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Emerson Stage presents
INTO THE WOODS
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Originally Directed on Broadway by James Lapine
Orchestrations by Jonathan Tunick
Directed by Scott LaFeber
Music Direction by Jonathan Goldberg
Original Broadway Production by Heidi Landesman, Rocco Landesman, Rick Steiner, M. Anthony Fisher, Frederic H. Mayerson, and Jujamcyn Theaters
Originally produced by the Old Globe Theater, San Diego, CA.
April 14 & 16, 2022
Cutler Majestic Theatre
Emerson College
Boston, MA
Scenic Design by LUCIANA STECCONI and JORDAN BARNETT
Projects Design by ALEX BASCO KOCH and PIPER PHILLIPS
Props Lead: LAUREN CORCUERA
Costume Design by MOLLY SHAUGHNESSY
Lighting Design by TALIA ELISE & GRACE TUCHMAN
Sound Design by MEGAN CULLEY
Stage Manager: SOPHIE KLOKINIS
Dramaturg: CIARA BERARDI
Cast: ROBERTA ALAMAN, LUCAS BABCOCK, JONAH BARRICKLO, OLIVIA BODLEY, NAJA NICOLE BROWN, JAKE COLLINS, DENNIS DIZON, CEDRICK EKRA, MARCO GIACONA, ISABEL GINSBERG, EMERSON HART, HAWA KAMARA, ELLIANA KARRIS, EMILY KILBOURNE, KARLEY KRICKMIER, ANTHONY LAFORNARA, BRENDAN MASSAR, MORGAN MCMILLIN, ZOEY SCHORSCH, ELLA SHAW, BEATRICE STEUER, AMANDA VAZQUEZ, ANANIA WILLIAMS, ISABELLE WISDOM, ZEHAVA YOUNGER
Orchestra: MICHAEL BELLOFATTO, LISA BROOKE, DAVID BURDETT, MAXWELL CONNOR, JACQUELINE DEVOE, KATE FOSS, JONATHAN GOLDBERG, CLARA KEBABIAN, DOUGLAS LIPPINCOTT, SALLY MERRIMAN, CAMERON SAWZIN, JENNIFER SHALLENBERGER, EMMA STAUDACHER, LOUIS TOTH, NORALEE WALKER
All photos by Craig Bailey/Perspective Photo
More information: www.emersonstage.org/into-the-woods
Regardless of channels or who makes them, touchpoints should be orchestrated as one with the same underlying intent.
Orchestrating Experiences: Collaborative Design for Complexity, Risdon, Quattlebaum, 2018, New York: Rosenfeld Media
PALM BAY, Fla. - Soldiers from the 143rd Sustainment Command (Expeditionary) welcomed thousands of participants and spectators to the 2016 Tough Mudder Challenge Nov. 5, 2016, in Palm Bay, Fla.
Hailing from the Headquarters and Headquarters Company and the 196th Transportation in Company in Orlando, the troops inspired challengers to complete an 11-mile course lined with more than 20 obstacles that tested individual strength, stamina and resiliency in a team-building atmosphere. Their interactive engagements among typically young, athletic and energetic individuals help bolster recruitment initiatives orchestrated by the Army Marketing Research Group.
As dawn’s sunlight pierced through palm trees to illuminate The Compound, an undeveloped patch of Palm Bay made popular by paint ball players, off-road riders and remote control plane enthusiasts, the 143rd ESC Soldiers took their posts near the registration tables to greet their colorfully dressed guests and distribute eye blacks emblazoned with the U.S. Army logo.
While the competitors affixed their complimentary glare reduction stickers to their faces, the troops gathered at the starting line to cheer the first wave of veteran Tough Mudders eager to enter the gauntlet. The thousands of high fives, hundreds of handshakes and dozens of fist pumps exchanged between the Soldiers and competitors climaxed with an emotional rendition of The Star-Spangled Banner performed by Sgt. 1st Class Randall B. Wight, a vocalist from the U.S. Army Field Band. As Wight blared the last note, the competitors yelled a defying, “Hooah,” before charging across the starting line to commence their 11-mile trek strewn with uniquely designed obstacles boasting mud, ropes, slides, tunnels and even live electrical wires.
Some Soldiers stood fast at the starting line to cheer on the continuous waves of competitors, while others boarded Gator all-terrain vehicle bound for the Berlin Wall, an Army Reserve sponsored obstacle erected near the 9-mile marker. The Wall lived up to its name with two, 10-foot high wooden structures designed to reinforce teamwork rather than bolster brute force. One by one, the Soldiers encouraged hundreds of exhausted Tough Mudders to help their fellow competitors climb over the slippery incline. Several troops even inspired some participants to perform pushups before and after their encounter with the Berlin Wall.
The positive interactions between the 143rd ESC Soldiers and their gritty guests enticed hundreds of Tough Mudders to visit the Go Army Reserve interactive display. Many tapped into their nearly sapped strength and stamina to complete a fitness challenge that comprised pushups, pull-ups and a sled pull. The fitness challenge also opened opportunities for U.S. Army Reserve recruiters to speak with Tough Mudders who expressed interest in pushing their mental and physical limits while serving their country.
The 143rd ESC will return to The Compound for the second and final day of the Tough Mudder Challenge to continue motivate, congratulate and educate the Tough Mudder community.
Story and photos by Sgt. John L. Carkeet IV, 143rd ESC
Throughout history we see that God loves numbers! He’s an architect and engineer; He made the universe! He loves to show off, show His glory, and make us marvel! Many numbers have very significant, God ordained meanings & implications. Note: “3 dots, 3 dashes, 3 dots” is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS message! Think! WHAT IF!! What if GOD is really trying to get your attention! Even if you don't believe in God, WHAT IF!! I would hope, if it were me, I would somehow respond. But, CAUTION! Whatever you do, do not place your trust in the purveyors of ANGEL NUMBERS & such! Although it's essentially true that the 333 may indeed be delivered by an angel, it would be an extreme injustice & mistake to associate it with the various spiritualist and profit oriented sites that pop up when "meaning of 333" is Googled. See "Satan's # Games". Unfortunately, although certainly more accurate, it's a shame one has to add "biblical" to "meaning of 333" for this site to be ranked high on the list by Google. Don't know whether to blame Satan or praise Google! It represents God, the 3-in-1, Father, Son, & Holy Spirit. Jesus prayed 3 times in the Garden of Gethsemane before His arrest. He was placed on the cross at the 3rd hour of the day (9 a.m.) and died at the 9th hour (3 p.m.). There were 3 hours of darkness that covered the land while Jesus was on the cross. Three is also the number of resurrection. Christ arose after 3 days and 3 nights in the tomb.
There are many more illustrations of the #3s biblical significance. Jonah prophetically spent 3 days in the belly of a big fish. After the flood, new life started in 3 persons: Shem, Ham, & Jepheth. Israel was founded in the 3 persons of Abraham, Isaac, & Jacob. Three (3) of the most memorable Biblical edifices, Noah's Ark, Solomon's Temple, and The Millennial Temple, are 3 stories tall; and they all represent God's saving grace. 33 = After 3 years of ministry and raising 3 people from the dead, Jesus died at age 33. His death and resurrection fulfilled all the old testament promises concerning the Messiah. Thus, the number 33 is connected to promise, in particular, to Gods promise of salvation to humanity. “3 dots, 3 dashes, 3 dots”, as noted above, is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS (Save Our Souls) message! On Nov.29,1947, the 333rd day of the year, the United Nations voted for the establishment of a Jewish State. God gave His chosen people the homeland that He had promised to their forefathers!
Genesis 15:9, The LORD told Abraham, "Bring me a three-year-old heifer, a three-year-old female goat, a three-year-old ram, a turtledove, and a young pigeon." This has to do with the covenant God made with Abraham, promising the land of Israel to the Jews. Thus 333 just may be considered a COVENANT number!!! As seen above, the numbers 3, 33, or 333 just scream of Jesus &/or the Bible! No other, not Mohammad, Buddha, Satan, or any other religion can proclaim such a connection. And again, 333 is surely God’s International Distress Signal; an urgent end-times SOS message! good link below
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
Emerson Stage presents
INTO THE WOODS
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Originally Directed on Broadway by James Lapine
Orchestrations by Jonathan Tunick
Directed by Scott LaFeber
Music Direction by Jonathan Goldberg
Original Broadway Production by Heidi Landesman, Rocco Landesman, Rick Steiner, M. Anthony Fisher, Frederic H. Mayerson, and Jujamcyn Theaters
Originally produced by the Old Globe Theater, San Diego, CA.
April 14 & 16, 2022
Cutler Majestic Theatre
Emerson College
Boston, MA
Scenic Design by LUCIANA STECCONI and JORDAN BARNETT
Projects Design by ALEX BASCO KOCH and PIPER PHILLIPS
Props Lead: LAUREN CORCUERA
Costume Design by MOLLY SHAUGHNESSY
Lighting Design by TALIA ELISE & GRACE TUCHMAN
Sound Design by MEGAN CULLEY
Stage Manager: SOPHIE KLOKINIS
Dramaturg: CIARA BERARDI
Cast: ROBERTA ALAMAN, LUCAS BABCOCK, JONAH BARRICKLO, OLIVIA BODLEY, NAJA NICOLE BROWN, JAKE COLLINS, DENNIS DIZON, CEDRICK EKRA, MARCO GIACONA, ISABEL GINSBERG, EMERSON HART, HAWA KAMARA, ELLIANA KARRIS, EMILY KILBOURNE, KARLEY KRICKMIER, ANTHONY LAFORNARA, BRENDAN MASSAR, MORGAN MCMILLIN, ZOEY SCHORSCH, ELLA SHAW, BEATRICE STEUER, AMANDA VAZQUEZ, ANANIA WILLIAMS, ISABELLE WISDOM, ZEHAVA YOUNGER
Orchestra: MICHAEL BELLOFATTO, LISA BROOKE, DAVID BURDETT, MAXWELL CONNOR, JACQUELINE DEVOE, KATE FOSS, JONATHAN GOLDBERG, CLARA KEBABIAN, DOUGLAS LIPPINCOTT, SALLY MERRIMAN, CAMERON SAWZIN, JENNIFER SHALLENBERGER, EMMA STAUDACHER, LOUIS TOTH, NORALEE WALKER
All photos by Craig Bailey/Perspective Photo
More information: www.emersonstage.org/into-the-woods
♥ Throughout history we see that God loves numbers! He’s an architect and engineer; He made the universe! He loves to show off, show His glory, and make us marvel! Many numbers have very significant, God ordained meanings & implications. Note: “3 dots, 3 dashes, 3 dots” is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS message! Think! WHAT IF!! What if GOD is really trying to get your attention! Even if you don't believe in God, WHAT IF!! I would hope, if it were me, I would somehow respond. But, CAUTION! Whatever you do, do not place your trust in the purveyors of ANGEL NUMBERS & such! Although it's essentially true that the 333 may indeed be delivered by an angel, it would be an extreme injustice & mistake to associate it with the various spiritualist and profit oriented sites that pop up when "meaning of 333" is Googled. See "Satan's # Games". Unfortunately, although certainly more accurate, it's a shame one has to add "biblical" to "meaning of 333" for this site to be ranked high on the list by Google. Don't know whether to blame Satan or praise Google! It represents God, the 3-in-1, Father, Son, & Holy Spirit. Jesus prayed 3 times in the Garden of Gethsemane before His arrest. He was placed on the cross at the 3rd hour of the day (9 a.m.) and died at the 9th hour (3 p.m.). There were 3 hours of darkness that covered the land while Jesus was on the cross. Three is also the number of resurrection. Christ arose after 3 days and 3 nights in the tomb.
There are many more illustrations of the #3s biblical significance. Jonah prophetically spent 3 days in the belly of a big fish. After the flood, new life started in 3 persons: Shem, Ham, & Jepheth. Israel was founded in the 3 persons of Abraham, Isaac, & Jacob. Three (3) of the most memorable Biblical edifices, Noah's Ark, Solomon's Temple, and The Millennial Temple, are 3 stories tall; and they all represent God's saving grace. 33 = After 3 years of ministry and raising 3 people from the dead, Jesus died at age 33. His death and resurrection fulfilled all the old testament promises concerning the Messiah. Thus, the number 33 is connected to promise, in particular, to Gods promise of salvation to humanity. “3 dots, 3 dashes, 3 dots”, as noted above, is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS (Save Our Souls) message! On Nov.29,1947, the 333rd day of the year, the United Nations voted for the establishment of a Jewish State. God gave His chosen people the homeland that He had promised to their forefathers!
Genesis 15:9, The LORD told Abraham, "Bring me a three-year-old heifer, a three-year-old female goat, a three-year-old ram, a turtledove, and a young pigeon." This has to do with the covenant God made with Abraham, promising the land of Israel to the Jews. Thus 333 just may be considered a COVENANT number!!! As seen above, the numbers 3, 33, or 333 just scream of Jesus &/or the Bible! No other, not Mohammad, Buddha, Satan, or any other religion can proclaim such a connection. And again, 333 is surely God’s International Distress Signal; an urgent end-times SOS message! good link below
The Jimmy Carter Library and Museum, located on the site where Union General William T. Sherman orchestrated the Battle of Atlanta in 1864 at 441 Freedom Parkway, was opened to the public on October 1, 1986. James Earl "Jimmy" Carter, Jr. served as the 39th President of the United States from 1977 to 1981 following two terms as a Georgia State Senator, representing the 14th district, and one as the 76th Governor of Georgia, from 1971 to 1975. The museum and library, run by the National Archives and Records Administration as part of the Presidential Library system, are housed in a 69,750 square feet building with 15,269 square feet of space for exhibits and 19,818 square feet of archive and storage space. The library stacks house 27 million pages of documents; 500,000 photos, and 40,000 objects, along with films, videos, and audiotapes covering cover all areas of the Carter administration, from foreign and domestic policy to the personal lives of President and Mrs. Carter. Privately owned areas of the complex ouse Carter's offices and the offices of the Carter Center, a non-profit human rights agency.
Emerson Stage presents
INTO THE WOODS
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Originally Directed on Broadway by James Lapine
Orchestrations by Jonathan Tunick
Directed by Scott LaFeber
Music Direction by Jonathan Goldberg
Original Broadway Production by Heidi Landesman, Rocco Landesman, Rick Steiner, M. Anthony Fisher, Frederic H. Mayerson, and Jujamcyn Theaters
Originally produced by the Old Globe Theater, San Diego, CA.
April 14 & 16, 2022
Cutler Majestic Theatre
Emerson College
Boston, MA
Scenic Design by LUCIANA STECCONI and JORDAN BARNETT
Projects Design by ALEX BASCO KOCH and PIPER PHILLIPS
Props Lead: LAUREN CORCUERA
Costume Design by MOLLY SHAUGHNESSY
Lighting Design by TALIA ELISE & GRACE TUCHMAN
Sound Design by MEGAN CULLEY
Stage Manager: SOPHIE KLOKINIS
Dramaturg: CIARA BERARDI
Cast: ROBERTA ALAMAN, LUCAS BABCOCK, JONAH BARRICKLO, OLIVIA BODLEY, NAJA NICOLE BROWN, JAKE COLLINS, DENNIS DIZON, CEDRICK EKRA, MARCO GIACONA, ISABEL GINSBERG, EMERSON HART, HAWA KAMARA, ELLIANA KARRIS, EMILY KILBOURNE, KARLEY KRICKMIER, ANTHONY LAFORNARA, BRENDAN MASSAR, MORGAN MCMILLIN, ZOEY SCHORSCH, ELLA SHAW, BEATRICE STEUER, AMANDA VAZQUEZ, ANANIA WILLIAMS, ISABELLE WISDOM, ZEHAVA YOUNGER
Orchestra: MICHAEL BELLOFATTO, LISA BROOKE, DAVID BURDETT, MAXWELL CONNOR, JACQUELINE DEVOE, KATE FOSS, JONATHAN GOLDBERG, CLARA KEBABIAN, DOUGLAS LIPPINCOTT, SALLY MERRIMAN, CAMERON SAWZIN, JENNIFER SHALLENBERGER, EMMA STAUDACHER, LOUIS TOTH, NORALEE WALKER
All photos by Craig Bailey/Perspective Photo
More information: www.emersonstage.org/into-the-woods
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
Orchestrating Experiences: Collaborative Design for Complexity, Risdon, Quattlebaum, 2018, New York: Rosenfeld Media
The basic service blueprint framework.
Orchestrating Experiences: Collaborative Design for Complexity, Risdon, Quattlebaum, 2018, New York: Rosenfeld Media
Emerson Stage presents
INTO THE WOODS
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Originally Directed on Broadway by James Lapine
Orchestrations by Jonathan Tunick
Directed by Scott LaFeber
Music Direction by Jonathan Goldberg
Original Broadway Production by Heidi Landesman, Rocco Landesman, Rick Steiner, M. Anthony Fisher, Frederic H. Mayerson, and Jujamcyn Theaters
Originally produced by the Old Globe Theater, San Diego, CA.
April 14 & 16, 2022
Cutler Majestic Theatre
Emerson College
Boston, MA
Scenic Design by LUCIANA STECCONI and JORDAN BARNETT
Projects Design by ALEX BASCO KOCH and PIPER PHILLIPS
Props Lead: LAUREN CORCUERA
Costume Design by MOLLY SHAUGHNESSY
Lighting Design by TALIA ELISE & GRACE TUCHMAN
Sound Design by MEGAN CULLEY
Stage Manager: SOPHIE KLOKINIS
Dramaturg: CIARA BERARDI
Cast: ROBERTA ALAMAN, LUCAS BABCOCK, JONAH BARRICKLO, OLIVIA BODLEY, NAJA NICOLE BROWN, JAKE COLLINS, DENNIS DIZON, CEDRICK EKRA, MARCO GIACONA, ISABEL GINSBERG, EMERSON HART, HAWA KAMARA, ELLIANA KARRIS, EMILY KILBOURNE, KARLEY KRICKMIER, ANTHONY LAFORNARA, BRENDAN MASSAR, MORGAN MCMILLIN, ZOEY SCHORSCH, ELLA SHAW, BEATRICE STEUER, AMANDA VAZQUEZ, ANANIA WILLIAMS, ISABELLE WISDOM, ZEHAVA YOUNGER
Orchestra: MICHAEL BELLOFATTO, LISA BROOKE, DAVID BURDETT, MAXWELL CONNOR, JACQUELINE DEVOE, KATE FOSS, JONATHAN GOLDBERG, CLARA KEBABIAN, DOUGLAS LIPPINCOTT, SALLY MERRIMAN, CAMERON SAWZIN, JENNIFER SHALLENBERGER, EMMA STAUDACHER, LOUIS TOTH, NORALEE WALKER
All photos by Craig Bailey/Perspective Photo
More information: www.emersonstage.org/into-the-woods
Major General Robert Anderson (1805 - 1871)
============
Robert Anderson, Class of 1825, commander of Fort Sumter in 1861. He was already a veteran of the Seminole War and Mexican War when the Civil War began. He once taught artillery tactics at USMA, and one of his former students, Pierre G. T. Beauregard, orchestrated the Confederate shelling of the fort.
----------------
The Battle of Fort Sumter (April 12 – April 13, 1861), a relatively minor military engagement at Fort Sumter in Charleston Harbor, South Carolina, began the American Civil War.
Robert Anderson (June 14, 1805 – October 26, 1871) was a Union Army officer in the American Civil War, known for his command of Fort Sumter at the start of the war. He is often referred to using his rank of that time, Major Robert Anderson.
---------------
"Anderson was born in Louisville, Kentucky. He graduated from the U.S. Military Academy in 1825 and received a commission as a second lieutenant in the 2nd U.S. Artillery. He served in the Black Hawk War of 1832 as a colonel of Illinois volunteers, where he had the unusual distinction of twice mustering Captain Abraham Lincoln in and out of army service. Returning to the U.S. Army as a first lieutenant in 1833, he served in the second Seminole War, as an assistant adjutant general on General Winfield Scott's staff, and in the Mexican War, where he was severely wounded at Molino del Rey, and for which he received a brevet promotion to major. He eventually received a permanent promotion to major of the 1st U.S. Artillery in the Regular Army on October 5, 1857. He was the author of Instruction for Field Artillery, Horse and Foot in 1839.
As Southern states began to secede, Major Anderson remained loyal to the Union. He was the commanding officer of Fort Sumter in the harbor of Charleston, South Carolina, at the time it was bombarded by forces of the Confederate States of America. The artillery attack was commanded by General P.G.T. Beauregard, who had been Anderson's student at West Point. The attack began April 12, 1861, and continued until Anderson, badly outnumbered and outgunned, surrendered the fort on April 14, 1861. The battle began the American Civil War. He was promoted to brigadier general a month later and brevetted to major general for his actions at the fort, as of February 3, 1865.
Anderson took the fort's 33-star flag with him to New York City, where he participated in a Union Square patriotic rally that is thought to have been the largest public gathering in North America up to then. Anderson then went on a highly successful recruiting tour of the North before taking a leave of absence due to ill health.
Days after Robert E. Lee's surrender and the effective conclusion of the war, Anderson returned to Charleston and, four years to the day after lowering the 33-star flag in surrender, raised it in triumph over the recaptured, but badly battered Fort Sumter during ceremonies there. That same evening, April 14, 1865, President Abraham Lincoln was assassinated.
Anderson died in Nice, France, and is buried at West Point Cemetery."
Orchestrating Experiences: Collaborative Design for Complexity, Risdon, Quattlebaum, 2018, New York: Rosenfeld Media
Jubilation and orchestrated snapping with the arrival of the first tram at York Place in Edinburgh in the early morning of 31st May 2014. (Please view F11 in lightbox for intended best.)
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016
Refilling a prescription via mobile.
Orchestrating Experiences: Collaborative Design for Complexity, Risdon, Quattlebaum, 2018, New York: Rosenfeld Media
The Jimmy Carter Library and Museum, located on the site where Union General William T. Sherman orchestrated the Battle of Atlanta in 1864 at 441 Freedom Parkway, was opened to the public on October 1, 1986. James Earl "Jimmy" Carter, Jr. served as the 39th President of the United States from 1977 to 1981 following two terms as a Georgia State Senator, representing the 14th district, and one as the 76th Governor of Georgia, from 1971 to 1975. The museum and library, run by the National Archives and Records Administration as part of the Presidential Library system, are housed in a 69,750 square feet building with 15,269 square feet of space for exhibits and 19,818 square feet of archive and storage space. The library stacks house 27 million pages of documents; 500,000 photos, and 40,000 objects, along with films, videos, and audiotapes covering cover all areas of the Carter administration, from foreign and domestic policy to the personal lives of President and Mrs. Carter. Privately owned areas of the complex ouse Carter's offices and the offices of the Carter Center, a non-profit human rights agency.
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
Orchestrating Experiences: Collaborative Design for Complexity, Risdon, Quattlebaum, 2018, New York: Rosenfeld Media
It's a carefully orchestrated game of moving all the puzzle pieces in and out efficiently.
This isn't their first Turkey Day.
2016 Ford Police Interceptor Utility
Baynard Police Sector 1 (North)
Anniversary Graphics
2015 Dodge Charger Pursuit
Florida Highway Patrol
ALF Eagle Pumper
FDMB Engine 71
2021 Holiday for Heroes Thanksgiving Banquet
Porky's Famous Firehouse BBQ
& Drive-IN Grille
Conservation Rd.
City of Mystic Beach
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Emerson Stage presents
INTO THE WOODS
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Originally Directed on Broadway by James Lapine
Orchestrations by Jonathan Tunick
Directed by Scott LaFeber
Music Direction by Jonathan Goldberg
Original Broadway Production by Heidi Landesman, Rocco Landesman, Rick Steiner, M. Anthony Fisher, Frederic H. Mayerson, and Jujamcyn Theaters
Originally produced by the Old Globe Theater, San Diego, CA.
April 14 & 16, 2022
Cutler Majestic Theatre
Emerson College
Boston, MA
Scenic Design by LUCIANA STECCONI and JORDAN BARNETT
Projects Design by ALEX BASCO KOCH and PIPER PHILLIPS
Props Lead: LAUREN CORCUERA
Costume Design by MOLLY SHAUGHNESSY
Lighting Design by TALIA ELISE & GRACE TUCHMAN
Sound Design by MEGAN CULLEY
Stage Manager: SOPHIE KLOKINIS
Dramaturg: CIARA BERARDI
Cast: ROBERTA ALAMAN, LUCAS BABCOCK, JONAH BARRICKLO, OLIVIA BODLEY, NAJA NICOLE BROWN, JAKE COLLINS, DENNIS DIZON, CEDRICK EKRA, MARCO GIACONA, ISABEL GINSBERG, EMERSON HART, HAWA KAMARA, ELLIANA KARRIS, EMILY KILBOURNE, KARLEY KRICKMIER, ANTHONY LAFORNARA, BRENDAN MASSAR, MORGAN MCMILLIN, ZOEY SCHORSCH, ELLA SHAW, BEATRICE STEUER, AMANDA VAZQUEZ, ANANIA WILLIAMS, ISABELLE WISDOM, ZEHAVA YOUNGER
Orchestra: MICHAEL BELLOFATTO, LISA BROOKE, DAVID BURDETT, MAXWELL CONNOR, JACQUELINE DEVOE, KATE FOSS, JONATHAN GOLDBERG, CLARA KEBABIAN, DOUGLAS LIPPINCOTT, SALLY MERRIMAN, CAMERON SAWZIN, JENNIFER SHALLENBERGER, EMMA STAUDACHER, LOUIS TOTH, NORALEE WALKER
All photos by Craig Bailey/Perspective Photo
More information: www.emersonstage.org/into-the-woods
A LICAF collaborator and inspiration Dan will again adopt a variety of roles at the festival this year, from self-publisher to orchestrator of our 24-hour comic marathon, pen-maker to podcaster…
Dan Berry is an illustrator, designer, cartoonist and lecturer based in the town of Shrewsbury. He is the Programme Leader for the BA/MDes Illustration, Graphic Novels and Children’s Publishing degree courses at the School of Creative Arts, Wrexham Glyndwr University.
A previous guest of the Festival, he co-ordinated the 2014 Comic Marathon that led to the publication of the Eisner Award-nominated collection of stories from that project, 24 by 7, featuring strips by Dan, Kristyna Baczynski, Joe Decie, Warwick Johnson-Cadwell, Sarah McIntyre, Fumio Obata and Jack Teagle.
Since 2012 he has produced the podcast Make It Then Tell Everybody in which he has spoken to over a hundred other artists about what they do and how they do it. He also records a comedy podcast with Hannah Berry (no relation) entitled No YOU Hang Up. He has produced illustration work for The NME, Michael Rosen, The National Union of Teachers and more.
He has produced the following books (in a roughly chronological order): The Three Rooms in Valerie’s Head with David Gaffney & Sara Lowes (2016); Sent/Not Sent (2016) 24 by 7 (2015, with Kristyna Baczynski, Joe Decie, Warwick Johnson-Cadwell, Sarah McIntyre, Fumio Obata & Jack Teagle, published by Fanfare Presents in partnership with the Lakes International Comic Festival, nominated for Best Anthology, Eisner Awards 2016); Bear Canyon (2015); Hourly Comics 2015 Nicholas & Edith (2014); The End (2014); Carry Me (2013); Throw Your Keys Away (2013); The Suitcase (2013, by Blank Slate Books); Hey You! (2013); After We Shot The Grizzly (2012, with The Handsome Family); Cat Island (2012); Lasagne (2011); Silky Wilson (2010); Onion Soup (2010); Oxford Clay (2009-10); and a bunch of mini comics and stuff too profoundly embarrassing to share before that.
He also makes, modifies and enthuses about pens and custom typefaces.
DAN BERRY ONLINE
this was from the day rich was in Philly. i do not plan these, they just happen! ;)
Throughout history we see that God loves numbers! He’s an architect and engineer; He made the universe! He loves to show off, show His glory, and make us marvel! Many numbers have very significant, God ordained meanings & implications. Note: “3 dots, 3 dashes, 3 dots” is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS message! Think! WHAT IF!! What if GOD is really trying to get your attention! Even if you don't believe in God, WHAT IF!! I would hope, if it were me, I would somehow respond. But, CAUTION! Whatever you do, do not place your trust in the purveyors of ANGEL NUMBERS & such! Although it's essentially true that the 333 may indeed be delivered by an angel, it would be an extreme injustice & mistake to associate it with the various spiritualist and profit oriented sites that pop up when "meaning of 333" is Googled. See "Satan's # Games". Unfortunately, although certainly more accurate, it's a shame one has to add "biblical" to "meaning of 333" for this site to be ranked high on the list by Google. Don't know whether to blame Satan or praise Google! It represents God, the 3-in-1, Father, Son, & Holy Spirit. Jesus prayed 3 times in the Garden of Gethsemane before His arrest. He was placed on the cross at the 3rd hour of the day (9 a.m.) and died at the 9th hour (3 p.m.). There were 3 hours of darkness that covered the land while Jesus was on the cross. Three is also the number of resurrection. Christ arose after 3 days and 3 nights in the tomb.
There are many more illustrations of the #3s biblical significance. Jonah prophetically spent 3 days in the belly of a big fish. After the flood, new life started in 3 persons: Shem, Ham, & Jepheth. Israel was founded in the 3 persons of Abraham, Isaac, & Jacob. Three (3) of the most memorable Biblical edifices, Noah's Ark, Solomon's Temple, and The Millennial Temple, are 3 stories tall; and they all represent God's saving grace. 33 = After 3 years of ministry and raising 3 people from the dead, Jesus died at age 33. His death and resurrection fulfilled all the old testament promises concerning the Messiah. Thus, the number 33 is connected to promise, in particular, to Gods promise of salvation to humanity. “3 dots, 3 dashes, 3 dots”, as noted above, is man’s international distress signal, SOS in Morse Code. I’m convinced God orchestrated this, not Mr. Morse! - 333 is surely God’s international distress signal; an urgent end-times SOS (Save Our Souls) message! On Nov.29,1947, the 333rd day of the year, the United Nations voted for the establishment of a Jewish State. God gave His chosen people the homeland that He had promised to their forefathers!
Genesis 15:9, The LORD told Abraham, "Bring me a three-year-old heifer, a three-year-old female goat, a three-year-old ram, a turtledove, and a young pigeon." This has to do with the covenant God made with Abraham, promising the land of Israel to the Jews. Thus 333 just may be considered a COVENANT number!!! As seen above, the numbers 3, 33, or 333 just scream of Jesus &/or the Bible! No other, not Mohammad, Buddha, Satan, or any other religion can proclaim such a connection. And again, 333 is surely God’s International Distress Signal; an urgent end-times SOS message! good link below
Chris Lawless became the first Briton to win the Tour de Yorkshire after a superb ride on the last stage to Leeds.
Lawless, racing in the blue jersey as the overnight leader, finished right behind stage winner Greg van Avermaet to secure a debut win for Team Ineos.
Wigan's Lawless, 23, was immediately congratulated by team-mate Chris Froome, who orchestrated the decisive final break on Cote de Otley Chevin.
Team Ineos was only officially launched last week, replacing Team Sky.
"I can't believe it," Lawless told ITV 4. "If someone had told me I'd win this race before it started I'd have called them a liar.
"I started losing touch halfway up the Otley Chevin but I knew if I could get back on there was a climb around 5km from the finish that I could get over.
"I knew I could follow Greg van Avermaet when he went. Greg was someone I looked up to when I first started riding so to beat him is special.
"I've got to thank the team for backing me because I don't have a good history on stages like this but they said they'd give me a chance."
When asked how big a win it is for him personally, he replied: "The biggest."
Froome's tactics pay off
After 150km of racing, much of it through the picturesque Yorkshire Dales, the final stage exploded on the final categorised climb of the race - the Cote de Otley Chevin - with around 20km remaining.
With Lawless appearing to struggle, four-time Tour de France champion Froome - who was Ineos' road captain and said "decisions were made out on the road" - went on the attack and his effort forced other teams pursuing the overall victory to try to chase him down.
Froome's team-mate Eddie Dunbar had also followed the attack. He then launched his own surprise move as the riders crested the hill and quickly broke clear, chasing down and passing three French riders who were part of the day's original break.
Realising that Dunbar could go on and win the overall title, Froome disrupted the pace of the chasing pack and that, in turn, gave Lawless the chance to catch up.
Eventually, defending champion Van Avermaet, who started the day six seconds behind Lawless, had to attack and while he quickly caught Dunbar, Lawless went with him. That left the Belgian CCC rider with two Ineos riders for company and with an almost impossible task of shaking them both off.
Knowing his fate was sealed, Van Avermaet took the stage win, with Lawless happy to follow him over the line and claim the title by two seconds.
Alexander Kamp, who started the final stage on the same time as Lawless claimed that he was "the strongest rider" over the hills but the Dane failed to live up to his bold statement and was distanced on the final climb out of Otley.
France's Arnaud Courteille, who was in the day's nine-man break, was first to the top of three of the day's five categorised climbs to take the King of the Mountains title.
Stage four result:
1. Greg van Avermaet (Bel/CCC Team) 4hrs 40mins 03secs
2. Christopher Lawless (GB/Team Ineos) same time
3. Edward Dunbar (Ire/Team Ineos) +02secs
4. Tom-Jelte Slagter (Ned/Dimension Data) +09secs
5. James Shaw (GB/Swiftcarbon Pro Cycling) Same time
6. Matthew Holmes (GB/Madison Genesis)
7. Alexander Kamp (Den/Riwal Readynez)
8. Gabriel Cullaigh (GB/Team Wiggins Le Col) +12secs
9. Jenthe Biermans (Bel/Katusha Alpecin)
10. Scott Thwaites (GB/Vitus Pro Cycling)
Final classification:
1. Christopher Lawless (GB/Team Ineos) 15hrs 18mins 12secs
2. Greg Van Avermaet (Bel/CCC Team) +02secs
3. Edward Dunbar (Ire/Team Ineos) +11secs
4. Alexander Kamp (Ned/Riwal Readynez) +15secs
5. James Shaw (GB/Swiftcarbon Pro Cycling) +25secs
6. Matthew Holmes (GB/Madison Genesis) Same time
7. Tom-Jelte Slagter (Ned/Dimension Data)
8. Scott Thwaites (GB/Vitus Pro Cycling) +28secs
9. Connor Swift (GB/Madison Genesis) same time
10. Nick van der Lijke (Ned/Roompot-Charles)
Marble Nameplate from the office of Governor Jimmy Carter
The Jimmy Carter Library and Museum, located on the site where Union General William T. Sherman orchestrated the Battle of Atlanta in 1864 at 441 Freedom Parkway, was opened to the public on October 1, 1986. James Earl "Jimmy" Carter, Jr. served as the 39th President of the United States from 1977 to 1981 following two terms as a Georgia State Senator, representing the 14th district, and one as the 76th Governor of Georgia, from 1971 to 1975. The museum and library, run by the National Archives and Records Administration as part of the Presidential Library system, are housed in a 69,750 square feet building with 15,269 square feet of space for exhibits and 19,818 square feet of archive and storage space. The library stacks house 27 million pages of documents; 500,000 photos, and 40,000 objects, along with films, videos, and audiotapes covering cover all areas of the Carter administration, from foreign and domestic policy to the personal lives of President and Mrs. Carter. Privately owned areas of the complex ouse Carter's offices and the offices of the Carter Center, a non-profit human rights agency.
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
Chris Lawless became the first Briton to win the Tour de Yorkshire after a superb ride on the last stage to Leeds.
Lawless, racing in the blue jersey as the overnight leader, finished right behind stage winner Greg van Avermaet to secure a debut win for Team Ineos.
Wigan's Lawless, 23, was immediately congratulated by team-mate Chris Froome, who orchestrated the decisive final break on Cote de Otley Chevin.
Team Ineos was only officially launched last week, replacing Team Sky.
"I can't believe it," Lawless told ITV 4. "If someone had told me I'd win this race before it started I'd have called them a liar.
"I started losing touch halfway up the Otley Chevin but I knew if I could get back on there was a climb around 5km from the finish that I could get over.
"I knew I could follow Greg van Avermaet when he went. Greg was someone I looked up to when I first started riding so to beat him is special.
"I've got to thank the team for backing me because I don't have a good history on stages like this but they said they'd give me a chance."
When asked how big a win it is for him personally, he replied: "The biggest."
Froome's tactics pay off
After 150km of racing, much of it through the picturesque Yorkshire Dales, the final stage exploded on the final categorised climb of the race - the Cote de Otley Chevin - with around 20km remaining.
With Lawless appearing to struggle, four-time Tour de France champion Froome - who was Ineos' road captain and said "decisions were made out on the road" - went on the attack and his effort forced other teams pursuing the overall victory to try to chase him down.
Froome's team-mate Eddie Dunbar had also followed the attack. He then launched his own surprise move as the riders crested the hill and quickly broke clear, chasing down and passing three French riders who were part of the day's original break.
Realising that Dunbar could go on and win the overall title, Froome disrupted the pace of the chasing pack and that, in turn, gave Lawless the chance to catch up.
Eventually, defending champion Van Avermaet, who started the day six seconds behind Lawless, had to attack and while he quickly caught Dunbar, Lawless went with him. That left the Belgian CCC rider with two Ineos riders for company and with an almost impossible task of shaking them both off.
Knowing his fate was sealed, Van Avermaet took the stage win, with Lawless happy to follow him over the line and claim the title by two seconds.
Alexander Kamp, who started the final stage on the same time as Lawless claimed that he was "the strongest rider" over the hills but the Dane failed to live up to his bold statement and was distanced on the final climb out of Otley.
France's Arnaud Courteille, who was in the day's nine-man break, was first to the top of three of the day's five categorised climbs to take the King of the Mountains title.
Stage four result:
1. Greg van Avermaet (Bel/CCC Team) 4hrs 40mins 03secs
2. Christopher Lawless (GB/Team Ineos) same time
3. Edward Dunbar (Ire/Team Ineos) +02secs
4. Tom-Jelte Slagter (Ned/Dimension Data) +09secs
5. James Shaw (GB/Swiftcarbon Pro Cycling) Same time
6. Matthew Holmes (GB/Madison Genesis)
7. Alexander Kamp (Den/Riwal Readynez)
8. Gabriel Cullaigh (GB/Team Wiggins Le Col) +12secs
9. Jenthe Biermans (Bel/Katusha Alpecin)
10. Scott Thwaites (GB/Vitus Pro Cycling)
Final classification:
1. Christopher Lawless (GB/Team Ineos) 15hrs 18mins 12secs
2. Greg Van Avermaet (Bel/CCC Team) +02secs
3. Edward Dunbar (Ire/Team Ineos) +11secs
4. Alexander Kamp (Ned/Riwal Readynez) +15secs
5. James Shaw (GB/Swiftcarbon Pro Cycling) +25secs
6. Matthew Holmes (GB/Madison Genesis) Same time
7. Tom-Jelte Slagter (Ned/Dimension Data)
8. Scott Thwaites (GB/Vitus Pro Cycling) +28secs
9. Connor Swift (GB/Madison Genesis) same time
10. Nick van der Lijke (Ned/Roompot-Charles)
The Jimmy Carter Library and Museum, located on the site where Union General William T. Sherman orchestrated the Battle of Atlanta in 1864 at 441 Freedom Parkway, was opened to the public on October 1, 1986. James Earl "Jimmy" Carter, Jr. served as the 39th President of the United States from 1977 to 1981 following two terms as a Georgia State Senator, representing the 14th district, and one as the 76th Governor of Georgia, from 1971 to 1975. The museum and library, run by the National Archives and Records Administration as part of the Presidential Library system, are housed in a 69,750 square feet building with 15,269 square feet of space for exhibits and 19,818 square feet of archive and storage space. The library stacks house 27 million pages of documents; 500,000 photos, and 40,000 objects, along with films, videos, and audiotapes covering cover all areas of the Carter administration, from foreign and domestic policy to the personal lives of President and Mrs. Carter. Privately owned areas of the complex ouse Carter's offices and the offices of the Carter Center, a non-profit human rights agency.
Emerson Stage presents
INTO THE WOODS
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Originally Directed on Broadway by James Lapine
Orchestrations by Jonathan Tunick
Directed by Scott LaFeber
Music Direction by Jonathan Goldberg
Original Broadway Production by Heidi Landesman, Rocco Landesman, Rick Steiner, M. Anthony Fisher, Frederic H. Mayerson, and Jujamcyn Theaters
Originally produced by the Old Globe Theater, San Diego, CA.
April 14 & 16, 2022
Cutler Majestic Theatre
Emerson College
Boston, MA
Scenic Design by LUCIANA STECCONI and JORDAN BARNETT
Projects Design by ALEX BASCO KOCH and PIPER PHILLIPS
Props Lead: LAUREN CORCUERA
Costume Design by MOLLY SHAUGHNESSY
Lighting Design by TALIA ELISE & GRACE TUCHMAN
Sound Design by MEGAN CULLEY
Stage Manager: SOPHIE KLOKINIS
Dramaturg: CIARA BERARDI
Cast: ROBERTA ALAMAN, LUCAS BABCOCK, JONAH BARRICKLO, OLIVIA BODLEY, NAJA NICOLE BROWN, JAKE COLLINS, DENNIS DIZON, CEDRICK EKRA, MARCO GIACONA, ISABEL GINSBERG, EMERSON HART, HAWA KAMARA, ELLIANA KARRIS, EMILY KILBOURNE, KARLEY KRICKMIER, ANTHONY LAFORNARA, BRENDAN MASSAR, MORGAN MCMILLIN, ZOEY SCHORSCH, ELLA SHAW, BEATRICE STEUER, AMANDA VAZQUEZ, ANANIA WILLIAMS, ISABELLE WISDOM, ZEHAVA YOUNGER
Orchestra: MICHAEL BELLOFATTO, LISA BROOKE, DAVID BURDETT, MAXWELL CONNOR, JACQUELINE DEVOE, KATE FOSS, JONATHAN GOLDBERG, CLARA KEBABIAN, DOUGLAS LIPPINCOTT, SALLY MERRIMAN, CAMERON SAWZIN, JENNIFER SHALLENBERGER, EMMA STAUDACHER, LOUIS TOTH, NORALEE WALKER
All photos by Craig Bailey/Perspective Photo
More information: www.emersonstage.org/into-the-woods
Mohammed Mahmoud Street - results of the battles between protesters and security forces following the Port Said football massacre orchestrated by the Washington backed military regime.
TT100 was launched in 1990 and is part of the Da Vinci group of companies. It is sponsored by, and run with official mandate from, the Department of Science and Technology. Eskom is the primary private sponsor while the JSE AltX is a key partner
When they interact, an organization and its customers bring with them complex relationships, influencers, and objectives.
Orchestrating Experiences: Collaborative Design for Complexity, Risdon, Quattlebaum, 2018, New York: Rosenfeld Media
Annual celebration of all things pig orchestrated by Chef Jeremiah Bullfrog of the gastroPod on November 15, 2015.
twitter: @frodnesor
instagram: @frodnesor
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
Emerson Stage presents
INTO THE WOODS
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Originally Directed on Broadway by James Lapine
Orchestrations by Jonathan Tunick
Directed by Scott LaFeber
Music Direction by Jonathan Goldberg
Original Broadway Production by Heidi Landesman, Rocco Landesman, Rick Steiner, M. Anthony Fisher, Frederic H. Mayerson, and Jujamcyn Theaters
Originally produced by the Old Globe Theater, San Diego, CA.
April 14 & 16, 2022
Cutler Majestic Theatre
Emerson College
Boston, MA
Scenic Design by LUCIANA STECCONI and JORDAN BARNETT
Projects Design by ALEX BASCO KOCH and PIPER PHILLIPS
Props Lead: LAUREN CORCUERA
Costume Design by MOLLY SHAUGHNESSY
Lighting Design by TALIA ELISE & GRACE TUCHMAN
Sound Design by MEGAN CULLEY
Stage Manager: SOPHIE KLOKINIS
Dramaturg: CIARA BERARDI
Cast: ROBERTA ALAMAN, LUCAS BABCOCK, JONAH BARRICKLO, OLIVIA BODLEY, NAJA NICOLE BROWN, JAKE COLLINS, DENNIS DIZON, CEDRICK EKRA, MARCO GIACONA, ISABEL GINSBERG, EMERSON HART, HAWA KAMARA, ELLIANA KARRIS, EMILY KILBOURNE, KARLEY KRICKMIER, ANTHONY LAFORNARA, BRENDAN MASSAR, MORGAN MCMILLIN, ZOEY SCHORSCH, ELLA SHAW, BEATRICE STEUER, AMANDA VAZQUEZ, ANANIA WILLIAMS, ISABELLE WISDOM, ZEHAVA YOUNGER
Orchestra: MICHAEL BELLOFATTO, LISA BROOKE, DAVID BURDETT, MAXWELL CONNOR, JACQUELINE DEVOE, KATE FOSS, JONATHAN GOLDBERG, CLARA KEBABIAN, DOUGLAS LIPPINCOTT, SALLY MERRIMAN, CAMERON SAWZIN, JENNIFER SHALLENBERGER, EMMA STAUDACHER, LOUIS TOTH, NORALEE WALKER
All photos by Craig Bailey/Perspective Photo
More information: www.emersonstage.org/into-the-woods
Emerson Stage presents
INTO THE WOODS
Music and Lyrics by Stephen Sondheim
Book by James Lapine
Originally Directed on Broadway by James Lapine
Orchestrations by Jonathan Tunick
Directed by Scott LaFeber
Music Direction by Jonathan Goldberg
Original Broadway Production by Heidi Landesman, Rocco Landesman, Rick Steiner, M. Anthony Fisher, Frederic H. Mayerson, and Jujamcyn Theaters
Originally produced by the Old Globe Theater, San Diego, CA.
April 14 & 16, 2022
Cutler Majestic Theatre
Emerson College
Boston, MA
Scenic Design by LUCIANA STECCONI and JORDAN BARNETT
Projects Design by ALEX BASCO KOCH and PIPER PHILLIPS
Props Lead: LAUREN CORCUERA
Costume Design by MOLLY SHAUGHNESSY
Lighting Design by TALIA ELISE & GRACE TUCHMAN
Sound Design by MEGAN CULLEY
Stage Manager: SOPHIE KLOKINIS
Dramaturg: CIARA BERARDI
Cast: ROBERTA ALAMAN, LUCAS BABCOCK, JONAH BARRICKLO, OLIVIA BODLEY, NAJA NICOLE BROWN, JAKE COLLINS, DENNIS DIZON, CEDRICK EKRA, MARCO GIACONA, ISABEL GINSBERG, EMERSON HART, HAWA KAMARA, ELLIANA KARRIS, EMILY KILBOURNE, KARLEY KRICKMIER, ANTHONY LAFORNARA, BRENDAN MASSAR, MORGAN MCMILLIN, ZOEY SCHORSCH, ELLA SHAW, BEATRICE STEUER, AMANDA VAZQUEZ, ANANIA WILLIAMS, ISABELLE WISDOM, ZEHAVA YOUNGER
Orchestra: MICHAEL BELLOFATTO, LISA BROOKE, DAVID BURDETT, MAXWELL CONNOR, JACQUELINE DEVOE, KATE FOSS, JONATHAN GOLDBERG, CLARA KEBABIAN, DOUGLAS LIPPINCOTT, SALLY MERRIMAN, CAMERON SAWZIN, JENNIFER SHALLENBERGER, EMMA STAUDACHER, LOUIS TOTH, NORALEE WALKER
All photos by Craig Bailey/Perspective Photo
More information: www.emersonstage.org/into-the-woods
They sync'd up to orchestrate a multi-channel rendition of the Star Wars anthem.
From the World Technology Summit.
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
New Market is a market in Kolkata situated on Lindsay Street. Technically, it referred to an enclosed market but today in local parlance the entire Lindsay Street shopping area is often known as New Market.
HISTORY
Some of the earliest English quarters of Calcutta were in an area known then as Dalhousie Square. Terretti and Lalbazar nearby were the customary shopping haunts of the British. Later settlements arose in Kashaitola, Dharmatala and Chowringhee.By the 1850s, British colonists held sway in Calcutta and displayed increasing contempt for the “natives” and an aversion to brushing shoulders with them at the bazaars. In 1871, moved by a well orchestrated outcry from English residents, a committee of the Calcutta Corporation began to contemplate a market which would be the preserve of Calcutta’s British residents. Spurred by the committee’s deliberations, the Corporation purchased Lindsay Street, made plans to raze the old Fenwick’s Bazar located there, and commissioned Richard Roskell Bayne, an architect of the East Indian Railway Company, to design the Victorian Gothic market complex which would take its place. It began to take shape in 1873, and Bayne was honoured for his achievement with a Rs. 1,000 rupee award, a large sum in the 1870s.The giant shopping arcade was thrown open to the English populace with some fanfare on January 1, 1874. News of Calcutta’s first municipal market spread rapidly. Affluent colonials from all over India shopped at exclusive retailers like Ranken and Company (dressmakers), Cuthbertson and Harper (shoe-merchants) and R.W. Newman or Thacker Spink, the famous stationers and book-dealers.
Sir Stuart Hogg, then the Chairman of Calcutta Corporation, had shown tenacious support for the plans to build the New Market. So, 28 years later, on December 2, 1903, the market was officially named Sir Stuart Hogg Market and later shortened to Hogg Market. Bengali society, in the British era, called it Hogg Shaheber Bajaar, a name that is still in use, just as a painting of Sir Stuart Hogg still hangs in Calcutta Corporation’s portrait gallery. But the earliest provisional nickname, New Market, which remained in use throughout, proved to have the most sticking power.
New Market’s growth kept pace with the city until World War II. The northern portion of the market came up in 1909 at an expense of 6 lakh rupees. Despite the gathering storm of World War II, an extension was engineered on the south flank, and the historic clock tower on the eastern end of the market was shipped over from Huddersfield and installed in the 1930s. Florists were located near the front entrance, and stalls selling fresh and preserved foods were placed towards the rear of the market. Beyond the vegetable stalls, fishmongers and slaughterhouse butchers plied their trade, and, until the mid-1970s, at the very back of the market, exotic animals from all over the British Empire could be bought as pets.
DESCRIPTION
Despite the appearance of new air-conditioned, American-style, shopping malls all over Kolkata, New Market, which has survived two devastating fires and regular flooding, remains at the core of the shopping experience in the city. Over 2000 stalls under its roof sell everything from clothing to wheeled luggage to electronics to a special cheese found nowhere else. Under its apparent chaos lie extraordinary finds as well as remarkable bargains.
There are several renowned confectioners in New Market: Nahoum & Sons (estd. 1902) is truly historic, with its original mahogany cabinetry and marble counters. For over a century, millions of customers have sworn by Nahoum’s Rich Fruit Cake, its brownies, marzipan, macaroons and much more. Imperial Confectioners and D Gama compete for a close second and third place. New Market is also home to a plethora of saree shops, such as Dayaram & Co. (estd. 1908),Bombay Silk House and Ghanashyam.It houses a world famous kashmiri shawl store Pumposh-kashmir shawl emporium (estb.1935). A huge section of New Market is allotted to floriskts, where customers can choose from a wide seasonal selection of many varieties of carnations, gerbera, gladiolas, orchids, tuberoses, roses and lilies, and other flowers. Among the most renowned are A. Bose Pvt. Ltd. (estd.1874), and Coondoo Florists. Another huge section of the market houses crockery and crystal stores, such as Staffordshire Stores (estd.1938), that sell everything from champagne flutes, wine glasses, and cocktail funnels to dinner and tea sets and flower vases..
Situated on Lindsay Street, Kolkata (Calcutta), just off Chowringhee Road, the market is open 10 a.m. until 8 p.m. Monday to Friday, until 7 p.m. on Saturdays, and closed on Sundays.
FIRE OF 1985 & 2011
A fire burned down large portions of the original building on December 13, 1985. It has since been rebuilt, and provided with a new wing. Another fire broke out on July 20, 2011 but was confined to a small area in the Flower Range near the Lindsay Street entrance.
WIKIPEDIA
Scene from a touchpoint inventory workshop.
Orchestrating Experiences: Collaborative Design for Complexity, Risdon, Quattlebaum, 2018, New York: Rosenfeld Media
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McKinsey Global Infrastructure Initiative Summit
Tokyo, Japan
Thursday, October 20th, 2022
08:30–09:30DISCUSSION SESSIONS
ORCHESTRATING THE ENERGY TRANSITION
A successful decarbonization and energy-transition strategy will need to accommodate new regulations; rethink planning, permitting, and prioritization; leverage new skills, technology, and capital; and adopt an unprecedented sense of urgency to deliver at the required scale and pace. What steps should senior leaders from across the value chain take now to plan and accelerate the transition? How do we gear up for an anticipated tripling of the current pace of construction to meet net-zero targets?
Panelists:
Peter Aschenbrenner, Chief Strategy Officer, Maxeon Solar Industries
Jon Creyts, Chief Program & Strategy Officer, RMI
Nicole Lockwood, Chair, Infrastructure WA
Rajiv Ranjan Mishra, Managing Director, Apraava Energy
Moderator: Zak Cutler, Partner, McKinsey & Company
Kevin Klowden, Chief Global Strategist, The Milken Institute
Photograph by McKinsey Global Infrastructure/Stuart Isett
MuCEM + Fort Saint-Jean, Marseille, France - 2013 -Architects: Rudy Ricciotti and C+T architecture
Views, sea, sun, a mineral quality, which all must be orchestrated by a program that will become federal and cognitive. First of all a perfect square of 72 m per side, it is a classic plan, Latin, under the control of Pythagoras. Within this square, another of 52 m per side, comprising the exhibition and conference halls identified as the heart of the museum.
Around, above and below are the service areas. But between these areas and the heart, openings entirely bypass the central square and form interconnected spaces. More interested by the views of the fort, the sea or the port, the culturally overwhelmed visitor will choose this route. Along two interlacing ramps, he will then plunge into the imaginary of the tower of Babel or of a ziggurat in order to climb up to the rooftop and on to Fort Saint- Jean. This peripheral loop will be a free breathe, enveloped by the smells of the sea from the proximity to the moats, a pause to dispel any lingering doubts about the use of the history of our civilizations. The MuCEM will be a vertical Casbah.
The tectonic choice of an exceptional concrete coming from the latest research by French industry, reducing the dimensions to little more than skin and bones, will affirm a mineral script under the high ramparts of Fort Saint-Jean. This sole material in the colour of dust, matt, crushed by the light, distant from the brilliance and technological consumerism, will commend the dense and the delicate. The MuCEM sees itself evanescent in a landscape of stone and Orientalist through its fanning shadows.
When we first saw the stunning motif in design on such a grand scale of elegance, our jaws dropped in awe. What a fantastic display orchestrated by the supreme landscape architects and artists of Longwood Gardens . . . truly second to none in passion and talent. It the 7-Part close-up series of the remarkable pair of swans, notice that every bit of material employed is from nature. In retrospect, perhaps some extreme close-up of various sections of these works of art should have been photographed. The problem was that there was a fairly decent crowd around this particular spot, with many of the individuals also taking photos—thus, there was limited time to do the shooting. Luckily, for a very brief moment, each for my wife and I, these pictures turned out successful in the sense that no people are in them to take away from the main subjects. The 3-Part series of shots that follows the 7 here will show the views from the other end looking back toward the swans and the Orangery beyond—where all the seas of poinsettias and other flowers and plants were depicted in earlier photos in our album on Longwood.
We wanted to share our experience of the visit to Longwood Gardens’ 2014 Christmas Spectacular (the main theme this year is BIRDS). The festivities begin on Thanksgiving Day and continues through the end of the first week of 2015. In recent years, we have found that it works perfectly for us to go on Thanksgiving Day, for we would celebrate TG early and afterward. This allows an opening day attendance at Longwood, where the crowd is significantly less than during the peak weekend days. There will be a good number of photos to view, and for the most part, presented in correct sequence. Please check out our ALBUMS titled “LONGWOOD GARDENS of Kennett Square, PA” and/or “CHRISTMAS SCENES” for a better flow in exploring the photos, since the continuity is lost when uploading into FLICKR while many others are doing the same, thus, having a variety of shots mixed in between the ones representing our visit on this day.
The wide variety of flowers and plants at Longwood Gardens are absolutely stunning in all stages and species . . . truly a Garden of Eden for anyone with a deep passion for these gifts of nature. The annual Longwood Gardens Christmas never fails to awe the visitors with one spectacular display after another. Whether these are in the magnificently elegant grand Conservatory, or outdoors within the over 1,000 acres of fabulous grounds, each and every thing is meticulously planned and designed, always arriving at some fresh ideas and/or concepts, while also maintaining the traditionally classic holiday floral and lighting appointments throughout. Given that the main theme for the 2014 holiday season is BIRDS, this can be seen in such spectacularly tasteful fashion throughout the displays of the vast indoor landscape. From the moment one enters the architectural marvel of the Conservatory, whether through the main Orangery or the East Conservatory, an awe inspiring view awaits.
Pre-production Photos
35mm: A Musical Exhibition
October 26, 2018 to October 28, 2018
Friday, October 26, 2018, 8:00 PM
Saturday, October 27, 2018, 8:00 PM
Sunday, October 28, 2018, 2:00 PM
Corthell Concert Hall, USM Gorham Campus
$15 adult, $10 seniors, USM employees and alumni, $5 students.
Music and Lyrics by Ryan Scott Oliver
Based on Photographs by Matthew Murphy
Vocal Arrangements and Orchestrations by Ryan Scott Oliver
Additional Percussion arrangements by Jeremy Yaddaw
Additional Guitar arrangements by Matt Hinkley
Directed by Edward Reichert
A picture is worth 1,000 words - what about a song? In 35mm: A Musical Exhibition, each photo creates a unique song, moments frozen in time; a glimmer of a life unfolding, a glimpse of something happening. The University of Southern Maine School of Music fall musical theatre production is part concert, part exhibition, part poetry jam, part performance art...an intricately woven collection of stories that re-imagines what the modern American musical can be.
Three performances take place in Corthell Concert Hall on the Gorham campus on Friday, October 26 and Saturday, October 27 at 8 p.m., and Sunday, October 28 at 2 p.m. Tickets are $15 for the general public, $10 for seniors, USM alumni and employees, and $5 for students. They can be purchased online at usm.maine.edu/music/boxoffice, by phone at (207) 780-5555, or at the door.
The show is sponsored by Saco & Biddeford Savings Institution.
Art moves and touches people in different ways. The stories told through song in 35mm are all based on or inspired by the eclectic photography of Matthew Murphy. Composer Ryan Scott Oliver provides us with a collection of stories and photographs about life: gorgeous songs about love and loss, more complex issues like insanity, abuse...and some humor too. Oliver states, “it covers a wide range of experiences and sensations.” This show is recommended for mature audiences.
The show’s director, Ed Reichert says, “The score is fascinating to me because it covers so many genres such as rock, gospel, country, pop, and musical comedy. Ryan Scott Oliver openly talks about some of his creative influences including Lady Gaga, The Scissor Sisters, Schubert, and Rufus Wainwright. He is equally inspired by the likes of Quentin Tarantino, Stephen King, and Stephen Sondheim.” Reichert adds, “With Halloween just around the corner, at least three of the songs are timely: Leave, Luanne (a Southern Gothic Ghost Story), Twisted Teeth (a duet between two vampires), and The Ballad of Sara Berry (think prom queen...).”
The cast includes: Samuel Allen (Harpswell), Matthew Boyd (Medford, NJ), Andrew Carney (Millinocket), Mikayla Clifford (Yarmouth), Noli French (New Gloucester), Aaron Kircheis (Bucksport), Katie Lind (Standish), Ayann Main (Wiscasset), Megan Mayfield (Marlborough, MA), Miles Obrey (Gorham), Alyssa Pearl-Ross (Sangerville), Victoria Stackpole (Biddeford), March Steiger (Buxton), Ben Walker-Dubay (Kennebunk), Megan Walz (Portland), Meg Ward (Bangor), Abby White (Dalton, Mass.).
The band includes Lynnea Harding, associate music director, violin and viola; Catherine Begin, cello; Jake Cooper, guitar; Shannon Allen, bass; Sam Smith, drums, and Ed Reichert on piano.
Those needing special accommodations to participate fully in this program, contact Lori Arsenault, (207) 780-5142, loria@maine.edu. Hearing impaired: call USM's telex / TDD number (207) 780-5646.
35mm: A Musical Exhibition is presented by special arrangement with SAMUEL FRENCH, INC.
Chris Lawless became the first Briton to win the Tour de Yorkshire after a superb ride on the last stage to Leeds.
Lawless, racing in the blue jersey as the overnight leader, finished right behind stage winner Greg van Avermaet to secure a debut win for Team Ineos.
Wigan's Lawless, 23, was immediately congratulated by team-mate Chris Froome, who orchestrated the decisive final break on Cote de Otley Chevin.
Team Ineos was only officially launched last week, replacing Team Sky.
"I can't believe it," Lawless told ITV 4. "If someone had told me I'd win this race before it started I'd have called them a liar.
"I started losing touch halfway up the Otley Chevin but I knew if I could get back on there was a climb around 5km from the finish that I could get over.
"I knew I could follow Greg van Avermaet when he went. Greg was someone I looked up to when I first started riding so to beat him is special.
"I've got to thank the team for backing me because I don't have a good history on stages like this but they said they'd give me a chance."
When asked how big a win it is for him personally, he replied: "The biggest."
Froome's tactics pay off
After 150km of racing, much of it through the picturesque Yorkshire Dales, the final stage exploded on the final categorised climb of the race - the Cote de Otley Chevin - with around 20km remaining.
With Lawless appearing to struggle, four-time Tour de France champion Froome - who was Ineos' road captain and said "decisions were made out on the road" - went on the attack and his effort forced other teams pursuing the overall victory to try to chase him down.
Froome's team-mate Eddie Dunbar had also followed the attack. He then launched his own surprise move as the riders crested the hill and quickly broke clear, chasing down and passing three French riders who were part of the day's original break.
Realising that Dunbar could go on and win the overall title, Froome disrupted the pace of the chasing pack and that, in turn, gave Lawless the chance to catch up.
Eventually, defending champion Van Avermaet, who started the day six seconds behind Lawless, had to attack and while he quickly caught Dunbar, Lawless went with him. That left the Belgian CCC rider with two Ineos riders for company and with an almost impossible task of shaking them both off.
Knowing his fate was sealed, Van Avermaet took the stage win, with Lawless happy to follow him over the line and claim the title by two seconds.
Alexander Kamp, who started the final stage on the same time as Lawless claimed that he was "the strongest rider" over the hills but the Dane failed to live up to his bold statement and was distanced on the final climb out of Otley.
France's Arnaud Courteille, who was in the day's nine-man break, was first to the top of three of the day's five categorised climbs to take the King of the Mountains title.
Stage four result:
1. Greg van Avermaet (Bel/CCC Team) 4hrs 40mins 03secs
2. Christopher Lawless (GB/Team Ineos) same time
3. Edward Dunbar (Ire/Team Ineos) +02secs
4. Tom-Jelte Slagter (Ned/Dimension Data) +09secs
5. James Shaw (GB/Swiftcarbon Pro Cycling) Same time
6. Matthew Holmes (GB/Madison Genesis)
7. Alexander Kamp (Den/Riwal Readynez)
8. Gabriel Cullaigh (GB/Team Wiggins Le Col) +12secs
9. Jenthe Biermans (Bel/Katusha Alpecin)
10. Scott Thwaites (GB/Vitus Pro Cycling)
Final classification:
1. Christopher Lawless (GB/Team Ineos) 15hrs 18mins 12secs
2. Greg Van Avermaet (Bel/CCC Team) +02secs
3. Edward Dunbar (Ire/Team Ineos) +11secs
4. Alexander Kamp (Ned/Riwal Readynez) +15secs
5. James Shaw (GB/Swiftcarbon Pro Cycling) +25secs
6. Matthew Holmes (GB/Madison Genesis) Same time
7. Tom-Jelte Slagter (Ned/Dimension Data)
8. Scott Thwaites (GB/Vitus Pro Cycling) +28secs
9. Connor Swift (GB/Madison Genesis) same time
10. Nick van der Lijke (Ned/Roompot-Charles)
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2022. Massimo Osanna & Eike Schmidt - Uffizi! Una giungla senza regole! - “Tesori svenduti”, il Mibac frena sugli Nft dell’arte; in: Uffizi gallery makes only €70,000 from Michelangelo NFT that sold for €240,000. The ArtNet News (11/07/2022), Art Newspaper (13-14/06/2022) & La Repubblica (24-25/05/2022). Foto: the_rocco_real, "Cappella Sistina", Instagram (11/07/2022). wp.me/pbMWvy-2UP
Foto: the_rocco_real, "Cappella Sistina", Instagram (11/07/2022).
www.flickr.com/photos/imperial_fora_of_rome/52210514800
1). FLORENCE - Italy Instructs Museums to Halt Contracts With NFT Companies, Citing ‘Unregulated’ Terms That Could Affect the Country’s Cultural Heritage - The move comes after the Uffizi revealed that a tech company took the vast majority of proceeds from the NFT of a Michelangelo masterpiece. The ArtNet News (11/07/2022).
____
S.v.,
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021) & Corriere Della Sera (14/05/2021); in" RARA 2022 (07/10/2021).
www.flickr.com/photos/imperial_fora_of_rome/52209026232
--- RARA 2022 (07/10/2021) - Dal Colosseo a Michelangelo = "Un Gemello Digitale" (e tutto il patrimonio italiano ora può essere legalmente venduto in tutto il mondo), ora Nft interessa anche al ministro Franceschini. [Italiano & English]. Corriere Della Sera (14/05/2021); Italian Tech (06/10/2021) & Cinello - Florence / Fb (06/10/2021).
____
When Florence’s Uffizi Gallery sold an NFT of Michelangelo’s Doni Tondo for €240,000 last year, it seemed like it found a major new revenue stream. But it turns out that the tech company it partnered with to produce the digital work took so much in fees that the museum only reaped €70,000 ($70,500) of that. Now, the Italian ministry that regulates the country’s museums has asked institutions to temporarily cease contracts with NFT providers.
The Uffizi sale was orchestrated by the Milan-based tech company Cinello, which had been given a five-year contract (that expired December) to digitally reproduce works of art from the Uffizi’s collection.
Each of the digital works, which Cinello calls DAWs, were certified on the Ethereum blockchain and traded as NFTs in conjunction with Unit, a contemporary art dealership in London. The works were made in editions of nine, priced between €100,000 and €250,000 ($114,000–$284,000) each.
A Cinello spokesperson told the Art Newspaper that the company would split the proceeds with the Uffizi 50/50—after production costs. Those costs—which included taxes, a platform commission, the cost of producing a frame, and a 20 percent operating fee—totaled €100,000.
Initially, the NFT was designed to be in a hybrid digital and physical artifact, combining a wooden copy of the original frame, with a screen and a chip where the copy of the work was recorded as an NFT.
However, the sale generated public scrutiny after the Italian daily newspaper La Repubblica ran a headline this past May wondering who owns the digital rights to Michelangelo’s Doni Tondo. In that article, the Uffizi’s director, Eike Schmidt, admitted that the museum had not done adequate due diligence when it came to structuring the deal around the NFT.
“It’s fundamental to inform yourself not only from a technical point of view, but also from a legal point of view,” he said. Adding that “certain platforms where you register ownership may not give sufficient guarantees, and you risk losing everything,” he said.
By buying digital copies of works in the Uffizi’s collection, new owners can theoretically exhibit and control them in augmented and virtual reality, as well as in emerging environments such as the metaverse. This could leave institutions like the Uffizi high and dry when it comes to controlling the works it sells from its own collection on budding metaverse platforms.
“Given that this matter is complex and unregulated,” a spokesperson for the Italian ministry of museums told the Art Newspaper, “the ministry has temporarily asked its institutions to refrain from signing contracts relating to NFTs. The basic intention is to avoid unfair contracts.”
For its part, Cinello maintains that all rights to the work remain with the museum, adding that its goal is “not to disperse Italian heritage around the world,” but to help the museum receive royalties and assist in raising much-needed funds to protect, conserve, and maintain the originals in its collection.
Though its contract with the Uffizi is technically over, Cinello is currently working with 10 other Italian museums, including the Museo di Palazzo Pretorio and Pinacoteca di Brera di Milano.
The company has not responded to a request for comment on whether it will continue to offer and structure similar NFT deals.
Other companies, such as LaCollection, have also recently announced similar partnerships, including with the British Museum and the Museum of Fine Arts, Boston.
The State Hermitage Museum in Saint Petersburg, Russia, and the Belvedere Museum in Vienna, have also deployed similar schemes. In September, the Hermitage auctioned NFT replicas of its five best-known paintings, netting it $444,000 at the time. The Belvedere digitized and fractionalized an image of Gustav Klimt’s The Kiss, released as a series of 10,000 NFTs last Valentine’s Day, each priced at .65 Ethereum (about $1,950 at the time), generating about $4.5 million.
While moves to digitize priceless works of art appear to be gaining steam (despite the recent calamity around NFT prices as a whole), the question of who ultimately stands to benefit in an as-yet unregulated market remains.
Fonte / source:
--- The ArtNet News (11/07/2022).
news.artnet.com/market/cinello-nft-michaelangelo-2145003
Fonte / source, foto:
--- the_rocco_real, "Cappella Sistina", Instagram (11/07/2022).
www.instagram.com/p/Cf4rqdSs1h8/
Foto: l’iconico Tondo Doni di Michelangelo degli Uffizi / DAW (Digital Art Work) = 70000-140000 Euro. Il Direttore degli Uffizi, Eike Schmidt. Cinello / Fb (06/10/2021) & Corriere Della Sera (14/05/2021); in" RARA 2022 (07/10/2021).
www.flickr.com/photos/imperial_fora_of_rome/52210029131
2). FLORENCE - Uffizi gallery makes only €70,000 from Michelangelo NFT that sold for €240,000
Deal with Cinello company fuels debate about ownership of Old Master masterpieces in the metaverse age. The Art Newspaper (13/06/2022).
The sale of an NFT based on Michelangelo’s famous painting Doni Tondo (1505-06) made €240,000 last year netting the Galleria degli Uffizi in Florence €70,000, a figure recently revealed by the museum. The work was minted by a Milan-based company called Cinello as part of a five-year agreement which should have resulted in the production of 40 digital works. The development is part of an ongoing debate in Italy about ownership and copyright issues linked to major masterpieces housed in national collections.
The Uffizi signed the deal to make DAWs (encrypted digital art works) with Cinello in 2016. “The partnership with Cinello lasted five years and expired in December 2021. During this time Cinello had the right to make NFTs of the works that were part of the agreement; only the Tondo, however, was made,” says an Uffizi spokesperson. The Cinello website states: "For each DAW an NFT token is created on the Blockchain; this certifies the ownership of the work." The Cinello website states: "For each DAW an NFT token is created on the Blockchain, this certifies the ownership of the work."
The spokesperson adds that the contract with Cinello states that “income due to the reproduction of the image is split in half between the company and the museum; the Cinello copy [made] about €140,000 [on the €240,000 sale], so the Uffizi received €70,000 [along with Cinello].” The remainder, €100,000, went on “production costs” according to the Artribune website; Cinello did not respond to a request for comment regarding these sums. According to the Vogon Today website, the Michelangelo NFT was bought by a collector in Rome.
The move has sparked concerns however about whether major works are up “for sale”. An article in the Italian newspaper La Repubblica last month asked: “Who owns Michelangelo’s Doni Tondo?.... who has the legal rights linked to the work? If the buyer ever decides to exhibit it, can he do it without the permission of the Uffizi? Basically: do we not risk losing control of our heritage in a time when we are increasingly moving towards the metaverse?” The newspaper adds that Italian government ministers have also raised concerns about the deal with Cinello.
In a lengthy statement, the Uffizi says: “Basically: do we not risk losing control of our heritage… In reality, [existing laws] give punctual and precise answers to those questions long before the invention of the technology in question, i.e., the Ronchey law of 1994, and again the Urbani code of 2004…. the rights [linked to the works] are in no way alienated, the contractor has no right to use the images granted for exhibitions or other unauthorised uses, and the assets remain firmly in the hands of the Italian Republic.”
Museums worldwide are trying to make money off the back of NFTs. The British Museum (BM) in London has recently sold NFTs of JMW Turner and Hokusai works drawn from its collection, in partnership with the French start-up LaCollection.io. The royalty deal between LaCollection.io and the British Museum remains confidential.
Earlier this year the Uffizi, the Complesso Monumentale della Pilotta in Parma and the Pinacoteca di Brera and Biblioteca Ambrosiana, both in Milan, sold digital facsimiles of works by Raphael and Leonardo da Vinci at Unit London Gallery.
UPDATE: The Uffizi spokesperson says: “The museum didn't sell anything but the use of the image—the DAW (digital art work), the selling of the relative piece, is all [down to] Cinello. It Is false to say that the museum sold the Tondo copy.”
UPDATE (14 June): A spokesman for Cinello says: "We would like to specify that Cinello does not sell NFTs, but DAW® (Digital Artwork). Ours is a patented technology (registered in Italy, China, USA and Europe) that enables the digitisation of the works of art from our partner museums to provide new sources of revenue."
He adds: "Cinello does not hold exclusive rights with public museums. All rights to the artwork remain with the museum that owns the original. We create a new right linked to our patent, which is the DAW®. The collector who buys the DAW® by contract cannot exhibit it in public exhibitions, the work is usable for private use. DAW® are created precisely to maintain control (which remains in the hands of Cinello and the partner museums) and not to disperse the heritage in the digital world."
Fonte / source:
--- The Art Newspaper (13/06/2022).
www.theartnewspaper.com/2022/06/13/uffizi-gallery-makes-o...
Foto: La Repubblica (25/05/2022).
www.flickr.com/photos/imperial_fora_of_rome/52209026242
3). ITALIA - “Tesori svenduti”, il Mibac frena sugli Nft dell’arte - I timori dopo l’accordo siglato dagli Uffizi per 40 capolavori. Il caso stasera alle Iene. Una commissione al lavoro: “Regole certe.” La Repubblica (25/05/2022).
Di chi è il Tondo Doni di Michelangelo? E la Nascita di Venere di Botticelli? Ancora: ma davvero una società milanese ha messo in vendita i Canaletto, un Tiziano, e persino un Leonardo esposti agli Uffizi? Anni fa queste domande non avrebbero avuto cittadinanza. E invece da qualche mese stanno rimbalzando negli uffici del ministero dei Beni culturali, dove sono preoccupati dalla possibilità di perdere - le parole sono dell'ufficio legislativo - "la gestione, il controllo e lo sfruttamento" delle immagini digitali di alcune delle opere più importanti del nostro Paese.
Nota S.v.,
--- Nft, il direttore degli Uffizi: "Serve prudenza ma non abbiamo ceduto i diritti in esclusiva” - Lo storico dell'arte Eike Schmidt dopo la polemica per la riproduzione digitalizzata dei capolavori delle Gallerie fiorentine, da Caravaggio a Leonardo a Botticelli: "E comunque il contratto con la società Cinello è scaduto e non è stato rinnovato." La Repubblica (24/05/2022).
www.repubblica.it/cronaca/2022/05/24/news/nft_il_direttor...
Tanto sono allarmati che il direttore generale dei Musei, il professor Massimo Osanna, ha firmato lo scorso anno una circolare bloccando d'urgenza i contratti con questa società milanese. Ha ordinato oggi di non rinnovare quelli già siglati. E ha insediato una commissione che dovrà cercare di mettere ordine ed evitare che quello che è accaduto si ripeta.
Ma, intanto, cosa è successo? La storia la racconteranno stasera le "Iene" in un servizio firmato da Antonio Monteleone e Marco Occhipinti, che hanno condotto un viaggio nel mondo delle opere d'arte italiane e degli Nft, i not fungible token: opere d'arte digitali che vengono rese uniche grazie alla registrazione in un albo pubblico, la blockchain.Il mercato è enorme: recentemente Everydays: the first 5000 Days, un'opera di Beeple, è stata venduta per 69.4 milioni. Oltre alle nuove opere, c'è un tema che riguarda anche il patrimonio esistente: ciascuna opera d'arte può avere una sua copia digitale che può essere immessa sul mercato. A proporre un'operazione del genere ai musei italiani è stata la società Cinello, che ha un brevetto in materia.
L'idea è semplice: si realizza una copia digitale perfetta dell'opera. La si riproduce su un monitor ad altissima definizione, la si incornicia come si fosse al museo e la si vende a ricchi collezionisti. Il ricavato va diviso 50 e 50 tra Cinello e il museo. I primi a credere all'operazione sono gli Uffizi, che firmano un contratto - come ricostruiranno stasera le Iene - per 40 opere tra le più famose. Nell'accordo vengono stabiliti prezzi e un numero di copie massimo da mettere sul mercato. Alcune potranno essere acquistate, altre anche soltanto noleggiate. Il primo a essere venduto è proprio il Tondo Doni di Michelangelo, come annunciato trionfalmente un anno fa, per 240mila euro. Ma è proprio lì che cominciano i problemi. Qualcuno si chiede: ma ora di chi sono i diritti legati a quell'opera? Se mai il compratore dovesse decidere di esporla, può farlo senza il permesso degli Uffizi? In sostanza: non rischiamo di perdere il controllo del nostro patrimonio in un tempo in cui si va sempre più verso il metaverso?
Gli Uffizi spiegano al Ministero, contratto alla mano, che non è stata data alcuna esclusiva. E quindi, il problema non esiste. Ma a Roma non sono convinti. Le Iene fanno notare due cose: che la Cinello ha ricevuto tutto senza alcuna procedura pubblica. Un regalo. Anche perché Cinello non paga alcun canone, divide gli introiti alla metà (una percentuale molto alta per un'intermediazione). E che, sebbene nel contratto non si parli di esclusiva, nei fatti c'è una clausola che quasi la disegna. Il museo si impegna infatti a non far deprezzare il bene: le copie digitali costano tanto perché sono numerate, ma se ne venissero concesse altre, quelle sul mercato perderebbero di prezzo. Dunque, Cinello potrebbe impedirne la realizzazione.
Ma i problemi sono anche altri. Repubblica ha letto i verbali della commissione di esperti nominata dal ministero "in merito agli Nft e alla Criptoarte". Osanna parla di"contratti stipulati da alcuni musei" (oltre agli Uffizi, la Pilotta di Parma, la Galleria nazionale delle Marche, Capodimonte e l'Archeologico di Napoli) "immediatamente bloccati ed estremamente svantaggiosi per l'amministrazione, perché prevedevano l'alienazione della riproduzione del bene. La necessità imprescindibile è quella di far mantenere allo Stato la proprietà della riproduzione". La questione infatti non è avere paura degli Nft, che possono essere una risorsa. Ma non trasformarli in una giungla senza regole. E con pochi preferiti. Perché quella sì, fa paura.
Fonte / source:
--- La Repubblica (25/05/2022).
www.repubblica.it/cronaca/2022/05/25/news/tesori_in_peric...
The Beyond Broadway Experience 2016 presents
BRING IT ON: THE MUSICAL
Libretto by Jeff Whitty
Music by Tom Kitt & Lin-Manuel Miranda
Lyrics by Amanda Green & Lin-Manuel Miranda
Inspired by the Motion Picture Bring It On Written by Jessica Bendinger
Arrangements and Orchestrations Alex Lacamoire & Tom Kitt
Presented at the King’s Theatre, Edinburgh on 22nd and 23rd July 2016