Podcasts about Joffrey Ballet

Dancers from Chicago's world-renowned Joffrey Ballet join the CSO with newly commissioned choreographies. Symphonies by Haydn and the Chevalier de Saint-Georges abound in witty and joyful melodies while two 20th-century works are full of popular influences: Perkinson's jazz-tinted Sinfonietta No. 1 and Milhaud's rollicking Brazilian postcard, The Ox on the Roof. Learn more: cso.org/performances/24-25/cso-classical/cso-and-the-joffrey-ballet

"Dance Talk” ® with Joanne Carey and special guest Lar Lubovitch.In this episode of "Dance Talk” ® with Joanne Carey, host Joanne Carey interviews renowned choreographer Lar Lubovitch, who shares his journey into the world of dance, his artistic influences, and his experiences at Juilliard. Lubovitch discusses the importance of intuition in dance, the correlation between painting and choreography, and the defining moments that shaped his career. He reflects on his first choreographic experience and the evolution of the Juilliard Dance Department, highlighting the significance of mentorship and the transformative power of dance. In this conversation, Lar Lubovitch shares his journey in the world of dance, discussing the importance of movement poetry, the essence of dance as a higher value, and the significance of improvisation in choreography. He reflects on his recent Lifetime Achievement Award and the sense of community within the dance world. Lubovitch emphasizes the ongoing process of learning and evolving as a dancer and choreographer, encouraging others to embrace the journey of creation and expression in dance.Lar Lubovitch is one of America's most versatile, popular and widely seen choreographers. Based in New York City, Lubovitch's company has performed throughout the world, and his dances have also been performed by many other major companies, including American Ballet Theater, Joffrey Ballet, New York City Ballet, Paris Opera Ballet, Royal Danish Ballet, San Francisco Ballet, Alvin Ailey American Dance Theater, and many others. His dances are renowned for their musicality, rhapsodic style and sophisticated formal structures. His radiant, highly technical choreography and deeply humanistic voice have been acclaimed worldwide.THE COMPANY. The Lar Lubovitch Dance Company is internationally renowned as one of the world's best dance companies. Founded in 1968, the company is now celebrating its 56th anniversary. The 50th season kicked off with a preview performance on Nov 13 (2017) at Lincoln Center's Clark Studio Theater, and culminated with performances from April 17-22 (2018) at the Joyce Theater. Celebrated for both its choreographic excellence and its unsurpassed dancing, the company has created more than 120 new dances and performed before millions throughout the United States and in more than 40 foreign countries. During 2023, the company created two new dances. The first, Conversing With Brahms, premiered in Dallas in April, and the second, Desire, premiered at the Guggenheim Museum in NYC on December 5, 2023. During 2024, the company is creating Many Angels, together with Alvin Ailey American Dance Theater.⁠https://lubovitch.org/Company/Lar_Lubovitch/lar_lubovitch.html⁠“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠ ⁠⁠Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Self-care is especially important during the holiday season. It can be hard to find the time to prioritize your mental and physical health during this time, but it doesn't need to be expensive. Everyone deserves access to rest, relaxation, and rejuvenation so we're revisiting a conversation from earlier this year where we highlight some local self-care options that fit any budget. Make sure you vote City Cast Chicago as Best Podcast and Hey Chicago as Best Email Newsletter in the Chicago Reader's Best of 2024  Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this Dec. 26 episode: Joffrey Ballet — save 10% with code SNOW10 for the December 26th and 27th performances! Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

It's the busiest season of the year for advertisers and retailers. That means a lot of commercials, which is something we know a little something about in Chicago. Join us as we revisit a conversation from earlier this year with Axios reporter Justin Kaufmann about some of our city's most legendary commercials, jingles, and characters that have enticed us to buy stuff. Make sure you vote City Cast Chicago as Best Podcast and Hey Chicago as Best Email Newsletter in the Chicago Reader's Best of 2024  Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this December 23rd episode: Joffrey Ballet — save 10% with code SNOW10 for the December 26th and 27th performances! Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

After months of contentious council meetings, new tax proposals, and a few delayed votes, alders voted 27-23 to approve the mayor's $17 billion budget for 2025. Given all of the combativeness and compromise, what did we actually end up with in our city budget? WTTW's Heather Cherone and Chicago Reader's Katie Prout are here to help us dive into the numbers. Plus, we discuss the head of DFSS resigning, CPD's “unsatisfying” consent decree progress, and one particularly photogenic river otter. Good News: Garfield Park Plant Sale & Planks and Pistils Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this Dec. 20 episode: Joffrey Ballet — save 10% with code SNOW10 for the December 26th and 27th performances! Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

We brought you episodes about food nearly every week this year, recommending spots to check out, trying Chicago classics, and talking about the latest food headlines. But how much information did the City Cast Chicago team retain? Host Jacoby Cochran and Hey Chicago newsletter editor (and weekly quiz writer) Sidney Madden take on executive producer Simone Alicea's toughest quiz yet. Episodes mentioned: Our Best Chicago Food Predictions for 2024 How to Find Chicago's Secret Speakeasies and Restaurants Is the Sweet Steak Sandwich Chicago's Most Underrated Classic? Is Chicago a Wine City? How to Eat Cicadas. Yes, We're Serious. The Sad State of Chicago's Food Truck Scene Where Are Chicago's Best Breweries? Did Chicago Restaurants Benefit from DNC? Is Chicago Actually The Pumpkin Spice Capital? Restaurant Openings, Updated United Center Menu, and a $13,000 Martini Will North Siders End 120-Year Alcohol Ban? Good News: TINK's The Winter's Diary Music Festival and Independent Spirit by Britt Julious Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about our sponsors: Joffrey Ballet - save 10% with code SNOW10 for the December 26th and 27th performances! Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

We spent a lot of time online in 2024, and despite our individual bubbles, there were some moments that landed on all of our feeds. What were the most viral moments that came out of Chicago in 2024? And which one was the best? Or at least the one we just couldn't get away from? Host Jacoby Cochran and contributor Leigh Giangreco take on a classic City Cast Chicago bracket to find Chicago's most viral moment of 2024. Vote on what you think was Chicago's most viral moment. Update: City Approves Pilsen Metal Shredder  Good News: Silver Room Anniversary Weekend Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about our sponsors: Joffrey Ballet — save 10% with code SNOW10 for the December 26 and 27 performances! Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

While City Council voted on a budget yesterday, a decision on a permit for a metal shredder in Pilsen that was supposed to come down Monday has been pushed back indefinitely. Neighbors are calling for a comprehensive health risk assessment, as the city comes under fire for failing to enforce environmental regulations and as staffing changes at the health department slow environmental justice projects. Host Jacoby Cochran and executive producer Simone Alicea discuss what the moves could mean for the Johnson administration in 2025. Plus, they play a game of “guess that quote” and discuss the most interesting Best of Chicago categories in the Reader. Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this Dec. 17 episode: Joffrey Ballet – save 10% with code SNOW10 for the December 26th and 27th performances! Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

‘Tis the season for The Nutcracker! For three weeks, and in true holiday fashion, the Joffrey Ballet is lighting up the Lyric Opera House with its local twist on a classic tale. The show is set on Christmas Eve, months before the opening of Chicago's 1893 World's Fair. It features dazzling cultural performances, a visit from the mysterious Great Impresario and the magical adventures of the Nutcracker Prince and Marie, the young girl protagonist. The Reset team watched the show on opening night and sat down with the head of the ballet company Greg Cameron to learn more about the production. For a full archive of Reset interviews, head over to wbez.org/reset.

Dance Talk” ® with Joanne Carey and special guest, Jarod Lewis, manager of the costume shop, New York City Ballet. In this episode of Dance Talk, Joanne Carey continues her conversation with Jarod Lewis, the manager of the New York City Ballet Costume Shop. They delve into the intricate world of costume design, particularly focusing on the beloved Nutcracker ballet. Jarod shares insights into the preparation for the Nutcracker season, the longevity and craftsmanship of costumes, and the historical significance of certain pieces. The discussion highlights the importance of documenting the work of costume makers and the collaborative effort behind each performance. Jarod also showcases various costumes, emphasizing the attention to detail and the artistry involved in their creation. In this engaging conversation, Joanne Carey and Jarod delve into the intricate world of costume design and reconstruction. They explore the meticulous process of maintaining and rebuilding costumes, the importance of communication between dancers and costume makers, and the essential tools and techniques used in the costume shop. The discussion highlights the blend of artistry and engineering that goes into creating costumes that not only look beautiful but also function effectively on stage. Jarod shares insights into the science behind fabric manipulation and the significance of understanding the dancer's needs during fittings, emphasizing the collaborative nature of costume design. Jarod Lewis, has been the Costume Shop Manager of the NYC Ballet since 2021 where he works alongside the Director of Costumes, Marc Happel, to lead the Costume Shop towards creating the costumes for new ballets and the refurbishments and rebuilds of existing works. During his time at NYCB Jarod and his team of 16 artisans have created 18 world premiere ballets and are preparing for 3 more for this coming Fall and Winter seasons. Before working at NYC Ballet Jarod was the Assistant Designer and Shop Manager at Halsey Onstage, a costume production company in Chicago, IL. There Jarod worked alongside the late Travis Halsey to create over 250 custom costumes that have been worn on stages such as Sea World San Antonio, Papermill Playhouse, Houston Ballet, Vero Beach Ballet, The Joffrey Ballet, and for YAGP. They also created costumes that have been worn in various ballets, musicals, tv shows, and operas across Canada, Australia, and France.   Before beginning his career in costuming, Jarod grew up in the Appalachian Mountains of Eastern Kentucky where he began his journey working in the performing arts by receiving his BA in Music at Morehead State University and continued education of Music Production and Technical Theatre at Troy University. Jarod has performed with various music groups on stages such as Universal Studios in Orlando, FL, the Gulf Coast Symphony Orchestra in Pensacola, FL, and on an international orchestra and percussion ensemble tour in Beijing and Tianjin, China. Alongside Jarod's music career he also worked as a freelance recording engineer and the audio engineer in the marching arts with two Drum and Bugle Corps; The Santa Clara Vanguard Cadets from San Jose, California and The Cavaliers from Chicago, IL “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠ Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Dance Talk” ® with Joanne Carey and special guest, Jarod Lewis, manager of the costume shop, New York City Ballet. In this first episode of two with Jarod Lewis, the manager of the New York City Ballet costume shop, join host Joanne Carey as she dives into the intricacies of costume making for the New York City Ballet and some behind the scenes and stay tuned for Part II of our converstaion where we talk all things NUTCRACKER! Jarod shares his unique journey from a small farming community in Eastern Kentucky to managing the costume shop at one of the most prestigious ballet companies in the world. He discusses the intricate art and science of costume making, the importance of communication in a diverse workplace, and the challenges faced during the COVID-19 pandemic. Jarod emphasizes the attention to detail required in costume design, including dyeing fabrics to match dancers' skin tones, and the collaborative effort involved in bringing a ballet to life. The conversation highlights the passion and dedication of those working behind the scenes in the dance world. Jarod's passion for his work shines through as he reflects on the lessons learned throughout his career and the exciting projects ahead. Jarod Lewis, has been the Costume Shop Manager of the NYC Ballet since 2021 where he works alongside the Director of Costumes, Marc Happel, to lead the Costume Shop towards creating the costumes for new ballets and the refurbishments and rebuilds of existing works. During his time at NYCB Jarod and his team of 16 artisans have created 18 world premiere ballets and are preparing for 3 more for this coming Fall and Winter seasons. Before working at NYC Ballet Jarod was the Assistant Designer and Shop Manager at Halsey Onstage, a costume production company in Chicago, IL. There Jarod worked alongside the late Travis Halsey to create over 250 custom costumes that have been worn on stages such as Sea World San Antonio, Papermill Playhouse, Houston Ballet, Vero Beach Ballet, The Joffrey Ballet, and for YAGP. They also created costumes that have been worn in various ballets, musicals, tv shows, and operas across Canada, Australia, and France.   Before beginning his career in costuming, Jarod grew up in the Appalachian Mountains of Eastern Kentucky where he began his journey working in the performing arts by receiving his BA in Music at Morehead State University and continued education of Music Production and Technical Theatre at Troy University. Jarod has performed with various music groups on stages such as Universal Studios in Orlando, FL, the Gulf Coast Symphony Orchestra in Pensacola, FL, and on an international orchestra and percussion ensemble tour in Beijing and Tianjin, China. Alongside Jarod's music career he also worked as a freelance recording engineer and the audio engineer in the marching arts with two Drum and Bugle Corps; The Santa Clara Vanguard Cadets from San Jose, California and The Cavaliers from Chicago, IL.    “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠ Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Episode Summary:  Menina Fortunato interviews Miller Daurey, discussing his remarkable journey from early dance days to a comeback later in life. Miller began dancing at 14, inspired by supportive family members, and soon achieved success with his sister as a dance duo on Star Search, launching his career. His early professional experience includes working with Paula Abdul, winning a scholarship to the prestigious Joffrey Ballet, and performing in major brand commercials. Despite his achievements, Miller eventually transitioned from dance to acting in search of longer-term career stability and better working conditions, a path that led him to New York and Los Angeles. Returning to dance in his 40s, Miller describes the changes in today's dance environment, from the focus on social media and class filming to the reduced emphasis on warm-ups. He shares the physical challenges of dancing later in life, especially with injuries, but credits dedicated rehabilitation, yoga, and support from fellow dancers for his continued progress. Miller reflects on the importance of community, noting how others' encouragement helped him adapt to new styles and techniques. He offers invaluable advice for young dancers: prioritize self-care, be open to learning, and don't take life too seriously. Miller's journey serves as a reminder to stay true to one's passion, value every experience, and trust that setbacks and successes alike contribute to one's growth. His story exemplifies resilience, encouraging dancers to focus on their “why” and to embrace dance as both a career and a lifelong joy. Show Notes: (0:00) Miller Daurey's Introduction and Early Dance Journey (1:29) Discovery and Success on Star Search (9:00) Transition to Working with Paula Abdul (10:33) Joffrey Ballet and Early Professional Dance Career (14:51) Challenges and Struggles in the Acting World (16:16) Return to Dance and Documenting the Journey (20:45) Adapting to Modern Dance Practices (29:33) Injuries and Recovery in the Dance Journey (35:06) Community and Support in the Dance World (41:24) Advice for the Next Generation of Dancers Biography: Miller Daurey is a former professional teen dancer who quit dance at 19 — just when his career was really taking off. In his docuseries, Back To Great, he explores returning to dance training 3 decades later and all that entails. It's his hope to inspire and remind others… it's never too late to go back to something you once loved. Connect on Social Media: https://www.instagram.com/backtogreat https://www.facebook.com/share/18F1kSET5F/

In today's episode, Dinah Hampson discusses: The importance of providing performers with the tools and resources to have sustainable career Challenging the narrative that dancers must suffer and have short careers Her online platform, Pivot Dancer, which offers resources and classes to help performers take care of their bodies and prevent injuries The need for empowerment and mental performance skills for dancers Abuse and unsafe practices in dance and the importance of creating a supportive community Injury prevention, the importance of sleep, and the need to normalize strength training in dance Dinah Hampson is a Physiotherapist who is passionate about enjoying life and using her knowledge to promote high performance in others. Dinah holds many certifications including the Sport Physio Diploma and International Sports Physiotherapist qualification, the Diploma of Manual & Manipulative Therapy and Pelvic Health Physiotherapy. Dinah is the Founder of Pivot Sport Medicine, a multidisciplinary clinic in Toronto, Canada and Pivot Dancer, a virtual dance injury prevention platform with worldwide membership. Dinah has been on the Canadian medical team for over 15 multisport games, including the Olympics, Youth Olympics, Paralympic, Pan American, World University and Commonwealth Games. Dinah trained in classical ballet, and brings a technical eye to her treatment of dancers and artistic athletes. Dinah works regularly with professional dancers from companies such as the National Ballet of Canada, Joffrey Ballet, Dutch National Ballet, Canadian Contemporary Dance Theatre, Singapore Ballet and, Cirque du Solei. Dinah is active in dance science research and is a regular conference presenter. RECEIVE 15% OFF OF ALL THINGS PIVOT DANCER USING THE CODE: THESTORYPROJECT Follow along on Dinah's journey: @dinahhampson @pivotdancer Transcript available on our ⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠! --- Support this podcast: https://podcasters.spotify.com/pod/show/storyproject/support

Episode Summary:  Liz Ramos, a distinguished professional dancer and choreographer, shares her inspiring journey and invaluable industry insights. From her early days in McAllen, Texas, to making significant marks in Los Angeles and New York City, Liz's story is a testament to the power of persistence and adaptability in the dance world. Host Menina Fortunato introduces Liz, highlighting her impressive collaborations with icons like Earth Wind & Fire, Usher, Jennifer Lopez, and Will Smith. Liz's narrative begins with a pivotal moment at a dance convention in New York City, where she was discovered and subsequently received a full scholarship to the Joffrey Ballet. This opportunity marked the beginning of her professional ascent, eventually leading her to vibrant dance scenes in LA and NY. Liz shares the challenges and triumphs of navigating the competitive environments of Broadway and the broader entertainment industry, emphasizing the importance of early preparation, professionalism, and versatility in auditions. She discusses her experiences with notable choreographers, including Otis Salid at the Oscars, and how these interactions shaped her career and approach to the art. Show Notes: (0:03) Creating a professional dance career with industry insights. (1:19) Liz´s extensive dance career spanning 25 years. (4:26) Dance career growth in Texas and New York City. (9:33) Dance career, including musical theater and film projects. (14:16) Broadway show, favorite gigs, and industry connections. (20:18) Importance of early preparation and professionalism in auditions. (25:26) Importance of versatility in dance and audition process. (35:01) Moving to big cities, choreographing for TV shows, and overcoming fears. (40:46) What choreographers look for in dancers for Broadway shows and commercials. (46:20) Dance conventions, teaching, and career advice. Biography: Liz Ramos made her mark in all avenues of the entertainment world in television, film, tours and Broadway. As a performer, she's had the delightful pleasure of working with some of the top artists of today such as Will Smith, Flo Rida, Kelly Rowland, The Jonas Brothers, Tinie Tempah, Enrique Iglesias, Jenifer Lopez, P.Diddy, Paula Abdul, Faith Hill, Toni Braxton, Beyonce', and many others. Her film credits include: “Enchanted”, “Rango”, “Mr & Mrs. Smith”, ”Idlewild”, ”Rent”, ”Austin Powers- Goldmember”, “El Cantante”, “Dirty Dancing-2”.  Tv credits: 69th Academy Awards, Csi: Miami, Suddenly Susan, Latin Grammys, Soul Train Awards, American Music Awards, MTV Awards, Oprah, and Rosie O'donnel. Tours: Gloria Estefan Re-wrapped, Earth Wind and Fire, Will Smith promo, Kevon Edmonds and Crystal Sierra.  Theater credits include: On Your Feet (Broadway),The Addams Family (Broadway- dance capt.), In the Heights(workshop), The Wiz (La Jolla Playhouse), Mambo Kings (San Francisco), Black & Blue (European tour). Liz's choreography credits span all medium. Her work can be seen on the Disney hit show “Jessie”. Other choreography credits include: Ride Along 2 (film) 2017 Macys Day Parade (celebrity opener)“Eve”(nbc), Earth, Wind & Fire tours, Latin Grammys w/Usher & Romeo Santos, Miss Angola Pageant, The Gypsy Kings (pageant guest artists), Knick City Dancers(nyc), , “Heartbreaker” video featuring WILL I AM, “Tap Girls” Revue -Harrah's Casino, “In L.A,” Larisa Dolina m/v, “Hair” (Geva Theater) Opal Ann meets the Fabulous Kit Katt (play) , Two Lost Worlds (play),Broadway bound musical Nutty Professor (associate), Grease - Papermill Playhouse (associate),2009 Miss Universe (associate), Miss USA 2011/12/13(associate),and “Viva Hollywood”(associate). Liz has worked one on one as a movement coach to some of the top celebrities in our industry today such as: Michael Bolton, Justin Hartley, Julianne Moore, Whoopi, Jennifer Lawernce, Benjamin Pratt, Halle Berry, Thalia, Gaten Matarazzo, and many others. Connect on Social Media: https://www.facebook.com/liz.ramos.5680 Webpage https://lizramos.com/

Episode Summary:  Angelica Stiskin, a distinguished artistic director and choreographer, offers a deep dive into her multifaceted dance career and her educational initiatives at the Joffrey Ballet School. From her early beginnings in New Jersey to becoming a global force in dance, Angelica shares the trajectory of her career, including her mentorship under Billy Larson and her innovative work in choreographing for prestigious events like New York Fashion Week. As the artistic director of the Joffrey Ballet School, Angelica has played a pivotal role in broadening the curriculum to include both concert and commercial dance, emphasizing the importance of a diverse education in the arts.  Angelica discusses the challenges and rewards of her career, particularly in adapting to unexpected opportunities and the evolving landscape of dance genres. She stresses the importance of perseverance, believing in oneself, and the pursuit of passion, which she believes are key to thriving in the competitive dance industry. The podcast also touches on the balance between professional and personal life, a theme that resonates deeply with Angelica as she navigates her roles as an educator, choreographer, and director. Her insights into setting boundaries and prioritizing self-care are valuable for anyone looking to sustain a long-term career in dance. Show Notes: (0:03) Dance industry insights with an artistic director. (2:57) Early years of dancer Angelica Siskin, including training, mentors, and education. (6:36) Artistic director role at Joffrey Ballet School. (13:35) Balancing concert and commercial dance education. (19:47) Diversifying dance training and career paths. (22:31) The importance of believing in oneself and pursuing one's passions. (26:54) Work-life balance and prioritizing personal life. (31:11) Balancing personal and professional life. (36:17) Higher education, master's degrees, and relevancy in dance industry. (41:01) Revolutionizing the education system for dancers. (51:29) The importance of reputation and relationships in the dance industry. Biography: Angelica Stiskin is internationally recognized for her versatility as a choreographer, director, performer, and dance educator. She is honored to lead the next generation of artists as the Artistic Director of Joffrey Ballet School's Jazz & Contemporary Trainee Program and Flagship Jazz & Contemporary summer intensive, SPECTRUM. She began her trajectory at Joffrey Ballet School as choreographer and educator in 2008, appointed Artistic Director in 2017, and has directed the worldwide Audition Tour since 2021. She is seen touring the country on faculty for Heat Convention & Competition's National Tour, as well continuing her work as choreographer, director, and creative consultant designing high-level concepts for fashion, editorial, and live entertainment. Most recently, Bloomberg Philanthropies commissioned Angelica to choreograph by request of notable creative, Beth Crandall, for the grand opening of PAC/NYC, Perelman Performing Arts Center (next to the Freedom Tower). This major press event of the “ribbon connecting” ceremony highlighted the students and alumni of the Joffrey Ballet School. Angelica choreographed and consulted (using Joffrey Ballet School Trainees), the opening spectacle for the runway show of Brazilian brand, PatBO (featured on Beyoncé), at New York Fashion Week in February 2024. She continues to experiment with screen dance collaborating with NYC-based filmmakers to design dance for film and provide movement direction for the worlds of dance along with a vast array of artistic mediums. She is now pursuing her Master's in Education Leadership at Harvard University, a part-time program specifically designed for professionals in education carrying full-time careers.  Connect on Social Media: https://www.instagram.com/angelicastiskin https://www.facebook.com/AngelicaStiskin

Long before the formulation of the world's first MA in Screendance by the LCDS, the genre had already dated as far back to the early days of cinema. Gene Kelly emerged as a prominent figure during the 1940s and 50s after he starred in and co-directed the classic film "Singin' in the Rain" (1952). In contemporary cinema, dance continues to play a significant role through films such as "Black Swan" (2010), "La La Land" (2016), which have all brought dance back into the spotlight for the next generation of creators to continue evolving.One such creator is dancer, choreographer, and creative director hailing from the vibrant city of Los Angeles, California - Mike Tyus. Tyus has graced the stages of renowned companies including Cirque Du Soleil, Pilobolus Dance Theater, while collaborating with visionaries like Sidi Larbi Cherkoui and Inbal Pinto. His choreographic style is a captivating fusion of his diverse training, blending elements from circus theater, acrobatics, ballet, and Greco-Roman wrestling to create a truly unique and mesmerizing art form as evidenced with the likes of the LA Dance Project and Joffrey Ballet. In 2020, he established Mike Tyus & Co, a dance company dedicated to bringing his visionary work to life, with an impressive repertoire of over 13 films and a litany of original works and branded commercial campaigns featuring SONY, Apple, and Abercrombie & Fitch. Continuing a brand new season and month of Dance Choreography, this episode ponders about the ideas and potential of creating dance for the camera, and what it takes to succeed as a screendance choreographer. Ready to discover the filmmaker within you? Join us as we foreground dance in the background!Mike TyusJacob Jonas The CompanyDance MasterclassMA in ScreendanceTPOPA InterviewSoundtracks:Birds - Tyler Twombly Poison Ivy Yard Work - Uncle MilkCourtesy - WolfBeatUplifting background music - Saavane Support the Show.Like our offers? Try Nord VPN Visit Mike Tyus & Co Try Dance Masterclass NOW Like what we do? Help us grow by Visiting The Background Dancer YouTube Channel Rate and review here Email me at backgrounddancer.jy@gmail.com Answer a survey Sign up here to receive future updates Leave a thought on Facebook and Instagram Join the Facebook group and introduce yourself as a member of our community

Jacqueline Moscicke has danced professionally with Milwaukee Ballet and the Joffrey Ballet and is currently working as a freelance artist and instructor. She is also the founder of MSeam Apparel, a dancewear company she started in 2016 while dancing with the Joffrey.Jacqueline gets incredibly honest in this episode about the triumphs in her dance career as well as the heartbreaking losses. We talk about the journey to being okay again after losing her contract and the identity crisis so common for dancers in a transition period. We also get a peek inside MSeam Apparel and all that's to come in this next phase of life. If you've been struggling with not feeling good enough as a dancer - Jacqueline's courageous story is a must-listen.Key Moments: Early training [1:32] Joining Milwaukee Ballet at 17 years old after training at the school [5:42] A peek inside AGMA and the union process [8:13] Making the move to the Joffrey Ballet [10:54] Being let go after 9 years with the Joffrey Ballet [18:07] Shifting into freelance dance work [22:04] Starting MSeam Apparel [26:57] The future of MSeam Apparel [36:31] Her biggest piece of advice for dancers pursuing a career [38:50]Connect with Jacqueline:HER WEBSITE: mseamapparel.comINSTAGRAM: instagram.com/mseamapparelINSTAGRAM: instagram.com/jacquelinemo8Links and Resources:Career Transition for Dancers: The Entertainment Community FundClick here for one FREE month of Danscend's Council for Educators with code BRAINY1-1 Career Mentoring: book your complimentary career callLet's connect!My WEBSITE: thebrainyballerina.comINSTAGRAM: instagram.com/thebrainyballerinaQuestions/comments? Email me at caitlin@thebrainyballerina.com

Emmy-nominated documentary filmmaker Daniel Watt is in the studio for this episode! Dan is producer and director of the award-winning documentary “Everybody Dance” — currently available on iTunes, Apple TV, and Amazon Prime, which is offering it for free in recognition of the month of July as Disability Pride Month. The film follows five kids with different disabilities and their families as well as their dance teacher, Bonnie Schlachte, as they prepare for their end of year recital. Bonnie is founder and director of Ballet For All Kids, a non-profit program that teaches classical ballet and other dance styles using The Schlachte Method - a certified curriculum developed by Bonnie to accommodate all abilities, body types, and learning styles in ballet. The film explores how dance has changed the lives of these kids and many others studying through Bonnie's organization. “Everybody Dance” won in the category of best direction of a documentary at the 2023 Chita Rivera Awards. It was a 2022 Cleveland International Film Festival nominee, premiered at the 2024 Santa Barbara International Film Festival, and most recently, was nominated for an Emmy in the independent programming category in Los Angeles. Dan began his dance career in Cleveland, Ohio, and continued studying in New York City and Los Angeles. He performed with the Joffrey Ballet in Los Angeles before transitioning into a career in film, in which he spent five years in film development at Columbia Pictures and five years working at Syco Entertainment, a London-headquartered music, television, and film production company founded by Simon Cowell with Sony Music Entertainment. Dan has previously worked on the 2013 documentary “One Direction: This Is Us” and was a producer on the award-winning documentary “The Center: Gibbons and Guardians.” He joined the podcast to talk about the process of creating “Everybody Dance,” his dance and film career, the importance of taking risks and following your passion, and what projects he's working on next. Check it out! Watch Everybody Dance for free on Amazon Prime for Disability Pride Month: https://www.amazon.com/Everybody-Dance-Bonnie-Schlachte/dp/B0B5KLD2JD Follow Everybody Dance documentary on Instagram: https://www.instagram.com/everybodydancedoc Follow Daniel Watt on Instagram: https://www.instagram.com/dancindanw Learn more about Bonnie Schlachte and Ballet for All Kids: https://www.balletforallkids.com/ Vote for The Adult Ballet Studio in the arts category for The People's Choice Podcast Awards! Voting ends July 31. ⁠https://www.podcastawards.com/app/signup⁠ Music in this episode: Waltz of the Flowers - Tchaikovsky Barroom Ballet - Silent Film Light - Kevin MacLeod Barroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310 Artist: http://incompetech.com/ @eblosfield  | theadultballetstudio@gmail.com Support this podcast on Patreon! https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link --- Support this podcast: https://podcasters.spotify.com/pod/show/elizabeth-blosfield/support

Today on the 'Conversations on Dance' podcast, we are joined by Ashley Wheater, Artistic Director of the Joffrey Ballet. Ashley takes us through his career, tells us about the important roles mentors played in his dancing, how he came to the helm of the Joffrey, and what audiences can expect to see from the company this summer at the Ballet Sun Valley festival. Ballet Sun Valley presents The Joffrey Ballet in two different programs, over two nights this June 29th and 30th. Tickets are on sale now. For more information visit balletsunvalley.org.LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.

Suzanne Lopez is the Abbot Academy Director of the Joffrey Academy of Dance, which is the official school of the Joffrey Ballet. Suzanne's journey at the Joffrey started when she was 12, when she attended her first summer intensive audition taught by Robert Joffrey. She has had a 19-year dance career, dancing principal roles in ballets by famed choreographers such as José Limón, Twyla Tharp, and Sir Frederick Ashton.Suzanne has had an incredible career at Joffrey, and now she is continuing the legacy of great dance in Chicago.Follow To Dine For:Official Website: ToDineForTV.comFacebook: Facebook.com/ToDineForTVInstagram: @ToDineForTVTwitter: @KateSullivanTVEmail: ToDineForTV@gmail.com Thank You to our Sponsors!MastercardAmerican National InsuranceTerlato Wine Group Follow Our Guest:Official Site: Joffrey.orgFacebook: The Joffrey BalletInstagram: @JoffreyBalletTwitter: @JoffreyBallet Hosted on Acast. See acast.com/privacy for more information.

“Dance Talk” ® with Joanne Carey In this episode of  “Dance Talk” ® with Joanne Carey,  join host Joanne Carey as she chats with Special Guest: Legendary Ballet Master,  Finis Jhung.  Listen in as he retraces his career that spans decades and continues to inspire generations. Meet the  master teacher as he reflects upon his life, career, and what brings him joy. He continues to inspire dancers of all all ages. And tells us to M-O-V-E our bodies! Finis Jhung's career spans six decades and has left his mark on Broadway, in film, and on stages across the world. While still a dancer, he studied with the greats—Valentina Pereyaslavec, Vera Volkova, Stanley Williams, Erik Bruhn, Rosella Hightower, and David Howard—and danced in the San Francisco Ballet, The Joffrey Ballet, and the Harkness Ballet. He danced for presidents and dignitaries and eventually founded and choreographed for his own ballet company. Now in the second phase of his career as a renowned and beloved dance instructor, Finis has taught everyone from prima ballerinas and Broadway stars to adult beginners. His goal is to make ballet accessible to everyone, to create innovative ways of teaching, and to inspire present and future generations of dancers. Not content with life in the studio, he has created more than 50 instructional dance videos, produced 18 music CDs, and authored The Finis Jhung Ballet Technique: A Guide for Teachers & Students—all so that aspiring dancers of every level can learn his techniques, without ever leaving home. In Ballet for Life: A Pictorial Memoir, he shares his own story for the first time, starting from humble roots in World War II Hawaii.Still actively teaching at the age of 86, his greatest joy is helping students find their “inner dancer.” Follow on Instagram @finisjhung Find out more https://finisjhung.com/about-finis-jhung/ ⁠Follow Joanne Carey on Instagram @westfieldschoolofdance And follow  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. Tune in. Follow. Like us. And Share. Please leave us review about our podcast  “Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Nutcracker returns once again to Chicago's Lyric Opera! A part of many folks' holiday traditions, Ioanna and Aaron are so excited to learn about the show from Joffrey Ballet Company Artist, Victoria Jaiani! In her 20th year with the company, Victoria will fill the role of “The Mother” in this year's Nutcracker. We chat with her about the timeless beauty of the show, and what it means for her to continue performing 20 years after joining Joffrey. Victoria twirls us a tale of history as we hear about how she learned to dance in her home country of Georgia before going to New York for further learning. Plus, she shares some behind the scenes highlights from her time with Joffrey. And learn more about what it takes to create such beautiful art! And (so cute), Victoria is married to retired Joffrey dancer Temur Suluashvili! She is kind, funny, and so seasoned in the art of dance, so you won't want to miss this interview! Follow Joffrey: @joffreyballet Follow Victoria: @victoriajaiani Get Tickets Now: (https://joffrey.org/) Nutcracker 2023 (Description From Joffrey Ballet) The Joffrey Ballet's critically-acclaimed reimagined classic, The Nutcracker by Tony Award®-winning choreographer Christopher Wheeldon, returns to celebrate the magic of the holiday season. Wheeldon's American tale relocates Marie and her immigrant family to the Chicago World's Fair in 1893, where Marie embarks on a whirlwind adventure with the Nutcracker Prince. A ballet in two acts set to Tchaikovsky's classic score, The Nutcracker features an award-winning creative team, including Tony Award®-nominated set and costume designer Julian Crouch, Caldecott Medal Award-winning author Brian Selznick, Obie and Drama Desk award-winning puppeteer Basil Twist, Tony Award®-winning lighting designer Natasha Katz and Tony Award®-winning projection designer Ben Pearcy/59 Productions.

Enjoy a 24 hour scary movie marathon at the Music Box Theatre. Check out the Schaumburg Halloween Carnival this weekend at Wintrust Field. The Joffrey Ballet brings Frankenstein to the Civic Opera House.

Charlie Ann Max is a multidisciplinary artist, founder of Füde, and a graduate of both the Joffrey Ballet and the health supportive plant based culinary program at the Institute of Culinary Education. She is dedicated to connecting humanity back to our purest selves through all of her creative endeavors. Charlie's work strives to create a transformative experience of purity and human connection, whether it be through modeling, activism, directing, or plant-based cooking & experiential events. As an advocate for body positivity, wellness, and anti-censorship, Charlie pushes the boundaries towards liberation in all aspects of her work. Check out The Fude Experience.

On this edition of The Arts Section, host Gary Zidek catches up with two of the dancers in Joffrey Ballet's new production of FRANKENSTEIN. The Dueling Critics, Kerry Reid and Jonathan Abarbanel, join Gary to talk about a new musical adaptation of Bret Easton Ellis' once controversial novel AMERICAN PSYCHO. Later in the show, Gary looks back at the history of the Fine Arts Building as it turns 125. And saxophonist Shawn Maxwell joins Gary in studio to talk about his latest album, J-TOWN SUITE, which was inspired by his hometown of Joliet.

Fort Wayne Ballet is set to make history in May, as we perform three ballets by Edward Stierle together for the first time. A gifted young dancer and choreographer for the Joffrey Ballet, Eddie passed away in 1991 just after the premier of his last ballet. He was 23 years old.  In our three-part miniseries, Kinetic Conversations looks at the life, career, and legacy of Eddie Stierle. In this first episode, we talk to his sister, Rose Worton, about what made Eddie a unique light in the ballet world – the man who could have been the next Balanchine if fate had not intervened. Kinetic conversations is hosted by Fort Wayne Ballet Executive Director Jim Sparrow and Artistic Director Karen Gibbons-Brown. Our Guests for this series are Rose Worton and Kim Sagami. Music composed by John Dawkins. Produced and engineered by John Dawkins and Wayneshout Productions. 

Nancy and Julie sit down with CoCo Alvarez-Mena of the Joffrey Ballet to talk about her journey with performance therapy as a professional who walks the line between artist and athlete.

Journalist and editor of ‘Ukrainian Freedom News' Joseph Lindsley joins Bob Sirott from Ukraine to deliver the latest news on the Ukraine-Russia War, including Joseph’s reaction to Putin’s speech and backlash aimed at the Joffrey Ballet. You can find more updates on Joseph's website, ukrainianfreedomnews.com. To donate to Joseph and his team's efforts to distribute supplies […]

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Today on Conversations On Dance we are thrilled to talk about a special children's programming co-production between Miami City Ballet and the Joffrey Ballet, ‘Rita Finds Home'. We are joined by the choreographer Amy Hall Garner and Miami City Ballet Director Of Community Engagement Monica Stephenson to talk about how ‘Rita' relates to children today, […] The post (328) Miami City Ballet's ‘Rita Finds Home' with Monica Stephenson and Amy Hall Garner appeared first on tendusunderapalmtree.com.

Meg Howrey is the author of the novels They're Going to Love You, The Cranes Dance, and Blind Sight. She is also the coauthor, writing under the pen-name Magnus Flyte, of the New York Times Bestseller City of Dark Magic and  City of Lost Dreams. Her non-fiction has appeared in Vogue and The Los Angeles Review of Books. She currently lives in Los Angeles. Meg was a professional dancer who performed with the Joffrey Ballet and City Ballet of Los Angeles, among others. She made her theatrical debut in James Lapine's "Twelve Dreams" at Lincoln Center, and received the 2001 Ovation Award for Best Supporting Actress in a Musical for her role in the Broadway National Tour of "Contact." Book Recommendations: Bojan Lewis, Sinking Bell Leni Zumas, Red Clocks  Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Meg Howrey is the author of the novels They're Going to Love You, The Cranes Dance, and Blind Sight. She is also the coauthor, writing under the pen-name Magnus Flyte, of the New York Times Bestseller City of Dark Magic and  City of Lost Dreams. Her non-fiction has appeared in Vogue and The Los Angeles Review of Books. She currently lives in Los Angeles. Meg was a professional dancer who performed with the Joffrey Ballet and City Ballet of Los Angeles, among others. She made her theatrical debut in James Lapine's "Twelve Dreams" at Lincoln Center, and received the 2001 Ovation Award for Best Supporting Actress in a Musical for her role in the Broadway National Tour of "Contact." Book Recommendations: Bojan Lewis, Sinking Bell Leni Zumas, Red Clocks  Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Meg Howrey is the author of the novels They're Going to Love You, The Cranes Dance, and Blind Sight. She is also the coauthor, writing under the pen-name Magnus Flyte, of the New York Times Bestseller City of Dark Magic and  City of Lost Dreams. Her non-fiction has appeared in Vogue and The Los Angeles Review of Books. She currently lives in Los Angeles. Meg was a professional dancer who performed with the Joffrey Ballet and City Ballet of Los Angeles, among others. She made her theatrical debut in James Lapine's "Twelve Dreams" at Lincoln Center, and received the 2001 Ovation Award for Best Supporting Actress in a Musical for her role in the Broadway National Tour of "Contact." Book Recommendations: Bojan Lewis, Sinking Bell Leni Zumas, Red Clocks  Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Meg Howrey is the author of the novels They're Going to Love You, The Cranes Dance, and Blind Sight. She is also the coauthor, writing under the pen-name Magnus Flyte, of the New York Times Bestseller City of Dark Magic and  City of Lost Dreams. Her non-fiction has appeared in Vogue and The Los Angeles Review of Books. She currently lives in Los Angeles. Meg was a professional dancer who performed with the Joffrey Ballet and City Ballet of Los Angeles, among others. She made her theatrical debut in James Lapine's "Twelve Dreams" at Lincoln Center, and received the 2001 Ovation Award for Best Supporting Actress in a Musical for her role in the Broadway National Tour of "Contact." Book Recommendations: Bojan Lewis, Sinking Bell Leni Zumas, Red Clocks  Chris Holmes is Chair of Literatures in English and Associate Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro as World Literature, is under contract with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Dancers from Chicago's world-renowned Joffrey Ballet invigorate the Symphony Center stage with two newly commissioned choreographies set to Siegfried Idyll, Wagner's glowing birthday gift to his wife, and Rameau's vivid ballet, composed for a royal wedding at the Palace of Versailles. Ravel evokes Baroque dance in Le tombeau de Couperin, with each movement becoming a touching tribute to friends who died in World War I. The program opens with the beguiling elegance of Mozart's Symphony No. 34. Ticket holders are invited to a free preconcert conversation featuring Stephen Alltop in Orchestra Hall 75 minutes before the performance. The conversation will last approximately 30 minutes. No additional tickets required. Learn more: cso.org/performances/22-23/cso-classical/cso-and-the-joffrey-ballet

“I rolled my ankle. What should I do?” Unfortunately we hear this often at Your Doctor Friends. Today, we take a look at this common injury, how to know if it is serious, how long it should take to heal, and more! We are joined by Dr. Kamran Hamid, an orthopedic surgeon who specializes in ankle injuries, particularly for athletes. He has served as a team doctor for the Chicago Bulls, Chicago White Sox, Joffrey Ballet, and Duke University Athletics. He treats a wide array of foot/ankle injuries in his capacity as Head of Orthopedic Surgery at Loyola Medicine, including ankle fractures, Achilles tendon repair, and ankle replacements, but in this episode, he shares his insights into one of the most common musculoskeletal injuries in the world: ankle sprains! Tuning in, you'll also learn some fun facts about Dr. Hamid, including how he became the ‘Weird Al' of Orthopedics! Ultimately, what we've learned is that ankle sprains are ugly. They're swollen, they're bruised, but guess what? It'll be okay. Just ask Your Doctor Friends. Topics discussed in this episode: What “I rolled my ankle” actually means to Dr. Hamid How to judge the severity of your sprained ankle Why you generally want to avoid getting an MRI early on Some recommendations, including ice, elevation, and x-rays Understanding why not all x-rays are created equal The difference between urgency and emergency How to let your pain be your guide Common injuries that can result from rolling your ankle A break versus a fracture versus a hairline fracture The nuances of high ankle sprains Instances when you might need surgery Recovering from an ankle sprain (and the risks of reinjury) How ankle injuries can impact the mental health of athletes The immense value of physical therapy Rapid fire: Dr. Hamid's rap career, audiobooks of choice, and more! Take a look at Dr. Hamid's impressive CV https://www.loyolamedicine.org/provider/kamran-syed-hamid-md-foot-and-ankle-orthopedic-surgery (here), or follow him on Instagram https://www.instagram.com/thisiskomron/ (@thisiskomron) and https://www.instagram.com/theathletesankle/ (@theathletesankle). Find us at: Website: https://www.yourdoctorfriendspodcast.com (yourdoctorfriendspodcast.com)  Email: yourdoctorfriendspodcast@gmail.com  Call the DOCLINE on 312-380-5005 and leave us a message. We will listen and maybe even respond/play it on the show! (Disclaimer: we will not answer specific medical questions or offer medical advice. Consult your healthcare professional with any and all personal health questions.) Connect with us: Join our Facebook group – https://m.facebook.com/groups/1240642470024886 (Friends of Your Doctor Friends) @your_doctor_friends (https://www.instagram.com/your_doctor_friends/ (IG), https://www.tiktok.com/@your_doctor_friends (TikTok)) Your Doctor Friends Podcast (https://www.youtube.com/channel/UCubzdnFLDdA1vJh9iMPxVbw (YouTube)) @JeremyAllandMD (https://www.instagram.com/jeremyallandmd/?hl=en (IG), https://www.facebook.com/JeremyAllandMD/ (FB), https://twitter.com/jeremyallandmd (Twitter)) @JuliaBrueneMD (https://www.instagram.com/juliabruenemd/ (IG))

Thank you for tuning into the episode this week with Ms. Julia Rust. Julia is a fabulous dancer and an even more wonderful person. In this episode, Julia talks about her upbringing and how the coaching she received impacted her frame of mind and performance. This would lead to her joining The Washington School of Ballet, winning the silver medal at USA International Ballet Competition, and joining The Joffrey Ballet at JUST 17! You guys are going to take a lot away from this episode, especially in terms of the way Julia navigates her state of mind. She has a high level of emotional intelligence that allows for her to stop negative thoughts and regroup to best prime herself to take on the next day. She talks about this and so much more including how she and her twin sister best went about working in tandem to both achieve their dreams at the highest level. Go give her a follow over on social media - @juliapointeshoes and make sure to check her out in Chicago performing with Joffrey this season! Thanks again for listening and let us know what you think!

A look inside the Process of Lake Arts Project and how they build bridges through bereavement ™, filmed on location at The Visionary during their residency, Summer 2022, interview hosted by Bernadette Winters Bell,LMSW PLLC. Annually, Lake Arts Project (2013 - present) brings together community groups and arts educators to workshop, cleanse, share, and then create. Collaborators include Feast of Crispian, a non-profit organization that brings professional actors and veterans together to strengthen the emotional resources they need to overcome trauma and reintegration issues. Lake Arts Project also works with high school art students, including THE ALLIANCE SCHOOL OF MILWAUKEE, a year-round school and a safe place for students regardless of sexuality, identity, appearance, ability, or beliefs. During the BECOMING WHOLE Visionary Retreat, the founders and directors of Lake Arts Project (Karl von Rabenau, Creative Director of the Minnesota Ballet) and his partner, Jennifer Miller, Milwaukee Ballet Faculty Master Teaching Artist) immersed themselves in the unique process that they have created for those around them, and record their actions, step by step, to create a digital manual for their process, which became their final performance on June 18, 2022 on The Visionary stage. Long time collaborators, dancers Barry Molina and Lizzie Tripp joined Lake Arts to explore and perform the final presentation of work. Bernadette also joined the final performance as a guest speaker. Lake Arts Project's co-founder and co-director, Karl von Rabenau is also Artistic Director for Minnesota Ballet Company. He began his dance training at Duluth Ballet, Minnesota Dance Theatre, Boston Ballet School, and San Francisco Ballet School. Mr. von Rabenau danced for Boston Ballet, Omaha Ballet, Pittsburgh Theater, and Milwaukee Ballet. Mr. von Rabenau is also a passionate dance educator. For the past 21+ years, he has taught throughout the Midwest and Eastern United States. He has been a faculty member at Milwaukee Ballet School & Academy, including his work with the second company, MBII. Mr. von Rabenau has also taught for many years at Point Park University's International Summer Dance in Pittsburgh, PA, and Central Pennsylvania Youth Ballet in Carlisle, PA. As a choreographer, Mr. von Rabenau has created works for Point Park University's International Summer Dance Program and had works performed in Regional Dance of America Festivals in the Northeast Region and Southeast Region. In 2002, Mr. von Rabenau was invited to choreograph his pas de deux, Speranza, for a Milwaukee Ballet presentation at the Milwaukee Art Museum. Jennifer Miller, Lake Arts Project's co-founder and co-director, received her dance training at Central Pennsylvania Youth Ballet. Ms. Miller also studied at Joffrey Ballet and San Francisco Ballet. Ms. Miller danced 16 years for Milwaukee Ballet Company, retiring as Principal Artist. In summer of 2005, Ms. Miller danced for Trey McIntyre Project, performing in Vail International Dance Festival and Jacob's Pillow Dance Festival. Ms. Miller, currently Ballet Master for Minnesota Ballet and School of Minnesota Ballet faculty, has also been on the faculty of Milwaukee area schools: Milwaukee Ballet School & Academy, Danceworks, Dance Arts Center, and Steps of Grace. For many summers, Ms Miller has taught at Central Pennsylvania Youth Ballet, and Point Park University's International Summer Dance. As a private coach, she works with pre-professional dancers of all ages and levels including Youth America Grand Prix performers, ballroom dancers, gymnasts and Irish step dancers. As a choreographer, Ms. Miller created works for Milwaukee Ballet, Milwaukee Ballet II, Central PA Youth Ballet, Point Park University's International Summer Dance, Dance Arts Center and Erie Dance Conservatory. She received the Monticello award for emerging choreographers. PERFORMERS: Barry Molina is originally from Minnesota, where he started dancing at age six with the St. Croix Ballet in Stillwater. He went on to train at New York City's School of American Ballet year-round, after which he joined the Nancy Einhorn Milwaukee Ballet II Program. As a member of the program, he was called in, at the last minute, to perform as Peter's Shadow in the world premiere of Michael Pink's Peter Pan. Since being promoted to the Company in 2011, Molina has performed many featured roles in Michael Pink's repertoire, including Jack in Cinderella, the Bell Boy in Dracula, Pied Piper in Beauty and the Beast, Benno in Swan Lakeas well as Fritz, Jack and Chinese Principal in The Nutcracker. He was recently featured as Vaslav Nijinksy in Timothy O'Donnell's world premiere of Sacre, and Puck in Bruce Wells' A Midsummer Night's Dream. ---------------------------------- Lizzie Tripp trained at Milwaukee Ballet School & Academy (MBSA), and attended the Summer Intensives at American Ballet Theatre and Houston Ballet. In MBSA, Tripp performed lead roles in many ballets choreographed by Rolando Yanes and danced alongside Milwaukee Ballet's corps in Michael Pink's Swan Lake. She joined the Nancy Einhorn Milwaukee Ballet II Program in 2014, where she danced in Michael Pink's Don Quixote, The Nutcracker, Cinderella and Dracula, and performed in contemporary works by Timothy O'Donnell, Nadia Thompson, Lee-Wei Chao, Ilya Kozadayev and Petr Zahradnícek. Since being promoted to the Company, Tripp originated the role of the Enchantress in the world premiere of Michael Pink's Beauty and The Beast, and danced in Pink's Mirror Mirror and contemporary works by Enrico Morelli, Mark Godden and Garrett Glassman.

This week, Dr. Mandy has an inspiring conversation with Scoliosis Strong Coach and fellow Podcast Host, Teresa Teuscher. As a young girl, Teresa studied ballet at The American Ballet School & Joffrey Ballet. At the age of 10, she was diagnosed with Scoliosis. This diagnosis eventually led to surgery. Now an adult, Teresa's passion is […] The post 32: Teresa Teuscher – Scoliosis Strong Coach and Podcast Host appeared first on Behind The Brace Podcast with Dr. Mandy Dietz.

Today's guest is Lar Lubovitch. Lar is one of America's most versatile and widely seen choreographers. He founded the Lar Lubovitch Dance Company in 1968. Over the course of 54 years, it has gained an international reputation as one of America's top dance companies, produced more than 120 dances and performed before millions across the U.S. and over 40 countries. Many other major companies throughout the world have performed the company's dances, including American Ballet Theatre, New York City Ballet, San Francisco Ballet, Paris Opera Ballet, Royal Danish Ballet, Alvin Ailey American Dance Theater, the Joffrey Ballet, Martha Graham Dance Company, and more. Recent awards: 2011 designated a Ford Fellow by United States Artists and received the Dance/USA Honors Award; 2012 his dance “Crisis Variations” awarded the Prix Benois de la Danse for outstanding choreography at the Bolshoi Theatre; 2013 honored for lifetime achievement by the American Dance Guild; 2014 awarded an honorary doctorate by The Juilliard School; 2016 received the Scripps/American Dance Festival Award for lifetime achievement and the Dance Magazine Award, named one of America's Irreplaceable Dance Treasures by the Dance Heritage Coalition and appointed a Distinguished Professor at UC/Irvine. In honor of his company's 50th anniversary, in 2018 he was presented with the Martha Graham Award for lifetime achievement. For more on this episode: Movers & Shapers: A Dance Podcast

In this episode, Marisa interviews professional dancer Raúl Casasola. Raúl shares his journey from dancing in Madrid, Spain to becoming a company member with the Joffrey Ballet in Chicago. He talks about his recent shift into teaching, reminding students to always find the joy in dance. At the end, Raúl shares that everyone should have access to dance and although ballet has become more inclusive it still has a long way to go.

On this edition of The Arts Section, host Gary Zidek takes you inside a final rehearsal for the world premiere of the Joffrey Ballet's adaptation of OF MICE AND MEN, which opens this week. The Dueling Critics, Kerry Reid and Jonathan Abarbanel, join Gary to discuss a new production of the ultra-popular, history-pop music mash-up SIX. Later, Gary gets ready for Independent Bookstore Day with a visit to the charming west suburban shop, Harvey's Tales. And we'll celebrate the birthday of a performance legend, who is turning 80.

On this week's Hear the Dance episode of City Ballet the Podcast, join host Silas Farley for an in-depth conversation with former NYCB Principal Dancer Helgi Tomasson. In Part 1, Tomasson shares his journey from childhood in his native Iceland to joining the Company at age 26. In between, Tomasson auditioned for Jerome Robbins' Ballet USA, gaining a significant fan in the choreographer; discovered the States while on tour with the Joffrey Ballet; danced for six years with the Harkness Ballet; and won the silver medal following an adventure-filled performance at the First International Ballet Competition in Moscow in 1969. Tune in to Part 2 for more of Tomasson's fascinating story. (45:15) Written by Silas Farley Edited by Emilie Silvestri MUSIC: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Symphony in Three Movements (1945) by Igor Stravinsky Le Baiser de la Fée (1928) by Igor Stravinsky Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach Symphony No. 1 in C major (1855) by Georges Bizet All music performed by the New York City Ballet Orchestra READING LIST: The Joffrey Ballet: Robert Joffrey and the Making of an An American Dance Company by Sasha Anawalt The Stravinsky Festival of The New York City Ballet Written and Edited by Nancy Goldner Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein Somewhere: The Life of Jerome Robbins by Amanda Vaill San Francisco Ballet at Seventy-Five by Janice Ross; Preface by Brigitte LeFévre; Foreword by Allan Ulrich How Helgi Tomasson Reshaped S.F. Ballet to World-Class Renown by Rachel Howard

Jam Fam, this episode is incredible.  Thank you to our guest, Lainie Sakakura, for lending your knowledge, humor and memories to this episode.  We were honored to have you as our guest.  LAINIE SAKAKURA is a NYC based writer, director, choreographer, educator.Most recently directed the new musical, Corner of Bitter and Sweet adapted from New York Times Best Seller, Hotel on the Corner of Bitter and Sweet by Jamie Ford. Book by Lainie Sakakura, Music and Lyrics by Paul Fujimoto. NYC 29 hour Equity reading co-produced by the 5th Avenue Theatre, Abingdon Theatre Company. Writers, Sakakura and Fujimoto attended the 2020 Goodspeed Musicals Johnny Mercer Writers Grove following the reading. Award winning choreographer - 2015 Joe A. Callaway Award Outstanding Choreography for the Off Broadway show, Red Eye of Love in collaboration with Alex Sanchez. 2002 Joseph Jefferson Award Best Choreography for Damn Yankees, Marriott Theatre in collaboration with David H. Bell. 2003 Joseph Jefferson Nomination Best Choreography for Hot Mikado. Currently a Choreography Advisory Board Member for New York Theatre Barn.Fosse Reconstruction - worked on approximately 70 Bob Fosse numbers from 1994-1999 with Gwen Verdon and Chet Walker. The original onstage Dance Captain starting with the 1996 workshop through Broadway. Dance Reconstruction and onstage Dance Captain for Ann Reinking in the 1999 Tony Award Winning Best Musical. Other Fosse reconstruction work includes Big Spender starring Chita Rivera and Ann Reinking for Cy Coleman's Memorial, Majestic Theatre (ASCAP). Mexican Shuffle, Gwen Verdon memorial tribute at BCEFA Gypsy of the Year, Palace Theatre. Currently, Verdon Fosse Legacy instructor.Broadway - Ms Sakakura was offered original casts of 8 Broadway shows, but ultimately accepted 6 including: Fosse (dance reconstruction and onstage dance captain); Chita Rivera The Dancer's Life; Flower Drum Song (2002 revival); Tommy Tune's The Best Little Whorehouse Goes Public; The King And I (1996 Lou Diamond Phillips, Donna Murphy revival), The King And I  (2015 Ken Watanabe, Kelli O-Hare revival). Recorded on 4 Broadway cast albums including 2015 Grammy Nominated, The King And I.​Diversity and inclusion - Co-founder/Co-chair Rockettes of Color Alumnae. In 1994 Sakakura became the second AAPI RCMH Rockette hired following Setsuko Maruhashi, who was not only the first AAPI Rockette but also the first Rockette of color. Previously 7-year Co-chair of PS 87 Culture & Community Committee, producing and directing almost 30 multicultural performance events for a NYC public school of nearly a thousand students.  Educator - 32 years teaching experience. Guest teacher and/or choreographer in countless programs across the country including: New York University Tisch - New Studio on Broadway (Adjunct Professor), Carnegie Mellon, Chapman Univ, Sam Houston State, American Ballet Theatre, Jacob's Pillow, Joffrey Ballet, LINES Dance Center, Pace University (Adjunct Professor). Private program, Sakachez™Please like and subscribe wherever you stream your podcasts from!  Don't forget to leave us a commentFollow us:Instagram: jam_dance_podcastFacebook: JAM Joe and Michelle's Dance Podcast

In this podcast episode, I interview Angelica Taylor, who is the Senior Brand Marketing Manager at Refine Labs. Angelica is also a former professional ballerina. She danced professionally with the Joffrey Ballet in Chicago for a year after a lifetime of classical ballet training. Talking points: 1. What Angelica does at Refine Labs 2. Not everything in B2B marketing can be tracked 3. Tips for B2B marketing professionals 4. Content creation, podcasting, and websites ==== If you enjoyed this podcast, leave a 5-star rating on Apple Podcasts! :) Send me a direct message on LinkedIn! linkedin.com/in/jesus-mcdonald

Dr. Renée-Paule Gauthier is a sought-after performer, teacher, and high-performance coach whose career has taken her across the United States and Canada as a soloist, recitalist, chamber musician, orchestral leader, and clinician. Dr. Gauthier is passionate about helping musicians unleash their performance potential. In addition to offering peak performance coaching, she gives lectures about practice and performance preparation to schools and organizations, and she hosts the popular Mind Over Finger Podcast. The podcast offers discussions on mindful music-making, efficient practice, and building a purposeful career with the performers, pedagogues, and innovators who are shaping the classical music world today. An accomplished concert artist, Renée-Paule Gauthier was mentioned as one of the "best violinist of her generation" and she leads a busy performance career. She joined the Chicago Lyric Opera Orchestra for the 18-19 and 19-20 seasons, and she performs with some of Chicago's finest ensembles, including the Chicago Symphony Orchestra, Joffrey Ballet, Elgin Symphony, and Chicago Philharmonic. She is the String Area Coordinator, Co-director of the Chamber Music Program, and Violin Instructor at North Park University. Dr. Gauthier presents masterclasses and clinics on the topics of mindful efficient practice, audition preparation, anxiety management, and peak performance to audiences across the world. You can find more information about Dr. Gauthier at www.mindoverfinger.com. Instagram: @mindoverfinger --- Send in a voice message: https://anchor.fm/thealignedmusician/message

Over the course of this historic pandemic period that has now engrained itself into our definitions of normalcy, sometimes it feels like all we can do is watch the events of the world from the metaphorical passenger seat. Whether we are talking about the damage that has been done to the global live arts and culture industries, or the social events happening within our societies that cannot be ignored, it can be easy to feel like we are just an unwitting passenger on this journey of uncertainty. How can we take a primary position of action in the middle of all of this? Join me as I sit down with Dylan Gutierrez, a principal dancer with the Joffrey Ballet, and co-founder and director of Action Lines, a new ballet company that Dylan helped create. We discuss how in the middle of so much chaos, Dylan was able to take a position of action within the arts world, and the potential of his new company to redefine how we see the arts. Please enjoy.

"Always be able to take care of yourself." - Alison WinterAlison Winter is the Co-Fonder and CEO of Gracious Exit LLC, a web-based resource for individuals and families to prepare for the end of life.  The workbooks and articles and resources provide the roadmap to navigate this last stage of one's like, and do it in a way that is positive, eliminates a burden for those left behind, and leaves a full picture of one's positive contributions.  In 2006, Alison retired from Northern Trust Corporation, completing a markedly successful thirty-five year career, where she held leadership roles with increasing scope since 1987. She served on the Management Committee for the last five years of her tenure with Northern Trust.  When she retired, Ms. Winter was the founding President and CEO of Personal Financial Services-Northeast based in New York, where she established the Northern Trust's presence in that highly attractive and competitive market.  Prior to that, she served as Co-President of Personal Financial Services for Northern Trust.   In all, she expanded the Northern Trust franchise as a leader in managing the wealth of the affluent in 20 new markets, on the West Coast, The Midwest and the Northeast.  Technology innovation, strategy, brand management and customer focus are hallmarks of her career. In 2001, together with Susan S. Stautberg, they co-founded WomenCorporateDirectors (WCD), the only chapter-based international organization for women serving on Corporate Boards with over 3500 members serving on over 6000 Boards globally.  She established the framework for scaling up, domestically and internationally, and there are now 80+ chapters on six continents.  The organization has now been transitioned to Women Corporate Directors Foundation for Education and Research.  Ms. Winter received her MBA from the University of Chicago Graduate School of Business, earned her Chartered Financial Analyst designation, and is a member of the CFA Institute. She holds a BA from San Francisco College for Women. Over her career, she served on dozens of charitable and civic organizations, including Los Angeles Metro YMCA, New York Metro YMCA, The Joffrey Ballet of both Los Angeles and Chicago, Steppenwolf Theatre, and    United Way Women's Leadership Initiative. In 1998, she became the first woman to be Chair of the Los Angeles Area Chamber of Commerce in its 110 year history.She lives in Pasadena with her husband, Joe.  Her daughter, Leigh, lives with her husband and three sons in Los Altos, CA, and her son, John, lives in Chicago, IL.SHOW NOTESAlison's journey in the financial worldHow Alison led the way and helped women in corporate AmericaThe one question Alison asked her father that was the start of the Gracious ExitBusiness owners plan for their business exit but overlook their life exitThe systematic process and journey Alison used to create the Gracious ExitWhy every family should have photo books to create a legacyHow a film about your family can help future generationsTips on how to educate the younger generation about wealth, philanthropy, and planningAlison's thoughts on when to speak to your parent's about their last wishesWhy withholding your wealth from your children can hurt them instead of protecting themHow the specific workbooks in the Gracious Exit save you time and give peace-of-mindAlison walks through how to start preparing the information for your Gracious ExitThe importance of making your estate plan easy to understand through visual mappingThe power of having financial, medical, passcodes, and your last wishes in one placeHow to ensure your jewelry, heirlooms, and antiques have significance for your kidsHow to have a difficult conversation about last wishes wi

My guest today is violinist, teacher and performance coach, Dr. Renée-Paule Gauthier. This was such an awesome episode, we got into so many topics, like, why it's SO important to invest in yourself and that it's totally OK to ask for help on your projects, your career, or anything that you're working on. We talk about learning how to shift your focus to things you actually have some control over, and how Renee was so dedicated to learning about becoming a better musician and teacher, she went and got a DMA in mindful practice. By the way she did that while raising two kids, and holding down a busy free-lance career in Chicago, so all of you music students get ready to take some notes on how to work a google calendar and become a more efficient learner. Towards the end of our interview you might hear Renee's kids calling out in the background while they enjoy some video games, but I didn't want to edit it out because it really is just the times we are living in right now with trying to work from home with kids during a pandemic, so you are NOT alone musician entrepreneur parents! We feel you. Alright, get yourself a warm winter coat, because we're heading to Chicago for this episode. About Renée Renée-Paule Gauthier is a passionate and dedicated performer, teacher, and high-performance coach.  Her career has taken her across the United States and Canada as a soloist, recitalist, chamber musician, orchestral leader, and clinician.   Dr. Gauthier joined the Chicago Lyric Opera Orchestra for the 18-19 and 19-20 seasons, and she performs with some of Chicago's finest ensembles, including the Chicago Symphony Orchestra, Joffrey Ballet, Elgin Symphony, and Chicago Philharmonic.  She is the String Area Coordinator, Co-director of the Chamber Music Program, and Violin Instructor at North Park University.   An accomplished concert artist, Renée-Paule Gauthier was mentioned as one of the "best violinist of her generation" in the book Violin Virtuosos, from Paganini to the 21st Century. Dr. Gauthier has won awards in several competitions, including the exclusive three-year loan of the Taft Stradivari violin through the 2009 edition of the Canada Council for the Arts' Musical Instrument Bank Competition. She made her Kennedy Center solo debut in April 2014.  She was Concertmaster of the New World Symphony, in the first violin section of the National Arts Centre Orchestra in Canada, Assistant Concertmaster of the Calgary Philharmonic, and is the Founding Artistic Director of the Rendez-vous Musical de Laterrière, a chamber music festival in the province of Québec.   Dr. Gauthier is a graduate of the University of Montreal, the Eastman School of Music, and Northwestern University. She blogs about creating a meaningful practice at her website, Mind Over Finger, and hosts the Mind Over Finger podcast.  The podcast offers discussions on mindful music-making, efficient practice, and building a purposeful career with the performers, pedagogues, and innovators who are shaping the classical music world today. Dr. Gauthier presents masterclasses and clinics on the topics of mindful practice, audition preparation, and anxiety management to audiences across the world. Links LinkedIn: Renée-Paule Gauthier Instagram: @mindoverfinger Facebook: Mind Over Finger Website: www.mindoverfinger.com Books "Mindset: The New Psychology of Success", Carol Dweck "Talent is Overrated: What Separates World Class Performers from Everybody Else", Geoffrey Colvin Honesty Pill Links Free Resource Library Facebook Group Mailing List

Daniela Il Grande started dancing professionally when she was fourteen years old when she joined the Miami City Ballet. At fifteen, she was selected to train with Mikhail Baryshnikov and his coaches. At sixteen, she went on to perform and tour with the American Ballet Theater, Joffrey Ballet, Connecticut Ballet, St. Louis Ballet, and Charleston Ballet. Now, Daniella enjoys a successful career in corporate America in her role as the Executive Director for Dean & DeLuca Specialty Food Markets and Cafes. Daniella sits down with Tess Baum to share her exclusive zigzag story in a retelling that moves us as easily as her dancing career.Love the show? Subscribe, rate, review, and share!Here's How »Join the Zig-Zag of Life Community today:tesabaum.comTwitterFacebookPinterest