The parents of a woman killed during the Aurora movie theater shooting lost their bid to hold ammunition sellers liable for the attack on Friday.
Reported by Denver Post 24 minutes ago.
Parents of theater shooting victim lose lawsuit against ammo sellers
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Judge dismisses ammo suit in Aurora theater shooting
The lawsuit sought to hold ammunition sellers liable for the attack that killed 12.
Reported by USATODAY.com 22 hours ago.
Reported by USATODAY.com 22 hours ago.
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Graebel Earns Platinum Award for 22nd Consecutive Year for Booking the Most Tonnage with OMNI Member Network
For the twenty-second year, Graebel was bestowed the Platinum Award for sales and leadership in its administration of the most tonnage to and from the continent among OMNI members.
Aurora, COLO USA (PRWEB) March 28, 2015
Presentation Photos May be Available After the Presentation Ceremony
Graebel Movers International, Inc., a division of Graebel Companies, Inc., has earned the top continent of North America honors from the Overseas Moving Network International (OMNI). For the twenty-second year, Graebel was bestowed the Platinum Award for sales and leadership in its administration of the most tonnage to and from the continent among OMNI members. In the past twelve-months Graebel also achieved the Regional Gold Award for booking the most tonnage within the North American region. OMNI formally presented these two honors to chief executive officer William Graebel SGMS during its annual business session that was held in Victoria Falls, Zambia on March 27.
Recipients of all OMNI award winners were presented during the OMNI annual conference.
In 2014, Graebel Movers International, Inc. forwarded household goods shipments that exceeded 8.7-million pounds with OMNI network members. Overall in 2014, the company forwarded 43-million pounds of household goods shipments worldwide.
About OMNI
OMNI stands for the Overseas Moving Network International, a co-operative group of the world’s leading corporate international relocation and household goods removals companies. OMNI companies are market leaders in their own countries that have joined together to provide a network of excellence worldwide. To learn more visit: http://www.omnimoving.com
About Graebel Companies, Inc.
Founded in 1950, Graebel Companies is a privately-held global organization that offers the full suite of employee and commercial office relocation, mobility management, workplace and consultative services for the Global 100, Fortune 500 and emerging companies. On-the-ground services are managed in 165 countries on six continents. The world headquarters is located in Aurora, Colorado USA with in-region centers throughout the Americas, APAC and EMEA regions. Known for its industry-first innovations, Graebel holds numerous quality and security credentials, and has earned accolades from clients and from within its industry for its best-in-practice quality and market intelligence research and corporate social responsibility initiatives across the globe. To learn more visit: http://www.graebel.com
# # # Reported by PRWeb 12 hours ago.
Aurora, COLO USA (PRWEB) March 28, 2015
Presentation Photos May be Available After the Presentation Ceremony
Graebel Movers International, Inc., a division of Graebel Companies, Inc., has earned the top continent of North America honors from the Overseas Moving Network International (OMNI). For the twenty-second year, Graebel was bestowed the Platinum Award for sales and leadership in its administration of the most tonnage to and from the continent among OMNI members. In the past twelve-months Graebel also achieved the Regional Gold Award for booking the most tonnage within the North American region. OMNI formally presented these two honors to chief executive officer William Graebel SGMS during its annual business session that was held in Victoria Falls, Zambia on March 27.
Recipients of all OMNI award winners were presented during the OMNI annual conference.
In 2014, Graebel Movers International, Inc. forwarded household goods shipments that exceeded 8.7-million pounds with OMNI network members. Overall in 2014, the company forwarded 43-million pounds of household goods shipments worldwide.
About OMNI
OMNI stands for the Overseas Moving Network International, a co-operative group of the world’s leading corporate international relocation and household goods removals companies. OMNI companies are market leaders in their own countries that have joined together to provide a network of excellence worldwide. To learn more visit: http://www.omnimoving.com
About Graebel Companies, Inc.
Founded in 1950, Graebel Companies is a privately-held global organization that offers the full suite of employee and commercial office relocation, mobility management, workplace and consultative services for the Global 100, Fortune 500 and emerging companies. On-the-ground services are managed in 165 countries on six continents. The world headquarters is located in Aurora, Colorado USA with in-region centers throughout the Americas, APAC and EMEA regions. Known for its industry-first innovations, Graebel holds numerous quality and security credentials, and has earned accolades from clients and from within its industry for its best-in-practice quality and market intelligence research and corporate social responsibility initiatives across the globe. To learn more visit: http://www.graebel.com
# # # Reported by PRWeb 12 hours ago.
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One of two Facebook stabbing suspects surrenders to police
One of two suspects reportedly involved in the stabbing of a Longmont man over a Facebook posting surrendered Saturday evening in Aurora.
Reported by Denver Post 22 hours ago.
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Culture Shock Miami Presents Ballet Memphis In Triple Bill of New and Recent Choreography
North American Choreographers from Memphis Project and River Project are Featured
Miami, Florida (PRWEB) March 29, 2015
(Miami, March 23, 2015) Approaching its third decade as a leading ballet company and incubator of new choreography, Ballet Memphis takes the Main Stage at the South Miami-Dade Cultural Arts Center on Saturday, April 25, 2015 at 8 PM. Culture Shock Miami presents the Tennessee-based company in a three-part program featuring works by North American choreographers Trey McIntyre, Julia Adam and Matthew Neenan.
Ballet Memphis was founded in 1986 by native Memphian Dorothy Gunther Pugh, a leader in the field of ballet and dance education and who serves as Artistic Director. The company has toured extensively throughout the United States and has been called a “national treasure” by the Ford Foundation.
Gunther Pugh said, “We're proud to present some of our truly unique and truly American commissioned ballets from two of our most popular collections, the Memphis Project and the River Project. At Ballet Memphis, we're committed to creating dance that reflects the world, represents our rich local and global heritage and makes a place at the table, so to speak, for all.”
The program scheduled for South Miami-Dade audiences offers three very different choreographic themes.
Devil’s Fruit by Canadian-born Julia Adam is the second piece Adam has choreographed for the River Project series, a Ballet Memphis program focusing on dance based on movement echoing the Mississippi River. In this new work, Adam explores the flora and fauna along the river, specifically the vast and intricate underground network of mushrooms.
Party of the Year (Victoria Avenue, CA 12/25/70) by American Matthew Neenan is inspired by the New York Times-best-selling book, The Warmth of Other Suns by Isabel Wilkerson. The book chronicles three different lives filled with struggle, defeat and triumph during the heart of the "Great Migration," an era between 1910 and 1970 when more than 6 million African Americans moved out of the rural South to other parts of the United States.
In Dreams by Trey McIntyre is a small but powerfully poignant work created for Ballet Memphis in 2007 and set to the music of Roy Orbison. Ballet Memphis Founder and Artistic Director Dorothy Gunther Pugh calls Orbison "the Placido Domingo of country music" and likened his singing to "the sound of the human heart breaking". In Dreams is a work The New York Times called "...distinctive, touching" and moves the audience along with the dancers emotion.
The company tours with a cast of ten and will participate in community and education based activities for Miami-Dade public school students prior to the Saturday night performance. On Friday, April 24th, the company will hold a free performance of its evening program for students. A free masterclass open to advance ballet dancers will be held on April 25th at 10:00 AM. Both events will be at South Miami-Dade Cultural Arts Center.
$5 tickets are available to 13-22 year olds and one accompanying guest each, exclusively through CultureShockMiami.com.
Full price tickets are $45 to $25 and $15 for Youth Tickets for 12 years old and under. These tickets are available online at SMDCAC.org or through the SMDCAC box office by calling 786-573-5300. $5 Culture Shock Miami tickets are not sold through the SMDCAC Box Office or through SMDCAC.org. Culture Shock Miami ticket sales for this performance end on Friday, April 24, 2015 at 11:59 PM. No $5 tickets are available or through the SMDCAC box office.
PROGRAM
In Dreams
Choreographer: Trey McIntyre
Cast: Travis Bradley, Crystal Brothers, Steven McMahon, Julie Marie Niekrasz, Virginia Pilgrim Ramey
Costumes: Bruce Bui
Music: All songs performed by Roy Orbison. “Dream Baby” by Cindy Walker, “You Tell Me” by Sam Phillips, “The Crowd” by Roy Orbison and Joe Melson, “I Never Knew” by Sam Phillips, “In Dreams” by Roy Orbison. Interview with Roy Orbison: Being Remembered from Roy Orbison: Hits! Hits! Hits!, “Crying” by Orbison/Melson
Notes: Performed to the expressive voice of Roy Orbison, In Dreams is a sometimes dark, always passionate, journey through six of the legendary artist’s most popular songs.
Devil’s Fruit
Choreographer: Julia Adam
Cast: Travis Bradley, Kendall G. Britt Jr., Crystal Brothers, Hideko Karasawa, Steven McMahon, Virginia Pilgrim Ramey
Costumes: Christine Darch
Music: “Recomposed,” “Vivaldi, The Four Seasons: Spring 1,” and “Vivaldi, The Four Seasons: Spring 2” by Max Richter; “Islands” by Philip Glass; “The Four Seasons Concerto in F Minor, RV 297” by Red Priest; “Recomposed,” “Vivaldi, The Four Seasons: Summer 2” by Max Richter.
Notes: I approached this work as a tripartite positioning of the mushroom: The science, the pagan mythology and the mind-altering power of the mushroom to initiate one into the mysteries of the divine. I am overwhelmed and amazed by the beauty and power of the fungi kingdom.
Party of the Year (Victoria Avenue, CA 12/25/70)
Choreographer: Matthew Neenan
Cast: Travis Bradley, Kendall G. Britt Jr., Crystal Brothers, Jared Brunson, Anwen David, Hideko Karasawa, Julie Marie Niekrasz, Brandon Ramey, Virginia Pilgrim Ramey
Costumes: Bruce Bui
Music: “Buon Natale” by Nat King Cole; “Blues Power” by Albert King; “Ride on Red, Ride On” by Louisiana Red; “Hide Nor Hair” by Ray Charles; “Everybody Wants to Go to Heaven” by Albert King; “Save the Country” by The 5th Dimension; “Silver Bells” guitar solo by Charles Hammer; and “California” by Joni Mitchell.
Notes: Inspired by the best-selling book The Warmth of Other Suns by Isabel Wilkerson, Party of the Year chronicles the celebration and homecoming of sorts many African-Americans felt during and after the Great Migration (1910-70) from the South to other regions of the country.
ABOUT BALLET MEMPHIS
Ballet Memphis, founded in 1986 by artistic director and CEO Dorothy Gunther Pugh, is recognized for its close ties to the region’s rich musical and literary heritage. It has been heralded for its innovations as a ballet company committed to creating and commissioning relevant work, nurturing young choreographers, and expanding the roles of dancers within the company and the community.
Ballet Memphis’ annual thematic programming includes the AbunDANCE and Connections series as well as the FUSE partnership across other artistic disciplines. The acclaimed AbunDANCE series, which just finished its fourth installment, celebrates new ways to look at the world around us. In past seasons, AbunDANCE has taken fans on a journey through religion, art, and music. In the 2010/2011 season, AbunDANCE celebrated the influential roles women play in society with four works inspired by or created by women in a season titled Where the Girls Are 2. The Connections series, which includes the company’s annual gala event Connections: Food, pairs the art of dance with the essential elements of life that surround us, support us and engage us in everyday life. From architecture to fashion to the earth and sky, and of course food, Ballet Memphis shows the world how these integral parts of life are intrinsically artistic expressions as well.
In addition to its mixed repertory programs, Ballet Memphis also presents story ballets, often retold and choreographed anew with reflections of modern-day themes. Most recently, the company staged Sleeping Beauty, choreographed by company member Travis Bradley as well as a new Wizard of Oz and Cinderella, choreographed by Steven McMahon, a company member as well as the company’s choreographic associate. The company’s original and majestic Nutcracker has been performed in part on university campuses and regional theatres across the southeast as well as to a full orchestra in Spokane, Washington. In the 2010/2011 season, McMahon’s version of Romeo & Juliet will close out the company’s mainstage shows.
Choreographers who have created works on Ballet Memphis include Julia Adam (current artistic associate), Trey McIntyre (resident choreographer from 2001-07), Mark Godden, Dana Tai Soon Burgess, Jane Comfort, Lila York, Robert Battle, Thaddeus Davis, and Emily Coates and Lacina Coulibaly, both of whom worked with Ballet Memphis as part of dance fusion exploration supported in part by the World Performance Project at Yale University.
The company has performed to critical acclaim in New York at both the Sylvia and Danny Kaye Playhouse and the Joyce Theater. Its performances as part of the John F. Kennedy Center for the Performing Arts’ “Ballet Across America” programming were heralded in the New York Times and The Washington Post, as well as in national dance media. Ballet Memphis has performed at Houston’s Dance Salad, Spring to Dance in St. Louis, and Canada’s Festival des Arts Saint-Sauveur. With tour support awarded from the National Dance Project (a program of the New England Foundation for the Arts), the company will be presented in eight states in four different regions in the 2011/12 season including: The Duncan Theatre at Palm Beach State College; the Carpenter Center in Long Beach, CA; McKendree University in Lebanon, IL; Hammons Hall in Springfield, MO; and at the inaugural season at the Center for the Performing Arts in Carmel, IN.
The company has been profiled and reviewed in the New York Times, The Washington Post, Fast Company, The Wall Street Journal, PBS Newshour, Dance magazine, Pointe magazine, The Huffington Post, and more. Ballet Memphis has garnered national attention through “Creating Work That Matters: Memphis Choreographs to the Soul of a City,” part of The Ford Foundation’s The Business of the Arts monograph series, and What Works: A Dance of Relevance by Jocelyn Dong, Stanford University’s Graduate School of Business Social Innovation Review, Winter 2004.
Ballet Memphis is housed in a national architectural award-winning facility in suburban Memphis. The company performs at the state-of-the-art Playhouse on the Square, the historic Orpheum Theatre and at other nontraditional venues around Memphis. The company also performs for and presents teaching artist sessions to more than 15,000 students annually. The Ballet Memphis School trains more than 700 students annually, with almost 40 percent on merit- or need-based scholarships. Performance and choreographic experience is provided through the Junior Company of Ballet Memphis. A stand-alone Pilates Centre in suburban Memphis, as well as classes at the company’s studios, serves more than 300 clients annually. The combined programs of Ballet Memphis–professional company, school and Pilates Centre–serve more than 75,000 people annually.
ABOUT THE COMPANY
DOROTHY GUNTHER PUGH (Founder & Artistic Director) is a native Memphian who began her ballet training with Edith Royal of Orlando, Florida and later studied with Louise Rooke and Memphis Ballet. After graduating cum laude from Vanderbilt University, she studied with Raymond Clay and Donna Carver, and performed with Dance Concert Theatre. She completed teacher-training courses at the Royal Academy of Dance in London and with New York ballet master David Howard. Dorothy appeared on several national dance panels, including PBS NewsHour, the National Endowment for the Arts Dance Panel and the Glass Slipper Ceiling Symposium. A member of the Royal Society for the Encouragement of Arts, Manufactures and Commerce, she has received the Women of Achievement Award for Initiative and the Gordon Holl Outstanding Arts Administrator’s Award, and is a recipient of a fellowship from the Center for Social Innovation at Stanford University Graduate School of Business. She is a fellow in the National Arts Strategies’ Chief Executive Program™ and was named a 2012 Legends Award winner from the Women’s Foundation for a Greater Memphis. In 2013, she received the Briggs’ Foundation Community Service Award. She is the 2014 chair of the Artistic Directors’ Council for Dance/USA, the nation’s largest dance service organization for professional dance companies. Dorothy appeared in many roles with Ballet Memphis before leaving the stage.
TRAVIS BRADLEY (Dancer) has performed many memorable roles for Ballet Memphis, such as John Darling in Peter Pan, Friar Lawrence in Romeo and Juliet, as well as the role of the Prince in Beauty and the Beast, Cinderella and Nutcracker. He has danced the Scarecrow in Wizard of Oz, as well as many significant parts in Trey McIntyre ballets, such as The Naughty Boy, Barramundi, and Pork Songs. Other notable ballets include Julia Adam’s Devil’s Fruit, Gabrielle Lamb’s Manifold and Julie Niekrasz’s Corps de Fortitude, and he was selected by Robert Battle–the current artistic director of Alvin Ailey American Dance Theater–to perform the Takademe solo. Travis also has choreographed notable works for the Company including Splinters of the Stars, The Ugly Duckling and Sleeping Beauty. Travis previously danced with Houston Ballet and Richmond Ballet. He trained at The Harid Conservatory and Houston Ballet’s Ben Stevenson Academy. Travis is from Mechanicsville, Va., and joined Ballet Memphis in 2004.
KENDALL G. BRITT JR. (Dancer) has danced in several Steven McMahon ballets including the title role in Peter Pan as well as the roles of Romeo and Mercutio in Romeo and Juliet, the Prince in Cinderella, and the Lion in Wizard of Oz. Kendall also danced the memorable role of Puck in Mark Godden’s Midsummer Night’s Dream and the Prince in Nutcracker. Kendall was selected by Robert Battle–artistic director of Alvin Ailey American Dance Theater–to perform his prestigious Takademe solo. He has performed soloist roles in Julia Adam’s Seven Threads and Curtain of Green, in Petr Zahradníček’s The Hurdle Runner, and in Trey McIntyre’s High Lonesome, among others. In July 2013, Kendall danced with fellow Company member Hideko Karasawa at the prestigious Ballet Asteras 2013 gala in Tokyo. Before joining Ballet Memphis, Kendall trained on full scholarship at the Pacific Northwest Ballet School and Ballet Academy East. He also attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts. Kendall is a 2006 National Foundation for Advancement in the Arts youngARTS merit scholarship recipient. He is from New York City and joined the company in 2006.
CRYSTAL BROTHERS (Dancer) joined Ballet Memphis in 1996. She has danced lead roles in many Ballet Memphis productions including Steven McMahon’s Romeo and Juliet and Cinderella; Mark Godden’s Midsummer Night’s Dream and Firebird; Joseph Jefferies’ The Little Mermaid as well as in Beauty and the Beast, S’epanouir, Paquita, Swan Lake, and Giselle. Recent ballets include Rafael Ferreras’ Politics, Steven McMahon’s Wizard of Oz and Peter Pan, and Julia Adam’s Devil’s Fruit. She also has danced in works by many noted choreographers including Matthew Neenan, Thaddeus Davis, Jane Comfort and Trey McIntyre. Crystal was named “Outstanding Artist in Dance” by the Tennessee Arts Commission and is the first Ballet Memphis recipient of the award. Crystal also was named by Pointe magazine as one of the top eight dancers to watch in the world. She teaches all levels of ballet and is a certified STOTT PILATES® instructor for the Pilates Centre of Ballet Memphis. Crystal is from Yuma, Ariz., and joined the company in 1996.
JARED BRUNSON (Dancer) Jared first worked as a guest artist with Ballet Memphis during its premiere of Peter Pan before joining this season as a dancer. He was raised in St. Petersburg, Fla., where he began his dance training at the age of six with Monica Richardson, Jai Hinson and Darius Carter. He began formal training at age 11 in ballet and modern at the Academy of Ballet Arts and the Pinellas County Center for the Arts. Jared has studied and done intensives at many prestigious schools and programs around the country including The Rock School, Boston Ballet School, Dance Theatre of Harlem, Houston Ballet’s Ben Stevenson Academy, and more. Following a stint with the Florida Dance Theatre, he joined Philadelphia’s BalletX. There, he participated in seven world premieres by acclaimed choreographers including Matthew Neenan, Nicolo Fonte, Mauro Astofli, and Gabrielle Lamb. Jared has performed works by Nacho Duato, George Balanchine, Marius Petipa and Christopher Stowell. He has worked with Oregon Ballet Theatre and Pennsylvania Ballet. Jared also is an accomplished, award-winning concert trumpet player.
ANWEN DAVID (Dancer) Anwen is in her second season with Ballet Memphis. In her first season, she danced Clara in Nutcracker as well as roles in Matthew Neenan’s Water of the Flowery Mill, Julie Niekrasz’s Corps de Fortitude, and Steven McMahon’s Wizard of Oz and Peter Pan. Anwen trained at the Pittsburgh Ballet Theatre School under the direction of Dennis Marshall and Marjorie Grundvig. While at the Pittsburgh Ballet Theatre School, Anwen performed works including pas de deux in Giselle Act II, Le Corsaire and Bluebird, and in original works by Alan Obuzor. She also trained at the San Francisco Ballet School under the direction of Lola de Avila and Patrick Armand, and has performed in Western Symphony, La Sylphide, Paquita and Helgi Tomasson’s Simple Symphony. With San Francisco Ballet, Anwen performed in Christopher Wheeldon’s Cinderella and Helgi Tomasson’s Nutcracker. In 2011 she participated in the Prix de Lausanne competition in Switzerland. She is from Pittsburgh, Pa.
HIDEKO KARASAWA (Dancer) joined Ballet Memphis following a full merit scholarship from San Francisco Ballet School. During her time with Ballet Memphis, Hideko has danced Clara in the Nutcracker, the title role in Steven McMahon’s Cinderella and Romeo and Juliet, and in Trey McIntyre’s Grace and High Lonesome, among many other roles. In July 2013, she and fellow Company member Kendall G. Britt Jr. performed at the prestigious Ballet Asteras 2013 in Tokyo. She has competed and placed in many prestigious ballet competitions worldwide, including the Prix de Lausanne in Switzerland and the International Ballet Competition in Jackson, Miss. While in San Francisco, she danced soloist roles such as pas de trois in Helgi Tomasson’s Swan Lake, Clara in The Nutcracker and Airs de Ballet by Lew Christensen. Hideko is from Nagano, Japan.
STEVEN MCMAHON (Dancer) was born in Glasgow, Scotland, and came to the U.S. to study at the Ailey School in New York City. After graduating in 2004 he joined Ballet Memphis. Steven has danced many works in the Company’s repertory including featured roles in Julia Adam’s Curtain of Green, The Little Prince, Devil’s Fruit and The Awakening as well as in Trey McIntyre’s powerful work In Dreams and Mark Godden’s Midsummer Night’s Dream and Firebird. He became choreographic associate for Ballet Memphis in 2007, contributing several new works including Carnival of the Animals, Wizard of Oz, Romeo and Juliet, Cinderella, Being Here With Other People, Confluence, The Royal We and the lauded Peter Pan. This is his first season as the Company’s Artistic Associate. Steven also performed In Dreams with Ballet Memphis at the Kennedy Center as part of its Ballet Across America series and at the Joyce Theatre in New York City. In 2001, Steven was named Scottish Young Achiever of the Year.
JULIE MARIE NIEKRASZ (Dancer) is in her 11th season with Ballet Memphis. She has danced the lead roles in Steven McMahon’s Cinderella and Romeo and Juliet and as Wendy in Peter Pan, Clara in the Nutcracker, the Princess in Joseph Jefferies’ Little Mermaid, Aurora in Travis Bradley’s Sleeping Beauty, and Hermia in Mark Godden’s Midsummer Night’s Dream. Other recent roles include in Matthew Neenan’s Water of the Flowery Mill and Party of the Year. She also has danced in Trey McIntyre’s Reassuring Effects of Form and Poetry, Barramundi, In Dreams and The Naughty Boy. Julie performed In Dreams with Ballet Memphis at the Kennedy Center as part of its Ballet Across America series and performed on tour in Guatemala. For Ballet Memphis, she has choreographed Corps de Fortitude, part of River Project 2. Julie represented Ballet Memphis as a member of the Sr. U.S. team at the International Ballet Competition in Helsinki, Finland. Before joining Ballet Memphis, Julie trained at the School of Ballet Chicago under the direction of Daniel Duell and Patricia Blair, and danced with Milwaukee Ballet, Milwaukee Ballet II and North Carolina Dance Theatre. She is a teacher in the Ballet Memphis School and a certified STOTT PILATES® instructor for the Pilates Centre of Ballet Memphis. Julie is from Arlington Heights, Illinois.
BRANDON RAMEY (Dancer) came to Ballet Memphis in 2009 from the San Francisco Ballet School, where he studied on a full merit scholarship. For Ballet Memphis, Brandon has performed featured roles in Trey McIntyre’s Second Before the Ground and The Naughty Boy, in Garrett Ammon’s Stars Stand Still, and in Mark Godden’s Midsummer Night’s Dream and Angels in the Architecture. His repertory also includes Cavalier and Russian in the Nutcracker, George in Shapiro & Smith’s George and Betty’s House, and roles in Travis Bradley’s Sleeping Beauty, Julia Adam’s The Second Line and Petr Zahradnicek’s Night and Day in FedEx City. He danced the roles of Tybalt and Hook in Steven McMahon’s Romeo and Juliet and Peter Pan. Additional training includes Central Pennsylvania Youth Ballet and Boston Ballet School. He has performed in Lew Christensen’s Concerto Grosso and was the lead male in Balanchine’s Allegro Brillante for the 2009 San Francisco Ballet Student Showcase. This is his fifth season with Ballet Memphis.
VIRGINIA PILGRIM RAMEY (Dancer) is a native Memphian and first joined Ballet Memphis in 2001 after graduating from the Ballet Memphis School. Notable roles include Betty in Shapiro & Smith’s George and Betty’s House, the Sugar Plum in the Nutcracker, and Dorothy in Wizard of Oz and as Lady Capulet in Romeo and Juliet, both by Steven McMahon. Ginny also has danced featured roles in Mark Godden’s Angels in the Architecture and Midsummer Night’s Dream, Julia Adam’s Devil’s Fruit, The Awakening and The Little Prince. She also has worked with Matthew Neenan in Party of the Year, Gabrielle Lamb in Manifold, and danced Kitri in the pas de deux from Don Quixote. Ginny has performed at the Kennedy Center in Washington, D.C. and on tour with Ballet Memphis across the nation. While working with Trey McIntyre, she was featured in the world premieres of Barramundi, Pork Songs, The Naughty Boy, and her personal favorite, In Dreams. From 2008-09, Ginny toured with Trey McIntyre Project, performing throughout the United States and around the world. She danced featured roles in his The Reassuring Effects of Form and Poetry and A Day in the Life and originated roles in his Leatherwing Bat and Ma Maison. Ginny teaches Ballet 7 & 8 at the Ballet Memphis School and also works with the Junior Company.
ABOUT CULTURE SHOCK MIAMI AND http://www.CULTURESHOCKMIAMI.COM
Culture Shock Miami, is a program of the Miami-Dade County Department of Cultural Affairs, with a generous grant from The John S. & James L. Knight Foundation. Since then, it has more than 43,000 tickets through its website http://www.cultureshockmiami.com. A core group of arts organizations participate regularly in the program, including Actors' Playhouse, Adrienne Arsht Center for the Performing Arts, Cleveland Orchestra Miami, Dranoff 2 Piano Foundation, Fairchild Tropical Botanic Garden, Florida Grand Opera, Miami City Ballet, Pérez Art Museum, New World Symphony, Vizcaya Museum and Gardens, and ZooMiami.
The Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council develop cultural excellence, diversity and participation throughout Miami-Dade County by strategically creating and promoting opportunities for artists and cultural organizations, and our residents and visitors who are their audiences. The Department directs the Art in Public Places program and serves its board, the Art in Public Places Trust, commissioning, curating, maintaining and promoting the County’s art collection. The Department also manages, programs and operates the South Miami-Dade Cultural Arts Center, a campus of state-of-the-art cultural facilities in Cutler Bay, as well as Miami-Dade County Auditorium, Joseph Caleb Auditorium and the African Heritage Cultural Arts Center, all dedicated to presenting and supporting excellence in the arts for the entire community. Through staff, board and programmatic resources, the Department, the Council and the Trust promote, coordinate and support Miami-Dade County’s more than 1,000 not-for-profit cultural organizations as well as thousands of resident artists through grants, technical assistance, public information and interactive community planning.
The Department receives funding through the Miami-Dade County Mayor and Board of County Commissioners, The Children’s Trust, the National Endowment for the Arts, the State of Florida through the Florida Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture, and the John S. and James L. Knight Foundation. Other support and services are provided by TicketWeb for the Culture Shock Miami program, the Greater Miami Convention and Visitors Bureau, the South Florida Cultural Consortium and the Tourist Development Council.
Compliance with the Americans with Disabilities Act
It is the policy of Miami-Dade County to comply with all of the requirements of the Americans With Disabilities Act. The facility is accessible and assistive listening devices are available. To request materials in accessible format, and/or any accommodation to attend an event at the South Miami-Dade Cultural Arts Center, please contact Stephanie Aponte, 786-573-5314, Saponte(at)miamidade(dot)gov, at least five days in advance to initiate your request, TYY users may also call 711 (Florida Relay Service). Reported by PRWeb 20 hours ago.
Miami, Florida (PRWEB) March 29, 2015
(Miami, March 23, 2015) Approaching its third decade as a leading ballet company and incubator of new choreography, Ballet Memphis takes the Main Stage at the South Miami-Dade Cultural Arts Center on Saturday, April 25, 2015 at 8 PM. Culture Shock Miami presents the Tennessee-based company in a three-part program featuring works by North American choreographers Trey McIntyre, Julia Adam and Matthew Neenan.
Ballet Memphis was founded in 1986 by native Memphian Dorothy Gunther Pugh, a leader in the field of ballet and dance education and who serves as Artistic Director. The company has toured extensively throughout the United States and has been called a “national treasure” by the Ford Foundation.
Gunther Pugh said, “We're proud to present some of our truly unique and truly American commissioned ballets from two of our most popular collections, the Memphis Project and the River Project. At Ballet Memphis, we're committed to creating dance that reflects the world, represents our rich local and global heritage and makes a place at the table, so to speak, for all.”
The program scheduled for South Miami-Dade audiences offers three very different choreographic themes.
Devil’s Fruit by Canadian-born Julia Adam is the second piece Adam has choreographed for the River Project series, a Ballet Memphis program focusing on dance based on movement echoing the Mississippi River. In this new work, Adam explores the flora and fauna along the river, specifically the vast and intricate underground network of mushrooms.
Party of the Year (Victoria Avenue, CA 12/25/70) by American Matthew Neenan is inspired by the New York Times-best-selling book, The Warmth of Other Suns by Isabel Wilkerson. The book chronicles three different lives filled with struggle, defeat and triumph during the heart of the "Great Migration," an era between 1910 and 1970 when more than 6 million African Americans moved out of the rural South to other parts of the United States.
In Dreams by Trey McIntyre is a small but powerfully poignant work created for Ballet Memphis in 2007 and set to the music of Roy Orbison. Ballet Memphis Founder and Artistic Director Dorothy Gunther Pugh calls Orbison "the Placido Domingo of country music" and likened his singing to "the sound of the human heart breaking". In Dreams is a work The New York Times called "...distinctive, touching" and moves the audience along with the dancers emotion.
The company tours with a cast of ten and will participate in community and education based activities for Miami-Dade public school students prior to the Saturday night performance. On Friday, April 24th, the company will hold a free performance of its evening program for students. A free masterclass open to advance ballet dancers will be held on April 25th at 10:00 AM. Both events will be at South Miami-Dade Cultural Arts Center.
$5 tickets are available to 13-22 year olds and one accompanying guest each, exclusively through CultureShockMiami.com.
Full price tickets are $45 to $25 and $15 for Youth Tickets for 12 years old and under. These tickets are available online at SMDCAC.org or through the SMDCAC box office by calling 786-573-5300. $5 Culture Shock Miami tickets are not sold through the SMDCAC Box Office or through SMDCAC.org. Culture Shock Miami ticket sales for this performance end on Friday, April 24, 2015 at 11:59 PM. No $5 tickets are available or through the SMDCAC box office.
PROGRAM
In Dreams
Choreographer: Trey McIntyre
Cast: Travis Bradley, Crystal Brothers, Steven McMahon, Julie Marie Niekrasz, Virginia Pilgrim Ramey
Costumes: Bruce Bui
Music: All songs performed by Roy Orbison. “Dream Baby” by Cindy Walker, “You Tell Me” by Sam Phillips, “The Crowd” by Roy Orbison and Joe Melson, “I Never Knew” by Sam Phillips, “In Dreams” by Roy Orbison. Interview with Roy Orbison: Being Remembered from Roy Orbison: Hits! Hits! Hits!, “Crying” by Orbison/Melson
Notes: Performed to the expressive voice of Roy Orbison, In Dreams is a sometimes dark, always passionate, journey through six of the legendary artist’s most popular songs.
Devil’s Fruit
Choreographer: Julia Adam
Cast: Travis Bradley, Kendall G. Britt Jr., Crystal Brothers, Hideko Karasawa, Steven McMahon, Virginia Pilgrim Ramey
Costumes: Christine Darch
Music: “Recomposed,” “Vivaldi, The Four Seasons: Spring 1,” and “Vivaldi, The Four Seasons: Spring 2” by Max Richter; “Islands” by Philip Glass; “The Four Seasons Concerto in F Minor, RV 297” by Red Priest; “Recomposed,” “Vivaldi, The Four Seasons: Summer 2” by Max Richter.
Notes: I approached this work as a tripartite positioning of the mushroom: The science, the pagan mythology and the mind-altering power of the mushroom to initiate one into the mysteries of the divine. I am overwhelmed and amazed by the beauty and power of the fungi kingdom.
Party of the Year (Victoria Avenue, CA 12/25/70)
Choreographer: Matthew Neenan
Cast: Travis Bradley, Kendall G. Britt Jr., Crystal Brothers, Jared Brunson, Anwen David, Hideko Karasawa, Julie Marie Niekrasz, Brandon Ramey, Virginia Pilgrim Ramey
Costumes: Bruce Bui
Music: “Buon Natale” by Nat King Cole; “Blues Power” by Albert King; “Ride on Red, Ride On” by Louisiana Red; “Hide Nor Hair” by Ray Charles; “Everybody Wants to Go to Heaven” by Albert King; “Save the Country” by The 5th Dimension; “Silver Bells” guitar solo by Charles Hammer; and “California” by Joni Mitchell.
Notes: Inspired by the best-selling book The Warmth of Other Suns by Isabel Wilkerson, Party of the Year chronicles the celebration and homecoming of sorts many African-Americans felt during and after the Great Migration (1910-70) from the South to other regions of the country.
ABOUT BALLET MEMPHIS
Ballet Memphis, founded in 1986 by artistic director and CEO Dorothy Gunther Pugh, is recognized for its close ties to the region’s rich musical and literary heritage. It has been heralded for its innovations as a ballet company committed to creating and commissioning relevant work, nurturing young choreographers, and expanding the roles of dancers within the company and the community.
Ballet Memphis’ annual thematic programming includes the AbunDANCE and Connections series as well as the FUSE partnership across other artistic disciplines. The acclaimed AbunDANCE series, which just finished its fourth installment, celebrates new ways to look at the world around us. In past seasons, AbunDANCE has taken fans on a journey through religion, art, and music. In the 2010/2011 season, AbunDANCE celebrated the influential roles women play in society with four works inspired by or created by women in a season titled Where the Girls Are 2. The Connections series, which includes the company’s annual gala event Connections: Food, pairs the art of dance with the essential elements of life that surround us, support us and engage us in everyday life. From architecture to fashion to the earth and sky, and of course food, Ballet Memphis shows the world how these integral parts of life are intrinsically artistic expressions as well.
In addition to its mixed repertory programs, Ballet Memphis also presents story ballets, often retold and choreographed anew with reflections of modern-day themes. Most recently, the company staged Sleeping Beauty, choreographed by company member Travis Bradley as well as a new Wizard of Oz and Cinderella, choreographed by Steven McMahon, a company member as well as the company’s choreographic associate. The company’s original and majestic Nutcracker has been performed in part on university campuses and regional theatres across the southeast as well as to a full orchestra in Spokane, Washington. In the 2010/2011 season, McMahon’s version of Romeo & Juliet will close out the company’s mainstage shows.
Choreographers who have created works on Ballet Memphis include Julia Adam (current artistic associate), Trey McIntyre (resident choreographer from 2001-07), Mark Godden, Dana Tai Soon Burgess, Jane Comfort, Lila York, Robert Battle, Thaddeus Davis, and Emily Coates and Lacina Coulibaly, both of whom worked with Ballet Memphis as part of dance fusion exploration supported in part by the World Performance Project at Yale University.
The company has performed to critical acclaim in New York at both the Sylvia and Danny Kaye Playhouse and the Joyce Theater. Its performances as part of the John F. Kennedy Center for the Performing Arts’ “Ballet Across America” programming were heralded in the New York Times and The Washington Post, as well as in national dance media. Ballet Memphis has performed at Houston’s Dance Salad, Spring to Dance in St. Louis, and Canada’s Festival des Arts Saint-Sauveur. With tour support awarded from the National Dance Project (a program of the New England Foundation for the Arts), the company will be presented in eight states in four different regions in the 2011/12 season including: The Duncan Theatre at Palm Beach State College; the Carpenter Center in Long Beach, CA; McKendree University in Lebanon, IL; Hammons Hall in Springfield, MO; and at the inaugural season at the Center for the Performing Arts in Carmel, IN.
The company has been profiled and reviewed in the New York Times, The Washington Post, Fast Company, The Wall Street Journal, PBS Newshour, Dance magazine, Pointe magazine, The Huffington Post, and more. Ballet Memphis has garnered national attention through “Creating Work That Matters: Memphis Choreographs to the Soul of a City,” part of The Ford Foundation’s The Business of the Arts monograph series, and What Works: A Dance of Relevance by Jocelyn Dong, Stanford University’s Graduate School of Business Social Innovation Review, Winter 2004.
Ballet Memphis is housed in a national architectural award-winning facility in suburban Memphis. The company performs at the state-of-the-art Playhouse on the Square, the historic Orpheum Theatre and at other nontraditional venues around Memphis. The company also performs for and presents teaching artist sessions to more than 15,000 students annually. The Ballet Memphis School trains more than 700 students annually, with almost 40 percent on merit- or need-based scholarships. Performance and choreographic experience is provided through the Junior Company of Ballet Memphis. A stand-alone Pilates Centre in suburban Memphis, as well as classes at the company’s studios, serves more than 300 clients annually. The combined programs of Ballet Memphis–professional company, school and Pilates Centre–serve more than 75,000 people annually.
ABOUT THE COMPANY
DOROTHY GUNTHER PUGH (Founder & Artistic Director) is a native Memphian who began her ballet training with Edith Royal of Orlando, Florida and later studied with Louise Rooke and Memphis Ballet. After graduating cum laude from Vanderbilt University, she studied with Raymond Clay and Donna Carver, and performed with Dance Concert Theatre. She completed teacher-training courses at the Royal Academy of Dance in London and with New York ballet master David Howard. Dorothy appeared on several national dance panels, including PBS NewsHour, the National Endowment for the Arts Dance Panel and the Glass Slipper Ceiling Symposium. A member of the Royal Society for the Encouragement of Arts, Manufactures and Commerce, she has received the Women of Achievement Award for Initiative and the Gordon Holl Outstanding Arts Administrator’s Award, and is a recipient of a fellowship from the Center for Social Innovation at Stanford University Graduate School of Business. She is a fellow in the National Arts Strategies’ Chief Executive Program™ and was named a 2012 Legends Award winner from the Women’s Foundation for a Greater Memphis. In 2013, she received the Briggs’ Foundation Community Service Award. She is the 2014 chair of the Artistic Directors’ Council for Dance/USA, the nation’s largest dance service organization for professional dance companies. Dorothy appeared in many roles with Ballet Memphis before leaving the stage.
TRAVIS BRADLEY (Dancer) has performed many memorable roles for Ballet Memphis, such as John Darling in Peter Pan, Friar Lawrence in Romeo and Juliet, as well as the role of the Prince in Beauty and the Beast, Cinderella and Nutcracker. He has danced the Scarecrow in Wizard of Oz, as well as many significant parts in Trey McIntyre ballets, such as The Naughty Boy, Barramundi, and Pork Songs. Other notable ballets include Julia Adam’s Devil’s Fruit, Gabrielle Lamb’s Manifold and Julie Niekrasz’s Corps de Fortitude, and he was selected by Robert Battle–the current artistic director of Alvin Ailey American Dance Theater–to perform the Takademe solo. Travis also has choreographed notable works for the Company including Splinters of the Stars, The Ugly Duckling and Sleeping Beauty. Travis previously danced with Houston Ballet and Richmond Ballet. He trained at The Harid Conservatory and Houston Ballet’s Ben Stevenson Academy. Travis is from Mechanicsville, Va., and joined Ballet Memphis in 2004.
KENDALL G. BRITT JR. (Dancer) has danced in several Steven McMahon ballets including the title role in Peter Pan as well as the roles of Romeo and Mercutio in Romeo and Juliet, the Prince in Cinderella, and the Lion in Wizard of Oz. Kendall also danced the memorable role of Puck in Mark Godden’s Midsummer Night’s Dream and the Prince in Nutcracker. Kendall was selected by Robert Battle–artistic director of Alvin Ailey American Dance Theater–to perform his prestigious Takademe solo. He has performed soloist roles in Julia Adam’s Seven Threads and Curtain of Green, in Petr Zahradníček’s The Hurdle Runner, and in Trey McIntyre’s High Lonesome, among others. In July 2013, Kendall danced with fellow Company member Hideko Karasawa at the prestigious Ballet Asteras 2013 gala in Tokyo. Before joining Ballet Memphis, Kendall trained on full scholarship at the Pacific Northwest Ballet School and Ballet Academy East. He also attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts. Kendall is a 2006 National Foundation for Advancement in the Arts youngARTS merit scholarship recipient. He is from New York City and joined the company in 2006.
CRYSTAL BROTHERS (Dancer) joined Ballet Memphis in 1996. She has danced lead roles in many Ballet Memphis productions including Steven McMahon’s Romeo and Juliet and Cinderella; Mark Godden’s Midsummer Night’s Dream and Firebird; Joseph Jefferies’ The Little Mermaid as well as in Beauty and the Beast, S’epanouir, Paquita, Swan Lake, and Giselle. Recent ballets include Rafael Ferreras’ Politics, Steven McMahon’s Wizard of Oz and Peter Pan, and Julia Adam’s Devil’s Fruit. She also has danced in works by many noted choreographers including Matthew Neenan, Thaddeus Davis, Jane Comfort and Trey McIntyre. Crystal was named “Outstanding Artist in Dance” by the Tennessee Arts Commission and is the first Ballet Memphis recipient of the award. Crystal also was named by Pointe magazine as one of the top eight dancers to watch in the world. She teaches all levels of ballet and is a certified STOTT PILATES® instructor for the Pilates Centre of Ballet Memphis. Crystal is from Yuma, Ariz., and joined the company in 1996.
JARED BRUNSON (Dancer) Jared first worked as a guest artist with Ballet Memphis during its premiere of Peter Pan before joining this season as a dancer. He was raised in St. Petersburg, Fla., where he began his dance training at the age of six with Monica Richardson, Jai Hinson and Darius Carter. He began formal training at age 11 in ballet and modern at the Academy of Ballet Arts and the Pinellas County Center for the Arts. Jared has studied and done intensives at many prestigious schools and programs around the country including The Rock School, Boston Ballet School, Dance Theatre of Harlem, Houston Ballet’s Ben Stevenson Academy, and more. Following a stint with the Florida Dance Theatre, he joined Philadelphia’s BalletX. There, he participated in seven world premieres by acclaimed choreographers including Matthew Neenan, Nicolo Fonte, Mauro Astofli, and Gabrielle Lamb. Jared has performed works by Nacho Duato, George Balanchine, Marius Petipa and Christopher Stowell. He has worked with Oregon Ballet Theatre and Pennsylvania Ballet. Jared also is an accomplished, award-winning concert trumpet player.
ANWEN DAVID (Dancer) Anwen is in her second season with Ballet Memphis. In her first season, she danced Clara in Nutcracker as well as roles in Matthew Neenan’s Water of the Flowery Mill, Julie Niekrasz’s Corps de Fortitude, and Steven McMahon’s Wizard of Oz and Peter Pan. Anwen trained at the Pittsburgh Ballet Theatre School under the direction of Dennis Marshall and Marjorie Grundvig. While at the Pittsburgh Ballet Theatre School, Anwen performed works including pas de deux in Giselle Act II, Le Corsaire and Bluebird, and in original works by Alan Obuzor. She also trained at the San Francisco Ballet School under the direction of Lola de Avila and Patrick Armand, and has performed in Western Symphony, La Sylphide, Paquita and Helgi Tomasson’s Simple Symphony. With San Francisco Ballet, Anwen performed in Christopher Wheeldon’s Cinderella and Helgi Tomasson’s Nutcracker. In 2011 she participated in the Prix de Lausanne competition in Switzerland. She is from Pittsburgh, Pa.
HIDEKO KARASAWA (Dancer) joined Ballet Memphis following a full merit scholarship from San Francisco Ballet School. During her time with Ballet Memphis, Hideko has danced Clara in the Nutcracker, the title role in Steven McMahon’s Cinderella and Romeo and Juliet, and in Trey McIntyre’s Grace and High Lonesome, among many other roles. In July 2013, she and fellow Company member Kendall G. Britt Jr. performed at the prestigious Ballet Asteras 2013 in Tokyo. She has competed and placed in many prestigious ballet competitions worldwide, including the Prix de Lausanne in Switzerland and the International Ballet Competition in Jackson, Miss. While in San Francisco, she danced soloist roles such as pas de trois in Helgi Tomasson’s Swan Lake, Clara in The Nutcracker and Airs de Ballet by Lew Christensen. Hideko is from Nagano, Japan.
STEVEN MCMAHON (Dancer) was born in Glasgow, Scotland, and came to the U.S. to study at the Ailey School in New York City. After graduating in 2004 he joined Ballet Memphis. Steven has danced many works in the Company’s repertory including featured roles in Julia Adam’s Curtain of Green, The Little Prince, Devil’s Fruit and The Awakening as well as in Trey McIntyre’s powerful work In Dreams and Mark Godden’s Midsummer Night’s Dream and Firebird. He became choreographic associate for Ballet Memphis in 2007, contributing several new works including Carnival of the Animals, Wizard of Oz, Romeo and Juliet, Cinderella, Being Here With Other People, Confluence, The Royal We and the lauded Peter Pan. This is his first season as the Company’s Artistic Associate. Steven also performed In Dreams with Ballet Memphis at the Kennedy Center as part of its Ballet Across America series and at the Joyce Theatre in New York City. In 2001, Steven was named Scottish Young Achiever of the Year.
JULIE MARIE NIEKRASZ (Dancer) is in her 11th season with Ballet Memphis. She has danced the lead roles in Steven McMahon’s Cinderella and Romeo and Juliet and as Wendy in Peter Pan, Clara in the Nutcracker, the Princess in Joseph Jefferies’ Little Mermaid, Aurora in Travis Bradley’s Sleeping Beauty, and Hermia in Mark Godden’s Midsummer Night’s Dream. Other recent roles include in Matthew Neenan’s Water of the Flowery Mill and Party of the Year. She also has danced in Trey McIntyre’s Reassuring Effects of Form and Poetry, Barramundi, In Dreams and The Naughty Boy. Julie performed In Dreams with Ballet Memphis at the Kennedy Center as part of its Ballet Across America series and performed on tour in Guatemala. For Ballet Memphis, she has choreographed Corps de Fortitude, part of River Project 2. Julie represented Ballet Memphis as a member of the Sr. U.S. team at the International Ballet Competition in Helsinki, Finland. Before joining Ballet Memphis, Julie trained at the School of Ballet Chicago under the direction of Daniel Duell and Patricia Blair, and danced with Milwaukee Ballet, Milwaukee Ballet II and North Carolina Dance Theatre. She is a teacher in the Ballet Memphis School and a certified STOTT PILATES® instructor for the Pilates Centre of Ballet Memphis. Julie is from Arlington Heights, Illinois.
BRANDON RAMEY (Dancer) came to Ballet Memphis in 2009 from the San Francisco Ballet School, where he studied on a full merit scholarship. For Ballet Memphis, Brandon has performed featured roles in Trey McIntyre’s Second Before the Ground and The Naughty Boy, in Garrett Ammon’s Stars Stand Still, and in Mark Godden’s Midsummer Night’s Dream and Angels in the Architecture. His repertory also includes Cavalier and Russian in the Nutcracker, George in Shapiro & Smith’s George and Betty’s House, and roles in Travis Bradley’s Sleeping Beauty, Julia Adam’s The Second Line and Petr Zahradnicek’s Night and Day in FedEx City. He danced the roles of Tybalt and Hook in Steven McMahon’s Romeo and Juliet and Peter Pan. Additional training includes Central Pennsylvania Youth Ballet and Boston Ballet School. He has performed in Lew Christensen’s Concerto Grosso and was the lead male in Balanchine’s Allegro Brillante for the 2009 San Francisco Ballet Student Showcase. This is his fifth season with Ballet Memphis.
VIRGINIA PILGRIM RAMEY (Dancer) is a native Memphian and first joined Ballet Memphis in 2001 after graduating from the Ballet Memphis School. Notable roles include Betty in Shapiro & Smith’s George and Betty’s House, the Sugar Plum in the Nutcracker, and Dorothy in Wizard of Oz and as Lady Capulet in Romeo and Juliet, both by Steven McMahon. Ginny also has danced featured roles in Mark Godden’s Angels in the Architecture and Midsummer Night’s Dream, Julia Adam’s Devil’s Fruit, The Awakening and The Little Prince. She also has worked with Matthew Neenan in Party of the Year, Gabrielle Lamb in Manifold, and danced Kitri in the pas de deux from Don Quixote. Ginny has performed at the Kennedy Center in Washington, D.C. and on tour with Ballet Memphis across the nation. While working with Trey McIntyre, she was featured in the world premieres of Barramundi, Pork Songs, The Naughty Boy, and her personal favorite, In Dreams. From 2008-09, Ginny toured with Trey McIntyre Project, performing throughout the United States and around the world. She danced featured roles in his The Reassuring Effects of Form and Poetry and A Day in the Life and originated roles in his Leatherwing Bat and Ma Maison. Ginny teaches Ballet 7 & 8 at the Ballet Memphis School and also works with the Junior Company.
ABOUT CULTURE SHOCK MIAMI AND http://www.CULTURESHOCKMIAMI.COM
Culture Shock Miami, is a program of the Miami-Dade County Department of Cultural Affairs, with a generous grant from The John S. & James L. Knight Foundation. Since then, it has more than 43,000 tickets through its website http://www.cultureshockmiami.com. A core group of arts organizations participate regularly in the program, including Actors' Playhouse, Adrienne Arsht Center for the Performing Arts, Cleveland Orchestra Miami, Dranoff 2 Piano Foundation, Fairchild Tropical Botanic Garden, Florida Grand Opera, Miami City Ballet, Pérez Art Museum, New World Symphony, Vizcaya Museum and Gardens, and ZooMiami.
The Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council develop cultural excellence, diversity and participation throughout Miami-Dade County by strategically creating and promoting opportunities for artists and cultural organizations, and our residents and visitors who are their audiences. The Department directs the Art in Public Places program and serves its board, the Art in Public Places Trust, commissioning, curating, maintaining and promoting the County’s art collection. The Department also manages, programs and operates the South Miami-Dade Cultural Arts Center, a campus of state-of-the-art cultural facilities in Cutler Bay, as well as Miami-Dade County Auditorium, Joseph Caleb Auditorium and the African Heritage Cultural Arts Center, all dedicated to presenting and supporting excellence in the arts for the entire community. Through staff, board and programmatic resources, the Department, the Council and the Trust promote, coordinate and support Miami-Dade County’s more than 1,000 not-for-profit cultural organizations as well as thousands of resident artists through grants, technical assistance, public information and interactive community planning.
The Department receives funding through the Miami-Dade County Mayor and Board of County Commissioners, The Children’s Trust, the National Endowment for the Arts, the State of Florida through the Florida Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture, and the John S. and James L. Knight Foundation. Other support and services are provided by TicketWeb for the Culture Shock Miami program, the Greater Miami Convention and Visitors Bureau, the South Florida Cultural Consortium and the Tourist Development Council.
Compliance with the Americans with Disabilities Act
It is the policy of Miami-Dade County to comply with all of the requirements of the Americans With Disabilities Act. The facility is accessible and assistive listening devices are available. To request materials in accessible format, and/or any accommodation to attend an event at the South Miami-Dade Cultural Arts Center, please contact Stephanie Aponte, 786-573-5314, Saponte(at)miamidade(dot)gov, at least five days in advance to initiate your request, TYY users may also call 711 (Florida Relay Service). Reported by PRWeb 20 hours ago.
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Aurora road rage accident leads to attempted homicide charge
Aurora Police said Sunday that they are still sorting out charges after a road rage accident involving a automobile and motorcycle on Interstate 225.
Reported by Denver Post 7 hours ago.
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Broke? You May Now Be Entitled To a Free Home
It’s been seven years since the epic collapse of the US housing market, and there’s never been a better time to buy your first home. *In Denmark for instance, the bank will tax depositors in order to pay you to take out a home loan. But before you move to a European country operating in NIRP-dom, consider Florida and New Jersey first because as Susan Rudolfi recently discovered, you can actually get a house for free by simply not making your mortgage payments. *Here’s more via NY Times:
She is like a ghost of the housing market’s painful past, one of thousands of Americans who have skipped years of mortgage payments and are still living in their homes.
*Now a legal quirk could bring a surreal ending to her foreclosure case and many others around the country: They may get to keep their homes without ever having to pay another dime.*
The reason, lawyers for homeowners argue, is that the cases have dragged on too long.
There are tens of thousands of homeowners who have missed more than five years of mortgage payments, many of them clustered in states like Florida, New Jersey and New York, where lenders must get judges to sign off on foreclosures.
*However, in a growing number of foreclosure cases filed when home prices collapsed during the financial crisis, lenders may never be able to seize the homes because the state statutes of limitations have been exceeded,* according to interviews with housing lawyers and a review of state and federal court decisions.
It should come as no surprise that the free house legal loophole comes courtesy of the always dangerous and extraordinarily unpredictable combination of government ineptitude and TBTF inefficiency, and thanks to the fact that the Fed-sponsored, investment bank securitization-fee-fueled real estate bubble was allowed to inflate to the point where it swallowed the entire US economy, tens of thousands of borrowers may ultimately become owners by virtue of remaining resolute when it comes to not making payments:
It is difficult to know for sure how many foreclosure cases are still grinding through the court systems since the financial crisis. It is even harder to say how many of those borrowers are still living in their homes.
*Bank of America, for example, has initiated the foreclosure process on roughly 20,000 mortgages that have not been paid in at least five years. The bank estimates that 90 percent of those homes are still occupied.*
The courts are not the only source of delay. Over the years, the federal government has made 69 changes to its mortgage modification programs, forcing lenders repeatedly to scrap previous offers to homeowners and extend new terms.
Of course, the banks have also dragged out this reckoning through shoddy paperwork, botched modifications and general dysfunction as they struggled to cope with a flood of soured mortgages. Many cases were passed among lawyers like hot potatoes and lay dormant on court dockets.
This arrangement works out particularly well if the property you now own (because it’s cheaper to pay a lawyer than it is to pay the mortgage) can be used to generate rental income:
[Rudolfi’s] working-class neighborhood is a short drive from Coconut Grove, a wealthy waterfront enclave of Miami. Her bedroom opens up onto a pool, shaded by palm trees. *Outside her house, she parks a small motorboat she named Mermaid. The property includes an adjoining house that she rents out…*
In November 2009, her mortgage servicer at the time, Aurora Loan Services, a unit of the now-defunct Lehman Brothers, filed to foreclose on her house.
Instead of making her roughly $1,300 monthly mortgage payment, she pays her lawyer $500 a month to represent her in court.
* * *
So a bit of poetic justice we suppose for an investment banking community and a complicit Federal Reserve who facilitated the creation of a modern day tulip mania which lined Wall Street’s pockets even as it put Main Street (which was itself all too eager to finance a McMansion and a Hummer) on a path to ruin. But in the end, the Susan Rudolfis of the world ask: "What are you gonna do?"...
“I screwed up and they screwed up, so now what?” she said.
Reported by Zero Hedge 11 hours ago.
She is like a ghost of the housing market’s painful past, one of thousands of Americans who have skipped years of mortgage payments and are still living in their homes.
*Now a legal quirk could bring a surreal ending to her foreclosure case and many others around the country: They may get to keep their homes without ever having to pay another dime.*
The reason, lawyers for homeowners argue, is that the cases have dragged on too long.
There are tens of thousands of homeowners who have missed more than five years of mortgage payments, many of them clustered in states like Florida, New Jersey and New York, where lenders must get judges to sign off on foreclosures.
*However, in a growing number of foreclosure cases filed when home prices collapsed during the financial crisis, lenders may never be able to seize the homes because the state statutes of limitations have been exceeded,* according to interviews with housing lawyers and a review of state and federal court decisions.
It should come as no surprise that the free house legal loophole comes courtesy of the always dangerous and extraordinarily unpredictable combination of government ineptitude and TBTF inefficiency, and thanks to the fact that the Fed-sponsored, investment bank securitization-fee-fueled real estate bubble was allowed to inflate to the point where it swallowed the entire US economy, tens of thousands of borrowers may ultimately become owners by virtue of remaining resolute when it comes to not making payments:
It is difficult to know for sure how many foreclosure cases are still grinding through the court systems since the financial crisis. It is even harder to say how many of those borrowers are still living in their homes.
*Bank of America, for example, has initiated the foreclosure process on roughly 20,000 mortgages that have not been paid in at least five years. The bank estimates that 90 percent of those homes are still occupied.*
The courts are not the only source of delay. Over the years, the federal government has made 69 changes to its mortgage modification programs, forcing lenders repeatedly to scrap previous offers to homeowners and extend new terms.
Of course, the banks have also dragged out this reckoning through shoddy paperwork, botched modifications and general dysfunction as they struggled to cope with a flood of soured mortgages. Many cases were passed among lawyers like hot potatoes and lay dormant on court dockets.
This arrangement works out particularly well if the property you now own (because it’s cheaper to pay a lawyer than it is to pay the mortgage) can be used to generate rental income:
[Rudolfi’s] working-class neighborhood is a short drive from Coconut Grove, a wealthy waterfront enclave of Miami. Her bedroom opens up onto a pool, shaded by palm trees. *Outside her house, she parks a small motorboat she named Mermaid. The property includes an adjoining house that she rents out…*
In November 2009, her mortgage servicer at the time, Aurora Loan Services, a unit of the now-defunct Lehman Brothers, filed to foreclose on her house.
Instead of making her roughly $1,300 monthly mortgage payment, she pays her lawyer $500 a month to represent her in court.
* * *
So a bit of poetic justice we suppose for an investment banking community and a complicit Federal Reserve who facilitated the creation of a modern day tulip mania which lined Wall Street’s pockets even as it put Main Street (which was itself all too eager to finance a McMansion and a Hummer) on a path to ruin. But in the end, the Susan Rudolfis of the world ask: "What are you gonna do?"...
“I screwed up and they screwed up, so now what?” she said.
Reported by Zero Hedge 11 hours ago.
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Mainspring Expands Best Practices Solution to Help Hospitals Further Reduce Costs
Industry veteran Alan Gresch joins Mainspring Healthcare Solutions to lead expansion effort of good to great program
Waltham, MA (PRWEB) March 30, 2015
Stop Throwing Away Cash
Hospitals across the globe are saving millions of dollars by developing their previously overlooked operational best practices, while simultaneously raising the quality of care and improving patient satisfaction. With their Good-to-Great best practices solution, Mainspring Healthcare Solutions, a global provider of Hospital Operations Solutions, has been helping heath systems for over 20 years save millions of dollars by streamlining broken operational workflows while improving exceptional patient care standards.
“Our Good-To-Great program first identifies operational inefficiencies across the hospital that normally fly under people’s radar. Then, we implement best practices to establish a strong foundation for success by tailoring a solution that specifically meets short and long term objectives of the hospital”, explains Mainspring CEO Hank Goddard. “By putting the Good-To-Great program into practice, saving thousands of dollars per bed is an achievable reality for any hospital”.
Mainspring recently announced the addition of industry thought leader, Alan Gresch, to the Mainspring family. Gresch is a proven leader and visionary in the Healthcare Technology industry with 30 plus years of healthcare experience successfully deploying best practices programs for organizations including Aurora Healthcare, Alexian Brothers, and Alpha Source. With Gresch leading the charge, Mainspring has launched the initiative to take their entire Good-to-Great best practices program from already great, to exceptional.
A Shared Passion for Service Excellence
Trying to conceptualize the number of workflows that span across hospital operations allows for an understanding of how Clinical Engineering performance could get stuck in a rut. How is it possible for one department to even make a dent toward dramatic change? Mr. Gresch has dedicated his career to helping Clinical Engineering departments raise and exceed previously accepted standards. While at Aurora and Alexian Brothers, Gresch worked collaboratively with Mainspring to enhance and refine clinical technology management.
“At Aurora, like so many other hospitals, we were faced with the challenge to reduce service costs while improving nurse satisfaction; with outsourcing out of the question. I knew from the moment that Mainspring’s platform was implemented at Aurora that their passion for fixing operations was aligned with my own. There was no question in my mind that together we would succeed,” commented Gresch.
Help Your Hospital Save Millions (Yes, Millions) of Dollars
With the Gresch and Mainspring dynamic duo, Aurora centralized request-dispatch, parts and service contracts. By the end of the first year, the savings for the hospital had reached an astonishing $3.4 million and continued at $1.3 million annually thereafter. By year two, Caregiver satisfaction reached an all-time high. Not only were nurses more satisfied than they had ever been before, but Aurora was also awarded the Premier GPO Supply Chain Innovation Award.
With determination and a passion for helping Clinical Engineering departments grow from good to great, Gresch and his team along with Mainspring were able to pull Clinical Engineering “out of the basement” by increasing visibility of these departments and ultimately achieve dramatic and measurable hospital wide savings.
Spreading the Love
After such profound success, Gresch realized a desire to spread his vision to more hospitals, and concluded that his experience coupled with Mainspring’s platform could drive transformations for hundreds of health systems around the world.
“I have joined the Mainspring family with the confidence that together we can help other hospitals realize the kind of success that were achieved at Aurora and Alexian Brothers. The Good-To-Great program builds a strong foundation for operational success and helps hospitals establish and maintain an excellent service organization. In my opinion, every hospital deserves this type of incredible transformation, and we are working hard to make that vision a reality”.
Mainspring’s Good-to-Great program has been developed with leading healthcare organizations that, with Mainspring’s support, have undergone powerful transformations in hospital operations. Each Good-to-Great program is tailored specifically to help hospitals implement best practices across ten areas of focus to meet hospital specific objectives. Planning and implementing these best practices provides the structure, guidance, and support that accelerates adoption of the program. Each of the ten best practices are prioritized and tailored toward each organization to create a realistic road map for the organization’s Good-to-Great journey. After prioritizing, Mainspring’s operations management experts ensure best practices and initiatives continue successfully and meet organizational and personal objectives.
Gresch presented a more detailed version of his transformational story at the MD Expo in Nashville on March 30th. If you missed the presentation at the MD Expo, be sure to catch his follow up webinar on April 15th, where he will discuss a variety of innovative ideas to bring Clinical Engineering programs stuck in a rut back to life. Reported by PRWeb 8 hours ago.
Waltham, MA (PRWEB) March 30, 2015
Stop Throwing Away Cash
Hospitals across the globe are saving millions of dollars by developing their previously overlooked operational best practices, while simultaneously raising the quality of care and improving patient satisfaction. With their Good-to-Great best practices solution, Mainspring Healthcare Solutions, a global provider of Hospital Operations Solutions, has been helping heath systems for over 20 years save millions of dollars by streamlining broken operational workflows while improving exceptional patient care standards.
“Our Good-To-Great program first identifies operational inefficiencies across the hospital that normally fly under people’s radar. Then, we implement best practices to establish a strong foundation for success by tailoring a solution that specifically meets short and long term objectives of the hospital”, explains Mainspring CEO Hank Goddard. “By putting the Good-To-Great program into practice, saving thousands of dollars per bed is an achievable reality for any hospital”.
Mainspring recently announced the addition of industry thought leader, Alan Gresch, to the Mainspring family. Gresch is a proven leader and visionary in the Healthcare Technology industry with 30 plus years of healthcare experience successfully deploying best practices programs for organizations including Aurora Healthcare, Alexian Brothers, and Alpha Source. With Gresch leading the charge, Mainspring has launched the initiative to take their entire Good-to-Great best practices program from already great, to exceptional.
A Shared Passion for Service Excellence
Trying to conceptualize the number of workflows that span across hospital operations allows for an understanding of how Clinical Engineering performance could get stuck in a rut. How is it possible for one department to even make a dent toward dramatic change? Mr. Gresch has dedicated his career to helping Clinical Engineering departments raise and exceed previously accepted standards. While at Aurora and Alexian Brothers, Gresch worked collaboratively with Mainspring to enhance and refine clinical technology management.
“At Aurora, like so many other hospitals, we were faced with the challenge to reduce service costs while improving nurse satisfaction; with outsourcing out of the question. I knew from the moment that Mainspring’s platform was implemented at Aurora that their passion for fixing operations was aligned with my own. There was no question in my mind that together we would succeed,” commented Gresch.
Help Your Hospital Save Millions (Yes, Millions) of Dollars
With the Gresch and Mainspring dynamic duo, Aurora centralized request-dispatch, parts and service contracts. By the end of the first year, the savings for the hospital had reached an astonishing $3.4 million and continued at $1.3 million annually thereafter. By year two, Caregiver satisfaction reached an all-time high. Not only were nurses more satisfied than they had ever been before, but Aurora was also awarded the Premier GPO Supply Chain Innovation Award.
With determination and a passion for helping Clinical Engineering departments grow from good to great, Gresch and his team along with Mainspring were able to pull Clinical Engineering “out of the basement” by increasing visibility of these departments and ultimately achieve dramatic and measurable hospital wide savings.
Spreading the Love
After such profound success, Gresch realized a desire to spread his vision to more hospitals, and concluded that his experience coupled with Mainspring’s platform could drive transformations for hundreds of health systems around the world.
“I have joined the Mainspring family with the confidence that together we can help other hospitals realize the kind of success that were achieved at Aurora and Alexian Brothers. The Good-To-Great program builds a strong foundation for operational success and helps hospitals establish and maintain an excellent service organization. In my opinion, every hospital deserves this type of incredible transformation, and we are working hard to make that vision a reality”.
Mainspring’s Good-to-Great program has been developed with leading healthcare organizations that, with Mainspring’s support, have undergone powerful transformations in hospital operations. Each Good-to-Great program is tailored specifically to help hospitals implement best practices across ten areas of focus to meet hospital specific objectives. Planning and implementing these best practices provides the structure, guidance, and support that accelerates adoption of the program. Each of the ten best practices are prioritized and tailored toward each organization to create a realistic road map for the organization’s Good-to-Great journey. After prioritizing, Mainspring’s operations management experts ensure best practices and initiatives continue successfully and meet organizational and personal objectives.
Gresch presented a more detailed version of his transformational story at the MD Expo in Nashville on March 30th. If you missed the presentation at the MD Expo, be sure to catch his follow up webinar on April 15th, where he will discuss a variety of innovative ideas to bring Clinical Engineering programs stuck in a rut back to life. Reported by PRWeb 8 hours ago.
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Passenger jerks steering wheel in road rage accident
A 25-year-old Aurora, Colorado man faces assault and attempted homicide charges after allegedly grabbing the steering wheel of the car he was riding as a passenger and jerking it to the right.
Reported by USATODAY.com 8 hours ago.
Reported by USATODAY.com 8 hours ago.
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America's Largest Urban Cores
America's cities (metropolitan areas) changed radically since the dawn of World War II. At that point, cities were dominated by their core municipalities (central cities), around which people traveled much greater percentages by transit and lived in much higher densities. Automobile oriented suburbanization had increased rapidly in the 1920s, but was slowed by the economic upheavals of the 1930s.
After World War II, suburban house building expanded and automobile ownership became near universal. Automobile ownership has expanded so much that the percentage of low income workers using cars to get to work is nearly the same as the overall population.
*Classifying Urban Cores, Suburbs & Exurbs*
The latest data, for 2011 (from the 2009-2013 American Community Survey) indicates that 15% of the population lives in the urban cores of the 52 major metropolitan areas (those with more than 1 million population). The urban core is defined by urban development and lifestyles similar to those that prevailed before the start of World War II.The urban core percentage is smaller than may be expected, because it is based on small areas (Zip Code Tabulation Areas or ZCTAs) rather than the much larger core municipalities and other "principal cities" that are often represented as the equivalent of the urban core.Many central cities, such as Los Angeles, Seattle, Portland, Phoenix, Kansas City, Indianapolis and others have large areas of postwar suburban development, with detached housing and a near monopoly on cars for mobility. Overall, the central cities are 42% urban core and 58 percent suburban and exurban.The term "principal cities" was coined by the Office of Management and Budget before the 2000 census to recognize that American cities had become polycentric in their employment patterns. All of the formerly designated "central cities" are principal cities, but many additional municipalities were added because of their large, mainly suburban, job counts. Examples include Aurora in the Denver area, Arlington in the Dallas-Fort Worth area, Mesa in the Phoenix area, White Plains in the New York area and Fountain Valley in the Los Angeles area. Principal cities other than central cities have a population that is 8% urban core and 92% suburban and exurban.The small area analysis classifies ZCTAs as urban core where (1) 20% or more of work trip travel is by transit, walking or cycling, and (2) population densities are 7,500 per square mile or greater. Urban cores also include the large downtowns (central business districts or CBD's) that have job densities of 20,000 per square mile or more (Figure 1). There are five functional urban classifications, ranging from the urban core CBD to the exurbs (Figure 2).
*Urban Cores by Metropolitan Area*As would be expected, New York has by far the largest urban core, with 10.4 million residents (Table). This densely populated urban core represents the ultimate conception of American urbanization and includes the world's second-largest CBD. This comprises most of the area south of Central Park. New York's urban core stretches well beyond the city of New York to areas of New Jersey, such as Jersey City and Newark as well as to much of the rest of Hudson and Essex counties. However the urban core excludes most of New York City's Staten Island, south of Interstate 278, which looks more like suburbs in New Jersey or Kansas City, for that matter.Chicago has the second largest urban core, though its population of 2.5 million is somewhat less than that of the city of Chicago, indicating that part of it is suburban.Boston shows that an urban core can be substantially larger than the core municipality. Boston's urban core, the third largest in the nation, has 1.6 million residents, nearly 3 times the city of Boston's 600,000. Philadelphia, at 1.5 million has an urban core slightly larger than its core municipality.Despite its reputation for "sprawling," low density suburbs, Los Angeles has the fifth largest urban core, with 1.4 million residents. Many people learn in disbelief that Los Angeles has by far the highest density of any urban area in the nation (area of continuous urban development). Los Angeles is approximately 30% denser than New York, because the suburbs of Los Angeles are so densely populated that they more than compensate for the higher central area densities of Manhattan and the rest of New York City.Washington also has an urban core much larger than its core municipality. With nearly 1 million residents, Washington's urban core stretches into the Virginia jurisdictions of Arlington and Alexandria and into Montgomery County in Maryland.
*Summary and Trends*There are 25 urban cores with more than 100,000 residents in the 52 major metropolitan areas. There are also 12 urban cores with populations of less than 10,000, including seven with zero population. In these metropolitan areas, none of the small areas meet the criteria for urban cores (Figure 1). These core municipalities were much smaller in 1940, with Phoenix, Raleigh and Orlando having had populations far short of 100,000.Of course, metropolitan areas without pre-World War II urban cores have the same inner city challenges as those with large urban cores. The difference is simply in their urban forms.The trend toward greater suburbanization was strong through most of the period between 2000 and 2011, though faltered in the later years, as the economy declined. At the same time, the CBDs were adding population for the first time in decades, which contributed to a net urban core gain of 40,000 new residents between 2000 and 2011. This welcome trend seems likely to continue.Yet, in context, the CBD gains are small. Between 2000 and 2011, 99.8% of the growth was in the suburbs and exurbs (18.5 million). The latest Census Bureau estimates, just released, show a strengthening of suburban and exurban growth, with rising net domestic migration. With a good economy, there could be favorable prospects for growth in the entire city, from the urban core, through the suburbs to the exurbs. Reported by Huffington Post 7 hours ago.
After World War II, suburban house building expanded and automobile ownership became near universal. Automobile ownership has expanded so much that the percentage of low income workers using cars to get to work is nearly the same as the overall population.
*Classifying Urban Cores, Suburbs & Exurbs*
The latest data, for 2011 (from the 2009-2013 American Community Survey) indicates that 15% of the population lives in the urban cores of the 52 major metropolitan areas (those with more than 1 million population). The urban core is defined by urban development and lifestyles similar to those that prevailed before the start of World War II.The urban core percentage is smaller than may be expected, because it is based on small areas (Zip Code Tabulation Areas or ZCTAs) rather than the much larger core municipalities and other "principal cities" that are often represented as the equivalent of the urban core.Many central cities, such as Los Angeles, Seattle, Portland, Phoenix, Kansas City, Indianapolis and others have large areas of postwar suburban development, with detached housing and a near monopoly on cars for mobility. Overall, the central cities are 42% urban core and 58 percent suburban and exurban.The term "principal cities" was coined by the Office of Management and Budget before the 2000 census to recognize that American cities had become polycentric in their employment patterns. All of the formerly designated "central cities" are principal cities, but many additional municipalities were added because of their large, mainly suburban, job counts. Examples include Aurora in the Denver area, Arlington in the Dallas-Fort Worth area, Mesa in the Phoenix area, White Plains in the New York area and Fountain Valley in the Los Angeles area. Principal cities other than central cities have a population that is 8% urban core and 92% suburban and exurban.The small area analysis classifies ZCTAs as urban core where (1) 20% or more of work trip travel is by transit, walking or cycling, and (2) population densities are 7,500 per square mile or greater. Urban cores also include the large downtowns (central business districts or CBD's) that have job densities of 20,000 per square mile or more (Figure 1). There are five functional urban classifications, ranging from the urban core CBD to the exurbs (Figure 2).
*Urban Cores by Metropolitan Area*As would be expected, New York has by far the largest urban core, with 10.4 million residents (Table). This densely populated urban core represents the ultimate conception of American urbanization and includes the world's second-largest CBD. This comprises most of the area south of Central Park. New York's urban core stretches well beyond the city of New York to areas of New Jersey, such as Jersey City and Newark as well as to much of the rest of Hudson and Essex counties. However the urban core excludes most of New York City's Staten Island, south of Interstate 278, which looks more like suburbs in New Jersey or Kansas City, for that matter.Chicago has the second largest urban core, though its population of 2.5 million is somewhat less than that of the city of Chicago, indicating that part of it is suburban.Boston shows that an urban core can be substantially larger than the core municipality. Boston's urban core, the third largest in the nation, has 1.6 million residents, nearly 3 times the city of Boston's 600,000. Philadelphia, at 1.5 million has an urban core slightly larger than its core municipality.Despite its reputation for "sprawling," low density suburbs, Los Angeles has the fifth largest urban core, with 1.4 million residents. Many people learn in disbelief that Los Angeles has by far the highest density of any urban area in the nation (area of continuous urban development). Los Angeles is approximately 30% denser than New York, because the suburbs of Los Angeles are so densely populated that they more than compensate for the higher central area densities of Manhattan and the rest of New York City.Washington also has an urban core much larger than its core municipality. With nearly 1 million residents, Washington's urban core stretches into the Virginia jurisdictions of Arlington and Alexandria and into Montgomery County in Maryland.
*Summary and Trends*There are 25 urban cores with more than 100,000 residents in the 52 major metropolitan areas. There are also 12 urban cores with populations of less than 10,000, including seven with zero population. In these metropolitan areas, none of the small areas meet the criteria for urban cores (Figure 1). These core municipalities were much smaller in 1940, with Phoenix, Raleigh and Orlando having had populations far short of 100,000.Of course, metropolitan areas without pre-World War II urban cores have the same inner city challenges as those with large urban cores. The difference is simply in their urban forms.The trend toward greater suburbanization was strong through most of the period between 2000 and 2011, though faltered in the later years, as the economy declined. At the same time, the CBDs were adding population for the first time in decades, which contributed to a net urban core gain of 40,000 new residents between 2000 and 2011. This welcome trend seems likely to continue.Yet, in context, the CBD gains are small. Between 2000 and 2011, 99.8% of the growth was in the suburbs and exurbs (18.5 million). The latest Census Bureau estimates, just released, show a strengthening of suburban and exurban growth, with rising net domestic migration. With a good economy, there could be favorable prospects for growth in the entire city, from the urban core, through the suburbs to the exurbs. Reported by Huffington Post 7 hours ago.
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Charges against cousins in terror plot tearing up family, aunt says
The aunt of two Aurora men accused of plotting to attack the Joliet Armory said Monday the charges against her nephews are "breaking up our whole family," and she does not know any reason why the pair would want to attack the United States or the government.
Reported by ChicagoTribune 5 hours ago.
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Questions planned, but no audit, on Colorado tourism program's Gaylord subsidies
A committee of the state Legislature on Monday decided against conducting a full-scale audit into the state’s Regional Tourism Act program, which has offered subsidies for the controversial proposed Gaylord Rockies hotel-conference center in Aurora. Instead, the panel has decided to haul leaders from the Colorado Office of Economic Development and International Trade (OEDIT) to a meeting in June and ask them to explain how they’ve decided which projects have gotten funding under the Tourism…
Reported by bizjournals 6 hours ago.
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Aurora mayor calls for alderman's resignation after theft conviction
Aurora Mayor Tom Weisner is calling for the immediate resignation of 10th Ward Alderman Lynne Johnson, saying that Johnson was arrested and pleaded guilty to retail theft.
Reported by ChicagoTribune 4 hours ago.
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Police identify victim of Aurora road rage incident
Aurora Police on Monday identified a motorcyclist injured in a road rage incident on Interstate 225 over the weekend.
Reported by Denver Post 3 hours ago.
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Aurora officials plan to meet again about City Manager Skip Noe
Aurora City Manager Skip Noe, the City Council and mayor met Monday afternoon in executive session to hash out concerns that Noe treats women on the Aurora council differently than the men.
Reported by Denver Post 22 hours ago.
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No confidence vote against Aurora city manager fails
Five members of the Aurora City Council have no confidence in City Manager Skip Noe, and said as much with a vote during the regular meeting Monday.
Reported by Denver Post 22 hours ago.
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Aurora to hold meeting to work out differences with city manager
Aurora Mayor Steve Hogan has called a meeting for next month with the council and city manager after some female members of the council said he treats them poorly compared with the men on the board.
Reported by Denver Post 22 hours ago.
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Moog to service All Nippon Airlines in long-term deal
Moog Inc. and All Nippon Airways have signed a 10-year exclusive contract for comprehensive support on ANA’s fleet of 787 aircraft, the companies announced Tuesday. East Aurora-based Moog (NYSE: MOG.A, MOG.B,), through its flight control systems and products, will provide maintenance, spares, pooling and on-site technical support. Terms of the deal were not disclosed. ANA is Japan’s largest airline flying more than 70 international and 130 domestic routes with a fleet of about 240 aircraft.…
Reported by bizjournals 16 hours ago.
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Neal Communities Enters Hillsborough County Market with South Fork Model Opening
Neal Communities makes its debut into the Tampa Bay new home market with the opening of a new model at The Reserve at South Fork, an exclusive gated section with a limited number of homes inside the South Fork community, featuring lush landscaping and homesites with water and preserve views.
RIVERVIEW, Fla. (PRWEB) March 31, 2015
Neal Communities southwest Florida’s premier homebuilder, made its debut into the Tampa Bay new home market with the opening of a new model at The Reserve at South Fork, an exclusive gated section with a limited number of homes inside the South Fork community, featuring lush landscaping and homesites with water and preserve views.
Neal Communities will offer homes from its popular Cove and Classic Series at South Fork, ranging in size from 1,870 – 2,980 square feet. The professionally decorated and furnished Daybreak model, located at 13849 Moonstone Canyon Drive, opened this weekend. It features 2,232 square feet and showcases three bedrooms, two bathrooms and a three-car garage.
Neal Communities sold a company record 864 new homes in 2014, with $276 million in revenue and nine new communities between Manatee and Collier counties. This year represents the beginning of an aggressive five-year growth plan for Neal, with entrance into four new communities in Hillsborough County, the first Hillsborough homes Neal has ever built.
“Our team has been gearing up for our entrance into Hillsborough County for some time, and we look forward to welcoming Tampa Bay homebuyers into the Neal family,” says Michael Storey, Neal Communities’ president. “We are confident that our homes will present tremendous value in this market with a variety of options to choose from and feature homes ready for immediate occupancy.”
Residents will enjoy use of the South Fork community pool, tennis courts, playground and other amenities. With a fantastic location close to shopping and dining, Riverview is convenient not only to the Tampa Bay metro area, but also to St. Petersburg and the Sarasota/Bradenton area via I-75 and the Orlando metro area via I-4.
About Neal Communities
Neal Communities was named one of 2012's "America's Best Builders" by BUILDER Magazine and voted the “2013 Best Residential Builder in Southwest Florida” in a readers’ poll sponsored by Gulfshore Business Magazine. The company is ranked No. 1 locally by Metrostudy and by Hanley Wood Market Intelligence based on number of home sales and ranked nationally among the top 50 builders by BUILDER Magazine. To date, Neal has built over 10,000 homes in southwest Florida. As the area's largest and most established, locally owned and operated private builder, Neal Communities is continually striving for excellence in every aspect of the home building and development business. Neal Signature Homes, Neal Land Ventures, Charlene Neal PureStyle, Waterscapes Pools & Spas, Fiducia Insurance and Allegiant Title Professionals all contribute to the firm's continued, record-setting local success. The company's honors and accolades include 42 Parade of Homes 2014 awards, 50 Aurora Awards, 5 Best in American Living Awards, and hundreds of local and regional industry awards. For more information, please visit http://www.nealcommunities.com. Reported by PRWeb 9 hours ago.
RIVERVIEW, Fla. (PRWEB) March 31, 2015
Neal Communities southwest Florida’s premier homebuilder, made its debut into the Tampa Bay new home market with the opening of a new model at The Reserve at South Fork, an exclusive gated section with a limited number of homes inside the South Fork community, featuring lush landscaping and homesites with water and preserve views.
Neal Communities will offer homes from its popular Cove and Classic Series at South Fork, ranging in size from 1,870 – 2,980 square feet. The professionally decorated and furnished Daybreak model, located at 13849 Moonstone Canyon Drive, opened this weekend. It features 2,232 square feet and showcases three bedrooms, two bathrooms and a three-car garage.
Neal Communities sold a company record 864 new homes in 2014, with $276 million in revenue and nine new communities between Manatee and Collier counties. This year represents the beginning of an aggressive five-year growth plan for Neal, with entrance into four new communities in Hillsborough County, the first Hillsborough homes Neal has ever built.
“Our team has been gearing up for our entrance into Hillsborough County for some time, and we look forward to welcoming Tampa Bay homebuyers into the Neal family,” says Michael Storey, Neal Communities’ president. “We are confident that our homes will present tremendous value in this market with a variety of options to choose from and feature homes ready for immediate occupancy.”
Residents will enjoy use of the South Fork community pool, tennis courts, playground and other amenities. With a fantastic location close to shopping and dining, Riverview is convenient not only to the Tampa Bay metro area, but also to St. Petersburg and the Sarasota/Bradenton area via I-75 and the Orlando metro area via I-4.
About Neal Communities
Neal Communities was named one of 2012's "America's Best Builders" by BUILDER Magazine and voted the “2013 Best Residential Builder in Southwest Florida” in a readers’ poll sponsored by Gulfshore Business Magazine. The company is ranked No. 1 locally by Metrostudy and by Hanley Wood Market Intelligence based on number of home sales and ranked nationally among the top 50 builders by BUILDER Magazine. To date, Neal has built over 10,000 homes in southwest Florida. As the area's largest and most established, locally owned and operated private builder, Neal Communities is continually striving for excellence in every aspect of the home building and development business. Neal Signature Homes, Neal Land Ventures, Charlene Neal PureStyle, Waterscapes Pools & Spas, Fiducia Insurance and Allegiant Title Professionals all contribute to the firm's continued, record-setting local success. The company's honors and accolades include 42 Parade of Homes 2014 awards, 50 Aurora Awards, 5 Best in American Living Awards, and hundreds of local and regional industry awards. For more information, please visit http://www.nealcommunities.com. Reported by PRWeb 9 hours ago.
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Aurora Products, Inc. Expands Voluntary Product Recall to Include One Additional Private Label Branded Customer and to Clarify the Name of Two Bulk Products Previously Recalled That Used Walnuts in Them Due to Possible Health Risk
Aurora Products, Inc. is expanding its voluntary nationwide recall of certain lots of NATURAL WALNUTS and TRAIL MIXES CONTAINING WALNUTS, to include one additional Private Label branded customer and to clarify the name of two products previously recalled. Products are being recalled because they have the potential to contain Salmonella which can cause serious and sometimes fatal infections in young children, frail or elderly people, and others with weakened immune systems.
Reported by FDA 5 hours ago.
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