Frankly, I'm surprised that I haven't seen this copy error more often in early documents.
To learn more from the authoritative source, The Johns Hopkins Gazette, click here.
Frankly, I'm surprised that I haven't seen this copy error more often in early documents.
To learn more from the authoritative source, The Johns Hopkins Gazette, click here.
It was the 33rd President of the United States who brought the White House into a new era—the era of television. President Harry S. Truman held the first televised Presidential Address from the White House on October 5th 1947.
Although ground-breaking, the Truman address to the nation was delivered to an extremely limited audience. Television was still in its infancy. In 1947 there were only about 44,000 TV sets in U.S. homes and the sets were concentrated in just a few major cities. By comparison, there were over 40 million radios in the United States.
First Presidential address to be Televised - Truman, 1947
According to Politico.Com: Though Truman pioneered the now-familiar ritual of a White House telecast to the nation, he was not the first president to appear on television. President Franklin D. Roosevelt broadcast on a compact black-and-white screen from the New York World’s Fair on April 30, 1939.
It should be noted that FDR’s comments on the opening day of the 1939 World's Fair’s were seen only on receivers at the fairgrounds and at Radio City Music Hall, in midtown Manhattan. The next day, May 1st, early TV sets went on sale to the general public, as RCA (Radio Corporation of America)—NBC’s (National Broadcasting Company) parent company—began broadcasting on a daily basis. Those daily telecasts didn't last long; they were, for the most part, suspended until the end of World War II.
First Televised Presidential Address - Truman, 1952
Following Truman's address in 1947, all of his subsequent White House speeches, including his 1949 inaugural address, were televised. In 1948, Truman was also the first presidential candidate to air a paid political ad on TV. President Truman's televised tour of the White House followed some unsettling observations.
From the Truman Library:
The White House is Falling Down: Some said the White House was standing only from the "force of habit"
Shortly after moving into the White House, President Truman noticed the telltale signs of a building under serious physical stress. He frequently complained of drafts and unusual popping and creaking noises in the old house. In letters to his wife Bess, back home in Missouri, Truman often joked of the "ghosts" that inhabited the White House.
"The damned place is haunted, sure as shootin... You and Margie had better come back and protect me before some of these ghosts carry me off."
[Harry Truman, in a letter to his wife Bess, September 8, 1946]
"The floors pop and the drapes move back and forth. I can just imagine old Andy and Teddy having an argument over Franklin."
[Truman, in a letter to Bess in June 1945]
Early in 1948, in response to the President's concerns, engineering reports confirmed that the White House was in a serious state. The White House was burned out to its exterior walls during the War of 1812 and further compomised by poorly constructed, successive additions of indoor plumbing, gas lighting, electric wiring, heating ducts, and major structural modifications in 1902 and 1927. Following the 1948 engineering reports the decision was made to move the Trumans across the street to Blair House for three years while the White House underwent a complete interior demolition. The complete reconstruction only retained the exterior walls of 1600 Pennsylvania Avenue, the Executive Mansion.
Following the reconstruction, on May 3, 1952, President Truman conducted a televised tour of his new home—the new White House. This is an excerpt:
The First White House Tour on Television - the Video
A decade later, on February 14, 1962, First Lady Jacqueline Kennedy proudly presented her White House restoration to the world.
The restoration was Mrs. Kennedy's premiere project as First Lady. She was dismayed during her preinauguration tour of the White House to find little of historic significance in the Executive Mansion. The rooms were furnished with undistinguished pieces that she felt lacked a sense of history. Her initial efforts to restore the White House began on her first day in residence.
Jacqueline Kennedy Tour of the White House - 1962
A record 80-million viewers watched the broadcast. It was later syndicated to over 50 countries around the world. If you haven't seen the tour hosted by Jacqueline Kennedy, you should watch. Besides being a wonderful historical document, it is honestly informative and quite a production—by the television standards of the day.
From the Museum of Broadcast Communications:
On the night of 14 February 1962 three out of four television viewers tuned to CBS or NBC to watch a A Tour of the White House with Mrs. John F. Kennedy. Four nights later, ABC rebroadcast the program to a sizable national audience before it then moved on to syndication in more than fifty countries around the globe. In all, it was estimated that hundreds of millions of people saw the program, making it the most widely viewed documentary during the genre's so called golden age. But the White House tour is also notable because it marked a shift in network news strategies, since it was the first primetime documentary to explicitly court a female audience.
From my friends at the University of Chicago Press:
We thought you'd like to know about the July free e-book selection, The Moon, Come to Earth: Dispatches from Lisbon by Philip Graham.
The travel notes collected in The Moon, Come to Earth (originally published on McSweeney’s) form Graham’s exuberant yet introspective account of a year’s sojourn in Lisbon.
His lyrical accounts reveal his struggles with (and love of) the Portuguese language, an awkward meeting with Nobel laureate José Saramago, and being trapped in a budding soccer riot—but he also waxes loving about Portugal’s saudade-drenched music, its inventive cuisine, and its vibrant literary culture. Get your free e-book edition of The Moon, Come to Earth during the month of July.
“So enchanting: It dances and sighs. It twitches and hums and stumbles and then rights itself, with a winsome smile. It’s like a living thing, filled with desire and uncertainty and joy and regret … Graham is a nimble, witty writer with a penchant for teasing out the small, telling detail from the crowded scene around him … and this book is the perfect companion as one contemplates those mysteries, those ceaseless journeys outward and inward.”—Julia Keller, Chicago Tribune
About the Books Division of University of Chicago Press:
The Books Division of the University of Chicago Press has been publishing books for scholars, students, and general readers since 1892. The Books Division has published over eleven thousand books since the Press was founded. It has more than five thousand books in print at the present time, including such well-known works as The Chicago Manual of Style; The Structure of Scientific Revolutions, by Thomas Kuhn; A River Runs Through It, by Norman Maclean; and The Road to Serfdom, by F. A. Hayek.
Technorati Tags: baltimore, best seller, download, find, free, Free ebook, language, Lisbon, McSweeneys, Philip Graham, Portugal, quality, read, The moon come to earth, university of chicago press, world-wide
Stop frying eggs on the sidewalk this weekend and get inside for some cool literature!
Writer/Cartoonist Tim Kreider Returns to Baltimore
June 29, 7pm
3620 Falls Road
Artist and essayist Tim Kreider will be discussing essays in his new book, We Are Nothing, while showing some of his new cartoons.
The New Mercury Reading Series
June 30, 5:30pm
12 W. North Avenue
It’s going to be an extremely hot one! So drop by the Windup Space, at about 5:30, for four extremely cool Baltimore writers of Interesting Stuff That’s Not Made Up. Diana Parsell, Sue Eisenfeld, Saul Myers, and Earl Crown will all be reading, taking questions, signing photos, shaking hands, and buying at least one drink at the wonderful and highly accommodating Windup Space, the series home for over one year. Come along, enjoy your first and second and third drafts of the evening as the temperature moves down into the double digits.
Among Poets: Maryland’s Poet Laureate Lucille Clifton
From now through the end of the year
Reginald F. Lewis Museum
830 E. Pratt Street
This exhibition features images photographed and collected by Lynda Koolish and shows Lucille Clifton among her poet friends, some with Maryland ties. Coordinated by Dr. Joanne Gabbin of the Furious Flower Poetry Center and concurrent with a photo exhibition about Clifton at Enoch Pratt Free Library. Do yourself a favor and check out this wonderful exhibit celebrating a cherished Maryland poet of world-wide acclaim.
For the best listings of POETRY READINGS, please visit and bookmark Poetry in Baltimore's terrific calendar.
That's it for this week's LIT LOW DOWN!
The folks at the Paley Center for Media in New York City have put together some of the best theme-program schedules that I've ever seen. This series ups their already impressive ante.
The Paley Center recalls the days when, if you liked someone, you made them a tape. We like you, so we're making mixtapes for you—compilation screenings of amazing things in our collection, curated to provide a unique viewing experience each month with a different theme. Plus it's all on a movie-size screen with great sound.
Every month the Paley Center will present special screenings culled from their massive collection, curated to provide a unique viewing experience … audiences can expect classic episodes from favorite series enhanced by exclusive Paley Center content, original compilations of the weird and wonderful created for this series, and selections from rare programs unavailable anywhere else. Plus there is the thrill of seeing it all on the big screen, with great sound.
Here's the package, the line-up:
Summer "Camp" - starts July 5th 2012
Welcome to a compilation of television’s most outrageous, campy, and head-scratching moments—a celebration of the weird, wild, and wacky side of the small screen, culling only the best moments in discrete chunks for the YouTube generation.
We excerpt the craziest scenes from afterschool specials, old network celebrity spectaculars, outdated training and educational films, camp classic television movies, bizarre music videos, and other outré ephemera. A surefire hit for the Gen-X audience and available exclusively at the Paley Center.
Hotter than Hellmouth - August
Hell hath no fury like a demon scorned … or something like that. Join us as we celebrate the dog days of August in air-conditioned bliss with this really creepy compilation of television programming spotlighting emissaries from hell (both fictional and not), anchored by “Once More With Feeling,” the musical episode of Buffy the Vampire Slayer, which will be screened in its entirety. We don’t want to give too much away, but also look for clips from The Twilight Zone, Twin Peaks, The X-Files, South Park,Thriller, plus a few gems from our collection of programs, commercials, and Paley Center panel discussions. To conclude the package, we’ll screen excerpts from Tom Snyder’s legendary 1981 interview with Charles Manson.
Dueling Star Treks - September
Star Trek: The Next Generation celebrates its twenty-fifth anniversary in September, and with this specially produced compilation the Paley Center boldly goes where thousands and thousands have gone before, tackling the red-hot-button question of whether The Next Generation was also the greatest generation, or whether that honor belongs instead to the original series. Was the first Star Trek too campy? Next Generation too earnest? Beverly Crusher or Bones McCoy? Spock or Data? Kirk’s bare chest or Picard’s bare head? We will shy away from no issue, illustrating our points through a deft selection of clips featuring moments from both shows and a few surprises as well, including excerpts from Paley Center events with the cast and the creative team of TNG and with Captain James T. Kirk himself, the great William Shatner.
Sweet TV Dreams (are made of these?) - October
For the month of chills and thrills, the Paley Center brings you a sixty-minute mixtape that shows the truly frightful—as well as the lighthearted—dreamscapes that have seeped out of our collective unconscious and into our daily TV viewing over the years.
The creepy/scary stuff will come from the usual suspects—Twilight Zone, Twin Peaks, The Outer Limits, Buffy the Vampire Slayer—joined with the more psychological hauntings of Six Feet Under, The Sopranos, and M*A*S*H. Then we'll look to Bewitched, My So Called Life, The Practice, and Absolutely Fabulous for the lighter side of our neuroses.
James Bond: 50 Years on Film - November
This mixtape will screen in November, to commemorate the fiftieth anniversary of the release of the first Bond film (Dr. No) and also the release of the new Bond film (Skyfall). Included are clips from the 1954 television version of Casino Royale (Bond’s screen debut); two Bond-themed TV specials in our collection; The Man from U.N.C.L.E., which Ian Fleming helped develop (plus a Paley Center panel with star Robert Vaughn); Get Smart (including clips from PaleyFest); Archer (including our David Cross–moderated seminar); The Avengers (starring Bond girl Diana Rigg); and appearances by Bond stars Pierce Brosnan and Roger Moore in television programs and ads.
Christmas Carols: A Scrooge Mash-up - December
Arguably the most famous and familiar holiday story ever written, Charles Dickens’s A Christmas Carol continues to enchant generation after generation and inspire countless adaptations, with more, no doubt, yet to come. Since everyone has their particular favorite dramatization, the Paley Center presents its own “Scrooge mash-up,” so to speak.
The entire story will be told using clips from versions starring Mr. Magoo, Patrick Stewart, and Basil Rathbone among others, as well as the tale as interpreted by the casts of such shows as WKRP in Cincinnati, Northern Exposure, and The Honeymooners.
Ok now Baltimore, if you love classic film and television as much as I do, let's book some Bolt Buses and head to The Big Apple for a what will certainly be a monthly fun-fest. And bring your friends. There are new finds and real surprises in this collection of shows. I'm sure that you haven't seen some of these moments before. That's all I'm going to say.
The Paley Center for Media
25 West 52 Street • New York, NY 10019
Free for Paley Center Members and included with general admission.
Thanks to Aqua.Org for sharing their Inner Harbor webcam with us so that we may share a glimpse of Baltimore's Sailabration with our family and friends who can't be here for this extraordinary event.
Watch live as an international parade of more than 40 tall ships and naval vessels sails into Baltimore. Sailabration runs from June 13–19, 2012.
The National Aquarium's webcam is here.
To learn more, visit starspangled200.com. Over the weekend, watch out for the Blue Angels, they will be flying low and hard over Baltimore for the first time. And, be sure to take a look at the list and descriptions of the ships that will be visiting Baltimore for this event. It's impressive.
Technorati Tags: 2012, 2012, 21201, Baltimore, blue angels, camera, enjoy, event, find, flight, images, Inner harbor, live, live, locate, photos, public transportation, Sailabration, see, share, show, tall ships, television, view, visit, walk, watch, webcam
Actually, learning an accent or a dialect for any purpose is a long, exhausting, and tedious process. For actors, learning an accent is somewhat easier because they are learning a script, a finite run of words and it is also more difficult because actors are exposed to a broad audience of potential criticism, some from native speakers.
There is a guy in London, Gareth Jameson, who offers tips on the general approach to learning many different accents. He's on YouTube and VideoJug; he's a treasure.
Gareth can get you to a basic, a general, foreign accent by showing you how to manipulate just a few letter-sound combinations.
If you are looking for a quick intro to an accent, check this guy out.
Here's a clip from the transcript (video below) of his Russian training:
Voice-over: Gareth Jameson provides tips on how to perform a Russian accent. He provides three lessons on how certain letters should be pronounced to better create a Russian accent.
Jameson: Hello I'm Gareth Jameson. I'm an actor and a voice coach from www.londonvoicelessons.com Here are some tips on working on your voice!
The key to any accent is to isolate the sounds that are specific to that accent. So when we're talking about a Russian accent, and I'm talking very generally here about, uh, the sort of accent you'll get in films about Eastern Europe and the former Soviet states. There are, man—this is a huge area, so there are many accents that cover this part of the world.
We're talking about one specific one, a sort of general Russian accent. Now, the first sound I like to work with is the "l" sound. You're gonna have a really dark "l" right at the back.
So say "pull," "pull," "little," "pull" (Gareth pronounces the l as "ull") and that "l" is the "l" we are going to use for all our words. So when we say words like "love" it starts at the back: "love," "lemon, limond," "Lovely lemon lind." This is the first thing I use for my Russian accent.
The second thing is Vs and Ws. Vs and Ws sound the same in a Russian accent, and it's sort of a cross between the two. So you don't want to be like Checkov on "Star Trek" and talk about "Wodka."
As you can see, accent lessons don't play well in text only, so here are a couple of links, check this guy out.
Gareth Jameson on YouTube.Com
and on VideoJug.Com
Enjoy. And, check out his take on American English and Southern American. Oh yes, the next time you are at your favorite watering hole try using an accent with the bartender. It could be all kinds of fun. Decent Russian or Romanian might get you a free drink. Or all kinds of new and exotic friends.
Technorati Tags: actor, actors, amaze your friends, american, Baltimore, Brockelman, coach, dialect, english, free, french, gareth jameson, german, irish, learn an accent, lessons, london, new york, online, russian, teacher, tips, understand, watch
A couple of days ago I tried to post a story from my blog on Facebook. And, I received an error message. I tried to comment on a friend's post, couldn't do it—got an error message—albeit a different one. Here's what I'm seeing:
The link you are trying to visit has been reported as abusive by Facebook users. To learn more about staying save on the internet, visit Facebook's Security Page. Please also read the Wikipedia articles on malware and phishing.
The content you're trying to share includes a link that's been blocked for being spammy or unsafe: Body of an error/warning message. Title is: Sorry, this post contains a blocked URL
For more information, visit the Help Center. If you think you're seeing this my mistake, please let us know.
I'd appreciate it greatly if someone coud help me out with this issue. And please, if you know a real Facebook wiz, forward this.
Technorati Tags: 2012, 21201, access, assistance, Baltimore, blocked URL, can't post, cannot post, error message, Facebook, help, Help Center, malware, phishing, reported as abusive, request, restricted, security, spammy
On many fronts, 1937 wasn't altogether a great year. The United States was still attempting to recover from the Great Depression, Amelia Earhart and her navigator Fred Noonan disappeared after taking off from New Guinea, Japan occupied Beijing, the Great Hong Kong Typhoon killed 11,000 people, Italy withdrew from the League of Nations. John D Rockefeller, George Gershwin, and Jean Harlow died. In April of 1937 German warplanes from the Luftwaffe's Condor Legion destroyed the Basque town of Guernica during what was reported as the first air bombardment of an undefended town in history; more than 1,600 civilians were killed.
And, the Baltimore News-Post ran this this headline in May:
1937, Baltimore News-Post Reported: Hindenburg Explodes
Earlier that year WLS, Chicago's powerhouse of a radio station, dispatched announcer Herb Morrison and his engineer, Charlie Nelhsen, to cover the Hindenburg landing in Lakehurst, New Jersey. Morrison's report was to be recorded on a large acetate disk for later broadcast. Recording news and actualities was, in 1937, against all the rules of network radio broadcasting. Morrison's recorded report lead to a change of those rules, which at the time only allowed recordings to be used for sound effects in radio dramas. Morrison's report was so human and so compelling that NBC played the recording on it's network and it became the prototype for news actualities in the post war years.
Morrison was a slender, diminutive man with dark hair, dimples, and a strong chin. On the air, he sounded older than his years. He was dapper, and by all accounts he was exceedingly handsome. Prior to his dispatch to Lakehurst, the majority of his radio work had been as an announcer for live musical programming. For the Hindenburg report from Lakehurst he wore a blue serge suit and a tailored top coat.
Today most people see, or remember, a newsreel of the Hindenburg disaster with Morrison's account as the voice-over. However, that's a later construction of how the actual reports were filed, seen, and heard.
Even in 1937 newsreels were a low-budget affair. Black and white cameras with no ability to record sound were used. And Morrison and his one-man crew were recording a transcription to a disk with no ability to add visuals. Think of what you remember seeing as one of the earliest audio-visual mashups.
Here is an actual (and yes, silent) newsreel from the time with post production, editing, and a certain amount of 'film touch-up' as performed by the releasing studio.
And this, from the Smithsonian, is Herb Morrison's radio report added to actual newsreel film, without any film reconstruction. The difference in film quality is all-telling.
According to WLS radio: Listeners in Chicago and across the country didn't hear Morrison's coverage of the disaster until the next day because his report wasn't broadcast live from Lakehurst. He and engineer Charley Nehlsen had been experimenting with field recordings on huge acetate discs. They realized the gravity of their recordings as they found themselves being followed by German SS Officers! After hiding out for a few hours, the two managed to make a clean getaway and get back across the country to WLS. The chilling account aired the next day on the station and was the first recorded radio news report to be broadcast nationally by NBC.
I've been fascinated by lighter-than-air craft, zeppelins, and blimps for as long as I can remember. In Baltimore we all see quite a few small blimps soaring over the city—Dish Network, MetLife, and yes, the Conan craft. I wondered what a zeppelin the size of the Hindenburg would have looked like flying over Baltimore. I wondered if it might have looked this:
The Hindenburg explosion killed 35 of the 97 people on board and one person on the ground. A cause of the disaster has been widely speculated about and has created more conspiracy theories than the Kennedy assination, yet the true cause of the Hindenburg's demise has never been discovered.
Technorati Tags: actuality, airship, aluminum, audio, burn, crash, deaths, disaster, explodes, film, herb, Herbert, Hindenburg, lighter than air, mooring mast, Morrison, movie, new jersey, official account, photography, radio, roster of dead, steel, Van Graff, video, zeppelin
On Wednesday, May 2, at 1:00 pm, C Street Brass, a quintet founded by Conservatory students, will perform baroque, tango, and jazz crossover works at a free concert presented by WBJC in the Fine Arts Theater at Baltimore City Community College, 2901 Liberty Heights Avenue.
Faculty artist Joe Burgstaller, trumpet, will present Change Your Mind, Change Your Playing, a performance master class for all instruments, on Thursday, May 3, at 7:00 pm in Room LH414 (Leakin Hall). The class will include mock juries and other jury prep.
Courtney Orlando, violin and voice, who teaches ear training at the Conservatory, will give benefit performances for Mount Vernon Music Space, 1015 North Charles Street, on Friday, May 4, at 7:30 pm and Sunday, May 6, at 3:30 pm. On the program are works by Ralph Vaughan Williams, Astor Piazzolla, Caleb Burhans, and Michael Rickelton (MM ’10, Composition). Percussionist Terry Sweeny, a junior, will also perform. For more information, visit mountvernonmusicspace.com.
Soprano Jennifer Holbrook (MM ’09, Voice; GPD ’11, Opera), tenor and countertenor Peter Lee (BM ’06, MM ’08, Voice), and baritone Kevin Wetzel (MM ’06, GPD ’08, Voice) will perform with the Peabody Concert Orchestra, Concert Artists of Baltimore Orchestra and Symphonic Chorale, Peabody-Hopkins Chorus, Peabody Singers, and Peabody Children's Chorus at the Patricia and Arthur Modell Performing Arts Center at The Lyric, 140 West Mount Royal Avenue, on Saturday, May 5, at 8:00 pm. Edward Polochick, artistic director of Concert Artists of Baltimore and a Peabody faculty member, will conduct the collaborative performances of Leonard Bernstein's Chichester Psalms and Carl Orff's Carmina Burana. Tickets are $28 and $38 and may be purchased by visiting lyricoperahouse.com or calling 410-900-1150. Student rush tickets may be purchased for $10 each at the Lyric Box Office starting one hour prior to the performance.
Faculty artist Brian Ganz, piano, will perform Fantaisie for Piano and Orchestra with the National Philharmonic Orchestra as part of an all-Debussy program on Saturday, May 5, at 8:00 pm. The concert will take place at The Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda. For tickets, visit nationalphilharmonic.org.
The Peabody Children's Chorus, directed by Doreen Falby, will present The Poet Sings, a program of music set to the words of Shakespeare, Blake, Dickens, Dickinson, and other great poets, on Sunday, May 6, at 3:00 pm in Peabody's Miriam A. Friedberg Concert Hall. Tickets are $5. To purchase tickets, call the Peabody Box Office at 410-234-4800. Also that day at 3:00 pm, an ensemble from the Peabody Children's Chorus will appear in a performance of Mendelssohn's Elijah by the Baltimore Choral Arts Society in the Kraushaar Auditorium at Goucher College, 1021 Dulaney Valley Road, Towson. For tickets, visit baltimorechoralarts.org.
Free noon recitals
At this week's free Thursday Noon recital in Miriam A. Friedberg Concert Hall, Brassivity—trumpeters Yanbin Chen and Tristan Clarke, hornist Joel Watts, trombonist Emily Joseph, and tubist Scott Miller—will perform Bach's Fugue in G minor, Michael Kamen's Quintet, and the Allegro Vivo movement from Eugene Bozza's Sonatine for Brass; violinist Szu-Yun Chiu, cellist Young Eun Lee, and pianist Sejoon Park will perform Schubert's Trio No. 1 in B-flat major; and violinist Erica Richardson, cellist Antoinette Gan, and pianist Choo Choo Hu will perform Dvorák's Trio No. 1 in B-flat major.
On Friday, May 4, at noon, there will be a free performance by Conservatory harp students in the Peabody on the Court series at the Walters Art Museum, 600 North Charles Street.
The Peabody Renaissance Ensemble will present two concerts on Thursday and Friday, Apr. 26 and 27, at 7:30 pm, in Leith Symington Griswold Hall.
Directed by Mark Cudek, the group will perform a recital titled Ce Moys de May: Music for Mary, Queen of Scots, which includes music that she would have listened and danced to, verse from her favorite poets, favorite tunes from her youth, French courtly dance to honor Mary, and much more.
Soprano Julie Bosworth and countertenor Daniel Moody are featured soloists and were coached by Adam Pearl. Tickets for the concert are $15 for adults, $10 for seniors, and $5 for students with ID. To purchase tickets, call the Peabody Box Office at 410-234-4800.
In Chorus Line it was Dance 10, looks 3. In these performances it's Dance 10, looks 10.
ClancyWorks Dance Company presents an evening of original choreography on Saturday, April 28th at 8:00pm and Sunday, April 29th at 3:00pm at Baltimore Theater Project.
This evening-length concert, part of the 10th anniversary season of ClancyWorks, is a clear continuation of the mission of the company. It will feature students from residencies at George Washington Carver Center for Arts and Technology and Patapsco High School and Center for the Arts, a performance by The Collective, a Baltimore-based dance company, and some of Clancy’s original works that span the 10-year existence of the company.
This performance manifests the major role that both physical and metaphorical partnering play in Clancy’s work. Specific to Clancy’s creative process is an exploration of architecturally informed partnering work that uses dance to further pedagogical practices by promoting tolerance, teamwork, community activism, and individual empowerment.
Partnering is not only the artistic strength of the company, but also the baseline of their organizational work! From the partnering of physical objects, to the partnering of ideas, ClancyWorks: 10 Years in the Making features diverse dance works that embody Clancy’s use of partnering work not only as an aesthetic statement, but also as a symbol of trust and support.
Spinning Webs explores the wondrous, whirling, win some, lose some, web of relationships. The plots of Cupid and Aphrodite are transformed into the mythic Spider Grandmother—who, according to Native American emergence tales, spun the world into creation. Clancy’s choreography builds upon Spider Grandmother emergence tales and asks: how do we maneuver through our own webs of life, and how do we cultivate a web of relationships? Spinning Webs is part four in Clancy’s exploration of the Spider Grandmother dances.
Drift, showcases Adrienne Clancy and Sandra Lacy in a dynamic duet not to be missed! Prior to founding ClancyWorks Dance Company, Clancy was a member of the Bella Lewitzky Dance Company and the Liz Lerman Dance Exchange, where she held leadership roles as Rehearsal Director, Community Arts Project Director and a lead performer. Lacy previously performed with the Bill T. Jones/Arnie Zane Dance Company. Together, these alpha forces have created a collaboration that examines philosophical questions of pathways and explores who walks with us along these paths.
The Collective, named Baltimore’s Best Dance Company in 2008/2009, will present Sisters choreographed by Adrienne Clancy. As a hub for professional dance in Baltimore, the sixteen-member company will present a dynamic Clancy work based on female relationships.
The concert will also feature students from ClancyWorks’ Arts in Education residencies, where they will be showcased alongside the professional company. These programs include high school students from Patapsco High School and Center for the Arts and George Washington Carver Center for Arts and Technology from Baltimore County. Working together, these students and ClancyWorks Company members have created pieces that demonstrate working as a team yields greater results than an individual could achieve by him or herself.
ClancyWorks Dance Company
Saturday, April 28 at 8:00pm
Sunday, April 29 at 3:00pm
Baltimore Theater Project
45 West Preston Street
Baltimore, MD 21201
Tickets: $20 General Admission; $15 Seniors, Teachers, Artists; $10 Students
To purchase tickets visit www.theatreproject.org or call (410) 752-8558.
Jacob and I have this installation on our must-see list:
March 22, 2012 to May 13, 2012
Internationally renowned artist Doug Aitken (b. California, 1968; lives and works in Los Angeles and New York) will transform the Hirshhorn’s iconic circular building into “liquid architecture.”
Using nearly a dozen high-definition projectors, Aitken will seamlessly blend imagery to envelop the entire façade of the Gordon Bunshaft–designed structure with a 360-degree panorama that will make the Museum recede into cinematic space—rotating, rising, and evolving into new forms.
Exploding film conventions, the work cannot be viewed from any single perspective or at any single moment in time. Visitors must walk the perimeter of the building in order to experience the work more fully.
This site-specific commission will remain on view each evening for nearly two months. More than a temporary artwork, this truly original piece will also become part of the Hirshhorn’s permanent collection, enhancing its ever-expanding holdings of cutting-edge time-based media.
Visit the Hirshhorn Museum online to learn more.
By now you should have received a hefty, Tiffany blue envelope. If you haven't received it, please call your union local at (301) 657-2560 or (800) 724-0767.
The package contains:
It's a formidable package. And, as a SAG or AFTRA member, it is the most important group of documents that you've ever received from your union. The ballot enclosed in your package is—without a doubt—the most important ballot you'll ever receive from your union. After you review the material, I urge you to vote YES for MERGER.
And, when you vote YES, you'll be in good company.
The Amercian Federation of Musicians supports the merger. The entertainment trade magazine, Variety, reports:
The American Federation of Musicians has endorsed the proposed merger between the Screen Actors Guild and the American Federation of Television & Radio Artists, joining Actors' Equity in blessing the union.The exec board of the AFM said it is in "full support" of the merger pact. "When ratified by the group's memberships, the uniting of the two groups will result in a more powerful and united face to represent workers in both film and broadcasting," the AFM said.
Ballots went out this week to 120,000 SAG members and 70,000 AFTRA members, who include actors, broadcasters, DJs, singers and dancers, with a tabulation date of March 30. To be approved, the merger must receive at least 60% of the votes from each union.
"The proposed merger is a historic step and is a symbol of unity for the entertainment sector and for the entire labor movement," said AFM president Ray Hair. "For decades, AFTRA and SAG have stood prominently and proudly for dignity and justice in the entertainment industry workplace. The joining of these two great unions will focus union power toward a better future for the media business, not only here in the United States but throughout the world."
And our brothers and sisters who work on the Great White Way support the SAG-AFTRA merger. The Hollywood Reporter's Jonathan Handel wrote:
The national Council of Actors Equity voted unanimously Tuesday night to endorse the planned merger of SAG and AFTRA. The vote by the nearly century-old union, which represents performers in live stage productions, adds fuel to the movement toward a combined SAG-AFTRA.
The Equity motion was a single sentence: “AEA strongly supports SAG and AFTRA in their proposal to merge their Unions.”
In response, SAG president Ken Howard thanked Equity president Nick Wyman and the Council, and said, “We're honored by their action today and by the support of Equity members, who are very often members of SAG and AFTRA as well.”
He added, “There¹s a real spirit of unity in our ranks, and it can only serve to make us all stronger.”
Before you vote YES, please read this document so that you may vote YES with confidence:
MYTHS ABOUT THE IMPACT OF the SAG - AFTRA MERGER
Merger will jeopardize my pension.
MERGER FACT: Your accrued pension benefits are protected by federal law. Benefits can only be reduced under certain conditions relating to plans in financial distress. Neither the AFTRA Plan nor the SAG plan is in that situation – both plans are in the “green zone.” As explained in the Feasibility Report, a merger of the plans would make it less likely that that your pension plan reaches the level of financial distress that places your accrued benefits in jeopardy: Multi-employer plan mergers do not pose any increase in the risk of loss of benefits to plan participants according to the government agency in charge of mergers. Indeed, the law requires that if pension plans are merged, the plans’ trustees have a legal obligation to ensure that no participant’s accrued benefits will be less after the merger than it was before.
And finally, my personal thanks to SAG, AFTRA, the labor attorneys, and the AFL-CIO consultants for creating one of the finest collective bargaining agreements ever written.
Technorati Tags: 2012, AAAA, afl, aftra, agreement, america, associated actors, Baltimore, cio, collective bargaining, documents, local, merger, mid atlantic, new media, report, representatives, sag, union, vote, Washington DC, world wide
If you are in the vicinity of Maryland you probably know that Democratic Del. Sam Arora is being ripped to shreds by his constituents, the GLBT community, and liberals around the world.
He's being attacked on his Facebook page and in dozens of other venues. Here are just a couple of the negative, Facebook rants against the Delegate from Montgomery County. There are hundreds of these, if not a few thousand.
Background on this story is so voluminous, that I won't even summarize—Wikipedia alone has more written about Sam Arora's backtracking on gay marriage in Maryland than it has on any other aspect of the Delegate's entire life. Link.
Matt Arnstine is a junior government and politics major at University of Maryland and he has published a nice, current opinion piece on the news site, DiamondBackOnline.Com - Link.
If there is a major media outlet in the United States that hasn't touched on the Sad Sam Arora story, I'm not aware of it.
BTW, when I post a contest on this blog I usually offer a prize to the winner. The prize for winning this crossword is getting the clown, named Sam Arora, out of office.
[UPDATE] Via NPR:
The Maryland Legislature has passed a law to allow gay marriage by a small, but expected margin.
The state Senate voted 25-22 on Thursday to legalize gay marriage, less than a week after the House of Delegates barely passed the measure.
Maryland will become the eighth state to allow gay marriage when Gov. Martin O'Malley, who sponsored the bill, signs the legislation.
Opponents vow to bring the measure to voters with a referendum. Now that the bill has passed the Senate, organizers can begin collecting the more than 55,000 signatures needed to put it on the ballot.
I like to think I'm a darn good navigator of the legitimate theatre scene—current and historical, national and regional. I was surprised, this morning, to discover an important actor named Ira Aldridge.
I studied theatre in New York for a lot of years, yet I'd never heard the name Ira Aldridge until today. I wondered why? After some searching and reading, I realized why the actor was a mystery to me.
I received an email alerting me to an event at The Walters Art Gallery. Here's the information:
Join Kwame Kwei-Armah, British playwright, actor, director, and new Artistic Director of Center Stage, Baltimore, in this lively discussion about Ira Aldridge, the first American of African descent to achieve fame in the theater. Kwei-Armah will preview recordings from his recent radio documentary on Aldridge, who spent much of his career on the London stage in Shakespearean roles, especially that of Othello.
Portrait of Ira Aldridge, as Othello
I learned from England's BBC Radio 4 that, in a 2009 documentary:
Kwame Kwei-Armah traced the life and work of Ira Aldridge, a black actor who defied racial prejudice to become one of Britain's finest Shakespearean actors.
When Aldridge first appeared on the London stage in 1825, he was enthusiastically received by the public but the critics hated him, The Times going so far as to say that he could not pronounce English properly, 'owing to the shape of his lips'.
Here was a black man daring to break into the heartland of the British 'classics', which had hitherto been the exclusive domain of white actors.
But, undeterred by the racial hostility of the press, Aldridge became a perpetually touring player, an exotic 'star', honing his skills in the provinces and across Europe. In a career spanning 30 years, he became one of Britain's finest Shakespearean players, and had more honours showered upon him than any other actor of his time.
Here's actor Eke Chukwu portraying Ira Aldridge in a short documentary promo:
I'm not going to attempt to write a biography of Aldridge. I just met him, after all. There are dozens of resources available online. Here are a couple:
Ira Aldridge: African American Theater Pioneer
Presented by Kwame Kwei-Armah
The Walters Art Museum
Date: Sunday, February 26, 2012
Time: 02:00 PM–03:00 PM
So, why didn't I know about Ira Aldridge? I thought back to school in the 1970s and realized that I wasn't taught anything about Africian-American Actors or their contribution to the world of theatre. And, that is the plain, sad, pitiful truth. Will I see you at the Walters on the 26th?
Technorati Tags: Actor, african american, attend, Baltimore, Black History, casting, Charles Street, city center, documentary, downtown, event, history, Ira Aldridge, Kwame Kwei-Armah, live, Maryland, month, racial prejudiced, radio, Shakespeare, show, theatre, Walters Art Museum
The Center for International Theatre Develoment
Wed February 22 - Sun February 26
Elena Gremina is one of Russia’s most important playwrights. This play has been hailed by many as a unique new direction in Russian playwriting because it takes a difficult ongoing subject and does not disguise the names of real people involved. While pressure was put on the theatre not to stage this play, they didn’t back down - and so far it has run for several months without any negative consequences to those involved.
One Hour Eighteen (1:18) is an important play. It's so important that it is being mounted at Baltimore's Theatre Project and the tickets are free. The theatre will just pass a hat following the performances.
In January 2009, Sergei Magnitsky, a young Russian tax lawyer was arrested and imprisoned without trial on charges of tax fraud - Eleven months later, he was dead.
1:18 tells the true story of a senseless tragedy, a series of small steps taken by ordinary people in a corrupt, crumbling justice system.
In 2011, New York Times journalist Ellen Barry won a Pulitzer Prize for her detailed coverage of this case, which exposed the flagrant violations of human rights that continue on in Russia.
1:18 uses court transcripts, interviews, Magnitsky's own letters from prison, and fictional accounts that piece together what might have happened.
"It’s about normal people taking small steps that somehow lead to somebody dying. Each one of us can become the vessel for something really horrible." -- 1:18 director Yury Urnov
1:18 by Elena Gremina
Translated by Yury Urnov and Stephen Nunns
Directed by Yury Urnov
Post-show discussion panel following each performance:
If you've never been to the reading of a play, you're not alone. The general public is not often invited to this stage of theatrical story development. This Saturday you're invited to readings and participation at Audrey Herman Spotlighters Theatre.
NEW PLAY READINGS
Get a look at the process that a play goes through from initial script to tenth or twelfth revision to finally a production.
Give your feedback on these new works, and assist a playwright in this process. The Baltimore Playwrights Festival (www.baltplayfest.org) announces a public play-reading marathon to take place on Saturday, February 11th, at The Audrey Herman Spotlighters Theatre (www.spotlighters.org), 817 Saint Paul Street, Baltimore, Maryland 21202.
After each reading there will be a discussion of the script with the playwright, director and actors.
The event is free, and the general public is encouraged to attend.
11:00am Reading - Strangers by Stanley C Gabor
Strangers, by Stanley C. Gabor, tells the story of how after bringing Roy home, Alan, unsure of his sexuality, invites his close colleague Kate to join them for a night of ribaldry and revelation. In a New York evening these two classics professors have their lives challenged and changed by the young stranger from Oklahoma, who has an uncertain agenda of his own.
Stanley C. Gabor is Dean Emeritus at Johns Hopkins University. He came to Baltimore in 1982 from New York University. He holds degrees in history and law and has taught classes in leadership and classics.
1:00pm Reading - Secret Life by Stephen Kilduff
In Secret Life, by Stephen Kilduff, Tara and Bruce are getting married, though neither one knows why. Miles and Rosalie have been married more than thirty years, though neither one knows how. When these two couples get together, everyone starts to question the choices they have made and the stories that hold their lives, and their identities, together.
Stephen Kilduff began writing plays in 2004, and the following year he received an Individual Artist Award in Play-writing from the Maryland State Arts Council. In 2005 he attended the Sewanee Writers Conference as a participant in the play-writing seminar, under the direction of Romulus Linney and Daisy Foote. His play Snow on the Stand was produced in August 2006 at the American Theatre of Actors in New York. The Uncurled Hand was named winner of the 2007 New Play Festival at Centre Stage South Carolina in Greenville, SC and was produced there in July 2008. Another play, Graven Image, was produced in the summer of 2008 by Uncommon Voices as part of the Baltimore Playwrights Festival.
3:00pm Reading - The Rainbow Plays by Rich Espey
The Rainbow Plays, by Rich Espey, are a collection of seven short plays that focus on what it means to be a gay person in America. In its current version the Rainbow Flag that symbolizes the gay pride and gay rights movementconsists of six horizontal stripes, each of which has a symbolic meaning: red (life), orange (healing), yellow (sunshine), green (nature), blue (harmony) and purple (spirit). The first six plays in this collection each address one of those themes; the seventh play incorporates them all into one.
Rich Espey’s plays have been produced throughout the United States. Recent highlights include Rice Futures at the 2010 Source Festival and Three Andys produced by Single Carrot Theatre at the Baltimore Museum of Art. His award-winning play Hope’s Arbor was produced by Gallery Players in New York City in June, 2008. Rich is a two time winner of the Carol Weinberg Award for best play at the Baltimore Playwrights Festival. He is a D.C./Baltimore Regional co-representative of the
Dramatists Guild, a member of DC’s Playwrights Gymnasium and the Playwrights Group of Baltimore, has served as Chair of the Baltimore Playwrights Festival and is currently the President of the Board of Single Carrot Theatre. Rich proudly teaches science at The Park School of Baltimore.
The Baltimore Playwrights Festival has presented 273 scripts by 165 playwrights, produced by 25 different companies, over the past 30 Years. Our mission is to provide an environment that nurtures the talents of Maryland and DC playwrights through public readings, discussions, critiques and work-shopping of new plays.Our summer season is devoted to the presentation of these newly developed works to area audiences in cooperation with local area theaters. Further information can be found at www.baltplayfest.org.
Technorati Tags: Baltimore playwrights festival, free readings, Fuzz roark, play storyline, Rainbow Plays, Richard Espy, scripts, Secret Life, Spotlighters theatre, Stanley C Gabor, Stephen Kilduff, Strangers, theater
Visual theatre returns to Theatre Project for two weeks in March with dynamic performances by Baltimore based Nana Projects and Miwa Matreyek, a multi-media artist from L.A.
In conjunction with QuestFest 2012, Quest Visual Theatre's biennial premier international visual theatre festival, Theatre Project will present Nana Project's Alonzo's Lullaby March 9 - 11, and Miwa Matreyek's Myth and Infrastructure and Dreaming of lucid Living March 16 - 18. Talk-backs with the artists will be held following each performance.
In Alonzo's Lullaby, gorgeous hand manipulated cut outs tell a tale of madness, passion and intrigue. Inspired by the Hagenback-Wallace Circus train wreck of 1918, this work is performed by three puppeteers (aka lanterneers) who project 2-dimensional images made of plastic and acrylic gels onto a screen with three overhead projectors. Relying on inventive tricks including scrolls of plastic, masking illusions, and faders allow the puppeteers to manipulate the pieces of plastic with a fluidity that is often mistaken for animation.
Alonzo's Lullaby is a luminous, richly-hued, shadow puppet play for adults, with original score performed by singer/songwriter ellen cherry. Funded by the Jim Henson Foundation, Alonzo's Lullaby received the prestigious Union Internationale de la Marionette citation of excellence in puppetry.
Miwa Matreyek's Myth and Infrastructure and Dreaming of Lucid Living are live performances with projected animation. As the artist walks behind the screen, her shadow becomes an integral part of the animated world - she crosses from domestic/home spaces of kitchens and dining room tables to oceanscapes and cityscapes in a fantastical journey.
Matreyek's performances can be viewed as a cinematic experiences taking place on a screen. What is seen on the screen is a collapsed product of multiple layers of animation, objects and body. Her work exists in a juxtaposition of illusion and non-illusion.
Friday, March 9 @ 7:00pm
Saturday March 10 @ 3:00pm and 8:00 pm
Sunday, March 11 @ 3:00pm
Myth and Infrastructure and Dreaming of Lucid Living
Friday, March 16 @ 7:00pm
Saturday March 17 @ 3:00pm and 8:00 pm
Sunday, March 18 @ 3:00pm
Tickets for all shows
General Admission ~ $20
Seniors/Artists/Military ~ $15
Students ~ $10
** ASL sign language interpreters will be provided for the March 9 & 11 performances of Alonzo's Lullaby and the March 16 & 18 performances of Myth and Infrastructure and Dreaming of Lucid Living. **
Tickets are available through Theatre Project's website and Tixato.
For more information call 410-752-8558.
Alonzo's Lullaby, Myth and Infrastructure, and Dreaming of Lucid Living are being presented as part of QuestFest, a two-week international visual theatre festival. QuestFest features groundbreaking work from exceptional performers and companies dedicated to the use of movement, gesture, and digital media to tell stories. By stripping away the artifice of language, QuestFest builds bridges between disparate communities and cultures.
QuestFest is funded in part by the United States Department of Education, the Herbert Bearman Foundation, the John J. Leidy Foundation, VSA/MetLife Foundation, and Target.
The Charles Theatre in Baltimore is presenting a treasure-trove of Chaplin's films with new 35mm prints.