things i learned about anthony ramos from his interview on the room where it's happening podcast
-he used to be a baker then he was a preschool teacher
-he’s the youngest member of the cast
-he was laid off of a $64 million job at radio city music hall before being cast in hamilton
-he pronounces ambulance as “am-buh-lance”
-he thinks lins and jasmines kiss in say no to this is TOO LONG LIN ITS TOO LONG
-as a side note: anthony and jasmine started dating during rehearsals
-“you know what im sayin”
-his favorite hamilton song is wait for it (“leslie comes in with those smooth sultry vocals. stick a fork in him, he’s done.”)
-he calls leslie “les”
-he admires his coworkers so much
-he kept calling the obamas “mr. barrack” and “mrs. michelle”
-he’s adorable and a cinnamon roll (not that this is news or anything but he just really really is okay)
Tribeca Film Festival 2017 has announced its closing night event:
To close the Festival, Tribeca will celebrate the 45th anniversary of The Godfather’s theatrical release with an epic screening of the legendary crime saga’s first two parts. The Godfather and The Godfather Part II will play back-to-back at Radio City Music Hall on Saturday, April 29, followed by a once-in-a-lifetime panel discussion with Academy Award®-winning director Francis Ford Coppola and actors Al Pacino, James Caan, Robert Duvall, Diane Keaton, Talia Shire, and Robert De Niro.
Hildreth Meiére (1892-1961) was one of the most influential and creative decorative artists of the Twentieth Century whose achievements gained the recognition of the established art world. She worked in a variety of mediums and in partnerships with renowned architects. Her work helped to introduce Art Deco to America.
Meiére knew early on that she wanted to be an artist. Her mother, who was an aspiring painter before her marriage, took her to Italy as a graduation present in 1911, and she witnessed firsthand the amazing murals and mosaics of the region. This influenced her direction in life, and she began to pursue a career as a muralist. During WWI, she served in the Navy as a draftsman. She enrolled in the Art Students League upon her return to New York, and then at the California School of Fine Arts in San Francisco. There, she became active in the local theater scene, often sketching and painting theater goers and ballet performances, and designing costumes and sets; this was a field that was easy to work in as a woman.
When she returned to New York, she enrolled in the New York School for Applied Design for Women, only because the Beaux-Arts Academy did not accept women at the time. Instruction in the decorative arts was considered “appropriate” for women, as it often related to the home sphere, and didn’t directly compete with established male commercial artists. Her connections, talent, and her well-honed social skills allowed her commissions for large-scale projects. The architect Bertram Grosvenor Goodhue recognized her talent early on, and not only her talent, but her “large ambition.” He taught her how to balance secular and liturgical commissions, to work with a space’s intended narrative, and within the collaborative process.
Among many awards, she was the first woman honored with the Fine Arts Medal of theAmerican Institute of Architects, where her papers are currently archived, and she was the first woman appointed to the New York Art Commission. She joined the Architectural League in 1939, and wore a black tie with an extremely low-cut black evening dress to her inaugural dinner. This was a full six years, of course, after they had awarded her the gold medal for Outstanding Muralist.