#New York Concert Transportation

[limorentalnyc101]

Why Concert Transportation in NYC is the Best Choice for Safety and Comfort

New York City is a hub for world-class concerts, with top artists performing at iconic venues like Madison Square Garden, Radio City Music Hall, and Barclays Centre. Whether you’re attending a sold-out show or an intimate performance, one thing is certain—getting to and from these venues can be stressful. From navigating through heavy traffic to dealing with crowded public transportation, concert nights can quickly become a logistical headache. That’s why booking professional New York Concert Transportation with Limo Rental NYC is the best choice to ensure both safety and comfort for your night out.

In this blog, we’ll explore the benefits of choosing Concert Transportation NYC for your next event and how our services like NYC Private City Tours and Night on Town Transportation can make your concert night even more memorable. Let’s dive into why comfort and safety should be your top priorities when attending a concert.

The Importance of Safety and Comfort for Concert Transportation

Concert nights in NYC are meant to be fun and exciting, but they also come with some challenges. Heavy traffic, packed venues, and large crowds can make navigating the city difficult, especially when safety is a concern. Here’s why opting for professional Concert Transportation NYC is the best way to prioritize both comfort and safety during your night out.

1. Avoid Stressful Driving and Parking

NYC is known for its congested streets, and concert nights are no exception. When you drive yourself, you not only have to deal with traffic but also the headache of finding parking near the venue. Parking garages can be expensive and often require you to walk long distances to the concert hall. With New York Concert Transportation, you can leave the driving and parking to a professional chauffeur. You’ll be dropped off right at the venue entrance and picked up afterward, eliminating the stress of finding parking.

2. Safe and Professional Chauffeurs

One of the biggest advantages of booking Concert Transportation NYC with Limo Rental NYC is the peace of mind that comes with professional chauffeurs. Our drivers are fully trained, licensed, and experienced in navigating New York City. They prioritize your safety, ensuring that you arrive at your concert venue securely and on time. After the show, you won’t have to worry about driving through heavy traffic or navigating busy streets—your chauffeur will be ready to take you to your next destination or safely home.

3. Travel with Friends Comfortably

Whether you’re going to a concert with a partner or a group of friends, having enough space to travel comfortably is important. Our fleet includes a variety of luxury vehicles, from stretch limos to party buses, that offer plenty of room for everyone. Instead of cramming into a small car or standing on public transportation, you and your group can enjoy the ride together, chatting, listening to music, and relaxing before and after the concert.

4. Skip Public Transportation Hassles

Public transportation may be a go-to option for some, but it’s far from ideal on concert nights. Trains and buses tend to be overcrowded and noisy, and after a long night of standing and dancing, squeezing into a packed subway car isn’t exactly a relaxing way to end the night. Concert Transportation NYC allows you to avoid the discomfort of public transport and travel in luxury and style.

How Concert Transportation Enhances Your Comfort

Comfort is key when it comes to making the most of your concert experience. At Limo Rental NYC, we provide vehicles equipped with luxury features to ensure your journey is as enjoyable as the concert itself. Here’s how our New York Concert Transportation service enhances your comfort:

1. Plush Seating and Spacious Interiors

After spending hours on your feet at a concert, the last thing you want is to squeeze into a cramped vehicle. Our limousines, SUVs, and party buses offer spacious interiors with plush leather seating, allowing you to relax and unwind after the show. Whether you’re heading to an after-party or home, you can travel in total comfort.

2. Onboard Entertainment

Keep the energy going with premium sound systems and onboard entertainment. Our luxury vehicles are equipped with advanced audio systems, so you can continue listening to your favorite tunes on the way to the concert or back home. For larger groups, our party buses even come with LED lighting, creating a fun atmosphere that lets the party continue long after the concert is over.

3. Climate Control

New York weather can be unpredictable, but your comfort is guaranteed with climate-controlled vehicles. Whether it’s a hot summer evening or a chilly winter night, our chauffeurs ensure that your ride is set to the perfect temperature, so you can travel comfortably no matter the season.

Additional Services to Elevate Your Concert Experience

Beyond providing a safe and comfortable ride to and from the concert, Limo Rental NYC offers additional services to make your night even more special. Consider adding one of these options to create a full VIP experience:

1. NYC Private City Tours

Arriving in New York early for your concert? Why not explore the city’s iconic landmarks before heading to the venue? With NYC Private City Tours, you can take in sights like Times Square, the Empire State Building, Central Park, and more, all from the comfort of a luxury vehicle. It’s the perfect way to make the most of your time in the city, especially if you’re visiting from out of town.

2. Night on Town Transportation

After the concert, don’t let the night end. Extend the fun by heading out to some of NYC’s hottest nightlife spots with our Night on Town Transportation service. Whether you want to visit a trendy rooftop bar, enjoy a late-night meal at a chic restaurant, or dance the night away at a nightclub, we’ve got you covered. Your chauffeur will take you to multiple locations throughout the night, ensuring that you have a seamless and enjoyable experience.

Why Choose Limo Rental NYC for Concert Transportation?

At Limo Rental NYC, we pride ourselves on offering top-tier New York Concert Transportation that prioritizes both safety and comfort. Here’s why we’re the best choice for your next concert night out:

1. Reliable and Punctual Service

We understand that timing is critical when it comes to attending concerts. Our chauffeurs are dedicated to arriving promptly and ensuring you get to your venue without any delays. After the concert, you can count on us to be waiting, ready to take you to your next destination.

2. Diverse Fleet of Luxury Vehicles

From sleek stretch limousines to spacious party buses, we offer a wide range of vehicles to accommodate groups of any size. Whether you’re celebrating a special occasion with friends or heading to a concert with a date, we have the perfect vehicle to match your needs.

3. Experienced and Professional Chauffeurs

Our chauffeurs are skilled professionals who know New York City’s streets inside and out. They prioritize your safety, comfort, and satisfaction, making sure you have a smooth and enjoyable ride from start to finish.

4. Customizable Packages

We offer flexible and customizable packages that cater to your unique plans. Whether you want a private city tour before the concert or late-night transportation afterward, we can create a tailored package that fits your schedule and budget.

How to Book Your Concert Transportation with Limo Rental NYC

Booking your Concert Transportation NYC is easy with Limo Rental NYC. Here’s how:

Visit Our Website: Explore our fleet of luxury vehicles and choose the one that best fits your group size and preferences.

Contact Us: Give us a call: (917) 722-1119 or fill out our online form to discuss your concert transportation needs, including pickup times, destinations, and any additional services like city tours or nightlife stops.

Confirm Your Reservation: Once you’ve selected your vehicle and customized your package, we’ll handle the rest, ensuring you have a seamless experience.

Final Thoughts

When it comes to attending a concert in New York City, safety and comfort should always be top priorities. By booking New York Concert Transportation with Limo Rental NYC, you can enjoy a luxurious, stress-free ride that lets you focus on the music and fun. Whether you’re heading to a concert with friends or making a night of it with NYC Private City Tours or Night on Town Transportation, we’ll ensure your experience is safe, comfortable, and unforgettable.

Contact Limo Rental NYC today to book your concert transportation and make your next night out in NYC truly VIP!

[parkwaylimousine]

Parkway Limousine from shuttle services and luxury vehicles to chartered buses, concert transportation services in New York offer a variety of options for everyone’s budget and travel needs. Whether you’re heading out of town for a large festival or just need a ride across town, these services are there to make your night out as stress-free as possible. Let us explore different options available in this space that can make our experience of attending gigs even more enjoyable!

[happypedrohours]

Choose 1, or 2 or 3 (or all of them) from the following lists and send them to fellow Happy Pedro Hours partakers to get to know them better and to have a good laugh!! (We kindly remind you of the Tumblr etiquette back in the day which is that if you receive an ask, it's customary to send one back to the person so they get to answer one (or two or three) themselves)

Don't forget to tag all your replies #happypedrohours !!

June 22nd updates: added questions to Would you rather and Get to know me lists, new Either Or list at the bottom of the post

Would you rather list

Have mint ice cream or chocolate gelato

Have blackberry sherbet or lemon popsicle

Drink Coca Cola or Pepsi

Eat a pizza with mushroom or pineapple on it

Spend one day in a spaceship or one day on an icebreaker

Visit Mars or Saturn?

Live in a little cottage surrounded by frog pond or fields of horses?

Road trip through the US or Australia?

Spend a day wearing no make up or wearing too small shoes?

Learn how to make sushi or noodles?

Eat a hamburger dipped in chocolate or fries dipped in fluff?

Hike an active volcano or a rainforest during a storm?

Cuddle a bear cub or a litter of baby squirrels?

Go on the Orient Express or trek to Victoria Falls?

Sleep under the stars by a swamp or in a hammock hanging from a cliff?

Have universal respect or unlimited power?

Swim in a pool full of Nutella or a pool full of maple syrup?

Spend a week in the forest or a night in a real haunted house?

*updated list*

Always have to tell the truth or always have to lie?

Run your tongue down a NYC sidewalk or press your tongue into a stranger's nostril?

Be in the real-life version of "The Walking Dead" or "American Horror Story"?

Have the hiccups for the rest of your life or always feel like you're about to sneeze but can't?

Use sandpaper as toilet paper or hot sauce as eye drops?

Be sticky for the rest of your life or be itchy for the rest of your life?

Pedro Boys edition

Would would win in a hand-to-hand fight? Dave York or Din Djarin?

Who's the better parents? Din Djarin or Mrs Flores?

Who would win the race? Frankie Morales or Din Djarin (Razor Crest edition, no space jump allowed)

Who would win in a fight? Oberyn Martell or Marcus Moreno?

Who the better cuddler during wintertime? Javi G or Marcus P?

Who's the grumpiest when they show up at their surprise birthday party? Joel or Javi P?

Who has more fashion sense? Javi G or Oberyn Martell?

Who has the best aim with a gun? Joel or Dave York?

Who has the scariest intimidating scowl? Javi P or Joel?

Who is better at reading bedtime stories? Din or Marcus Moreno?

Who’s the best movie night buddy? Dieter or Javi G?

Who’s the best at barbecuing? Frankie or Joel?

Who would win in a eating contest? Marcus P or Max Philips?

Get to know you list

If you could go back to any time period, where would you like to go and why?

What's your favorite color and the first thing that comes to your mind when you think of it?

If you could be transported in any fictional universe, where would you go?

What's a song that reminds you of your favorite season?

Do you read books and if yes, what's your favorite genre?

Do you cook and what's your favorite dish to make?

What's the one place in the world you have always dreamed of visiting?

What is the first concert you attended to?

What did you want to be when you were small?

What’s your favorite swear word (in any language) and why?

Are you a morning person or a night owl?

What was/is your favorite subject in school?

If you could only wear one color for the rest of your life, which one would you choose?

Who was your first celebrity crush?

What’s a weird smell that you really enjoy?

Do you have a favorite kind of flower?

Which meal is your favorite: breakfast, lunch, or dinner?

Do you collect anything?

*updated list*

What color is your toothbrush?

What's your favorite summer activity?

What's the strangest thing you've ever eaten?

What's the sexiest animal?

What is the worst job you could have?

If you could paint anything, what would you paint?

Who is your favorite cartoon character?

Who's your favorite superhero and why?

*New category*

Either or

Museum or carnival?

Horror movie or romcom?

Tea or coffee?

Friends or How I Met Your Mother?

Cat or dog?

Left side or right side of the bed?

Bath or shower?

Paintings or sculptures?

Summertime or wintertime?

Hugs or kisses?

Apple juice or orange juice?

Unicorn or mermaid?

Apple or Android?

Netflix or Disney+?

Instagram or TikTok?

Cereal or toast?

Burger or tacos?

Dinosaurs or dragons?

Greek mythology or Egyption mythology?

New York City or Los Angeles?

Crossword puzzles or jigsaw puzzle?

[visit-new-york]

Meadow near 91st and Central Park West

Meadow near 91st and Central Park West

Central Park West, often abbreviated as CPW, is a prominent and prestigious avenue located along the western edge of Central Park in Manhattan, New York City. It is one of the city's most iconic and sought-after residential addresses, known for its historical significance, architectural grandeur, and cultural importance. Here are some key details about Central Park West:

Location: Central Park West runs parallel to Central Park, starting at 59th Street in the south and extending to 110th Street (also known as Cathedral Parkway) in the north. It forms the western boundary of Central Park and offers stunning views of the park's landscape.

Historical Significance: Central Park West is lined with a diverse array of architectural styles and historic buildings, many of which date back to the late 19th and early 20th centuries. It is often considered a showcase of New York City's architectural history.

Architectural Diversity: Along Central Park West, you'll find a mix of architectural styles, including Beaux-Arts, Renaissance Revival, Art Deco, and more. Notable buildings include The Dakota, The San Remo, The Eldorado, and The Beresford, all of which are famous for their architectural splendor and the notable residents who have called them home.

Cultural Institutions: Central Park West is home to several renowned cultural institutions, including the American Museum of Natural History, one of the largest and most prestigious natural history museums in the world. The Museum of Arts and Design (MAD) and the New-York Historical Society are also located along this avenue.

Residential Prestige: Central Park West has long been associated with luxury living. The buildings along this avenue often feature spacious apartments with park views, elegant pre-war details, and a high level of service. Many notable individuals, including celebrities and business moguls, have chosen to reside in this area.

Transportation: Central Park West is well-connected to the rest of Manhattan via public transportation. It is served by several subway lines, including the A, B, C, D, and 1 trains, making it relatively easy to access other parts of the city.

Scenic Beauty: Residents and visitors of Central Park West enjoy breathtaking views of Central Park, with its lush greenery, serene lakes, and iconic landmarks. The proximity to the park provides a sense of tranquility and natural beauty amidst the bustling city.

Cultural and Entertainment Events: Due to its proximity to Central Park and its cultural institutions, Central Park West is often a focal point for cultural and entertainment events, including parades, concerts, and film screenings.

Real Estate: Real estate along Central Park West is highly sought after and can command some of the highest prices in the city. The area is known for its co-op and condominium buildings, each with its own unique character and charm.

Historic Preservation: Many of the buildings along Central Park West are designated as New York City landmarks or are part of historic districts, ensuring their preservation and protection. This commitment to preserving the architectural heritage of the avenue contributes to its enduring charm.

Cultural Impact: Central Park West has been featured prominently in literature, film, and television, further cementing its status as an iconic New York City location. The Dakota, in particular, gained worldwide fame as the residence of John Lennon and Yoko Ono and was the site of Lennon's tragic shooting in 1980.

Parks and Recreation: In addition to Central Park itself, the avenue offers access to several smaller parks and green spaces, making it a desirable place for residents who value outdoor activities and leisure.

Educational Institutions: Central Park West is also home to some educational institutions, including the Fiorello H. LaGuardia High School of Music & Art and Performing Arts, renowned for its performing arts programs.

Shopping and Dining: The avenue features a mix of upscale shops, restaurants, and cafes, offering residents and visitors a range of dining and shopping options within walking distance.

Central Park West Parades: Central Park West is a popular route for parades and processions in New York City. One of the most famous parades is the annual Macy's Thanksgiving Day Parade, which passes through this avenue on its way to Herald Square.

Transportation Hub: Central Park West provides convenient access to various transportation options, making it easy for residents to explore other parts of Manhattan and beyond. It's also a popular location for taxi and rideshare pick-ups.

Community and Neighborhood: The avenue is surrounded by vibrant neighborhoods, including the Upper West Side and Morningside Heights. These neighborhoods offer a mix of cultural attractions, dining, and shopping options that enhance the quality of life for those living on or near Central Park West.

In summary, Central Park West is a quintessential New York City avenue known for its historical significance, architectural beauty, cultural institutions, and luxurious residential offerings. It provides residents and visitors with a unique blend of urban living and access to the natural beauty and cultural richness of Central Park.

Central Park West remains a symbol of New York City's cultural and architectural richness, offering a blend of history, luxury, and natural beauty. Whether you're strolling along the avenue, enjoying the views of Central Park, or exploring the cultural institutions and dining options, Central Park West provides a unique and enriching experience in the heart of Manhattan.

[handeaux]

Bye-Bye, Boss! And The Unsung Socialist Hero Of Cincinnati’s Charter Movement

Where are the parades? Where are the celebrations? Election Day this year marks exactly a century since Cincinnati voters rose up to finally end boss rule in the Queen City.

From the 1880s right up to 1924, Cincinnati had been run by what amounted to a criminal syndicate, with George Barnsdale Cox, known as “Boss Cox,” and his minions controlling every aspect of city politics and – most importantly – city finances through their stranglehold on the Hamilton County Republican Party. The Cox Gang siphoned millions of public dollars into their own pockets, let city schools and public services languish, allowed gambling and prostitution to flourish under police protection, and nationally besmirched the reputation of our city. Just how powerful was Boss Cox? Here is a major national magazine, Collier’s, from 24 September 1910:

“No public officeholder in Cincinnati is allowed to name his own deputies. Cox himself appoints these underlings. He has in each public office his representative, who is in real charge. In one case it was disclosed in a legislative investigation that the regularly elected official was not even allowed the combination of his office safe. That was the property of Cox’s agent.”

And here is The New Republic from 7 May 1924 describing a major source of the Boss’s ill-gotten gains:

“Cox was a grafter. It was definitely proved that he had pocketed many thousands of dollars, bribes paid to him by banks for illegally depositing with them Hamilton County funds.”

By 1924, Cox himself had been dead for eight years, but the ironclad Republican machine he had constructed still sputtered along, led by burlesque impresario Rudolph K. “Rud” Hynicka. It infuriated local progressives that Hynicka didn’t even live in Cincinnati but pulled all the strings – political and purse – in Cincinnati from his office in New York City.

The entire boss system came crashing down on 4 November 1924, when Cincinnati voters marked their ballots by a 2.5 to 1 margin to adopt a city manager form of government eliminating the ward-based city council.

In the years since, mythology has enshrined a conventional explanation of how this peaceful revolution prevailed. In this telling, independent Republicans like Murray Seasongood assumed the founding father roles. Here is a typical summary of the traditional narrative, from an article by William A. Baughin from the Winter 1988 issue of Queen City Heritage:

“Under the direction of Seasongood . . . the Charter Committee conducted a successful campaign to bring about these changes in the fall elections of 1924. After this victory, the Charter Committee remained in existence, completing its transition to a de facto political party when it endorsed and campaigned for a slate of councilmanic candidates in 1925.”

Though not exactly inaccurate, the standard version ignores decades of organized opposition to Boss Cox from Democrats and, notably, Socialists. It is not too strong a statement to assert that Cincinnati’s successful charter vote in 1924 would have been impossible without concerted action by the local Socialists and their allies.

Rarely mentioned these days is a radical reformer who devoted half a century to a campaign for social and economic reform. Herbert S. Bigelow was a provocative and controversial figure throughout a long and eventful life. He opposed United States involvement in the First World War and was kidnapped and horsewhipped because of that. He lobbied for old age pensions, for fair taxation, and for municipal control of utilities and transportation.

Bigelow set the stage for the political coup of 1924 as far back as 1912, when he helped organize a progressive, statewide constitutional convention. Bigelow headed a delegation to that convention from Hamilton County, was elected president of the convention; and guided the convention toward submitting to the voters an Initiative and Referendum amendment, and a Municipal Home Rule amendment as well.

As a young man, studying for the ministry at Cincinnati’s Lane Seminary, Bigelow’s social consciousness was awakened, and he dedicated his life “less for the gospel of heaven above and more for justice here on earth.” As pastor of the old Congregational Church on Vine Street, Bigelow’s social agenda so alienated the old-time congregants that he created a totally new “People’s Church” with no theological dogma, only a commitment to progressive causes. He preached, he said, the Social Gospel.

Bigelow’s church spawned what would today be called a political action committee, known as the People’s Power League, organizing liberals and radicals of every stripe from labor unions to Socialists to disenchanted refugees from the major parties. When the United States entered World War I, Bigelow loudly protested the forced enlistment of men through the draft, a position that almost got him killed. As Daniel R. Beaver relates in his 1957 biography of Bigelow, “A Buckeye Crusader”:

“The minister's outspoken attitude aroused the opposition of many patriotic organizations around Cincinnati and finally brought about a physical attack on him October 28, 1917. Bigelow was kidnapped as he was about to address a meeting of the Socialist Party in Newport, Kentucky, taken to a deserted field and horsewhipped, ‘In the name of the women and children of Belgium.’”

Bigelow that year backed the Socialist Party in Cincinnati’s municipal elections. He was convinced his attackers were egged on by the business and industrial interests of Cincinnati. Bigelow expressed a lifelong antipathy to any cause, no matter how popular, that had the support of Cincinnati’s established capitalists. This prejudice, according to biographer Beaver, affected his involvement in the Charter movement:

“His attitude was clearly shown in 1924 when a battle was begun by moderate Cincinnatians led by Murray Seasongood to introduce the city charter form of government into the political life of Cincinnati. [Bigelow] distrusted the motives of the reformers because of their business connections and remained aloof until it became obvious that he and his followers were needed to circulate petitions for a charter election. Though subsequent events are disputed, it seems that he and his associates exacted from the Charterites a promise to include a plan for proportional representation in their bill in return for the support of Bigelow's organization.”

Despite the essential contributions from the People��s Church, Charterites downplayed the pastor’s involvement because Bigelow, in addition to building grassroot support for municipal reform was also campaigning quite vocally in 1924 for Progressive presidential candidate Robert M. LaFollette, who had the backing of the Socialists. Still, Bigelow was able to influence the Charterites to adopt several reforms that originated in his progressive campaigns.

A much more nuanced version of the victory of 1924 would acknowledge the contributions of organized labor, women and Socialists in addition to the traditional political parties, and especially the role of Cincinnati’s lifelong firebrand, Herbert S. Bigelow.

[droughtofapathy]

"Welcome to the Theatre": Diary of a Broadway Baby

Follies in Concert

June 20, 2024 | Transport Group Theatre | Carnegie Hall | Evening | Concert | Series | 2H 20M

FOLLIES FOLLIES FOLLIES. THE HIGHLIGHT OF MY YEAR. THE HIGHLIGHT OF MY LIFE(?)

Last night, Carnegie Hall was New York's hottest gay club as every one of us turned up to weep over Sondheim's breathtaking score, played by a divine 30-piece orchestra. Fifty Broadway actors shared the roles and songs of this wonderful show, culminating in a lineup straight out of our wildest dreams.

Though we were robbed of a Donna Murphy triumph with "Could I Leave You?" due to filming schedule changes, we received the impromptu comedy show of the year as Beth Leavel grappled with a broken mic stand and brought the house down anyway.

Kate Baldwin as another eleventh-hour addition proved to be the best moment of the night. Her "Losing My Mind" will go down in history as one of the most divine we will ever hear. Not since Marin Mazzie has a theatre been so rapt, so silent, so in awe. She's always struck me as a Phyllis, but now proves she has the range.

Jennifer Holliday does what she wants, and what she wants was a smooth and seductive "I'm Still Here" full of gravitas even as she meandered far from the written notes and rhythms. She turned a five-minute showstopper into a nine-minute showstopper complete with a standing ovation to open up act two.

Karen Ziemba led six of our finest dancing Broads over sixty (or even seventy)(Mamie Duncan-Gibbs, Ruth Gottschall, JoaAnn M. Hunter, Dana Moore, Michele Pawk, and Margo Sappington) in a "Who's That Woman" original choreography to a standing ovation.

So many thrilling performances, one after the other. I am deeply in love with Barbara Walsh now, and it's honestly a crime she and Carolee Carmello were so underutilized by only having "Waiting for the Girls Upstairs" (Phyllis and Sally don't get much singing in that number, and it's a tragedy). I need to seriously contemplate the Barbara-Phyllis/Carolee-Sally dynamic immediately.

I am now dead. I have ascended. I will never come back to earth again. But the final tributes broke me. The reveal that Sondheim said in a private zoom reunion that Follies was his very favorite original score. The late Harvey Evans' epitaph. Original cast member Kurt Peterson ending the concert with "hey up there, way up there, what'd'ya say up there..." All of it underscored by Sondheim's brilliant work. I am in tears all over again.

Verdict: My Soul Transcended Space and Time

A Note on Ratings

Full set list below cut:

Opening Weissmann Monologue: Hal Linden Beautiful Girls: Christian Mark Gibbs Don't Look at Me: Katie Finneran and Marc Kudisch Waiting for the Girls Upstairs: Thom Sesma, Stephen Bogardus, Barbara Walsh, Carolee Carmello, Grey Henson, Ryan McCartan, Julie Benko, Hannah Elless Rain on the Roof: Klea Blackhurst and Jim Caruso Ah, Paris: Isabel Keating Broadway Baby: Adriane Lenox The Road You Didn't Take: Alexander Gemignani In Buddy's Eyes: Christine Ebersole Who's that Woman?: Karen Ziemba with Mamie Duncan-Gibbs, Ruth Gottschall, JoaAnn M. Hunter, Dana Moore, Michele Pawk, and Margo Sappington I'm Still Here: Jennifer Holliday Too Many Mornings: Norm Lewis and Nikki Renee Daniels The Right Girls: Michael Berresse One More Kiss: Harolyn Blackwell and Mikaela Bennett Could I Leave You?: Beth Leavel Loveland: Chorus You're Gonna Love Tomorrow/Love Will See Us Through: Fernell Hogan, Olivia Elease Hardy, Nina White, Miguel Gil Buddy's Blues: Santino Fontana with Lauren Blackman and Sarah King Losing My Mind: Kate Baldwin The Story of Lucy and Jessie: Alexandra Billings Live, Laugh, Love: Kurt Peterson (ft. John McMartin's original cane)

[studio82a]

Ted Lasso fic writers are doing the lord's work. Stuff of heroes, truly. And I understand that loads of them are not actually English, which is cool, that's representative of the audience of the show.

But I wish that everyone understood that Wembley (the location of the FA Cup semi final in 2.08 "Man City") is a London based stadium, actually very close to Richmond, and that it's the home base for English Football in general, the England national team, and cup finals, and so on. Rather than it being Man City's home base in Manchester.

Given we are getting an episode at the Etihad, City's real home base, later in the season, maybe that'll clear things up? But in 2.08, both teams were entering a neutral space important to English football, and they were only about 10 miles from Richmond (with Manchester being a 4 hour drive north.)

IDK, 2.08 made this pretty clear in my opinion. The way the commentator talks about Richmond being the last London club to make their Wembley debut. The way they go out on the pitch to take it all in. (They wouldn't do that at the home ground of some other team, because a) they'd have played there every year, and b) they treat that moment like they have equal claim to the space, honoured to be there.) The way that Beard walks off into the night and gets home on public transport, including London buses, in 2.09.

I have to assume that most people do know this, but I've seen this error in fic a surprising amount of times: the assumption that they're in Manchester that episode, talking about travelling home from there or whatever, or that they're on Man City's turf, or talking about the James incident and the hug as "what happened in Manchester," that I am, confused to say the least about how this ended up being the takeaway for at least some people.

So if anyone did have that assumption and they happen to see this post... Wembley is in London and it isn't Man City's home ground. Mistaking the location of Wembley is kind of like assuming Madison Square Garden is anywhere other than New York - there are concerts and huge events there too, it's a known cultural venue - except for that Wembley isn't also the home ground of any one league team like MSG is for the Knicks. It's a place of honour for all English football teams.

This PSA is brought to you by today's City v Sheffield FA Cup semi final at Wembley.

[herrlindemann]

Metal Hammer - February 2002, part 2, interview with Paul and Schneider

Thanks to ramjohn for the scans!

Rammstein are without a doubt currently the biggest German rock band and at the same time the biggest export hit when it comes to hard music. 2001 was the year of the Berliners: release of the third album MUTTER, US, Germany and Europe tour and the publication of the 'Rammstein' book by Gert Hof. Before the Freiburg concert in December, there was a lot to discuss with guitarist Paul Landers and drummer Christoph Schneider.

The intensive tour, which took you through the USA, Australia and Japan to Russia and then all over Europe, is coming to an end. How did you cope with it?

Christoph Schneider: We've been to America twice, and one of the two tours was quite exhausting for us. It was long and just didn't want to end. In between we came home again, recovered, and now I have to say that the European tour is a lot of fun.

Why is Freiburg the only one Germany concert on your route?

Paul Landers: The promoter knew that we also want to play in Germany if the tour goes past it. In Freiburg, however, the fans see the 'Europe' version of our show - not what they are used to. It's a slimmed-down production because we can't be on the road with eight trucks and set up the entire structure due to the long distances. Think of it as a kind of special concert.

How difficult is it to remember the many concerts of this year's tour?

Christoph: I always remember the places when I go there a second time. Paul is different: He mostly remembers the food of the respective region. For me it's more the people or small experiences.

Paul: The concerts that you don't forget are important. Nobody manages to remember 150 concerts - it doesn't have to be. We always sound the alarm, and even when things get a little quieter in the band, the audience doesn't even notice.

Because you've played in many cities, you have the best opportunity for comparison in terms of the audience and their respective reactions. Can you name differences?

Paul: There are two different views. First: the evening performance. Second: the trappings. The environment is much more important than you think. In contrast to the US tour, the shows in Europe were a piece of cake. The concert tour through America seems more like a galley voyage to me. One city is like the other, only the big cities of New York, San Francisco or Los Angeles are the highlights. The rest is almost like an oversized Neubrandenburg - a snoring town without character. The whole thing then degenerates into hard work. The fans are usually as spirited as the climate, but the air burned at the concert. Moscow was also amazing - in general, things are always very hot in the Eastern bloc. Overall, however, I have to admit that certain character traits are the same among Rammstein audiences around the world.

What do you think when Russian or American fans sing along to the German lyrics?

Christoph: That's the coolest thing of all, because right at that second I feel validated for myself and my work. Transporting German beyond national borders and encouraging other people to sing in our mother tongue - that's a special feeling.

Are you worried about how the foreign fans will interpret the lyrics?

Paul: I don't know how good your English was as a kid - mine was lousy. That's why I was sorely disappointed when I found out what 'Smoke On The Water' really means. For me it had something to do with smoking and cigarettes. And that's how people feel about us. Fred Durst said that for 'Sehnsucht' he always understood 'Chainsaw'. Back then at Kraftwerk, instead of ‘driving, driving, driving on the Autobahn’, people understood ‘fun, fun, fun’. They knew ‘Autobahn’. There are funny mistranslations. A song like 'Links 2 3 4' is also difficult to translate, but the fans know that. The only thing that really matters is that the music and the lyrics go well together.

Were you welcomed with open arms everywhere on the US tour? Or were you met with a lack of understanding or did you even have trouble with the authorities?

Christoph: There were more restrictions on our pyro show. Also Christian demonstrators who - like Marilyn Manson - called us devils and blasphemers. Even in London there was such a rally car in front of the door, and the association propagated that one should not get involved with Satan - that is, us.

Paul: When we perform outside of Germany, the fans encourage us to keep singing in German and not start with the English language.

But you tried the two English versions of 'Engel' and 'Du hast'...

Paul: ...and failed miserably. That wasn't because of the English lyrics, but because the songs were written in German. If we were to write a song in English that wasn't German from the start, it could be good. We have nothing against globalization - at least not in the Rammstein context.

Christoph: It worked with 'Stripped' - it doesn't sound stupid when Till sings in English, but it has to be good English lyrics.

Paul: We're lucky that German is such a cool language for evil music. If I were English or Belgian, I would definitely sing in German. When it comes to bad, hard music, nothing beats the German language. English has too much soul, it sounds way too nice. They can turn on a eater or yell around... That leads to the problem that the English have with us in particular. When people hear German texts there, they immediately stand to attention and think that bombs are being thrown at them. We first had to explain that we don't want to start a war, we just want to sing in German. The English still associate the Germans with the bombs that fell on London in World War II - after that they heard nothing before us. Perhaps a Mercedes drives through London from time to time, but other than that, German has negative connotations. Rammstein try to transform the negative image of the Germans in the world into a positive one. The Reichstag also had a negative image. Since Christo covered it, you think differently about it - that's a new component. In a similar way we try to communicate that being German can also mean something good.

Do you see this as a challenge or as a tedious, tiring task?

Christoph: Even if that may sound pompous: I believe that we are pursuing foreign policy. Later, after our death, we will be written with honor in the history books. (Everybody is laughing)

Paul: We consistently get positive feedback on our band because the world is not used to something good in the musical field coming from Germany. That happens far too seldom.

Christoph: In Russia, the children learn German with our texts, and we were very happy about that.

So you had to grow into the task of being an ambassador, because you couldn't have known at the beginning of the band's career that it would take on such proportions, right?

Paul: No, no one could have guessed that we would sell even one record across national borders.

Christoph: In many areas, such as the American Midwest, people have heard nothing else about Germany than Rammstein...

Paul: … BMW also know a few…

What happens after the extended tour?

Christoph: We will take a four to six month break and do a lot with our friends and families during this break. In the summer of 2002, festival appearances are planned - the big European festivals.

Paul: Then money will be collected. Solid. The European tour and another tour of Germany will follow in autumn. Then we want to venture into the next record with a breath of fresh air. We hope that the whole thing will happen a little faster, but the work on MUTTER and the lengthy live activities showed us that we have grown together as a real band more than ever. We come to Stockholm and 12,000 people want to see us, it's unbelievable. It's just us...

Do you fight on tour?

Christopher: Very often! We never agree and that hampers the flow of the band. Democracy within the structure has also reached a limit where it no longer works. Everyone insists on their point of view...

Who then takes the initiative?

Paul: Democracy has not given way to a dictatorship. In the past seven years, we've learned to argue in ways that don't touch the substance. Schneider and I used to almost cut our throats. On the other hand, arguing makes you tired, and the consequence is that not everyone takes care of everything anymore. For example, I stayed completely out of the book. In the coming break we will recharge our batteries so that afterwards we can fight again with fun.

Aren't you afraid of falling into a deep black hole after the band's intensive life together at the end of the tour?

Christoph: Small children and women are waiting for us at home. It's pretty quick to get used to it again...

Paul: Wipe your ass and change your diaper, then you'll feel at home again. On tour you have a kind of royal life, it spoils the character. We're fighting to keep from going insane. But sometimes I enjoy not having to do the dishes or take out the garbage. The food is introduced to me orally, I hardly need to chew anymore...

How did you get along with Slipknot on the US tour?

Paul: In the beginning we had a lot of prejudices and thought they were stupid.

Christoph: It was very inspiring. I can understand that the kids love this band.

Paul: Slipknot stand for a certain quality. In the States, we've also been lumped into the category of bands that the kids listen to but the parents hate. In the beginning we felt like well-to-do old gentlemen and had a little Scorpions syndrome. Slipknot enjoy the same status in America that we had in Germany three or four years ago. The band polarizes strongly and is provocative. We have put our provocative phase behind us. Everyone knows who can expect what from Rammstein. I don't want to use the word 'solid', but you can't believably play the fright of the citizens for seven years.

You find out for yourself that the fans are getting used to Rammstein more and more and that events that would have caused a stir a few years ago are now part of the agenda. Is the consequence that you constantly question yourself and your actions so as not to stand still?

Paul: For as long as we have existed, we have tried not to repeat ourselves. Especially in Germany, we entered the show business at a high level, so that we had to spend enormous sums on the last Germany tour to always go one step further. The fans are also worth that to us.

Christoph: People don't come that often anymore, they keep a certain distance. When we go on tour again, we can set ourselves on fire - because that's what people want to see.

At some point, however, the show can no longer be improved.

Christoph: Yes, a lot is a question of ideas. Going new ways, incorporating new elements is better than multiplying what you are currently doing.

Paul: Ten flames are no better than one - we quickly realized that. A few simple lamps as stage decorations are enough for a good show.

Do you still enjoy performing live?

Paul (laughs): Yes, with 200 concerts a year, that's unavoidable. But we always try to put the unfunny concerts in places where nobody notices.

Christoph: I always tell myself it's an honor to play for so many people every night. I would envy any other band for this state of affairs.

Rammstein as an art form, as a phenomenon, is limited. What could a logical continuation of the band look like?

Paul: We want to dissolve the Goethe Institute and rename it the Rammstein Institute... (laughs)

Christoph: We are maybe just as limited as Kiss. I don't want to pat myself on the back, but we've already achieved a lot. In my opinion, success abroad is the greatest success.

Paul: We do what we want: 'our' music - not because we changed, but because we didn't change.

Could you ever go back to normal jobs? And if so, which ones would they be?

Christopher: No. Because you don't go in one direction to turn back. You go somewhere else.

Maybe someday you will be forced to do it?

Paul: We'd rather stop. We will not go back to the jobs we once learned and grow telephones for strangers. What job an aging rock star has, we don't think about it. All I know is that I won't start with any record company. That's disgusting. I don't want to have anything to do with music-related activities, because then I would always be chatted up on Rammstein. Maybe later I will compose music for films or advertising with Schneider...

So you're not worried when it comes to future issues?

Christoph: Life always takes care of you, you don't have to worry. The new signposts are coming, you just have to learn the ability to see them.

Paul: So far we've been great. The trouble only started when the money came in abundance. We had to learn to remain carefree despite this huge chunk, this lottery win. We then quickly put it on pointlessly, wasted everything, and now we can be more carefree again.

Christoph: You have more worries with money than without.

With Gert Hof's book, which was published in November 2001, you give an intimate insight into your private life for the first time, in that you have been photographed with friends and relatives, among other things. Why?

(Silence)

Christoph: The book should have a bit more colour, and we thought it would be nicer not just to use press photos. For one or the other, it may be interesting to see what Rammstein looks like privately.

Pau: But the amount of privacy is still very low.

The people with whom you can be seen in the pictures, are these the people who are closest to you?

Christoph: Yes, our mothers, our wives, girlfriends, children...

Paul: You can't see all of them, some are standing and even closer, but they'll be in the next book.

I can see you only want to sell books.

Christoph: It was very difficult to find a sensible concept for a Rammstein book. The result is a mix of photos, not too much text, a bit of band history, personal thoughts - I like that.

Paul: I would have liked some explanations about the photos, but I was pretty much alone with that opinion. With Oliver you think what kind of girlfriend he has, but it's his mother. The band wanted the photos to stand alone, leaving fans guessing who it is.

Can you still call yourself spontaneous? After all, the Rammstein entourage is a heavyweight, sluggish monster that, due to its marketing potential, cannot allow any wrong steps.

Christoph: You're right: the bigger, the more cumbersome. Rammstein is an oversized aircraft that needs a huge runway. Before a Rammstein concert can take place, a lot has to be prepared. We can't just take the bus and play.

Paul: Even if we want to add a new song to the program, it takes three to four shows. We submit an application to Schneider, which he ignores, then hesitates at first, but eventually changes it.

Which fans do you prefer? Those who like you because of the music, or those who just like Rammstein's image? Or don't you see any difference?

Paul: We can't choose who we like. As a band you have all the fans to find. this is your job. Anything else would be arrogant. The fans are allowed to say who they think is good and who is shit in the band, but we can't. We play for everyone.

Does it also cause problems that you as Rammstein always have to maintain the image of the tough, grim men and aren't allowed to cry?

Christoph: If we weren't having fun anymore, we would change it. The overly masculine is just a game, we live out a side that fits the music.

Paul: Before Rammstein I played in a fun punk band for ten years and it was a lot harder. Because as a fun punk - Die Ärzte can confirm that - you always have to be funny. The fans throw a beer over your head and you have to come across as nice. At Rammstein I can be 99 percent what I want. Being fierce is easy, it needs no pretense. Even when you're in a bad mood, it's totally awesome. If everything pisses me off, it promotes the show 100 percent. I can stand there like a pawn in a chess game throughout the concert and don't have to bat an eyelash - but the concert is still great.

Christoph: That's why the band is so successful. We convey what we do honestly. I'd like to talk to the doctors and see if they're starting to get sick of always acting funny.

Do you think honesty pays off?

Paul: We used to see it as a weakness that we were so normal in interviews and never tinkered with the image, but always said what we thought.

Christoph: There was a phase when we weren't washed up with the journalists. When the accusations came that we were politically right-wing, they unsettled us and we didn't react properly.

Paul: We even let ourselves be denied because we had no idea. We made up stories and didn't even know what we were talking about.

You must have broken something with that.

Christoph: No one wanted to talk about music, we were constantly being questioned about politics, which really annoyed us.

Can Till actually get carried away with interviews?

Paul: He never has, only in exceptional cases.

Christoph: Many people want to talk to Till because they expect to find out the truth about Rammstein. Actually, he doesn't want to talk, and it wouldn't be good at all because he doesn't have the experience to do so, because he always tries to give official answers...

Paul: He doesn't have the necessary routine.

I rather think that a lot of people have respect or even fear for Till because he embodies the uncouth, coarse block.

Christoph: That's a good thing, we're happy to leave the picture as it is. Till will definitely give interviews at some point, maybe after Rammstein, but we don't want to push him at the moment.

Do you think about solo projects?

Christoph: From time to time, but because we've been together for so long, I can't imagine starting in another band again.

Paul: If I made other music, it would be best if all Rammsteiners were involved. You see it with other bands: When the artists record solo records, the result is usually not nice.

Christoph: If you spend your whole life in a team, however, at some point it's time to make your own borderline experiences.

[beardedmrbean]

Two New York City men wanted to get into the groove of a Madonna concert. Now, they're suing the pop superstar for starting her show late because they had to get up early the next day.

Michael Fellows of Brooklyn and Jonathan Hadden of the Bronx bought tickets for Madonna's Dec. 13 "Celebration" tour concert at Barclays Center.

The tickets said the show would begin at 8:30 p.m., but Madonna did not take the stage until sometime after 10:45 p.m., according to the lawsuit, and the men said they were "confronted with limited public transportation, limited ride-sharing, and/or increased public and private transportation costs" by the time the show let out at 1 a.m.

Perhaps encouraged by Madonna's urging to express yourself, Fellows and Hadden also complained the concert was no holiday because "they had to get up early to go to work and/or take care of their family responsibilities the next day."

Fellows and Hadden are suing Madonna, Live Nation and Barclays Center for "unconscionable, unfair, and/or deceptive trade practices" for promising the public that the concert would begin at 8:30 p.m. knowing that Madonna would not begin performing at the advertised start time. The pair is arguing there was a breach of contract.

"Madonna had demonstrated flippant difficulty in ensuring a timely or complete performance, and Defendants were aware that any statement as to a start time for a show constituted, at best, optimistic speculation," the lawsuit said.

The lawsuit, filed Wednesday in Brooklyn federal court, seeks class action status because the men said it is their belief other "Celebration" tour concerns began similarly late.

The lawsuit seeks unspecified damages.

"Based on the years-long history of Madonna arriving several hours late to prior concerts (and which conduct continued at concerts in other cities after the Concerts at the Barclays Center, including concerts in Washington, D.C. and Boston), Plaintiffs knew or should have known that the Concerts would not start at 8:30 p.m., and that Madonna would not take the stage until several hours after the start time, causing Plaintiffs and all Class Members to have to wait several hours," the lawsuit said.

Madonna kicked off her "Celebration Tour" in October at London's O2 Arena after initially having to delay the tour following a medical scare. She had been scheduled to start the tour in July 2023, but had to postpone due to being hospitalized in June for a serious bacterial infection.

ABC News has reached out to Madonna's representative as well as Live Nation and the Barclays Center for comment.

Madonna has faced similar lawsuits before. During her 2019 "Madame X" tour, she was sued multiple times for starting concerts late.

A Florida man, Nate Hollander, sued Madonna and Live Nation in November 2019, alleging they had moved a concert two hours later than originally planned and it was too late for him to attend. Hollander voluntarily dismissed the suit just a month later, according to court records.

On the same "Madame X" tour, a pair of concertgoers at a show in Brooklyn, New York, filed a similar suit to the one this week. Andrew Panos and Antonio Velotta sued Live Nation, the Brooklyn Academy of Music and Madonna in February 2020 claiming the pop star didn't start her two shows at the venue until more than two hours after the listed start time on the tickets. Panos and Velotta came to an unspecified settlement in July 2020 and the lawsuit was voluntarily dismissed, according to court documents.

[firstdivisiongirl]

Hey bbg you are amazing!!

First just want to check in on how you’re doing, did you drink some water today? Did you eat a nice snack?

Second, I’d like to request a romantic matchup(I think that’s what it’s called) for TR, if you could please!

-I’m a guy

- im an artist, which means i have terrible posture and normally have paint or charcoal or hot glue somewhere on me(hands, neck, etc) and don’t have the heart to clean it off(unless im going somewhere i need to be clean for) because i like the feeling of being part of my art :)

- I cosplay(part of my art stuff ig) mostly one piece characters and I’m pretty good at it—I’m a huge anime nerd, and have memorabilia of it on shelves and on my ceiling(in poster form I swear I haven’t hung anyone from my ceiling yet) and I like to get dolled up on the occasion in my parents’ old Dean Martini Swank Fest outfits which consist of actual army clothing from WW2 and some stuff that makes me feel fancy

- I surf, on occasion, since I live on the west coast and have a habit of wearing a shorty wetsuit under my clothes if there’s any chance of me going near the beach

- I’m working on becoming a marine biologist, but currently I’m just volunteering down in Santa Cruz where I get to help people pet swell sharks and teach them about the animals we have there

-I know a lot about history, and I have some things from the olden days(ex a Japanese soldier’s Sabre from WW2 I got for my 15th birthday + a megalodon tooth + old jewelry

-definitely more of a yapper than a listener

-have to have music or AirPods in my ears 24/7 with some exceptions like my volunteering and my stuff

-very wide range of music taste

- I love thrills. Amusement parks, concerts, roller coasters, go kart racing, MOTORCYCLES omg that is my heaven

-I have a very low pain tolerance, which I am ashamed of because I’m as much of a crybaby as Takemichi…

-super supportive to women. I see one—> immediate compliments, smiling, giving them support or help if they need it and buying sanitary products for all my friends plus keeping them on me just in case

- not very good at taking care of myself, I’m a good cook and have a basic sleep schedule…but I spent most of my life hating myself and now it’s hard trying to get back and go a day without disrespecting myself.(I’m doing so much better than before don’t worry about me)

-physical touch, gift giving, and quality time are my ways of showing affection and appreciation

-I love video games and arcades, especially when I get to play with friends or loved ones

-I’m an Aquarius

-very clingy, but I’m patient so that’s a good thing

-cat person

-very jumpy and paranoid(my dads fault 😒)

-I married Harvey in my main Stardew Valley account(silly little doctor guy)

-decently good at insulting people or getting people to shut up

-my main use of transportation is biking, so I have “very nice leggos” -my eight year old neighbor who i taught to bike

-I’m good with kids as long as they’re not throwing tantrums

-I run out of social battery very quickly and I will just walk off in social gatherings if that happens(it takes 10-30 mins for someone to notice I left smh)

-will bake cakes for everyone’s birthday

-I really want a full leg tattoo of my favorite animal: a Siphonophore(look them up they’re freaky guys)

-ive got freckles, which im partially insecure about because people say freckles+round face makes me look like a girl so i get misgendered a lot(womp womp on my part i got all the bad genes from my parents—thankfully no addiction genes tho)

-I only allow one Christmas song—ONE— and that is Fairytale of New York by the Pogues bcs it’s so good

-avid shark defender + dolphin disliker

-cannot wear anything with a thick tag on the neck, I have to rip it out or cut it because it makes me want to remove my skin :)

I hope I didn’t forget anything or yap too much, love you Aly! You’re the best 😘

Hi! I hope you are doing well. I’m doing better. Making sure I’m hydrated and eating well. This was a good amount of information, but one thing is missing for me to match you up. Do you want matched with a male or female character?

[slackville-records]

Iron Butterfly is an American rock band formed in San Diego, California, in 1966. They are best known for the 1968 hit "In-A-Gadda-Da-Vida", providing a dramatic sound that led the way towards the development of hard rock and heavy metal music. Although their heyday was the late 1960s, the band has been reincarnated with various members with varying levels of success with no new recordings since 1975. Their second album, In-A-Gadda-Da-Vida (1968), remains a best-seller, and Iron Butterfly was the first group to receive an In-House platinum album award from Atlantic Records. Their music has found a significant impact on the international rock scenes, influencing numerous acts such as Black Sabbath, AC/DC, Rush, Alice Cooper, Mountain, Uriah Heep, Soundgarden, Stone Temple Pilots, Slayer, King Gizzard & the Lizard Wizard, and Queens of the Stone Age.

The band had been booked to play at Woodstock in August 1969 but got stuck at New York City's LaGuardia Airport. They explained their situation to the concert promoters and asked for patience. Their manager, however, sent a telegram demanding that Iron Butterfly be flown in by helicopter, whereupon they would "immediately" take the stage. After their set, they would be paid and flown back to the airport. According to drummer Bushy, "We went down to the Port Authority three times and waited for the helicopter, but it never showed up". Woodstock production coordinator John Morris claims he sent the manager a telegram reading: "For reasons I can't go into / Until you are here / Clarifying your situation / Knowing you are having problems / You will have to find / Other transportation / Unless you plan not to come." The acrostic formed by the first letter of each line in the telegram (FUCK YOU), made it clear that the band was not welcome.

There are a lot of stories about bands that almost made it to Woodstock but for various reasons failed or declined invites, but of all the acts that were invited and accepted the offer, none came closer than Iron Butterfly. They were only a helicopter ride away, but alas that helicopter 🚁 never came.

source: Woodstock Counsel of Elders Local Tribe #1969

[limorentalnyc101]

Why New York Concert Transportation is Essential for a Perfect Night Out

New York City is home to some of the world’s best concert venues and attracts top performers from every genre. Whether you’re headed to Madison Square Garden, Radio City Music Hall, or a smaller, more intimate venue, a night out at a concert is always an exciting experience. However, dealing with the hassles of transportation—navigating traffic, finding parking, or managing public…

[lboogie1906]

The Negro Actors Guild of America was founded by African American actors in 1936. The organization was established to try to eliminate the stereotyping of African Americans in theatrical and cinematic performances. It stressed the need for more realistic roles for people of color, helped foster the skills of African American actors, and worked to generate more acting opportunities.

Fredi Washington, an African American stage and film actress, who was resentful of the limitations of African Americans in the film industry, brought together other actors, including Leigh Whipper, Noble Sissle, W.C. Handy, and Dick Campbell, to found the Negro Actors Guild of America in New York City. It was the first such organization of its kind in the nation. Noble Sissle served as the organization’s first president, while Washington served as the Guild’s executive director and secretary. Washington dedicated much of her life to the organization, even sacrificing her acting career for the advancement and prosperity of the Guild. Leigh Whipper succeeded Sissle in 1957 as the Guild’s president. He caused some controversy when he accused Otto Preminger, the director for the film, Porgy and Bess, of discriminating against African Americans.

The Guild served as one of the primary financial and social resources for African American entertainers. It provided health care, arranged transportation and hotel accommodations, and financed funeral services for the African American thespian community. Much of the funding for the Negro Actors Guild came from the Federal Theater Authority and internal fundraising. Bill “Bojangles” Robinson was instrumental in fundraising efforts, often performing in benefit concerts on Broadway for the Guild. Robinson served as the Guild’s first honorary president.

By the early 1940s, the Guild had more than seven hundred members. Among their famous members were Hattie McDaniel, Ethel Waters, Bert Williams, and Lena Horne. By the 1970s, the organization slowly faded as the film and theater industries became increasingly integrated. #africanhistory365 #africanexcellence

[dreaminginthedeepsouth]

Matt Davies :: Newsday Opinion

* * * * *

LETTERS FROM AN AMERICAN

July 26, 2023

HEATHER COX RICHARDSON

Yesterday a team of international researchers confirmed that human-caused climate change is driving the life-threatening heat waves in the U.S. and Europe. The U.S. has broken more than 2,000 high temperature records in the past month, and it looks like July will be the hottest month on Earth since scientists have kept records. 

Another study published yesterday warns that the Atlantic currents that transport warm water from the tropics north are in danger of collapsing as early as 2025 and as late as 2095, with a central estimate of 2050. As Arctic ice melts, the cold water that sinks and pulls the current northward is warming, slowing the mechanism that moves the currents. The collapse of that system would disrupt rain patterns in India, South America, and West Africa, endangering the food supplies for billions of people. It would also raise sea levels on the North American east coast and create storms and colder temperatures in Europe.

On Sunday and Monday, the ocean water off the tip of Florida reached temperatures over 100 degrees Fahrenheit (37.8 Celsius), the same temperature as an average hot tub. According to the Coral Restoration Foundation, a nonprofit organization in Florida’s Key Largo that works to protect coral reefs, the hot water has created “a severe and urgent crisis,” with mortality up to 100%. The Mediterranean Sea also hit a record high this week, reaching 83.1 degrees Fahrenheit (28.4 Celsius).

An op-ed by David Wallace-Wells in the New York Times today noted that more land burned in Quebec in June than in the previous 20 years combined; across Canada, more than 25 million acres burned. And most of Canada’s fire season is still ahead. 

Professor Ian Lowe of Australia’s Griffith University told The Guardian that he recalled reading the 1985 report that identified the link between greenhouse gasses and climate change, and worked to draw public attention to it. “Now all the projected changes are happening,” he said. “I reflect on how much needless environmental damage and human suffering will result from the work of those politicians, business leaders and public figures who have prevented concerted action. History will judge them very harshly.”

Former vice president Mike Pence, who is running for the 2024 Republican presidential nomination, today unveiled his economic proposal. It calls for eliminating the Environmental Protection Agency and the Biden administration’s incentives designed to address climate change. 

In that, he is in line with Republican lawmakers. Earlier this month, Mike Magner in Roll Call noted that at least four of the bills released so far by the House Appropriations Committee for 2024 include cutting funding to address climate change that Congress appropriated in the Inflation Reduction Act. Project 2025, which has provided the blueprint for a Trump presidency, says “the Biden Administration’s climate fanaticism will need a whole-of-government unwinding,” and calls for more use of fossil fuels. 

A new report from the United Nations Environment Programme (UNEP) and Columbia University says that court cases related to climate change have more than doubled in five years. Thirty-four of the 2,180 lawsuits have been brought forward on behalf of children, teens, and young adults.  

And therein lies a huge problem for today’s Republican Party. A recent poll of young voters shows they care deeply about gun violence, economic inequality, LGBTQ+ rights, and climate change. All of those issues are only becoming more prominent. 

LETTERS FROM AN AMERICAN

HEATHER COX RICHARDSON

[visit-new-york]

The Williamsburg Bridge remains a dynamic and integral part of the fabric of New York City, continually evolving to meet the changing needs of its residents and visitors while preserving its historical and cultural significance.

Pedestrian and Cyclist Safety: Ensuring the safety of pedestrians and cyclists using the bridge has been an ongoing concern. Improvements to walkways, bike lanes, and signage have been implemented to enhance safety and accessibility for these users.

Public Transportation Integration: The bridge plays a crucial role in New York City's public transportation system, with several bus routes connecting Manhattan and Brooklyn via the Williamsburg Bridge. This integration helps reduce traffic congestion and provides options for commuters.

Cultural Events: The Williamsburg Bridge has served as a backdrop for cultural events and festivals. Its location and grandeur make it an ideal setting for outdoor concerts, art exhibitions, and community gatherings.

Historical Tours: Guided tours and educational programs centered around the Williamsburg Bridge are offered to the public, allowing people to learn about its history, engineering, and cultural significance.

Sponsorships and Partnerships: Private companies and organizations have sometimes sponsored events or initiatives related to the bridge, further highlighting its role as a civic and cultural landmark.

Community Gardens: Near the Williamsburg Bridge, there are community gardens and green spaces that contribute to the neighborhood's quality of life and provide residents with opportunities for urban gardening and relaxation.

Traffic Management: To alleviate congestion and ensure smooth traffic flow, transportation authorities have implemented various traffic management strategies, such as reversible lanes and real-time traffic monitoring.

Maintenance Downtime: Periodic maintenance and repair work require temporary closures or lane restrictions on the bridge. These closures are typically scheduled during off-peak hours to minimize disruptions to commuters.

Historical Documentation: The history of the Williamsburg Bridge has been documented in books, documentaries, and academic research, making it an essential subject for those interested in the history of urban development and infrastructure.

Adaptive Reuse: The Williamsburg Bridge's strong structure has led to discussions about potential adaptive reuse projects. Ideas have been proposed to repurpose some of its spaces for public use, cultural exhibitions, or commercial ventures.

Community Engagement and Advocacy: Local community boards and organizations have played an active role in advocating for the needs and interests of the neighborhoods connected by the bridge, including issues related to transportation, infrastructure, and safety.

Bridge Artifacts and Memorabilia: Various artifacts, memorabilia, and historical documents related to the Williamsburg Bridge are often on display in museums, historical societies, and archives. These items help tell the story of the bridge's construction and significance.

Special Events and Festivals: The Williamsburg Bridge has been a focal point for special events and festivals celebrating the diverse cultures and communities it connects. These events often feature music, food, and cultural activities.

Architectural Awards: The bridge's distinctive architectural features and historical importance have earned it recognition from architectural and engineering organizations. It has received awards and accolades for its design and historical preservation efforts.

Lighting Innovations: Technological advancements have allowed for innovative lighting schemes on the bridge, creating stunning visual effects and contributing to the bridge's iconic nighttime appearance.

Educational Outreach: Educational programs and initiatives related to the Williamsburg Bridge often target local schools and educational institutions, fostering an understanding of its significance and inspiring future generations of engineers and architects.

Community Art Projects: Local artists and community members have collaborated on art projects that involve the bridge and its surroundings, contributing to neighborhood beautification and artistic expression.

Urban Development: The Williamsburg Bridge's influence extends beyond transportation; it has also played a role in shaping urban development in both Manhattan and Brooklyn, influencing the placement of residential, commercial, and recreational spaces.

Emergency Preparedness: The Williamsburg Bridge serves as a critical component of New York City's emergency preparedness plans, with protocols in place for its use in the event of a disaster or large-scale emergency.

Public Safety Measures: Regular safety inspections, security measures, and maintenance work are essential for ensuring the bridge's structural integrity and the safety of all who use it.

Global Symbol: The Williamsburg Bridge is not only a symbol of New York City but also of urban engineering excellence and the enduring human spirit to overcome challenges through innovation and collaboration.

Community Resilience: The bridge's role as a vital lifeline has been evident during times of crisis, highlighting its importance as a symbol of community resilience and unity.

The Williamsburg Bridge stands as a testament to human ingenuity and the enduring impact of infrastructure on communities, culture, and the urban landscape. It continues to bridge the gap between past and present, history and innovation, and the diverse communities of New York City.

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[eideticspider]

YOUR MUSE'S INVENTORY. [original meme from @treasurechestrpmemes​.]

rules: list the things your muse carries in their pockets or bags in their every day life. (optional: explain their significance.) repost, don’t reblog.

POCKETS.

headphones/airpods/earpods (whatever the fuck kids are calling them nowadays) - when she's working at the daily bugle, it's much easier to sit and listen to taylor swift or eminem instead of listening to jjj rampage against this week's latest interns. at least she can get some work done.

cellphone - latest iphone with a cherry red case; screen is remarkably not shattered; her homescreen is a picture of her, gwen, & jess; her speed dial currently: mom, dad, al, lola, gwen (spider-gremlin), pete, jess, mj, hobie, miguel

a ring - a cheap piece of costume jewelry; "silver" with a little blue gemstone on it; she was wearing it the day she was bitten by the spider and it was the only thing she kept through her ten years of isolation; given to her by her high-school boyfriend hector cervantez

BAG.

a camel brown north face backpack (yes, i bought the same backpack as bella swan--fight me) with several pins on the bag and straps, including: a pride flag, a stop asian hate pin, a new york rangers pin, an eras tour pin (even though i had to go to jersey for the concert...ugh), a white enamel spider (cheeky, moon. real cheeky), an oxford university pin, a save the turtles button, and a lego spider-man keychain on one of the zippers.

leather bound notebook - perfect for writing down notes for articles; especially good in events of concussion during silk fights

purple gel pen - gotta have some style for her notes (jjj hates it, but since i'm one of his favorites, he lets it slide)

a bottle of bath & body works body spray - not only is being a reporter stressful (&& therefore sweaty), so is being a superhero! all the better to smell like cactus blossom instead of body odor

burt's bees chapstick - honey vanilla flavored; (new york in the winter chaps the hell out of my lips okay--there's no other reason for the chapstick)

portable phone charger - you never know when you're going to need to snap a quick pick for an article!

reusable metal straw kit - (save the turtles you fuckin' heathens)

navy blue wallet - perfect for storing id, credit cards, debit cards, and cash and the much needed starbucks gift cards; lunch breaks appreciate this being a permanent fixture in the bag

a family picture - it was taken right before cindy was put away in the bunker; six year old Al & sixteen year old Cindy and their parents at the beach (i'm thankful for being saved--but i'll never get those years back)

a hockey puck - from the last championship cindy won before she was bitten; it was signed by everyone on the team (i miss hockey--maybe i should start a spidey hockey league??)

a multiverse bracelet - cindy is contemplating putting stickers on it (it just looks so goddamn boring; couldn't we make it a little bit cuter?); transports her to spidey hq and other universes as needed

tagged by: @imsobrooklyn & @cybersbyte <3 (no b/c this was super helpful for writing??? so thank you guys????)

tagging: @khakerskayavdova @xenjoyedthat @halfxspider @revenantinflames @radioactivedadbod @shootsxruns @iobartach @thisvastmultiverse && anyone else who wants to!