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For years, we have arranged unforgettable performance trips for Band, Choral, Orchestra, and Dance groups worldwide. In addition to festivals, cruises, and parades, we specialize in arranging opportunities for your group to put on a show for audiences at renowned concert halls, cathedrals, theatres, parks, and city centers in North America and overseas. Music directors worldwide trust CE to move their mass of merry musicians across the globe to play their instruments. We’ve taken groups of 50 to 500 to perform for audiences of 5 to 50,000 and we ensure a creative and unique experience year after year.

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‘Bridgerton’ Takes Polin’s Love on the Road With Major Global Tour

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Netflix is setting the Ton abuzz as the streamer unveils plans for a major global tour tied to Bridgerton ‘s highly-anticipated third season focusing on the love story of Penelope Featherington ( Nicola Coughlan ) and Colin Bridgerton ( Luke Newton ), a.k.a. Polin.

The streamer teased the tour on social media, unveiling a lengthy list of locations that the stars are set to visit in celebration of the latest chapter in Shondaland’s Regency-era hit. Among the cities included in the lineup are Amsterdam, Bowral, Dublin & Galway, Johannesburg, London, New York, Rio De Janeiro, Toronto, Verona, and Warsaw.

Additional details beyond the slate of global cities have not been unveiled at this time, but the tour essentially kicked off this past weekend in Australia where Coughlan and Newton made an appearance as the Bowral-based screening of the first Season 3 episode.

No dates have been set alongside these locations, so fans will have to wait and see when the show’s tour will be hitting up a spot close to them. Additionally, this global adventure will include press appearances, fan interactions, and exclusive screenings, so stay tuned for more details about how you can take part in the fun.

How '80s Rom-Coms Inspired 'Bridgerton' Season 3

In Australia, Coughlan and Newton were joined by Season 3 showrunner Jess Brownell as they surprised fans at an epic screening and took part in plenty of press coverage. With a two-part season, a major promotional tour makes total sense as fans eagerly await new episodes through the summer when Part 2 is slated to drop on June 13th.

Part 1 will drop a month earlier on May 16th, making way for the start of Polin’s romance, which will see Penelope accept Colin’s help when he offers to aid in her search for a husband, unaware that their lessons will have a unique effect on him. Don’t miss it for yourself, keep an eye out for more details on the major tour, and additional coverage here on TV Insider as we approach the Part 1 premiere.

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Principals tour vla in open house.

TOUR — Edison Local High School Assistant Principal Josh Leasure, from left, Harrison Central Elementary Assistant Principal Donnie Madzia and Edison High School Principal Matt Morrison, listen to a presentation from Harry Vande Velde, owner of the Springboard series of modules during an open house tour of the Virtual Learning Academy. Brant Starkey, VLA staff member, observes from the back. -- Contributed

STEUBENVILLE — Visiting administrators from several school districts got a look at the latest tools available from the Jefferson County Educational Service Center’s Virtual Learning Academy during an open house and tour.

On March 7, the administrators were welcomed to the VLA office, located on the lower floor of the R. Larry George Training Annex building located near the JCESC headquarters on 2023 Sunset Blvd. This followed a principals’ collaborative meeting on the upper floor.

VLA Director Mark Masloski showed the visiting administrators several new courses and modules and let staff speak about the potential benefits to their students.

Brant Starkey, VLA staff member, spoke about a Current Events course, offered through the VLA’s partnership with PBS Learning Media and NewsDepth and aimed at encouraging teenage students to take a view of life beyond the immediate and present.

“This kind of forces them to see that there’s other things that are going on in the world,” he said, adding that the course is filed under social studies and includes quizzes and videos. “Every week there’s a new episode and we upload the questions and answers.”

Harry Vande Velde, owner of the Springboard series of modules, showed them the Play of the Day module. Vande Velde said the module is useful during homeroom or intervention periods and guides students through daily exercises about motivational quotes. The module includes biographies of the people who made the quotes, as well as ways the quotes can be applicable to goal setting.

“Administrators love to know that there’s options available for them to be proactive in their building to meet the needs of all students and faculty,” he said afterward.

Elizabeth Nelson, a graduate student from the Franciscan University of Steubenville and an intern with the VLA program, spoke about the use of gaming in education, pointing out the use of video games to spark critical thinking in students and encourage them to mediate on their emotions while playing. She said the exercises include designing their own character based on a personality test. Masloski said the program was funded through a socioemotional learning grant.

Noah Fuller, another graduate student from the university and a graduate placement with the VLA program, shared information about a conservation science course for grades nine through 12 to launch next school year. He said the elective course will focus on the North American model of wildlife management including hunting, fishing, trapping, boating and shooting sports.

“It covers how to do these activities and ways to responsibly do them in the context of the environment,” he said. “It also covers a lot of related skills.”

Masloski said a quarter credit can be earned on different activities like fishing and boating. He said options include virtual labs and offline activity labs.

“If it’s approved through the Ohio Department of Education and Workforce for the third Science credit, I think that benefits everybody,” he said.

Masloski said VLA has an abundance of accessible resources.

“Teachers can use as part of the curriculum or the curriculum itself,” he said.

He related some of the applications.

“All you guys have students that’s in VLA that’s not in your building for one reason or another. They’re using our courses,” he said. “I would look at VLA courses as a textbook, workbook, video guide, student guide for your teachers.”

Masloski said his staff are available to visit schools to assist in using VLA tools.

Harrison Central Elementary Assistant Principal Donnie Madzia commented afterward.

“It was very interesting. We’ve just got to make sure we get it out to our staff back at Harrison to be able to utilize this material. I think it’s a good thing, we just need to know a little more about it,” he said.

He said the current events module has potential. He added his district frequently works with the VLA and receives weekly informational e-mails.

“Each one of these things has a nice option our teachers could use up at Harrison,” he said.

Edison Local High School Assistant Principal Josh Leasure was impressed by the Play of the Day module.

“I think that would be really good for the kids,” he said. Leasure said he would also share some information about gaming courses with district staff.

He said the VLA has been a valuable resource.

“We use VLA for what we call direct supervision. In-school suspension,” he said.

Toronto Junior/Senior High School Principal Betsy Jones also was interested.

“We currently use VLA right now in our school mostly for credit recovery, but we do like some of the new offerings that they give our kids. I appreciate the current events and I appreciate the Play of the Day, so we might be looking into these things.”

The Virtual Learning Academy is an online curriculum provider offering more than 300 core and elective courses to students in grades K-12. VLA serves all students including those who are credit deficient, home bound, home schooled, etc. JCESC VLA can serve as a stand-alone program or implemented within already existing curriculum. To learn more about the JCESC Virtual Learning Academy, visit the website at jcesc.k12.oh.us/vla.aspx, contact VLA staff at [email protected] or call (740) 283-3347, extension 100.

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Visa fees for international artists to tour in the US shot up 250% in April. It could be devastating

Festivalgoers attend the first weekend of the Coachella Valley Music and Arts Festival at the Empire Polo Club on Sunday, April 14, 2024, in Indio, Calif. (Photo by Amy Harris/Invision/AP)

Achille Trocellier, left, and Flore Benguigui of L’Imperatrice perform during the the first weekend of the Coachella Valley Music and Arts Festival at the Empire Polo Club on Friday, April 12, 2024, in Indio, Calif. (Photo by Amy Harris/Invision/AP)

Festivalgoers are seen during the the first weekend of the Coachella Valley Music and Arts Festival at the Empire Polo Club on Saturday, April 13, 2024, in Indio, Calif. (Photo by Amy Harris/Invision/AP)

Tom Daveau of L’Imperatrice performs during the the first weekend of the Coachella Valley Music and Arts Festival at the Empire Polo Club on Friday, April 12, 2024, in Indio, Calif. (Photo by Amy Harris/Invision/AP)

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NEW YORK (AP) — Performing in the U.S. for international artists just got a lot more complicated.

On April 1, the United States Citizenship and Immigration Services instituted a 250% visa fee increase for global musicians hoping to tour in the U.S.

Artists, advocacy groups and immigration lawyers are concerned it could have devastating effects on emerging talent worldwide and local music economies in the U.S.

WHAT ARE THE COSTS?

If you’re a musician from outside of the United States hoping to perform stateside and you filed visa paperwork before April 1, the cost per application was $460.

After that date? $1,615 to $1,655.

Bands and ensemble groups pay per performer. A standard rock band of four members went from paying $1,840 to around $6,460. And if you can’t wait a few months for approval, add $2,805 per application for expedited processing.

If the application is not accepted, that money is not refunded — on top of losses from a canceled tour and missing out on “significant, potentially career-changing opportunities,” says Jen Jacobsen, executive director at The Artist Rights Alliance .

If a musician has support staff, a backing band or other employees to bring on the tour, these individuals need visas, too.

“Even if you’re Capitol Records and you have all the money in the world to throw at it, you still can’t get rid of U.S. bureaucracy,” says immigration attorney Gabriel Castro.

All international musicians require work authorization to perform in the U.S. There are few exemptions: Those are reserved for “showcases” through the Visa Waiver Program — like what is often used at South by Southwest , where international artists perform exclusively at official showcases, without pay and for exposure.

Currently, there are few hurdles for U.S. musicians looking to enter other countries for the specific purpose of earning money through live performances. According to Castro, American performers are able to enter most countries without a visa and under an exception to tourism rules.

WHAT’S THE IMPACT ON ARTISTS?

Gareth Paisey, singer of the independent, seven-piece Welsh band Los Campesinos! , will tour in the U.S. this June. The band made sure to apply for visas before the April 1 cut off, a difference of paying $3,220 or $11,305 in fees. Next time they have to get a visa, he says they’ll likely try to squeeze two tours in one year — the length of their particular visa — to make up the cost.

He says the application process requires providing an itinerary for the full year and supplemental evidence: press clippings to justify their status as “career musicians,” and testimonials from people of note — often from more famous musicians.

“Nobody gets into a band because they’ve got a passion for making cash flow forecasts,” he says. “It’s unfair to expect people who are brilliant at writing songs to also be brilliant at filling out a 20-page visa application.”

After Brexit , he says touring in Europe for U.K. acts has become more complicated, but the U.S. process is by far the most complex — both in terms of paperwork and what it represents for music moving forward.

“This idea that you need to be a career musician to get a visa, and visa fees are going up, increases the idea that music is a competition ,” says Paisey. “And part of that competition is making as much money as you can — like that’s the only valid way to participate in the music industry.”

WHY HAVE THE FEES JUMPED SO MUCH?

Two reasons: They hadn’t in some time, and because immigration officials are scrutinizing the process more closely.

The last increase was in 2016, when fees grew from $325 to $460.

The U.S. government is “putting more and more burden on the application process,” says Castro of BAL Sports and Entertainment Practice, which specializes in visas for musicians, entertainers and athletes.

He says 20 years ago, applications were just two or three pages. Now, they’re 15 or 20 pages.

“And those are just the forms before supporting evidence,” he says. “Now I’m submitting documents that are 200 pages, 300 pages long just to explain why this band should be traveling throughout the United States.”

Officials “might have done better to look at inefficiencies in the system to save money,” he says.

Paisey says he’s heard that the increase will allow the USCIS to “get rid of the backlog ... But is that because you’re going to employ more staff or is it probably because you’re going to get less applications?” he wonders, because it’s going to benefit “people who can afford to go than rather than who wants to go or has the fan base to go.”

WHY HAVE THE APPLICATIONS CHANGED OVER TIME?

Castro says some of it is to account for “abuses in the system — to make sure that individuals that are coming here for certain activities actually have those activities in place,” but the increased scrutiny is a lingering effect from Trump administration’s immigration policies .

“The immigration process overall became more difficult for everyone. Whether you’re coming across the border, whether you’re coming here to perform at Madison Square Garden, whatever it is,” he says. “That has changed the culture of U.S. immigrations agencies .”

WHO DOES THIS HARM?

Independent and emerging talent, as well as ensembles and groups.

“ Dua Lipa , the Rolling Stones , they’re going to pay these fees. It’s not even a rounding error. They could misplace $1,200 in their budgets and they wouldn’t even notice,” says Castro. “It’s the indie rock bands, niche acts, jazz musicians from Japan who will be affected.”

“Every dime counts. They have very small margins,” he adds.

“We’ve already got a problem with not enough musical acts breaking through to the next level,” Paisey says. “And this is going to stop them from getting that chance in the States.”

Touring in the U.S. is a pipe dream for many independent acts, he says, and it is in danger of “not even being a dream.”

Jacobsen points out that there will be ripple effects as well: Musicians, drivers, tour managers and beyond who would be hired to work with international talent will lose work, venues will lose fruitful bookings, festivals that focus on international talent will reduce in size, the costs of tickets could increase and so on.

She says these fee increases could affect U.S. music culture — “the richness of the music ecosystem in terms of diversity of genres.”

If lesser known, global genre artists cannot perform in the U.S., audiences will miss out on a critical cultural exchange. “We need the marketplace to be friendly and accessible to all those different types of musicians,” she says.

WHAT’S NEXT?

“You’re going to see a decrease in international acts coming to the United States,” says Castro. “And maybe it’s decreased frequency more than a decrease in the absolute number. We’ll see less and less emerging artists.

“The harder you make it for them to come to the United States, the less you’re going to see them here.”

Local economies, too, will feel the result: “It’s not just the mid-sized venue in Cleveland that will feel it, but the parking lot down the street, the restaurants and bars people go to before and after.”

And there could be long-term consequences that have yet to be seen. “There is an absolute concern that there would be a reciprocal effect,” says Jacobson.

If the U.S. is making it increasingly difficult and expensive for musicians to come here, “Why wouldn’t other countries do the same to our artists?”

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Splean Setlist at Unknown Venue, Ul'yanovsk, Russia

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• Apr 15 2001 Dvorets Sporta 'Yunost' Chelyabinsk, Russia Add time Add time
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