Robin Barnes “Tell Me Something Good”George Porter Jr. brought his Runnin‘ Pardners to the main stage for a rump shakin’ set of the bass heavy funk as only he can play. Taking a moment to honor the recent loss of a friend, Porter dedicated a moving rendition of his song “Talkin’ Bout My Old Friends,” to her memory, along with the many musicians we’ve lost over the last year, from Allen Toussaint to Prince and many more. Check out his spirited tribute below:George Porter & The Runnin’ Pardners – “Talkin’ Bout My Old Friends”Legendary area percussionist and obvious madman Mike Dillon has joined forces with Johnny Vidacovich, James Singleton and Brian Haas to capture the essence of his insanity with the group known as Nolatet. Acting as band leader and whirlwind of motion Dillon burned more calories in a set than most folks do in an entire day. Check out some of his exhausting and chaotic musicianship below in his show opening tune:NolatetJared Zeller, founder of the MotherShip Foundation, took the stage alongside emcee The Voice to thank the crowd for their continued support before turning the mic over to fest closer Anders Osborne. Though not a true native, Osborne has spent the last couple of decades ingraining himself, personally and musically, into the heart and soul of the Crescent City. With special guest, Galactic‘s Stanton Moore on the drums, Osborne brought the crowd to a frenzied crescendo. Have a listen to his dark but moving ode to finality from his collaboration with the North Mississippi All-Stars, “Dyin’ Days,” below:Anders Osborne – “Dyin’ Days”With another successful year closed, the Bayou Boogaloo organizers took pride in their accomplishments, and justly so. With the noble purpose of reconnecting the families of the then-devastated city with the music and arts that inspire and enrich us all, they have helped heal a wounded city’s spirit. Their hard work and the power of music serve to draw us all together, resulting in a weekend of memories and a sense of community pride that will guide the coming generation to take up these wonderful traditions on their own, and ensure a brighter future for, not just them, but the world. For the eleventh straight year, the Bayou Boogaloo brought the people of New Orleans, LA together for a weekend of music and the arts in a free-to-all celebration of community and hope for the Bayou Saint John neighborhood and the city in general. Founded in 2005, the MotherShip Foundation set out to revitalize a city brought to its knees by Hurricane Katrina. With an emphasis on togetherness and hope, the Bayou Boogaloo draws heavily on the incredibly rich pool of musicians, along with a few national acts with ties to the area like The Wailers, The Lowrider Band (AKA the legendary funk band WAR), Irma Thomas, Anders Osborne, George Porter Jr., the Nolatet, Soul Brass Band and many more.Closing off a few blocks of the Mid-City neighborhood for the weekend, residents flocked to the block party in record numbers. Thanks to partnerships with other charitable organizations, special exceptions and grants from the city and the tireless work of Jared Zeller and the board of directors of the MotherShip Foundation, the festival grown exponentially from its noble but humble beginnings. The diverse lineup featured everything from rock, funk, reggae, zydeco and soul, blaring from speaker stacks and whipping the crowd into a joyful dancing frenzy.One of the more charming and unique features of the festival isn’t on any of the stages, it’s the bayou itself. Dozens of watercrafts, some barely sea-worthy, floated along the lazy stretch of water that runs along the park. Children run along the banks as the music plays, laughing and pointing to some of the more outrageous floating concoctions. With a strong commitment on bringing in families and giving the kids something fun and just for them, numerous faces painters, jugglers, play areas and a full, dedicated “Kids” tent with a non-stop schedule of daily activities gave pleased parents a place to make memories that will last a lifetime. Load remaining images Friday’s lead-off schedule of bands was the shortest, with the festival waiting until after five to kick things off. Local rock act The Quickening got one end of the sprawling two city block affair going on the Dumaine Stage, while socially conscious hip hop band Truth Universal brought their positive message of unity and hope to the Orleans Main Stage. Dwayne Dopsie brought his natural born zydeco heritage to the crowd throughout his set. The skies darkened and the opened up with a gentle rain as reggae legends The Wailers kept the party going through the short, tepid cloud burst. Fans might have been a bit waterlogged, but the smiles on their faces told a story of enjoyment.Dwayne Dopsie & The Zydeco Hellraisers – “Jambalaya>Iko Iko” Area restaurants and caterers brought seemingly endless, delicious local specialities, with pastries, roasted meats and frozen concoctions to help music fans fight any pangs of hunger or thirst. To keep the event free, no outside food or beverages were allowed, but, with such an amazing array of delicacies available, it would have been a crime not to try a taste of the aromatic edibles.Check out a choice sit-in as Rebelution and Runnin’ saxophonist Khris Royal joins his friends in progressive rock band Gravity A for a fun musical sandwich of their original tune Bark and the Paul Simon classic, “50 Ways To Leave Your Lover,” below:Gravity A w/ Khris Royal – “Bark > 50 Ways To Leave Your Lover > Bark” The highlight of the evening was surely the welcome surprised looks on the faces of the audience who didn’t realize the “Lowrider Band” was actually comprised of the majority of beloved seventies era funk band WAR. Upon taking the stage, Howard Scott, guitarist and lead vocalist explained that, for legal reasons, they weren’t allowed to play under the name WAR, but it was perfectly fine for everyone else to call them that. With multiple members of the band maintaining residences in New Orleans, it was something of a hometown show for the band, and they played a non-stop set of all of their most classic tunes. Check out their crowd pleasing opening number, “The Cisco Kid,” below:The Lowrider Band (WAR) – “The Cisco Kid” The duo of Carly Meyers and Adam Gertner, known collectively as ROAR!, made their return to the Boogaloo, and showed why they are a festival favorite with a free-wheeling set of pure charm and positive vibrations. Check out a bit of their impossible to ignore happiness below:ROAR! Leading off Saturday was a wonderful cross section of area talents, with the Soul Brass Band, the Creole String Beans, Big Pearl & The Fugitives Of Funk and Debbie Davis & The Mesmerizers. Davis was steeped in rag time jazz traditions and used her rich, sultry voice on a variety of originals and covers, including The Beatles classic “Your Mother Should Know.” Watch below.Debbie Davis & The Mesmerizers – “Your Mother Should Know” With issues of race relations in the public consciousness due to recent tensions across the country, festival promoters were pleased to once again see a truly cross section of humanity gathering together to share in music, the true language of us all. Nowhere was that more evident than in the Greyhawk Band/Rampart Revival set, where two bands and proud members of multiple ethnicities gathered for the purpose of creating something together. Listen to a sample of the wonderful results of their experiment below:The Greyhawk Band & Rampart Revival Sunday’s stages featured another full selection of the many styles and flavors of Nawlins music, with latin tinged Muevelo, Robert Tate, the Red Hot Brass Band and the “Songbird of New Orleans,” Robin Barnes all showing the crowd the many different ways music can be used to spread the same message of love. Check out a few selections of the diverse goings on below: Muevelo
Stantec is the second-fastest growing design firm in the country, according to The Zweig Letter s 2009 Hot Firm List, which identifies the 200 fastest-growing architecture, engineering, and environmental firms in the United States. The annual list recognizes Stantec, which has two offices in Vermont, as outperforming the economy and competitors.The 2009 Hot Firm List is based on a comparison of gross revenue for both fiscal year 2005 and fiscal year 2008, as verified by financial statements or income tax returns reviewed by third parties. During this period Stantec s gross revenue increased 233 percent, from $194 million to $646.7 million. Our business model has really pulled us through the recent economic turbulence, says Rich Allen, Stantec senior vice president and leader of the company s operations on the US East Coast. We ve created an extremely diverse company, both in geography and in market sectors, which has served us well as the housing, development, and related markets have stalled.The company also moved up in the rankings recently published by Engineering News Record (ENR), the industry s most prominent publication. Basing their results on total firm revenues, ENR ranked Stantec number 28 on its annual Top Global Design Firms list, compared to number 35 in 2008. The magazine also placed Stantec in the top 10 in the world on its specific water, hazardous waste, and sewer/waste market lists. Stantec was listed at number 69 on Architectural Record s annual Top 250 Architecture Firms list as well.Between 2005 and 2008, Stantec s employee count also rose rapidly throughout North America and specifically in New England, primarily thanks to the acquisition of several firms with a strong local presence, including Dufresne-Henry, which added offices in North Springfield and South Burlington, Vermont.Stantec currently employs a staff of more than 440 in New England, with offices in Maine, Massachusetts, New Hampshire, and Vermont. The firm s services throughout the region range from environmental impact studies for wind farms, to municipal infrastructure and transportation design, to landscape architecture and mechanical, electrical, and structural engineering for buildings.Stantec provides professional consulting services in planning, engineering, architecture, interior design, landscape architecture, surveying, environmental sciences, project management, and project economics for infrastructure and facilities projects. We support public and private sector clients in a diverse range of markets, at every stage, from initial concept and financial feasibility to project completion and beyond. Our services are offered through approximately 10,000 employees operating out of over 130 locations in North America. Stantec trades on the TSX and on the NYSE under the symbol STN. Source: Stantec SOUTH BURLINGTON VT (August 26, 2009) TSX, NYSE: STN
Sign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York For an artist, the craft can come easily. It’s getting the gig that’s the hard part.In 1975, “A Chorus Line” showed audiences just how excruciating the audition process could be. Forty years later, the stakes and sacrifices continue to be just as palpable at the John W. Engeman Theater in Northport, where the show opened late last month and runs through early May.The musical takes us into the world of a Broadway dance audition. The show begins with a large group of dancers rehearsing their new steps—the original Michael Bennett choreography recreated here by choreographer Dena DiGiacinto.But once the director, Zach (James Ludwig), narrows the chorus down to 17 dancers, the show turns into a psychological character study and a pseudo-therapy session.On the literally glowing white line on the stage, the actors physically become their respective characters through signature poses and costumes perfectly styled to match the original 1975 Broadway production. Despite mirroring the original, these actors were able to make the roles their own.Kelly Sheehan reveals a visceral vulnerability as the cynical Sheila, a dancer who makes it clear she is more woman than girl. In her “At the Ballet,” she is forced to come to terms with an upbringing of infidelity and domestic abuse. Sheehan allows us to feel for her anti-hero, but not so much that we lose Sheila’s scathing sense of humor.That humor still feels as fresh as it was in ’75. Andrew Metzgar slays in his few, but memorable lines as Bobby, a sly character who recalls growing up gay in hellishly conservative Buffalo in the mid-20th century. He lightly reveals that he dreamed up many “spectacular” ways to kill himself, but then he realized that “to kill yourself in Buffalo is redundant.”Rachel Marie Bell and DJ Petrosino also serve as comic relief as married couple Kristinie and Al, who constantly finish each other’s sentences. Kristine reveals that while she may be a skilled dancer, she can’t sing a note on key—resulting in Al’s having to be her melodic partner.As the stories wind down, Zach confronts the shy, but skilled Paul (Omar Garibay). Garibay performs the show’s celebrated monologue with a perfect balance of apprehension and desperation to let his secret out. He recalls his parents finding out he was working in a drag show after they showed up to wish him goodbye. In a tearful release, Paul is alone on stage at his most vulnerable state until Zach comforts him.Until the end, we know very little about the flawless blonde dancer in the red leotard known as Cassie (Jessica Lee Goldyn). But it is revealed that she had tried to make it in Hollywood as an actor. Then, after a series of rejections, she realized she was meant to be a dancer. Zach had been in a relationship with Cassie that ended in anger and packed bags. Here, he tells her that she is “too good for the chorus,” and she can’t blend in. In an act of desperation, Cassie performs the penultimate number, “Music in the Mirror.”Goldyn, who played Val and understudied Cassie in the 2006 revival on Broadway, shows a radical maturity in embodying the despondent Cassie. Her dancing is stronger than ever as she seamlessly slips through the shadows of the stage, confronting herself in the mirrors.Each character in “A Chorus Line” knows they all have something to lose or gain. When Paul twists his ankle while rehearsing a tap number, the dancers come to the realization that their careers could end at any point.Still, they wouldn’t choose any other path because this is what they love, what motivates them to get up in the morning, and what keeps them alive.John W. Engeman Theater, 250 Main St., Northport. engemantheater.com $69. Times vary. Through May 10.
Plitvice Lakes National Park has announced a new ticket price list for 2018, and a big change is that the prices are significantly more expensive than last year.According to the new price list for 2018, ticket prices have risen significantly, so the ticket price in the season for an adult is HRK 250,00, while last year it was HRK 160,00. Also one of the news is that during the tourist season, in the period from 01.07. to 31.08., it is possible to buy tickets for half a day, ie after 16.00 the ticket price is cheaper by 100,00 kn and is 150,00 kn.Side dish: Ticket price list for 2018 Plitvice Lakes National Park Related news:TRAKOŠĆAN CASTLE WILL CHARGE TICKETS FOR A WALK IN THE PARK FROM APRILMOTOVUN MUNICIPALITY HAS DECIDED TO CHARGE THE ENTRY TO THE MOTOVUN WALLS