Podcasts about Getty Villa

We welcome the wonderful Jay Samons to the podcast! Jay is Professor of Classical Studies at Boston University and Chief Academic Advisor and Executive Director of the Institute for Hellenic Culture and the Liberal Arts at The American College of Greece in Athens. Born in Arkansas and educated at Baylor University and Brown University, Samons has taught ancient history and classical languages at Boston University for 31 years, winning many teaching awards including the university's highest honor, the Metcalf Award for Excellence. He has published numerous works on classical Greece, focusing in particular on the relationship between Athenian democracy and imperialism, the issue of national character, the relevance of ancient history for the modern world. His books include Empire of the Owl: Athenian Imperial Finance (2000), What's Wrong with Democracy? From Athenian Practice to American Worship (2004), and Pericles and the Conquest of History (2016), as well as the edited volumes The Cambridge Companion to the Age of Pericles (2007) and Athenian Democracy and Imperialism (1997).Professor Samons has lectured at many institutions including Oxford University, The University of Edinburgh, the University of Pennsylvania, Brown University, Duke University, Pomona College, and the Getty Villa. Among other named lectures, Samons delivered the annual Bancroft Memorial Lecture at the U.S. Naval Academy in 2020. In 2018 Professor Samons was a Visiting Scholar at St John's College, Oxford, where he continued work on a book-length study on the rise of classical Athens.Professor Samons' outreach efforts have included lectures at many elementary and secondary schools, often in support of the Marathon Education Committee, as well as talks and seminars for teachers (including The Examined Life) and collaborations with the Greek Consulate in Boston, especially in conjunction with the Boston University Philhellenes.In various roles at The American College of Greece, Professor Samons has helped to implement the college's strategic plan by creating new institutes and centers of excellence designed to foster research, international collaboration, and economic growth. Most recently he has focused on expanding undergraduate and graduate programming, especially in ways that emphasize Greece's important historical and contemporary role as an intellectual and cultural leader.See more on GreekAF!

Send us a textWhat happens when a life-altering event redirects your career path? Joanna Kalafatis, a remarkable travel writer and actress, shares her transformative journey from aspiring economist to cultural storyteller. Raised between Greece and the United States, Joanna's unique perspective reshapes how she engages with the world, offering listeners valuable insights into cultural immersion and the art of connecting with locals despite language barriers. Her stories of exploring hidden gems and off-the-beaten-path destinations promise to inspire your wanderlust and redefine your approach to travel.Unveiling lesser-known tales, like the story of Palenque, Colombia—the first free town in the Americas—Joanna weaves history with personal anecdotes. We also delve into her acting adventures on the Netflix series "Maestro in Blue" and the talk about the thrill of performing live at the Getty Villa. From the cultural riches of the country of Georgia to the practicalities of balancing travel and creativity, this episode provides a tapestry of experiences that demonstrate the enriching power of storytelling.Connect with Joanna on Instagram: @Joanna.KalafatisLearn more about her at LosetheMap.com. Check out Eat With at https://www.eatwith.com/. Thank you for listening!  Please take a moment to rate, review and subscribe to the Media in Minutes podcast here or anywhere you get your podcasts: https://podcasts.apple.com/us/podcast/media-in-minutes/id1555710662  

Our new book... STORY QUESTIONS: How To Unlock Your Story One Question At A Time https://payhip.com/b/ZTvq9 Watch the full video interview of this podcast here: https://www.youtube.com/watch?v=nXOJkadXsDM BUY THE BOOK - BACK TO THE BODY: Infusing Physical Life into Characters in Theatre and Film https://amzn.to/3NPDI2Y Jean-Louis Rodrigue is an internationally recognized acting coach, movement director, and specialist in the application of the Alexander Technique to film, theater and television. In film, he coached actors and collaborated with directors in Passion Fish, Vice, J. Edgar, Life of Pi, W., I, Tonya, and many more. In theater, he collaborated with director Larry Moss and former NFL player Bo Eason in his play Runt of the Litter and playwright Pamela Gien in her Obie– and Drama Desk– award-winning one-person play, The Syringa Tree, both in New York and internationally. Jean-Louis has worked on- and off-Broadway and at major performing arts institutions such as Berlin International Film Festival, Cirque du Soleil, Los Angeles Philharmonic Institute, Getty Villa, Geffen Playhouse, Royal National Theatre, Piccolo Teatro di Milano, Verbier Festival, Royal Shakespeare Company. For the past 34 years, Jean-Louis has taught at the UCLA School of Theater, Film, and Television and the UCLA Herb Alpert School of Music. Jean-Louis lives in Los Angeles with his husband, Kristof Konrad. STUDY WITH JEAN-LOUIS RODRIGUE https://alexandertechworks.com MORE VIDEOS WITH JEAN-LOUIS RODRIGUE https://tinyurl.com/59mc2v39 CONNECT WITH JEAN-LOUIS RODRIGUE https://alexandertechworks.com https://www.imdb.com/name/nm0735121 https://www.facebook.com/AlexanderTechworks https://twitter.com/alextechworks https://www.instagram.com/alexandertechworks VIEWERS ALSO WATCHED Hollywood Actors Share Their Success Secrets - https://youtu.be/xFRgZOhCVLg What Stops An Actor From Getting Into Character? - https://youtu.be/0OX44gvnjWE Bill Duke Explains Why Most Actors Fail In Hollywood - https://youtu.be/4tfSRzy31f4 An Actor's Guide To Making It In Los Angeles - https://youtu.be/aaegnd3xaVI Pro Cinematographer On What Separates Great Actors From Everybody Else - https://youtu.be/G3oXMWperus CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join SUPPORT FILM COURAGE BY BECOMING A PATRON https://www.patreon.com/filmcourage LISTEN TO THE FILM COURAGE PODCAST https://soundcloud.com/filmcourage-com (Affiliates) ►BOOKS WE RECOMMEND: THE NUTSHELL TECHNIQUE: Crack the Secret of Successful Screenwriting https://amzn.to/2X3Vx5F THE STORY SOLUTION: 23 Actions All Great Heroes Must Take http://amzn.to/2gYsuMf SAVE THE CAT! The Last Book on Screenwriting You'll Ever Need https://amzn.to/3dNg2HQ THE ANATOMY OF STORY: 22 Steps To Becoming A Master Storyteller http://amzn.to/2h6W3va THE ART OF DRAMATIC WRITING - Lajos Egri https://amzn.to/3jh3b5f ON WRITING: A Memoir of the Craft https://amzn.to/3XgPtCN THE WAR OF ART: Break Through the Blocks and Win Your Inner Creative Battles http://amzn.to/1KeW9ob ►FILMMAKER STARTER KIT BLACKMAGIC Design Pocket Cinema Camera 4K - https://amzn.to/4gDU0s9 ZOOM H4essential 4-Track Handy Recorder - https://amzn.to/3TIon6X SENNHEISER Professional Shotgun Microphone - https://amzn.to/3TEnLiE NEEWER CB300B 320W LED Video Light - https://amzn.to/3XEMK6F NEEWER 160 LED CN-160 Dimmable Ultra High Power - https://amzn.to/3XX57VK ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 *Disclaimer: This video and description contains affiliate links, which means that if you click on one of the product links, we'll receive a small commission. This helps support the channel and allows us to continue to make videos like this. Thank you for your support!

More than three weeks after the start of the two L.A. Fires, Pacific Palisades is reopening, but there are concerns. How 17 Getty employees helped save the Getty Villa from fire. And, the impact of urban fires on marine ecosystems and ocean life, plus more. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.comSupport the show: https://laist.com

KATHARINE ERICKSON is the Museum Manager at the 21c Museum Hotel in Lexington.  She worked previously as an educator at a number of museums including the National Gallery of Art, the Washington Nati0nal Cathedral, the Los Angeles County Museum of Art, and for the majority of her prior career, at the Getty Villa in Los Angeles, where she managed the Gallery Teaching program. She joined 21c in her current role in the fall of 2023.The current temporary exhibition installed in November 2024, is titled:Still, Life!  Meaning and Mending in Contemporary Art.As the punctuation suggests, this is a play on the recognized art form of the "still life" genre - flowers and fruits in various stages of ripeness and decay for example, but also a more subtle reference to the fact there is still life post pandemic albeit still with all its turmoil and controversies.   Isolation fosters loneliness and disconnection, but also generates introspection and reflection and many of the works in this show attempt to capture this swing of thoughts and emotions experienced by many during the pandemic.  But they also bear witness to resilience and hope, as for example Valerie Hegarty's monumental and complex work FRESH START would infer.Katharine discusses this new show, shares her thoughts on several of the works and talks about her first 18 months as Museum Manager at 21c Museum Hotel.For more and to connect with us, visit https://www.artsconnectlex.org/art-throb-podcast.html

Episode 498: Neal and Toby recap the good day Wall Street has thanks to big profits brought by the big banks of America. Then, the US will ban a red dye used in food and drugs that is linked to cancer. Plus, the FTC accuses John Deere of making repairs for their machines hard without their authorized dealers which puts farmers in a costly bind. Meanwhile, Neal shares his stand-out numbers on congestion pricing, the Getty Villa, and Robbie Williams' biopic. Lastly, a wrap up of the headlines for the day. Subscribe to Morning Brew Daily for more of the news you need to start your day. Share the show with a friend, and leave us a review on your favorite podcast app. Checkout public.com/morningbrew for more Listen to Morning Brew Daily Here: https://link.chtbl.com/MBD Watch Morning Brew Daily Here: https://www.youtube.com/@MorningBrewDailyShow All investing involves the risk of loss, including loss of principal. Brokerage services for US-listed, registered securities, options and bonds in a self-directed account are offered by Public Investing, Inc., member FINRA & SIPC. Cryptocurrency trading services are offered by Bakkt Crypto Solutions, LLC (NMLS ID 1890144), which is licensed to engage in virtual currency business activity by the NYSDFS. Cryptocurrency is highly speculative, involves a high degree of risk, and has the potential for loss of the entire amount of an investment. Cryptocurrency holdings are not protected by the FDIC or SIPC.  Alpha is an AI research tool powered by GPT-4.  Alpha is experimental and may generate inaccurate responses.  Output from Alpha should not be construed as investment research or recommendations, and should not serve as the basis for any investment decision. Public makes no warranties about its accuracy, completeness, quality, or timeliness of any Alpha out. Please independently evaluate and verify any such output for your own use case. Learn more about your ad choices. Visit megaphone.fm/adchoices

Last weekend, warnings to evacuate were issued to the suburban westside neighborhood of Brentwood, which includes the esteemed Getty Center, home to one of the city's most prized art collections. After more than a week of burning, L.A.'s devastating wildfires, which began on January 7, are still not fully contained, forcing ongoing evacuation orders around the coastal city. It is the worst fire event in L.A.'s history and has taken 24 lives. As part of the Getty Trust, the museum features European paintings, including Van Gogh's Irises, and works by Rembrandt, Monet, Manet, and Peter Paul Rubens. It also houses Greek, Roman, and Etruscan art from the Neolithic to Late Antiquity—some of which is partially held at its second campus, the Getty Villa. Days before the threat of fire reached the museum's main venue over the weekend, the Villa was already grappling with the Palisades blaze, which ended up destroying or damaging around 4,000 structures and spreading over 23,000 acres. As the fires raged around Los Angeles, intensified by strong winds, media imagery circulating online showed brush burning around the Getty Villa in the Palisades. This prompted panic about the security of the collection. The institution, however, has long billed itself as a highly fire-safe institution. Built in 1997, the Getty Center has been described as “a marvel of anti-fire engineering.” Throughout the last week, its team has worked tirelessly to defend the property and has communicated daily about the safety and security of its sites. Unfortunately, many other properties—including thousands of homes, businesses, and smaller cultural institutions—have been destroyed. Many cultural workers, collectors, and gallerists are among those who lost their homes, and artists' homes and studios—including entire bodies of work and archives—have been irretrievably lost. The extent of livelihoods destroyed in Los Angeles is truly heartbreaking. We will link to resources in the show notes where you can find out how to help. We also have a story on our website providing frequent updates on the state of the cultural scene. This week, the J. Paul Getty Trust and a coalition of local and international cultural institutions announced a $12 million emergency relief fund for members of the Los Angeles arts community affected by the wildfires. Katherine E. Fleming, president and CEO of the J. Paul Getty Trust, joins me on The Art Angle to discuss her experience of the wildfires, the Getty's state-of-the-art prevention protocols for its valuable art, and what the fires mean for Los Angeles' cultural scene as it eventually seeks to rebuild.

Last weekend, warnings to evacuate were issued to the suburban westside neighborhood of Brentwood, which includes the esteemed Getty Center, home to one of the city's most prized art collections. After more than a week of burning, L.A.'s devastating wildfires, which began on January 7, are still not fully contained, forcing ongoing evacuation orders around the coastal city. It is the worst fire event in L.A.'s history and has taken 24 lives. As part of the Getty Trust, the museum features European paintings, including Van Gogh's Irises, and works by Rembrandt, Monet, Manet, and Peter Paul Rubens. It also houses Greek, Roman, and Etruscan art from the Neolithic to Late Antiquity—some of which is partially held at its second campus, the Getty Villa. Days before the threat of fire reached the museum's main venue over the weekend, the Villa was already grappling with the Palisades blaze, which ended up destroying or damaging around 4,000 structures and spreading over 23,000 acres. As the fires raged around Los Angeles, intensified by strong winds, media imagery circulating online showed brush burning around the Getty Villa in the Palisades. This prompted panic about the security of the collection. The institution, however, has long billed itself as a highly fire-safe institution. Built in 1997, the Getty Center has been described as “a marvel of anti-fire engineering.” Throughout the last week, its team has worked tirelessly to defend the property and has communicated daily about the safety and security of its sites. Unfortunately, many other properties—including thousands of homes, businesses, and smaller cultural institutions—have been destroyed. Many cultural workers, collectors, and gallerists are among those who lost their homes, and artists' homes and studios—including entire bodies of work and archives—have been irretrievably lost. The extent of livelihoods destroyed in Los Angeles is truly heartbreaking. We will link to resources in the show notes where you can find out how to help. We also have a story on our website providing frequent updates on the state of the cultural scene. This week, the J. Paul Getty Trust and a coalition of local and international cultural institutions announced a $12 million emergency relief fund for members of the Los Angeles arts community affected by the wildfires. Katherine E. Fleming, president and CEO of the J. Paul Getty Trust, joins me on The Art Angle to discuss her experience of the wildfires, the Getty's state-of-the-art prevention protocols for its valuable art, and what the fires mean for Los Angeles' cultural scene as it eventually seeks to rebuild.

pWotD Episode 2809: Pacific Palisades, Los Angeles Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 209,909 views on Thursday, 9 January 2025 our article of the day is Pacific Palisades, Los Angeles.Pacific Palisades is a neighborhood in the Westside region of Los Angeles, California, situated about 20 miles (32 km) west of Downtown Los Angeles.Pacific Palisades was formally founded in 1921 by a Methodist organization. The Palisades would later be sought after by celebrities and other high-profile individuals seeking privacy. It is known for its seclusion, being a close-knit community with a small-town feel, Mediterranean climate, hilly topography, natural environment, abundance of parkland and hiking trails, a 3-mile (4.8 km) strip of coastline, and for being home to several architecturally significant homes. As of 2022, the community's population was 23,121. In January 2025, the majority of the neighborhood was destroyed by an extremely large wildfire. It is currently unknown when reconstruction will begin; the fire is still at 0% containment as of January 9 at 4:24 PM PST.Pacific Palisades is a largely residential community and does not attract many tourists other than day visitors to Gladstones Malibu, the local beaches, the Getty Villa or the Self-Realization Fellowship Lake Shrine.Nicknamed The Palisades and Pali by surfers and locals, the Palisades coast spans from after Sorrento Beach in Santa Monica to the south, and ends at Sunset Point Beach and Malibu to the north. Beaches along the Pacific Palisades coast include: Will Rogers State Beach, Sunset Point Beach, and one of the few unofficially gay beaches in Los Angeles, Ginger Rogers Beach. The many parks within the Santa Monica Mountains National Recreation Area lie along the ridges above the community, along with local parks that include Will Rogers State Historic Park.The Palisades is bounded by Brentwood to the east, Malibu to the west, Santa Monica to the southeast, the Santa Monica Bay to the southwest, Topanga and the Santa Monica Mountains to the north.This recording reflects the Wikipedia text as of 01:35 UTC on Friday, 10 January 2025.For the full current version of the article, see Pacific Palisades, Los Angeles on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Raveena.

In this week's episode, we discuss the Palisades Fire in Los Angeles, which has destroyed the neighborhood where Heather grew up. Why does California burn, how are fires different now than they used to be, what happens now? We discuss the Getty Villa and Palisades Village, and why we should care what happens to a wealthy neighborhood in West LA. Also: did the LA Fire Chief drinking the DEI Kool-Aid contribute to the devastation? And when are natural disasters not entirely natural? Then: Zuckerberg announces changes to fact-checking, filters, and trust and safety teams at Meta. It's not an apology. Are the changes politically motivated, or market-driven, or philosophical, and will they stick? At the same time, Musk announces plans for algorithmic deboosting on X. Zero is a special number.*****Our sponsors:CrowdHealth: Pay for healthcare with crowdfunding instead of insurance. It's way better. Use code DarkHorse at http://JoinCrowdHealth.com to get 1st 3 months for $99/month.Sundays: Dog food so tasty and healthy, even husbands swear by it. Go to http://www.sundaysfordogs.com/DARKHORSE to receive 35% off your first order.Pique's Nandaka: delicious mushroom, tea, and chocolate drink that provides all day energy. Up to 20% off + free frother+beaker at http://www.Piquelife.com*****Join us on Locals! Get access to our Discord server, exclusive live streams, live chats for all streams, and early access to many podcasts: https://darkhorse.locals.com/Heather's newsletter, Natural Selections (subscribe to get free weekly essays in your inbox): https://naturalselections.substack.comOur book, A Hunter-Gatherer's Guide to the 21st Century, is available everywhere books are sold, including from Amazon: https://amzn.to/3AGANGg (commission earned)Check out our store! Epic tabby, digital book burning, saddle up the dire wolves, and more: https://darkhorsestore.org*****Mentioned in this episode:Scope of the LA fires from The Lookout: https://www.youtube.com/live/OjE9xVU4eUAHeather's childhood LA fire experience: https://naturalselections.substack.com/p/antipode-chapter-1Jacob Soboroff on the Palisades Fire: https://www.instagram.com/reel/DEkTEKdJxe9/Fox News in Palisades Village: https://x.com/BigFish3000/status/1877008354008035683Getty History: https://www.getty.edu/press/pdfs/Getty_History_and_Timeline.pdfDEI LA Fire Chief: https://x.com/amuse/status/1876873508006842709Zuckerberg announces changes: https://x.com/andrewcurran_/status/1876624442643878065Musk does too: https://x.com/elonmusk/status/1875355425601999255Fact checkers aren't scientists: https://naturalselections.substack.com/p/coming-soonSupport the show

Panelists will offer a wide array of perspectives on acting, scenic design, playwriting, diversity in theatre, theatrical institutions, and possibilities for a more equitable and inclusive theatre world. Sharon Marie Carnicke, author of Dynamic Acting through Active Analysis and Stanislavsky in Focus, is an internationally acclaimed expert on acting for stage and screen. Her award-winning translations of Chekhov’s plays have been produced nationally. Her other books include Checking out Chekhov and Reframing Screen Performance. She is a professor of Dramatic Arts and Slavic Languages and Literatures at USC and founder of the Stanislavsky Institute for the 21st Century. Snehal Desai is the artistic director of Center Theatre Group, one of the largest theatre companies in the nation. Previously, he was producing artistic director of East West Players. A Soros Fellow and the recipient of a Tanne Award, Snehal was the Inaugural Recipient of the Drama League’s Classical Directing Fellowship. He has served on the boards of the Consortium of Asian American Theaters and Artists, Theatre Communications Group, and currently serves on the board of the National Alliance for Musical Theatre. Snehal was on the faculty of USC’s graduate program in Arts Leadership and is a graduate of the Yale School of Drama. Rena Heinrich is an associate professor of Theatre Practice at USC. Her book, Race and Role: The Mixed-Race Asian Experience in American Drama, traces the shifting identities of multiracial Asian figures in theater from the late-nineteenth century to the present day and exposes the absurd tenacity with which society clings to a tenuous racial scaffolding. She is a contributor to Shape Shifters: Journeys Across Terrains of Race and Identity and The Beiging of America: Personal Narratives about Being Mixed Race in the 21st Century. Maureen Weiss is a performance designer and scenic investigator who has worked in all aspects of theatre, design, and art for the past 25 years. Her work has been seen internationally, and was honored at the Prague Quadrennial in 2023. As a designer, her work has been seen nationally, as well as locally in Los Angeles at The Getty Villa, The Latino Theater Company, The International City Theatre, and 18th Street Arts Center. Maureen is the co-author of Scene Shift: U.S. Set Designers in Conversation, with Sibyl Wickersheimer, which inspired an exhibition at the USC Fisher Museum of Art. She was an associate professor of Performance Design at Alfred University before coming to Los Angeles City College in Fall 2023.  Moderator: Luis Alfaro is a Chicano playwright born and raised in downtown Los Angeles and an associate professor of Dramatic Writing and director of the MFA Dramatic Writing Program at USC. His fellowships include the MacArthur Foundation; United States Artists; Ford Foundation; Joyce Foundation; Mellon Foundation & the PEN America Award for a Master Dramatist. His plays, including The Travelers, Electricidad, Oedipus El Rey, and Mojada, have been seen throughout the United States, Latin America, Canada, and Europe. 

Playwright Oliver Mayer joined us before the premiere of his new play Ghost Waltz. Oliver shares his experience writing operas, the medium's influence on his playwriting and the musicality of English as well as the intimacy of theatre and creative control, the after affects of "crashing into the wall. We also explore writing rituals, interruptions, reframing your story, breaking bad habits and the dangers of wit, where to start a scene and "when the mask falls," and wrap things up with dialogue and stage directions, the rules of twos and threes, the use of music, translating works, and saving (L.A.) theatre and nontraditional venues. It was certainly another page in the lesson books for me. I hope you walk away with something insightful. Enjoy.Oliver Mayer is a playwright, poet, essayist and librettist, whose newest opera 3 Paderewskis, composed by Jenni Brandon, received its world premiere at Washington D.C.'s Kennedy Center in 2019. He is the author of more than 30 plays, from his ground-breaking Blade to the Heat to its long-awaited sequel - Members Only; he is currently at work on Ultimate Mix Tape, the third play in the Blade trilogy. Other produced plays include Blood Match and Yerma in the Desert (inspired by the plays of Federico Garcia Lorca), Fortune is a Woman, The Wallowa Project, Dias y Flores, Dark Matters, Young Valiant, Joy of the Desolate, The Sinner from Toledo, Laws of Sympathy and Ragged Time. He is developing new plays with The Wallis Annenberg Center for the Performing Arts and the Getty Villa. He is a tenured professor and Associate Dean of Faculty at USC's School of Dramatic Arts. The world premiere of his play Ghost Waltz opens at the Los Angeles Theater Center on May 4th and runs through June 6th. For tickets to Ghost Waltz, visit -https://www.latinotheaterco.org/ghostwaltzTo view the video format of this episode, visit -https://youtu.be/hDj406wgr6gLinks mentioned in this episode -Latino Theater Company -https://www.latinotheaterco.orgLive at the Met -https://www.metopera.org/season/radio/saturday-matinee-broadcasts/Website and Socials for Oliver Mayer -Website -www.olivermayer.comUSC - School of Dramatic Arts -https://dramaticarts.usc.edu/faculty-qa-oliver-mayer/Websites and socials for James Elden, PMP, and Playwright's Spotlight -Punk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods                  - @playnoirla IG - @punkmonkeyprods       - @playnoir_la FB - fb.com/playnoir        - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through Los Angeles Collegiate Playwrights Festivalwww.losangelescollegiateplaywrightsfestival.com/services.htmlSupport the show

Today on What's My Frame I'm joined by Casting Director, Michael Donovan. Michael has cast over one thousand theatre productions, including shows produced at the Ahmanson Theatre, the Hollywood Bowl, Pasadena Playhouse, Mark Taper Forum, Kirk Douglas Theatre, Walt Disney Concert Hall, Geffen Playhouse, International City Theatre, La Jolla Playhouse, Getty Villa, Ricardo Montalban Theatre, Garry Marshall Theatre, Colony Theatre, Theatre @ Boston Court, 24th St. Theatre, The Soraya, San Francisco Symphony, Arizona Theatre Company, both the Palazzo Theatre and the Paris Theatre in Las Vegas, Arkansas Rep, Kentucky Shakespeare Festival, Indiana Rep, as well as several national tours. Michael is the recipient of nine Artios Awards. Beyond his prolific career in theatre; he's cast over a thousand commercials. He teaches at Pepperdine and USC, is President of the Foundation for New American Musicals, and serves on the Board of Directors for Camp Bravo.  He somehow still finds time to give back teaching at the SAG-AFTRA Foundation and to join us for this very special episode. Now let's get to the conversation! Join Michael on Instagram Michael Donovan Casting --- Hosted by Laura Linda Bradley Join the WMF creative community now! Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠@whatsmyframe⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDb⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠What's My Frame? official site ⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our monthly newsletter!⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠What's My Frame? merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  --- Support this podcast: https://podcasters.spotify.com/pod/show/whats-my-frame/support

Katharine was appointed in August 2023 as Museum Manager of the 21c Museum Hotel here in Lexington.  Prior to that she has worked as an educator at a number of museums including The National Gallery of Art, the Washington National Cathedral, the Los Angeles County Museum of Art and, for the majority of her career, at the Getty Villa in LA where she managed the Gallery Teaching program.Katharine has a BA in Art History from Emory University and M.A.T in Museum Education from the George Washington University. 

The Charmed Studio Show NotesTo be charming and subscribe to the blog and get free access to my writing toolkit for artists click here.For a transcript of the blog, to see all the images or to leave a comment please go here. For info on one-on-one writing coaching with Thea go here.For more information about the Getty Villa Garden and Museum go here. To eyeball 1847 Queen Victoria's Wedding Portrait with Myrtle Crown.Further Resources:Gardens and Plants of the Getty Villa by Patrick Bowe and Michael DeHart.Ancient Herbs in the J Paul Getty Museum Gardens by Jeanne D'Andrea.Cookery and Dining in Imperial Rome by Apicius (and Joseph Dommers Vehling).Ancient Roman Villa Gardens by Elisabeth Blair MacDougal and Wilhelmine F Jashemski.A Pompeian Herbal: Ancient and Modern Medicinal Plants by Wilhelmina Feemster Jashemski and Lillian Nicholson Meyer.The Mythology of Plants: Botanical Lore from Ancient Greece and Rome by Annette Gieseke.This resource lists contains Amazon Affiliate links. :)   

CW// Human remainsThe red-shroud mummy of a young man named Herakleides—don't ask us how he died so young; we don't know—presents some tantalizing insights into certain religious practices of the first century CE in Egypt. On view at the Getty Villa in Malibu, the mummy of Herakleides is unprovenanced, but archaeological evidence suggests it probably comes from el-Hibeh (near the Fayum). The mummified remains of Herakleides are wrapped in a linen shroud painted from head to toe in a red pigment derived from red lead imported from Spain, making it part of a group of portrait mummies known as “red-shroud mummies.” Get full access to Ancient/Now at ancientnow.substack.com/subscribe

From: California Attended: Bishop Mora Salesian High School Admitted at: U of Notre Dame, Loyola Marymount University, Cal Poly Pomona, Cal Poly San Luis Obispo UCLA, UC Berkeley, UC Santa Barbara Coolness Factor: Interned at the Getty Villa. Helped to restart his school Volleyball team after Covid. Started an E-sports club that is now nationally ranked. Major: Aerospace Engineering FREE: Download 10 Sample Essays ⁠ ⁠FREE: Watch Mini College Essay Training ⁠ ⁠Visit the website⁠

We're celebrating Fourth of July this week, and what's more American than heinous public policies that disproportionately affect vulnerable and underserved communities?? We're recapping the second movie in The Purge franchise - The Purge: Anarchy! And we hope that if The Purge happens for real one day, we can all collectively promise to do FUN stuff instead of murder. Pool party at the Getty Villa, anyone? Trailer Recap begins @ 21:54 Follow the show: @TSDWpodcast on Twitter, TikTok, and Instagram. Check out our Patreon for bonus episodes and additional content! Rate Too Scary; Didn't Watch 5 Stars on Spotify and Apple Podcasts and leave a review for Emily, Henley, and Sammy. Advertise on Too Scary; Didn't Watch via Gumball.fmSee omnystudio.com/listener for privacy information.

What are “streakers, strollers and studiers”? How can we plan better projects using the “attract, reveal, reward” system? What's a “wunderkammer”? What can we expect in the upcoming “Exhibition and Experience Design Handbook”? Professor, designer, and museum director Tim McNeil (UC Davis) joins host Jonathan Alger (C&G Partners) to preview his upcoming book, “Exhibition and Experience Design Handbook”. The eBook is available this month (April), and the hardback version is coming in May — and available for pre-order NOW. It's not every day that a new book on exhibition and experience projects comes out. We'll be among the first to get a sneak peek. (And a quick education in exhibition and experience design along the way.) Subscribe and listen anywhere you get your podcasts. Or start here: https://makingthemuseum.transistor.fm/11Sneak Peek Chapters in the Show: Chapter 1. Streakers, Strollers, Studiers Chapter 2. Once Upon a Timeline Chapter 5. Wow Moments Chapter 8. Trapped in Glass Boxes Chapter 10. Smoke and Mirrors Guest Bio:Tim McNeil is a professor of design and director of the Design Museum at the University of California, Davis. He has spent 30 years as a practicing exhibition designer working for major museums, researching exhibition design history and methods, and teaching the next generations of exhibition design thinkers and practitioners. Tim contributed to building the J. Paul Getty Museum at the Getty Center and Getty Villa, and the Jan Shrem and Maria Manetti Shrem Museum of Art. His work has been recognized for design excellence by the Society for Experiential Graphic Design and the American Alliance of Museums. How to Listen: Subscribe and listen anywhere you get your podcasts. Or start here: https://makingthemuseum.transistor.fm/11 See you there! Warmly,Jonathan - - - - - - - - - - - - - About:Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. This podcast is a project of C&G Partners | Design for Culture. Learn about the firm's creative work at: https://www.cgpartnersllc.comShow Links: AVAILABLE FOR PRE-ORDER: The Exhibition and Experience Design Handbook https://rowman.com/ISBN/9781538157985/The-Exhibition-and-Experience-Design-Handbook Tim's Practicehttp://munizmcneil.com/Tim's Research http://www.tim-mcneil.comTim's Teaching https://storiedspaces.faculty.ucdavis.edu/ Contacting Tim tjmcneil@ucdavis.eduhttps://www.linkedin.com/in/tim-mcneil-1396636/ - - - - - - - - - - - - - Show Contact: https://www.makingthemuseum.com/contacthttps://www.linkedin.com/in/jonathanalgeralger@cgpartnersllc.comhttps://www.cgpartnersllc.com - - - - - - - - - - - - - Newsletter:Like the episode? Subscribe to the newsletter! Making the Museum is also a very short daily newsletter on exhibition planning for museum leaders, exhibition teams and visitor experience professionals. Learn more, read past editions, and subscribe here: https://www.makingthemuseum.com - - - - - - - - - - - - -

Today I have the pleasure of speaking with Roxie Sarhangi founder of Roxie PR, a full-service public relations, social media, consultancy, and branding firm.  Roxie PR's clients operate around the globe, shaping human experience via the fields of art culture, architecture, interior design, hospitality, consumer products, luxury lifestyle, and wellness.  Based in West Hollywood, Roxie PR attracts best-in-class clients and tastemakers.  Her past and present clients include top interior designers Sophie Goineau, and Ryan Saghian, EMI Interiors, JHL Design; luxury interior and furniture designer Ross Vincent; Prettypegs (Sweden-made accessories); and boutique hotspot The Kindler Hotel.  She also leads public relations for the Farhang Foundation, which partners with prestigious institutions in Los Angeles including LACMA, Getty Museum, The Getty Villa, The Broad, Broad Stage, and other notable organizations.  For more than a decade, Roxie has been the senior PR consultant for Communication Arts + Design Inc., which specializes in the cultural landscape of California. During her time at the firm, she has focused on the architecture and design fields, supervising PR and marketing campaigns for PHX Architecture, Rachlin Partners, Mark Weaver & Associates, Bernards, Snyder Diamond showrooms, Soli Architectural Surfaces, and All Coast Construction. She also handled the publicity for legendary songwriter Carole Bayer Sager's solo art exhibition, held at William Turner Gallery in Los Angeles.   In this episode we will be discussing: - The importance of telling your story  - What is PR and why it is the key element in your Marketing - When is the right time to begin PR and how do I get the most from it   To learn more about Roxie visit her:  Website: http://roxiepr.com/ LinkedIn: https://www.linkedin.com/in/roxiesarhangi/ ► Feedback? Email us at podcast@businessofarchitecture.com ► Access your free training at http://SmartPracticeMethod.com/ ► If you want to speak directly to our advisors, book a call at https://www.businessofarchitecture.com/call ► Subscribe to my YouTube Channel for updates: https://www.youtube.com/c/BusinessofArchitecture ******* For more free tools and resources for running a profitable, impactful, and fulfilling practice, connect with me on: Facebook: https://www.facebook.com/groups/businessofarchitecture Instagram: https://www.instagram.com/enoch.sears/ Website: https://www.businessofarchitecture.com/ Twitter: https://twitter.com/BusinessofArch Podcast: http://www.businessofarchitecture.com/podcast iTunes: https://podcasts.apple.com/us/podcast/business-architecture-podcast/id588987926 Android Podcast Feed: http://feeds.feedburner.com/BusinessofArchitecture-podcast Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9idXNpbmVzc29mYXJjaGl0ZWN0dXJlLmxpYnN5bi5jb20vcnNz ******* Access the FREE Architecture Firm Profit Map video here: http://freearchitectgift.com Download the FREE Architecture Firm Marketing Process Flowchart video here: http://freearchitectgift.com Carpe Diem!

Welcome to the podcast, Lauren Malkoun, a senior and double major in Archaeology and Italian at the University of Southern California (USC). Lauren is an extremely accomplished undergraduate who is pursuing a graduate degree in Archaeology this fall. On this episode we discuss the origins of her love for history and other cultures and how that morphed into choosing Archaeology as her major. Her first excavation experience was actually in highschool with an ArchaeoSpain high school program in Menorca, Spain. After her first year of college she ended up going back as a mentor for the very same program, and then conducted a secondary excavation with ArchaeoSpain that summer in Pompeii. We discuss what this fieldwork entailed and her must have items for fieldwork. We also discuss the importance of archaeological curriculum in elementary and middle school education and the work she does with the Archaeological Institute of America to promote this. Lauren is currently apart of several research projects at USC including a virtual reality project revolving around a book of hours, a type of prayer book. Lastly, we touch on the amazing archaeological museums in LA (La Brea Tar Pits and The Getty Villa) and her experience as a college student in the city. Follow her on instagram @laurendigs --- Support this podcast: https://podcasters.spotify.com/pod/show/gabby-campbell1/support

What you'll learn in this episode: Why ancient Nubian jewelry is still significant today How the Kingdom of Kush rose and fell How ancient jewelry motifs, techniques and materials were shared and adapted between cultures Why the Museum of Fine Arts Boston has a significant collection of ancient Nubian art, and why it's being exhibited at the Getty Villa Why jewelry is often one of the only pathways to understand ancient cultures About Dr. Sara E. Cole Sara E. Cole is Assistant Curator of Antiquities at the J. Paul Getty Museum (Villa). She holds a PhD in Ancient History from Yale University. At the Getty, she is part of the Classical World in Context initiative, which seeks to highlight cross-cultural interactions in antiquity and explore the diversity and interconnectedness of the ancient Mediterranean and Near East through a series of special exhibitions and related publications and public programs. She has curated or assisted with exhibitions of Egyptian, Mesopotamian, Neo-Assyrian, Persian, and Nubian art. About “Nubia: Jewels of Ancient Sudan” from the Museum of Fine Arts, Boston October 12, 2022 - April 3, 2023 Getty Villa Museum For nearly 3,000 years a series of kingdoms - collectively known as the Kingdom of Kush - flourished in ancient Nubia (present-day southern Egypt and northern Sudan). The region was rich in sought-after resources such as gold and ivory and its trade networks reached Egypt, Greece, Rome, and central Africa. This exhibition presents highlights from the Museum of Fine Arts, Boston's extensive collection of Nubian objects and features superbly crafted jewelry, metalwork, and sculpture exhibiting the wealth and splendor of Nubian society. Learn more about the exhibit at https://www.getty.edu/art/exhibitions/nubian_jewelry/ Photos available on TheJewelryJourney.com Transcript: Nubian jewelry is often overshadowed by Egyptian and Greco-Roman jewelry, but the ancient Nubians were the world's first jewelry pioneers. Their influential work is currently on display at “Nubia: Jewels of Ancient Sudan,” an exhibit at the Getty Villa featuring pieces from the collection of the Museum of Fine Arts in Boston. Dr. Sara E. Cole, assistant curator of the exhibit, joined the Jewelry Journey Podcast to talk about how Nubians developed their own enameling techniques; why jewelry is the key to understanding ancient cultures; and how iconography was shared and adapted throughout the ancient world. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Sara Cole, who's the Assistant Curator of Antiquities at the Getty Villa in Malibu, California. She's the curator of “Nubia: Jewels of Ancient Sudan,” an exhibit at the Museum of Fine Arts in Boston which showcases Nubian material. These finds were jointly executed early in the last century by Harvard and the Museum of Fine Arts. The exhibit is now open until April 3. Welcome back. Can you look at a piece of jewelry and say, maybe not exactly where it came from, but the period? It's late; it's early? Can you look at one and know? Sara: To put it in a bigger perspective, something about this collection of material that makes it so special is that it is all from documented archaeological excavations that were carried out in the early 20th century. Jewelry can be quite challenging if you have no context for a piece other than by comparing it stylistically to other known examples. It can be quite difficult sometimes to try to approximate when and where something was made, or to say with 100% certainty that it's even ancient if you have no context for it. A lot of the same materials and techniques that were used in antiquity are used or can be mimicked today. But with all of this material, it came from documented archaeological excavation, so we know exactly where it was found. Thanks to that context, we are able to say approximately the time period in which it must have been made and used and placed in the tomb. I suppose you could compare other surviving examples with what we now know from the archaeological record, but with this material, we are able to be absolutely certain of its authenticity and the time period in which it was being made and used because we have that archaeological context. Because Nubia had such a close relationship with Egypt and they engaged in so much exchange, there are some pieces that are found in Nubian contexts that might have been made in Egypt and imported to Nubia. It's often very difficult to say precisely where something was made because they were using very similar techniques and materials and iconography. So, there are a number of pieces in the exhibition that we think might have been manufactured in Egypt and then imported into Nubia. But even where that's the case, those objects clearly have value to the Nubians because they speak to their cultural and religious beliefs and priorities. Sharon: So, people would wear this jewelry in life, the pectorals or amulets. Did they have the same thing in their grave? Were they buried with what they wore, or did they have something special for it? Is it something made just to be buried with? Sara: It's both, actually. These royal tombs contained rich assemblages of jewelry. Some of the items do appear, based on signs of wear, to have actually been worn in life and then placed in the tomb with the deceased. There are also pieces that appear to have been made specifically to go in the burial, things that are very, very delicate and seem like they would not have been able to work in real life, or certain objects that are made specifically for funerary contexts. There's one piece in the exhibition from the Napatan Period that's really exquisite. It's this large, gold repoussé image of the goddess Isis, who is kneeling and stretching her wings out in a protective gesture, but at the tips of her wings and below her legs are these little tabs that each have a hole punched in them. The piece is too delicate, it seems, to have been something that someone would wear in life. And because of those little tabs with the punched holes, we believe it was probably manufactured specifically for this king's burial, and that it was meant to be sewn into the linen mummy wrappings that were used to mummify his body. Often there were amulets, protective icons, pieces of jewelry that were incorporated into the wrappings during the mummification process. So, it's both. Some of these pieces were probably worn in life and then taken to the tomb, and some of them were made specifically for the burial context. Sharon: I'm surprised you can even tell the difference between Egypt and Nubia with the cross-pollination. You talk about Isis. Being an expert, how does somebody know it was Egyptian? The only thing I've heard is that earrings were Egyptian. There weren't earrings before that. Sara: It's actually the other way around. This is one of the areas where the Nubians may have influenced the Egyptians. Earrings appear in Nubia before they appear in Egypt, so it's possible the Egyptians got the idea for earrings from the Nubians. As I mentioned, too, the fly pendant ornament originates in Nubia and gets adopted by the Egyptians. So, there is influence going in both directions, and where the Nubians incorporate Egyptian religious ideas, religious iconography, protective icons, they're still adapting it. They're not directly copying it necessarily. They're adapting it to their local traditions, to the types of materials they work with, to the types of objects and ornaments they make. It's not necessarily just a direct copy. In some instances, it is hard to tell whether a specific piece was made in Nubia versus Egypt. But with the burials themselves, we know these are Nubians and not Egyptians because we're looking not just at the jewelry, but at the overall burial itself, the whole object assemblage, the types of materials they're being buried with. In addition to the jewelry, there would be things like vessels, pottery, tools, weapons, things that give us a bigger picture. The cultural identity is not just the jewelry, but also the way in which they're buried and the place in which they're buried. In the Kerma Period, they used a very distinctive type of burial. They used tumulus burials, these big, beehive-shaped mounds, which was a distinctive type of burial. Over time those mounds get larger and larger, and we can tell that some of them must have belonged to Kerma rulers. Even though there are now written records during that period, we're going strictly by the archaeological record. In the Napatan Period, they actually used Egyptian hieroglyphs for monumental inscriptions. We do start to get some written records that we can read, and when these kings' and queens' tombs were excavated, there were often items within the tomb inscribed with their names. So, we know who these tombs belonged to, and they belonged to Nubian and Napatan kings and queens. It's really looking at the big picture and not just at the jewelry specifically to identify who these items belonged to and whose burials they come from. Sharon: First, I want to know how anybody even knew these tombs were there. Everything you're describing, at least from the description of what was in the tombs, is what Carter found when he opened the tomb just a few years later, maybe 10 years later. I'm just wondering how they knew these tombs were there. How did they know that? Was it just the beehives that were standing on a farm? Sara: The material that's in the MFA Boston was all excavated in the early 20th century, from 1913 to 1932, by a joint Harvard/MFA Boston expedition led by an American archaeologist named George Reisner, who worked in both Egypt and Sudan. He took a team to Sudan that ended up excavating at Kerma, Napata and Meroë. He was tremendously successful in what he discovered, and he essentially rediscovered the city of Kerma. There have been excavations within the city itself, but they also discovered this vast cemetery outside of the city containing tens of thousands of these tumulus burials. Then at Napata and Meroë, they're utilizing pyramid burials, which are still visible on the landscape. You can walk up to them. He was really the first to do these rigorously documented, professional archaeological excavations of these places, and he found a tremendous amount of material. I should also mention the way it ended up in Boston is that, at the time, Sudan practiced the partage system, so he finds would essentially be split 50-50. About half the materials remain in Sudan, where it is now in the national museum in Khartoum, and about half the material was allowed to be taken back to Boston by Reisner, where it became part of the MFA collection. So, the MFA is now home to the largest and most significant collection of Nubian archaeological material in the world outside of Khartoum. Sharon: Did they suspect that there were these kingdoms, but nobody ever found them? Is that what happened? How did he start digging? Sara: To be perfectly honest, I would have to go back and double check how he determined exactly where he wanted to begin. Sharon: Why should we care about the Nubians? Why should we care about these kingdoms? You describe how it kept moving further south. That's usually because of agriculture. What caused them to move, besides invasion? Sara: That's a broad question. I don't know that we necessarily know for certain what was motivating them to move from one city to the next. In terms of the question of why we should care, that's something we could ask about any ancient civilization. It does raise this broader question about relevance that a lot of audiences are asking. I would say for Nubia especially, this is the region in northeastern Africa where some of the earliest civilizations of ancient Africa are arising. This is an incredibly important region that was also a real crossroads for international trade, given their connections to the Red Sea, into central Africa, into sub-Saharan Africa, and eventually out into the broader Mediterranean world. This was a very interconnected place with rich natural resources where some of the earliest complex civilizations of ancient Africa arise, so I think we absolutely should care about it. Speaking in terms of jewelry specifically, this is the place where some of the most exquisitely crafted, sophisticated pieces of ancient jewelry in the world were produced. They were incredibly skilled artisans who developed techniques for working with these materials that in some cases, like I mentioned with the enameling, were believed to have been invented in the modern era until recently. Sharon: That's amazing. I always have to think about the fact that they didn't have electric lights and they had to work by candlelight. They had to deal with sunlight only. I don't know exactly how to phrase this, but most of the time, if I were to take a piece from the little room of jewelry at the Getty Villa, and I want to take it out and put it on my wrists, nobody would know the difference. Would you say that's the same with a lot of this? Sara: I think so. It always strikes people how contemporary some of these pieces look. They look like things that could have been made today. Sharon: Were they going back or was this the start of it? Were they going back and building on what had been done before? Sara: They were really pioneers. They were developing new techniques and new styles for working with this material. In the pre-Kerma phase, in the archaeological record, there are items of personal adornment that are made from things like shell or imported faience sometimes, simple strings of beads, that kind of thing. But then as they develop kiln technology to make pottery, they're also able to apply that to making faience and eventually glass. They develop, as I mentioned, these very sophisticated techniques for working with different semiprecious stones, for working with gold, for working with glass and enameling. They're really not looking back to any existing precedent. They are developing these techniques for the first time. Sharon: That's amazing. You wonder why each civilization or each culture seems to have certain things that are ubiquitous, like a ram's head. You wonder, where did it start? What keeps your attention about all of this? Is it the cross-pollination? Sara: I don't even know where to begin answering that. I find this material endlessly fascinating. Every time you look at it, you see or appreciate something new, the intricacy of it, or as I mentioned, the ways in which this jewelry for the ancient Nubians is not just a status item. It's not just something beautiful to look at and wear. It's imbued with all of these layers of meaning. It reflects so many aspects of Nubian society and Nubian beliefs and Nubian practices. Because of the relative lack of written records from ancient Nubia, we are reliant on the archaeological record. So much of this jewelry helps us more broadly understand ancient Nubian society. I think you can come back to it and look at it over and over again and find new levels of meaning in it every time, as well as being able to appreciate how beautiful it is. Sharon: But you must have seen a lot of ancient jewelry. You've seen Greek and Roman and Egyptian and Nubian. What keeps your attention? What's so fascinating that it would keep your attention for so long? Sara: I think everything I just mentioned. The jewelry across ancient societies is fascinating for those same reasons, that it typically is not just about beauty and personal adornment. It's also reflective of cultural and religious beliefs, but I think it's the fact that this material is some of the earliest of its kind as well. As I mentioned, they're pioneers in developing new techniques or adopting techniques from other places and reengineering them as they did with faience, which was being made in Egypt prior to Nubia. They reengineered it, figured out how to make it for themselves. They were developing these unique techniques like the glazed quartz, the enameling techniques. It's incredible to think that 3,000, 4,000 years ago, people were making these items and developing these technologies and with handmade tools and natural light, and it would be very difficult to control temperatures of a kiln. It's incredible. Sharon: It is incredible. I know the Getty Villa is different than the Getty Center. The Getty Villa is a replica of a Roman villa, and it has a little room that has just jewelry. It's very small. It's a jewel box of a room, really. Do they have Nubian jewelry in there? Sara: We do not. We do not own any ancient Nubian jewelry in our permanent collection at the Villa. The Villa is a separate site from the Getty Center. We are home to the Getty Museum's Antiquities Collection specifically. Our permanent collection of antiquities is predominantly Greek, Roman and Etruscan. This Nubian exhibition is part of a broader initiative we've been engaged in in recent years, where we're trying to bring in special exhibitions featuring material from other ancient cultures and civilizations so our visitors can get a bigger picture of the ancient world. It's also so we're not perpetuating this idea that in antiquity, Greek and Roman are all there is. There's so much more than that. What's reflected in our permanent collection is Greek and Roman. So, through this special exhibition program, we're able to highlight other cultures. We also recently had a big exhibition on ancient Persia that included some stunning items of Persian jewelry. Sharon: I missed that one. Sara: We don't have any Nubian or Egyptian jewelry in our antiquities collection, so this is a unique opportunity. As I mentioned, this material is housed at the MFA Boston, so it's a unique opportunity for people on the West Coast to see a major exhibition of ancient Nubian material, but it is quite different. You can see some stylistic similarities like I mentioned with the Meroitic Period, when they have those trade connections to the Greco-Roman world. You can see stylistic similarities between some of our Greco-Roman pieces and some of the pieces in the Meroitic section of the exhibition, but it is very distinctive. It's a nice counterpoint. We have at the Getty a pretty significant collection of ancient, engraved gemstones as well as some Hellenistic gold jewelry and finger rings. You can see similarities. Finger rings with carved bezzles became very popular during the Meroitic Period as well, so you can see some similarities there with the rings being made in the Greco-Roman world. Sharon: If you haven't seen the little room with jewelry there, you could take any piece from the Greco-Roman era—and it's probably true of the Nubian era, too—and put it on, and nobody would know the difference if you went to the market. Sara: Yeah. Sharon: Something I came across mentioned the role of women in Nubia, that there was a stronger role. Can you tell us something about that? Sara: Yes, it seems throughout ancient Nubian history, in the Kingdom of Kush, royal women held particularly high status. We can see that in a few different ways. We can see that in their burials. We can see it some of their individual items of jewelry, which I'll mention, and we also see it in some of the practices that were being implemented, the roles that royal women had. In the Napatan period, there were a group of royal women who became associated with the god Amun and were sent to Thebes in Egypt, which was the Egyptian center of the worship of Egyptian Amun. These women were made into high priestesses of the god at his temple there. So, they held these very high-ranking, powerful positions, and these were royal women who were relatives of the Napatan kings who were also ruling in Egypt. They had great religious significance in this very important role, where they were sent to Egypt as god's wives of Amun, what we call them, or high priestesses of Amun. During the same period, there are some items of jewelry in royal women's tombs at Napata that speak to their importance. For instance, there's a piece in the exhibition that is easy to overlook because it's very small, but it's definitely worth taking the time to look at. It's a little silver pendant that shows the goddess Hathor, who I mentioned previously is the goddess of love and fertility and motherhood who gets adopted and becomes very important in the Nubian culture. It's an image of Hathor, and she is nursing a Nubian queen named Nefrukakashta. The item was found in her tomb. So, she is receiving, essentially, divine lifeforce from Hathor through being nursed by her. This is important because this was also a composition we see in Egypt,  but there it's only the kings who appear being nursed by Hathor. The king is embodying a divine role as pharaoh, so he receives divine lifeforce from Hathor. You never see royal women in ancient Egypt in this pose being nursed by Hathor, but in Nubia, we see it. The status of royal woman is higher there. They're considered worthy of being show in this position of being nursed by the goddess herself. By the time we get to the Meroitic Period, the final phase of the kingdom, there's actually a series of queens who take the throne for themselves and they rule as sole rules. These were very powerful women ruling over the Kingdom of Kush in its final phase, one of whom even famously fought off attempts at invasion by the Roman emperor Augusts. She signed a peace treaty with him to protect the border between Nubia and Egypt, which at that time had become a Roman province. So, royal women in ancient Nubia achieved very high status. Sharon: I think that's very interesting. I could talk to you for hours about the history of women and what happened after that. Thank you so much, Sara, for being with us today. I just want to remind you about the exhibit. I listened to a webinar and looked at the press release. It looks like it will be a very interesting exhibit. I look forward to seeing it in person live. It's through April 13. Dr. Sara Cole is the assistant curator. Thank you very much for being here today. Sara: Thank you so much for having me. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why ancient Nubian jewelry is still significant today How the Kingdom of Kush rose and fell How ancient jewelry motifs, techniques and materials were shared and adapted between cultures Why the Museum of Fine Arts Boston has a significant collection of ancient Nubian art, and why it's being exhibited at the Getty Villa Why jewelry is often one of the only pathways to understand ancient cultures About Dr. Sara E. Cole Sara E. Cole is Assistant Curator of Antiquities at the J. Paul Getty Museum (Villa). She holds a PhD in Ancient History from Yale University. At the Getty, she is part of the Classical World in Context initiative, which seeks to highlight cross-cultural interactions in antiquity and explore the diversity and interconnectedness of the ancient Mediterranean and Near East through a series of special exhibitions and related publications and public programs. She has curated or assisted with exhibitions of Egyptian, Mesopotamian, Neo-Assyrian, Persian, and Nubian art. About “Nubia: Jewels of Ancient Sudan” from the Museum of Fine Arts, Boston October 12, 2022 - April 3, 2023 Getty Villa Museum For nearly 3,000 years a series of kingdoms - collectively known as the Kingdom of Kush - flourished in ancient Nubia (present-day southern Egypt and northern Sudan). The region was rich in sought-after resources such as gold and ivory and its trade networks reached Egypt, Greece, Rome, and central Africa. This exhibition presents highlights from the Museum of Fine Arts, Boston's extensive collection of Nubian objects and features superbly crafted jewelry, metalwork, and sculpture exhibiting the wealth and splendor of Nubian society. Learn more about the exhibit at https://www.getty.edu/art/exhibitions/nubian_jewelry/ Photos available on TheJewelryJourney.com Transcript: Nubian jewelry is often overshadowed by Egyptian and Greco-Roman jewelry, but the ancient Nubians were the world's first jewelry pioneers. Their influential work is currently on display at “Nubia: Jewels of Ancient Sudan,” an exhibit at the Getty Villa featuring pieces from the collection of the Museum of Fine Arts in Boston. Dr. Sara E. Cole, assistant curator of the exhibit, joined the Jewelry Journey Podcast to talk about how Nubians developed their own enameling techniques; why jewelry is the key to understanding ancient cultures; and how iconography was shared and adapted throughout the ancient world. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, my guest is Sara Cole, who's the Assistant Curator of Antiquities at the Getty Villa in Malibu, California. She's the curator of “Nubia: Jewels of Ancient Sudan,” an exhibit at the Museum of Fine Arts in Boston which showcases Nubian material. These finds were jointly executed early in the last century by Harvard and the Museum of Fine Arts. The exhibit is now open until April 3. Sara received her Ph.D. from Yale, which is amazing. She's an expert in ancient history and a specialist in material culture of Greco-Roman Egypt. She has studied the cross-pollination of cultures, and we'll hear a lot more about it today. Sara, welcome to the program. Sara: Thank you for having me. Sharon: So glad to have you. Tell us about your own journey. Did you come to jewelry through antiquities or archaeology, or the other way around? Sara: Yes, through my study of archaeology and Egyptology as a graduate student. That was primarily my introduction to this material. I became familiar with Nubia primarily through the MFA Boston's tremendous archaeological collection of Nubian material. When I was a graduate student at Yale back in, I think, 2011, I took a graduate seminar on Nubian archaeology with a Nubian specialist named Maria Gatto. In one of our classes, we took the train to Boston and got to spend a day going through the storerooms of the MFA looking at Nubian material. We were primarily looking at pottery that day, but we did get to see some other objects as well. In 2014, MFA put on its own small exhibition featuring their Nubian jewelry collection, so that brought that material a little bit more into public view. Then in 2019, the MFA did a big exhibition bringing out highlights of their full Nubian collection that was called “Ancient Nubia Now.” Since 2019, they very generously sent parts of this collection to different museums for exhibitions around the world. We're very fortunate at the Getty Villa that we were able to borrow some of these stunning pieces of jewelry and personal adornment from that collection for this current exhibition. Sharon: I have to ask you. When you were younger, you say you were interested in Egypt and ancient periods, but very few people go into archaeology. How is it that you stuck with it? Sara: Museums were really my entry point to the ancient world as a child, which I think is true for a lot of us. I grew up in a small town in Virginia and wasn't exposed to major museum collections as kid, but we had a small, local museum. It featured mostly local contemporary artists, but one summer they put on view a small touring exhibition of Egyptian material from the Virginia Museum of Fine Arts in Richmond. I was probably 11 or 12 years old. That was my first exposure to ancient Egyptian material, and I just found it incredibly captivating and compelling, and I stuck with that interest. I ended up doing a bachelor's degree in classics and then my Ph.D. in ancient history, where I studied a combination of Egyptology, classics and art history. But I've always had a great passion for museums in particular because it was my personal entry point to the ancient world. We do have the opportunity, through putting on exhibitions like this, to reach such wide audiences and to bring this material to their attention, things they've maybe never seen or considered before. It's a really wonderful opportunity. Sharon: It really is. When you say Nubia, a lot of us haven't really thought about Nubia or Nubian jewels. That's the entry point or the foundation. What is Nubia? What do you mean by Nubian? Sara: That's a great question, because I think a lot of people have heard of Nubia but they're not quite sure what it is. Traditionally it has received a lot less attention than ancient Egypt, which is this huge, looming civilization. When we talk about ancient Nubia, we're really talking about a geographical region that was located immediately south of ancient Egypt. They were neighbors. In terms of modern-day geography, it reached essentially from Aswan in what is now southern Egypt down to about Khartoum in present-day Sudan. The contemporary political border between Egypt and Sudan cuts across part of what was ancient Nubia, when the border was located further north between Nubia and Egypt. So, it's essentially this geographical region going across part of what is today southern Egypt and northern Sudan. For parts of its ancient history, Nubia as a region was actually home to several different cultural groups. It wasn't always a single, unified culture. So, when we talk about Nubia, we're talking about the geographical area, and then there were different cultures that lived within Nubia. Around the third millennium B.C., a political institute called the Kingdom of Kush—because the region was known as Kush in antiquity—arose at the city of Karma in what is today Sudan. It eventually came to conquer essentially all of the region of Nubia. The Kingdom of Kush lasted on and off for a period of almost 3,000 years, and it moved to different capital cities in different phases. It first arose at Kerma in the third millennium B.C., then moved further south to a capital called Napata, which was also along the Nile River, around 750 B.C. Then in its final phase, starting around 350 B.C., it was centered at a city even further south on the Nile River called Meroë. So, when we talk about ancient Nubia, we're talking about that region, but for this exhibition, we're really focusing on items of jewelry that were worn by royalty and the elite of the Kingdom of Kush that were found at these three successive capital cities. Sharon: I was going to ask you if Napata and—is it Morocco? Sara: Meroë. Sharon: Meroë. I've heard so much about it, but did they all have jewelry? Did the royalty all have jewelry at all three of these sites? Sara: Yes, absolutely. Throughout human history, I think in all cultures we see personal adornment as a universal means of self-expression. It's a means of expressing status and power. But also in antiquity, much of this jewelry, either the materials themselves or the iconography incorporated into it, had symbolic religious significance. Items of jewelry were often amuletic and protective, or they could signify one's status in society, one's role. They reflect a lot about an ancient culture's social organization, religious beliefs, communities, etc. These items of jewelry speak to so much more than being aesthetically beautiful status items. So, yes, even very early in Kerma and even in pre-Kerma archaeology, we find items of jewelry in the archaeological record. Jewelry was very essential, especially for rulers and for individuals of high status, to express themselves in ancient Nubia. Sharon: Did both men and women have jewelry? Sara: Yes, they did. Men, women, children, and sometimes even very prized royal animals were adorned with jewelry. Sharon: Were these from tombs or graves? Sara: Yes, essentially all of the items in this exhibition were excavated from royal and wealthy burials. This was material that people valued in life but also chose to take with them to the grave. As a I mentioned, a lot of these pieces have iconography that is protective or amuletic, which would have particular significance in the context of the tomb. These are images that are going to protect you as you are making your transition to the afterlife. So, all of the material was excavated from burials. That is primarily where we find these high-status jewelry items still surviving. They survive because they were buried, and people didn't have the opportunity to reuse them or repurpose the materials. Sharon: First of all, I think I forgot to say that this exhibit is only on until April 3, which comes up quickly. I can't remember if I said that or not. Sara: Yes, two more months to go see it at the Villa. Sharon: When you say it's like a dynasty or the Kingdom of Kush lasted 3,000 years, I have this idea that it rose high and then it was—I don't want to say nothing, but they weren't reading. It was like the Dark Ages in a sense, really dark, and then it rose again in a different place. How did that work? Sara: The Kingdom of Kush went through fluctuations over that 3,000-year period. I wouldn't necessarily call it dark ages. The Nubians simply never developed the same tradition of extensive written records like we get from Egypt, so much of our knowledge of Nubia comes from the archaeological material. We just don't have extensive written historical documentation from this region. It wasn't part of the culture. They had a very complicated relationship with their neighbor to the north, Egypt, which is largely the reason for these periods of rise and fall. The Kingdom of Kush arose, like I mentioned, at Kerma in Sudan, during which time in northern Nubia, there were other cultural groups inhabiting that region who were in conflict with Egypt. The Kingdom of Kush eventually was able to take that region and unify Nubia under its rule. Kerma flourished for almost 1,000 years, from about 2,400 B.C. until roughly 1,550 B.C. But what happened around 1,550 was that Egypt entered into a very powerful period in its history, the New Kingdom, the rise of the Eighteenth Dynasty, and those kings invaded Nubia and took over. They occupied Nubia for about 500 years, during which time we don't have a tremendous amount of archaeological evidence for what was going on. But it seems like Nubians and Egyptians were essentially coexisting in Nubia during this period. As you can imagine, over 500 years, there's a huge amount of cross-cultural exchange as a result of the Egyptian presence in Nubia. Some Egyptian religious ideas get incorporated into local Nubian tradition, as does a lot of iconography. There are a lot of ways in which the Nubians start adapting some Egyptian concepts to their own local practices. Then the Egyptians get pushed out of Nubia around 1,000 B.C. approximately. The Kingdom of Kush starts to regroup and rebuild itself, and it reappears fully around 750 B.C., now at the capital city of Napata. What's interesting at the beginning of the Napatan phase is that the Nubians turn the tables on Egypt and invade them. They take over Egypt and rule for about 80 years. For that 80-year period, staring around 725 B.C., the Kingdom of Kush is at its greatest extent, going all the way from what is today Sudan up to the Mediterranean coast, ruling over both Nubia and Egypt. After that 80-year period, they get pushed out of Egypt but are still ruling the Kingdom of Kush from Napata. We see some really interesting ways in which the rulers of that 80-year period adapted an Egyptian mode of self-presentation. They're trying to present themselves as legitimate pharaohs in Egypt. They start presenting themselves in a way that is adapted from earlier pharaonic styles of self-presentation. Even though the Nubian kings are spending some time in Egypt, they choose to be sent back to Napata for their royal burials, and they start using pyramid tombs during this period. They start practicing mummification and incorporating some Egyptian-style object assemblages into their burials. We see some of those practices get adapted during this 80-year period, including the incorporation of a lot of Egyptian religious iconography into their jewelry. We see those trends continue later, even when they're no longer ruling in Egypt. Then during this Napatan phase, which lasts roughly 400 years, they start to gradually shift the capital further south to this third city of Meroë. By around 350 B.C., both the administrative capital and the royal cemetery have moved to Meroë, and this is the final phase of the Kingdom of Kush. This is a phase that lasts from roughly 350 B.C. to 350 A.D., when the Kingdom of Kush falls. It corresponds with the conquests of Alexander the Great throughout the eastern Mediterranean and ancient Near East, the rise of his successor kingdoms and then the rise of the Roman Empire. But throughout all of this, the Kingdom of Kush maintained its political independence. It never became part of Alexander's territories; it never became part of the Roman Empire, unlike Egypt, which did. They had a complex relationship with Rome, who at times tried to take Nubia unsuccessfully, but they were also connected to these vast trade networks that connected the Mediterranean and the Near East throughout the Roman Empire. It was a very cosmopolitan place, ancient Meroë. They were very closely connected through trade networks to the rest of the world. They were also producing some incredibly high-status pieces of jewelry with really exquisite craftsmanship. Then the Kingdom of Kush falls around 350 A.D. That's the big picture of what we're looking at here, with the history of the Kingdom of Kush and its different phases. Sharon: When you say Nubia, is that the same as the Kingdom of Kush? Do you mean the Kingdom of Kush or Nubia are one in the same, I guess? Sara: Nubia in antiquity was known as Kush, and then the Kingdom of Kush is the political entity ruling over that region. Sharon: Did the jewelry change over the years? Sara: It did, yes. We do see that even across these different phases, each one has a distinctive aesthetic. There is no single, unified Nubian look to the jewelry. Different fashions change over time. Different popular materials come in and out of fashion. In Kerma, in the earliest phases, we see jewelers making items out of locally available and imported organic materials. They're making use of things like hippo and elephant ivory to create cuff bracelets. They're making use of shells they imported from the Red Sea coast and fashioned into different items. They were also importing faience from Egypt. Ancient faience was a man-made, blue-green, glazed, quartz-based ceramic material that was very popular in Egypt. The Kermans were importing it initially, but then they developed their own faience-making technology and were able to produce their own. So, we start to see the use of this man-made material. They're using gold. Nubia in antiquity is known primarily as a land of gold because of their rich gold resources in the Eastern Desert. That was their main coveted natural resource. They had incredibly skillful techniques in working with gold. We see them using locally available semiprecious stones, things like carnelian and amethyst. They work with quartz in some really interesting ways. Quartz is found alongside gold, so it was probably symbolically associated with gold. Gold was valued not only because it was this very prized economic resource, but it was also an imperishable material. It was associated with immortality and the sun, and it was very highly symbolically valued. They would take quartz and do an interesting treatment that, as far as I am aware, is distinctive to ancient Kerma. They would take the quartz, either shaping it into spherical beads or taking chunks of it in its raw form to use as pendants, and they would put a blue-green glaze over it and fire it in a kiln to create a hard, shiny, translucent blue surface that creates this stunning, glass-like appearance when it's done successfully. It was a delicate technique. You had to be very careful, because if you raised the temperature in the kiln too quickly, the quartz would fracture and burst, and you would lose your item of jewelry you were making. They had to be very careful in this process, but again, as far as I know, this is a distinctive Kerman technique, a distinctive way of working with quartz. Those were the types of materials they were utilizing to make items of jewelry. There's also a particular ornament we start to see in Kerma that is really interesting and later gets adopted by the Egyptians, which is the fly pendant. They are these large pendants that were often worn in pairs strung around the neck, and they represent flies. We have an example in the exhibition where the head is made of gilded bronze and the wings are carved out of ivory. These are found in soldiers' tombs. They appear to have been given as a medal of honor to high-status members of the Nubian military. We can ask why they would choose a fly of all things to honor a member of the military, and we believe it's because if you go to Egypt, if you go to the Nile Valley, you will experience that the flies are very big and mean and aggressive. So, we think these fly pendants are a way of associating the aggression and the tenacity of the Nilotic flies with the aggression and the tenacity of Nubian warriors. Later these fly pendants actually get adopted in Egypt as well as a military medal of honor. So, those were the kinds of things we find at Kerma. As I mentioned, that period comes to an end with this big invasion of the Egyptians around 1,500 B.C. Then when the Kingdom of Kush rearises at Napata around 750 B.C., they invade Egypt. They take over, and we start to see how this 500-year period of intense cross-cultural interaction has resulted in the introduction of a lot of Egyptian iconography into the royal jewelry. We start to see a lot of images of goddesses like Hathor and Isis, who became very important in the Nubian pantheon. There is an Egyptian god called Amun who becomes introduced as the supreme god of ancient Nubia, but in his Nubian form specifically, he takes the form of a ram or a man with a ram's head. We believe that before this period, there was probably an indigenous ram god who Amun became assimilated with. So, we see a lot of ram iconography in the jewelry. There's a lot of iconography associated with the goddess Hathor, who was this Egyptian goddess of love, fertility, beauty and motherhood with whom Nubian queens and royal women became particularly associated. We see a lot of that kind of iconography. We see protective icons that have been introduced from Egypt, things like the Eye of Floridus, the scarab beetle, that kind of thing. They're working a lot in faience still. There are some queens' tombs from this period where these large faience plaques are very popular, again in the shapes of religious protective imagery, amuletic icons, gods and goddesses. They were big plaques that were strung on strings of beads and worn around the neck, essentially meant to sit over the chest to protect the pectorals. We see a lot of that kind of thing, this incorporation of new iconography, new religious ideas, sometimes a very Egyptian mode of self-presentation that they've adopted from the Egyptians. They're working in faience; they're working in gold. We do see some silver during this period. Silver was not locally available; it was an imported material, but we do see a lot of skilled gold work during this phase. They are developing some very sophisticated techniques for how to fashion items of jewelry, but also things like golden vessels. This is a phase where we start to see that Egyptian influence and some increasing sophistication in the techniques with which they're working, with both these man-made and locally available resources. In the Meroitic Period, we see those gold working techniques really hit their stride. There is some tremendously sophisticated gold work made during the Meroitic Period, where they're using techniques like granulation and filigree and very delicate wirework. At Meroë, they also start producing glass. Glass beads start to appear in the jewelry. Something that Meroë distinctively is also known for is the use of a wide range of enameling techniques. They would take powdered glass and apply it to the surface of items of jewelry, and then heat it to fuse it and create it a hard, shiny, colorful surface. There were multiple enameling techniques they developed at Meroë, some of which, prior to their discovery at Meroë, were thought to have not been invented until the modern era. There were techniques they developed at Meroë, and the knowledge of that technology was lost and rediscovered in modern times. This is also a phase during which we see, as I mentioned, a kind of cosmopolitan international style developing. We do see some Greco-Roman influences coming into play in the form of large, dangly pendant earrings and the development of new color schemes, for instance. There was a color scheme at Meroë that was especially popular, which was red, white and black. They would use cornelian, which was a popular material, to achieve the red and then import obsidian for black and travertine for white. Each phase has its own distinctive repertoire of objects and iconography and manufacturing techniques that were being used. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. END OF PART ONE

Alan Nakagawa is an interdisciplinary artist with archiving tendencies, primarily working with sound, often incorporating various media and working with communities and their histories.Nakagawa has been working on a series of semi-autobiographic sound-architecture/tactile sound experiences, utilizing multi-point audio field recordings of historic interiors; Peace Resonance; Hiroshima/Wendover combines recordings of the interiors of the Hiroshima Atomic Dome (Hiroshima, Japan) and Wendover Hangar (Utah); Conical Sound; Antoni Gaudi and Simon Rodia combines recordings of the interiors of Watts Towers (Los Angeles) and the Sagrada Familia (Barcelona, Spain). Premiered in 2023, Point of Turn, is his first vibratory sound work involving the human voice; utilizing collected stories about moments or events that resulted in someone leaving their organized religion. For this work, the combining of these stories and the analog data stretching of a verse and chorus of the 1970's seminal pop band, 10CC's hit song, “I'm Not in Love”. Point of Turn is a commission by Prospect Arts.---------------------------------------------------------------------------------------------Please SUBSCRIBE, LIKE and COMMENT!Share with your friends.Thank you for listening.Find Alan at:Instagram: @nakagawa2015Website:https://alannakagawa.com-my LINKS:Merch: http://rafa.LA​​​​​​​​​​​​​​/shopMy photography: http://rafa.LA​​​​​​​​​​​​​​NFT: https://opensea.io/collection/dancngsobrDonate at venmo: @ DANCNGSOBRRecorded at Espacio 1839https://www.espacio1839.com_____Recorded on TASCAM Mixcast and Mics

I Found Nubians at The Getty Villa | Los Angeles Adventures | BBRAVELER | iSee109 | I visited the Getty Museum a couple of weeks ago. Today my wife and I visited the Getty Villa. On my first visit I did not see Africa represented in the exhibits. However, I found representations of Africa at the Getty Villa. This Nubia exhibit was not marketed all around the city of Los Angeles, however. The people who can benefit mostly from seeing this exhibit do not know it is on display. I hope that I am doing my part to spread the word. Go see the exhibit for yourself. It costs only $20 for parking. Of course you also have to pay for gas and/or transportation. –––––––––––––––––––––––

The following are links used to prepare this episode:https://www.britishmuseum.org/our-work/departments/human-remainshttps://www.getty.edu/art/collection/object/103WN2To view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2022]

Welcome to this week's True Fiction Project Podcast. Today we are joined by award-winning playwright and actor, Ellen McLaughlin. Ellen joins me to discuss her many pieces of work throughout her career and the project she just completed with the Play On Podcasts series. She describes the incredible experiences of being around someone while they encounter extraordinary joy and the impact of that on individuals. Ellen talks about the connection she believes all artists should have to their work. At the end of the episode, we get the pleasure of listening to Ellen's short story titled Witness to the Joy of Strangers. IN THIS EPISODE: [1:11] Introducing Ellen McLaughlin and her work with Play On Podcasts. [6:52] What about the Shakespeare play Ellen worked on that resonated with her? [13:05] When Ellen is creating her art, is she always thinking about a real-life moment or is it happenstance?  [17:45] Ellen gives us an insight into her short story.  [22:07] Short Story Witness to the Joy of Strangers by Ellen McLaughlin KEY TAKEAWAYS: People need to recognize that they are privileged to be a bystander and to witness a revelation that one has when they discover their passion. To take in their joy even without necessarily being a part of it is a memorable experience.  Someone cannot make something worthwhile unless they have something on the line. If the story means something to them, you can feel the passion in the piece. Without it being worthwhile to them, it risks falling flat.  A person will work harder and be more involved in a project if they have passion behind it. If there is no passion, choose a different project that will showcase the passion for the work.   Fiction Credits: Short story written and read by: Ellen McLaughlin BIO: Ellen McLaughlin's plays have received numerous national and international productions. They include Days and Nights Within, A Narrow Bed, Infinity's House, Iphigenia, and Other Daughters, Tongue of a Bird, The Trojan Women, Helen, The Persians, Oedipus, Ajax in Iraq, Kissing the Floor, Septimus and Clarissa, and Penelope. Producers include: the Public Theater, The National Actors' Theater and New York Theater Workshop in NYC, Actors' Theater of Louisville, The Actors' Gang L.A., Classic Stage Co., N.Y., The Intiman Theater, Seattle, Almeida Theater, London, The Mark Taper Forum, L.A., The Oregon Shakespeare Festival, The Getty Villa, California., and The Guthrie Theater, Minnesota, among other venues. Grants and awards include Helen Merrill Award for Playwriting, Great American Play Contest, Susan Smith Blackburn Prize, the NEA, the Writer's Award from the Lila Wallace-Reader's Digest Fund, the Berilla Kerr Award for playwriting. T.C.G./Fox Residency Grant -- for Ajax in Iraq, written for the A.R.T. Institute. She has taught playwriting at Barnard College since 1995. Other teaching posts include Breadloaf School of English, Yale Drama School, and Princeton University, among others. Ms. McLaughlin is also an actor. She is most well known for having originated the part of the Angel in Tony Kushner's Angels in America, appearing in every U.S. production from its earliest workshops through its Broadway run. Ellen McLaughlin Website Ellen McLaughlin Facebook  This episode is sponsored by Magic Mind: Try it today by going to https://www.magicmind.co/tfp and use my code "TFP20" for 20% off all orders or for a limited time 40% off a subscription.Our Sponsors:* Check out HelloFresh and use my code 50truefictionproject for a great deal: https://www.hellofresh.com/Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

124. The Getty Center high above Brentwood and The Getty Villa in the Pacific Palisades are 2 remarkable gifts to the city of Los Angeles from the J. Paul Getty Foundation. With priceless collections of world class art, astoundingly beautiful gardens and landscapes, and epic sweeping views its hard to believe that visiting both locations is completely free! We were lucky enough to talk to Brittany Saake the Marketing Project Manager at the Getty and she shared the history, tips for visiting and awesome events they have planned at the Getty for this their 25th year anniversary celebration.  You can find out more about the Getty on their Instagram at: https://www.instagram.com/gettymuseum/ or on their Website: https://www.getty.edu/  You can find more LifeHacksLA at: www.lifehacksla.com and www.instagram.com/lifehacksla      To join the LA Hackers Club go to:  http://lifehacksla.com/jointheclub        This episode was edited by Jaconell Mouton from Creative Wave. https://jaconellmouton.com/     Associate Producer: Michelle Mink from LA Dreaming. https://ladreaming.com/ --- Send in a voice message: https://anchor.fm/lifehacksla/message Support this podcast: https://anchor.fm/lifehacksla/support

Mom Stomp reviews the Getty Villa and Getty Center Museum but first - Bey's Renaissance announcement, 26 weeks pregnant, going Persian, and voicemails galore. Plus, 8 minutes at the end taking down our very good friend, Linus Lee, over the Buzz Lightyear movie. #wellknowwhenwegettherebabe #surfingUSA #vasectomized #slinkthedogisdeadlinus

Are you looking for a class in how to write for stage and screen? This is the episode for you. Leslie speaks with writer and educator William Nedved on his life and process for writing and teaching writing.About William:I am a playwright, lyricist and screenwriter engaged with exploring the journeys that define us. I'm the co-founder of The Gift Theatre Company of Chicago, where I have premiered my plays Body + Blood (Jeff Recommended), Northwest Highway (2011 Steinberg American Theater Critics Association nomination), A Young Man in Pieces, and County Fair. I wrote the book and lyrics for Medusa: The Musical, with a score by composer and Project Runway winner Kentaro Kameyama, developed by the Tony Award-winning Deaf West Theatre at The Getty Villa in 2019. Our The Passion of McQueen, an opera based on life, death, and art of fashion visionary Alexander McQueen, played a sold-out concert at Pasadena's Boston Court Theatre in 2019.My play Closet Drama, or The Dick Pic of a Twink was featured in the 2018 LAMBDA Literary Fest in Los Angeles. I wrote and performed in the critically-acclaimed Fact & Fiction for the 2011 Hollywood Fringe Festival. My short play Kid was awarded “Best Production” at Collaboraction's Sketchbook 2009. All Tomorrow's Parties premiered at the 2002 Los Angeles Short Film Festival. Against the Grain was part of the 1997 Young Playwrights, Inc. Summer Festival. Fate, an original musical, was awarded the inaugural 1997 Leonard Bernstein ‘Learning through the Arts' Interdisciplinary Scholarship through Scholastic, Inc.  The journey that defined me was the year I lived in Brazil as a Rotary International high school exchange student. 

“This interconnection between Greek tradition and science and mathematics, and the Babylonian traditions in astronomy and all these other very technical and very advanced sciences, this was a moment which really created the basis for science, mathematics, and so on in the Western world, and indeed, throughout the world, in later centuries and millennia.” For more than a millennium, the Persian empire was the major political and economic force in western Asia. Beginning in the sixth century BCE, three dynasties of Persian rulers created the largest and most complex nation in the world. From the monumental reliefs of the Achaemenid ceremonial capital, Persepolis, to elaborate silver platters that tell the story of David and Goliath, the art and luxury objects of this period demonstrate the Persians' political power and self-image. At the same time, much of our knowledge of ancient Iran comes from Greek and Roman writings and artworks because of the relationships and rivalries among these civilizations. The exhibition Persia: Ancient Iran and the Classical World showcases a wide range objects from the three cultures that shed new light on ancient Persia and tell the story of cultural exchange in this fascinating empire. In this episode, Getty Museum director Tim Potts and curators Jeffrey Spier and Sara Cole discuss their exhibition Persia: Ancient Iran and the Classical World and some of the key objects in the show. The exhibition is on view at the Getty Villa through August 8, 2022. For images, transcripts, and more, visit https://blogs.getty.edu/iris/podcast-art-luxury-and-power-in-ancient-iran/ or http://www.getty.edu/podcasts To learn more about the exhibition Persia: Ancient Iran and the Classical World, visit https://www.getty.edu/art/exhibitions/persia/ To buy the catalogue for Persia: Ancient Iran and the Classical World, visit https://shop.getty.edu/products/persia-ancient-iran-and-the-classical-world-978-1606066805

Wir bleiben in Kalifornien und sind mit Steffi Ahlers von California Regional Partners in Santa Monica unterwegs. www.santamonica.com Die Themen: Einmal im Jahr Kalifornien; Trendiges Santa Monica; Das Beste vor der Tür; Immer Sonnenuntergang; L.A. County; Hohe Promidichte; Farmers Markets; Santa Monica Pier; Shopping Erlebnis; Getty Museum und Getty Villa; Ganzjahresziel; Frischer Pazifik; Wellenreiten mit Neoprenanzug; Küstennaher Radweg; (Luxus-)Hotels; Rooftop Bar-Tipps Dir stehen folgende Informationsquellen und Kontaktmöglichkeiten zur Verfügung: https://www.fti.de/service/reisehinweise.html https://www.fti.de/blog/reiseberichte-und-tipps/expertentipps/urlaub-corona-einreisebestimmungen/ Schreib uns deine Fragen, Reiseerlebnisse und Reisetipps an gluecksmomente@fti.de

Episode No. 531 features artist Beverly Semmes and curator Jeffrey Spier. Beverly Semmes is included in "Witch Hunt," an exhibition that presents how 16 women artists have used feminist, queer, and decolonial strategies to explore gender, power, and the global impacts of patriarchy. It is on view across two venues, the Hammer Museum and the Institute of Contemporary Art, Los Angeles through January 9. On January 9, the JOAN exhibition space in downtown Los Angeles was scheduled to host "Pool," a performance and installation developed as a collaboration between Jennifer Minniti and Semmes' CarWash Collective and Emily Mast. It has been postponed due to the pandemic. The performance will feature a new collection of CarWash garments based on Semmes' Feminist Responsibility Project. In New York, Susan Inglett Gallery will show new work from Semmes beginning February 3. Semmes's multi-disciplinary work explores the body and its representation. Her work has been the subject of solo shows at the Henry Art Gallery at the University of Washington, the Tang Teaching Museum and Art Gallery at Skidmore College, the Irish Museum of Modern Art in Dublin, and more. On the second segment, Spier discusses "Rubens: Picturing Antiquity," a Getty Villa exhibition that looks at how Rubens's work was informed by classical antiquity. It was curated by Anne T. Woollett, Davide Gasparotto, and Spier. It is on view through January 24. The excellent catalogue for the exhibition was published by the Getty. Amazon and Indiebound offer it for $40. Instagram: Beverly Semmes, Tyler Green.

"I think it just shows very well how Rubens worked, how he got the inspiration from antiquity, but he transforms it into something completely new and very alive." The Flemish Baroque painter Peter Paul Rubens is most famous for his dynamic, colorful renderings of religious scenes and mythological stories. Yet Rubens's work was also deeply inspired by the art of the past. He was a keen student of classical antiquity, engaging with ancient sculptures, coins, gems, and cameos both at home and in his travels through Italy. His friendships with antiquarians, patrons, and scholars provided a network for vibrant intellectual exchanges that informed the artist's work. In this episode, Getty curators Anne T. Woollett, Davide Gasparotto, and Jeffrey Spier discuss their exhibition Rubens: Picturing Antiquity, which explores how Rubens was affected by and, in turn, transformed the classical past in his paintings, drawings, and designs. The exhibition, which received major support from Jo Carole and Ronald S. Lauder and generous support from the Leonetti/O'Connell Family Foundation, is on view at the Getty Villa through January 24, 2022. For images, transcripts, and more, visit https://blogs.getty.edu/iris/podcast-peter-paul-rubens-and-the-arts-of-antiquity or http://www.getty.edu/podcasts/ More to explore: Explore the exhibition Rubens: Picturing Antiquity here: https://www.getty.edu/art/exhibitions/rubens_antiquity/explore.html Buy the book Rubens: Picturing Antiquity here: https://shop.getty.edu/products/rubens-picturing-antiquity-978-1606066706

In this week's episode of Living in the Sprawl: Southern California's Most Adventurous Podcast, host Jon Steinberg shares his list of top ten Southern California museums that prove that we are highly invested in culture. His list includes: Planes of Fame Museum in Chino, the Nixon Presidential Library in Yorba Linda, the Petersen Automotive Museum in Los Angeles, the Museum of Death in Los Angeles, the Underground Gardens in Fresno, the Broad Museum in Los Angeles, the Reagan Presidential Library in Simi Valley, the Getty Villa in Malibu, the La Brea Tar Pits in Los Angeles and the USS Midway in San Diego.Instagram: @livinginthesprawlpodcastEmail: livinginthesprawlpodcast@gmail.comWebsite: www.livinginthesprawlpodcast.comCheck out our favorite CBD gummy company...it helps us get better sleep and stay chill. Use code "SPRAWL" for 20% off.  https://www.justcbdstore.com?aff=645Check out Goldbelly for all your favorite US foods to satisfy those cravings or bring back some nostalgia. Our favorites include Junior's Chessecakes from New York, Lou Malnati's deep dish pizza from Chicago and a philly cheesesteak from Pat's. Use the link https://goldbelly.pxf.io/c/2974077/1032087/13451 to check out all of the options and let them know we sent you.Use code "SPRAWL" for (2) free meals and free delivery on your first Everytable subscription.Support the podcast and future exploration adventures. We are working on unique perks and will give you a shout out on the podcast to thank you for your contribution!Living in the Sprawl: Southern California's Most Adventurous Podcast is on Podfanhttps://www.buymeacoffee.com/sprawl  Looking to start a podcast? Buzzsprout is the best and easiest way to launch, promote and track your podcast...trust me, I did a lot of research beforehand. Let Buzzsprout know we sent you, support the show and get a $20 Amazon gift card when you sign up.  https://www.buzzsprout.com/?referrer_id=1735110Support the show

Trash or Treasure - looking back at department store advertising (Bloomingdales and Guy Bourdin).  Empire State bike Trail.  Looks like fun.  Learning about Lichen.  Rubens at the Getty Villa.  Tom Matte.  Wearing the World Series Ring.  What smell tells.  Supply Chain Advent Calendar Crisis. Credits: Talent:  Tamsen Granger and Dan Abuhoff Engineer:  Ellie Suttmeier Art:  Zeke Abuhoff

Matt Walker is the founder and artistic director of the Troubador Theatre Company, the LA-based ensemble that combines classic texts with classic Top-40 songs to create such astonishing mashups as Much A-Doobie Brothers About Nothing, The Comedy of Aerosmith, Fleetwood MacBeth, Santa Claus is Coming to Motown, The Little Drummer Bowie, Julius Weezer, Abbamemnon, As U2 Like It, A Christmas Carole King, Hamlet – the Artist Formerly Known as Prince of Denmark, A Midsummer Saturday Night's Fever Dream, and It's a Stevie Wonderful Life. The Troubies' most recent magnum opus, which just closed its sold-out run at LA's Getty Villa, was Lizastrata, which combined Aristophanes bawdy political comedy with music associated with Liza Minnelli. Matt explains how "The Troubies", after more than 18 months, finally made the show go on; hired a COVID Compliance Officer; got advice from classical scholars; received letters anyway from "concerned" patrons; held a funhouse mirror up to nature…and hung it over the bed; and were visited by royalty: the Divine Miss Liza with a Z herself. BONUS! Austin reveals how Kander & Ebb's “New York, New York” became the official anthem of New York City. (Length 25:29) The post Troubador Theater's ‘Lizastrata' appeared first on Reduced Shakespeare Company.

We are in a series where we revisit all of the Wish You Were Heres that have been shared on our podcast, this time broken down by location. This week we're revisiting locations from Southern California. 2:50 Disney Restaurant and Show Tip, Disneyland, CA 4:50 Grand Californian Hotel Lobby, Disneyland, CA 7:00 Tomorrowland Stage, Disneyland, CA 9:00 Jolly Holiday Bakery Cafe, Disneyland, CA 12:00 The Old Place, Agoura Hills, CA16:55 The Getty Villa, Pacific Palisades, CA Follow us on Twitter & Instagram: @tmwypodcast  Leave us a voicemail (or text message): (406)763-8699  Email: tmwypodcast@gmail.com 

This week we sit down with Los Angeles based Director & Producer Jessica Hanna to discuss her process of saying “F*ck it! Let's try.” Jessica Hanna is a Los Angeles based Director & Producer with a BFA from The Theatre School at DePaul University. She is a member of The Kilroys, an activist artists group working for gender parity in the American Theatre. She was an Artist in Residence at Thymele Arts in 2019. She has trained with The SITI Co. and performed with them in 2010 & 2013 at The Getty Villa. She is currently the Chair of The SITI Co.'s Board. She Co-Founded Bootleg Theater and was it's Producing & Managing Director for 12 years. She worked with Roger Guenveur Smith on RODNEY KING. She helped create the Hope On Stage playwriting prize in collaboration with Cornell and Notre Dame Universities. She created the Solo Queens Festival that has featured 15 women solo performers in 2 years. Directing credits include: Lisa Dring's DEATH PLAY at Circle X Theatre, Brandon Baruch's NO HOMO, at Hollywood Fringe Festival which was awarded Best Director, Best Ensemble and Best New Play. At Bootleg Theater jessica directed the World premieres of FOUR CHORDS AND A GUN by John Ross BowIe, I CARRY YOUR HEART by Georgette Kelly, THE WILLOWS by Kerri-Ann McCalla and BLUE GOLD & BUTTERFLIES by Stephanie Batiste. She also directed, PRISCILLA QUEEN OF THE DESERT at Celebration Theatre (Winner 2019 Ovation Award Best Production of a Musical). Also In 2019, she directed A MIDSUMMER NIGHT'S DREAM for Make Trouble in Wilmington, NC. And Directed Michelle Kholos Brooks' HOSTAGE at Adobe Rose Theatre in Santa Fe, NM. Jessica produced two plays by Kirsten Vangsness at the Edinburgh Fringe Festival. She Co-directed Justin Sayre's RAVENSWOOD MANOR at Celebration Theater and directed a workshop of Sarah Tufts' ABIGAIL for Inkwell Theatre In 2020 she directed POLAROID STORIES at CalPoly Pomona. THE WOLVES at CSU Long Beach. During the pandemic she directed Iris Bahr's solo piece DAI and produced Philicia Saunder's BREATHE for Outpost_13 & Outside In and A WALK IN MY NEIGHBORHOOD by Katie Lindsey. Upcoming: FEFU & HER FRIENDS (online) at CalPoly Pomona and AS ONE at Orlando Opera. Edited by: Rachel Post Intro & Outro Music by: Marc Young Transcript: TBA --- Support this podcast: https://podcasters.spotify.com/pod/show/prints-unedited/support

The Review Queens dig into a 1 dot TripAdvisor Review for the gorgeous Getty Villa Museum in Malibu and a 1-Star Better Business Bureau Review for Qdoba Mexican Grill! Karen shows up unannounced, Chelsey's been bitten and needs to scratch her back against a tree like a bear!  Sister Jean and Charollett and a tiny little pepper's dash of cheese! (05:58) Lodge a Complaint! (10:32) Getty Villa Museum Review (22:20) Meryl-Go-Round (27:12) Qdoba Mexican Grill Review (40:44) There's A Reply! (42:45) My Royal Highness (46:21) Listener Voicemail! ***** Leave us a voicemail at 1-850-REVIEW-0 WATCH CLIPS onhttps://www.youtube.com/channel/UCfhCAcirZKQb9E2NxI5BiJg ( YouTube)! Visit our website for more:http://www.reviewthatreview.com/ ( www.ReviewThatReview.com) @TheReviewQueens | @ChelseyBD | @TreyGerrald   --- Review That Review is an independent podcast.  Executive Produced by Trey Gerrald and Chelsey Donn with editing and sound design by Trey Gerrald.  Cover art designed by LogoVora, voiceover talents by Eva Kaminsky, and our theme song was written by Joe Kinosian and sung by Natalie Weiss. Support this podcast

In this one we begin talking about the vacation to California to see Graham's grandparents and uncle. We talk about the Green Knight (go see it) and Respect (probably go see it.) We visit the Getty Villa and talk about the Landsowne Herakles. Graham is extremely excited by Sumerian land grants. The trip to Disneyland started with Pirates of the Caribbean. Felisha tries to drive Graham mad with It's a Small World. Graham solos Smuggler's Run. The two agree Buzz Lightyear's Space Ranger Spin is pretty great. They do the Jungle Cruise. Felisha makes a lightsaber. Graham almost becomes a Star Wars character. The two eat a giant pretzel. Web Slingers: A Spider-Man adventure proves to be divisive. The two visit with Mr. Lincoln. There was a wall of pins and Felisha just about died. New listener shoutout- contact us to get your own shoutout. Email us at damnyouretallpod@gmail.com --- Send in a voice message: https://anchor.fm/damnyouretall/message

Felisha is back from her friend's wedding in Chicago. She talks about the music played. Graham talks about how fires kept springing up in Waimea, Big Island, Hawaii. The couple talk about their upcoming vacation in California, including a planned visit to the Getty Villa. The two talk about Wind River (2017) by writer-director Taylor Sheridan starring Jeremy Renner, Elizabeth Olsen and Graham Greene. Email us at damnyouretallpod@gmail.com --- Send in a voice message: https://anchor.fm/damnyouretall/message

“From what we know, the earliest form of true writing was that invented in Mesopotamia in the late fourth millennium BC. Closely followed by Egypt, not long after. It’s probably only a matter of a couple of hundred years, if that. But Mesopotamia seems to have it by a nose.” Mesopotamia, the fertile land between the Tigris and Euphrates rivers, was home to some of the world’s first cities. Beginning around 3400 BC, people came together in this region to build elaborately decorated buildings, form complex trade relationships, create great works of art and literature, and develop new scientific knowledge. Central to these many advancements was written language, which emerged earlier in Mesopotamia than anywhere else in the world. An exhibition at the Getty Villa, composed largely of objects on loan from the Louvre, explores the history of these first urban societies through their art and writings. In this episode, Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the Getty Museum and curator of the Villa exhibition Mesopotamia: Civilization Begins, discusses the ancient civilizations of Mesopotamia. For images, transcripts, and more, visit https://blogs.getty.edu/iris/podcast-art-and-writing-in-early-mesopotamian-cities/ or getty.edu/podcasts. To explore the exhibition, visit https://www.getty.edu/art/exhibitions/mesopotamia/index.html. To buy the book, visit https://shop.getty.edu/products/mesopotamia-civilization-begins-978-1606066492.

Jaymi has been designing around the country for the past twenty years. Some production highlights include: four seasons at Utah Shakespeare Festival where she lit sixteen different productions, Two Trains Running, The Taming of the Shrew and the upcoming Great Expectations at The Oregon Shakespeare Festival. The Wiz and Rocky Horror at Dallas Theater Center, Peter and the Starcatcher and Topdog Underdog at South Coast Repertory, the world premier of The Who and the What at LaJolla Playhouse, Smart Cookie at The Alliance Theater, Frankie and Johnny in the Claire de Lune at Hartford Stage, Orlando and Mary Stuart at The Court Theatre, Among the Thugs and Anna in the Tropics at The Goodman, No Place Like Home, Uncle Vanya, The Dazzle, Absolution and The Ordinary Yearnings of Miriam Buddwing at Steppenwolf, Tug of War at The Getty Villa and the national tour of John Astins Once Upon a Midnight. Some theatre companies she has designed for include Denver Theater Center, Oregon Shakespeare Festival, South Coast Repertory, Utah Shakespeare, LaJolla Playhouse, Dallas Theater Center, Pasadena Playhouse, The Alliance Theater, The Clarence Brown, The Pearl Theater, Victory Gardens, Steppenwolf, The Court Theatre, Marin Theatre Company, Redmoon, Rivendell, Naked Eye, Lookingglass, Milwaukee Repertory, Milwaukee Shakespeare, Madison Repertory, San Jose Repertory, and Hartford Stage. She was a founding member of Naked Eye Theater Company and an ensemble member of The Next Theater and Rivendell Theater Ensemble, all of them Chicago based companies. Other design work has included the scenic and projection design on dozens on productions. She also acted as Architectural Lighting Consultant on over three hundred and fifty private residences and designed four different restaurants within Chicago. In addition, she has designed over fifty various special events for non-for-profits, red carpet events and private parties. As a production manager, she has held many positions. She acted as Senior Production Manager for KBA Marketing who produced more than 10,000 events a year for companies such as Coca-Cola, RJ Reynolds and Nike. She also managed and initiated the groundbreaking citywide theatre festival in Chicago known as Theatre Fever with more than 80 theatre companies leading free workshops and performances for a two-week period. She spent seven years as the Producer for The League of Chicago Theatres facilitating all galas, media events and community conferences. Other production management credits include Outfest Gay and Lesbian Film Festival and Mrs. Ts Triathlon. She received her training from the conservatory program of The Theatre School, DePaul University. In 2003 she was the recipient of the Michael Merrit/ Michael Maggio Emerging Designer Award. She also received a 2010 Joseph Jefferson Award for Mary's Wedding with Rivendell Theater Ensemble and was nominated for a Jeff Award for Orlando at The Court Theater, The Incident with The Next Theatre, Terrible Girls with About Face, Yellowman with The Next Theatre and OffSpring of the Cold War with Walkabout Theatre. She was additionally a winner of a Column Award for Rocky Horror at Dallas Theater Center and was nominated for a Henry Award for her work on Animal Crackers at The Denver Center. Previous teaching credits include adjunct faculty at The School of the Art Institute of Chicago, Associated Colleges of the Midwest and The Theatre School, DePaul University. Her website is available at jaymismith.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/p3-theatre-company/support

In November 2018, a report commissioned by French President Emannuel Macron called for artifacts taken to France during the heyday of European imperialism in the nineteenth and twentieth centuries to be returned to Africa, sending shockwaves throughout the museum world. “I cannot accept,” said Macron, “that a large part of the cultural heritage of several African countries is in France.” The expropriation of material culture has proven controversial in a variety of contexts, from the acquisition of Native American remains by American museums to the complicated provenance of Greek and Roman antiquities held by such major art institutions as the Getty Villa in Los Angeles and New York's Metropolitan Museum of Art. In fact, debates about the rightful ownership of conquered cultural artifacts are almost as old as imperial conquest itself, as evidenced by Cicero's 70 BCE denunciation of the Roman plundering of Greek temples in conquered Sicily. This month, your History Talk podcast hosts Lauren Henry and Eric Michael Rhodes speak with two experts in material culture and museum studies — Professor Sarah Van Beurden and Origins editor Steven Conn — about how cultural heritage repatriation debates have played out differently around the world, as well as what these debates reveal about the very nature of cultural heritage itself. To learn more about museums and cultural heritage, check out Putting Race on Display: The National Civil Rights Museum, A Postcard from Warsaw, Poland: POLIN Museum of the History of Polish Jews, and China Dreams and the “Road to Revival” For more information about the history of Congo and Central Africa, check out Dr. Van Beurden's Origins article, A New Congo Crisis?. Posted: January 2019 Connect with us! Email: Origins@osu.edu Twitter: @OriginsOSU Instagram: @OriginsOSU Facebook: @OriginsOSU Find transcripts, background reading, and more at origins.osu.edu

Herbert Siguenza is a founding member of the performance group Culture Clash. Along with Richard Montoya and Ric Salinas ,Culture Clash is the most produced Latino theatre troupe in the United States. Founded in San Francisco in 1984, Culture Clash has performed on the stages of America's top regional theaters including the Mark Taper Forum, The Kennedy Center, The Arena Stage, The Alley Theatre, The Berkeley Repertory, Yale Repertory, South Coast Rep, La Jolla Playhouse, San Diego Rep, Syracuse Stage, The Huntington Stage and countless universities and colleges. Mr. Siguenza has co-written, and or performed in the following Culture Clash plays: American Night (Commissioned by Oregon Shakespeare Festival) ,Palestine New Mexico, Water and Power, Chavez Ravine (all three commissioned by the Mark Taper Forum) , Peace (Commissioned by The Getty Villa), Zorro in Hell! (Commissioned by the Berkeley Rep), The Birds (Commissioned by the Berkeley Rep and South Coast Rep), Bordertown (commissioned by the San Diego Rep), Radio Mambo, Nuyorican Stories, Anthems, S.O.S., A Bowl of Beings, The Mission and others. As a solo writer and performer Mr. Siguenza has produced Cantinflas! and A Weekend with Pablo Picasso on national tour. His latest plays Steal Heaven and El Henry (Best new play San Diego Critics Circle Award 2014) have been produced at the San Diego Repertory and La Jolla Playhouse. Mr. Siguenza is also an accomplished visual artist and has exhibited both nationally and internationally. He has a BFA in printmaking from the California College of Arts, Oakland, California. TV and Film credits: "Ben Ten Alien Swarm" for the Cartoon Network, "Larry Crowne" feature film directed by Tom Hanks. Various short films. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

MEET RACHEL MYERS:Rachel has been creating work in front and behind the camera for over 20 years in the entertainment industry as a director, designer, and actor. She has collaborated in the creation of over 150 films, theatre, and television productions. From a pool of over 5,000 submissions, her film “Wendy’s Shabbat” premiered at both the 2018 Tribeca International and Palm Springs International Film Festivals and at over 50 other film festivals worldwide. “Wendy’s Shabbat” qualified for the 2019 Academy Awards and was broadcast on PBS, POV, and TOPIC. Rachel was awarded the first solo Shondaland Women’s Directing Mentorship to direct for Shonda Rhimes Television, nominated for the inaugural Lynn Shelton “Of a Certain Age” Grant, and selected for the Sundance Director’s Co-Lab. Rachel has directed films, 2 Black Boys, based on the poetry of Giovanni Adams on blackness and queer identity which premiered at OUTFEST, Cannes AVIFF, and Winner of Cadence Video Festival at the Northwest Film Forum. Rachel has directed for Disney Channel TV episode of Kim Possible and Mensajes (Messages) in Spanish about Mexican Artist Leobardo Huerta. She developed and originated “CONFIDENCE,” a short film and campaign series for women. Rachel directed and conceived, “Writing with Grace” live show, debuting to a 2,500 person live audience for VIDCON. Her work won Fullscreen and the AT&T Hello Lab a 2016 Streamy Award for Best Brand Campaign. Rachel co-created the series HOT SPOT which premiered at Seriesfest 2020. Her award-winning experiential company, 3 PENNY DESIGN has conceived and produced live events, brand activations, and interiors for “Crayola” in Times Square for “The Emmy’s,” “The Golden Globe Awards” and more. Her Production Design Film credits include, “Kim Possible” Disney, “Short Term 12,” winner of SXSW and Independent Spirit Awards, “Desperados” Netflix, “The Drowning,” “Search Party” “Identity Theft,” “Chronicles Simpson,” “Saving Lincoln” and “Liminal,” Winner of Best Art Direction - Barcelona International Film Festival, Punta del Este Festival and Action on Film Festival. Television design credits, HULU “East Los High, “Five Points” Facebook, "Sing It" YouTube Red, “Faking It” MTV, “Blue” LIFETIME nominee for ADG Award, “Paloma” and “Video Game High School” Lionsgate, Producers Guild Award and Streamy Award nominee for Best Production Design. Her commercial client list includes Crayola, ADIDAS, Ray-Ban, AT&T, ESPN, Volkswagon, Marriott, DAQRI, Hewlett Packard, Turbo Tax, Wrigley’s, Gevalia, CVS, Soul, Pampers, L’oreal, Schick, Taco Bell, Soap and Glory, Maccaroni Grill and Getty Images. Her regional theatre credits include BAM Brooklyn Academy of Music, Center Theatre Group, The Geffen Playhouse, The Old Globe, South Coast Repertory, The Shakespeare Theatre DC, The Getty Villa, Robert Wilson’s Watermill Center, and Williamstown Theatre Festival. Los Angeles Theatres- Rattlestick West, Los Angeles Ovation Awards, IAMA, Theatre at Boston Court, and Vs Theatre. Rachel’s work has also been featured in national and international publications and media, including the NY Times, LA Times, Cheddar, and Vice. She has appeared on The Today Show with Megan Kelly, Michelle Collins Show on Sirius XM and Tablet Unorthodox Podcast as well as Vice, Refinery 29, NY Daily News, Forward, Tablet, Variety, Broadway World, The Times of Israel, Women, and Hollywood, Movie Maker, Newsday, Daily Mail, ZEAL NYC, Desert Sun, IMDB, NY Bulletin and more. Her films have been exhibited at the Boston Museum of Fine Art and the NW Film Center at the Portland Museum of Art. Her designs have also been seen at BAM, The Brooklyn Academy of Music, The Watermill Center, and are part of the permanent collection of the Getty. Her work has won an Ovation Award and Broadway World and Streamy Award nominations. Rachel received her MFA from the Yale School of Drama and studied Theatre and Art at Pomona and Scripps Colleges and RADA the Royal Academy...

The Wiki Boys take a girls trip! We were accused of not covering enough women on the pod, so this week we're going from the pages of Rachel Carson’s influential environmental science book, Silent Spring, to the lovely shores of Malibu where we studied the Streisand Effect and Lana Del Ray. Then we took a trip to the Rock and Roll HOF to listen to the earthy voice of Etta James.Wikipedia Articles Covered:Silent SpringDisinformationStreisand EffectMalibuLana del RayBillie HolidayHarry J AnslingerThe Rock and Roll Hall of FameEtta JamesFor more Wiki U content follow us on Instagram @wikiuniversityMusic for the show was provided by Davey and the Chains

Michael is the recipient of 9 Artios awards, presented by the Casting Society of America for Outstanding Achievement in Casting. Michael has cast over 1000 theatre productions, including shows produced at the Ahmanson Theatre, the Hollywood Bowl, Pasadena Playhouse, Mark Taper Forum, Kirk Douglas Theatre, Walt Disney Concert Hall, Geffen Playhouse, International City Theatre, La Jolla Playhouse, Getty Villa, Ricardo Montalban Theatre, Garry Marshall Theatre, Colony Theatre, Theatre @ Boston Court, 24th St. Theatre, The Soraya, San Francisco Symphony, Arizona Theatre Company, both the Palazzo Theatre and the Paris Theatre in Las Vegas, Arkansas Rep, Kentucky Shakespeare Festival, Indiana Rep, as well as several national tours. Michael’s credits also include numerous films, over 1,000 commercials, and multiple TV series. Michael, who also teaches at UCLA, is President of the Foundation for New American Musicals, and serves on the Board of Directors for Camp Bravo. Contact Michael - https://michaeldonovancasting.com/ https://www.instagram.com/michaeldono... https://twitter.com/MD_Casting CUT THE ACT CUT THE ACT - https://www.instagram.com/cuttheact_p Mikes Instagram - https://www.instagram.com/mikes_insta https://mikefarrell.com.au/ CONTACT Mike at "CUT THE ACT" Mike@mikefarrell.com.au --- Send in a voice message: https://anchor.fm/mike-farrell1/message

Southern California has always faced wildfires, but in recent years the threat has grown. Both the Getty Center and the Getty Villa are situated in the Santa Monica Mountains and surrounded by brushland, making them particularly vulnerable to the increased fire risk. In October 2019, the eponymous “Getty Fire” roared through the Santa Monicas near … Continue reading "Responding to Disaster: The Getty Fire"

Okay, Best of LA Theatre 2019 part two. Last week, I shared plays that tackled race head on. This week, one last favorite production that made an audience confront how race haunts our national drama from an unlikely source: The Getty Villa.

In anticipation of the world premiere of "Eurydice", Mary Louise Hart, Associate Curator of Antiquities for the J. Paul Getty Museum at the Villa, together with Brian Lauritzen, discusses ancient theatre, myth and how the story of Orpheus and Eurydice continues to fascinate us, in a conversation recorded earlier this fall. More information about "Eurydice": www.laopera.org/eurydice

Okay, Best of LA Theatre 2019 part two. Last week, I shared plays that tackled race head on. This week, one last favorite production that made an audience confront how race haunts our national drama from an unlikely source: The Getty Villa.

Edward Goldman talks about the treasures of Villa dei Papiri at Getty Villa for the exhibition Buried by Vesuvius.

In the grand tradition of novels likethe Handmaid’s Taleand 1984, Last Call - America: Last Call Before Darknesscompels the reader to envision a world not so different from our own, but with a dark twist.  So go the very best dystopian novels of past generations. We delight in the chilling suspense of what might befall us if we’re not careful… and even if we are. Why do we love them so much?  How does Last Call - America: Last Call Before Darkness written by author Debra Tash, deliver on the promise books in this genre make to all dystopian novel lovers? Debra Tash is an award winning American author, journalist and accomplished speaker. Her books have won multiple awards and been sold nationwide.  Debra was born in Los Angeles where she honed her writing skills through various creative outlets including painting, with a few of her pieces touring internationally in Japan.  She also worked as a Docent at the world renowned Getty Museum and Getty Villa where she gave tours and spoke on historical figures and art.   She gets her inspiration from current and past events, focusing on positive morals and uplifting themes. Her most recent book “Last Call America" focuses on the not so distant future and takes the current American political climate to a chilling collusion. From columnist Rich Eber’s review:  “Last call America is a page turner…the pay-off is a thought provoking book which is well worth spending the time to read.”  Debra served as Editor in Chief of Citizens Journal, a Ventura County based online news site that covers current and breaking news in the Ventura and Los Angeles County.  She has given lectures for such organizations as the DAR, The American Associated of University Women and the Southern California Federated Women’s Club.  She has served as a panelist at the Historical Novel Society’s North American Conference.  Debra currently resides in Ventura County where she is a mother, activist and passionate about literacy and education for children. 

Jessica Hanna (she/her) is a Los Angeles based Theater Maker and Artist in Residence at Thymele Arts. She is new member of The Kilroys, an activist artists group working for gender parity in the American Theater through guerilla actions. She has worked as an actor, director, choreographer and producer all over Los Angeles with many companies and spaces including, Open Fist, Sacred Fools, Evidence Room, John Anson Ford Amphitheatre, Greenway Court, Abundant Sugar, Occidental College, Atwater Village Theatre, Furious Theatre, Mine is Yours Theatre Co., B-Flat Productions, Center Theatre Group, Mutant Collective and Circle X. She has also had the pleasure of working with Anne Bogart and the SITI Co. as an actor at the Getty Villa twice. She has trained in Suzuki & Viewpoints since 2002. In June 2006 she co-founded Bootleg Theater and was the Producing & Managing Director through 2018.  Her focus as a freelance director & producer has been on new work development. Recent directing credits include: Lisa Dring's DEATH PLAY, for the Son of Semele Solo Creation Festival and Circle X Theatre (full production). NO HOMO, at Hollywood Fringe (Winner Best Director, Ensemble Theater, World Premiere and Golden Playwright), New York Fringe and Atwater Village Theatres, FOUR CHORDS AND A GUN by John Ross Bowie at Bootleg, I CARRY YOUR HEART by Georgette Kelly at Bootleg, PRISCILLA QUEEN OF THE DESERT, the musical, at Celebration Theatre (Winner 2019 Ovation Award Best Production of a Musical, 7 Nominations), THE WILLOWS by Kerri-Ann McCalla and BLUE GOLD & BUTTERFLIES by Stephanie Batiste, both at Bootleg. Most recently she was at CalState University Long Beach guest directing Lauren Gunderson's THE REVOLUTIONISTS. Find Jess on most social media @jessessa photo credit for Jess's headshot: Peter Konerko Host: Emily Stamets (@theemilystamets) Original music: Jaclyn S. O'Connor Graphics: Tiffany Spence

We tend to think of women’s liberation as starting in the 19th century and of feminism as originating in the 20th century. But women throughout the ages have found ways to advance themselves and protect their rights even under the most oppressive circumstances. How did women in ancient societies, from Greece to China to the Yucatán Peninsula, carve out roles for themselves, resist misogyny, and defend themselves against discrimination? Which societies, if any, were open to the participation or even the leadership of women in matters of ritual and law, and which societies were the most exclusionary? And what thinkers and leaders from the ancient world proved to be ahead of their time when it came to women’s rights? UC Santa Barbara classicist and scholar of ancient Greek literature Helen Morales, University of Miami archaeologist and editor of Ancient Maya Women Traci Ardren, and Cal State LA historian of premodern China Ping Yao visited Zócalo to consider how ancient women empowered themselves long before contemporary movements. The Zócalo/Getty Villa event, moderated by Madeleine Brand, host of KCRW’s “Press Play,” took place at the Getty Villa in the Pacific Palisades, California.

As the old year dies, our thoughts turn to what happens next. What better time, then, to cast a seasonally morbid, deeply philosophical, and curiously uplifting pod about what happens in the Ancient Greek afterlife? The Getty Villa's new exhibition, Underworld: Imagining the Afterlife is all about this and Dominic Green talks to David Saunders, Associate Curator of the J. Paul Getty Museum in California.

Along side architecture, art and inscriptions, the aristocratic villas of Rome and their gardens were also reinterpreted during the Gilded Age with the Pompeia in Saratoga, New York, and then later at the Getty Villa in Malibu California. Please joins us for an interview with Dr. Katharine von Stackelberg, Brock University, about Designing Roman Villas and Gardens for the Gilded Age.

Ancient peoples and thinkers had sophisticated ideas about living in harmony with nature. From Greek city-states to Maya civilization, people thought that what humans did—how they planted, how they worshipped, how they conducted themselves—could influence both the Earth’s behavior and their own fate. When droughts or volcanic eruptions threatened crops, rulers had to manage panicked citizens while explaining the cosmic reasons for nature’s revolt. Many ancient societies adopted ecological practices emphasizing individual civic responsibility for the benefit of all, and some ancient thinkers developed such ideas as well. What can the ancients teach us about how collective moral values and social habits can connect citizens to the world around us? What were the blind spots in ancient orders that sometimes led to ecological catastrophe? How can understanding ancient mythologies and philosophies about nature help us rethink our own? Princeton political scientist Melissa Lane, author of "Eco-Republic: What the Ancients Can Teach Us About Ethics, Virtue, and Sustainable Living," archaeologist and director of the UC Santa Barbara Mesoamerican Research Center Anabel Ford, Yale historian of Ptolemaic Egypt Joseph Manning, and moderator Scott Tong, Sustainability Correspondent for Marketplace, took part in a Zócalo/Getty Villa Event panel discussion at The Getty Villa to explore what ancient civilizations can teach us about how to live with nature today.

UCLA Professor of Musicology Mitchell Morris at Getty Villa on Sunday, March 11, 2018. Composers and artists of the 19th century embraced the iconic figure of Orpheus, portraying him as the passionate hero of symphonic poems and concerti, the ultimate poet as prophet, and the very model of the Romantic musician. This talk traces the continuing power of the myth in music by Beethoven, Liszt, and Scriabin, as well as in paintings created at the turn of the century.

Egyptian mummy portraits are among the oldest paintings that have survived from the ancient world. Incorporated with the wrappings of mummies, these strikingly realistic portraits of the deceased reflect a blending of the artistic style of Greco-Roman culture with Egyptian funerary traditions. We visit the galleries of the Getty Villa with associate conservator Marie Svoboda … Continue reading "Marie Svoboda on Egyptian Mummy Portraits"

Getty villa

Getty villa

What a lovely talk Prof. Adrienne Mayor gave at The Getty Villa in Malibu in February and it is my great pleasure to have her on the show to share with my listeners what she has learned from her extensive research about the legendary Amazons.  We'll discuss the many Amazonian women, hear about their stories, discover where they really lived and what their lives were like.  It might surprise you!  Be sure to tune in!   Prof. Adrienne Mayor is an independent folklorist/historian of science who investigates natural knowledge contained in pre-scientific myths and oral traditions.  She's also the author of two books on pre-Darwinian fossil traditions in classical antiquity and in Native America.  Titles of her books not on the Amazons include Poison King: the life and Legend of Mithradates the Great, Rome's Deadliest Encmy, Fossil Legends of the First Americans, and the First Fossil Hunters: Paleontology in Greek and Roman Times.      

The Getty Villa, the Griffith Observatory, and El Capitan Theatre... man, Solid Cat is all over Los Angeles. First off, as a good rule of thumb, don't throw a punch at your producer. Depression lies. In 1998, D-mo made Lisa Loeb the Green Lantern; this was favorited by Lisa Loeb herself on Twitter in 2015. Val got kicked in the face; literally a foot to the face. We have fun historical facts about Magellan. Mr. T pities the tool; yes, the tool. Camels go missing in Missouri; they may or may not be gay; Cher may or may not be involved. The Most Interesting Man in the World can't get you out of a carpool violation ticket. What is the "Most Canadian Photo Ever?" We review the new live action Cinderella, and following that up with a review of Greenblatt's deli in the Space Cowboy Kitchen. We play Superfight again on Solid Cat Game Night, and we're sorry for any relationships we may have broken up due to our gameplay. Editors! Do you job! And we end with Val making fun of how D-mo runs. What's up with that? This is Solid Cat.

We may be fat, but ain't ugly here at Solid Cat. D-mo loves tenacious pinatas. Zoe is known more for silent terror (she's screaming on the inside). Are nail spas modern-day brothels? We visit the Getty Villa to start a grand tour of Los Angeles. Want to start a conversation, wear a Flash t-shirt. Famous people and people who portray them on film. Will Smith takes us to John Wayne who takes us to Hollywood whitewashing and yellowface, as John Wayne played Genghis Khan in a movie. Yes, that Genghis Khan. Of course, the worst yellowface was Mickey Rooney in Breakfast at Tiffany's. What is moleology? Heard of urine-repellant paint? We have the world's first penis transplant. In the Space Cowboy Kitchen, we review the ice cream of Milk, on Beverly. At The Counter, they sell a beer float. Yes, bear with ice cream. Let's celebrate the ninja. How awesome would a real-life Studio Ghibli-Land be? Val is like a songbird... or a whore siren (her words). And yes, from Albania to Zimbabwe, Solid Cat is 100 country strong. #BOOM

Lindsey Davis describes herself modestly as “an English Lady Pensioner.” She is certainly an English Lady, but as an author she is far too prolific to fit any definition of the word retired. The author of 27 books, Davis’ most famous creation is Marcus Didius Falco, a series of detective novels set in Ancient Rome. Although she wins high marks from classicists—she was named honorary President of the Classical society and has been invited to speak at places like the Getty Villa—she balks at the idea that even the merest suggestion that the Falco novels filled rich details about every aspect of Roman life might be described as “educational.” Instead, she insists they’re entertainment. That they are. In this interview, we talk to Ms Davis about the reasons for the enduring popularity of the detective genre and why she resonated with the Roman Empire as a backdrop for her novels. (The answers will surprise you.) Currently, Ms Davis is writing books in a spin-off series about Falco’s daughter who is also a detective. You can find Ms Davis on the web at www.lindseydavis.co.uk. All 27 of her books are available on Amazon. If you’re looking for a place to explore her work there’s no better place than with The Silver Pigs, the award-winning first novel in the Falco series. Be sure to rate and comment in iTunes.

10/10/13 - Mary Jo Mellado Willey has the next part in the Southern California 101 series, this time focusing on the outlying areas, such as the coast and mountains.

(From the Best of State of the Arts – Original Broadcast: September 20, 2012) - Filmmaker and member of New York Women in Film & Television Emily Sheskin talks about her plus-size beauty pageant documentary titled There She Is. Musical Theatre stars Adam Huss and Tyler LeDon are interviewed about their co-starring roles in the much anticipated new musical Justin Love at the Celebration Theatre in Hollywood. The Live Arts Calendar features critiques of Kander and Ebb’s musical revue The World Goes ‘Round at Hollywood’s Crossly Theatre; and Euripides’ HELEN at the Getty Villa in Pacific Palisades, CA. Huss and LeDon share embarrassing moments during performances.

(From the Best of State of the Arts – Original Broadcast: September 20, 2012) - Filmmaker and member of New York Women in Film & Television Emily Sheskin talks about her plus-size beauty pageant documentary titled There She Is. Musical Theatre stars Adam Huss and Tyler LeDon are interviewed about their co-starring roles in the much anticipated new musical Justin Love at the Celebration Theatre in Hollywood. The Live Arts Calendar features critiques of Kander and Ebb’s musical revue The World Goes ‘Round at Hollywood’s Crossly Theatre; and Euripides’ HELEN at the Getty Villa in Pacific Palisades, CA. Huss and LeDon share embarrassing moments during performances.

Jump in for a VIP visit to the Art Institute of Chicago's new Jaharis Galleries of Greek, Roman, and Byzantine Art. Quadruple in size from the museum's earlier ancient art galleries, the new vista boasts a massive display of 550 ancient treasures from the Art Institute and collections around the world, including the British Museum, Getty Villa, Oriental Institute, Field Museum, and more. In this episode, we explore the aesthetics and merits of the new gallery design, point out some pitfalls, see old friends in a new light, and get close and personal with a few new kids on the block. We also explore the Art Institute's new interactive multimedia iPad app, LaunchPad. Also mentioned: Lycurgus Cup, Projecta Casket, Cycladic Female Figurines, Proto-Elamite/Mesopotamian Statuette of a Striding Figure, Roman mosaics, conservation, Kulapat Yantrasast, wHY Architecture, Etruscans, Sardinia, Getty Villa, British Museum, Pablo Picasso, Marc Chagall, Alexander Calder, Joan Miro, Apple iPad. Explore the image gallery, credits, transcript, and more at http://ancientartpodcast.org/55. Connect at http://twitter.com/lucaslivingston and http://facebook.com/ancientartpodcast.

Filmmaker and member of New York Women in Film & Television Emily Sheskin talks about her plus-size beauty pageant documentary titled There She Is. Musical Theatre stars Adam Huss and Tyler LeDon are interviewed about their co-starring roles in the much anticipated new musical Justin Love at the Celebration Theatre in Hollywood. The Live Arts Calendar features critiques of Kander and Ebb’s musical revue The World Goes ‘Round at Hollywood’s Crossly Theatre; and Euripides’ HELEN at the Getty Villa in Pacific Palisades, CA. Huss and LeDon share embarrassing moments during performances. Sponsored by Breakdown Services (http://www.breakdownexpress.com/)

A series of over-the-top one liners fuel this episode’s high stake antics. Sterling discusses the opening of Euripides’ HELEN at the Getty Villa in Pacific Palisades, CA. Composer, writer, actor/singer Brett Ryback (the LA Center Theatre Group’s The Lieutenant of Inishmore and The History Boys) talks about his acting and music careers and all new nightclub act The Kid with the Keys premiering in Los Angeles at Sterling’s Upstairs at The Federal in North Hollywood’s NoHo Arts District. The Live Arts Calendar highlights All the King’s Men at the El Portal Theatre in North Hollywood; and the weekly State of the Arts/Breakdown Services Sweepstakes Giveaway selects another winner. Actor Daniel Sykes is interviewed about his life on the stage and his starring role in the Group Repertory Theatre’s production of The Paris Letter at the Lonny Chapman Theatre in North Hollywood. Ryback and Sykes divulge awkward career moments. Sponsored by Breakdown Services (http://www.breakdownexpress.com/)

Actor Maxwell Caulfield (Grease 2, Dynasty and The Colbys) is interview about his work on Broadway and his co-starring role in Euripides’ Helen at the Getty Villa’s outdoor Barbara and Lawrence Fleischman Theatre in Pacific Palisades, CA. Caulfield’s wife of 30 years, distinguished Tony Award winning Actress Juliet Mills from TV’s memorable hit series Nanny and the Professor, talks about her past achievements, her sister Haley Mills, and their late father Sir. John Mills, one of the world’s most distinguished stage and film actors. The State of the Arts Sweepstakes returns with its giveaway of great prizes from Breakdown Services. Enter for your chance to win by “liking” State of the Arts” on Facebook. Caulfield and Mills recall awkward moments while performing. Sponsored by Breakdown Services (http://www.breakdownexpress.com/)

In this, the sixth episode of the podcast, Samm Levine (Freaks and Geeks, Inglorious Basterds) and Michelle travel all over Los Angeles on the quest for fun. We go highbrow with the Getty Villa in Malibu, we go lowbrow by having lunch at Moonshadows on the PCH and we go monobrow by playing minigolf in the Valley. This and more wacky mayhem ensues on the latest episode of Walking With Michelle. Enjoy.

Please visit our blog at www.artagogo.com/blog for full show notes and links that we discuss during the show. Podcast #29 - We visit the Getty Villa in Malibu, LACMA for the David Hockney Portraits exhibition, and hang out by the pool at the Mosaic Hotel in Beverly Hills. Tags: art, arts, art a gogo, artist, art news, art reviews, interview, museum, gallery, exhibit, exhibition, podcast, podcasting, entertainment, boing boing, Getty Villa, Getty, J. Paul Getty, LACMA, Los Angeles County Museum of Art, Mosaic Hotel, David Hockney, David Hockney Portraits, Statue of Kouros, Victorious Youth, The Landsdowne Herakles