#mayer lehman

[alittlepawblog]

Hadley Fraser, The Lehman Trilogy Press Night, 2023.

#hadley fraser #the lehman trilogy #mayer lehman #and a whole bunch of other characters #the potato #the beard need their own praise #glorious glorious beard #the man just need to sleep #3hrs play is not an easy defeat

[evalucent]

As the narrative shifts, the three actors playing the three original Lehmans – Henry, Emanuel and Mayer, the head, the arm and "the potato" who keeps peace between them – take on multiple roles.

...

I particularly loved Lindsay's uptight Philip, pouring out his torrent of words as he pushes the business towards the future; the scene where he auditions a succession of potential wives, all played by Fraser with swift changes of voice and gesture is a comic joy; Fraser is wonderful too as the final Lehman, Bobbie, twisting in an ever quickening dance (choreography by Polly Bennett) as the firm hurtles towards the end. 

#hadley fraser #the lehman trilogy #potato hadley #hadley dancing

[notaperfectworld]

Yes yes, I realize The Lehman Trilogy is a Tony-award winning play with Oscar & Tony-Award winning director Sam Mendes bringing it to the West End but…you mean to tell me…we might get multiple hours of Hadley in a tailored suit??? 🫣😵‍💫🥺🥵

“The three actors not only play the three Lehman brothers who founded the business but all other roles. They play their children and grandchildren, including Philip Lehman (son of Emanuel, played by Simon Russell Beale), Herbert Lehman (son of Mayer, played by Ben Miles), and Robert Lehman (son of Philip, played by Adam Godley), as well as various minor characters[20] during the unfolding of family history such as wives, toddlers, and business partners, although they never change the original costume – tailored three-piece suits often seen in 19th-century portraits of men.”

EMPHASIS MINE.

#hadley fraser #straight theater hadley #gorgeous-voiced dreamboat #west end #the lehman trilogy #Michael balogun #Nigel Lindsay #Sam mendes #Hadley in a tailored suit? #I’m here for the literature I swear #😘

[ausetkmt]

The enslavement of African people in the Americas by the nations and peoples of Western Europe, created the economic engine that funded modern capitalism. Therefore it comes as no surprise that most of the major corporations that were founded by Western European and American merchants prior to roughly 100 years ago, benefited directly from slavery.

Lehman Brothers, whose business empire started in the slave trade, recently admitted their part in the business of slavery.

According to the Sun Times, the now-defunct financial services firm acknowledged that its founding partners owned not one, but several enslaved Africans during the Civil War era and that, “in all likelihood,” it “profited significantly” from slavery.

“This is a sad part of our heritage …We’re deeply apologetic … It was a terrible thing … There’s no one sitting in the United States in the year 2005, hopefully, who would ever, in a million years, defend the practice,” said Joe Polizzotto, general counsel of Lehman Brothers.

Aetna, Inc., the United States’ largest health insurer, apologized for selling policies in the 1850s that reimbursed slave owners for financial losses when the enslaved Africans they owned died.

“Aetna has long acknowledged that for several years shortly after its founding in 1853 that the company may have insured the lives of slaves,” said Aetna spokesman Fred Laberge in 2002. “We express our deep regret over any participation at all in this deplorable practice.”

“Today, we are reporting that this research found that, between 1831 and 1865, two of our predecessor banks — Citizens Bank and Canal Bank in Louisiana — accepted approximately 13,000 enslaved individuals as collateral on loans and took ownership of approximately 1,250 of them when the plantation owners defaulted on the loans,” the company wrote in a statement.

New York Life Insurance Company is the largest mutual life insurance company in the United States. They also took part in slavery by selling insurance policies on enslaved Africans.

According to USA Today, evidence of 10 more New York Life slave policies comes from an 1847 account book kept by the company’s Natchez, Miss., agent, W.A. Britton. The book, part of a collection at Louisiana State University, contains Britton’s notes on slave policies he wrote for amounts ranging from $375 to $600. A 1906 history of New York Life says 339 of the company’s first 1,000 policies were written on the lives of slaves.

USA Today reported that Wachovia Corporation (now owned by Wells Fargo) has apologized for its ties to slavery after disclosing that two of its historical predecessors owned enslaved Africans and accepted them as payment.

“On behalf of Wachovia Corporation, I apologize to all Americans, and especially to African-Americans and people of African descent,” said Ken Thompson, Wachovia chairman and chief executive officer, in the statement. “We are deeply saddened by these findings.”

N M Rothschild & Sons Bank in London was linked to slavery. The company that was one of the biggest names in the City of London had previously undisclosed links to slavery in the British colonies. Documents seen by the Financial Times have revealed that Nathan Mayer Rothschild, the banking family’s 19th-century patriarch, made personal gains by using enslaved Africans as collateral in dealings with a slave owner.

Norfolk Southern also has a history in the slave trade. The Mobile & Girard company, which is now part of Norfolk Southern, offered slaveholders $180 ($3,379 today) apiece for enslaved Africans they would rent to the railroad for one year, according to the records. The Central of Georgia, another company aligned with Norfolk Southern line today, valued its slaves at $31,303 ($663,033 today) on record.

USA Today has found that their own parent company, E.W. Scripps and Gannett, has had links to the slave trade.

According to reports, FleetBoston evolved from an earlier financial institution, Providence Bank, founded by a John Brown, who was a slave trader and owned ships used to transport enslaved Africans.

The bank financed Brown’s slave voyages and profited from them. Brown even reportedly helped charter what became Brown University.

CSX used slave labor to construct portions of some U.S. rail lines under the political and legal system that was in place more than a century ago.

Two enslaved Africans whom the company rented were identified as John Henry and Reuben. The record states, “they were to be returned clothed when they arrived to work for the company.”

Individual enslaved Africans cost up to $200 — the equivalent of $3,800 today — to rent for a season and CSX took full advantage.

Brown Brothers Harriman is the oldest and largest private investment bank and securities firm in the United States, founded in 1818. USA Todayfound that the New York merchant bank of James and William Brown, currently known as Brown Bros. Harriman owned hundreds of enslaved Africans and financed the cotton economy by lending millions to southern planters, merchants and cotton brokers.

USA Today reported that New York-based AIG completed the purchase of American General Financial Group, a Houston-based insurer that owns U.S. Life Insurance Company. A U.S. Life policy on an enslaved African living in Kentucky was reprinted in a 1935 article about slave insurance in The American Conservationist magazine.

AIG says it has “found documentation indicating” U.S. Life insured enslaved Africans.

#15 Major Corporations You Never Knew Profited from Slavery #slavery economics #Black People Matter

[publiclegalinformation]

Business Law and the Legal Environment By Professor Don Mayer and Others for Free Download (Human Right of Free Access to Law Advocacy Free Digital Legal Library)

Business Law and the Legal Environment By Professor Don Mayer and Others for Free Download (Human Right of Free Access to Law Advocacy Free Digital Legal Library)

Business Law and the Legal Environment By Professor Don Mayer and Others for Free Download (Human Right of Free Access to Law Advocacy Free Digital Legal Library) Book Title: Business Law and the Legal Environment Book Authors: Professor Don Mayer, University of Miami (United States of America) Professor Daniel M. Warner, Western Washington University (United States of America) Professor George…

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#Business Law and the Legal Environment Book and eBook Assistant Professor Professor Daniel M. Warner #Business Law and the Legal Environment Book and eBook Assistant Professor Professor George J. Siedel #Business Law and the Legal Environment Book and eBook By Professor Don Mayer #Business Law and the Legal Environment Book and eBook Review by Assistant Professor Jennifer Lehman #Chapter 1: Introduction to Law and Legal Systems #Chapter 2: Corporate Social Responsibility and Business Ethics #Chapter 31: Introduction to Property: Personal Property and Fixtures #Chapter 33: The Nature and Regulation of Real Estate and the Environment #Chapter 34: The Transfer of Real Estate by Sale #Chapter 35: Landlord and Tenant Law #Chapter 41: Partnership Operation and Termination #Chapter 43: Corporation: General Characteristics and Formation #Chapter 49: Unfair Trade Practices and the Federal Trade Commission

[mysticalhearth]

L

La Cage aux Folles - Broadway - November 15, 1987 (Closing Night) (House-Cam's master) FORMAT:  VOB (with smalls) (SD) CAST: Peter Marshall (Georges), Keene Curtis (Albin/Zazá), John Weiner (Jean-Michel), David Jackson (Jacob), Jennifer Smith (Anne), Jay Garner (Edouard Dindon), Darcy Pulliam (Mme. Dindon), Bill Burns (Francis) NOTES: Gen loss and picture jumps but this is overall a very good recording. Audio from the soundboard. Dead space has been removed and the video is now in widescreen. No action is missing. La Cage aux Folles - London Theatre Players - July, 1991 (House-Cam's master) FORMAT:  VOB (with smalls) (SD) CAST: Unknown NOTES: Not the West End production as sometimes listed.  

La Cage aux Folles - The Netherlands - 1995 FORMAT:  VOB (with smalls) (SD) CAST: Fred Butter (Georges) NOTES: Pro-shot. The Last Five Years - Northlight Theatre, Skokie, IL (Chicago) - 2001 (Pro-Shot's master) FORMAT:  MKV (HD) CAST: Norbert Leo Butz (Jamie Wellerstein), Lauren Kennedy (Cathy Hiatt) NOTES: Available in various qualities. Great multicam proshot featuring Lauren Kennedy. The Last Five Years - Off-Broadway - April 5, 2002 FORMAT:  VOB (no smalls) (SD) CAST: Norbert Leo Butz (Jamie Wellerstein), Sherie Rene Scott (Cathy Hiatt) The Last Five Years - San Francisco - May 14, 2016 (SJ Bernly's master) FORMAT:  VOB (with smalls) (SD) CAST: Zak Resnick (Jamie Wellerstein), Margo Seibert (Cathy Hiatt) The Last Five Years - Virtual - June 25-27, 2020 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: Danny Becker (Jamie Wellerstein), Lauren Samuels (Cathy Hiatt) NOTES: Virtual lockdown performance, streamed online by The Other Palace on June 25-27, recorded at an earlier date.  Legally Blonde - Broadway - April 14, 2007 (Preview) (SunsetBlvd79's master) FORMAT:  VOB (no smalls) (SD) CAST: Laura Bell Bundy (Elle Woods), Christian Borle (Emmett Forrest), Richard H Blake (Warner Huntington III), Orfeh (Paulette), Kate Shindle (Vivienne Kensington), Nikki Snelson (Brooke Wyndham/Shandi), Michael Rupert (Professor Callahan), Annaleigh Ashford (Margot), Leslie Kritzer (Serena), DeQuina Moore (Pilar), Andy Karl (Kyle/Grandmaster Chad/Dewey), Natalie Joy Johnson (Veronica/Enid), Kate Wetherhead (Kate/Chutney) NOTES: Great fun show and nice capture. Laura was wonderful along with a fantastic cast. A- Legally Blonde - Broadway - May 19, 2007 FORMAT:  VOB (with smalls) (SD) CAST: Laura Bell Bundy (Elle Woods), Christian Borle (Emmett Forrest), Richard H Blake (Warner Huntington III), Leslie Kritzer (e/c Paulette), Kate Shindle (Vivienne Kensington), Nikki Snelson (Brooke Wyndham/Shandi), Michael Rupert (Professor Callahan), Annaleigh Ashford (Margot), Tracy Jai Edwards (u/s Serena), DeQuina Moore (Pilar), Andy Karl (Kyle/Grandmaster Chad/Dewey), Natalie Joy Johnson (Veronica/Enid), Kate Wetherhead (Kate/Chutney) NOTES: A nice capture of the show. Missing about 3 and a half minutes of the show during Legally Blonde remix and about 8 seconds of skipping at the very end during the graduation. A- Legally Blonde - Broadway - July 1, 2007 (SunsetBlvd79's master) FORMAT:  MP4 (SD) CAST: Laura Bell Bundy (Elle Woods), Christian Borle (Emmett Forrest), Richard H Blake (Warner Huntington III), Orfeh (Paulette), Kate Shindle (Vivienne Kensington), Nikki Snelson (Brooke Wyndham/Shandi), Michael Rupert (Professor Callahan), Annaleigh Ashford (Margot), Leslie Kritzer (Serena), DeQuina Moore (Pilar), Andy Karl (Kyle/Grandmaster Chad/Dewey), Natalie Joy Johnson (Veronica/Enid), Kate Wetherhead (Kate/Chutney), Tracy Jai Edwards (u/s Cece) NOTES: DeQuina Moore's last performance Legally Blonde - Broadway - September 18, 2007 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Laura Bell Bundy (Elle Woods), Christian Borle (Emmett Forrest), Richard H Blake (Warner Huntington III), Orfeh (Paulette), Kate Shindle (Vivienne Kensington), Nikki Snelson (Brooke Wyndham/Shandi), Michael Rupert (Professor Callahan), Annaleigh Ashford (Margot), Tracy Jai Edwards (Serena), Asmeret Ghebremichael (Pilar), Andy Karl (Kyle/Grandmaster Chad/Dewey), Natalie Joy Johnson (Veronica/Enid), Kate Wetherhead (Kate/Chutney) NOTES: MTV Proshot, Broadcast October 13th and October 14th 2007. Legally Blonde - First National Tour - February 22, 2009 (Highlights) FORMAT:  VOB (with smalls) (SD) |  TRADER'S NOTES: Act 1 only one highlights CAST: Laura Bell Bundy (t/r Elle Woods), DB Bonds (Emmett Forrest), Jeff McLean (Warner Huntington III), Natalie Joy Johnson (Paulette), Megan Lewis (Vivienne Kensington), Coleen Sexton (Brooke Wyndham/Shandi), Ken Land (Professor Callahan), Kate Rockwell (t/r Margot), Cortney Wolfson (Serena), Crystal Joy (Pilar), Ven Daniel (Kyle/Grandmaster Chad/Dewey), Gretchen Burghart (Veronica/Enid) NOTES: Limited highlights consist of everything from “Legally Blonde” to the end of the show (Around 23 minutes total) Legally Blonde - First National Tour - June 7, 2009 FORMAT:  VOB (no smalls) (SD) CAST: Lauren Zakrin (u/s Elle Woods), DB Bonds (Emmett Forrest), Nick Dalton (u/s Warner Huntington III), Natalie Joy Johnson (Paulette), Megan Llewellyn (Vivienne Kensington), Coleen Sexton (Brooke Wyndham/Shandi), Ken Land (Professor Callahan), Rhiannon Hansen (Margot), Cortney Wolfson (Serena), Crystal Joy (Pilar), Ven Daniel (Kyle/Grandmaster Chad/Dewey), Gretchen Burghart (Veronica/Enid), Alex Ellis (Kate/Chutney) Legally Blonde - First UK Tour - October 4, 2011 FORMAT:  VOB (with smalls) (SD)   |   NFT: Forever CAST: Faye Brookes (Elle Woods), Iwan Lewis (Emmett Forrest), Neil Toon (Warner Huntington III), Claire Sweeney (Paulette), Charlotte Harwood (Vivienne Kensington), Hannah Grover (Brooke Wyndham/Shandi), Dave Willetts (Professor Callahan), Sophie Isaacs (Margot), Sinead Long (Serena), Micha Richardson (Pilar), Lewis Griffiths (Kyle/Grandmaster Chad/Dewey), Gemma Baird (Veronica/Enid), Nia Jermin (Kate/Chutney) NOTES: An amazing capture in 16:9 wide-screen with no obstructions with action well followed. This cast is a real treat giving Impeccable sparkling performances. Brookes’s Elle really shines and she is a joy to watch. A+ The Lehman Trilogy - West End - July 25, 2019 (Pro-Shot's master) FORMAT:  MKV (HD) CAST: Simon Russell Beale (Henry Lehman), Ben Miles (Emanuel Lehman), Adam Godley (Mayer Lehman) NOTES: Filmed live in July 2019 by the Royal National Theatre. Lift - Beautiful Soup Theater, NYC - November 21, 2013 FORMAT:  VOB (with smalls) (SD) CAST: Kimberly Faye Greenberg (The French Teacher), Erin Elizabeth Eichhorn (The Secretary), Spencer Kurtti (The Busker), Randall Glen Taylor (Bright Young Thing), Samantha Mercado-Tudda (The Lap Dancer), and Morgan DeTogne and Jeffrey Van Damme (The American Tourists) NOTES: Filmed using one camera on a tripod. Lift - Soho Theatre - January, 2013 (Pro-Shot's master) FORMAT:  VOB (with smalls) (SD) CAST: George Maguire (Busker), Cynthia Erivo (Lap Dancer), Julie Atherton (French Teacher), Nikki Davis-Jones (Secretary), Jonny Fines (Ballet Dancer), Luke Kempner (Bright Young Thing), Ellie Kirk (Athletic & Wearing a Thong), Robbie Towns (Tall, Dark and Handsome) NOTES: Original London production, recorded at the Soho Theatre. Proshot. An ensemble story involving the connected lives of people riding an elevator together in Covent Garden. Nominated for Best Original Score at the 2014 Whatsonstage 

The Lightning Thief: The Percy Jackson Musical - Broadway - October, 2019 (StarCuffedJeans's master) FORMAT:  MP4 (HD) CAST: Chris McCarrell (Percy Jackson), Kristin Stokes (Annabeth Chase), Jorrel Javier (Grover/Mr. D), James Hayden Rodriguez (Luke & others), Jalynn Steele (Sally Jackson & others), Sarah Beth Pfeifer (Clarisse & others), Ryan Knowles (Chiron & others) NOTES: Fantastic HD capture of the Broadway transfer of this show, filmed from the orchestra. The video starts part of the way through the first number. Act Two starts after the bus explodes. Please do not post screenshots of this video on Twitter ever. Gifs on Tumblr are okay after the NFT date, but don't go linking things to actors and shows. The Lightning Thief: The Percy Jackson Musical - Off-Broadway - August 20, 2014 FORMAT:  VOB (with smalls) (SD) CAST: Eric Meyers (Percy Jackson), Kristin Stokes (Annabeth Chase), Jordan Stanley (Grover/Mr. D), Parker Drown (Luke & others), Zakiya Young (Sally Jackson & others), Graham Stevens (Chiron & others) The Lightning Thief: The Percy Jackson Musical - Off-Broadway - April 15, 2017 (Highlights) FORMAT:  MOV (HD) |  TRADER'S NOTES: Working on uploading, PLEASE DO NOT REQUEST CAST: Chris McCarrell (Percy Jackson), Kristin Stokes (Annabeth Chase), George Salazar (Grover/Mr. D), James Hayden Rodriguez (Luke & others), Carrie Compere (Sally Jackson & others), Sarah Beth Pfeifer (Clarisse & others), Jonathan Raviv (Chiron & others) NOTES: Collection of 15 clips. Non-consecutive. It's a really obstructed video, and it only has 50 minutes of the show. Highlights include: Put You In Your Place, The Campfire Song, The Oracle, Good Kid, Killer Quest!, Lost!, My Grand Plan, Drive, DOA, Son of Poseidon, The Last Day of Summer, and Bring on the Monster. Several of the songs are incomplete, and there are some other scenes as well. The Lion King - Broadway - November 16, 1997 FORMAT:  VOB (with smalls) (SD) CAST: Jason Raize (Simba), John Vickery (Scar), Heather Headley (Nala), Tsidii Le Loka (Rafiki), Max Casella (Timon), Tom Alan Robbins (Pumbaa), Geoff Hoyle (Zazu), Stanley Wayne Mathis (Banzai), Kevin Cahoon (Ed) NOTES: Filmed RIGHT after opening night on Broadway when the show was still fresh. Shot from one of the boxes, resulting in an extreme angle (think near-perpendicular) so you can see into the wings and watch the actors slacking. Sound is great and it’s very well shot for a vid of its age though there is a touch of gen loss. Circle of Life is near perfect despite a little bit of washout. The Lion King - National Tour - June 5, 2010 FORMAT:  VOB (no smalls) (SD) CAST: Andre Jackson (Simba), Brent Harris (Scar), Frank Wright II (u/s Mufasa), Marja Harmon (Nala), Phindile Mkhize (Rafiki), Jered Tanner (u/s Pumbaa), Sophia Stephens (u/s Shenzi), Jerome Stephens Jr (Young Simba), Jamariana Tribble (Young Nala) NOTES: A couple of blackouts during Circle of Life and first couple of minutes of act two, otherwise nice capture. The Lion King - West End - September 30, 2001 FORMAT:  VOB (no smalls) (SD) CAST: Roger Wright (Simba), Rob Edwards (Scar), Ray Shell (Mufasa), Javine Hilton (Nala), Sharon D Clarke (Rafiki), Ian Hughes (Timon), Howard Crossley (Pumbaa), Eric Mallett (Zazu) NOTES: No picture for first 15 minutes and then great picture; good sound all the way and nice closeups at times. Rare! The Little Mermaid - Broadway - January 30, 2008 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Sierra Boggess (Ariel), Sherie Rene Scott (Ursula), Bret Shuford (u/s Prince Eric), Norm Lewis (King Triton), Tituss Burgess (Sebastian), Eddie Korbich (Scuttle), Jonathan Freeman (Grimsby), Derrick Baskin (Jetsam), Tyler Maynard (Flotsam), Cody Hanford (Flounder), Heidi Blickenstaff (Carlotta), John Treacy Egan (Chef Louis) NOTES: Great capture with great closups. The first 11 minutes after the overture are mostly blackouts due to late comers, after that no real problems. Bret did a nice job as understudy. Sierra and Sherie still rock with much greatness! Also includes the Part of Your World performance and interview on The View. A- The Little Mermaid - The Netherlands - 2012 (Highlights) FORMAT:  VOB (no smalls) (SD) CAST: Jantien Euwe/Tessa van Tol (Ariel), Britt Lenting (u/s Ursula), Mischa Kiek/Tommie Christiaan (Prince Eric), Roberto de Groot (Sebastian) NOTES: Highlights for about 35 minutes from different shows The Little Mermaid - The Netherlands - 2013 FORMAT:  MP4 (HD) CAST: Tessa van Tol (Ariel), Ellis van Laarhoven (alt Ursula), Tommie Christiaan (Prince Eric), Marc-Peter van der Maas (u/s King Triton), Juan Wells (Sebastian), Martijn Vogel (Flounder) NOTES: No zooms and some heads in the way. In act 2 mostly pointed too high. C/D quality Little Miss Sunshine - UK Tour - May, 2019 (hitmewithyourbethshot's master) FORMAT:  MP4 (HD) CAST: Evie Gibson (Olive Hoover), Gabriel Vick (Richard Hoover), Lucy O’Byrne (Sheryl Hoover), Paul Keating (Frank Hoover), Mark Moraghan (Grandpa Hoover), Sev Keoshgerian (Dwayne Hoover), Imelda Warren-Green (Linda/Miss California), Matthew McDonald (Josh/Kirby), Ian Carlyle (Larry/Buddy) A Little Night Music - New York City Opera - November 7, 1990 (Pro-Shot's master) FORMAT:  MP4 (SD) CAST: Sally Ann Howes (Desiree Armfeldt), Regina Resnik (Madame Armfeldt), George Lee Andrews (Fredrik Egerman), Beverly Lambert (Anne Egerman), Kevin Anderson (Henrik Egerman), Michael Maguire (Count Carl-Magnus Malcolm), Maureen Moore (Countess Charlotte Malcolm), Susan Terry (Petra), Danielle Ferland (Fredrika Armfeldt), Ron Baker (Mr. Lindquist), Lisa Saffer (Mrs. Nordstrom), Barbara Shirvis (Mrs. Anderssen), Michael Rees Davis (Mr. Erlanson), Susanne Marsee (Mrs. Segstrom), David Comstock (Frid) NOTES: Production at Lincoln Center, PBS aired, pro-shot. Very slight generational loss. A Little Night Music - Théâtre Du Châtelet - 2010 (House-Cam's master) FORMAT:  VOB (with smalls) (SD) CAST: Greta Scacchi (Desiree Armfeldt), Leslie Caron (Madame Armfeldt), Lambert Wilson (Fredrik Egerman), Rebecca Bottone (Anne Egerman), David Curry (Henrik Egerman), Nicholas Garrett (Count Carl-Magnus Malcolm), Deanne Meek (Countess Charlotte Malcolm), Francesca Jackson (Petra), Celeste de Veazey (Fredrika Armfeldt) NOTES: This is the first production of Sondheim's show ever in France. Produced at the world-famous Theatre du Chatelet in Paris. In English and full stage shot with clear sound but no closeups. A Little Shop of Horrors - American Musical Theater Of San Jose - January-February, 2008 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Josh Lamon (Seymour), Christiane Noll (Audrey), Hal Linden (Mushnik), Todd Alan Johnson (Orin), Michael Mandell (Audrey II), Kristin McDonald (Crystal), Izetta Fang (Ronnette), Adrienne Miller (Chiffon) NOTES: Single camera on tripod, mix of full-stage and mid-range shots, soundboard Little Shop of Horrors - Encores! Off-Center - July 1, 2015 (Opening Night) (NYCG8R's master) FORMAT:  VOB (with smalls) (SD) CAST: Jake Gyllenhaal (Seymour), Ellen Greene (Audrey), Joe Grifasi (Mushnik), Taran Killam (Orin), Eddie Cooper (Audrey II), Marva Hicks (Crystal), Ramona Keller (Ronnette), Tracy Nicole Chapman (Chiffon) NOTES: Opening Night filmed from the very back of City Center, so there is some spotlight washout that's never too bad and a head that's shot well around. A- Little Shop of Horrors - Encores! Off-Center - July 2, 2015 (Matinee) (SunsetBlvd79's master) FORMAT:  VOB (no smalls) (SD) CAST: Jake Gyllenhaal (Seymour), Ellen Greene (Audrey), Joe Grifasi (Mushnik), Taran Killam (Orin), Eddie Cooper (Audrey II), Marva Hicks (Crystal), Ramona Keller (Ronnette), Tracy Nicole Chapman (Chiffon) NOTES: Beautiful HD capture of the Encores Summer Series. Ellen and Jake were perfection and this was the 2015 show that was not to be missed! The last 15 mins (customers coming in and song/scene finale don't feed the plants) are mostly blind shot, where a few times no action can be seen. Everything else is there and beautiful. A- Little Shop of Horrors - Off-Broadway Revival - January 24, 2020 (Highlights) FORMAT:  MP4 (HD) CAST: Gideon Glick (Seymour), Tammy Blanchard (Audrey), Tom Alan Robbins (Mushnik), Christian Borle (Orin), Kingsley Leggs (Audrey II), Salome Smith (Crystal), Ari Groover (Ronnette), Joy Woods (Chiffon) NOTES: Highlights include from "Dentist!" to "Mushnik and Son" and from "Suddenly Seymour" to "Suppertime" Little Shop of Horrors - Pasadena Playhouse - October 13, 2019 FORMAT:  MOV (HD) CAST: George Salazar (Seymour), MJ Rodriguez (Audrey), Kevin Chamberlin (Mushnik), Matthew Wilkas (Orin), Amber Riley (Audrey II), Cheyenne Isabel Wells (Crystal), Brittany Campbell (Ronnette), Tickwanya Jones (Chiffon), Brittany Campbell, Cheyenne Isabel Wells, Tickwanya Jones NOTES: Includes the full show and the curtain call. There is some drifting in Act One, but it isn’t as prevalent in Act Two. There are a lot of obstructions, but I was (mostly) able to film around them. The only part that was really blocked was Somewhere That’s Green. Somewhere That’s Green (Reprise) is the only majorly whitewashed part, but other than that it’s not too much of an issue. Overall, it’s a pretty decent capture of the show, considering it’s my first video master. Little Women - Broadway - December 11, 2004 (Preview) FORMAT:  VOB (no smalls) (SD) CAST: Sutton Foster (Jo), Danny Gurwin (Laurie), Megan McGinnis (Beth), Jenny Powers (Meg), Amy McAlexander (Amy), Maureen McGovern (Marmee), Janet Carroll (Aunt March), John Hickok (Professor Bhaer), Robert Stattel (Mr. Laurence), Jim Weitzer (Mr. Brooke) NOTES: Excellent video capture of the show! A little spotlight washout in the first 15 mins. Sound is excellent throughout. Also includes short Preview piece from NY1. Lizzie - Amherst - April 7, 2018 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Kiely Mugford (Lizzie Borden), Emma Ratshin (Emma Borden), Willa Grimes (Alice Russell), Dominique Manuel (Bridget Sullivan) NOTES: This is a proshot/house cam that the production company (Amherst College Green Room) has posted online in full 1080p resolution. Lord of the Rings: The Musical - Toronto, Canada - August 26, 2006 (Highlights) FORMAT:  VOB (with smalls) (SD) CAST: James Loye (Frodo), Peter Howe (Sam), Brent Carver (Gandalf), Evan Buliung (Aragorn), Rebecca Jackson Mendoza (Galadriel), Owen Sharpe (Pippin), Dylan Roberts (Merry), Michael Therriault (Gollum), Carly Street (Arwen), Victor A Young (Elrond), Dion Johnstone (Boromir), Gabriel Burrafato (Legolas), Ross Williams (Gimli), Richard McMillan (Saruman), Kristin Galer (Rosie Cotton), Cliff Saunders (Bilbo Baggins), Kerry Dorey NOTES: Footage that runs over an hour long. Pretty dark and most full stage shots. Includes scenes from Acts 2 and 3. Often listed as several different dates including March 23, 2006 Love in Hate Nation - Red Bank - November 30, 2019 (Highlights) (Sammi's master) FORMAT:  MP4 (SD) CAST: Amina Faye (Susannah), Kelly McIntyre (Sheila Nail), Emerson Mae Smith (Kitty), Lauren Marcus (Miss Asp), Lena Skeele (Dorothy), Tatiana Wechsler (Judith), Sydney Farley (Ya-Ya), Jasmine Forsberg (Rat), Ryan Vona (Francis/Buzz/Doc Shock/Others) NOTES: Act 1 only. Sammi's master. Notes from master: go nuts with my boots, share them, gif them, yt them, the world is your oyster. Love Letters - Online Reading - May 21, 2020 (Pro-Shot's master) FORMAT:  MP4 (HD) CAST: Sally Field (Melissa Gardner), Bryan Cranston (Andrew Makepeace Ladd III) Love Never Dies - First National Tour - September 25, 2018 (SunsetBlvd79's master) FORMAT:  VOB (with smalls) (SD) CAST: Bronson Norris Murphy (The Phantom), Meghan Picerno (Christine Daaé), Sean Thompson (Raoul, Vicomte de Chagny), Karen Mason (Madame Giry), Mary Michael Patterson (Meg Giry), Katrina Kemp (Fleck), Richard Koons (Squelch), Stephen Petrovich (Gangle), Jake Heston Miller (Gustave) NOTES: Wonderful HD capture of the reworked North American Tour. Everything is nicely captured and great performances from the cast. I really enjoyed this production and cast! A Love Never Dies - Melbourne - September 15, 2011 (Pro-Shot's master) FORMAT:  MKV (HD) CAST: Ben Lewis (The Phantom), Anna O’Byrne (Christine Daaé), Simon Gleeson (Raoul, Vicomte de Chagny), Maria Mercedes (Madame Giry), Sharon Millerchip (Meg Giry), Emma J Hawkins (Fleck), Paul Ettore Tabone (Squelch), Dean Vince (Gangle), Jack Lyall (Gustave) NOTES: Pro-shot of the revamped Australian Production. Released on BluRay. Love Never Dies - Vienna, Austria - October 18, 2013 (Opening Night) FORMAT:  VOB (with smalls) (SD) CAST: Drew Sarich (The Phantom), Milica Jovanovic (Christine Daaé), Julian Looman (Raoul, Vicomte de Chagny), Maya Hakvoort (Madame Giry), Barbara Obermeier (Meg Giry), Katja Berg (Fleck), Peter Kratochvil (Squelch), Armin Kahl (Gangle), Leonid Sushon (Gustave) NOTES: The master of this recording has encoded the dvd in CSS (Content Scrambling System). However it is easily crackable with free software like Handbrake. Love Never Dies - West End - June 25, 2010 (House-Cam's master) FORMAT:  VOB (with smalls) (SD) CAST: Ramin Karimloo (The Phantom), Sierra Boggess (Christine Daaé), Joseph Millson (Raoul, Vicomte de Chagny), Liz Robertson (Madame Giry), Summer Strallen (Meg Giry) NOTES: House cam pro-shot. Pre-changes. Mic seems to cut out toward the end of "The Beauty Underneath" but is back by "The Phantom Confronts Christine." Love Story - Dutch Tour - February 14, 2014 FORMAT:  MP4 (HD) CAST: Celinde Schoenmaker (Jennifer Cavilleri), Freek Bartels (Oliver Barrett IV), Dick Cohen (Phil Cavilleri), Ad Knippels (Mr. Oliver Barrett III), Jeannine Geerts (Oliver's Mother), Jonathan Demoor (Dokter Selzer), Liss Walravens (Sara Jane) Lungs - London (Social Distancing Version) - July 4, 2020 (Matinee) (Pro-Shot's master) FORMAT:  VOB (no smalls) (SD) CAST: Matt Smith (M), Claire Foy (W) NOTES: Screen-recording of the livestream of the socially distanced version. Fuzzy video quality, audio is fine. The frame rate seems to be low so the video lags.

[chrisgaffey]

North by Northwest 1959 Director: Alfred Hitchcock Screenwriter: Ernest Lehman. DoP: Robert Burke. Editor: George Tomasini

Hitchcock had agreed to do a film for MGM and, on the recommendation of composer Bernard Herman, brought in screenwriter Ernest Lehman to adapt the novel The Wreck of the Mary Deare. Lehman struggled with the material and after 3 weeks offered to quit. Hitchcock got along well with Lehman and told him to overcome writer’s bock they would just write something else. Lehman said that he wanted to write the ultimate Hitchcock picture. Hitchcock offered up an idea he had always wanted to do for a climatic chase across the face of Mount Rushmore. Lehman and Hitchcock spitballed more ideas and settled on a murder at the UN building for the opening of a man on the run story.  North by Northwest was to become the most stylish chase thriller of all time. 

Hitchcock had in fact been working on a mistaken identity decoy-spy story prior to meeting Lehman. Inspired by a true WW2 disinformation operation where British Intelligence invented a fictitious officer and arranged for his dead body and misleading documents to be discovered by the Germans, Otis Guernsey, an American journalist, wrote an outline story about an American salesman who travels to the Middle East and is mistaken for an secret agent. Hitchcock bought the idea for $10,000. Lehman changed the Salesman to a Madison Avenue advertising executive, a position which he had formerly held. 

Hitchcock had the idea of the hero being stranded in the middle of nowhere, with the villains attempting to kill him with a tornado! Lehman developed this to became the infamous crop-duster plane scene, set in rural Indiana, where the hero is hunted down in bright sunlight with nowhere to hide.  The scene was in fact filmed on a highway in central California near the town of Wasco.  Hitchcock simply added square signs to the location to replicate those found in Indiana.

North By Northwest was the only Hitchcock film released by Metro-Goldwyn-Mayer and at his insistence it was made in Paramount's VistaVision widescreen process.

#Hitchcock #Cary Grant #north by northwest #screenwriting #tailoring

[xhxhxhx]

I removed some books today.

I think of myself as a minimalist, but that doesn’t happen to be true. I have acquired more books than I will ever read. They still sit, stacked and unreachable, in piles by the walls, two dozen books tall and sometimes two books deep.

I don’t think I know where they all came from. I think more came from online than from any physical store. I bought them from Abebooks, the sales search platform that Amazon owns now. Abebooks tell you the names of the sellers, but they seem unconnected to any real place.

From Better World Books. From Thrift Books and Bookbarn. From Silver Arch Books, Motor City Books, Free State Books, Sierra Nevada Books, Yankee Clipper Books, and the Atlanta Book Company. From Green Earth Books and Housing Works Books. From Goldstone Books and Powell’s Books and Kennys Bookshop and Art Galleries. From Satellite Books and the Orchard Bookshop. From Blue Cloud Books and Hippo Books and Wonder Book.

They’re from all over, from places you’ve never been, places you’ll never be. They’re names on a box. But then there are the books from more intimate places, intimately connected

From library’s old bookstore, which sold paperbacks for fifty cents, hardcovers for a dollar. From the basement of the old independent bookstore down on Front Street, where they sold remaindered and overstocked books marked down with red-orange tape. From the thrift store across the street, which charged too much.

From the Chapters at the mall in your hometown, or the Chapters and Indigo in the places you’ve been to, from the shelves of marked-down items where you looked for bargains, for the books you knew you should read, and all the books you never would. Places where you could drink sweet cream and coffee and pretend to read.

From the Borders in Syracuse, where you idled while the family went to the fair, where they always said they were going to build the largest mall in America, but never did. There was another Borders in South Florida, where they were stripping fixtures from the walls because the books had not sold, and so the Borders had to be. They still have bookstores. I’m not sure what they sell now. Postcards, I think.

The books still in my room had postcards from people I will never know, dedications to people I will never see, business cards from people who have moved on to other work. But their spines are unbroken, their pages unmarked. I guess I wanted them that way. I bought them like that.

I sometimes worried they would break through the floor. I would wake up to the collapse of everything I have ever owned as I plummeted a few short feet to my death. I guess it would probably take longer than that. I would have to wait for them to crush me. That mass of books would fall on me, blotting out the light. Crushed beneath nearly everything I have ever owned.

That’s what happened to the clerk Toshiko Sasaki in John Hershey’s Hiroshima, who was seated at her desk on August 6, 1945, in front of a couple of bookcases from the factor library:

Everything fell, and Miss Sasaki lost consciousness. The ceiling dropped suddenly and the wooden floor above collapsed in splinters and the people up there came down and the roof above them gave way; but principally and first of all, the bookcases right behind her swooped forward and the contents threw her down, with her left leg horribly twisted and breaking underneath her. There, in the tin factory, in the first moment of the atomic age, a human being was crushed by books.

Miss Sasaki made out alright, although not so well as to not ask the question “If your God is so good and kind, how can he let people suffer like this?” But then, I have more books than she did.

I removed some books today. I still have more I want to remove. I just don’t have the boxes for them. I took the boxes I did have in the back of my car to a mass-market thrift store, where they will end up on the shelves by the leather jackets. 

Perhaps they will end on some other shelf, like a postcard from somewhere unknown, in someone else’s memory. But I don’t think they will. I don’t think they’ll sell. There aren’t enough people here who spend money pretending to read.

I don’t know what will happen to them. I suppose they will pulp them. Or perhaps they will end in a landfill, crushed beneath their own weight, suffocating beneath the earth we have made for them until life reclaims them.

I wrote out a partial list of the books I threw out. I don’t know what it says about me. There’s a double significance here: These are books I bought, for some amount of money, but these are also books I am throwing away, because I asked the question the woman told me to ask, which was whether they sparked joy, and I answered no.

Those books in the photo are the books that have not yet been thrown away. Here, below the fold, are the books that have:

Judith Fitzgerald’s Sarah McLachlan: Building a Mystery

Mordecai Richler’s Oh Canada! Oh Quebec!

Jonathan Coe’s The Rotter’s Club

Misha Glenny’s McMafia

Joinville and Villehardouin’s Chronicles of the Crusades

Michael Ignatieff’s The Lesser Evil

Russell Dalton’s Citizen Politics in Western Democracies: Public Opinion and Political Parties in the United States, Great Britain, West Germany, and France

Richard Finn’s Winners in Peace: MacArthur, Yoshida, and Postwar Japan

Ramachandra Guha’s India After Gandhi

Fox Butterfield’s China: Alive in the Bitter Sea

Anthony Sampson’s The Changing Anatomy of Britain

Masanori Hashimoto’s The Japanese Labor Market in a Comparative Perspective with the United States

Donald Keene’s Dawn to the West: Japanese Literature of the Modern Era: Poetry, Drama, Criticism

Andrei Shleifer’s Without a Map: Political Tactics and Economic Reform in Russia

Peter Newman’s The Secret Mulroney Tapes

Nicholas Negroponte’s Being Digital

Lesley Downer’s The Brothers: The Hidden World of Japan’s Richest Family

Harold Vogel’s Entertainment Industry Economics

Stephen Goldsmith and William D. Eggers’s Governing by Network: The New Shape of the Public Sector

Donald Harman Akenson, Saint Saul: A Skeleton Key to the Historical Jesus

Philip Ziegler’s King Edward VIII

David Wessel’s In FED We Trust

Robert Dallek’s Flawed Giant: Lyndon Johnson and His Times, 1961--1973

David Halberstam’s The Reckoning

David Bell’s The First Total War: Napoleon’s Europe and the Birth of Warfare as We Know It

Kevin Phillips’s The Cousins’ Wars

Yirmiyahu Yovel, Spinoza and Other Heretics: The Adventures of Immanence

Michael Oren’s Six Days of War: June 1967 and the Making of the Modern Middle East

Lawrence McDonald’s A Colossal Failure of Common Sense: The Inside Story of the Collapse of Lehman Brothers

Richard Posner’s The Crisis of Capitalist Democracy

William Chester Jordan’s Europe in the High Middle Ages

William Cohan’s House of Cards: A Tale of Hubris and Wretched Excess on Wall Street

Bryan Burrough and John Helyar’s Barbarians at the Gate: The Fall of RJR Nabisco

Linda Lear’s Beatrix Potter: A Life in Nature

Jane Mayer’s The Dark Side: The Inside Story of How the War on Terror Turned into a War on American Ideals

Allan Brandt’s The Cigarette Century: The Rise, Fall, and Deadly Persistence of the Product That Defined America

Garry Wills’s Head and Heart: American Christianities

Sarah Bradford’s Elizabeth: A Biography of Britain’s Queen

Andrew Gordon’s The Evolution of Labor Relations in Japan: Heavy Industry, 1853--1955

John Ardagh’s France in the New Century: Portrait of a Changing Society

Bob Woodward’s The Agenda: Inside the Clinton White House

John Julius Norwich’s Byzantium: The Early Centuries

Taylor Branch’s Pillar of Fire: America in the King Years, 1963--65

Michael Lewis’s Liar’s Poker

Tim Blanning’s The Pursuit of Glory: Europe, 1648--1815

Robert Fagles’s translation of Virgil’s The Aeneid

Karl Popper’s The Poverty of Historicism

P. D. Smith’s Doomsday Men: The Real Dr. Strangelove and the Dream of the Superweapon

Richard Rhodes’s Arsenals of Folly: The Making of the Nuclear Arms Race

Margaret Thatcher’s Downing Street Years

Alistair Horne’s Harold Macmillan, 1957--1986

Taylor Branch’s The Clinton Tapes: Wrestling History with the President

Ian Kershaw’s Hitler, 1936--1945: Nemesis

David Grossman’s To the End of the Land

Sean Wilentz’s The Rise of American Democracy: Jefferson to Lincoln

Philipp Blom’s The Vertigo Years: Europe, 1900--1914

Jacob M. Schlesinger’s Shadow Shoguns: The Rise and Fall of Japan’s Postwar Political Machine

Peter Jenkins’s Mrs. Thatcher’s Revolution: The Ending of the Socialist Era

Martin Lawrence’s Iron Man: The Defiant Reign of Jean Chrétien

Marin Lawrence’s Chrétien: The Will to Win

Alastair Campbell’s The Blair Years

Tony Blair’s A Journey

David Kennedy’s Don’t Shoot: One Man, a Street Fellowship, and the End of Violence in Inner-City America

Joshua Ferris’s Then We Came to the End

Kate McCafferty’s Testimony of an Irish Slave Girl

Martin Wolf’s Why Globalization Works

Charles Fishman’s The Wal-Mart Effect: How the World’s Most Powerful Company Really Works -- and How It’s Transforming the American Economy

William Easterly’s The White Man's Burden: Why the West's Efforts to Aid the Rest Have Done So Much Ill and So Little Good

Karel van Wolferen’s The Enigma of Japanese Power: People and Politics in a Stateless Nation

Jeffrey Sachs’s The End of Poverty: How We Can Make It Happen in Our Lifetime

[mtaartsdesign]

Andrea Belag’s “Brooklyn Transitions” (2017) at the Avenue U (F train) station in Brooklyn celebrates the literal and figurative movement of New Yorkers. The six unique, hand-painted laminated glass compositions, fabricated by Mayer of Munich, emphasize motion and reference the blend of colors found throughout the surrounding neighborhood. The boldness of the abstract brushstrokes works in counterpoint to the industrial station design, and provides a burst of creative expression in the elevated station. See more of Belag’s colorful paintings of light and space in “Inheritance”, opening tomorrow night 4/4 at Morgan Lehman Gallery.

#MTAArts #AndreaBelag #Brooklyn #BrooklynTransitions #Inheritance #MayerofMunich #MorganLehmanGallery #subwayart #publicart #painting

[italianartsociety]

By: Amy Fredrickson 

The illuminator and painter Zanobi di Benedetto di Caroccio degli Strozzi was born into one of the largest and wealthiest families in Florence on 17 November 1412, although during his lifetime the Strozzi family would lose their battle for supremacy of Florence to the Medici. While Zanobi was primarily active as an illuminator, he also produced both private devotional works and altarpieces.

Zanobi, along with his older brother Francesco and sister Maddalena, were orphaned when he was fifteen. There is a lack of documentation regarding his early life, but tax records prove that between 1427 and 1430 he was living with the illuminator Battista di Biagio Sanguigni (1393-1451) in nearby Fiesole. Due to his aristocratic status, he began his training privately with Sanguigni, rather than an apprenticeship in a workshop. Sanguigni and Zanobi collaborated on several projects. The artists remained close, and in 1432 Sanguigni helped pay Maddalena’s dowry when she entered the Augustinian convent of San Gaggio. In total, the duo lived together for between eight and eleven years. Zanobi provided his tutor with financial support for another fourteen years. He also provided provisions and wine, and he even deeded the Strozzi property in Palaiuola to Sanguigni in 1446 when Zanobi moved back to Florence with his wife Nanna di Francesco Strozzi. Sanguigni continued to live in Palaiuola until his death in 1451 when the property reverted back to Zanobi’s brother, Francesco Strozzi. 

Due to their close working relationship, Sanguigni and Zanobi have rather similar styles. In Fiesole, the duo connected with Fra Angelico, whom they met at San Domenico, where Fra Angelico was working at the time. In Lives, Vasari included Zanobi in the friar’s biography, claiming that Zanobi was a fervent follower.

Interestingly, due to the regulations of the Florentine guilds, an aristocrat could neither rule the city nor take an active part in politics. Consequently, Zanobi never registered with the Arte dei Medici e Speziali in Florence and was therefore unable to secure commissions under his own name; the majority of his works are collaborations.

When Zanobi arrived in Florence, he may have been a tenant in Pesellino’s workshop, as there are no documents that prove he purchased his own studio until several years later. Another possibility is that he entered some type of formal partnership with Pesellino (c.1422 - 1457). They worked on an altarpiece together, and the main panel is The Assumption of the Virgin located in the National Gallery of Art in Dublin. Scholars have proposed different ideas regarding how much each artist participated in this work. They also worked on an illumination of the Bellum Poenicum from 1446 to 1449.

Between 1446 and 1454, Zanobi collaborated with Filippo di Matteo Torelli on Cosimo de’ Medici’s commission for choir books for the church of San Marco. Fra Angelico reviewed the miniatures according to a document dated 2 May 1449. In 1460, shortly after finishing the choir books, the Medici also ordered an altarpiece for the church of San Girolamo in Fiesole, which was in proximity to their new Villa Medici. In 1463, he began another large commission to illuminate choir books for the Cattedrale di Santa Maria del Fiore. For this project, he collaborated with Francesco di Antonio del Chierico. It took eleven years to finish these works, even with the help of an entire workshop. In fact, the workshop incorporated several notable Florentine artists, including Cosimo Rosselli and Domenico Ghirlandaio.

While he worked primarily as an illuminator, he left behind several paintings. Zanobi’s only signed work is an Annunciation (c. 1440-1445) for the church of San Miniato al Monte, now housed in the National Gallery, London. The Lanfredini family commissioned this work for their private chapel in San Miniato al Monte. Zanobi depicted a traditional scene with the Virgin seated in prayer and the angel Gabriel announcing that she will bear the Son of God. Above Gabriel he placed a dove to represent the Holy Spirit, and he incorporated the lily as an emblem of the Virgin’s purity and grace. He also included the Lanfredini family arms on the capitals of the columns in the painting, and he concealed his signature, “ZANOBI,” on the border of the Virgin's blue robe.

The Philadelphia Museum of Art also holds an Annunciation in its collection, which demonstrates Fra Angelico’s influence on Zanobi's iconographic choices. His decision to portray the angel Gabriel flying in on clouds is unconventional, yet while working in Fiesole, he may have seen Fra Angelico’s 1425 missal depicting Gabriel in the same manner. Additionally, in 1434, Fra Angelico depicted Gabriel in pink robes in an Annunciation for the convent of Santa Maria Novella. In this work, Gabriel's garb is a similar distinctive pink ensemble adorned with gold embroidery. The painting supports Vasari’s statement that Zanobi worked with Fra Angelico and had an impact on Zanobi’s paintings.

The artist died in his native Florence on 6 December 1468 and is buried in Santa Maria Novella. Zanobi is most remembered for his miniatures in illuminated manuscripts and is considered by some as one of the minor masters of his generation. 

References: 

D'Ancona, Mirella Levi. "Zanobi Strozzi Reconsidered," La Bibliofilía 61, no. 1, 1959, pp.1-38. 

Kanter, Laurence, "Battista di Biagio Sanguini and Zanobi Strozzi, " Fra Angelico, ed. Laurence Kanter and Pia Palladino, (New York: The Metropolitan Museum of Art, 2005).

Leader, Anne, The Badia of Florence, (Bloomington: Indiana University Press, 2012).

Little, Amanda, Florentine Villas in the Fifteenth Century: An Architectural and Social  History, (New York: Cambridge University Press, 2005).

Mayer Thurman, Christa C, Laurence B Kanter, Barbara Drake Boehm, Carl Brandon Strehlke, Gaudenz Freuler, and Pia Palladino, Painting And Illumination In Early Renaissance Florence, 1300-1450, (New York: The Metropolitan Museum of Art, 1995).

Pope-Hennessy, John, The Robert Lehman Collection: Vol. 4, Illuminations, (New York: The Metropolitan Museum of Art, 1997).

Strehlke, Carl Brandon, Italian Paintings 1250-1450 in The John G. Johnson Collection and The Philadelphia Museum Of Art, (University Park: Pennsylvania State Univ. Press, 2004).

Vasari, Giorgio, The Lives Of The Artists, ed. George Anthony Bull, (Harmondsworth: Penguin, 1997). 

Images:

Book of Hours for the Use of Rome, c. 1445, Manuscript, 135 x 93 mm, Walters Art Museum, Baltimore.

The Annunciation, 1440-1445, Panel, 104.5 x 142 cm, The National Gallery of London. 

Madonna of Humility with Two Musician Angels, 1448-50, Panel, 84 x 57 cm, Museo Poldi Pezzoli, Milan.

St Jerome Altarpiece, 1460s, Oil on wood, 220 x 261 cm, Musée du Petit Palais, Avignon. 

The Annunciation, c. 1453, Tempera and gold on panel, 37 x 30 cm, Museum of Art, Philadelphia.

Saints Cosmas and Damian Saved from Drowning, c. 1435, Tempera and gold on panel, 20 x 22 cm, Museo di San Marco, Florence.

Madonna and Child with Angels, c. 1434, Tempera and gold on panel, 138 x 127 cm, Museo di San Marco, Florence.

Gradual, 1450-55, Manuscript (Corale 3), Biblioteca Medicea Laurenziana, Florence

#Zanobi Strozzi #Fra Angelico #Italian Renaissance #Florence #religious art #cosimo de' medici #Fiesole #Italian art #fifteenth-century painting #art #arthistory #Pesellino #miniature #illuminated manuscript

[amrselim]

تاكد انك مشترك في القناة 💯 ومفعل الجرس عشان يوصلك كل جديد 🔔 وما تنساش تعمل لايك للفيديو 👍 نشرك للمقطع هو اكبر دعم ممكن تقدمه لي ... https://bit.ly/35We9u5 أتمنى أن ينال الشرح أعجابكم ...................................................................... https://bit.ly/3ux7pwI شير مشاركة #BIMarabia اشترك في القناة لمتابعة الشروحات الجديدة videos https://www.youtube.com/channel/UCZYaOLTtPmOQX1fgtDFW52Q?sub_confirmation=1 بيم ارابيا https://bit.ly/1TSqEbr Places to find me! https://bit.ly/OcqQ6x https://bit.ly/2nqASDv Instagram: https://bit.ly/2JY3wZP Twitter: https://twitter.com/BIMarabia API RESEARCH BLOG ABOUT DALL·E 2 DALL·E 2 is a new AI system that can create realistic images and art from a description in natural language. JOIN WAITLIST EXPLORE WATCH VIDEO VIEW RESEARCH FOLLOW ON INSTAGRAM DALL·E 2 can create original, realistic images and art from a text description. It can combine concepts, attributes, and styles. TEXT DESCRIPTION An astronautTeddy bearsA bowl of soup riding a horselounging in a tropical resort in spaceplaying basketball with cats in space in a photorealistic stylein the style of Andy Warholas a pencil drawing right style of Claude Monet” DALL·E 2 is preferred over DALL·E 1 for its caption matching and photorealism when evaluators were asked to compare 1,000 image generations from each model. 71.7% preferred for caption matching 88.8% preferred for photorealism VIEW RESEARCH PAPER DALL·E 2 is a research project which we currently do not make available in our API. As part of our effort to develop and deploy AI responsibly, we are studying DALL·E’s limitations and capabilities with a select group of users. Safety mitigations we have already developed include: Preventing Harmful Generations We’ve limited the ability for DALL·E 2 to generate violent, hate, or adult images. By removing the most explicit content from the training data, we minimized DALL·E 2’s exposure to these concepts. We also used advanced techniques to prevent photorealistic generations of real individuals’ faces, including those of public figures. Curbing Misuse Our content policy does not allow users to generate violent, adult, or political content, among other categories. We won’t generate images if our filters identify text prompts and image uploads that may violate our policies. We also have automated and human monitoring systems to guard against misuse. Phased Deployment Based on Learning We’ve been working with external experts and are previewing DALL·E 2 to a limited number of trusted users who will help us learn about the technology’s capabilities and limitations. We plan to invite more people to preview this research over time as we learn and iteratively improve our safety system. JOIN DALL·E 2 PREVIEW WAITLIST CONTENT POLICY RISKS AND LIMITATIONS Our hope is that DALL·E 2 will empower people to express themselves creatively. DALL·E 2 also helps us understand how advanced AI systems see and understand our world, which is critical to our mission of creating AI that benefits humanity. Research Advancements Aditya Ramesh, Prafulla Dhariwal, Alex Nichol, Casey Chu, Mark Chen Engineering, Design, Product, and Prototyping Jeff Belgum, Dave Cummings, Jonathan Gordon, Chris Hallacy, Shawn Jain, Joanne Jang, Fraser Kelton, Vishal Kuo, Joel Lehman, Rachel Lim, Bianca Martin, Evan Morikawa, Rajeev Nayak, Glenn Powell, Krijn Rijshouwer, David Schnurr, Maddie Simens, Kenneth Stanley, Felipe Such, Chelsea Voss, Justin Jay Wang Comms, Policy, Legal, Ops, Safety, and Security Steven Adler, Lama Ahmad, Miles Brundage, Kevin Button, Che Chang, Fotis Chantzis, Derek Chen, Frances Choi, Steve Dowling, Elie Georges, Shino Jomoto, Aris Konstantinidis, Gretchen Krueger, Andrew Mayne, Pamela Mishkin, Bob Rotsted, Natalie Summers, Dave Willner, Hannah Wong Acknowledgments Thanks to those who helped with and provided feedback on this release: Sandhini Agarwal, Sam Altman, Chester Cho, Peter Hoeschele, Jacob Jackson, Jong Wook Kim, Matt Knight, Jason Kwon, Anna Makanju, Katie Mayer, Bob McGrew, Luke Miller, Mira Murati, Adam Nace, Hyeonwoo Noh, Cullen O’Keefe, Long Ouyang, Michael Petrov, Henrique Ponde de Oliveira Pinto, Alec Radford, Girish Sastry, Pranav Shyam, Aravind Srinivas, Ilya Sutskever, Preston Tuggle, Arun Vijayvergiya, Peter Welinder FEATURED DALL·E 2 Alignment Instruction Following Summarizing Books OpenAI Codex Startup Fund API Overview Pricing Examples Docs Terms & Policies Status Log in BLOG Index Research Announcements Events Milestones INFORMATION About Us Our Charter Our Research Publications Newsroom Careers OpenAI © 2015–2022 Privacy Policy Terms of Use twitter   youtube   github   soundcloud   linkedin   facebook by BIMarabia

#IFTTT #YouTube

[alittlepawblog]

Hadley Fraser as Polixenes, 2015, need help of hair aging make up for his "white" beard

Hadley Fraser as Mayer Lehman, 2023, hair aging naturally

#hadley fraser #glorious glorious beard #beardley #white beard my beloved #give this man an award for his beard

[evalucent]

Hadley Fraser is the standout as patronised Mayer Lehman. He shows astounding adaptability; flitting between a hilarious procession of Philip's potential wives to dancing himself to death as the delusional Bobbie, literally high on capitalism, while the stock market speeds towards destruction around him.

#hadley fraser #the lehman trilogy #hadley dancing

[kellygrantrealtor]

* Outstanding Classic Cinema Recommendation: "EXECUTIVE SUITE" ©1954 Robert Wise / Ernest Lehman (Business Genre - Starring William Holden, June Allyson, Barbara Stanwyck, Fredric March, Walter Pidgeon), Produced by Metro-Goldwyn-Mayer (MGM) https://www.kellygrant.ca/Literature%26Cinema.ubr

[heyho-simonrussellbeale]

The Lehman Trilogy review — Simon Russell Beale is a delight

by  Christopher Hart

The catastrophic collapse of Lehman Brothers back in 2008 was one of the key moments in modern times. The images of stunned bankers carrying away their possessions in cardboard boxes remains seared on the collective memory.

Then western governments cast a magic spell that produced lots of imaginary money, called “quantitative easing”, propped up all the other banks with it, and since then everything has been just dandy. Phew. Let’s hope that doesn’t happen again!

Now the National has come up with an epic account, The Lehman Trilogy — of not just the collapse but the rise as well, beginning in 1844, when Henry Lehman, “the son of a Bavarian cattle merchant, a circumcised Jew”, lands on the quayside in New York, determined to make his fortune in the new world. He opens a textile business in Montgomery, Alabama, and is later joined by his brothers, Emanuel and Mayer. Relentless hard work and financial acumen see them rise and rise, surviving the Civil War, relocating to New York, investing in the Panama Canal and the King Kong movie, weathering the Wall Street Crash and two world wars, always on the make and on the move.Simon Russell Beale is a delight as the canny, far-sighted Henry. He can conjure comedy out of thin air: making the tiniest movement, or giving a single word a certain unexpected inflection, he has you chuckling in your seat. And when he successfully plays a coquettish 19-year-old girl, simpering and twirling — while wearing his black frock coat, a portly middle-aged man with a beard — you realise he can convince you of anything.Adam Godley makes Mayer a genial, gentle peacemaker; Ben Miles is a handsome, dynamic Emanuel. The three founders are present throughout, taking all other parts as well, in a set that is a revolving glass box with changing backdrops — of the South on fire, of Manhattan. There’s an exhilarating sense of the march of history, the seemingly unstoppable dynamo of American capitalism, and a subtle reminder that things move in cycles...Don’t expect a heady, high-octane financial thriller along the lines of compelling recent movies such as The Big Short and Margin Call, or any great emotional heft. The Lehman Trilogy is a very different beast: a leisurely, clever, highly theatrical three-hour meditation on the changing face of business and banking.The key moment in the evening comes when Philip Lehman (1861-1947), Emanuel’s son, hearing his partners explain to a potential client that what they do is deal in various commodities — cotton or coffee, railways or property — interrupts sharply. No, he says: what we deal in is money. Everything else is peripheral. Money is at the heart of things. And so what is, strictly speaking, only a symbol of value and wealth becomes wealth itself.Sam Mendes’s direction commands admiration with its slightly frosty  artistry, while Ben Power’s script, adapted from Stefano Massini’s original, has a beautiful structure, full of internal rhythms and echoes. It’s less a straight indictment of capitalism than an expression of complex unease, with many elements to it — not least the metamorphosis of the Lehman family from devout and prayerful Jews to secular internationalists. We look on while the impersonal forces of global capitalism dissolve all religious ties, familial bonds and national identities, leaving behind only Identikit consumers: passive and obedient citizens of the Empire of Nothing, as the American writer Jack Donovan calls it.

#Simon Russell Beale #the lehman trilogy #stage #National Theatre #Sam Mendes #ben power #stefano massini #review #2018

[jfbuckley]

The Lehman Trilogy

Thursday 25 July 2019

Bolton Vue (streamed live)

There aren’t sufficient words in the English language to describe how much I enjoyed this play. Many people would find it heavy going, over intellectual and dull as dishwater, but to me, it was absolutely everything that theatre should be.

We follow the brothers Henry, Emmanuel and Mayer, Jewish immigrants from Germany to the USA in the mid 1840s. They start with a small shop in Alabama selling cotton, but their eyes are always open to new business opportunities and they gradually diversify until when Bobby Lehman (the third generation) dies in 1969, they are bestriding the world like a financial colossus. It is clear that right from the start that it is making money - and more money - and yet more money - that drives them on. They simply can’t get enough of it, their appetite for it is gargantuan. Throughout the play their Judaism is very heavily emphasised, and it helps the enjoyment of the play to have a good knowledge of it. It never overlaps into anti-semitism, but it does, at least in my opinion, show pretty conclusively that it is the culture inbred into the brothers and their successors by their religion that makes them the successful businessmen that they were.

The period after 1969 until their bankruptcy in 2008 is skimmed over in five minutes. This is justified by the fact that in this period, the actual Lehman family did not have any involvement in the business. It is made clear though that the business ideals of the Lehmans had become so deeply embedded into the culture of the business that the greed went into mad overdrive, they lost touch with what the business actually was, and the crash was inevitable.

I was doubtful about how using only three actors would work, but it did, magnificently. It worked because the narrative of the play is effectively one long “poem”, accompanied by piano music. Each actor actually plays a multiplicity of roles, although they never change costumes from their nineteenth century frock coats. It was very similar to Simon Callow’s one man version of “A Christmas Carol”, in which he played all the roles.

A fantastic night’s entertainment, fascinating and thought provoking in the extreme. There’s always a place for musicals, and happy go lucky comedy plays, but this, for me, is what it’s really all about.