Class of 2021 Student Bios
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Entangled Communities
NOAA Technical Memorandum NMFS-SEFSC-556 NOAA Series on U.S. Caribbean Fishing Communities Entangled Communities: Socioeconomic Profiles of Fishers, their Communities and their Responses to Marine Protective Measures in Puerto Rico (Volume 3: Regional Profiles, Appendices and References) By Aguirre International Inc. David Griffith East Carolina University, Greenville, North Carolina Manuel Valdés Pizzini University of Puerto Rico, Mayaguez, Puerto Rico Carlos García Quijano University of Puerto Rico, Cayey, Puerto Rico Edited by J. J. Agar and B. Stoffle Social Science Research Group Southeast Fisheries Science Center NOAA Fisheries Miami, Florida 33149 May 2007 NOAA Technical Memorandum NMFS-SEFSC-556 NOAA Series on U.S. Caribbean Fishing Communities Entangled Communities: Socioeconomic Profiles of Fishers, their Communities and their Responses to Marine Protective Measures in Puerto Rico (Volume 3: Regional Profiles, Appendices and References) Aguirre International Inc. David Griffith Manuel Valdés Pizzini Carlos García Quijano With the Research, Technical, and Administrative Assistance of Walter Diaz Gisela Zapata William Calderón Marla del Pilar Pérez-Lugo Roger Rasnake Marielba Rivera-Velázquez U.S. DEPARTMENT OF COMMERCE Carlos M. Gutierrez, Secretary NATIONAL OCEANIC AND ATMOSPHERIC ADMINISTRATION Conrad C. Lautenbacker Jr., Undersecretary for Oceans and Atmosphere NATIONAL MARINE FISHERIES SERVICE William T. Hogarth, Director May 2007 This Technical Memorandum series is used for documentation and timely communication of preliminary results, interim reports, or similar special-purpose information. Although the memoranda are not subject to complete formal review, editorial control, or detailed editing, they are expected to reflect sound professional work. ii NOTICE The National Marine Fisheries Service (NMFS) does not approve, recommend or endorse any proprietary product or material mentioned in this publication. -
CODE R E D the Critical Condition of Health in Texas the Report Solution: Now Is the Time for Texas to Take Bold Steps
CODE R E D The Critical Condition of Health in Texas The Report Solution: Now is the time for Texas to take bold steps. Problem: Texas has the highest percentage of uninsured in the nation. Now is the time for Texas to take bold steps. steps. bold take to Texas for time the is Now Solution: [ Preface ] On behalf of the entire Task Force on Access to Health Care in Texas, we want to make a few points as a preface to the Report. First, the Task Force is eclectic and brings diverse backgrounds, experiences and expertise to bear on the problems associated with the uninsured and underinsured in Texas. Indeed, this diversity enriched the deliberations and recommendations of the Task Force, who served without compensation. Second, while diverse with regards to expertise, etc., the Task Force is singular with regard to the importance and magnitude of the problem that inadequate health insurance poses, not only to the physical and mental health of the residents of Texas, but also to the financial well being of the state. The Task Force is unanimous in its emphasis that this is not a problem of the future, but one that is already here. Third, the Task Force feels that the Report is, in so far as possible, an evidence-based, objective, non-partisan effort with six well prepared commissioned papers and an independent review by a group of experts. The Task Force recognizes that long-term solutions to the challenges of our health system will require a national effort and new national approaches. -
2015 Review from the Director
2015 REVIEW From the Director I am often asked, “Where is the Center going?” Looking of our Smithsonian Capital Campaign goal of $4 million, forward to 2016, I am happy to share in the following and we plan to build on our cultural sustainability and pages several accomplishments from the past year that fundraising efforts in 2016. illustrate where we’re headed next. This year we invested in strengthening our research and At the top of my list of priorities for 2016 is strengthening outreach by publishing an astonishing 56 pieces, growing our two signatures programs, the Smithsonian Folklife our reputation for serious scholarship and expanding Festival and Smithsonian Folkways Recordings. For the our audience. We plan to expand on this work by hiring Festival, we are transitioning to a new funding model a curator with expertise in digital and emerging media and reorganizing to ensure the event enters its fiftieth and Latino culture in 2016. We also improved care for our anniversary year on a solid foundation. We embarked on collections by hiring two new staff archivists and stabilizing a search for a new director and curator of Smithsonian access to funds for our Ralph Rinzler Folklife Archives and Folkways as Daniel Sheehy prepares for retirement, Collections. We are investing in deeper public engagement and we look forward to welcoming a new leader to the by embarking on a strategic communications planning Smithsonian’s nonprofit record label this year. While 2015 project, staffing communications work, and expanding our was a year of transition for both programs, I am confident digital offerings. -
PRESS RELEASE for IMMEDIATE RELEASE Tuesday, January 24, 2012 CONTACT: Patrick Finlon, Marketing Director 315-443-2636 Or [email protected]
PRESS RELEASE FOR IMMEDIATE RELEASE Tuesday, January 24, 2012 CONTACT: Patrick Finlon, Marketing Director 315-443-2636 or [email protected] Non-Stop Music in Caroline, or Change by Pulitzer Prize Winner Tony Kushner and Tony Nominee Jeanine Tesori (Syracuse, NY)— Two powerhouses of the American theatre, playwright Tony Kushner (Angels in America) and composer Jeanine Tesori (Thoroughly Modern Millie and Shrek: The Musical), join forces on a musical of startling creativity and refreshing originality (don’t be surprised when the washing machine starts to sing). A stellar cast led by Greta Oglesby delivers powerful vocals in this unconventional, through-composed musical, the recipient of six Tony nominations followed by the Olivier Award for Best Musical. The year is 1963—civil rights and Kennedy—and in the Gellman household in Lake Charles, Louisiana, eight-year-old Noah struggles with the loss of his mother, while Caroline, the family’s African American maid, struggles as a single Mom of four children. Through Caroline and Noah’s friendship, Kushner and Tesori explore thoughts on economic hardship and racial inequity that are relevant today as they were in the early 60s. Rich with humor, humanity and of course music—ranging from blues to gospel to traditional Jewish melodies—Caroline, or Change delivers a deep and uplifting message about change, in big ways and small. Running February 1—26, Caroline, or Change will be performed in the Archbold Theatre at Syracuse Stage, 820 East Genesee Street. Tickets range $18-$50 and are available at the Syracuse Stage Box Office, 315-443-3275 or www.SyracuseStage.org. -
The Understudy Draft 4
The Understudy Cara Ehlenfeldt and Jason Cady Manhattan, 1970s ACT 1 RECITATIVE PAT DICKSON I have mixed emotions as I write this tale of Donna Pearlbottum’s final case. No, the esteemed private eye was not murdered. In our line of work, death is as common as the morning sun. But this story will shock you. We had just wrapped the celebrated case of the Bel Canto Mob family. Donna had a rental in Fire Island. Spring hadn’t reached New York, but she liked the off season. I asked if she planned to go alone, DONNA PEARLBOTTUM I’m taking Wittgenstein and Sophocles. PAT DICKSON Those were her kittens. I looked forward to a quiet week. I’d catch up on sleep and the scotch and sodas I had missed over the last month. At 5:00 I closed the Venetian blinds. But a man with bovine eyes and a Brooks Brothers suit rushed in. SFX: Door with hanging bells opens. PAT DICKSON I showed him the closed sign. RICH LEXINGTON Please! You got to help me. PAT DICKSON Donna, the most articulate private eye in the Lower East Side, had a lexicon that lacked the word “no.” She dropped her umbrella. I stubbed out my cigarette, and lit a fresh one. SFX: Cigarette lit. PAT DICKSON His name was Rich Lexington. He told his story, threw down a C-note, and we walked to his Cadillac. 2. SFX: Door. Rain. Footsteps. Car. PAT DICKSON He ran the Flat Iron Opera Company. It was your typical avant-garde theater. -
1 Eugenio Maria De Hostos Community College / CUNY
Eugenio Maria de Hostos Community College / CUNY Humanities Department Visual & Performing Arts Unit Academic Program Review Fall 2016 Second Draft Academic Program Mission Statement The Visual & Performing Arts Unit fosters and maintains the history and practice of all aspects of artistic endeavor in the College and the community. Through its curriculum, members of the College community and other members of the urban community explore, interpret, and apply the artistic practices that lead to a better understanding of themselves, their environment, and their roles in society. Description of the Unit The VPA Unit is the largest unit of the Humanities Department. It serves approximately 1,125 students from all majors at Hostos every semester. With courses as far ranging as painting and drawing, art history, public speaking, acting, music, and photography, students can pursue many possible creative paths. Those who elect to earn credits in the visual and performing arts will find a variety of approaches to learning that include lecture and studio based classes as well as workshops that allow for the exploration of extracurricular interests or even for the development of career centered skill sets vital to the pursuit of employment opportunities. The successful completion of courses in the arts are a useful and, in many cases, essential basis for study in other disciplines. They are also a valuable source for personal development. Students interested in planning a concentration in the visual and performing arts are advised to consult with the Visual and Performing Arts Coordinator. The Media Design Programs were originally housed in the VPA Unit, but operate as a separate unit due to the considerable growth of students and courses. -
The One-Act Play That Goes Wrong
THE ONE-ACT PLAY THAT GOES WRONG by Henry Lewis, Jonathan Sayer & THE ONE-ACT Henry Shields SHIELDS — LEWIS, SAYER, WRONG GOES THAT PLAY THE ONE-ACT PLAY THAT 6 men, 2 women GOES WRONG You all know the classic murder mystery story: There has been an untimely death at a country manor, everyone is a suspect, and an inspector is set on the case to find who the culprit is. However, when this play is performed by the accident-prone thespians of BY HENRY LEWIS, The Cornley Polytechnic Drama Society, everything that can go wrong…does! The actors and crew battle against all odds to make JONATHAN SAYER it through to their final curtain call, with hilarious consequences! From Mischief, the creators of the West End smash Peter Pan Goes & HENRY SHIELDS Wrong, critically acclaimed TV series The Goes Wrong Show, and the Tony-winning Broadway hit The Play That Goes Wrong, this is the original one-act play which started everything going wrong. Over the course of an hour, expect a plethora of disasters from missed lines to falling props. Do you ever find out who murdered Charles Haversham? You’ll have to see for yourself! Also by Henry Lewis, Jonathan Sayer & Henry Shields THE PLAY THAT GOES WRONG DRAMATISTS PLAY SERVICE INC. DRAMATISTS PLAY SERVICE, INC. THE ONE-ACT PLAY THAT GOES WRONG Copyright © 2012, Mischief Worldwide Ltd. THE PLAY THAT GOES WRONG®, MISCHIEF® and MISCHIEF THEATRE® are trademarks and registered trademarks of Mischief Worldwide Ltd. www.mischiefworldwide.com All Rights Reserved THE ONE-ACT PLAY THAT GOES WRONG is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. -
Beautiful Family! Broadway/ First National Tour: Beautiful; Betty/ Ensemble
SARAH BOCKEL (Carole King) is thrilled to be back on the road with her Beautiful family! Broadway/ First National Tour: Beautiful; Betty/ Ensemble. Regional: Million Dollar Quartet (Chicago); u/s Dyanne. Rocky Mountain Repertory Theatre- Les Mis; Madame Thenardier. Shrek; Dragon. Select Chicago credits: Bohemian Theatre Ensemble; Parade, Lucille (Non-eq Jeff nomination) The Hypocrites; Into the Woods, Cinderella/ Rapunzel. Haven Theatre; The Wedding Singer, Holly. Paramount Theatre; Fiddler on the Roof, ensemble. Illinois Wesleyan University SoTA Alum. Proudly represented by Stewart Talent Chicago. Many thanks to the Beautiful creative team and her superhero agents Jim and Sam. As always, for Mom and Dad. ANDREW BREWER (Gerry Goffin) Broadway/Tour: Beautiful (Swing/Ensemble u/s Gerry/Don) Off-Broadway: Sex Tips for Straight Women from a Gay Man, Cougar the Musical, Nymph Errant. Love to my amazing family, The Mine, the entire Beautiful team! SARAH GOEKE (Cynthia Weil) is elated to be joining the touring cast of Beautiful - The Carole King Musical. Originally from Cape Girardeau, Missouri, she has a BM in vocal performance from the UMKC Conservatory and an MFA in Acting from Michigan State University. Favorite roles include, Sally in Cabaret, Judy/Ginger in Ruthless! the Musical, and Svetlana in Chess. Special thanks to her vital and inspiring family, friends, and soon-to-be husband who make her life Beautiful. www.sarahgoeke.com JACOB HEIMER (Barry Mann) Theater: Soul Doctor (Off Broadway), Milk and Honey (York/MUFTI), Twelfth Night (Elm Shakespeare), Seminar (W.H.A.T.), Paloma (Kitchen Theatre), Next to Normal (Music Theatre CT), and a reading of THE VISITOR (Daniel Sullivan/The Public). -
Saratoga Drama Group Presents
Saratoga Drama Group presents May - June 2001 Saratoga Drama Group A Very Special Guest: Janis Paige presents As our opening-night guest we are extremely pleased to welcome Miss Janis Paige. Miss Paige starred in the original Broadway production of Mame, taking over the title role from its originator, Angela Lansbury. With an all-encompassing talent that embraces the worlds of stage, movies and television, Miss Paige is equally at home in dramatic, comic and musical roles. Prior to her stage career, she enjoyed wide acclaim Book by for her starring roles in motion pictures, Jerome Lawrence beginning with Hollywood Canteen and and continuing through a four-year tenure as a Robert E. Lee Warner Brothers star. Her introduction to Broadway came purely by accident, when producer Leland Hayward, desperately searching through some 200 applicants for Music and Lyrics by the role of Judy Revere in the Howard Lindsay-Russell Crouse comedy Remains To Jerry Herman Be Seen, was introduced to Miss Paige at the rehearsal hall and within the space of fifteen minutes she came away with the part. She went on to even greater success in Based on the novel by Patrick Dennis the smash hit musical Pajama Game, followed by another hit, Here’s Love. and the play “Auntie Mame” by Between shows she initiated a nightclub career, headlining across the country in major supper clubs including the famous Copacabana in New York. Miss Paige can Lawrence and Lee also claim numerous television appearances including a series, It’s Always Jan, and top variety and dramatic shows. -
Political Status of Puerto Rico: Options for Congress
Political Status of Puerto Rico: Options for Congress R. Sam Garrett Specialist in American National Government June 7, 2011 Congressional Research Service 7-5700 www.crs.gov RL32933 CRS Report for Congress Prepared for Members and Committees of Congress Political Status of Puerto Rico: Options for Congress Summary The United States acquired the islands of Puerto Rico in 1898 after the Spanish-American War. In 1950, Congress enacted legislation (P.L. 81-600) authorizing Puerto Rico to hold a constitutional convention and in 1952, the people of Puerto Rico ratified a constitution establishing a republican form of government for the island. After being approved by Congress and the President in July 1952 and thus given force under federal law (P.L. 82-447), the new constitution went into effect on July 25, 1952. Puerto Rico is subject to congressional jurisdiction under the Territorial Clause of the U.S. Constitution. Over the past century, Congress passed legislation governing Puerto Rico’s relationship with the United States. For example, residents of Puerto Rico hold U.S. citizenship, serve in the military, are subject to federal laws, and are represented in the House of Representatives by a Resident Commissioner elected to a four-year term. Although residents participate in the presidential nominating process, they do not vote in the general election. Puerto Ricans pay federal tax on income derived from sources in the mainland United States, but they pay no federal tax on income earned in Puerto Rico. The Resident Commissioner may vote in committees but is not permitted to vote in, or preside over, either the Committee of the Whole or th the House in the 112 Congress. -
José Gabriel Muñoz Interview Transcript
Raíces Digital Archive Oral History Transcript José Gabriel Muñoz - Cuatrista October 20, 2019 [0:11] José Gabriel Muñoz: My name is José Gabriel Muñoz and I play the Puerto Rican cuatro. It’s used mostly for the folkloric music of Puerto Rico. [0:20] I grew up listening to the music in my household. My dad would always play the music. I was born in Puerto Rico so I had those roots of the music and the culture was always in my family. And my dad would always play the music so growing up, I was always listening to it, it was always basically a part of me. [41:00] But when I was about fourteen years old I saw someone play it in front of me for the first time, and it happened to be a young man, my same age, about fourteen-thirteen, fourteen, at the time, and that’s when it became palpable and real to me. Up until then it was listening to eight-tracks and cassettes, you know, the old guard of the music, as I would call it. [1:03] And so, many young people, as myself at the time, would interpret that as just music for old people, music of my grandfathers, of my older uncles and such. It wasn’t the here and now, hip type music. Up until I watched this young man play, right in front of me, and it became alive to me, and from that moment on is where the interest grew. [1:32] Nicole Wines: Can you talk a little bit about the instrument itself? [1:38] JGM: The instrument comes from the lute family, it is my understanding. -
Jíbaro a Smithsonian Folkways Lesson Designed By: Sandra Sanchez University of Miami
Jíbaro A Smithsonian Folkways Lesson Designed by: Sandra Sanchez University of Miami Summary: Puerto Rican culture is a representation of the diverse heritages of three cultural groups: Taíno Indians, Africans, and Spaniards. This lesson focuses on the Spanish influences found in Puerto Rico’s musical culture by studying jíbaro music. Suggested Grade Level: Grades 3-5, 6-8 Country: Puerto Rico Region: Caribbean Culture Groups: Puerto Rican, Spanish Genre: Instruments: Cuatro, Orff Instruments, Güiro Language: Spanish Co-curricular Areas: Language Arts, Social Studies National Standards: 1, 2, 3, 4, 6, 7, 8, 9 Prerequisites: Students should have had some experience using Orff instruments. Objectives • Students will be able to create lyrics using an assigned rhyming structure. • Students will be able to create rhythms to the lyrics of a décima. • Students will be able to improvise a melody with a given rhythm on an Orff instrument. • Students will be able to sing the response section to a call-and-response song. Materials 1. Mohr, Nicholasa and Antonio Martorell. 1995. The song of el coquí and other tales of Puerto Rico. New York: Viking. 2. Orff Instruments 3. Güiro and pua (güiro stick) 4. Musica del Pueblo Website: http://www.musicadelpueblo.org/ 5. Smithsonian Folkways, “Y amo la libertad (And I Love Freedom)” by Ecos de Borinquen from Jíbaro Hasta el Hueso: Mountain Music of Puerto Rico: http://www.folkways.si.edu/ecos-de-borinquen/jibaro-hasta-el-hueso-mountain- music-of-puerto-rico/latin-world/album/smithsonian 6. Smithsonian Folkways, “Seis Salinés” by Cuerdas de Borínquen from Puerto Rico in Washington: http://www.folkways.si.edu/puerto-rico-in-washington/caribbean-latin- world/music/album/smithsonian Lesson Segments 1.