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DARRYL MAXIMILIAN ROBINSON appeared on a Windy City Theatre stage for the first time in 17 years when he assumed the marvelous dual roles of MR. WILLIAM CARTWRIGHT, THE CHAIRMAN OF THE MUSIC HALL ROYALE and The Honorable MAYOR THOMAS SAPSEA in skilled Director ROBERT-ERIC WEST'S exciting new 2018 SAINT SEBASTIAN PLAYERS OF CHICAGO revival of amazing Composer / Lyricist, Book Author / Orchestrator RUPERT HOLMES' multiple TONY AWARD-WINNING SOLVE-IT-YOURSELF MUSICAL WHODUNIT "THE MYSTERY OF EDWIN DROOD" ( based on the final and unfinished novel by 19th-century English literary master CHARLES DICKENS ) which was presented Oct. 26th through Nov. 18th of 2018 in the lovely and intimate Black Box Theatre of ST. BONAVENTURE CHURCH, 1625 West Diversey, Chicago, IL. 60614. Of his work in the show, the theatre critic of the Nov. 10, 2018 review of ART GETS OUT wrote: "But the real ringer is Darryl Maximilian Robinson, as the Chairman of The Music Hall Royale. It's a huge part that demands not just talent, but also charm during his frequent interactions with the audience in a show that looks for a joke at every turn and has no respect for the fourth wall". In addition to being critically-praised, Darryl Maximilian Robinson's performance in the dual roles of Mr. William Cartwright, Your Chairman of The Music Hall Royale, and The Mayor Thomas Sapsea of Cloisterham, England has been documented by Wikipedia, and in November of 2019: The Year of Chicago Theatre, he has captured a 2019 CHICAGO BROADWAYWORLD.COM REGIONAL THEATRE AWARD NOMINATION for BEST PERFORMER IN A MUSICAL OR REVUE ( RESIDENT NON-EQUITY ) for his work in Rupert Holmes' musical masterpiece! In addition, THE 2018 SAINT SEBASTIAN PLAYERS OF CHICAGO REVIVAL OF RUPERT HOLMES' "THE MYSTERY OF EDWIN DROOD" HAS RECEIVED A GRAND TOTAL OF SEVEN 2019 CHICAGO BROADWAYWORLD.COM REGIONAL THEATRE AWARD NOMINATIONS Including Best Performer In A Musical or Revue ( Resident Non-Equity ) for SARAH MYERS for her fine portrayal of the dual roles of Edwin Drood and Miss Alice Nutting; Best Direction of A Musical or Revue ( Resident Non-Equity ) for ROBERT-ERIC WEST for his sterling staging; Best Choreography ( Resident Non-Equity ) for TAMARA DREW for her highly effective dances; Best Costume Design ( Resident Non-Equity ) for SANDRA LEANDER for her grand stage attire; Best Set Design ( Resident Non-Equity ) for EMIL ZBELLA for his handsome period decor; and BEST ENSEMBLE OF A MUSICAL ( RESIDENT NON-EQUITY ) FOR THE ENTIRE CAST! Those in The Theatre who love musical theatre performance in The Windy City that would like to honor and support Mr. Robinson and his fellow nominees for their work in Rupert Holmes' brilliant but seldom performed musical classic may CAST THEIR VOTES FOR "DROOD" BY VISITING: www.broadwayworld.com/chicago/liveupdateregion.cfm?btype=... or www.broadwayworld.com/chicago/voteregion.cfm . Your Support of The Tradition of Non-Equity Professional Theatre In Chicago Would Be Greatly Appreciated!
patch.com/illinois/chicago/calendar/event/20191231/713099...
artgetsout.com/tag/the-mystery-of-edwin-drood/
www.picturethispost.com/saint-sebatian-players-the-myster...
news.wttw.com/2018/11/07/10-things-do-weekend-nov-8-11
www.goldstar.com/purchases/11665042/attendance#attendance...
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Staff Sgt. Victoria R. Ortiz orchestrates the III Marine Expeditionary Force
Band during the 20th anniversary ceremony and festival at Hikarigaoka
nursing home in Kin Town, Okinawa, Sept. 8. The ceremony celebrated the
anniversary and recognized the long-lasting relationship between 7th
Communication battalion and the nursing home that began two decades
ago. Ortiz is an assistant enlisted conductor with the III MEF Band.
MuCEM 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 demuseumifying 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.
018
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 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 demuseumifying 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.
The Quartet: Orchestrating the Second American Revolution; Joseph Ellis, American History Scholar, tells the story of the men most responsible for creating the U.S. Constitution and the Bill of Rights and the creation of the United States of America
#757Live The mobile push being orchestrated by CEO Marissa Mayer has hatched Yahoo's first email application for Apple Inc's iPad and other tablet computers running on Google Inc's Android software and a special Yahoo Weather app for iPhone.
Organised by:
Melissa Love Design. www.melissalove.co.uk
Orchestrated Stylised Shoots. www.orchestratedshoots.com
Venue. Wiston House. www.wistonhouse.co.uk
Styling, food & flowers. The Tea Set. www.the-tea-set.co.uk.
Dresses. White Mischief. www.whitemischiefbridal.co.uk
Tailoring. Gresham Blake. www.greshamblake.com
Makeup. Natalie Clark of NC Bridal Beauty. www.ncbridalbeauty.com
Hair Accessories. Cherished Vintage Bridal Accessories. www.cherishedvintage.co.uk
Hair styling. Caroline Kearney. www.mobilehairandbeauty.co.uk
Stationery. The Girl Tyler. www.thegirltyler.com
Children's vintage clothing. Dinky Vintage. www.dinkyvintage.com
Children's clothing. Bonnie Baby. www.bonniebaby.co.uk
Thanks, Ms. Lloyd for your leadership and work to make this thing a reality for our New Mark learning community!
MuCEM 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 demuseumifying 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.
Listening Post, by Mark Hansen and Ben Rubin, 2002-2005.
..."a mesmerizing orchestration of a kind of global unconscious mediated by the Internet. Data-mining chat rooms around the globe in real time, Hansen and Rubin create the first magnificently compelling opera of identity in our 21st century of blogging, instant messaging, and chat rooms."
this was an incredible piece: a darkened room with a couple of benches facing this huge hanging "wall" of tiny screens. words would come up randomly in the screens in time with an audio recording in a soothing but authoritative male voice. sometimes all the screens would be different, sometimes they all had the same word or phrase displayed. for a while, it was on the theme of "I am..." and the answers scrolling across each screen were pulled from data mining various internet sources. it was mesmerizing. i could have watched it for days.
The Quartet: Orchestrating the Second American Revolution; Joseph Ellis, American History Scholar, tells the story of the men most responsible for creating the U.S. Constitution and the Bill of Rights and the creation of the United States of America
The Nature Conservancy of Kentucky has no fear when it comes to fire.
Orchestrated or Prescribed Fire is used to quickly eradicate invasive and non-native plants that overtake native plants that our wild animals need for food and shelter.
Privet, Euonymus, and honeysuckle shrubs look pretty in a yard, but they are highly invasive, and birds are naturally attracted to their beautiful berries. Birds eat the berries, fly away, excrete the seeds, and the seeds sprout.
A single average sized shrub may produce 1000 berries which have the potential to sprout in nature , overtaking and killing the native plants around them.
Along the highways in northern Kentucky, just south of Cincinnati, Ohio, the native landscape that once flourished with thousands of different plants below the tree canopies now are comprised entirely of honeysuckle shrubs. The rolling hills look beautiful to us, but to wildlife, it is a virtual desert with no food, medicine, or places to live.
Please watch what you grow.
Organised by: Melissa Love Design. www.melissalove.co.uk
Orchestrated Stylised Shoots. www.http://orchestrated.bitofivoryphotography.com
Venue. Wiston House. www.wistonhouse.co.uk
Styling, food & flowers. The Tea Set. www.the-tea-set.co.uk
Dresses. White Mischief. www.whitemischiefbridal.co.uk
Tailoring. Gresham Blake. www.greshamblake.com
Makeup. Natalie Clark of NC Bridal Beauty. www.ncbridalbeauty.com
Hair Accessories. Cherished Vintage Bridal Accessories. www.cherishedvintage.co.uk
Hair styling. Caroline Kearney. www.mobilehairandbeauty.co.uk
Stationery. The Girl Taylor. www.thegirltyler.com
Children’s vintage clothing. Dinky Vintage. www.dinkyvintage.com
Children’s clothing. Bonnie Baby. www.bonniebaby.co.uk
In the spirit of fantastic multimedia mix-ups like the Exploding Plastic Inevitable, Con Artist is orchestrating a summer long gallery and art event in a glitzy Soho basement, WiP (Work in Progress). Expect a constantly transmuting spectacle of dozens of original pieces by upwards of 20 members from the esteemed and subversive L.E.S. collective and gallery Con Artist.
Scope out new works, collaborations, and experiments from your favorites, such as: Chris Mendoza , Mike Ming, The Yok, Sheryo, Laura Tack, Dean Millien, Cody Oyama, Sam Woolley, IRKT, Rachael Senchoway, Wyatt Mills, Michael Sharp, Ko Smith, Julia Pascone, Kanako Miyamoto, Oscar Tatsu, Victor Ochoa, Andy Wolf, Brian Shevlin, Silvia Mihai and more.
07.25.2012 /// Opening Reception
09.15.2012 /// Final Art Battle
018
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
The Quartet: Orchestrating the Second American Revolution; Joseph Ellis, American History Scholar, tells the story of the men most responsible for creating the U.S. Constitution and the Bill of Rights and the creation of the United States of America
Pat Metheny - The Orchestration Tour @ Saschall, Firenze 16 Marzo 2010
© Sottopalco. Gabriele Spadini. All rights reserved.
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
MuCEM 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 demuseumifying 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.
John A Greenleaf, class of '77. Orchestrator of The Shenandoah Koral and The Shenandoah Koral PhotoStream.
Led and Orchestrated by poet Bob Holman, the reading of Howl includes a “Greek chorus” of voices... Poets representing The Bowery Poetry Club, The Poetry Project at St. Marks Church in the Bowery, The Nuyorican Poets Cafe, and A Gathering of the Tribes... Including Stephanie Berger, Nina Freeman, David Henderson, Paolo Javier, Vincent Katz, Eliel Lucero, Sheila Maldonado, Ace McNamara, Nancy Mercado, Kristin Prevallet, Joseph D Robbins, Bob Rosenthal, Caroline Rothstein, Judah Rubin, Tahani Salah, Jon Sands, Edwin Torres & Bruce Weber.
MuCEM 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 demuseumifying 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.
31st October 2017 at Barbican, London EC2.
Country: Brazil & Italy. Style: MPB / Afro-Brazilian Music / Opera.
Lineup: Gilberto Gil (v/g), Aldo Brizzi (conductor/orchestrations), Nova Ópera de Lisboa, Núcleo de Ópera da Bahia, Cortejo Afro, bass guitar player.
This concert saw Gilberto Gil collaborating with the bloco Cortejo Afro to present the music styles of Bahia and with Aldo Brizzi and others to perform excerpts from two Operas. These were Scott Joplin's "Treemonisha" (completed in 1910 but first performed in 1972 long after his death) and Brazzi and Gil's "Negro Amor" (previews of a work still to be completed based on Rogério Duarte's Portuguese translation of Jayadeva's "Gita Govinda" written in the 12th century). I photographed Gil with Caetano Veloso at the same venue last year, see: www.flickr.com/photos/kmlivemusic/albums/72157667940088396/.
In this photo: Gil and Brazzi come to the front of the stage to acknowledge the applause at the end of the concert.
More information: gilbertogil.com.br/, www.facebook.com/gilbertogiloficial/, www.aldobrizzi.net/, www.facebook.com/Nova-%C3%93pera-de-Lisboa-772377349476877/. nopbahia.wixsite.com/nop-ba, www.cortejoafro.com.br/.
MuCEM 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 demuseumifying 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.
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.
MuCEM 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 demuseumifying 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.
This show was a fine-tuned orchestrated explosion where two cars flew into the air as flames broke out and we heard a loud crash. / Ebben a megrendezett jelenetben egy hangos robbanást követően hatalmas lángok csaptak fel és két személyautó a magasba repült - mindez teljesen kontrolláltan és úgy, hogy semmi sem sérült meg...
Guided tour in the Universal Studios. We took the tour before anything else - this was the most memorable part of our day in Hollywood, LA, CA, during our long Southwestern roadtrip in the summer of 2008. We picked this studio among the several that were offering tours or rides (theme parks), and we certainly did not regret it.
2008 nyarán nagy délnyugati autós kirándulásunk során két napot töltöttünk Los Angelesben, ebből gyakorlatilag egy teljes nap elment a Universal Studios-ban, Hollywoodban. Több stúdió és vidámpark közül ezt választottuk az útikönyv és más információk alapján, és nem bántuk meg, egész nap remekül szórakoztunk. Ezeket a képeket a vezetett, nyitott buszos túra alatt készítettem.