#bmc nyc

[h0n3yk1tt3n]

does anyone know where the jer-bear nickname came from

like, fanfic, probably, but i don't suppose anyone knows patient zero off the top of their head do they?

[unproduciblesmackdown]

aptly when i revisited this inserted Shot Just Of EWM Sort Of Looming that had made me laugh it was like oh i'd remembered it as like even more exaggeratedly sickos like looking up from lowered head. it's so funny i remember like oh he was the sickos villain that time like surprise fun fact to me

[beheadedcousins]

I'm so excited to see heathers off-bway!! like right now, my plan is 3 times but it could be more!! I'm excited to see mckenzie kurtz as heather chandler!!! also excited to see casey likes as j.d.!!! as well as everyone in the cast!!

[diceriadelluntore]

Sbarià n°4 - Musica In Movimento

Nella Storia di Musica 365 ho citato lo studio Mobile dei Rolling Stones. Ve lo mostro

Il tipo biondo appoggiato al camioncino è Robert Plant, perchè il Rolling Stones Mobile Studio fu il primo e più leggendario esempio di studio di registrazione su ruote della musica rock.

L'idea nacque proprio al gruppo di Mick Jagger, che voleva registrare le canzoni con maggiore libertà a Stargroves, la dimora dell'Hampshire dove lui soggiornava. Ian Stewart, che era sia il pianista che il manager della band, ebbe l'idea non di allestire uno studio nella magione, ma di creare uno studio che potesse muoversi con la band. Fu allestito così un camion BMC, con i preziosi consigli dei migliori ingegneri del suono, che chiesero materiale all'azienda leader del settore in quel momento, la Helios Electronics: la giovanissima azienda di mix consolle fu fondata nel 1969 da un ex ingegnere del suono degli Olympic Studios di Londra, Richard "Dick" Swettenham, che tramite Glys Johns, uno dei mitici fratelli Johns tra i massimi esperti e maghi del suono rock di quei tempi, decise di produrre la sua console fatta a mano, e di diventare l'ingegnere del suono dei nuovissimi studi di registrazione della Island di Chris Blackwell, aperti a Notthing Hill, a Londra.

L'idea fu geniale per due motivi: in quel momento, tutti i gruppi desideravano registrate "live in the studio", senza fronzoli, e la possibilità di registrare non in un proprio studio di registrazione era perfetta; lo studio si rivelò eccezionale per catturare le registrazioni dei concerti dal vivo.

La lista dei dischi registrati con l'RSM è epocale. E comprende tra gli altri:

Sticky Fingers e Exile on Main Street – The Rolling Stones Zeppelin III e Zeppelin IV (ma anche materiale che finirà in House Of the Holy e Physical Graffiti)– Led Zeppelin Machine Head, Burn, e Live in Europe – Deep Purple Penguins e Mystery to Me – Fleetwood Mac Live! – Bob Marley and The Wailers Alchemy: Dire Straits Live – Dire Straits Live in Italy – Lou Reed

e soprattutto è omaggiata in quella che è probabilmente la canzone più famosa del rock: Smoke On The Water dei Deep Purple fu registrata proprio con questo studio a quattro ruote, nell'ormai leggendario racconto del fumo che dal casinò di Montreux si alzava per l'incendio provocato da "uno stupido" che accese un fumogeno durante il concerto di Frank Zappa & the Mothers Of Inventions.

We all came out to Montreux On the Lake Geneva shoreline To make records with a mobile, yeah We didn't have much time now (...)

We ended up at the Grand Hotel It was empty, cold and bare The Rolling truck Stones thing just outside Huh, making our music there now

Lo studio fu molte volte aggiornato, arrivando a ospitare verso la fine della sua storia operativa addirittura un registratore a 32 piste.

Nel 1985, i Rolling Stones vendettero l'RSM a Bill Wyman, che nel 1987 creò il progetto Ambition Invention Motivation Success (il progetto AIMS), che era un mezzo per dare alle nuove band in tutto il paese la possibilità di lavorare al Mobile Studio e produrre un demo di alta qualità. Nel 1996 il Mobile, ancora nella sua forma originale, fu venduto all'asta da Bonham's e portato negli Stati Uniti dai Loho Studios di New York City. Dopo un po' di manutenzione tecnica, fu messo in azione nella scena musicale underground di New York, realizzando registrazioni tra cui esibizioni dal vivo di Patti Smith, i Ramones e quasi 30 altre band al Continental per l'album Best of NYC Hardcore. Nel 1999, lo spettacolo "finale" dei DGeneration alla Coney Island High nell'East Village, New York City fu registrato dal Mobile dall'ingegnere del suono dei Loho Studios, Greg Di Gesu. L'unità è attualmente di proprietà del National Music Centre di Calgary, Alberta, Canada.

(il colore blu della versione AIMS era dovuto allo sponsor Pernod, famosa azienda di alcolici francese).

[llorom4nn1c]

♡ My favourite fashion brands!! ♡

🎀 Abbey Dawn

Avril, I am begging you, please rerelease the old pieces

🎀 Babymetalclub

BMC is the definition of a pretty girl brand

🎀 Tripp NYC

Once I can afford their clothes, it's over for everyone

🎀 Juicy Couture

I used to have some Juicy dresses and hoodies as a kid and I remember being so sad when I outgrew them. 😭

🎀 Swixxz

Everything Maggie Lindemann makes is just >>>>>>>>>>

That's it, byeeeee!! ˚｡⋆୨୧˚♡

[rebuke-me]

shakong the bmc fandom

off broadway and two river bmc are two separate shows stop saying off Broadway when you mean two river. two river is og will connolly cast album. off broadway is will roland show before they went onto broadway. off broadway doesn't just mean "not Broadway" it means "nyc show but not on the Broadway stages but still in nyc"

[annabelle--cane]

please 3. but also i want to hear 25 ? (for both bmc or tma if u wanttttt)

idk if its unclear. im asking 3 in general but 25 is fandom specific qydjgwhf

3. screenshot or description of the worst take you've seen on tumblr

oohh if we're going for a general non-fandom specific take then hmm... if we want to go for a funny one over anything more upsetting, I once saw someone get mad at a youtube video that poked a bit of fun at tjlc and used the justification "people in fandoms are literally a marginalized group, saying tjlc was wild is cruel and unjustified bigotry against vulnerable people."

25. common fandom complaint that you're sick of hearing

bmc - THE BROADWAY VERSION WAS GOOD. I will die on this hill. so many people who were into bmc for a few months in summer 2017 checked back in to listen when the new cast album dropped in 2019 and had visceral "hang on this is Different from the thing I liked" reactions, which is understandable, but absolutely no one seemed to ever notice that they were just feeling a kneejerk "someone moved the furniture in my house" response and treated the nyc production like it was objectively worse. besties that is simply not true. let jason tam squip into ur hearts.

tma - yknow I think for any multiples of questions I'll just give multiples of answers for as long as I have enough hot takes to write. I am a season five apologist, the fear domains were GOOD. almost all of the things that felt off when I listened live are completely solved by listening in a binge, and oh my god, the soundscapes from mag 177 to the end are so fucking good. they were good before then too, but they really kicked into high-gear after that first hiatus. chef's kiss.

[twoplayergame]

about your tags on my post, explain to me anything you want about your bmc aus I'm curious

(rubbing my gay lil hands together) you've opened the floodgates i hope you know, so i'm sorry in advance for the walls of text incoming aha.

BUT ANYWAY!!!!

this week (oct 9 to oct 13) is THE exact same dates as the week my LIS AU "Life is Weird" takes place (in 2017 tho), so this infodump will be ALL about that AU in particular!!! also bc the 6-year anniversary of the blog was last month ♥

my icon on this blog is my art from that AU too :]c

EDIT: putting this under a cut actually, so i don't have a mile-long post lol. also, i think i'll make a pinned post with a list of all my other AUs for reference! i have a LOT of half-baked ones i'd love to talk about as well

so:

Life is Weird is a Life is Strange-inspired AU i created in 2017!

the askblog it started with (@asklifeisweird) follows Michael as the protagonist (a la max caulfield), and Jeremy as the equivalent to chloe price.

there's a couple more roles that were originally fairly 1:1 (squip as jefferson, rich as nathan, chloe as victoria, christine as kate, dustin as rachel), but over the years they've mostly grown away from being "reskins" as me and my boyf keep developing the au!

i've also stolen several characters from the BMC book– either entirely or just in name– to fill the background space/chars, since LIS has a whole world of characters and BMC as a musical kinda... didn't, at least back in the day :'D now there's more named bg chars, but keep in mind this AU started before even the 2017 Exit82 revival, so we had uhhh about 11 characters and a book. anyway.

while the askblog itself hasn't exactly gotten very far in the story yet, the au has grown to include more LIS-based ideas as That franchise grew, alongside a lot of our own brainstorming ofc!! there's SEVERAL other stories planned following other characters besides Michael, and a lot of different timelines i'd LOVE to explore (some during blog canon, some just in side stories)

not to mention: since conception, the blog has gone through so many styles of getting the story out there that i consider it a multimedia project at this point. askblog with square panel comics in between, full-on comic pages, writing/fics... and most recently, bust-sprites with different expressions and text in between. i'm also working to add interactive fiction into the mix!!

Michael's story (nicknamed "Redshift" behind the scenes) mostly follows the same beats as the first LIS game, but the further in we get the more we've added to it. i'm especially excited for the LIW-equivalent to the alternate timeline LIS1 shows in (iirc) ep4, as well as the timeline post-Redshift that's inspired by the LIS1 comics :)

shifting tracks, i mentioned this was started Before the first musical revival. because of that and the revival coming out like 2 months later, a lot of the original character designs were based off the 2RT/2015 cast, the E82/2017 cast, or entirely headcanon-based. since then, as more productions happened, appearances have shifted or changed completely!

off the top of my head, some of the more notable ones are:

jeremy: 2RT for current, E82 for younger

brooke: E82 for current, 2RT/NYC for younger

dustin: originally all headcanon, now mainly E82 with some hc

jenna: originally 2RT, now mainly NYC

jake: originally 2RT, now NYC + clothing insp from 2RT

i'd like to take inspiration from other productions as well tbh, but i can't change full appearances much anymore since i've done the fullbody sprites already and i don't wanna completely redraw anyone if i don't have to XD

ok so. i WOULD keep talking but i've realised i have to get ready to see the BACCP production today!!! so i'll leave you off with the AU blogs if you wanna know more or read it or whatever! or feel free to send me more asks, i love this AU with all my heart :]

@asklifeisweird (main/ic askblog)

@bemorestrange (extra content/ooc sideblog)

[strokes-of-everything]

I wish I could’ve seen BMC when it was still on in NYC. I have had trouble getting into it now.

leitmotifs never get old to me like holy shit dude there’s this melody that corresponds to this one guy and if you hear the melody it means the guy is there. holy shit. and sometimes it refers to ideas too not just guys. has anyone heard about this

[bethanymedicalclinic]

Top Psychotherapy Clinic in NYC

BMC of NY is a trusted psychotherapy clinic in NYC, offering personalized therapy services to support your mental health and well-being. Our expert therapists provide compassionate care to help you navigate life's challenges.

[unproduciblesmackdown]

meanwhile, some quotes about the material:

The "musical within a musical" is about a ramshackle theater troupe haphazardly putting on a show destined for Broadway in exchange for doing chores around the farm. People fall in and out of love throughout the process, all while the city folk comically struggle with the country life. Emmy-winning writer Cheri Steinkellner was given one mandate, however: "No tractor," she laughed on the phone just weeks before the show was set to begin previews. "They were adamant about that. And there's a tractor in the movie. There's a tractor in almost every scene. It's in many ways about a tractor. But I was told absolutely no tractor." [...] "We're all working on this like we're on an actual summer stock schedule. Art imitates life imitates art. It's just go, go, go. And I couldn't be prouder of our cast, and our Jane and Joe," Steinkellner, who is also a Golden Globe winner, said. Her writing partner also happens to be her husband Bill. "Our 'Summer Stock' is more 'inspired by' than adaptation. There are four songs included from the original film that you can't not do. But the new songs are the best of the old songs. The secret sauce was the great American Songbook." She said "It Had To Be You" is one of the classics audiences can expect.  

[source: ‘High School Musical’s’ Corbin Bleu makes his Goodspeed debut in ‘Summer Stock’]

So, how different is the musical Summer Stock from the movie? It feels like a whole new animal, even though we’ve borrowed some elements from the movie. It is still, first and foremost, a love letter to the theater; it’s about this group of players who come to a farm to put on a show. So many numbers are how they get into farming through performance! We also still focus on how Joe and his partner Phil [played by Gilbert L. Bailey II] fight to get the show on its feet, and how Joe helps his eventual love interest Jane [played by Danielle Wade] find her inner performer. But a lot has changed from the film, including some of the relationships. We have a brilliant new writer, Cheri Steinkellner, who has dropped in a lot of nods to why we love musical theater. We have Veanne Cox as Orville’s mother, who is the new “villain” of the piece. And we’ve added a lot of music, such as “It Had to Be You” and “It’s Only a Paper Moon,” and we’ve switched around who’s singing some of the film’s songs, such as “Dig, Dig, Dig” and “Happy Harvest.” But the most important thing is that while we’re still in the late 1940s, there are two Black actors playing the male leads – me and Gilbert Bailey as Phil – and it is definitely not color-blind casting; it’s color-conscious. That means we’re dealing with an interracial love affair, for instance. The racial element is an additional driving force, which I think is necessary, but the main story isn’t about the struggle for racial equality. In the end, it’s still a feel-good MGM-like affair. You’ve previously stepped into the figurative shoes of Gene Kelly, who originated the role of Joe in the movie, as well as Fred Astaire. How does that feel? I am always aware these golden age icons from MGM have such a specific style and that they make what they do look easy. Of course, I want to bring that to Joe. But in the tap dance sequence, for instance, we also have a bit of Gregory Hines, even though I’m no Gregory Hines. And at the end of the day, it’s me on stage, and I work hardest on finding my own characterization of these roles. This is your first time working with Donna Feore, who is one of Canada’s leading directors and choreographers. Tell me about your experience with her? Donna is wonderful to work with, both as director and choreographer. I think the best thing about her handling both roles is we don’t have to get everyone on the same page, because she is the same page. She’s also really hands-on with the music; she fought to have a drummer in the room during rehearsals so we could find those beats while we created the choreography, not just insert them later. As she directs, she considers the movement of every scene, but also the story that we’re telling through that movement! It’s not movement for movement’s sake, and I appreciate that! Goodspeed isn’t the easiest place to do a dance-oriented show, is it? Yes, we’re dealing with the confines of a very small stage, it’s like dancing on a Chiclet. I am so impressed how vibrantly our cast can move on this stage. We’re on top of each other!  I think we’d look great on a bigger stage, which is just one reason why everyone is focused on moving this show to New York.

[source: Interview: Corbin Bleu Talks About the New Musical Summer Stock and the Fourth Season of HSMTMTS]

“Summer Stock” is right in Corbin Bleu’s wheelhouse. “I feel at home on the stage,” he said. An actor, singer and dancer his whole life, Bleu is appearing in the upcoming stage adaptation of the Hollywood musical beginning July 7 at the Goodspeed Opera House. “I established myself in this particular genre, doing shows associated with Gene Kelly or Fred Astaire,” he said. “I am a bit of an old soul. This is what my voice naturally goes to.” The “High School Musical” star is playing Joe Ross, one of a troupe of actors that descends on a small farming town to turn an old barn into a theater. It appears he was born to play the role originated by Kelly on the big screen. “I grew up as a theater kid,” Bleu said. “I grew up watching old MGM movies. I was a theater nerd and a musical theater fan. My dad kept a storage unit of stuff from our childhood, and he found an old school paper from when I was in elementary school where I’m dreaming of performing in musicals.” [...] Of the four shows, “Holiday Inn” is most similar to “Summer Stock,” which was also adapted from a movie . “Holiday Inn” was a fairly close reworking of the film, but “Summer Stock” takes a few more liberties. “It’s not the exact same story,” Bleu said. “When I watch the movie, I think it could definitely use some updates.” Those updates include a multi-racial cast. “Let’s not skirt the obvious,” Bleu said. “I’m a Black guy doing characters traditionally played by white men, doing things Black men weren’t traditionally able to do easily at the time these shows take place.” [...] “Some parts of the book are still in process,” Bleu said. “Cheri is in the room with us at rehearsals. We want this to feel modern, but we don’t want to shoehorn anything in. “I was also part of the workshop we did in New York a month and a half ago,” he added. “I’m loving seeing it and I’m loving being a part of it. We know this genre. It’s a feel-good musical comedy, a big song and dance show.” Though there is a lot that has been rethought when reshaping “Summer Stock” for the 21st-century stage, those who know it as a Gene Kelly movie will have plenty to latch onto. “We are completely paying our homage to Gene,” Bleu said. “I am not Gene, but I do have a natural tendency to lean into that style. Gregory Hines is also a big inspiration. There’s tap dancing in this. There’s a whole Lindy Hop number. There are a lot of very large dance numbers.”

[source: ‘High School Musical’ star Corbin Bleu is rethinking ‘Summer Stock’ at the Goodspeed Opera House]

[h0n3yk1tt3n]

1 22 23

1. Who's the blorbo you've never posted about on your blog?

I suppose there are a couple that I've posted or reblogged fanart for a couple times but haven't ranted about in text posts or tags, though i dont know where that lands in relation to the category of "posted about." I think for simplicity I'm gonna say Chell from the Portal games. I played the second game constantly as a kid but practically never post about it here. I think I've only posted three (3) drawings/doodles of her (to insta) in the space of 5 years and only one (1) of those mightve made it to tumblr. But yeah dangerous mute lunatic (glados's words) my beloved <3

22. Would you still love your blorbo if they were real?

Pivoting to Jeremy since he's been the most prominent blorbo in recent years and. Honestly he'd probably just be another rando at school to me (if for the sake of this question we were in the same grade). However were I also part of the school play and got drugged by one of the cool kids at the time, that would very likely sour my opinion of him since. I probably wouldn't know his whole deal like i do as a viewer of his story.

But I'm answering the question like I'm in his world. If he got magicked into the real world where his story already happened I think we could shoot the shit and play games together.

23. Is your blorbo a victim of badly written script / bad plot / character assassination in the hands of canon?

God... NYC + bway bmc you sure were. A thing.

I have a hard time distinguishing what's a Bad writing decision vs one that I just don't vibe with, not just with my own opinions but with everyone's I come across. That's the subjectivity of art as a whole, you can't always definitively say if something was Objectively Good. People don't like a thing and the world keeps spinning. Screaming at the thing won't make it warp into something you like, so engaging with something you do like will be a better use of your time.

I've lost the plot with this question. I just didn't need the Broadway revival. I just... I didn't need it...

[emmie-time]

This is so wacky cause I have so much like personal beef with Hamilton for overshadowing In the Heights. Cause like I remember going to NYC to see Heights and even then the theater was covered in ads for Hamilton. Also I do agree DEH is bad but it's like bad because you the audience can see Evan is bad for doing what he does and each showing gets wilder cause they keep having the same guy play him but he's like way over the plausibly playing a teen boy phase of his career.

I don't have a strong opinion about BMC and Heathers the musical makes me feral I love Heathers so much!

[sockiesock]

the bmc nyc discourse was fucking insane, every member of the cast went from being loved to hated sooo fast 😭😭 that musical never shouldve gone to broadway

[industryforecastnews]

Trauma Care Centers Market Size To Reach USD 26.9Bn By 2030

Trauma Care Centers Market Growth & Trends

The global trauma care centers market size is expected to reach USD 26.9 billion by 2030, according to a new report by Grand View Research. It is expected to expand at a CAGR of 7.53% from 2023 to 2030. The market is expected to be driven by the factors such as the rising number of trauma cases and the growing utilization of trauma care services among the pediatric and geriatric population. Additionally, the growing number of trauma care centers globally is expected to boost the growth of the market during the forecast period.

Growing incidence of injuries and falls and increasing demand for trauma care have led to a gradual increase in the number of standalone and hospital-owned trauma care centers. Many established hospitals are having dedicated trauma care departments to provide emergency medicine to people injured due to burns, road traffic accidents, and other injuries.

Furthermore, the COVID-19 pandemic has adversely affected the market growth owing to the delay in elective procedures, postponement in non-urgent treatments in hospitals, reduction in outpatient visits, and unnecessary emergency department visits. According to an article published in BMC, the initial stages of the pandemic were associated with a 32.5% decline in trauma patient volumes and different injury patterns at 85 trauma centers in a multiple states system.

Request a free sample copy: https://www.grandviewresearch.com/industry-analysis/trauma-care-centers-market  

Trauma Care Centers Market Report Highlights

On the basis of facility type, the in-house segment dominated the market in 2021 in terms of revenue. This can be attributed to the presence of specialized in-house trauma care in acute care hospitals

By trauma type, the falls segment held the largest revenue share in 2021 owing to the rise in the prevalence of severe to moderate injuries caused due to falls

Based on service type, outpatient services held the largest share in terms of revenue in 2022 due to better access to care and better reimbursements

North America held the largest share in terms of revenue in 2022 owing to the presence of high-quality and well-established trauma care centers and rising cases of road accidents and sport-related injuries

India and China, the two emerging economies in the Asia Pacific region, have observed rapid economic expansion and an increase in healthcare spending. The need for sophisticated trauma treatment is anticipated to grow in these countries in the coming years as a result of rising disposable income

The companies operating in the market are seeking accreditations from the authorities to stay competitive in the market. For instance, in September 2019, NYC Health + Hospitals/Bellevue received provisional status to operate as a Level II Trauma Center for Pediatrics. The emergency trauma room serves children aged 15 and below

Trauma Care Centers Market Segmentation

Grand View Research has segmented the global trauma care centers market based on facility type, trauma type, service type, and region:

Trauma Care Centers Facility Type Outlook (Revenue, USD Million, 2017 - 2030)

In-house

Standalone

Trauma Care Centers Trauma Type Outlook (Revenue, USD Million, 2017 - 2030)

Falls

Traffic-related Injuries

Stab/Wound/Cut

Burn Injury

Brain Injury

Other Injuries

Trauma Care Centers Service Type Outlook (Revenue, USD Million, 2017 - 2030)

Inpatient

Outpatient

Rehabilitation

Trauma Care Centers Regional Outlook (Revenue, USD Million, 2017 - 2030)

North America

U.S.

Canada

Europe

Germany

U.K.

France

Italy

Spain

Asia Pacific

Japan

China

India

Australia

South Korea

Latin America

Brazil

Mexico

Argentina

Middle East & Africa (MEA)

South Africa

Saudi Arabia

UAE

List of Key Players of the Trauma Care Centers Market

University of Alabama Hospital

Banner University Medical Center Phoenix

St. Joseph’s Hospital and Medical Center

Albany Medical Center

Ascension St. John Hospital

Bellevue Hospital Center

China Medical University Hospital

Klinikum Stuttgart

Kaiser Permanente

University Hospital Southampton NHS Foundation Trust

Request a free sample copy:https://www.grandviewresearch.com/industry-analysis/trauma-care-centers-market

[bmcthedotconnector]

(BMC - The Dot.Connector.)OK - so I tried something new for the first time in my musical career and I F***** love it. I think you're gonna love it too. I did a mashup with some of my friends from NYC - Biggie, Method and Bobby Digital - the 4 of us ripped it on a Drum and Bass  beast. It came out so dope. I really love this track and it even got the seal of approval from the wifey - that NEVER happens.