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With no idea what I was getting into, I watched Phantom ~Requiem for the Phantom~. And I learned a lesson from watching this anime: sometimes you should take the path less travelled and watch something you never hear about. Because Phantom is so good, it should be talked about. Phantom is so good I couldn't stop watching it. Phantom is so good it manages to make you love despicable characters and feel bad for them throughout. Phantom is an anime made straight from the hands of the gods. There are so few things wrong with this anime, it should be illegal to have that many things right. Sure this won't appeal to everyone, sure it's not a total gore and violence-fest. It's a character-driven, plot intensive show that doesn't need the amazing fight sequences to keep it afloat. All it needs is Ein and Zwei, two of the most likeable characters I've ever seen in any anime.
Let me stop sucking Bee Train's train and tell you about this anime and why it's so good before I go back to sucking that train. It tastes good.
A teenage boy loses his memories and finds himself thrown into a world of assassins, gangs, and rich organizations that keep them in line, all in Los Angeles. He is trained to be an assassin by Ein, a girl who has also lost her memory and is nothing more than a killing machine. Zwei, the new name given to the teenage boy, fights side by side with Ein, known as Phantom. Phantom is Inferno's best assassin, Inferno being an organization run by different gangs and assassins. As the plot progresses we see a lot of deception and a lot of character development. It's really hard to give a big plot description without giving a lot away, as this series revolves around many characters, all with their own agendas. Part of the drama is how everyone seems to be playing each other and no character seems to have a single mask they wear, they have two masks that are complete opposites.
The action is intense. It's not amazingly amazing, but the shootouts and knife fights are so well done and so exciting that you'll wish there were more. But at the same time, the progress of the story is so edge of your seat dramatic that you want to see that play out more so. It balances these two things so well and in the end, you just wish there was more of Phantom to watch.
The idea of setting this in Los Angeles is original and smart. It's exciting to see an anime that doesn't stay in Japan and the idea of people running off to Mexico and the use of the Bloodies (the Bloods essentially) as bad guys is goddamn smart. It feels like something almost American.
The second act of the series, the final seven episodes, you'll either love or hate. It moves into Japanese high school territory. This can be a total turn off, as I was pretty appalled by the turn of events. But when you look into it,
it is actually pretty good. Ein and Zwei wanted to be normal and live normal lives. To the Japanese, a normal anime would be in Japanese high school. So it only makes sense to put it there. This is also where I wonder how old the characters are. At the point they go to high school it has been three years since Zwei started training as an assassin. Zwei is also driving a car and going into casinos and stuff at that point. So he must have a forged ID or something because I figured him to be about seventeen or eighteen during the LA arc. This becomes equally confusing when Cal, a girl whose sister has died and lives with Zwei during his time in LA, comes back two years later to Japan. From a petite little eleven or twelve year old girl, she becomes a giant breasted, tall, Amazonian woman on a motorcycle (or, quite simply, fan service). I just didn't understand the ages and some of that kind of stuff.
The ending is fantastic. It's been a long time since I've choked up, but I did watching the final battles of Phantom. And the very, very end is…unexpected? I liked the very end, but I was kind of shocked.
Cal quotes Danny DeVito and Clint Eastwood at one point in the anime. And movies starring those two are apt movies to say that this anime was inspired by. The underworld and assassins and gangsters. It's like an homage to the old 70's and 80's crime films. Hell, the use of the watch with music as a device for when to shoot during a stand-off comes straight out of the Clint Eastwood spaghetti westerns.
The animation is good, but not great. It's smooth and the characters are easily distinguishable. Hell, I have no complaints here, so let's move on.
The music is another thing entirely. The first opening is fantastic, the ending meh. The second acts opening and endings are just meh. The music during the show is really good and the voice actors are really good as well.
The characters of the series are where Phantom really shines. Ein is a likeable heroine. Despite being a bad guy, you feel genuinely bad for her situation and her development throughout the series is really great. From a girl with nothing to live for but to kill to a girl who lives to see her partner smile, it's quite cute and the hints of romance just add to that cuteness.
Zwei is another likeable character. As the main character, and a male, you would expect him to be pretty bland (as is the case with many anime), but he turns out to have a whole lot of personality. His development is just as good as that of Ein, maybe even better. Even though he is a killer and detests himself, I loved him.
Cal was so cute and so fun to watch in the first act. In the second act, she just becomes so likeable for some reason, even more so than at first. I don't know why, maybe it's because of how bad you feel for her. If I had to say that one character was my favorite, it was Cal. I loved her throughout.
Claudia McCunnen is another character I'll bring up because she's the other character that really stood out to me. I liked her because she was a bad guy, but a good guy, but a bad guy. She's the only member of Inferno I truly felt bad for and had emotions for.
The bad guys of the series are fucking bad guys. They don't piss around. Scythe Master is a freaking godsend in a medium with so many lame bad guys with stupid intentions. Scythe Master is just a bad guy. Pure and simple. He doesn't need to have a lot of reasons to be bad, because he's crazy. And the insane bad guys are always the best. Oh, I hated him. I hated him so much. But I loved hating him.
There are no bad characters here. They are all good. None are annoying, none are stupid, none are cardboard.
Phantom is awesome. It's everything I've ever loved in anything thrown together. Assassins, gangsters, an awesome underworld, double and triple crosses, a smidge of romance, a lot of drama, a lot of likeable characters, and some seriously sad moments. The only wrongs it truly has are some of the music and the change of Cal from a twelve year old to a twenty year old. Otherwise, it's nearly pitch-perfect in the drama and action department.
I loved this series more than I ever expected myself to.
Phantom is a 8/10.
You know, I really can't tell whether or not this review was written sarcastically.
Assuming that it's genuine, I can't entirely agree. The change of location to Japan really killed the tension for me, and the inclusion of romance with Mio Fujieda just seemed forced. That said, I did like the main characters as well.


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Tuesday, January 01, 2008
Love of My Life
A little boy raised his hand and my daughter called on him.
He smiled up at her. "Who is your favorite boyfriend at this school?"
"Dillon," the teacher said in a warning tone. "You can't ask that kind of question."
He glared at her. "Fine."
He looked at Sarah again. "Who is your favorite boyfriend in this CLASS?"
She responded, "I can't have a boyfriend until I'm 16."
Score one for brainwashing.
Since then I've heard all about which boys want her to come play with them, which boys want her to be their girlfriend, which boys protect her from the other boys that want to kiss her. She is in FIRST GRADE. This cannot be normal. Is it?
Last night, in spite of the excessive amount of romance that seems to be percolating in her brain, we took them to see Enchanted. I don't know what was better - the movie, or watching my daughters watch the movie. They were enthralled. Sarah was so overcome by the romance of it all that she kept kicking her feet and squealing and covering her face. Like her mother.
Tonight after we downloaded some of the soundtrack songs and danced around the living room, she told me that Ian, a boy in her class, is the "love of her life." And then she sang along to True Love's Kiss, giggling.
P.S. I'm guest posting over at Segullah today, if you'd like to read about my first kiss.
39 comments:
Be glad she waited until 1st grade. My daughter was engaged 3 times before she was 5.
First there was Ethan, a darling little boy she held hands with in her 3yo preschool class. According to the teacher, they were quite an item all year long.
Next there was Andrew. Brielle wanted to marry Andrew, but Andrew wanted to be a Dinosaur.
Then came Kenneth. Brielle came home from preschool one day and told me "Mom, I want to marry Kenneth, and he wants to marry me, and we think that makes sense!"
Kenneth told the same thing to his parents, then they moved to Idaho.
Brielle is 9 now, and thinks boys are "ICKY"
JillThis is totally normal. When my son was in 1st grade he was getting love notes from all the little girls in class. I finally had to go to the teacher because it was disturbing him too much. If I remember right, 1st grade was the first time my daughter told me she was in love. Just get ready for a fun ride! It's so fun!
ReplyDeleteHey, where didja get that new header? I love it!
When I was a little girl, and I only tell you this to relive my glorious past, the little boys used to fight over who would sit next to me in Kindergarten. I turned out completely warped and have needed a lot of therapy. But you can't actually blame it on THAT.
I think she's adorable... but I don't envy you her teenage years.Oh, you scare me. My oldest is 6 and in Kindergarten. She hasn't talked about "boyfriends" yet. I am definitely enforcing a NO BOYFRIEND rule for quite a while, maybe until she is 30. Well, maybe 25.
Yes, I am scared to death for my little girls to grow up!!! And I know it is going to happen too soon!Oh that is sooooo normal.
My friend's mother offered her grandkids a thousand dollars if they wouldn't kiss anyone before they graduated from high school. I think all the girls got paid out, but I don't know about the boys. Of course nowadays you'd have to be way more specific and you'd probably have to up the ante, but still.When I was in first grade (in 1978), the boys spent most recesses chasing us girls and trying to kiss us. That "love" thing was all the rage.
But by third grade? The opposite sex was evil and icky again.
So I wouldn't panic.
But the brainwashing is obviously working (could you send some tips my way?!?), so I would keep that up as well.Emily was only a hair over three years old when she piped up at dinner time that she wanted to marry Joe, a kid she knew from the storytime program at the library. And in her first year at preschool (age 3.5), she went through a huge phase of being obsessed with weddings and being married, and would ask the different boys in the class if they would marry her (because at home, her daddy would play along, or Jared (18 months old at that time) would play along to the best of his ability). The little boys did NOT know what to think of her and the moms and the teacher just thought she was adorable! Now she's in Kindergarten and you mention the word "boy" and she makes yucky faces and sticks her tongue out in a very clear "EWWWWWWWW!: expression. LOL
On a sidenote, Emily and I LOVED Echanted as well!!!!!Oh, my. Have you been hanging out with my seven year old? She's got it bad, too. Theo is her love...she put a secret admirer love note in his mail box. Apparently, this is what she and her little friends discuss over lunch.
Personally, I think it's utterly adorable. I SO remember Paul, in kindergarten, kissing me on the cheek during our ride home from school on the big, yellow, bus. I also remember David, from second grade at Immanuel Lutheran. We were going to get married, but his parents were missionaries and they moved to Africa. I still wonder about him.
Ahhhhh...pure, childish, love.
Be glad she tells you about it.Nothing much to say. I just thought I'd leave a comment because I don't want you to die. I'm new to your blog and can I just say how much I appreciated reading your statement about commenting. I hope you don't mind, but I mentioned it on my blog because you put into words my feelings. Thank you.
ReplyDeleteWhen my son was in the first grade, there were two little girls in his class that were madly in love with him. They fought over who would get to sit next to him, and who could be his girlfriend for the day. The teacher told us that she was constantly "peeling" one girl off of him. (He is pretty cute;0)
The funny part was that he was completely clueless about the whole thing.Like her mom, LOL! That's so cute!
A good cure for Enchanted would be P.S. I Love You. **sniff, sniff** Bring tissues to that one, for sure. And don't listen to sister-in-laws that try to tell you it's a romantic comedy just to get you to go with them.
GO MOM for forbidding dating until 16! Goodness knows kids today are growing up far too fast as it is.Oh, gosh, they are funny, aren't they? But yeah - in the third grade they start disliking each other. (And after 40... but that's another story, heh heh!)
I LOVED Enchanted, and watching my kids watch it, too. My 11-year-old laughed at all the grown-up jokes (like the idea the prince and princess would decide to get married the second she plopped onto his horse), and my 7-year-old laughed at all the kid stuff. It was a great time.

subset: commoncrawl


text: Owner and designer Pamela Atwood started her lingerie line, Girly NYC back in 1993. She cut out the middleman a year and a half ago when she opened her boutique, with the concept of a jewelry box in mind. She certainly achieved that goal. The store is small but uncluttered, filled mostly with great fitting and extremely girly panties, bras, camisoles, and lingerie-esque tops that look great with jeans. She also carries some local designers, like clothing from Mint and Amanda Upichard, and jewelry from Pretty Little Thing and Tiara Misu. Girly NYC is also one of only a handful of stores to carry McBride Beauty's natural tonics, moisturizers, and soaps.


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Reading at the Poetry Center, San Francisco State University, February 27, 1959
Huffduffed (3)
Allen Ginsberg: Poem Rocket
A State of Independence
Christian Fennesz, Mike Harding, Carl Michael von Hausswolff, Rosy Parlane & Jon Wozencroft.
A panel discussion, followed by a Q&A session with the audience. This talk preceded Touch Presents… at the Queen Elizabeth Hall, London 21.04.09
Tagged with music panel discussion
DJ Sega - Live at Bowery Ballroom May 2, 2009


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but that is all beside the point. back to my sola journey. the first part is top-secret information and reserved for a later post. but the next day was when, for the first time since i can remember, i went to the beach alone!
i found this cozy little pocket of perfect dreamy beach called BEAN HOLLOW. if you know me, you know why i love that name.
all by myself with that glorious sun and water, a staggering book that I finally finished (The Savage Detectives by Roberto Bolano) and my journal and camera, of course.
ended up in my new home-away-from-home, santa cruz, home of my brother mikie and his adorable lady candice and a bunch of other funlovingcrazypants like these:
happy hour in the Red Room -- oh it is happy alright.
next we headed to santa cruz mountain brewing company for yummy organic brews, dog-petting, and interesting conversations with cyclists and beer afficionados.
we ended up gallivanting around the Boardwalk for cheap thrills:
Monday and Tuesday nights are called "1907 Nights" and everything costs 75 cents


text: NATIONAL JOINT COMMITTEE FOR SPANISH RELIEF CHAIRMAN: THE DUCHESS OF ATHOLL, M.P. VICE-CHAIRMEN: THE EARL OF LISTOWEL MISS ELEANOR RATHBONE, M.P. HON. SECRETARIES: MR. D.R. GRENFELL, M.P. CAPT. J.R.J. MACNAMARA, M.P. MR. WILFRID ROBERTS, M.P. HON. TREASURER: VISCOUNT CECIL OF CHELWOOD, P.C. K.C. ORGANISING SECRETARY: MRS. MARY M. MILLER 53, MARSHAM STREET, LONDON, S.W.1 TELEPHONE: VICTORIA 2168 Thursday, August 12th. Dear Sir, [or Madam] I enclose a statement dealing very briefly with two questions affecting the welfare of the Basque children: (i) Hostile rumours being circulated about the children. (ii) The position with regard to the return of children to their parents. My Committee is already indebted to you for financial support, and I am asking now for support of another sort. Through your friends, in the national and local press, by letter or, if you are able, in articles, you can assist the Committee to correct any false impression that a very few really minor difficulties seem to be creating. I think the position has been admirably stated by the matron of one the Homes, who has had wide experience with the children; "It is a pity that small children should be the butts of people who are trying to make capital out of a purely humanitarian effort. No mention is made of nine hundred and ninety-nine good cases but the thousandth is sprung upon by people who wish to make political capital out of it, and are the very ones who have rendered no assistance in the matter." And if you wish for further information may I offer you the services of the organisation who will be glad to answer any queries that you care to address to us? Yours faithfully, WILFRID ROBERTS Honorary Secretary.


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Insiders Say San Onofre Failed To Fix Fire Safety Problems This Year Despite 2010 Warning From Feds
Wednesday, August 1, 2012
Aired 8/1/12 on KPBS News.
Federal regulators warned Southern California Edison about fire safety lapses at San Onofre two years ago. Now KPBS has learned of continued employee complaints of fire risks at the nuclear plant. Edison wants to reopen San Onofre by the end of the year. If that happens, some insiders worry the violations – left unchecked –could injure workers and jeopardize safe operation of the plant.
Fires represent half of the risk of core meltdowns at nuclear power plants in the United States, according to the Nuclear Regulatory Commission, or NRC.
"In other words, the fire hazard equals all other hazards combined," said David Lochbaum, a nuclear engineer with the Union of Concerned Scientists. "That fire hazard the NRC calculated assumes that plants are following all the rules, following all the procedures. When workers aren't following all the rules, that fire hazard even gets greater than it already is."
KPBS has obtained internal records that outline concerns that fire safety rules at San Onofre were not followed this year.
In 2010, NRC inspectors told majority owner Southern California Edison that welding and grinding work at San Onofre produced sparks that came into contact with unprotected combustibles. Welding and grinding is done at the plant during outages for upgrades, repairs and refueling about once a year. The NRC inspectors found that employees and their supervisors violated the rules for this work. The inspectors determined the violations were more than minor because if left uncorrected, a fire could start near important equipment.
This year it appears at least some of those violations continued. Complaints contained in San Onofre documents indicate workers have failed to properly contain sparks created by welding and grinding activities at the plant.
The plant's fire protection officials say blankets meant to enclose the activities contained tears. Sparks fell into areas where there were oil, chemicals and wood, according to officials. They also found that a pre-work checklist incorrectly stated that flammables had been removed from the area where this work took place. And Edison supervisors did not provide regular oversight despite repeated complaints of fire safety problems, according to people onsite.
The documents show that so far this year, there was one small fire that was quickly extinguished and 52 fire official notifications that fire rules were not followed, all within a period of just over one month. That's consistent with the rate of problems in 2010, when the NRC warned the plant was violating safety rules. Then there were two fires and 102 notices of violations over two months. In 2009, those notices went out 104 times. And there were five fires.
These fires were not near the reactors and did not pose a risk to them. But former nuclear industry executive Arne Gundersen says any fire at a nuclear plant is dangerous.
"Fires and nuclear power plants don't belong in the same sentence," Gundersen said. "It's clearly something you want to avoid at all costs."
In a written statement, Edison acknowledged there were fire safety problems connected with welding and grinding activity in 2009 and 2010. But it said the matter has been addressed. The NRC said it has not received the fire safety complaints outlined in internal San Onofre documents this year. The agency sent a letter to Edison this month stating that San Onofre's overall performance in resolving problems was effective.
But David Lochbaum says the sheer number of fire safety violation notices from San Onofre's own fire inspectors over three years reflects poorly on Edison's management.
"The message it sends to workers is that management doesn't care if there are problems," he said. "The plants that are successfully run are those who listen to plant workers and respond properly when those workers raise issues. That's not happening at San Onofre. Eventually workers get turned off and stop reporting things because they figure management doesn't care."
In the last four years, San Onofre has had the highest number of safety complaints from workers to the NRC of any nuclear plant in the country. San Onofre workers have told federal regulators they fear retaliation if they report the concerns.
The NRC's recent letter to Edison, however, finds the company has established a safety-conscious work environment in which workers feel free to raise safety concerns without fear of retaliation.
There there have been other fire-related issues at the plant. In 2008, the Nuclear Regulatory Commission found that fire watch records had been falsified.
The NRC tightened its fire protection rules in 1980, five years after the nation's first fire at an Alabama nuclear plant. The agency strengthened those guidelines again in 2004. But the NRC says Edison has not yet met those guidelines. Neither have nearly half of the nation's other nuclear plants.
"These fire protection rules were on the books before San Onofre ever started up so there's been ample opportunity to modify the facilities to meet the rules, but Edison hasn't chosen to meet the rules," Gundersen said. "It's easier to just keep applying for exemptions, which of course the NRC almost always grants."
In fact, one of the frequently asked questions on the NRC's website is why doesn't the agency force nuclear power plant operators to make long-term changes to their plants for fire protection.
The NRC responds with, "The NRC has a unique challenge. This is because licensees' put interim (or temporary) compensatory measures in place because of questions regarding their interpretations of the agency's regulations (rather than because of degraded or failed safety structures, systems, or components)."
So what do fire safety concerns raised by insiders at San Onofre mean for the public? Lochbaum said they should raise alarms when you consider the plant's proximity to earthquake faults.
"Earthquakes can break pipes that have oil and flammable gas that then get ignited if you already have fire protection problems and you don't meet fire regulations, that could be a knockout blow that the Tsunami was at Fukushima," Lochbaum said.
To view PDF documents, Download Acrobat Reader.
CaptD | August 1, 2012 at 9:20 a.m. ― 4 years, 7 months ago
More here: Edison May Have to Give Refunds Over San Onofre Shutdownhttp://is.gd/5sB6RU
SCE is looking out for Corp. Profits, not Public Safety!
CaptD | August 1, 2012 at 9:21 a.m. ― 4 years, 7 months ago
Restarts dates are total SCE PR B$, since the NRC has not approved them!
SCE is doing everything they can to give folks in SoCal the impression that SCE is just making a few minor changes to the reactors, which is completely false...
They are using the same tactics that TEPCO has been using, delay all data and give lots of glossy images that show nothing of importance!
Real facts can be found here: http://is.gd/pF46y1
Beware Nuclear Baloney*
* http://www.urbandictionary.com/define.php?term=Nuclear+Baloney
CaptD | August 1, 2012 at 9:23 a.m. ― 4 years, 7 months ago
1. Nuclear reactors can Meltdown.
2. Nature can destroy any land based nuclear reactor, anyplace anytime!
3. Solar (of all flavors) vs Nuclear Benefits:
✔ Less costly to build
✔ No Trillion Dollar Eco-Disasters
✔ Faster to construct
✔ CLEAN from start to finish.
✔ No radiation worries or leaks
✔ No foreign dependency
✔ Prices are dropping yearly
✔ Creates large number of green jobs
✔ No nuclear cleanup expenses
4. Nuclear reactors leak radioactivity
5. Nuclear reactors are VERY expensive to de-commission
6. Nuclear Fallout can spread quickly and last "forever"
7. America cannot afford a Trillion Dollar Eco-Disaster
8. Nuclear waste storage is an BIG Expensive problem
9. America has the land mass to go Solar (of all flavors)
Roberto Rolando Salinas | August 1, 2012 at 3:20 p.m. ― 4 years, 7 months ago
Does this surprise anyone? They don't care about public safety, even their workers had to leak to government investigators because no one within the company would, or wanted to listen. This is business as usual, when the melt down comes, it will be the Feds with taxpayer money subsidizing the Corporate pariah, because not only is it to big to fail, but it has friends in very high places. A who's who of elected officials who have their money invested in Southern California Edison. Never ending corporate corruption aided and perpetuated by elected officials and well connected government agency investigators that are powerless to regulate. Maybe the power companies can regulate themselves, just like the banks and wall street. Shameful.


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Ridgefield, Conn. (AP) — Connecticut police say the father of a 15-month-old boy who died after being left in a car on a hot day had parked his vehicle at his job with his son inside.
Ridgefield police say the father drove his son to the hospital after finding the boy in the vehicle.
Ridgefield Capt. Jeff Kreitz says the boy had been left inside the car Monday for an "extended period of time." Police say they're still trying to determine the exact amount of time.
Authorities say the cause of death has yet to be determined. Police say Danbury Hospital staff reported the death and 911 dispatchers received no calls about it.
The family, not publicly identified, lives in Ridgefield on the New York state line. The temperature approached 90 degrees in western Connecticut on Monday.
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Alzheimer's Advisory Council evaluates progress implementing National Alzheimer's Plan
The Advisory Council on Alzheimer's Research, Care, and Services met to evaluate the implementation of the first-ever National Plan to Address Alzheimer's Disease to date and discuss highlights of the 2013 National Plan Update expected to be released mid-May. The Advisory Council also heard a presentation on the priorities set during last spring's research summit and the milestones for achieving the goal to prevent and effectively treat Alzheimer's disease by 2025.
"With a goal as critical as preventing and effectively treating Alzheimer's by 2025, we have focused on identifying the intermediary steps that will lead to success. What's clear is that to take even the initial steps, we must provide researchers the necessary funds," said Harry Johns, president and CEO of the Alzheimer's Association and member of the Advisory Council. "The development of the National Alzheimer's Plan was a monumental step, but now there must be accountability with resources to implement the plan."
Today there are more than 5 million Americans living with Alzheimer's disease and 15.4 million friends and family members providing care, often at the expense of their own health. While the human toll is alarming, the economic costs pose a significant threat to the nation as well, rising from $203 billion today to more than $1.2 trillion by midcentury. Globally, there are approximately 36 million people living with Alzheimer's or another dementia. The Advisory Council also heard presentations from international partners on their efforts to address Alzheimer's disease.
Last week, the Alzheimer's Association held its 25th Advocacy Forum with more than 900 advocates from all 50 states gathering in D.C. to learn, share and appeal to their elected officials. As they stormed Capitol Hill draped in purple sashes to meet with their legislators, Ashley Campbell, daughter of country music legend Glen Campbell, testified before the Senate Aging Committee about her family's experience. Glen Campbell and the family were honored the night before with the Eunice and Sargent Shriver Profiles in Dignity award at the National Alzheimer's Dinner.
"The Alzheimer's epidemic is gaining momentum. And with Alzheimer's recently identified as the nation's most expensive disease, it's now clear to everyone that we can no longer afford to ignore it," said Johns. "We are at the doorstep to critically needed progress. How quickly we achieve it directly depends on the resources allocated."
The Alzheimer's Association looks forward to a strong update to the National Alzheimer's Plan next month.
Alzheimer's Association
The Alzheimer's Association is the world's leading voluntary health organization in Alzheimer care, support and research. Our mission is to eliminate Alzheimer's disease through the advancement of research; to provide and enhance care and support for all affected; and to reduce the risk of dementia through the promotion of brain health. Our vision is a world without Alzheimer's. For more information, visit www.alz.org.
Contact: Alzheimer's Association
Media line: 312.335.4078
Email: email@example.com


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1 option(s) to choose from.
The Jackson Guitars Soloist SL1 USA Select model features an alder body, a quartersawn Eastern hard rock maple neck, thru-body construction, an ebony fingerboard with a very fast compound neck radius (12 to 16 inch), and Seymour Duncan pickups. Details include a Floyd Rose Original tremolo, black hardware and even a Flame maple top and chrome hardware on transparent finishes. A Jackson hardshell case is included. Jackson Guitars A Jackson guitar is meant to be played, and played hard. Each of their endorsers and players choose Jackson because they know Jackson builds their instruments just how they want them. Jackson's instruments are built to handle hard lives on the road, and are ready to take whatever players will throw at them - that's the just the way it is, and Jackson won't have it any other way. Jackson USA Select SL1 Soloist Features
Jackson USA Select SL1 Soloist Specifications


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The industry has also launched a competition to give eight promising students across Canada a paid Green Dream Internship that includes a four month paid summer placement at a forest products company, an iPad Mini and a chance to win $5000.
"The forest products sector is now a future oriented business that is brimming with opportunity. It is now hiring and offering solid careers for those who care about their future, the environment and their quality of life," said David Lindsay, President and CEO of FPAC, speaking at PAPTAC's Annual Paper Week event held in Montreal.
Under Vision2020, FPAC has a set the goal of recruiting at least 60,000 or more workers by 2020 to meet the growing demand for such professions as millwrights, electricians, engineers, sales staff, truck drivers, foresters, chemists and many more.
"Our government's top priorities are job creation, economic growth and long-term prosperity, so it is imperative that we match the skills of Canadians, especially younger workers, with the needs of the employers," said the Honourable Diane Finley, Minister of Human Resources and Skills Development. "Through our partnership with the forestry industry, we are helping young Canadians to receive the skills and training needed to address skills shortages in the forestry sector and prepare them for future careers."
"We invite Canadians to visit the Greenest Workforce website to see the exciting opportunities now available. We also want to encourage students to consider applying for the internships to receive job training, skills development, and real-world experience within our growing sector," says Lindsay.
The contest requires students to submit a short video explaining why they would be perfect for a Green Dream Internship. Applicants receiving the most votes for their video attempt will get on a short list for interviews for the paid summer positions.
The contest and voting period starts today and ends March 31, 2013. For more information, visit TheGreenestWorkforce.ca. You can find more information on FPAC's Vision2020 at: www.fpac.ca/index.php/en/vision2020/


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Village Voice Story on Restaurant Leases Featured on The Ride Home With Pat Kiernan
Village Voice cover story featured on Pat Kiernan's radio show
Courtesy The Ride Home
Village Voice writer Jon Campbell was on WABC Radio's The Ride Home, with Pat Kiernan and Rita Cosby yesterday to talk about our cover story from last week, co-written with Food Editor Laura Shunk. The story, Are High Rents Pricing Manhattan's High End Restaurants Out of the Market? takes a deep look at the economic factors driving some of the city's high end restaurants out of business, or at least out of Manhattan.
Check out the segment (4:30) below:
And check out the full episode here.
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Two changes that affect wage and contribution reporting in EDX will be active beginning Wednesday, April 3, 2008, as part of EDX Release 4.2.3.
When regular or overtime subject salary is reported on a DTL2, hours will be required on that record unless the wage code is 08, 06, 14, or 16. If no hours are reported when regular or overtime subject salary is reported for all other wage codes, the record will suspend.
This requirement will increase data quality and reduce time spent researching incorrect records.
Certain wage codes will not post during a leave of absence
If an employee has been reported as being on any type of leave of absence, EDX will only allow DTL2 records with a 06, 08, or 14 wage code to post during that leave. Any record with another wage code will suspend. An employee is officially on a leave of absence after a DTL1-status code 03, 04, 06, 07, or 09 is posted and before a DTL1-status code 08 (return from leave) is posted.
Restricting the type of DTL2 record that can post during a leave ensures that service time is not credited for that period.
If you have questions about these new reporting requirements, please send an e-mail to: email@example.com or contact your Employer Service Center (ESC) account representative.
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John F. Kennedy Center for the Performing Arts
Kennedy Center seen from the Potomac River
Address | 2700 F Street, NW |
Location | Washington, D.C. |
Coordinates | 38°53′45″N 77°03′21″W / 38.8957°N 77.0559°WCoordinates: 38°53′45″N 77°03′21″W / 38.8957°N 77.0559°W |
Owner | United States government |
Operator | John F. Kennedy Center for the Performing Arts David Rubenstein, Chairman Deborah Rutter, President |
Type | Performing arts center |
Capacity | Concert Hall: 2,454 Opera House: 2,294 Eisenhower Theater: 1,161 Terrace Theater: 475 Theater Lab: 398 Family Theater: 320 Jazz Club: 160 |
Construction | |
Opened | September 8, 1971 |
Architect | Edward Durell Stone |
Structural engineer | Severud Associates |
General contractor | John McShain |
Tenants | |
National Symphony Orchestra Washington National Opera Suzanne Farrell Ballet |
Website | |
www |
The John F. Kennedy Center for the Performing Arts (formally called the John F. Kennedy Memorial Center for the Performing Arts, and commonly referred to as the Kennedy Center) is a performing arts center located on the Potomac River, adjacent to the Watergate complex in Washington, D.C. The Center, which opened September 8, 1971, is a multi-dimensional facility: both an enduring memorial to John F. Kennedy and a thriving cultural center, it produces a wide array of performances encompassing the genres of theater, dance, ballet, and orchestral, chamber, jazz, popular, and folk music, offers multi-media performances for adults and children of all ages, and is a nexus of arts education.
Known to be the busiest performing arts facility in the United States, in addition to the approximately 2,000 performances held annually for audiences totaling nearly two million, the Center hosts touring productions and television and radio broadcasts that, collectively, welcome 20 million more. Now in its 45th season, the Center presents the greatest examples of music, dance and theater; supports artists in the creation of new work; and serves the nation as a leader in arts education. With its artistic affiliate, the National Symphony Orchestra, the Center's achievements as a commissioner, producer, and nurturer of developing artists have resulted in over 200 theatrical productions, dozens of new ballets, operas, and musical works.
Tracing its beginning to the National Cultural Center Act of Congress in 1958, which requires that its programming be sustained through private funds, the center represents a public-private partnership. It is both the nation's public memorial to President John F. Kennedy and the "national center for the performing arts." Its activities include educational and outreach initiatives, almost entirely funded through ticket sales and gifts from individuals, corporations, and private foundations.
The building, designed by architect Edward Durell Stone, was constructed by Philadelphia contractor John McShain, and is administered by a bureau of the Smithsonian Institution. It receives annual federal funding to pay for its maintenance and operation.
- 1 History
- 2 Architecture
- 3 Venues
- 4 Productions
- 5 Millennium Stage Archives
- 7 Renovations
- 8 Management
- 9 References
- 10 External links
The idea for the center dates to 1933 when First Lady Eleanor Roosevelt discussed ideas for the Emergency Relief and Civil Works Administration to create employment for unemployed actors during the Great Depression.[1] In 1935, Congress held hearings on plans to establish a new Department of Science, Art and Literature and to build a monumental theater and arts building on Capitol Hill near the Supreme Court building.
The Library of Congress added a small auditorium, but it had restrictions on its use. A congressional resolution in 1938 called for construction of a "public building which shall be known as the National Cultural Center" near Judiciary Square, but nothing materialized.[1]
In 1950, the idea for a national theater resurfaced when U.S. Representative Arthur George Klein of New York introduced a bill to authorize funds to plan and build a cultural center. The bill included provisions that the center would prohibit any discrimination of cast or audience. In 1955, the Stanford Research Institute was commissioned to select a site and provide design suggestions for the center.[2] From 1955 to 1958, Congress debated the idea amid much controversy. In the summer of 1958, a bill was finally passed in Congress and September 4, 1958, President Dwight D. Eisenhower signed into law the National Cultural Center Act which provided momentum for the project.[3]
This was the first time in history that the federal government helped finance a structure dedicated to the performing arts. The legislation required a portion of the costs, estimated at $10–25 million, to be raised within five years of the bill's passage.[4] Edward Durell Stone was selected as architect for the project in June 1959.[5] He presented preliminary designs to the President's Music Committee in October 1959, along with estimated costs of $50 million, double the original estimates of $25–30 million. By November 1959, estimated costs had escalated to $61 million.[6] Despite this, Stone's design was well received in editorials in The Washington Post, Washington Star, and quickly approved by the United States Commission of Fine Arts, National Capital Planning Commission, and the National Park Service.[7]
The National Cultural Center was renamed the John F. Kennedy Center for the Performing Arts in 1964, following the assassination of President Kennedy.[8]
The National Cultural Center Board of Trustees, a group Eisenhower established January 29, 1959, led fundraising.[4] Fundraising efforts were not successful, with only $13,425 raised in the first three years.[9] President John F. Kennedy was interested in bringing culture to the nation's capital, and provided leadership and support for the project.[10] In 1961, President Kennedy asked Roger L. Stevens to help develop the National Cultural Center, and serve as chairman of the Board of Trustees. Stevens recruited First Lady Jacqueline Kennedy as Honorary Chairman of the Center, and former First Lady Mamie Eisenhower as co-chairman.[11]
The total cost of construction was $70 million.[8] Congress allocated $43 million for construction costs, including $23 million as an outright grant and the other $20 million in bonds.[10] Donations also comprised a significant portion of funding, including $5 million from the Ford Foundation, and approximately $500,000 from the Kennedy family.[12][13] Other major donors included J. Willard Marriott, Marjorie Merriweather Post, John D. Rockefeller III, and Robert W. Woodruff, as well as many corporate donors.[13] Foreign countries provided gifts to the Kennedy Center, including a gift of 3,700 tons of Carrara marble from Italy (worth $1.5 million) from the Italian government, which was used in the building's construction.[14]
President Lyndon B. Johnson dug the ceremonial first-shovel of earth at the groundbreaking for the Kennedy Center December 2, 1964.[15] However, debate continued for another year over the Foggy Bottom site, with some advocating for another location on Pennsylvania Avenue.[12] Excavation of the site got underway on December 11, 1965, and the site was cleared by January 1967.[16]
The first performance was September 5, 1971, with 2,200 members of the general public in attendance to see a premiere of Leonard Bernstein's Mass in the Opera House,[8] while the Center's official opening took place September 8, 1971, with a formal gala and premiere performance of the Bernstein Mass.[17] The Concert Hall was inaugurated September 9, 1971, with a performance by the National Symphony Orchestra conducted by Antal Doráti.[17] Alberto Ginastera's opera, Beatrix Cenci premiered at the Kennedy Center Opera House September 10, 1971. The Eisenhower Theater was inaugurated October 18, 1971, with a performance of A Doll's House starring Claire Bloom.[18]
Architect Edward Durell Stone designed the Kennedy Center.[19] Overall, the building is 100 feet (30 m) high, 630 feet (190 m) long, and 300 feet (91 m) wide. The Kennedy Center features a 630-foot-long (190 m), 63-foot-high (19 m) grand foyer, with 16 hand-blown Orrefors crystal chandeliers (a gift from Sweden) and red carpeting. The Hall of States and the Hall of Nations are both 250-foot-long (76 m), 63-foot-high (19 m) corridors. The building has drawn criticism about its location (far away from Washington Metro stops), and for its scale and form,[19] although it has also drawn praise for its acoustics, and its terrace overlooking the Potomac River.[19] In her book On Architecture, Ada Louise Huxtable called it "gemütlich Speer."[20]
Cyril M. Harris designed the Kennedy Center's auditoriums and their acoustics.[21] A key consideration is that many aircraft fly along the Potomac River and overhead the Kennedy Center, as they take off and land at the nearby Ronald Reagan Washington National Airport. Helicopter traffic over the Kennedy Center is also fairly high. To keep out this noise, the Kennedy Center was designed as a box within a box, giving each auditorium an extra outer shell.[22]
The plaza entrance of the Kennedy Center features two tableaus by German sculptor Jürgen Weber; created between 1965 and 1971, which were a gift to the Kennedy Center from the West German government. Near the north end of the plaza is a display of nude figures in scenes representing war and peace, called War or Peace. The piece, 8 ft × 50 ft × 1.5 ft (2.44 m × 15.24 m × 0.46 m), depicts five scenes showing the symbolism of war and peace: a war scene, murder, family, and creativity.[23] At the south end is America which represents Weber's image of America (8 x 50 x 1.5 ft.). Four scenes are depicted representing threats to liberty, technology, foreign aid and survival, and free speech.[24] It took the artist four years to sculpt the two reliefs in plaster, creating 200 castings, and another two years for the foundry in Berlin to cast the pieces. In 1994, the Smithsonian Institution's Save Outdoor Sculpture! program surveyed War or Peace and America and described them as being well maintained.[23][24] Another sculpture Don Quixote by Aurelio Teno occupies a site near the northeast corner of the building. King Juan Carlos I and Queen Sofia of Spain gave the sculpture to the United States for its Bicentennial, June 3, 1976.[25]
The Kennedy Center has three main theaters: the Concert Hall, the Opera House, and the Eisenhower Theater.
Concert Hall[edit]
The Concert Hall, located at the south end of the Center, seats 2,442 including chorister seats and stage boxes, and has a seating arrangement similar to that used in many European halls such as Musikverein in Vienna. The Concert Hall is the largest performance space in the Kennedy Center and is the home of the National Symphony Orchestra. A 1997 renovation brought a high-tech acoustical canopy, handicap-accessible locations on every level, and new seating sections (onstage boxes, chorister seats, and parterre seats). The Hadeland crystal chandeliers, given by the government of Norway, were repositioned to provide a clearer view.[14] Canadian organbuilder Casavant Frères constructed and installed a new pipe organ in 2012.[26]
Opera House[edit]
The Opera House, in the middle, has about 2,300 seats. Its interior features include walls covered in red velvet, a distinctive red and gold silk curtain, given by the Japanese government, and Lobmeyr crystal chandelier with matching pendants, which were a gift from the government of Austria.[14] It is the major opera, ballet, and large-scale musical venue of the Center, and closed during the 2003/2004 season for extensive renovations which provided a revised seating arrangement and redesigned entrances at the orchestra level. It is the home of the Washington National Opera and the annual Kennedy Center Honors.
Eisenhower Theater[edit]
The Eisenhower Theater, on the north side, seats about 1,163 and is named for President Dwight D. Eisenhower, who signed the National Cultural Center Act into law on September 2, 1958. It primarily hosts plays and musicals, smaller-scale operas, ballet and contemporary dance. The theater contains an orchestra pit for up to 35 musicians that is convertible to a forestage or additional seating space. The venue reopened in October 2008, following a 16-month renovation which altered the color scheme and seating arrangements.
Other performance venues[edit]
Other performance venues in the Center include:
- The Family Theater, with 324 seats, opened December 9, 2005. It replaced the former American Film Institute Theater located adjacent to the Hall of States. The new Family Theater provides a home for world-class family theater performances for the nation's youth and continues the Kennedy Center's $125 million commitment to performing arts education for adults and children alike. Designed by the architectural firm Richter Cornbrooks Gribble, Inc. of Baltimore, the new theater incorporates the most modern theatrical innovations available, including: premium audio technologies; a computerized rigging system; and a digital video projection system.
- The Terrace Theater, with 513 seats, was constructed on the roof terrace level in the late 1970s as a Bicentennial gift from the people of Japan to the United States. It is used for intimate performances of chamber music, ballet and contemporary dance, and theater.
- The Theater Lab, with 399 seats, currently houses the whodunit Shear Madness which has been playing continuously since August 1987.
- The Millennium Stage. Part of the concept of "Performing Arts for Everyone" launched by then-Chairman James Johnson in the winter of 1997, the Millennium Stage provides free performances every evening at 6:00 pm on two specially created stages at either end of the Grand Foyer. A broad range of art forms are featured on the Millennium Stage. These include performing artists and groups from all 50 states and an Artist-in-Residence program featuring artists performing several evenings in a month. Every show on the Millennium Stage is available as a simulcast of the live show at 6:00 pm, and is archived for later viewing via the Kennedy Center's website. "Performing Arts for Everyone" was designed to introduce the Kennedy Center and its programs to a far wider audience than ever before by providing a performance open to the public and free of charge 365 days a year. In addition, "Performing Arts for Everyone" initiatives include low- and no-cost tickets available to performances on every stage of the Kennedy Center, and several outreach programs designed to increase access to the Center's tickets and performances.
- The Conservatory Project, an initiative of the Millennium Stage, is a semi-annual event occurring in February and May that is designed to present the best young musical artists in classical, jazz, musical theater, opera and more from our nation's leading undergraduate and graduate conservatories, colleges and universities in performance at the Kennedy Center. It is designed to create an ongoing showcase for young talent, and to introduces Washington audiences to young musicians who are destined to have important careers. The Conservatory Project creates an ongoing showcase for our nation's exceptional young talent and introduces Washington audiences to young musicians destined to have important careers.
- The KC Jazz Club. March 12, 2003, the space formerly known as the Education Resource Center was officially designated the Terrace Gallery. It is now home to the Kennedy Center Jazz Club.
River and rooftop terraces[edit]
The Kennedy Center offers one of the only open air rooftop terraces in downtown Washington, DC free of charge to the public, open from 10:00 a.m. until midnight each day, except when closed for private events. The wide terrace provides views in all four directions overlooking the Rosslyn skyline in Arlington, Virginia to the West; the Potomac River and National Airport to the South; the Washington Harbor and the Watergate Complex to the North; and the Lincoln Memorial, Department of State buildings, George Washington University and the Saudi Embassy to the East.
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World premiere performances of Kennedy Center-commissioned works have been offered through a commissioning program for new ballet and dance works. These works have been created by America's foremost choreographers—Paul Taylor, Lar Lubovitch, and Merce Cunningham—for leading American dance companies including American Ballet Theatre, Ballet West, Houston Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, and the San Francisco Ballet. Since 1999, the Kennedy Center has supported and produced the Suzanne Farrell Ballet in performances at the Center and on extended tours.
The Center sponsors two annual dance residency programs for young people; Exploring Ballet with Suzanne Farrell and the Dance Theatre of Harlem Residency Program, both now in their second decade. The Kennedy Center's Contemporary Dance series offers a wide range of artistic perspectives, from the foremost masters of the genre to the art form's newest and most exciting artists. In the 2008/2009 series, the Kennedy Center recognized Modern Masters of American Dance, bringing Martha Graham Dance Company, Merce Cunningham Dance Company, Limón Dance Company, Mark Morris Dance Group, Alvin Ailey American Dance Theater, Bill T. Jones/Arnie Zane Dance Company and Paul Taylor Dance Company.
In recent years the Kennedy Center has dramatically expanded its education programs to reach young people, teachers, and families throughout the nation. The 2005 opening of the Family Theater has helped achieve this.
For over 35 years, the Kennedy Center Education Department has provided arts experiences through performances, residencies, workshops, conferences, career development programs, symposia, and on-line and print resources. In the past year, the Center's education programs have directly impacted more than 11 million people across the nation. The Education Department fosters understandings and participation in the performing arts through programs and performances for diverse populations of all ages.
Performances for Young Audiences[edit]
- Theater for Young Audiences (TYA)
The 2008–2009 season programming for Performances for Young Audiences reached more than 100 performances for young people and their families and over 110 performances for school audiences. The season included four Kennedy Center-commissioned world premieres: The Trumpet of the Swan, a musical adapted by Pulitzer Prize winner Marsha Norman from the book by E.B. White with music by Jason Robert Brown; Mermaids, Monsters, and the World Painted Purple, a new play by Marco Ramirez; Unleashed! The Secret Lives of White House Pets, a new play by Allyson Currin in collaboration with the White House Historical Association; and OMAN...O man!, a new dance production conceived and directed by Debbie Allen and is part of the Center's Arab festival, Arabesque: Arts of the Arab World. Theater for Young Audiences on Tour toured with two nationally touring productions of The Phantom Tollbooth and Blues Journey.
On June 8, 2016 it was announced that the Kennedy Center Theater for Young Audiences-commissioned musical Elephant & Piggie's We are in a Play!, with book and lyrics by Mo Willems and music by Deborah Wicks La Puma, will transfer to the Off-Broadway New Victory Theater in January 2017.[27]
- National Symphony Orchestra Performances for Young Audiences
Members of the National Symphony Orchestra will continue to present Teddy Bear Concerts throughout its seasons. During these concerts, children aged three to five bring their favorite stuffed animal to interactive musical programs featuring members of the NSO. Members of the NSO present NSO Ensemble Concerts, connecting music with various school subjects such as science and math, Kinderkonzerts, introducing kids to orchestral instruments and classical composers, as well as NSO Family Concerts.
Kennedy Center American College Theater Festival (KCACTF)[edit]
Started in 1969 by Roger L. Stevens, the Kennedy Center's founding chairman, the Kennedy Center American College Theater Festival (KCACTF) is a national theater program involving 18,000 students from colleges and universities nationwide which has served as a catalyst in improving the quality of college theater in the United States. The KCACTF has grown into a network of more than 600 academic institutions throughout the country, where theater departments and student artists showcase their work and receive outside assessment by KCACTF respondents. Since its establishment in 1969, KCACTF has reached more than 17.5 million theatergoing students and teachers nationwide.
Changing Education Through the Arts (CETA)[edit]
The Kennedy Center's CETA program's mission is make the arts a critical component in every child's education. CETA, which stands for Changing Education Through the Arts, creates professional development opportunities for teachers and school administrators. Each year over 700 teachers participate in approximately 60 courses that focus on ways to integrate the arts into their teaching.[28] The Kennedy Center's CETA program also partners with sixteen schools in the Washington DC Metro area to develop long-range plan for arts integration at their school. Two of these schools, Kensington Parkwood Elementary School in Kensington, MD and Woodburn Elementary School for the Fine and Communicative Arts in Falls Church, Virginia serve as Research and Development schools for CETA.
Exploring Ballet with Suzanne Farrell (EBSF)[edit]
Exploring Ballet with Suzanne Farrell is a three-week summer ballet intensive for international pre-professional ballerinas ages 14–18. Suzanne Farrell, one of the most revered ballerinas of the 20th century, has been hosting this Balanchine-inspired intensive at the Kennedy Center since 1993.[29][30] During their three weeks in Washington, D.C., Farrell's students practice technique and choreography during twice daily classes, six days per week. Outside of the classroom, excursions, activities and performance events are planned for EBSF students to fully immerse themselves in the culture of the nation's capital.[29]
The Kennedy Center presents festivals celebrating cities, countries, and regions of the world. The festivals are filled with a wide range of performing arts, visual arts, cuisine, and multi-media. In 2008, the Center presented an exploration of the culture of Japan entitled Japan! culture + hyperculture. The 2009 Arab festival was an unprecedented exploration of the culture of the 22 Arab countries in the League of Arab States, titled Arabesque: Arts of the Arab World. In 2011, the Kennedy Center presented maximum INDIA, a three-week-long celebration of the arts and culture of the sub-continent.
Since its establishment in September 1971, the John F. Kennedy Center for the Performing Arts has showcased world-class jazz in solo, various ensembles, and big band settings. In 1994, the Kennedy Center appointed Dr. Billy Taylor as Artistic Advisor for Jazz, and his first installation was his own radio show Billy Taylor's Jazz at the Kennedy Center. Featuring his trio and guest artists in performance and discussion, the series ran for seven seasons on NPR. Since Taylor's appointment in 1994, the Center has initiated numerous performance programs to promote jazz on a national stage, featuring leading international artists and rising stars, including: the Art Tatum Piano Panorama, named after Dr. Taylor's mentor; the Louis Armstrong Legacy, highlighting vocalists; the Mary Lou Williams Women in Jazz Festival, the first festival by a major institution promoting outstanding female jazz artists; Beyond Category, featuring artists whose work transcends genre; the Platinum Series, with internationally acclaimed headliners; Jazz Ambassadors with the United States Department of State, sending musicians on worldwide goodwill tours (1998–2004); the KC Jazz Club, a highly praised intimate setting; and Discovery Artists in the KC Jazz Club, highlighting up-and-coming talent. Kennedy Center and NPR annually collaborated on the beloved holiday broadcast 'NPR's Piano Jazz Christmas', until the retirement of host Marian McPartland, and hence the show, in 2011. Since 2003, the Center's jazz programs have been regularly broadcast on NPR's JazzSet with Dee Dee Bridgewater. Recent highlights, produced by the Center, have included Great Vibes, A Salute to Lionel Hampton (1995); Billy Taylor's 80th Birthday Celebration (2002); Nancy Wilson, A Career Celebration (2003); Michel Legrand with Patti Austin, part of the Center's Festival of France (2004); A Tribute to Shirley Horn (2004); James Moody's 80th Birthday (2005); and Benny Golson at 80 (2009). In March 2007, the Center hosted a once-in-a-lifetime celebration, Jazz in Our Time, which bestowed the Center's Living Jazz Legend Award to over 30 revered artists. During Dr. Taylor's tenure, the Center has created recognized educational initiatives, including national jazz satellite distance-learning programs; adult lecture series; master classes and workshops with national artists and local metropolitan Washington, D.C. students; and Betty Carter's Jazz Ahead—continuing the singer's legacy of identifying outstanding young talent.
National Symphony Orchestra (NSO)[edit]
The National Symphony Orchestra, the Kennedy Center's artistic affiliate since 1987, has commissioned dozens of new works, among them Stephen Albert's RiverRun, which won the Pulitzer Prize for Music; Morton Gould's Stringmusic, also a Pulitzer Prize-winner; William Bolcolm's Sixth Symphony, and Michael Daugherty's UFO, a concerto for solo percussion and orchestra.
In addition to its regular season concerts, the National Symphony Orchestra presents a host of outreach, education, and pops programs, as well as concerts at Wolf Trap each year. The annual American Residencies for the Kennedy Center is a program unique to the National Symphony Orchestra and the Center. The Center sends the Orchestra to a different state each year for an intensive period of performances and teaching encompassing full orchestral, chamber, and solo concerts, master classes and other teaching sessions. The Orchestra has given these residencies in 20 states so far: Alabama, Alaska, Arizona, Arkansas, Kansas, Louisiana, Maine, Mississippi, Nebraska, Nevada, North and South Carolina, Oklahoma, North and South Dakota, Tennessee, Vermont, Nevada, and Wyoming/Montana.
The NSO recording of John Corigliano's Of Rage and Remembrance won a Grammy Award in 1996.
Performing Arts for Everyone (PAFE)[edit]
The Kennedy Center is the only U.S. institution that presents a free performance 365 days a year. The Millennium Stage, created as part of the Center's Performing Arts for Everyone initiative in 1997 and underwritten by James A. Johnson and Maxine Isaacs, features a broad spectrum of performing arts, from dance and jazz, to chamber music and folk, comedy, storytelling and theater. In the past twelve years, over three million people have attended Millennium Stage performances. The Millennium Stage has presented more than 42,000 artists, which includes over 4,000 international artists from more than 70 countries; performers representing all 50 states; and 20,000 Washington-area ensembles and solo artists. The Charlie Byrd Trio and the Billy Taylor Trio were the first artists to delight audiences with a free performance on March 1, 1997. In 1999, the Center began web-casting each night's live performance, and continues to archive and maintain each event in a database of over 3,000 performances which may be accessed via the Center's website. Performing Arts for Everyone initiatives also include low- and no-cost tickets available to performances on every stage of the Kennedy Center, and several outreach programs designed to increase access to Kennedy Center tickets and performances.
The Center has co-produced more than 300 new works of theater over the past 43 years, including Tony-winning shows ranging from Annie in 1977 to A Few Good Men, How to Succeed in Business Without Really Trying, The King and I, Titanic, and the American premiere of Les Misérables. The Center also produced the Sondheim Celebration (six Stephen Sondheim musicals) in 2002, Tennessee Williams Explored (three of Tennessee Williams' classic plays) in 2004, Mame starring Christine Baranski in 2006, Carnival! in 2007, August Wilson's Pittsburgh Cycle (Wilson's complete ten-play cycle performed as fully staged readings) and Broadway: Three Generations both in 2008, and a new production of Ragtime in 2009. The Kennedy Center Fund for New American Plays has provided critical support in the development of 135 new theatrical works. In 2011, a new production of Follies starring Bernadette Peters opened at the Eisenhower Theater, and transferred to Broadway that fall.[needs update]
Kennedy Center Honors[edit]
Wikinews has related news: Kennedy Center names 2007 honors recipients |
Since 1978, the Kennedy Center Honors have been awarded annually by the Center's Board of Trustees. Each year, five artists or groups are honored for their lifetime contributions to American culture and the performing arts, including dance, music, theater, opera, film, and television.[31] The Center has awarded the Mark Twain Prize for American Humor since 1998.
Local performing arts organizations[edit]
Many local arts organizations present (or have presented) their work at the Kennedy Center. Some of these include:
- American Film Institute
- The Cathedral Choral Society of Washington
- Choral Arts Society of Washington
- Korean Concert Society
- The Masterworks Chorus
- Opera Lafayette
- Theater Chamber Players
- Vocal Arts Society of Washington, DC
- VSA arts
- The Washington Ballet
- The Washington Chorus
- Washington Concert Opera
- Washington National Opera
- Washington Performing Arts Society[32]
- Woolly Mammoth Theatre Company
- Young Concert Artists of Washington[33]
Other events[edit]
During the American Bicentennial, the Kennedy Center hosted numerous special events throughout 1976, including six commissioned plays.[34] The center hosted free performances by groups from each state.[35] In December 1976, Mikhail Baryshnikov's version of The Nutcracker ballet played for two weeks.[36]
The Kennedy Center also hosts special inauguration events and galas.
In 1977, the Opera House hosted George Bernard Shaw's Caesar and Cleopatra with Rex Harrison and Elizabeth Ashley.[37] The American Ballet Theatre has also frequently performed at the Kennedy Center.[38] The troupe's 2004 production of Swan Lake, choreographed by Kevin McKenzie, was taped there, shown on PBS in June 2005, and released on DVD shortly after.
Productions of The Lion King and Trevor Nunn's production of My Fair Lady (choreographed by Matthew Bourne) were presented in the 2007–2008 season, to name a few.[39]
Millennium Stage Archives[edit]
The Kennedy Center stages free daily performances on its Millennium Stage in the Grand Foyer. Featured on the Millennium Stage are a range of art forms, including performing artists and groups.
The two theaters of The Millennium Stage are equipped with lights, sound systems, and cameras. Every free event performed at this stage is recorded and archived on the Kennedy Center's website. These archives have been available to the public for free since 2009.[40]
VSA (formerly VSA arts) is an international nonprofit organization founded in 1974 by Ambassador Jean Kennedy Smith to create a society where people with disabilities learn through, participate in, and enjoy the arts. VSA provides educators, parents, and artists with resources and the tools to support arts programming in schools and communities. VSA showcases the accomplishments of artists with disabilities and promotes increased access to the arts for people with disabilities. Each year 7 million people participate in VSA programs through a nationwide network of affiliates and in 54 countries around the world. Affiliated with the Kennedy Center since 2005, VSA was officially merged into the organization in 2011 to become part of the Center's Department of VSA and Accessibility.
On June 16, 1971, Congress authorized appropriations for one year to the Board of Trustees for operating and maintenance expenses. In following years, the appropriations were provided to the National Park Service for operations, maintenance, security, safety and other functions not directly related to the performing arts activities.[41] The National Park Service and the Kennedy Center signed a cooperative agreement requiring each party to pay a portion of the operating and maintenance costs based on what proportion of time the building was to be used for performing arts functions. The agreement did not specify who was responsible for long-term capital improvement projects at the Kennedy Center, along with only periodic funding by Congress for one-time projects.[42]
In fiscal years 1991 and 1992, Congress recommended that $27.7 million be allocated for capital improvement projects at the Center, including $12 million for structural repairs to the garage and $15.7 million for structural and mechanical repairs, as well as projects for improving handicapped access.[43] In 1994, Congress gave full responsibility to the Kennedy Center for capital improvement projects and facility management.[44] From 1995 to 2005, over $200 million of federal funds were allocated to the Kennedy Center for long-term capital projects, repairs, and to bring the center into compliance with modern fire safety and accessibility codes.[44] Improvements included renovation of the Concert Hall, Opera House, plaza-level public spaces, and a new fire alarm system.[45] The renovations projects were completed 13 to 50 percent over budget, due to modifications of plans during the renovations resulting in overtime and other penalties.[46] Renovations to the Eisenhower Theater were completed in 2008.[39]
In 2013, the center announced plans for a $100 million 65,000 square feet (6,000 m2) addition of three land-based pavilions on the Kennedy Center's South Plaza, and a newly imagined pedestrian bridge that will connect the Potomac River waterfront to the Kennedy Center. The project will include rehearsal space as well as dedicated classroom space, and multipurpose rooms for the Center's extensive arts education and arts management education programs.[47] Public access spaces will include gardens, an outdoor video wall upon which simulcast performances and other multimedia events may be projected, and an outdoor performance space. They are to be designed by Steven Holl with help by architect firm BNIM. The proposed design is somewhat similar to the Bloch Addition to the Nelson-Atkins Museum of Art in Kansas City, Missouri, on which the two architectural firms collaborated in 2007. The plans call for the pavilions to be built with translucent Okalux light diffusing insulated glass and the same Carrara marble used for the Kennedy Center. Landscaping of the pavilions includes pools with the same dimension as the PT-109. Plans for the project began after David M. Rubenstein donated $50 million to the center.[48]
Prior to 1980, daily operations of the Kennedy Center were overseen by the chairman of the board of directors, and by the board itself. Aspects of the center's programming and operations were overseen by various other people. George London was the Kennedy Center's first executive director (often called "artistic director" by the press, although that was not the formal title), serving from 1968 to 1970,[49] while William McCormick Blair, Jr. was its first administrative director.[50] Julius Rudel took over as music director in 1971.[51] In 1972, Martin Feinstein replaced London and held the position of artistic director until 1980.[52] Marta Casals Istomin was named the first female artistic director in 1980, a position she held until 1990;[53] she was also the first person to be formally invested with that title.[54][55]
In 1991, the board created the position of chief operating officer to remove the day-to-day operations of the Kennedy center from the chairman and board. Lawrence Wilker was hired to fill the position, which later was retitled president.[56] The artistic director continued to oversee artistic programming, under the president's direction.
Michael Kaiser became president of the Kennedy Center in 2001. He left the organization when his contract expired in September 2014.[56][57]
In September 2014, Deborah F. Rutter became its third president; she is the first woman to hold that post. Rutter had previously been president of the Chicago Symphony Orchestra Association, a position she held from 2003.[53]
Board of Trustees[edit]
The Kennedy Center Board of Trustees (more formally known as the Trustees of the John F. Kennedy Center for the Performing Arts), maintains and administers the Center and its site. David M. Rubenstein is the chairman of the board.
The honorary chair members of the board are the First Lady and her living predecessors. Members of the board are specified by 20 USC 76h and include ex officio members such as the Secretary of Health and Human Services, the Librarian of Congress, the Secretary of State (substituting for the Director of the United States Information Agency after that agency was abolished), the Chairman of the Commission of Fine Arts, the Mayor of the District of Columbia, the Superintendent of Schools of the District of Columbia, the Director of the National Park Service, the Secretary of Education and the Secretary of the Smithsonian Institution, as well as 36 general trustees appointed by the President of the United States for six-year terms.[58]
- ^ a b Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 527–528.
- ^ "Timeline of SRI International Innovations: 1940s - 1950s". SRI International. Retrieved 2012-07-01.
- ^ Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 529.
- ^ a b Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 541.
- ^ Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 542.
- ^ Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 543.
- ^ Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 544.
- ^ a b c Robertson, Nan (September 6, 1971). "At Last, the Performances Begin". The New York Times. Retrieved 2014-11-04. (subscription required (help)).
- ^ Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 545.
- ^ a b Lydon, Christopher (September 6, 1971). "Kennedy Arts Center Primps for Opening and Hopes to Make Profit". The New York Times. (subscription required (help)).
- ^ Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 546.
- ^ a b Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 564.
- ^ a b Curtis, Charlotte (September 3, 1971). "Clamor Continues for Seats at Kennedy Center Opening". The New York Times. (subscription required (help)).
- ^ a b c "$3-Million in Gifts Adorn Center". The New York Times. September 6, 1971. (subscription required (help)).
- ^ Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 560.
- ^ Meersman, Roger (1980). "The Kennedy Center: From Dream to Reality". Records of the Columbia Historical Society. 50: 568–569.
- ^ a b Schonberg, Harold C. (September 2, 1971). "Kennedy Hall Gets Acoustics Workout". The New York Times. (subscription required (help)).
- ^ Hutchinson, Louise (October 19, 1971). "Eisenhower Theater Opening Performance Seen by Nixons". Chicago Tribune.
- ^ a b c Weeks, Christopher (1994). AIA Guide to the Architecture of Washington, D.C. (Third ed.). Johns Hopkins University Press.
- ^ Huxtable, Ada Louise (2008). On Architecture: Collected Reflections on a Century of Change. Bloomsbury. p. 82. ISBN 978-0-8027-1707-8. (subscription required (help)).
- ^ Roth, Leland M. (1982). A Concise History of American Architecture. Westview Press. p. 337. ISBN 978-0064300865.
- ^ Raichel, Daniel R. (2000). The Science and Applications of Acoustics. Springer. p. 252. ISBN 978-0387989075. (subscription required (help)).
- ^ a b "War or Peace, (sculpture)". Save Outdoor Sculpture, District of Columbia survey. Smithsonian Institution. 1994. Retrieved 2014-11-04.
- ^ a b "America, (sculpture)". Save Outdoor Sculpture, District of Columbia survey. Smithsonian Institution. 1994. Retrieved 2014-11-04.
- ^ "Kennedy Unit to Get King's Gift". =Spartanburg Herald-Journal. Associated Press. May 9, 1976. Retrieved 2014-11-04.
- ^ Wakin, Daniel J. (September 27, 2011). "Kennedy Center to Replace Its Pipe Organ". The New York Times.
- ^ http://www.broadwayworld.com/off-broadway/article/New-Season-Announced-for-New-Victory-Theater-20160607
- ^ "Ceta: Program Overview". Retrieved December 18, 2011.
- ^ a b "Exploring Ballet with Suzanne Farrell". Retrieved July 16, 2015.
- ^ "Dance Spotlight: Learning Curve". Retrieved July 16, 2015.
- ^ Boliek, Brooks (September 8, 1994). "Kennedy nods to Douglas, Gould". The Hollywood Reporter.
- ^ Washington Performing Arts Society website
- ^ Young Concert Artists of Washington website
- ^ Darling, Lynn (January 1, 1977). "Bicentennial Hailed for Its Legacies". The Washington Post. Retrieved 2014-11-04. (subscription required (help)).
- ^ "Critics' Roundtable The Arts: Poised for 1977". The Washington Post. January 2, 1977. Retrieved 2014-11-04. (subscription required (help)).
- ^ Kriegsman, Alan M. (January 2, 1977). "The New Nutcracker: An Artistic Coup". The Washington Post. Retrieved 2014-11-04. (subscription required (help)).
- ^ Quinn, Sally (January 12, 1977). "Rex Harrison: 'The World Was A Rather Different Place Then'". The Washington Post. Retrieved 2014-11-04. (subscription required (help)).
- ^ Kriegsman, Alan M. (April 11, 1977). "ABT's Final Weekend: Upbeat Performances". The Washington Post. Retrieved 2014-11-04. (subscription required (help)).
- ^ a b Smith, Tim (March 6, 2007). "Kennedy Center announces details of 2007–2008 season". The Baltimore Sun.
- ^ "Millennium Stage". Kennedy Center. Retrieved 2014-11-04.
- ^ General Accounting Office (February 1993). "Kennedy Center: Information on the Capital Improvement Program" (PDF). p. 2.
- ^ General Accounting Office (February 1993). "Kennedy Center: Information on the Capital Improvement Program" (PDF). p. 3.
- ^ General Accounting Office (February 1993). "Kennedy Center: Information on the Capital Improvement Program" (PDF). GAO Report to Congress. p. 4.
- ^ a b Government Accountability Office (April 2005). "Stronger Oversight of Fire Safety Issues, Construction Projects, and Financial Management Needed" (PDF). p. 1.
- ^ Government Accountability Office (April 2005). "Stronger Oversight of Fire Safety Issues, Construction Projects, and Financial Management Needed" (PDF). p. 3.
- ^ Government Accountability Office (April 2005). "Stronger Oversight of Fire Safety Issues, Construction Projects, and Financial Management Needed" (PDF). p. 4.
- ^ "News - Expansion Project". www.kennedy-center.org. Retrieved 2016-02-05.
- ^ "KC firm BNIM will help design $100 million expansion of Kennedy Center". Kansas City Star. April 4, 2013. Retrieved 2014-11-04. (subscription required (help)).
- ^ Davis, Peter G. (September 17, 1981). "Nov. 4 Gala to Honor George London". The New York Times. Retrieved 2014-11-04.
- ^ Robertson, Nan (February 1, 1968). "Rudel and Blair Accept Kennedy Arts Center Jobs". The New York Times. Retrieved 2014-11-04. (subscription required (help)).
- ^ Taubman, Howard (August 30, 1971). "Rudel Logs a Hectic Day In Kennedy Center Roles". The New York Times. Retrieved 2014-11-04. (subscription required (help)).
- ^ Saxon, Wolfgang (February 7, 2006). "Martin Feinstein, 84, Dies; Led the National Opera". The New York Times. Retrieved 2016-03-12.
- ^ a b Boyle, Katherine (December 10, 2013). "Deborah F. Rutter to Become Kennedy Center's Third President". The Washington Post. Retrieved 2014-11-04.
- ^ "Kennedy Center Artistic Director". Christian Science Monitor. February 29, 1980. Retrieved 2014-11-04.
- ^ Cummings, Judith; Krebs, Albin (February 27, 1980). "The Kennedy Center Names a New Artistic Director". The New York Times. Retrieved 2014-11-04. (subscription required (help)).
- ^ a b Boyle, Katherine (January 23, 2013). "Kennedy Center Will Begin Search to Replace President Michael M. Kaiser". The Washington Post. Retrieved 2014-11-04.
- ^ Pogrebin, Robin (December 10, 2013). "Kennedy Center Names New Chief". The New York Times. Retrieved 2014-11-04.
- ^ "The Kennedy Center: Board of Trustees". Retrieved 2014-11-04.
External links[edit]
Wikimedia Commons has media related to John F. Kennedy Center for the Performing Arts. |
- Performing arts centers in Washington, D.C.
- Concert halls in the United States
- Opera houses in Washington, D.C.
- Theatres in Washington, D.C.
- Foggy Bottom
- Buildings and monuments honoring American Presidents
- Members of the Cultural Alliance of Greater Washington
- Monuments and memorials in Washington, D.C.
- Event venues established in 1971
- Rock Creek and Potomac Parkway
- Edward Durell Stone buildings


text:
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Available in 4 Colors.
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text:
Tuesday, January 20, 2009
Positive Thoughts Positive Thoughts Positive Thoughts
14 comments:
- HBomb said...
Yikes, sounds like a rough ride for you. Intimacy is probably at a premium around the house these days, eh?
- Black Dog said...
*sob* - 1/20/2009 2:48 PM
- Swabbubba said...
Ah the joys to parent hood...
My kid never were to bad although my son would never sleep in his crib? playpen yup, couch yep, crib nope. Oh well he survived.
It is making sense to me now. I think one Raffi Torres better have his head on a swivel methinks Laddy is coming calling. Payback is a bitch - 1/20/2009 5:03 PM
Whenever Mrs DeBakey would see a baby she'd say "It's sooo cute. I love babies. We should have another"
[That would be our third]
I'd say "Go ahead. Don't let me stop ya."
Them Oilers, they're close.
I'd like to see another Top-6 forward.
If Row-bear can't can't get 'er done, find someone who can.
But they're close. - 1/20/2009 5:51 PM
- Boondock said...
I feel you, BDHS, and I only have the one. I have a 9 month old son, who was born 8 weeks premature, who is finally into a steady sleep pattern.
It's only now that I'm sleeping all night for the most part that I realize how bad I was feeling before.
The thing that blows me away is the quality of this blog over the past couple months. You have written some amazing stuff.
A couple months ago, if I had tried to write something, you would have assumed I was typing with my nose. - 1/20/2009 9:03 PM
- HBomb said...
Pat, I feel for you in one sense, but in another....who needs sex when you've got Ales Hemsky to watch on TV?
I was craving a cigarette tonight after the game, and I don't smoke. - 1/21/2009 12:50 AM
- Billy said...
Nice post dude. The colicky baby is always a fear, especially when our second one is comin in the summer. Got lucky on the first one, he got used to his crib right away and we havnt looked back since.
As for the Oilers, they are guttin out some good wins. Tonight they beat the BJ's, although accordin to Hitchie they were outplayed vastly. Who knows though, I missed the game and instead watched the Nucks lose a heart-breaker.
Truthfully I dont see any clear favorites amongst the whole western conference besides San J and Detroit. I think the playoff picture is pointless to even watch this early, and hence i've been tryin to distance myself from the anguish which is living and dyin with my Nucks.They've sucked for a while now, but the corner is being turned again. And i'm hopin for a strong second half.
Anyways, Hemsky looked pretty freakin good in hilights. I dont like the Oilers, but can admit that Hemsky would be a nice fit on my Nucks. - 1/21/2009 3:16 AM
- Black Dog said...
thanks boondock - yeah its murder; it gets a lot better and then you have two and its brutal (two is ten times the work of one - sorry Billy!) and then it gets better and you have a lot of your life back.
And then you start thinking, well maybe we could have a third. And that's where the trouble starts.
Good one, Mr D. As always. - 1/21/2009 8:28 AM
- Black Dog said...
Good one hbomb - yeah that was something.
You are right, billy, its early and I figured by now the Canucks would have pulled away, just a little collective sag - I think they let down once they got Sundin and then Luongo back.
But its all about hope and for the first time in a couple of years the Oilers look like a decent club. First they need to get in and then hopefully in as the fifth or sixth seed. I don't expect much this year but who knows what can happen. - 1/21/2009 8:30 AM
- Billy said...
(two is ten times the work of one - sorry Billy!)
Sweet, thats just great. We knew the workload would increase, 10 x's though. Pshaawwww, I hope...
ps. Vancouver has lost 7 in a row, but don't be fooled. The team is gellin again, and there is the possibility that in a week or so the team starts to really try out its improved horsepower. Again, I hope... - 1/21/2009 12:32 PM
- Black Dog said...
Billy - yeah I wouldn't worry if I were a Canucks fan - I think they'll be fine
As for the kid well you have increased laundry and cleaning and now you're even in numbers and that's not even starting with how the first one reacts to the second one - that's the real key. Our little guy has been fine with our third but when he came along our first went pretty mental.
Rest up is all I'm saying ;) - 1/21/2009 12:49 PM
- grease trap said...
Rest up, you think time's precious now? I remember driving with the car full of wife, kids, pets past a beautiful green field with big shady elms. A guy about my age was lounging up against a tree reading a book in the gentle midmorning if that summer perfection.
Let me repeat: Reading. A book.
I rolled down my window and called out half in raging jealousy, half in sincere warning: "You don't know what time is!" Fist held up and shaking just to complete the crazy.
Now with the kids old enough to have conversations with, I'm just waiting for late May, early July. I'm going to go sit in the shade of an elm tree and read. A book. - 1/22/2009 3:06 AM
- grease trap said...
Ps. Pat, isn't this the weekend you impotent yourself?
- Black Dog said...
g.t. - a week today
The whole time thing is crazy - I remember days spent whiling away the hours, doing absolutely nothing.
And then four years of madness.
And then a time when I could actually read a Saturday paper, go out for pints regularly, hell I even went away for a weekend with a buddy to Montreal - just the two of us!
Because it got easier.
And thus I fell into the trap ... - 1/22/2009 9:29 AM


text:
Laws & Policies
Glen Canyon National Recreation Area was created by Congress in 1972 to "provide for public outdoor recreation use and enjoyment of Lake Powell and lands adjacent thereto in the states of Arizona and Utah and to preserve scenic, scientific, and historic features contributing to public enjoyment of the area." All National Park Service Regulations Glen Canyon National Recreation Area is managed much like any other national park site. For the most part, the same management policies, regulations, and laws apply at Glen Canyon as all other national park areas. In accordance with regulations and the delegated authority provided in Title 36, Code of Federal Regulations (36 CFR), Chapter 1, Parts 1-7, authorized by Title 16 United States Code, Section 3, the following regulatory provisions are established in the Superintendent's Compendium for the proper management, protection, and public use of those portions of Glen Canyon National Recreation Area (NRA) and Rainbow Bridge National Monument (NM) under the jurisdiction of the National Park Service (NPS). Unless otherwise stated, these regulatory provisions apply in addition to the requirements contained in 36 CFR, Chapter 1, Parts 1-7. The Compendium must be read in conjunction with Title 36 CFR, Chapter 1, Parts 1-7. It cannot be read as a stand alone document. Title 36 CFR can be located at www.ecfr.gov. Written determinations, which explain the reasoning behind the Superintendent's use of discretionary authority, are required by Section 1.5(c) and are located in Appendix A Laws Specific to Glen Canyon and Rainbow Bridge The park's Superintendent's Compendium (734kb PDF) and Compendium Appendix A (749kb PDF) contain local rules and regulations that apply to Glen Canyon National Recreation Area. You should know these rules before your visit to Glen Canyon NRA. Firearm Regulations As of February 22, 2010, a new federal law allows people who can legally posess firearms under applicable federal, state, and local laws, to legally posess firearms in Glen Canyon National Recreation Area and all other National Park Service units. It is the responsibility of visitors to understand and comply with all applicable state, local, and federal firearms laws before entering this park. If you plan on being in Utah, please visit this site. If you plan on being in Arizona, please visit this site. Federal law also prohibits firearms in certain facilities in this park (such as the Carl Hayden Visitor Center); those places are marked with signs at all public entrances. All Boaters must follow federal and state regulations


text:
Times were lean when I was younger, so we would tend a big vegetable garden packed with tomatoes, beans, zucchini and pumpkin. I've been relying on the recipe for this pretty pumpkin cake for years.
28 Best Fall Cakes
- 3 cups canned pumpkin
- 2 cups sugar
- 1-1/2 cups canola oil
- 4 eggs
- 2 cups all-purpose flour
- 2-1/2 teaspoons ground cinnamon
- 2 teaspoons baking soda
- 2 teaspoons baking powder
- 1/2 teaspoon salt
- 1/2 cup chopped pecans
- 2/3 cup whipped cream cheese
- 3-3/4 cups confectioners' sugar
- 1 teaspoon vanilla extract
- 3 to 4 teaspoons 2% milk
- Pecan halves, optional
- In a large bowl, combine the pumpkin, sugar, oil and eggs. In a small bowl, combine the flour, cinnamon, baking soda, baking powder and salt; gradually beat into pumpkin mixture until blended. Stir in chopped pecans.
- Pour into three greased 9-in. round baking pans. Bake at 350° for 40-50 minutes or until a toothpick inserted near the center comes out clean. Cool for 10 minutes before removing from pans to wire racks to cool completely.
- For frosting, in a small bowl, beat cream cheese and confectioners' sugar until smooth. Beat in vanilla and enough milk to achieve a spreading consistency. Place one cake layer on a serving platter; spread with a third of the frosting. Repeat layers twice. Garnish with pecan halves if desired. Yield: 12-16 servings.
Originally published as Pecan Pumpkin Torte in Taste of Home's Holiday & Celebrations Cookbook
Annual 2003, p121
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