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February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN; -
1 Luxury Hotels, Resorts, Yachts, Mansions, Private Clubs, Museums
Luxury hotels, Resorts, Yachts, Mansions, Private clubs, Museums, Opera houses, restaurants RESORTS Boca Raton Resort & Club, Boca Raton, FL Bocaire Country Club, Boca Raton, FL Equinox Resort, Manchester Village, VT Hyatt Regency Aruba La Quinta Resort, La Quinta, CA Ojai Valley Inn & Spa, Ojai, CA Otesaga Resort Hotel, Cooperstown, NY Phoenician Resort, Phoenix, AZ Rosewood Mayakoba, Riviera Maya, Mexico Stoweflake Resort, Stowe, VT Westin La Paloma Resort, Tucson, AZ YACHTS Eastern Star yacht, Chelsea Piers, NYC Lady Windridge Yacht, Tarrytown, NY Manhattan cruise ship, Chelsea Piers, NYC Marika yacht, Chelsea Piers, NYC Star of America yacht, Chelsea Piers, NYC MANSIONS Barry Diller mansion, Beverly Hills, CA Boldt Castle, Alexandria Bay, NY 1 David Rockefeller mansion, Pocantico Hills, NY Neale Ranch, Saratoga, Wyoming Paul Fireman mansion, Cape Cod, MA Sam & Ronnie Heyman mansion, Westport, CT Somerset House, London The Ansonia, NYC The Mount, Lenox, MA Ventfort Hall, Lenox, MA Walter Scott Mansion, Omaha, NE (party for Warren Buffett) PRIVATE CLUBS American Yacht Club, Rye, NY The Bohemian Club, San Francisco The Metropolitan Club, NYC Millbrook Club, Greenwich, CT New York Stock Exchange floor and private dining room, NYC Birchwood Country Club, Westport, CT Cordillera Motorcycle Club, Cordillera, CO Cultural Services of the French Embassy, NYC Harold Pratt House, Council on Foreign Relations, Park Avenue, NYC Drayton Hall Plantation, Charleston, SC Tuxedo Club Country Club, Tuxedo Park, NY Fenway Golf Club, Scarsdale, NY Fisher Island, Miami Harvard Club, NYC Harvard Faculty Club, Cambridge, MA Bay Club at Mattaspoisett, Mattapoisett, MA Ocean Reef Club, Key Largo, FL Quail Hollow Country Club, Charlotte, NC Racquet and Tennis Club, Park Avenue, NYC Russian Trade Ministry, Washington DC Saugatuck Rowing Club, Westport, CT Shelter Harbor Country Club, Charlestown, RI St. -
Trolley Ain't No Gravy Train
INSIDE: GET THE RIGHT RESULTS WITH OUR CLASSIFIEDS SECTION Yo u r World — Yo u r News BrooklynPaper.com • (718) 260–2500 • Brooklyn, NY • ©2016 Serving Brownstone Brooklyn, Williamsburg & Greenpoint AWP/14 pages • Vol. 39, No. 49 • December 2–8, 2016 • FREE BILLION $ MILE Planned BQE repairs to be most expensive in city history By Lauren Gill Brooklyn Paper It’s Brooklyn’s billion-dol- lar mile! The city’s much-needed repair of the decrepit 1.5-mile Brooklyn Heights stretch of the Brooklyn– Queens Expressway will be the most expensive project in Depart- ment of Transportation history at a whopping $1.7 billion, accord- ing to officials. That’s $17,887 an inch, or $214,646 a foot, or $704,225 a FIXING meter — any way you measure Photo by Jordan Rathkopf it, it’s a lot of money for a short the BQE Elf Emily Season poses for the perfect selfie with Cobble Hill’s Karen Moshman. stretch of road. The expressway’s triple cantile- ver bridge — a three-tiered stretch fic on the elevated roadway open that hangs below the fabled Prome- in both directions will remain open nade and carries some 140,000 ve- at any given time. hicles per day — is nearly 70 years File photo by Evan Gardner But parts of the Promenade may GO UP TO ELVEN The triple cantilever looks pretty crummy, and it is going to have to close during the repairs, old and already a decade past its expected lifespan, and engineers cost $1.7 billion to fix. agency reps said. -
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
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 -
FY19 Annual Report View Report
Annual Report 2018–19 3 Introduction 5 Metropolitan Opera Board of Directors 6 Season Repertory and Events 14 Artist Roster 16 The Financial Results 20 Our Patrons On the cover: Yannick Nézet-Séguin takes a bow after his first official performance as Jeanette Lerman-Neubauer Music Director PHOTO: JONATHAN TICHLER / MET OPERA 2 Introduction The 2018–19 season was a historic one for the Metropolitan Opera. Not only did the company present more than 200 exiting performances, but we also welcomed Yannick Nézet-Séguin as the Met’s new Jeanette Lerman- Neubauer Music Director. Maestro Nézet-Séguin is only the third conductor to hold the title of Music Director since the company’s founding in 1883. I am also happy to report that the 2018–19 season marked the fifth year running in which the company’s finances were balanced or very nearly so, as we recorded a very small deficit of less than 1% of expenses. The season opened with the premiere of a new staging of Saint-Saëns’s epic Samson et Dalila and also included three other new productions, as well as three exhilarating full cycles of Wagner’s Ring and a full slate of 18 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 13th season, with ten broadcasts reaching more than two million people. Combined earned revenue for the Met (box office, media, and presentations) totaled $121 million. As in past seasons, total paid attendance for the season in the opera house was 75%. The new productions in the 2018–19 season were the work of three distinguished directors, two having had previous successes at the Met and one making his company debut. -
Losing Its Way: the Landmarks Preservation Commission in Eclipse
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2018 Losing Its Way: the Landmarks Preservation Commission in Eclipse Jeffrey A. Kroessler CUNY John Jay College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/245 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Reprinted from Environmental Law in New York with permission. Copyright 2018 Matthew Bender & Company, Inc., a LexisNexis company. All rights reserved. Developments in Federal Michael B. Gerrard and State Law Editor ENVIRONMENTAL LAW IN NEW YORK Volume 29, No. 08 August 2018 Losing Its Way: The Landmarks Preservation Commission in Eclipse (Part 1 of 2) Viewpoint Jeffrey A. Kroessler have been designated. Part 2 will also discuss issues related to IN THIS ISSUE the membership of the Landmarks Preservation Commission as Losing Its Way: The Landmarks Preservation Commission in well as the Commission’s role in regulatory decision-making. Eclipse (Part 1 of 2) ...................................................................... 161 LEGAL DEVELOPMENTS ......................................................... 167 The City Club of New York has serious concerns about how ^ ASBESTOS......................................................................167 the Landmarks Preservation Commission (Commission or LPC) ^ CLIMATE -
Movie-Going in the Streaming Age: an Overview of Experiences and Crises in the History of Moving Image Exposition
Movie-going in the Streaming Age: An Overview of Experiences and Crises in the History of Moving Image Exposition New York University Moving Image Archiving and Preservation H72.3049—Culture of Museums, Archives and Libraries Written by: Anne-Marie Desjardins April 2018 Desjardins 1 Table of contents Introduction From Vaudeville Acts (1890s) to Nickel Madness (1900s) Defining the Experience – Attracting Patrons and Revenue (1911-1920s) Advertising as Prominent Features of Early Multiplexes The Theatres’ response to the Great Depression The Post-War Movie Experience – The Ozoner (1950s) Television as a Threat: Cinerama, Cinemascope and 3D Technology as a Threat The Streaming Age: Sociality and Spatiality Today’s Responses to Streaming Conclusion Appendix A: Employee Uniforms Appendix B: Special Stunt for An American Tragedy and White Zombie Appendix C: Nitehawk’s table chart (catering to the food service) 22 Works Cited Desjardins 2 Introduction For years, technology has posed a threat to the practice of movie-going. However, the stakes have never been quite as high as they are today in the face of the streaming age. Fear of the extinction of movie theaters along with their offerings of experience are very much present; the solutions are still in development, and the future of cinemas is still unclear. Must the recipe of theaters and their programming be altered in order to attract more people? If the production of moving images is dependent on consumerism, and that the latter is strangled by the growing streaming platforms, where does that leave filmmaking, fan culture and, as an extension, the archiving of this artform? The following essay will provide a general overview of the evolution of movie-going history via its many responses to the ongoing advent of media consumer technologies, ending with the state it is in today and some insight on potential solutions. -
November 2013 Final Report Waterbury
How Connecticut can enliven its Downtowns by redeveloping under-used buildings into a blend of housing and retail, entertainment or office space. November 2013 Final Report │Waterbury Prepared by Connecticut Main Street Center c/o CL&P ▪ PO Box 270 Hartford, CT 06141 Funding provided by the Connecticut Housing Finance in conjunction with Authority William W. Crosskey II, AIA, LEED AP, Crosskey Architects LLC Lou Trajcevski, Newcastle Housing Ventures, LLC David Sousa, ASLA, AICP, CDM Smith COME HOME TO DOWNTOWN HOW CONNECTICUT CAN ENLIVEN ITS DOWNTOWNS BY REDEVELOPING UNDER-USED BUILDINGS INTO A BLEND OF HOUSING AND RETAIL, ENTERTAINMENT OR OFFICE SPACE. TABLE OF CONTENTS Acknowledgements ........................................................................................................................................... 3 Introduction Overview ........................................................................................................................................................ 4 Background .................................................................................................................................................... 6 Come Home to Downtown Goals and Outcomes .................................................................................... 7 Program Overview Selection Process ........................................................................................................................................... 8 Pilot Communities ......................................................................................................................................... -
The Performance of Intersectionality on the 21St Century Stand-Up
The Performance of Intersectionality on the 21st Century Stand-Up Comedy Stage © 2018 Rachel Eliza Blackburn M.F.A., Virginia Commonwealth University, 2013 B.A., Webster University Conservatory of Theatre Arts, 2005 Submitted to the graduate degree program in Theatre and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Dr. Nicole Hodges Persley Dr. Katie Batza Dr. Henry Bial Dr. Sherrie Tucker Dr. Peter Zazzali Date Defended: August 23, 2018 ii The dissertation committee for Rachel E. Blackburn certifies that this is the approved version of the following dissertation: The Performance of Intersectionality on the 21st Century Stand-Up Comedy Stage Chair: Dr. Nicole Hodges Persley Date Approved: Aug. 23, 2018 iii Abstract In 2014, Black feminist scholar bell hooks called for humor to be utilized as political weaponry in the current, post-1990s wave of intersectional activism at the National Women’s Studies Association conference in San Juan, Puerto Rico. Her call continues to challenge current stand-up comics to acknowledge intersectionality, particularly the perspectives of women of color, and to encourage comics to actively intervene in unsettling the notion that our U.S. culture is “post-gendered” or “post-racial.” This dissertation examines ways in which comics are heeding bell hooks’s call to action, focusing on the work of stand-up artists who forge a bridge between comedy and political activism by performing intersectional perspectives that expand their work beyond the entertainment value of the stage. Though performers of color and white female performers have always been working to subvert the normalcy of white male-dominated, comic space simply by taking the stage, this dissertation focuses on comics who continue to embody and challenge the current wave of intersectional activism by pushing the socially constructed boundaries of race, gender, sexuality, class, and able-bodiedness. -
FY13 Annual Report View Report
ANNUAL REPORT 2012–13 3 Introduction 5 Metropolitan Opera Board of Directors 7 2012–13 Season Repertory & Events 14 2012–13 Artist Roster 15 The Financial Results 46 Patrons Introduction The Metropolitan Opera’s 2012–13 season featured an extraordinary number of artistic highlights, earning high praise for new productions, while the company nevertheless faced new financial challenges. The Met presented seven new stagings during the 2012–13 season, including the Met premieres of Thomas Adès’s The Tempest and Donizetti’s Maria Stuarda, the second of the composer’s trilogy of Tudor operas (with the third installment planned for a future season). All seven new productions, plus five revivals, were presented in movie theaters around the world as part of the Met’s groundbreaking Live in HD series, which continued to be an important revenue source for the Met, earning $28 million. Combined earned revenue for the Met (Live in HD and box office) totaled $117.3 million. This figure was lower than anticipated as the company continued to face a flat box office, complicated by the effects of Hurricane Sandy, the aftermath of which had a negative impact of approximately $2 million. As always, the season featured the talents of the world’s leading singers, conductors, directors, designers, choreographers, and video artists. Two directors made stunning company debuts: François Girard, with his mesmerizing production of Parsifal on the occasion of Wagner’s bicentennial, and Michael Mayer, whose bold reimagining of Verdi’s Rigoletto in 1960 Las Vegas was the talk of the opera world and beyond. Robert Lepage returned to direct the highly anticipated company premiere of Thomas Adès’s The Tempest, with the composer on the podium. -
All in NYC: the Roadmap for Tourism's Reimagining and Recovery
ALL IN NYC: The Roadmap for Tourism’s Reimagining and Recovery JULY 2020 01/ Introduction P.02 02/ What’s at Stake? P.06 03/ Goals P.1 0 The Coalition for NYC Hospitality & Tourism Recovery is an initiative of NYC & Company. 04/ A Program in Three Stages P.1 2 As the official destination marketing and convention and visitors bureau for the five boroughs of New York City, NYC & Company 05/ Our Campaign Platform: ALL IN NYC P.1 6 advocates for, convenes and champions New York City’s tourism and hospitality businesses 06/ Marketing Partnerships P.30 and organizations. NYC & Company seeks to maximize travel and tourism opportunities throughout the five boroughs, build economic 07/ Success Metrics P.32 prosperity and spread the dynamic image of New York City around the world. 08/ Summary P.36 09/ Acknowledgements P38 Table of Contents Table —Introduction In early 2020, as the coronavirus spread from country to country, the world came to a halt. International borders closed and domestic travel froze. Meetings, conventions and public events were postponed or canceled. Restaurants, retail stores, theaters, cultural institutions and sports arenas shuttered. Hotels closed or transitioned from welcoming guests to housing emergency and frontline workers. While we effectively minimized the spread of Covid-19 in New York City, thousands of our loved ones, friends, neighbors and colleagues have lost their lives to the virus. Our city feels, and is, changed. 2 13 We launched The Coalition for NYC our city’s story anew. As in every great New Hospitality & Tourism Recovery in May York story, the protagonists have a deep 2020 to bring together all sectors of our sense of purpose and must work to achieve visitor economy to drive and aid recovery.