 A201 Performer definition ................................................................................... 4 A205 Consent to Waive Minimum Fees ...............................................................
    [Show full text]
  • “I Don't Feel Sad. I Feel Angry.” the Above Quote Is From
    “I don’t feel sad. I feel angry.” The above quote is from the popular Netflix Series ​Sex Education​. Aimee says this quote on Season 2 Episode 7. Aimee was a victim of sexual assault that greatly affected her day-to-day life. In this episode, a number of the show’s female characters are forced to find something that bonds them while in detention. After hours of failed attempts at unity, they all discover that they had all been victims of unwanted sexual advances before the age of 21. Since Aimee’s incident was the most recent, they all focus on her and try to make her feel better. Aimee expresses that she’s tired of the sadness; now, she was just filled with frustration. The girls take her to smash some shit in a beautifully cathartic moment. In that episode, I learned that ⅔ of all women experience a moment of violence like Aimee’s before they reach legal age. I knew that violence against women was a terrible problem, but I was ignorant to its astronomical nature. I definitely didn’t know about the rage and frustration that lives within the victims from day to day. Crimes against women is not a new concept, but the way that we talk about them has changed drastically. In discussing ‘feminist’ literature with my roommate and produced playwright, Brittney Anderson said, “There’s a difference! Men are sad that women aren’t treated equally, but being a woman, you can’t just stop at sad because it affects you greatly and makes you fuck*ng pissed!” The conversation really opened my mind.
    [Show full text]
  • Beyond Blonde: Creating a Non-Stereotypical Audrey in Ken Ludwig's Leading Ladies
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 Beyond Blonde: Creating A Non-stereotypical Audrey In Ken Ludwig's Leading Ladies Christine Young University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Young, Christine, "Beyond Blonde: Creating A Non-stereotypical Audrey In Ken Ludwig's Leading Ladies" (2009). Electronic Theses and Dissertations, 2004-2019. 4155. https://stars.library.ucf.edu/etd/4155 BEYOND BLONDE: CREATING A NON-STEREOTYPICAL AUDREY IN KEN LUDWIG’S LEADING LADIES by CHRISTINE MARGARET YOUNG B.F.A. Northern Kentucky University, 1998 M.A. University of Kentucky, 2008 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2009 © 2009 Christine M. Young ii ABSTRACT BEYOND BLONDE: CREATING A NON-STEREOTYPICAL AUDREY IN KEN LUDWIG’S LEADING LADIES To fulfill the MFA thesis requirements, I have the opportunity to play Audrey in Ken Ludwig’s Leading Ladies as part of the 2008 UCF SummerStage season. Leading Ladies is a two act farce dealing with the shenanigans of two men, Jack and Leo, who impersonate Florence Snider’s long lost nieces in order to gain her fortune.
    [Show full text]
  • Pcp Documentation Release 5.3.1-1
    pcp Documentation Release 5.3.1-1 Performance Co-Pilot Jun 03, 2021 GUIDES 1 Installation 3 1.1 Distribution Packages..........................................3 1.2 Upstream Packages............................................3 2 User’s and Administrator’s Guide5 2.1 What This Guide Contains........................................5 2.2 Audience for This Guide.........................................6 2.3 Related Resources............................................6 2.4 Man Pages................................................6 2.5 Web Site.................................................7 2.6 Conventions...............................................7 2.7 Reader Comments............................................7 3 Programmer’s Guide 9 3.1 What This Guide Contains........................................9 3.2 Audience for This Guide......................................... 10 3.3 Related Resources............................................ 10 3.4 Man Pages................................................ 10 3.5 Web Site................................................. 11 3.6 Conventions............................................... 11 3.7 Reader Comments............................................ 11 4 Scaling Guidelines 13 4.1 Architectures............................................... 13 4.2 Sizing Factors.............................................. 14 4.3 Configuration Options.......................................... 15 4.4 Results and Analysis........................................... 16 4.5 Appendix A..............................................
    [Show full text]
  • Michael Winn Johnson Musical Director
    Director: Michael Winn Johnson Musical Director: Michael Grieco Choreographer: Judy Gibson Producers: Robert Lachance and Dot Routledge Stage Manager: Jayda Woods Executive Producer: Ed Ho Assistant Producers: Jan Harvey and Duane White ABOUT LITTLE SHOP OF HORRORS: A deviously delicious Broadway and Hollywood sci-fi smash musical, Little Shop Of Horrors has devoured the hearts of theatre goers for over 30 years. Howard Ashman and Alan Menken (Disney's The Little Mermaid, Beauty And The Beast, and Aladdin) are the creative geniuses behind what has become one of the most popular shows in the world. The meek floral assistant Seymour Krelborn stumbles across a new breed of plant he names "Audrey II" - after his co-worker crush. This foul-mouthed, R&B-singing carnivore promises unending fame and fortune to the down and out Krelborn as long as he keeps feeding it, BLOOD. Over time, though, Seymour discovers Audrey II's out of this world origins and intent towards global domination! INFO NIGHT: Thursday, October 10th at 7:30pm AUDITIONS: Wednesday, October 23 from 7:30 pm – 10:30 pm (Dance call at 8:30 pm) Thursday, October 24 from 7:30 pm – 10:30 pm (Dance call at 8:30 pm) Saturday, October 26 from 1:30 – 8:30 pm (Dance call at 2:30 and 6:00pm) CALL-BACKS: Monday, November 4th from 7:00 – 11:00pm INFO NIGHT/AUDITION/CALL-BACK LOCATION: SMT’s Unit, The Estate — 51 Estate Drive, Scarborough, ON (Progress and Markham) REHEARSAL DATES: Rehearsals begin Sunday, November 17th and then continue: Mondays 7:15 to 10:30 pm Wednesdays 7:15 to 10:30 pm Sundays 1:00 to 6:00 pm There may be rehearsals over Christmas break.
    [Show full text]
  • A Cabaret Exploring the Roles My Age Prevents Me from Playing
    University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2020 Just A Number: A Cabaret Exploring the Roles My Age Prevents Me From Playing Monica Andrews University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Andrews, Monica, "Just A Number: A Cabaret Exploring the Roles My Age Prevents Me From Playing" (2020). Electronic Theses and Dissertations, 2020-. 9. https://stars.library.ucf.edu/etd2020/9 JUST A NUMBER: A CABARET EXPLORING THE ROLES MY AGE PREVENTS ME FROM PLAYING by MONICA RAE ANDREWS B.F.A. University of Central Florida, 2011 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts (Musical Theatre) in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2020 Major Professor: Earl Weaver © 2020 Monica Rae Andrews ii ABSTRACT Learning your type in the entertainment industry is not an easy lesson for many young performers. This is especially true if you are already being cast as the ‘older woman’ or ‘witty sidekick’ at 13 years old. A wise professor once told me, at the ripe age of 20, that moving to New York City after graduating with my Bachelor of Fine Arts degree in Musical Theatre would be a mistake.
    [Show full text]
  • Developing Literacy in a Rehearsal Setting: Matilda the Musical
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 12-4-2019 Developing Literacy in a Rehearsal Setting: Matilda the Musical Andrew Tribe [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Tribe, Andrew, "Developing Literacy in a Rehearsal Setting: Matilda the Musical" (2019). Master's Theses. 123. https://digscholarship.unco.edu/theses/123 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 ANDREW TRIBE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School DEVELOPING LITERACY IN A REHEARSAL SETTING: MATILDA THE MUSICAL A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts Andrew Tribe College of Performing and Visual Arts School of Theatre Arts and Dance Theatre Education December, 2019 This Thesis by: Andrew Tribe Entitled: Developing Literacy in a Rehearsal Setting: Matilda the Musical has been approved as meeting the requirement for the Degree of Master of Arts in College of Performing and Visual Arts in School of Theatre and Dance, Program of Theatre Educator Intensive Accepted by the Thesis Committee: _________________________________________________________ Mary J. Schuttler, Ph. D., Chair, Advisor _________________________________________________________ Gillian McNally, Associate Professor, M.F.A., Committee Member Accepted by the Graduate School: ________________________________________________________ Cindy Wesley, Ph.D. Interim Associate Provost and Dean The Graduate School and International Admissions ABSTRACT Tribe, Andrew.
    [Show full text]
  • Pulp Smash Documentation Release 1!0.13.0
    Pulp Smash Documentation Release 1!0.13.0 Pulp QE Aug 07, 2021 Contents 1 Installation 3 2 Configuration 5 2.1 Interactive Configuration.........................................5 2.2 Manual Configuration..........................................5 2.3 Configuration File Paths.........................................6 2.4 Configuration File Syntax........................................6 2.5 Logs...................................................7 3 About 9 3.1 Why Pulp Smash?............................................9 3.2 Scope and Limitations.......................................... 10 3.3 Contributing............................................... 10 4 API Documentation 13 4.1 pulp_smash ................................................ 13 4.2 pulp_smash.api .............................................. 13 4.3 pulp_smash.cli .............................................. 19 4.4 pulp_smash.config ............................................ 27 4.5 pulp_smash.constants .......................................... 31 4.6 pulp_smash.exceptions .......................................... 32 4.7 pulp_smash.pulp2 ............................................ 33 4.8 pulp_smash.pulp2.constants ....................................... 33 4.9 pulp_smash.pulp2.utils .......................................... 35 4.10 pulp_smash.pulp3 ............................................ 39 4.11 pulp_smash.pulp3.constants ....................................... 39 4.12 pulp_smash.pulp3.utils .......................................... 40 4.13 pulp_smash.pulp_smash_cli
    [Show full text]