Crystal River Cruises Unveils Comprehensive New Collection Of Curated Destination Experiences

Line Debuts More Than 225 Excursions Designed To Cater To Travelers’ Personal Tastes In Europe’s Most Beautiful Locales

Crystal River Cruises today announced details of its new collection of destination experiences for voyages along Europe’s Danube, Rhine and Main rivers. By sea, river, land or air, Crystal has redefined the way the world views luxury travel. The world-renowned Crystal Experience – featuring global journeys with Crystal Cruises, Crystal River Cruises, Crystal Yacht Expedition Cruises, Crystal AirCruises and Crystal Air – continues to entice the world’s most discerning travelers with incomparable luxury and unparalleled personal service. Crystal will expand its fleet with the upcoming Crystal Debussy and Crystal Ravel river ships, the Crystal Endeavor expedition yacht and an entirely new class of ocean ships over the next five years.

Crystal River Cruises

Crystal River Cruises

Debuting in 2018, the newly added offerings focus on authenticity and are tailored to travelers’ individual interests, featuring smaller group sizes and unique details. Nearly 200 enriching excursions are included, with additional pursuits also available at a cost. The shore-side excursions highlight the multi-faceted character of each destination and comprise five types of experiences including:

  • Personal Connections – Those looking to explore the culture of a destination can enjoy a one-of-a-kind tour hosted by local residents, artisans and experts;
  • Tantalizing Gastronomy – Guests can relish in the signature culinary styles and specialties of the destination with a variety of dining and hands-on cooking opportunities;
  • Cultural Discoveries – Guests will enjoy comprehensive insight from expert guides into historical landmarks, museums, iconic sites and architectural marvels;
  • Exhilarating Adventures – Active cruise travelers can participate in a selection of invigorating pursuits that combine historical and cultural experiences;
  • Design Your Time – For a more tailored vacation, guests can choose this option, which features a concierge service that designs unique private tours as well as a menu of customized choices.

“Every detail of the Crystal River Cruises’ curated destination program has been revamped to focus on choices, and offer more intimate, immersive experiences that perfectly suit travelers’ preferences and properly showcase the charm and beauty of the destinations,” says Walter Littlejohn, managing director and vice president of Crystal River Cruises. “While each locale offers its own distinct ‘can’t-miss’ experiences, we recognize that every guest brings his or her own distinct style of exploration, and we strive to cater to that individuality.”Crystal River Cruises-Crystal-Bach-Danube-River

With many destinations offering more than a dozen choices for shore-side discovery, some of the new experiences featured on voyages in Germany, Austria, Slovakia, Switzerland, Slovenia, Belgium, Netherlands, Hungary, Croatia and Serbia include:

Nearly 200 Inclusive Adventures including:

  • Immersive culinary experience in the foodie haven of Rotterdam;
  • String & opera performance in a historic Antwerp cathedral;
  • A full day exploring Salzburg from Linz;
  • Horse show & carriage ride at Lázár Equestrian Park;
  • An owner-hosted tasting at Schlagkamp Winery in Cochem;
  • Cycle to Veitshochheim Castle and its Rococo Garden in Wurzburg;
  • Behind-the-scenes tour of Amsterdam’s greenhouses, where the famous tulips are cultivated.

Dozens of Optional Experiences including:

  • Vintage photography adventure in Vukovar;
  • Hands-on instruction in Linzer torte baking;
  • Private home cooking lesson in Kehl;
  • Wine tasting in the renowned cellars of Vienna’s Palais Coburg;
  • Canoe through the romantic canals of Strasbourg;
  • Explore Budapest by Trabant Cars;
  • Hands-on creativity in one of Novi Sad’s last remaining tapestry workshops;
  • Horseback riding through the forests of Novi Sad’s Fruška Gora National Park.

Each river itinerary will also feature inclusive Signature Events – special events that offer rare access and musical performances in iconic landmarks including Vienna’s Belvedere Palace, Linz’s St. Florian Monastery, Rüdesheim’s Monastery Eberbach, and others.

To ensure that every detail of each experience is in line with Crystal’s exacting standards of service, excursion group sizes are limited to no more than 15 guests; for larger groups, guides are available to lead the tours in German, Spanish, Portuguese and other languages upon request. Crystal Collection shore excursions offer guest transport to iconic sites and regions via spacious motor coaches that include free WiFi.

Guests can fully embrace the culture, flavors, history and activities of each destination with the expansive selection offered aboard Crystal Mozart, Crystal Bach, Crystal Mahler, Crystal Debussy and Crystal Ravel. Fares for Crystal River Cruises start at $3,175 per person including Early Booking Savings of up to $1000 per suite.

For more information and Crystal reservations, contact a travel agent, call 888.799.2437, or visit www.crystalcruises.com. Join the hundreds of thousands who follow Crystal Cruises’ Facebook page and @crystalcruises on Twitter and Instagram, and engage in the conversation with #crystalcruises.

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The Metropolitan Museum of Art Announces Schedule of Spring and Summer 2018 Exhibitions

The Metropolitan Museum of Art has announced the schedule of its upcoming spring and summer seasons. Highlights of the upcoming 2018 exhibition season are:

Before/On/After: William Wegman and California Conceptualism

Exhibition Dates: January 17–July 15, 2018

Exhibition Location: Gallery 851

William Wegman, Before-After

William Wegman, Before/On/After (detail), 1972. Gelatin silver prints. The Metropolitan Museum of Art, Vital Projects Fund Inc. Gift, through Joyce and Robert Menschel, 2016. © William Wegman, Courtesy the artist

Opening at The Metropolitan Museum of Art on January 17, the exhibition Before/On/After: William Wegman and California Conceptualism will survey Conceptual Art as it developed in Southern California in the 1970s. The show is occasioned by the artist William Wegman’s extraordinary recent gift to the Museum of 174 short videos that he made between 1970 and 1999—his entire career in the medium. A 90-minute selection of videos from this gift will be shown along with photographs and drawings by Wegman as well as drawings, prints, and photographs by his contemporaries in Southern California—John Baldessari, Vija Celmins, Douglas Huebler, Ed Ruscha, and others.

Wegman took up video while teaching painting at the University of Illinois in the mid-1960s. Like many artists using the then-new medium, Wegman appreciated video—like photography—for its lo-fi reproducibility and anti-artistic qualities. Also, unlike film, where the negative must be developed and processed before viewing, video was like a sketchbook that allowed revision in real time.

It wasn’t until Wegman moved to Southern California in 1970 that his video production took off. Although he lived in Los Angeles for only three years, the artist found his method: short, staged vignettes using everyday items in which expectations are reversed and puns and homonyms pursued to absurd conclusions.

The artist’s key early collaborator for most of these short videos was his dog, a Weimaraner called Man Ray, who enthusiastically participates in the goings-on. In contrast to other early adopters of video, Wegman eschewed an aesthetic of boredom to focus on humorous, improvised scenarios in which he deflated the pretensions of painting and sculpture while also lampooning the pieties and self-seriousness of Conceptual Art—at a time when it was being codified and institutionalized. Beneath the slacker humor, however, are poignant points about failure and the reversal of expectations that resonate with work by other West Coast Conceptualists—the friends and fellow travelers also featured in the exhibition.

Before/On/After: William Wegman and California Conceptualism is organized by Doug Eklund, Curator in the Department of Photographs at The Met.

Birds of a Feather: Joseph Cornell’s Homage to Juan Gris

Exhibition Dates: January 23–April 15, 2018

Exhibition Location: The Met Fifth Avenue, Gallery 918, Lila Acheson Wallace Wing

Joseph Cornell (American, 1903–1972). Homage to Juan Gris, 1953–54.

Joseph Cornell (American, 1903-1972). Homage to Juan Gris, 1953-54. Box construction. Philadelphia Museum of Art, Purchased: John D. McIlhenny Fund. Art © The Joseph and Robert Cornell Memorial Foundation/Licensed by VAGA, New York, NY

On October 22, 1953, Joseph Cornell wrote in his diary: “Juan Gris/Janis Yesterday.” He was referring to the previous day’s outing, when, on one of his frequent trips to the gallery district in midtown Manhattan, Cornell visited the Sidney Janis Gallery on East 57th Street. Among a presentation of approximately 30 works by modern artists, one alone captivated Cornell—Juan Gris’s celebrated collage The Man at the Café (1914), which is now a promised gift to the Museum as part of the Leonard A. Lauder Cubist Collection.

This shadowy profile of a fedora-topped man immediately inspired Cornell to begin a new series: some 18 boxes, two collages and one sandtray created in homage to Juan Gris, whom he called a “warm fraternal spirit.”

When he began the Gris series in 1953, Cornell was an established artist, two decades into his career. His shadow box assemblages —a genre he is credited with pioneering—were exhibited regularly in major galleries and museums, and acquired by collectors and museums for their permanent collections. Cornell gathered his banal yet evocative materials during his forays in New York City or Long Island. His sources were many and varied; he made his assemblages from old journals and French history textbooks, postage stamps, fishing tackle, cordial glasses, clay pipes, and “flotsam and jetsam” to use his words. From these disparate fragments, Cornell wove together concepts, subjects, and lives that fascinated him. The complex network of references contained in each box often obscures, if not conceals, the artist’s intended theme or subject. For instance, in his Gris series, Cornell incorporated reproductions of Gris’s works into only one box, as well as in two collages and the one sandtray. Without these reproductions and the inscriptions Cornell made on some of the constructions, most of the works in his Gris series would be indistinguishable from those in his Aviary and Hotel series from around the same time – although for his homages to Gris he used the great white-crested cockatoo exclusively. Few viewers would have known about Cornell’s extensive notes found in his diaries and his Gris dossier, a working source file in which he stored materials for inspiration or later use. Cornell’s research on Gris included the acquisition of biographical publications and reviews on the Spanish-born artist, and he bolstered his knowledge of Gris and his art through conversations with artist friends such as Marcel Duchamp and Robert Motherwell.

In The Man at the Café, Gris worked in oil paint and pasted newsprint to present a mysterious male figure reading a newspaper, which obscures his face. The shapes of the man’s stylized fedora and its prominent black shadow cast against the café wall held a particular fascination for Cornell. For the central figure of his Gris series, Cornell selected a white cockatoo to contrast with the dramatic blacks, but he also embedded a reference to Gris’s shadow play and the fedora’s silhouette. Indeed, the bird, or its distinctive silhouette, appears in all but two of the boxes, with Cornell mimicking the relationship between positive and negative space by pasting the bird print to a wood cutout, outlining it, or echoing its contours with black paper.

Although Gris remained the initial catalyst for the series, Cornell also incorporated allusions to his own passions and pastimes as revealed in the foreign language texts, hotel advertisements, and maps. An aficionado of ballet and opera, Cornell attended performances in New York City and contributed illustrations to the Dance Index, a periodical edited by New York City Ballet co-founder Lincoln Kirstein in the 1940s. The white, feathered and tulle costumes of the principals dancing Swan Lake and La Sylphide reminded him of birds. Cornell was also enamored with the nineteenth century, the era of the romantic ballet and bel canto singing, and wove these birds of song and stage into the Gris series as well.

Completed over a period of 13 years, Cornell’s series of Gris shadow boxes is more extensive in number than any other that the artist openly dedicated to one of his admired luminaries of stage, screen, literature, or the visual arts. The main protagonist of Cornell’s Juan Gris series is a bird—the great white-crested cockatoo—specifically, an image taken from a 19th-century print of the species that Cornell repeatedly used along with Photostats or silhouettes of the bird’s form to explore the fascinating shadows that Gris produced in his own practice. At The Met, the exhibition Birds of a Feather: Joseph Cornell’s Homage to Juan Gris will reunite for the first time nearly a dozen boxes from Cornell’s Gris series together with the Cubist masterpiece, The Man at the Café.

The exhibition is made possible by the Eugene V. and Clare E. Thaw Charitable Trust.

Birds of a Feather: Joseph Cornell’s Homage to Juan Gris inaugurates a series of dossier exhibitions under the auspices of the Leonard A. Lauder Research Center for Modern Art at The Metropolitan Museum of Art.

As part of its mission to ensure the ongoing study of modern art with a particular focus on Cubism, the Leonard A. Lauder Research Center offers fellowships, lectures, and other programs to support new scholarship on the Leonard A. Lauder Cubist Collection and other 20th-century art. Each dossier exhibition will be related to a work or group of works from the Collection. Birds of a Feather: Joseph Cornell’s Homage to Juan Gris and future projects in the series are intended to provide a deeper context for understanding Cubism, its protagonists, and greater influences, to contribute exceptional scholarship, and to offer a fresh approach to the subject of looking and thinking about modern art.

The exhibition is curated by Mary Clare McKinley, an independent art historian based in London and former Assistant Curator in the Leonard A. Lauder Research Center for Modern Art, The Metropolitan Museum of Art.

A catalog, made possible by the Leonard A. Lauder Research Center for Modern Art, accompanies the exhibition and contains a major essay, written by McKinley, and the first-ever documentary catalog of Cornell’s Gris series.

Thomas Cole’s Journey: Atlantic Crossings

Exhibition Dates: January 30–May 13, 2018

Exhibition Location: The Met Fifth Avenue, Floor 1, Gallery 746, The Erving and Joyce Wolf Gallery

Thomas Cole (American, 1801–1848). View from Mount Holyoke, Northampton, Massachusetts,

Thomas Cole (American, 1801-1848). View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm-The Oxbow (detail), 1836. Oil on canvas, 51 1/2 x 76 in. (130.8 x 193 cm). The Metropolitan Museum of Art, New York, Gift of Mrs. Russell Sage, 1908

Met Museum to Explore Transatlantic Career of Renowned Painter Thomas Cole

Exhibition Marks 200th Anniversary of the Artist’s Arrival in America

Celebrated as one of America’s preeminent landscape painters, Thomas Cole (1801–1848) was born in northern England at the start of the Industrial Revolution, emigrated to the United States in his youth, and traveled extensively throughout England and Italy as a young artist. He returned to America to create some of his most ambitious works and inspire a new generation of American artists, launching a national school of landscape art. Opening January 30, the exhibition Thomas Cole’s Journey: Atlantic Crossings will examine, for the first time, the artist’s transatlantic career and engagement with European art. With Cole’s masterwork The Oxbow (1836) as its centerpiece, the exhibition will feature more than three dozen examples of his large-scale landscape paintings, oil studies, and works on paper. Consummate paintings by Cole will be juxtaposed with works by European masters including J. M. W. Turner and John Constable, among others, highlighting the dialogue between American and European artists and establishing Cole as a major figure in 19th-century landscape art within a global context. The exhibition marks the 200th anniversary of Cole’s arrival in America.

The exhibition was organized by Elizabeth Kornhauser, the Alice Pratt Brown Curator of American Painting and Sculpture at The Met, and Tim Barringer, Paul Mellon Professor of the History of Art at Yale University, with Chris Riopelle, Curator of Post-1800 Paintings at the National Gallery, London.

The exhibition follows the chronology of Cole’s life, beginning with his origins in recently industrialized northern England, his arrival in the United States in 1818, and his embrace of the American wilderness as a novel subject for landscape art of the New World. Early works by Cole will reveal his prodigious talent. After establishing himself as the premier landscape painter of the young United States, he traveled back to Europe.

The next section will explore in depth Cole’s return to England in 1829–31 and his travels in Italy in 1831–32, revealing the development of his artistic processes. He embraced the on-site landscape oil study and adopted elements of the European landscape tradition reaching back to Claude Lorrain. He learned from contemporary painters in England, including Turner, Constable, and John Martin, and furthered his studies in landscape and figure painting in Italy. By exploring this formative period in Cole’s life, the exhibition will offer a significant revision of existing accounts of his work, which have, until now, emphasized the American aspects of his formation and identity. The exhibition will also provide new interpretations of Cole’s work within the expanded contexts of the history of the British Empire, the rise of the United States, the Industrial Revolution, and the American wilderness, and Romantic theories of history.

Upon his return to America, Cole applied the lessons he had learned abroad to create the five-part series The Course of Empire (1834–36). These works reveal a definition of the new American Sublime that comes to its fullest expression in The Oxbow (1836). Finally, the exhibition concludes with an examination of Cole’s legacy in the works of the next generation of American landscape painters whom Cole personally mentored, notably Asher B. Durand and Frederic E. Church.

Exhibition design is by Brian Butterfield, Senior Exhibition Designer; graphics are by Ria Roberts, Graphic Designer; and lighting is by Clint Ross Coller and Richard Lichte, Lighting Design Managers, all of The Met Design Department. After the presentation at The Met, the exhibition will be shown at The National Gallery, London (June 11–October 7, 2018).

The exhibition will be accompanied by a catalog suitable for both scholars and the general public. With new information on Cole’s life and revisionist interpretations of his major work, the publication will also feature research by The Met’s conservation team into Cole’s methods as a painter, illuminating this previously neglected area. The catalog will be available for purchase in The Met Store (hardcover, $65). The catalog is made possible by the William Cullen Bryant Fellows of The Metropolitan Museum of Art.

A series of Education programs will complement the exhibition. MetLiveArts will feature a 40-minute acoustic performance by Sting in the Museum’s Grace Rainey Rogers Auditorium on April 24, 25, and 26 (7:30 p.m.). Prior to each concert, ticket holders will enjoy a special viewing of the exhibition with curators Elizabeth Kornhauser and Tim Barringer. The April 24 performance of “Sting: Atlantic Crossings” is for Members only. Tickets will be available for purchase in early 2018.

On April 8 (2 p.m.), as part of MetSpeaks, American artist Ed Ruscha will discuss his seminal five-part Course of Empire series (1992 and 2003–5) with his friend, the author, and artist Tom McCarthy, who resides in London. Tickets for this event will be available for purchase.

Met curator Elizabeth Kornhauser and paintings conservator Dorothy Mahon will explore Cole’s work methods and techniques with artist Stephen Hannock on February 7 (6:00 p.m.), revealing the layers of meaning in Cole’s iconic painting, The Oxbow. This program is part of the Conversations With… series.

Elizabeth Kornhauser will moderate a Sunday at The Met discussion on April 15 (2 p.m.) on Cole’s role as a proto-environmental artist with scholars Alan Braddock and Rebecca Bedell and artist Michel Auder. (Auder’s 2017 work The Course of Empire was shown at the Documenta exhibition in Kassel, Germany.) These programs are free with Museum admission.

In a Gallery Performance on April 27 (6:00 p.m.), exhibition co-curator Tim Barringer will explore the musical and literary references that inspired Cole. This program is free with Museum admission, advance registration is required.

Education programs are made possible in part by the Clara Lloyd-Smith Weber Fund and The Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts.

The exhibition, organized by The Metropolitan Museum of Art, New York, and The National Gallery, London, is made possible by The Peter Jay Sharp Foundation. Additional support is provided by the Henry Luce Foundation, White & Case LLP, the Enterprise Holdings Endowment, and the Terra Foundation for American Art. It is also supported by an Indemnity from the Federal Council on the Arts and the Humanities.

Leon Golub: Raw Nerve

Exhibition Dates: February 6–May 27, 2018

Exhibition Location: The Met Breuer, Floor 2

Leon Golub (American, 1922–2004). Gigantomachy II (detail), 1966

Leon Golub (American, 1922-2004). Gigantomachy II (detail), 1966. Acrylic on linen, 9 ft. 11 1/2 in. x 24 ft. 10 1/2 in. (303.5 x 758.2 cm). The Metropolitan Museum of Art, New York, Gift of The Nancy Spero and Leon Golub Foundation for the Arts and Stephen, Philip, and Paul Golub, 2016 (2016.696). © The Nancy Spero and Leon Golub Foundation for the Arts/Licensed by VAGA, New York, NY

Opening February 6, 2018 at The Met Breuer, Leon Golub: Raw Nerve will present a selective survey of this groundbreaking artist’s work. Timed to celebrate the 2016 gift to The Met of the monumental painting Gigantomachy II (1966) from The Nancy Spero and Leon Golub Foundation for the Arts and Stephen, Philip, and Paul Golub, the exhibition will present highlights from Golub’s long, eminent career, drawn from distinguished private collections as well as the artist’s estate. Golub’s unflinching portrayals of power and brutality have profound relevance today, as does his belief in the ethical responsibility of the artist.

Born in Chicago, Golub (1922-2004) occupies a singular position in the history of mid to late 20th-century art. His devotion to the figure, his embrace of expressionism, his amalgamation of modern and classical sources, and his commitment to social justice distinguish his practice as an artist. The centerpiece of Leon Golub: Raw Nerve is Gigantomachy II, a commanding, epic work measuring nearly 10 by 25 feet. Created in 1966, two years after Golub joined the Artists and Writers Protest Group and began to lobby actively against the Vietnam War, this political allegory recounts the story of a mythic battle between the Olympian gods and a race of giants. In Golub’s contemporary retelling, there are no heroes, only anonymous men in various states of distress, their bodies riven by scars and wounds. Alongside this powerful and terrifying work, Leon Golub: Raw Nerve will feature paintings from all of the artist’s most important series, including Pylon, White Squad, Riot, and Horsing Around. These will be accompanied by a 1970 painting of a victim of the Vietnam War, as well as a suite of early paintings that reflect Golub’s study of antiquity, and a group of unsettling portraits of the Brazilian dictator Ernesto Geisel. Also on view will be works on paper that represent subjects of longstanding interest to the artist, from mercenaries, interrogators, and the victims of violence to political figures, nudes, and animals, all of them rendered in the raw, visceral style for which he is justly celebrated. Taken together, the works in Leon Golub: Raw Nerve, which spans the entire arc of Golub’s career, attest to his incisive perspective on the catastrophes that afflict human civilization as well as his critique of violence and belligerent masculinity.

Leon Golub: Raw Nerve is organized by Kelly Baum, Cynthia Hazen Polsky and Leon Polsky Curator of Contemporary Art in The Met’s Department of Modern and Contemporary Art. Continue reading

The 91st Annual Macy’s Thanksgiving Day Parade® on NBC Adds a Special Performance by International Superstar Gwen Stefani,

A Star-Studded Celebration The Parade will include a Dazzling Opening Number and Even More Star Power Along the Parade Route as the Annual Spectacle Kicks Off the Holiday Season

Macy’s Thanksgiving Day Parade airs on Thursday, Nov. 23 at 9 a.m., in all time zones; Encore presentation airs 2 – 5 p.m.

The 91st Annual Macy’s Thanksgiving Day Parade® adds additional star power as NBC and Macy’s join to kick off the holiday season with a star-studded line-up of performers in the nation’s favorite spectacle. On Thursday, Nov. 23, with more than 3.5 million spectators lining the route and more than 50 million viewers tuned in nationwide, the streets of Manhattan will come alive with a host of special performances from stars of music, film, TV and the stage.

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The 91st Annual Macy’s Thanksgiving Day Parade adds more star power including a special performance by international superstar Gwen Stefani (Photo: Business Wire)

Joining the lineup will be international superstar Gwen Stefani. A three-time Grammy® Award-winner, Stefani has achieved worldwide success as a performer, songwriter, and recording artist who has sold more than 30 million albums worldwide with No Doubt and as a multi-platinum solo artist. Stefani recently released her first holiday album, You Make It Feel Like Christmas which features six original and six classic holiday tunes. Set to perform “White Christmas,” Stefani will warm up the audiences nationwide with her rendition of the classic tune as part of the national broadcast of the Parade on NBC.

After kicking off the holidays on Thanksgiving, Stefani will return to NBC for “Gwen Stefani’s You Make It Feel Like Christmas,” a modern take on traditional Christmas specials featuring musical performances and fun, holiday sketches. This one-hour primetime special set to air Dec. 12 (9-10 p.m. ET/PT) will capture Stefani’s infectious spirit and iconic style.LOGO_KO

On Thanksgiving, to open the 91st edition of Macy’s Thanksgiving Day Parade, a host of stars will be showcased “Dancing in the Streets” at various locations across the country in anticipation of the big Parade and annual kickoff to the holiday season. Featured stars include Harry Connick Jr., Whoopi Goldberg, Steve Harvey, Jane Krakowski, Gaten Matarazzo, Chrissy Metz, John O’Hurley, Martha Stewart and Thalia, who will dance and sing in the out-of-this-world kickoff to the pomp and pageantry.

As the restyled song unfolds, the show arrives at Herald Square, opening atop Macy’s famed red star mark on 34th Street, where a host of groups will join the impromptu party including the Radio City Rockettes®, as well as dancers for The Teen Company and Malloy/CAP21, among other Parade participants.

Rounding out the lineup will be the incomparable Patti LaBelle, who will take to the streets on The Cranberry Cooperative by Ocean Spray® float, joining previously announced stars 98 Degrees, Lauren Alaina, Cam, Sabrina Carpenter, Andra Day & Common, Sara Evans, Jimmy Fallon & The Roots, Flo Rida, Goo Goo Dolls, Kat Graham, Andy Grammer, Angelica Hale, Olivia Holt, Nicky Jam, Wyclef Jean, Bravo’s Top Chef stars Padma Lakshmi & Tom Colicchio, Dustin Lynch, Miss America 2018 Cara Mund, Leslie Odom Jr. and the cast & Muppets of Sesame Street, Bebe Rexha, Smokey Robinson, Jojo Siwa and the one-and-only Santa Claus; completing the starry lineup of the march of wonder.

The 91st march of Macy’s Thanksgiving Day Parade will also feature 17 giant character balloons; 28 legacy balloons, balloonicles, balloonheads and trycaloons; 26 floats; 1,100 cheerleaders and dancers; more than 1,000 clowns; 12 marching bands and six performance groups.

One of the nation’s biggest and most anticipated holiday celebrations, Macy’s Thanksgiving Day Parade is broadcast nationally on NBC and hosted by the TODAY Show’s Matt Lauer, Savannah Guthrie, and Al Roker. Telemundo will simulcast the Parade in Spanish with the event hosted by stars Carlos Ponce, Jessica Carrillo and Karim Mendiburu.

For more information on the Macy’s Thanksgiving Day Parade, please visit http://www.macys.com/parade or call the Parade hotline at 212-494-4495. Follow @macys on various social networks and join the conversation using #MacysParade.

2017 Hoilday Gift Guide: Nespresso Reveals Colorful, Candy-Inspired Limited Edition Collection For The Festive Season

Artists Craig & Karl add a pop of color to the latest Nespresso Limited Editions

Coffee lovers are set to be full of joy this holiday season as Nespresso reveals its Limited Edition Festive Collection, in collaboration with renowned artists Craig & Karl. To bring to life the color and fun of the season, this exclusive collection has been inspired by traditional candies that evoke nostalgic childhood memories.Nespresso_logo

Nespresso coffees are packaged in aluminum, a material that preserves the quality and freshness of the coffee, and can be recycled over and over again. Nespresso is committed to making recycling as easy as possible and offers consumers several ways to recycle. Nespresso offers pre-paid UPS recycling bags for consumers in 48 states to mail back used capsules or drop them off at more than 88,000 drop-off locations. Consumers can also recycle used capsules at over 500 collection points at Nespresso Boutiques across the country and at select retail partners.

To create the ultimate gift collection, Nespresso has teamed up with design duo Craig & Karl. Craig Redman and Karl Maier are transatlantic-based university friends turned creative collaborators who have a love for simple shapes paired with wildly colorful patterns and a wry sense of humor. The duo has injected their signature colors and patterns into both the Nespresso Limited Edition Variations coffees and espressos and into a selection of unique accessories that make the perfect gifts for design and coffee aficionados.

Craig and Karl explained: “We were inspired by the Nespresso Variations flavors and the notion they were all based on old-style confectionery. We were also mindful that the design had to feel modern and relevant to now, so in our initial development we honed in on candy cane style stripes, which were prevalent in the past. In it, we saw a classic motif that can evoke nostalgia for the customer, but one that equally feels current owing to its bold and graphic form. We also loved that the stripes once applied to dome-shaped capsules gave them the appearance of candy themselves.

NESPRESSO LIMITED EDITION VARIATIONS CONFETTO

The holidays are a time for unique experiences, and the range of Nespresso Limited Edition Variations Confetto coffees and espressos do not disappoint in that regard. Their candy-flavored aromas are combined with the highest quality Pure Arabica to invoke feelings of surprise and wonder. There are three OriginaLine and three Vertuo™ Variations to try, each with a Craig & Karl designed capsule. The OriginalLine Variations consist of Pure Arabica from Southern and Central America, while the Vertuo™ Variations consist of a smooth Arabica from Ethiopia in addition to the Arabica blend from Southern and Central America.

Nespresso-OL-Variations-Coffee-Snowball-Topview

Nespresso Variations Confetto Snowball

  • OriginalLine Variations Confetto Snowball – a delicious espresso pairing sweet coconut notes with a touch of vanilla. Intensity: 6
  • OriginalLine Variations Confetto Orangette – the bittersweet flavor of an orange peel and a hint of chocolate are vibrant in this flavored espresso. Intensity: 6
  • OriginalLine Variations Confetto Licorice – a tasty combination of spices and licorice candy notes are prominent in this espresso. Intensity: 6
  • Vertuo™ Variations Confetto Banana – a sweet banana flavor, reminiscent of banana candy, is present in this coffee. With milk, the roasted coffee notes fade, further enhancing the sweet indulgence. Intensity: 5

    Nespresso-VL-Variations-Coffee-Peppermint-Cane-Topview

    Nespresso Variations Confetto Peppermint Cane

  • Vertuo™ Variations Confetto Peppermint Cane – the peppermint flavor comes to life with a distinctive candy-sweet note characteristic of a peppermint candy cane within this coffee. With a touch of milk, the lingering notes of peppermint soften to reveal a well-balanced finish. Intensity: 5
  • Vertuo™ Variations Confetto Cherry – the cherry flavor opens up, harmonizing with almond notes for a cherry candy inspired treat within this coffee. With the addition of milk, the coffee flavor is reminiscent of a sweet dessert. Intensity: 5

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“Michelangelo: Divine Draftsman and Designer” at The Metropolitan Museum of Art

Michelangelo: Divine Draftsman and Designer, on view at The Metropolitan Museum of Art from November 13, 2017, through February 12, 2018, will present a stunning range and number of works by the artist: 128 of his drawings, 3 of his marble sculptures, his earliest painting, and his wood architectural model for a chapel vault. A substantial body of complementary works by his teachers, associates, pupils, and artists who were influenced by him or who worked in collaboration with him will also be displayed for comparison and context.

9. Michelangelo_Three Labours of Hercules_HM Queen Elizabeth II_Windsor

Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Three Labours of Hercules. 1530–33, Drawing, red chalk; 10 11/16 x 16 5/8 in. (27.2 x 42.2 cm) ROYAL COLLECTION TRUST / © HER MAJESTY QUEEN ELIZABETH II 2017, http://www.royalcollection.org.uk  

A towering genius in the history of Western art, Michelangelo was celebrated during his long life for the excellence of his disegno, the power of drawing and invention that provided the foundation for all of the arts. For his mastery of drawing, design, sculpture, painting, and architecture, he was called Il divino (“the divine one“) by his contemporaries. His powerful imagery and dazzling technical virtuosity transported viewers and imbued all of his works with a staggering force that continues to enthrall us today.

10. Michelangelo_Archers Shooting at a Herm_HM Queen Elizabeth II_Windsor

Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Archers Shooting at a Herm. 1530–33. Drawing, red chalk; 8 5/8 x 12 11/16 in. (21.9 x 32.3 cm). ROYAL COLLECTION TRUST / © HER MAJESTY QUEEN ELIZABETH II 2017, http://www.royalcollection.org.uk

This is an exceptionally rare opportunity to experience first-hand the unique genius of Michelangelo,” said Daniel H. Weiss, President and CEO of The Met. “The exhibition will display the magnificent beauty of Michelangelo’s works in order to deepen our understanding of his creative process.”

Michelangelo: Divine Draftsman and Designer will widen the conversation about the artist and present an extraordinary opportunity to see many works that are never displayed together. Drawing was the first thing Michelangelo turned to, whether he was creating a painting, a sculpture, or architecture, and it is what unified his career. He is a forceful draftsman and brings a sculptor’s understanding and eye. We can see him thinking—almost having a conversation on the sheet of paper—and there is a sense of intimacy and immediacy, as if looking over his shoulder. The exhibition will give visitors an unmatched opportunity to enter the world of this absolute master in the history of art.

6. Michelangelo_Studies for the Libyan Sibyl_MMA

Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Studies for the Libyan Sibyl (recto); Studies for the Libyan Sibyl and a small Sketch for a Seated Figure (verso). Ca. 1510–11. Red chalk, with small accents of white chalk on the left shoulder of the figure in the main study (recto); soft black chalk, or less probably charcoal (verso). Sheet: 11 3/8 x 8 7/16 in. (28.9 x 21.4 cm). The Metropolitan Museum of Art, Purchase, Joseph Pulitzer Bequest, 1924. 24.197.2

Selected from 50 public and private collections in the United States and Europe, the exhibition will bring together the largest group of original drawings by Michelangelo ever assembled for public display. Many of the drawings rank among the greatest works of draftsmanship produced. Extraordinary and rare international loans will include the complete series of masterpiece drawings he created for his friend Tommaso de’Cavalieri and a monumental cartoon for his last fresco in the Vatican Palace. Michelangelo: Divine Draftsman and Designer is organized by Dr. Carmen C. Bambach, Curator in The Met’s Department of Drawings and Prints, who commented: “This selection of more than 200 works will show that Michelangelo’s imagery and drawings still speak with an arresting power today. Five hundred years seem to melt away in looking at his art.”

3. Michelangelo_The Torment of Saint Anthony_Kimbell Art Museum_Fort Worth

Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome) The Torment of Saint Anthony, Painting, Ca. 1487–88, Tempera and oil on wood, Framed: 27 × 22 3/8 in. (68.6 × 56.8 cm) 18 1/2 in. X 13 3/4 in. (47 cm x 34.9 cm) Kimbell Art Museum, Fort Worth, inv. AP 2009.01

24.80.93 023

Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Young Archer Ca. 1490, Marble, Overall (wt confirmed): H. 37 x W. 13 1/4 x D. 14 in., 177lb. (94 x 33.7 x 35.6cm, 80.2867kg), The Metropolitan Museum of Art, Lent by the French State, Ministry of Foreign and European Affairs. L.2009.40

Michelangelo Buonarroti was born on March 6, 1475 in Caprese (southeast of Florence), and died a wealthy and famous man, on February 18, 1564, in Rome. Although he spent the last 30 years of his life in Rome, his love was always for Florence, his patria (homeland), and all things Florentine. His art, his training, his methods, and his poetry were, to the last, rooted in Florentine culture. Michelangelo’s longevity was extraordinary for a person of his time. Also exceptional for an artist of his era, five major biographies were written during his lifetime or soon after his death.

The exhibition will trace Michelangelo’s life and career, beginning with his training as a teenager in the workshop of Ghirlandaio and his earliest painting, The Torment of Saint Anthony (1487–88), and first known sculpture, Young Archer (ca. 1490). It will move on to the commission of his colossal marble sculpture David in 1501, the early planning of the Tomb of Pope Julius II, and the monumental project of painting The Last Judgment on the Sistine Ceiling. An entire gallery will be devoted to the Sistine Ceiling and will include Michelangelo’s original studies for the project.

11. Michelangelo_Portrait of Andrea Quaratesi_British Museum_London

Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Portrait of Andrea Quaratesi, 1532. Drawing, black chalk; 16 3/16 x 11 ½ in. (41.1 x 29.2 cm). The British Museum, London

The Dream (Il Sogno), circa 1533, Michelangelo Buonarroti

Michelangelo Buonarroti (Italian, Caprese 1475–1564 Rome), Il Sogno (The Dream), Drawing, 1530’s. Black chalk Sheet: 15 5/16 × 10 15/16 in. (38.9 × 27.8 cm). London, Courtauld Gallery, Prince Gate Bequest (1978) inv. D 1978.PG.424.

Other sections will explore his portraiture and the beautiful finished drawings he created for close friends; his collaboration and friendship with Venetian artist Sebastiano del Piombo (1485/86–1547); and the drawings and poetry he created for the young nobleman Tommaso de’Cavalieri, whom he met in 1532 and who became a life-long friend. The artist’s last decades in Rome are reflected in the last part of the exhibition and will include, in addition to architectural drawings, the enormous cartoon (full-scale drawing) he prepared for the Crucifixion of Saint Peter fresco in the Vatican Palace, as well as a rare three-dimensional model for the vault of a chapel.

Ghirlandaio 001

Domenico Ghirlandaio (Domenico Bigordi). (Italian, Florence 1448/49–1494 Florence), Drapery study of a standing figure, Drawing, 1485-90 Brown wash, on pink prepared paper, heightened with white; 11 7/16 × 5 3/16 in. (29 × 13.1 cm), Gabinetto Disegni e Stampe degli Uffizi, Florence 315E

Said Dr. Bambach: “His creativity continued to be phenomenal until the end when he died at 88.”

The Metropolitan Museum of Art is indebted to the public and private collections that have graciously lent their treasured holdings to the exhibition, including The Ashmolean Museum, Oxford; the Royal Collection and Her Majesty Queen Elizabeth II, Windsor; the Gallerie degli Uffizi and Gabinetto dei Disegni e delle Stampe degli Uffizi, Florence; the Museo Nazionale del Bargello, Florence; the Musée du Louvre, Paris; the Casa Buonarroti, Florence; the Museo Nazionale di Capodimonte, Naples; the Albertina, Vienna; the British Museum, London; and the Biblioteca Apostolica Vaticana and Fabbrica di San Pietro in Vaticano, Vatican City.

The exhibition is made possible by Morgan Stanley. Additional support is provided by an anonymous donor, the Gail and Parker Gilbert Fund, the Diane W. and James E. Burke Fund, Dinah Seiver and Thomas E. Foster, Cathrin M. Stickney and Mark P. Gorenberg, Ann M. Spruill and Daniel H. Cantwell, and the Mark Pigott KBE Family. It is also asupported by an Indemnity from the Federal Council on the Arts and the Humanities.

The exhibition will be accompanied by a fully illustrated catalogue, made possible by the Drue E. Heinz Fund, and written by Dr. Bambach that will include essays by a team of leading Michelangelo scholars. It will be published by The Metropolitan Museum of Art and distributed by Yale University Press. Additional support for the catalogue is provided by the Wolfgang Ratjen Stiftung, Liechtenstein.

A variety of Education programs will accompany the exhibition, including Met Live Arts performances of La Dolce Morte, based on Michelangelo’s love poetry, and Shostakovich, Michelangelo, and The Artistic Conscience.

La Dolce Morte is made possible by The Howard & Sarah D. Solomon Foundation.

A Sunday at The Met program on January 7, 2018 will explore the ideas and influences of Michelangelo’s major works. Speakers will include Dr. Bambach and professors of art history Maria Ruvoldt, David Ekserdjian, and James Saslow.

An audio tour, part of the Museum’s Audio Guide program, is available for rental ($7, $6 for Members, $5 for children under 12). The Audio Guide is sponsored by Bloomberg Philanthropies.

The exhibition will be featured on www.metmuseum.org/Michelangelo, as well as on Facebook, Instagram, and Twitter via #MetMichelangelo.

All That Glitters: Sally Hansen Introduces The Color Therapy Enchanting Gems Collection

Collection Features Limited Edition Gorgeous Gemstone Hues That Care While You Wear

Sally Hansen’s Color Therapy nail polish blends saturated color with nourishing argan oil in 6 new, elegant jewel tones.

Inspired by multi-faceted luxurious gemstones, the Sally Hansen Color Therapy range introduces six new opulent shades designed to elevate every autumn look. Sally Hansen’s Color Therapy nail polish contains a patented micro-delivery system that delivers an Argan oil enhancing formula, resulting in intensive nourishment and instant moisture for healthier-looking nails. The Color Therapy nail polish needs no base coat so the oil complex can directly contact the bare nail. In studies, 9 out of 10 women experienced a noticeable improvement in their natural nails after wearing the Color Therapy nail polish.

The polish glides on for a radiant, shiny finish with up to 10 days of fade-proof, chip-resistant wear and provides the ultimate rich color that cares while you wear, with everything needed to help restore nails without sacrificing luminous, pigmented hues.

  • Opulent Pearl: Opt for over-the-top iridescence in a glossy white pearl hue
  • Rose Diamond: This dusty pink shimmery shade adds a touch of sparkle to any ensemble
  • Pink Sapphire: Pamper your nails with this luxe electric pink
  • Brilliant Lapis: This royal blue shimmer is a total gem
  • Orchid Amethyst: You’ll be mesmerized by this dazzling orchid tone
  • Smoky Emerald: Embrace evening magic with this blackened midnight teal green

Complete your manicure with the Color Therapy Top Coat and Nail & Cuticle Oil, both formulated with the same Argan oil contained in the nail polish. The top coat provides an ultra-glossy finish for extended wear, and the nail & cuticle oil, the ultimate in nail therapy, instantly makes nails and cuticles look healthier, restored, and rejuvenated.

The Sally Hansen Color Therapy “Enchanting Gems” collection ($8.99) will be available at mass market retailers for a limited time.

“She Loves Me” from THIRTEEN’s “Great Performances” Kicks Off PBS’s Broadway’s Best Lineup

The critically-acclaimed Roundabout Theatre Company production of She Loves Me comes to THIRTEEN‘s Great Performances, Friday, October 20 at 9 p.m. (check local listings) as the opening presentation of PBS’s fall Broadway’s best lineup. Every Friday night, from October through December, PBS will give theater lovers a front-row seat to some of the best-loved Broadway shows, from glorious, feel-good musicals to captivating dramas. All four titles are productions by the theater streaming service BroadwayHD in association with THIRTEEN PRODUCTIONS LLC for WNET.GP-Logo

She Loves Me joins Present Laughter (November 3), Indecent (November 19), and Holiday Inn (November 24, and also from Roundabout) as part of PBS’s Broadway’s best lineup, directed for television by Emmy Award-winner David Horn, executive producer of both Great Performances and THIRTEEN‘s local Theater Close-Up series.

For over 50 years, PBS has provided audiences locally and across the country with unparalleled access to some of the most exciting and eclectic theater offerings on Broadway and beyond. We’re pleased to continue this great tradition with a diverse mix of recent critically acclaimed productions,” Horn said.

She Loves Me was the first Broadway musical ever to stream live during a performance at Roundabout Theatre Company’s Studio 54. In the musical, Tony Award® winner Laura Benanti and Tony Award® nominee Zachary Levi star as Amalia and Georg, two parfumerie clerks who aren’t quite the best of friends. Constantly bumping heads while on the job, the sparring coworkers can’t seem to find common ground. But little do they know, the anonymous romantic pen pals they have both been falling for happen to be each other. Will love continue to blossom once their identities are finally revealed?

Critics unanimously embraced this latest production. Mark Kennedy of Associated Press, for one, remarked, “An astounding cast, a nifty story and memorable songs turn this revival into a celebration of classic musical construction.

Marilyn Stasio of Variety raved, “The enchanting Broadway revival is so charming, you kind of wish it would follow you home.”

For BroadwayHD this performance of She Loves Me was produced by Stewart F. Lane and Bonnie Comley and captured by BroadwayHD in June 2016, in association with Ellen M. Krass Productions, Inc. and THIRTEEN PRODUCTIONS LLC FOR WNET. It was directed for television by David Horn.

Part of Roundabout’s 50th Anniversary Season, She Loves Me also starred Byron Jennings (Maraczek), Gavin Creel (Kodaly), Tom McGowan (Sipos) and Jane Krakowski (Ilona) with Nicholas Barasch (Arpad) and Peter Bartlett (Head Waiter).

The production was directed by Tony Award® nominee Scott Ellis, choreographed by Warren Carlyle with musical direction by Paul Gemignani. This classic musical comedy features a book by Joe Masteroff, lyrics by Sheldon Harnick and music by Jerry Bock.

This marks the second presentation of She Loves Me on Great Performances which aired a well-remembered British studio version starring Robin (“Poldark”) Ellis and Gemma (“The Slipper and the Rose”) Craven which delighted viewers.

The celebrated score features favorites such as “Vanilla Ice Cream,” “A Romantic Atmosphere,” “Dear Friend,” and “She Loves Me.” The musical is based on a play by Miklos Laszlo, whose well-known romantic story was the basis for the 1940 James Stewart film “The Shop Around the Corner,” the 1949 Judy Garland and Van Johnson musical “In the Good Old Summertime,” and the 1998 Tom Hanks & Meg Ryan film “You’ve Got Mail.

Roundabout’s Associate Artistic Director Scott Ellis previously directed Roundabout’s ten-time Tony-nominated revival of “She Loves Me” in 1993, which marked the first Broadway musical in the company’s history and launched the Musical Theatre Program at Roundabout.

The production started previews on February 19, 2016, and with the official opening on March 17, 2016. The creative team includes David Rockwell (sets), Jeff Mahshie (costumes), Don Holder (Lights), Jon Weston (Sound), Larry Hochman (Orchestrations), David Krane (Dance Arrangements & Incidental Music).

Major support for the Roundabout Theatre Company’s production of She Loves Me is provided by The Blanche and Irving Laurie Foundation. The stage production of She Loves Me also benefits from Roundabout’s Musical Theatre Fund with lead gifts from The Howard Gilman Foundation, Perry and Marty Granoff, Horace W. Goldsmith Foundation, and Michael Kors and Lance Le Pere.

The Full Schedule:

GREAT PERFORMANCES: She Loves Me

Friday, October 20, 9 p.m.

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