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Mr. Roberts spoke Wednesday at the Capital Issues Forum, a monthly gathering who early in the mornings over coffee and bagels hears presentations on different issues. Mr. Roberts discussed some broad and basic issues about Michigan’s economic background. But he also talked about the many issues he had played a hand in, and of those many were the ongoing struggles to come up with property tax and education reform. But while people generally focus on the tax and school funding elements of the proposal, Proposal A was a profound restructuring of Michigan education. And much of the genesis for some of those changes came seven years earlier out of a commission headed by Edgar Harden and Phil Runkel. Both men were themselves legends in Michigan education fields. Mr. Harden had been president of both Northern Michigan University and Michigan State University. Mr. Runkel was still, at that time, Michigan’s superintendent of public instruction, and would be one of the best-known advocates of public education in the state. In 1987, they headed a commission to look at major changes in state education funding and structure. Mr. Roberts was at the time a deputy state school superintendent, and worked on the commission. When the commission’s work was completed, it was basically ignored, lost to other issues. But Mr. Roberts held onto the commission’s product. At first, Mr.

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Washington, which stood for more than 60 years before being razed in 1982 to widen E. Walnut Street. The rest are mostly the stuff of ancient newspaper clippings. Entertainment Abounded As reported last issue, Public “Halls” or “Houses” once represented Green Bay's sole entertainment venues. Theatrical, musical and other forms of entertainment shared those spaces with everything from political rallies to lectures to dances and wedding receptions. Of particular note were the east side's Klaus and Turner Halls and Crikelair's Opera House and the west side's Music Hall on the southeast corner of W. Walnut and S. Chestnut Street. As the 18th Century succumbed to 19th, theaters dedicated strictly to on-stage entertainment began popping up along the business corridor of Washington Street and its nearby tributaries. Each theater posted its own unique story and history — however long or short it might be. Their names alone speak volumes about an era in American entertainment history when theaters were opened and closed, bought and sold, merged and cut loose. They also banded together in “circuits” — not so different from fast food franchises or chain stores — to cut costs, consolidate resources, smooth-out operations and hitch their wagon to a known national network. While circuits like the Orpheum, Bijou, Grand, Royal, Princess and others accumulated show houses like wildfire, some local theater operators fought doggedly to maintain their house's autonomy. Concurrently, vaudeville was flooding the country's stages — evolving from traveling minstrel and circus sideshows and the more-staid entertainment offered in the nation's metropolises. An evening of vaudeville could present a variety ranging from a vocal quartet followed in succession by a short melodrama, an acrobatic performance, a magician, a small animal act, a mind-reader, a novelty act, a comedy sketch and more. Shortly, a new form of entertainment began to emerge and — literally, in some cases — push vaudeville from the state. That, of course, was “moving pictures” or “movies” and their introduction changed everything. While movie projectors of the day were unwieldy contraptions and an organ was usually required for sound, they weren't human. Theater operators — and, yes, even theater circuits — quickly realized that movies and organs didn't complain about fees or dressing rooms, were never late, and didn't require room or board.

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French-based filmmaker of Algerian descent. Has lived in France since the age of 6 and has Algerian nationality. Worked as assistant director and made a first short in 1984. Co-scripted his first film with his wife, Zakia, who co-directed his second. Together they also collaborated on the script of Abdelhai Laraki’s first Moroccan feature, Mona Saber (2001). She co-wrote her husband Ahmed’s first feature, Krim, and co-directed the second. Began his career in French television, working as an assistant, and making a number of shorts. One of the trio of filmmakers (with Mehdi Charef and Abdelkrim Bahloul) to give an authentic and distinctive voice to the Algerian immigrant community in the mid-1980s. His second feature is one of the first to be made in the Berber language. All his initial films—two shorts and a feature—were made in collaboration with his childhood friend, a fellow Belgian immigrant, Taylan Barman from Istanbul. His first solo feature, the uninhibited comedy Halfaouine, which won the Boukhitine, Lyece (b. 1965 in Digoin, France). Studied drama in Rabat and then (briefly) filmmaking in Italy. After his return to Morocco in 1981, he worked as an actor and as assistant on Moroccan and foreign productions. Worked in Moroccan television on a wide variety of dramatic productions throughout the 1980s and 1990s. The first woman to complete a feature film in Morocco but had to wait 25 years to complete a second. Arrested for political activities on his return and imprisoned for 5 years. These put him in the forefront of Maghrebian filmmaking, with work of great power and sensitivity. He repeated this JCC success with Making Of in 2006.

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