Turk's intense color palette throughout is mostly inky purples and carmines, interrupted by white cut-outs.
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Edward Carmines, a political scientist at Indiana University, affirmed Abramowitz's judgment: Cruz's extremism has been statistically presented by Keith Poole, a political scientist at the University of Georgia.
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Off-Center revives this 21948 musical, with book and lyrics by María Irene Fornés and music by Al Carmines, about two convicts who escape prison for a tour of the city.
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Three of Brady's fellow political analysts — Edward G. Carmines and Michael J. Ensley, political scientists at Indiana and Kent State universities, along with Michael W. Wagner, a professor of journalism at the University of Wisconsin-Madison — are taking up this challenge.
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Fifty years ago, Al Carmines, a minister at the Judson Memorial Church and a key figure in the Off Off Broadway movement, premiered a holiday oratorio that captures, as he put it, "the human interest and the joy" of the nativity story.
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Here's a classic summation of this point by political scientists Edward G. Carmines and James A. Stimson: Thus, by their very nature, all party alignments contain the seeds of their own destruction, the various groups that make up the party may be united on some issues, particularly on those that gave rise to the alignment in the first place.
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In an argument elaborating on a point made by Drutman, Edward Carmines, a political scientist at Indiana University, made the case that the 2016 defeat of Hillary Clinton fostered the shift to the left: If a moderate policy agenda cannot guarantee electoral victory why downplay your leftward policy orientations in the unlikely event that it will jeopardize your electoral success?
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The most concise and convincing (to me) explanation of the transience of American political alignments comes from political scientists Edward G. Carmines and James A. Stimson, who in their excellent book Issue Evolution: Race and the Transformation of American Politics offer the following: Thus, by their very nature, all party alignments contain the seeds of their own destruction, the various groups that make up the party may be united on some issues, particularly on those that gave rise to the alignment in the first place.
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In "Ideological Heterogeneity and the Rise of Donald Trump," Carmines, Ensley and Wagner make the case that in addition to the classic division of the electorate into three categories — liberal, moderate and conservative — at least two more are needed, populist and libertarian, and perhaps a sixth, nationalist: Trump's support among Republican primary voters, and probably in the broader electorate, only makes sense once we recognize that the political choices offered by a conservative Republican Party and a liberal Democratic Party do not reflect the full extent of the ideological heterogeneity found in the American public.
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Carmines fashioned the libretto based on Stein's A Circular Play.Edith Oliver, "Off Broadway: Perfect Circles," New Yorker (November 18, 1967), p. 131-133.
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In Circles is an off-Broadway musical. The words were selected from the writings of Gertrude Stein, arranged and set to music by Al Carmines. It was first seen in the Judson Poets Theatre based at Judson Memorial Church (where Carmines was associate pastor) on October 13, 1967.Clive Barnes, "Theater: Gertrude Stein at the Judson Church," New York Times (October 14, 1967), p. 12.
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The party championed the Civil Rights Act of 1964, which for the first time outlawed segregation. Democrats made civil rights and anti-racism a core party philosophy. Carmines and Stimson say, "the Democratic Party appropriated racial liberalism and assumed federal responsibility for ending racial discrimination."Carmines, Edward G.; Stimson, James A. "Racial Issues and The Structure of Mass Belief Systems," Journal of Politics (1982) 44#1 pp 2-20 in JSTOR Ideological social elements in the party include cultural liberalism, civil libertarianism, and feminism.
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He collaborated with composer and lyricist Charles Gilbert on a musical entitled B.G.D.F., and directed the premiere of that work in the summer of 1982. Subsequently, Bill and Mike moved to New York City, where Bill created several original works (see below). He directed Al Carmines' Camp Meeting at the Cathedral of St. John the Divine in 1986, and his opera A Bird In The Hand, premiered in New York in 1985. He composed music for a staged reading of John Brown's Body in memory of Allen Fletcher, director of the American Conservatory Theatre, and directed Al Carmines' Camp Meeting, a benefit staged to celebrate the fiftieth birthday of the author, a composer, lyricist, playwright, and priest.
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During the final days of the exhibit, three of the contributing artists were arrested, both pastors (Moody and Carmines) were issued summons (not followed up), and the District Attorney closed the exhibit on charges of desecration of the American flag. The Judson Poets' Theatre started in November 1961 – with a play by poet Joel Oppenheimer – as one of three off-off-Broadway venues (the others were Caffe Cino and La MaMa Experimental Theatre Club). Experimental plays and musicals by later-famous authors and directors, including Sam Shepherd, Lanford Wilson and Tom O'Horgan, were presented in the church's main Meeting Room. Starting in the late 1960s, Carmines began writing and producing his own musicals, and later, "oratorios" that used large volunteer choruses.
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The colours Velázquez uses are blues and violets. He also used carmines (especially Venetian carmine) instead of traditional reds, following the advice of his tutor Pacheco as written down in his book Arte de la Pintura, despite Velázquez already being an acclaimed artist and well beyond his student years by the time of producing this painting.
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The party championed the Civil Rights Act of 1964, which for the first time outlawed segregation. Democrats made civil rights and anti-racism a core party philosophy. Carmines and Stimson say that "the Democratic Party appropriated racial liberalism and assumed federal responsibility for ending racial discrimination". Ideological social elements in the party include cultural liberalism, civil libertarianism and feminism.
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The show played 192 performances at the Astor Place Theatre with a cast that included David Vaughan. In 1969 she won an Obie Award for Best Actress for her role as 'The Girl' in The Poor Little Match Girl, a new work based on the story by Hans Christian Andersen. The show opened December 22, 1968, at the Judson Poet Theatre, with music by Al Carmines.
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" Concerning the music, Barnes said: "Mr. Carmines must eat music in the morning instead of breakfast cereal, rather as Gertrude Stein once must have eaten words. His music is arrogantly eclectic, disgracefully tuneful and just right for the purpose. Influences of Verdi, Bizet, barbershop quartet, Weill, ragtime, spirituals and obviously all that jazz, float around in his music with happen unconcern about being influential.
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Besides his work with Toklas, Katz was also known for his playwriting. His work has been adapted and performed both in the United States and internationally. His plays include The Three Cuckolds, Sonya, Dracula: Sabbat, Son of Arlecchino, GBS in Love, Beds, Pinocchio, Finnegan's Wake, The Marquis de Sade’s Justine, Amerika, The Odyssey, Swellfoot’s Tears, Toy Show, Shekhina: The Bride, Remembrance of Things Past, and The Making of Americans (an opera based on Stein’s novel with music by composer Al Carmines).
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Beginning in the 1950s, the church supported a radical arts ministry, first led by associate pastor Bernard Scott and subsequently by associate pastor Al Carmines. The church made space available to artists for art exhibitions, rehearsals, and performances. The church also assured that this space was to be a place where these artists could have the freedom to experiment in their work without fear of censorship. In 1957, the church offered gallery space to Claes Oldenburg, Jim Dine and Robert Rauschenberg, who were then unknown artists.
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Dave was removed from the band shortly after the recording of INMFYU and replaced with the superior Tom "T-Bone" Antle (of Orchid and Fermeller) behind the kit, finalizing the band's revolving door of multiple drummers throughout their history. At this point, the band embarked on their first coast-to-coast, nationwide tour. Tom had prior obligations with university at the time, which led to the band tapping Johnny Horseface (of The Carmines and Dean Malenkos) to man the kit solely for the tour.
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Especially notable were several shows using texts by Gertrude Stein, music by Carmines, with direction by the Judson Poets Theatre director Lawrence Kornfeld. In the 1980s, the church sponsored various political-theater performances, such as those by the Vermont-based Bread and Puppet Theater. These performances included Insurrection Opera and Oratario, performed in February and March 1984. In this performance, the Bread and Puppet Theater, under the direction of its founder, Peter Schumann, used opera and the company's now signature oversized puppets to convey an anti-nuclear message.
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58-59 Waring was a writer as well. He wrote poetry, plays, essays and dance criticism, and was one of the founders in 1961 of the New York Poets Theatre, also known as the American Theater for Poets; his plays were also presented there and at the Judson Poets Theater. Waring also directed plays by other writers at the Living Theatre and at the Judson. As a theatre director, Al Carmines thought he was > ...[E]xquisite ... [R]oom was found for the small gesture he loved so > much.
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Some of her other original works include Another Letter to the Sun, a work inspired by Charles Ives and a piece entitled It Seemed to Me There Was Dust in the Garden, a lyrical dance she created and dedicated for her aunt. The dances she created were often a take on Modern dance with an Avant-garde approach. Arlene performed in the 1968 musical In Circles as Sylvia, based on work by Gertrude Stein with lyrics by Al Carmines. Next in 1969 she choreographed and starred in a new musical Peace, based on the play Peace by Aristophanes.
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Satin (2003), p.68 The poetry of [the] words found its perfect > counterpart in Jimmy's direction and clarification. The characters posed on > a sea of words, and they were serene or compassionate as the text calls > for.Satin (2003), p.60, quoting Carmines, Al (April 1978) "James Waring at > Judson: A Chronology" Judson Arts Program Archive Committee Waring worked with Frank O'Hara, Maria Irene Fornes, Diane Di Prima, Robert Duncan, Paul Goodman, Alan Marlowe and Kenneth Koch, among other poets and writers.Satin (2003), p.57 During this period, he and other dancers worked on the literary newsletter The Floating Bear,Satin (2003), p.
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In 1962, at the age of 27, Rainer, Steve Paxton, and Ruth Emerson approached the Reverend Al Carmines at the Judson Memorial Church to ask if they could begin performing there. The Church was already known for the Judson Poets' Theater and Judson Art Gallery, which had been showing the work of Claes Oldenburg, Allan Kaprow, Robert Whitman, Jim Dine, and Tom Wesselmann. It now became a focal point for vanguard dance activity and concerts of dance. Rainer is noted for an approach to dance that treats "the body more as the source of an infinite variety of movements" than as the purveyor of plot or drama.
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The Cat! (1965) and other shows that had closed out-of-town before even reaching Broadway, such as Zenda (1963), and Hot September (1965) and Lolita, My Love (1971). Some of these shows involved major Broadway talents, including Alan Jay Lerner, Frank Loesser, Jule Styne, Richard Maltby, Jr. and David Shire, and Jerry Bock and Sheldon Harnick. The most recent productions to attract the attention of Blue Pear Records were an off-Broadway revival of Cole Porter's You Never Know, which closed after only six performances in March 1973, and the original off-Broadway production of The Faggot by Al Carmines, which opened later that same year.
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After college Elias went to New York, studied with Bill Hickey, Uta Hagen at HB Studios and Lee Strasberg at The Actor's Studio. At the same time Elias joined The Living Theatre where he appeared in Kenneth Brown's The Brig 1963 and the 1964 film by Jonas Mekas. Elias ended up in London with The Living Theatre for a production of The Brig at The Mermaid Theatre, then returned to New York where he appeared in plays at the Judson Poets Theatre by Al Carmines, Rochelle Owens, and Maria Irene Fornes. In 1963 Elias, along with other members of the cast were arrested when Federal Marshalls seized the theatre.
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" Sullivan attributed the show's success to Carmine's music and especially to Lawrence Kornfeld's direction. "By imposing an ever-moving and ever-interesting pattern of feeling of Miss Stein's apparent nonsense, Mr. Kornfeld gives the play shape and even an unspoken moral: that the words we use in talking with each other are almost ludicrously dependent on gesture and tone of voice for their emotional significance. By temporarily divorcing words from their meanings, In Circles also lets us revel in Miss Stein's words simply as pure sounds." Writing in The New Yorker, Edith Oliver remarked on Carmine's music: "The songs, all by Mr. Carmines, vary from popular numbers and blues to gospel songs and Moonlight Sonata-ish Beethoven.
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One of the oldest of the poets in the San Francisco Renaissance, she worked closely with Duncan, Jess, Madeline Gleason, and Jack Spicer, among others. She also encouraged many of the Beat poets as they began to explore performance and writing as an art form. While her continued use of the ballad form "mystified" many of the poets more associated with the movement, the "magic and knowledge she brought to San Francisco startled the young wild sages of its Renaissance with a special kind of madness." Helen Adam and her sister collaborated on a ballad opera entitled San Francisco's Burning which was published in 1963 and reissued in 1985 with score by Al Carmines and drawings by Jess.
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In 1956, Howard Moody became the senior minister, continuing the church's outspoken advocacy on issues of civil rights and free expression, as well as breaking with the confessedly evangelical understandings of the past by speaking out for issues once universally considered to be immoral by Christians (such as abortion and the decriminalization of prostitution), a policy that continues under the present leadership of the congregation. Al Carmines, the associate pastor 1962 to 1979, focused his ministry on the arts (see below). The congregation expanded during this period, allowing the church to take back control of its property from the citywide Baptist organization that had been acting as trustee until 1973. Following Moody's retirement in 1990, Peter Laarman became senior pastor.
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Off-Off-Broadway began in Greenwich Village in 1958 as a reaction to Off Broadway, and a "complete rejection of commercial theatre".Viagas (2004, p. 72) Among the first venues for what would soon be called "Off-Off-Broadway" (a term supposedly coined by critic Jerry Tallmer of the Village Voice) were coffeehouses in Greenwich Village, in particular, the Caffe Cino at 31 Cornelia Street, operated by the eccentric Joe Cino, who early on took a liking to actors and playwrights and agreed to let them stage plays there without bothering to read the plays first, or to even find out much about the content. Also integral to the rise of Off-Off-Broadway were Ellen Stewart at La MaMa, originally located at 321 E. 9th Street, and Al Carmines at the Judson Poets' Theater, located at Judson Memorial Church on the south side of Washington Square Park.
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Valentino and Sears state that other scholars downplay the role of racial prejudice even in contemporary racial politics. They write that "[a] quarter century ago, what counted was who a policy would benefit, blacks or whites" (Sniderman and Piazza; 1993; 4–5) while "the contemporary debate over racial policy is driven primarily by conflict over what the government should try to do, and only secondarily over what it should try to do for blacks" [emphasis in original], so "prejudice is very far from a dominating factor in the contemporary politics of race". (Sniderman and Carmines; 1997; 4, 73) Mayer argues that scholars have given too much emphasis on the civil rights issue as it was not the only deciding factor for Southern white voters. Goldwater took positions on such issues as privatizing the Tennessee Valley Authority, abolishing Social Security and ending farm price supports that outraged many white Southerners who strongly supported these programs.
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This tendency coincides with the period when Hals gained fewer commissions from the wealthy, and some historians have suggested that a reason for his predilection for black and white pigment was the low price of these colors as compared with the costly lakes and carmines. Both conclusions are probably correct, however, because Hals did not travel to his sitters, unlike his contemporaries, but let them come to him. This was good for business because he was exceptionally quick and efficient in his own well-fitted studio, but it was bad for business when Haarlem fell on hard times. As a portrait painter, Hals had scarcely the psychological insight of a Rembrandt or Velázquez, though in a few works, like the Admiral de Ruyter, the Jacob Olycan, and the Albert van der Meer paintings, he reveals a searching analysis of character which has little in common with the instantaneous expression of his so-called character portraits.
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