Library Needs $2.5 Million to Expand By» Melissatv/To 1Iod/I Everett17.Ti/I>>/Ift ™ a Proposal to Expand the Library Was Also Be Located There
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Cial Climber. Hunter, As the Professor Responsible for Wagner's Eventual Downfall, Was Believably Bland but Wasted. How Much
cial climber. Hunter, as the professor what proves to be a sordid suburbia, responsible for Wagner's eventual are Mitchell/Woodward, Hingle/Rush, downfall, was believably bland but and Randall/North. Hunter's wife is wasted. How much better this film attacked by Mitchell; Hunter himself might have been had Hunter and Wag- is cruelly beaten when he tries to ner exchanged roles! avenge her; villain Mitchell goes to 20. GUN FOR A COWARD. (Universal- his death under an auto; his wife Jo- International, 1957.) Directed by Ab- anne Woodward goes off in a taxi; and ner Biberman. Cast: Fred MacMurray, the remaining couples demonstrate Jeffrey Hunter, Janice Rule, Chill their new maturity by going to church. Wills, Dean Stockwell, Josephine Hut- A distasteful mess. chinson, Betty Lynn. In this Western, Hunter appeared When Hunter reported to Universal- as the overprotected second of three International for Appointment with a sons. "Coward" Hunter eventually Shadow (released in 1958), he worked proved to be anything but in a rousing but one day, as an alcoholic ex- climax. Not a great film, but a good reporter on the trail of a supposedly one. slain gangster. Having become ill 21. THE TRUE STORY OF JESSE with hepatitis, he was replaced by JAMES. (20th Century-Fox, 1957.) Di- George Nader. Subsequently, Hunter rected by Nicholas Ray. Cast: Robert told reporters that only the faithful Wagner, Jeffrey Hunter, Hope Lange, Agnes Moorehead, Alan Hale, Alan nursing by his wife, Dusty Bartlett, Baxter, John Carradine. whom he had married in July, 1957, This was not even good. -
Die Invasion Der Barbaren Gedanken Zur Re-Mythisierung Hollywoods in Den 1980Er-Jahren
Die Invasion der Barbaren Gedanken zur Re-Mythisierung Hollywoods in den 1980er-Jahren Marcus Stiglegger, Berlin 1. Wenn ich zurückdenke an das Jahr 1982 – ich war gerade 11 Jahre alt –, muss ich sagen, dass Conan für kurze Zeit zu meinem Mentor wurde. Ich durfte den Film mit Arnold Schwar- zenegger damals noch nicht sehen und sammelte daher verzweifelt alle Artikel über John Milius’ CONAN THE BARBARIAN (1982), die ich finden konnte. So kaufte ich mein erstes Cinema-Heft und meine erste Bravo-Ausgabe, denn beide berichteten ausführlich über den archaischen Barbaren. Und welche Freude war es, als der Heyne Verlag mit seiner Veröf- fentlichung der Conan-Stories und -Romane begann, die jeweils mit einem Filmfoto auf dem Cover erschienen. Diese blassgelben Buchrücken schmücken noch heute mein Lesezimmer. Conan kam damals zur richtigen Zeit: mit der wachsenden Popularität von J. R. R. Tolkiens Herr der Ringe-Romantrilogie und dem gleichnamigen Animationsfilm von Ralph Bakshi aus dem Jahr 1979, mit John Boormans 1981 gestarteter Neuinterpretation des Arthus-Mythos’ in EXCALIBUR und Terry Gilliams TIME BANDITS (1981). Es folgten THE DRAGON SLAYER (1982) von Matthew Robbins, FIRE AND ICE (1983) von Ralph Bakshi, THE DARK CRYSTAL (1982) von Jim Hanson und Frank Oz, LEGEND (1983) von Ridley Scott und aus Deutsch- land DIE UNENDLICHE GESCHICHTE (1984) von Wolfgang Petersen. Und nicht nur das Kino feierte die Phantasie, auch das Table-Top-Rollenspiel Dungeons & Dragons hatte damals eine Hochphase. Tolkiens Mittelerde hatte sich bereits in der Hippie-Ära der frühen 1970er-Jahre großer Beliebtheit erfreut, Studierendenkreise ebenso inspiriert wie esoterische Beschäfti- gung angestoßen. Pen-and-Paper-Rollenspiele etablierten sich als Gruppenerlebnis, und schon in den 1970er-Jahren musste man von einem Revival jener Fantasy-Literatur sprechen, die eigentlich einer anderen Ära entstammte: den krisengeplagten 1930er-Jahren mit ihren ‚Weird Tales‘ und weiteren frühen Fantasy-Magazinen. -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Don Murray Unsung Hero
DON MURRAY UNSUNG HERO Donald Patrick Murray was born in Hollywood in 1929 to a 20th-Century Fox dance director and a former Ziegfeld girl. He moved to New York when he was three years old and became an exceptional student-athlete at East Rockaway High School in Nassau County. Don played football and ran track, where he earned the nickname “Don Deer.” After graduation in 1947, Don declined several scholarship opportunities at universities in favor of enrolling in the American Academy of Dramatic Arts. (To this day, Don retains a slight “Long Island” accent, but his three years at AADA helped him effectively shed this at will, and he easily mastered a series of speech patterns in his subsequent acting roles.) When the Korean War broke out, Don filed for “conscientious objector” status, and spent two years in alternative service at refugee camps in Germany and Italy. (Don would later star in a self-penned screenplay for Playhouse 90 entitled For I Have Loved Strangers based on these experiences.) Before his European adventures, however, Don had turned heads in his first substantial part in the Broadway production of Tennessee Williams’ The Rose Tattoo. He also made strides on early television, appearing on several highly-regarded programs, including The Kraft Theater and the psychological mystery series Danger. Don then landed a role in the Broadway revival of Thornton Wilder’s The Skin of Our Teeth, playing Henry Antrobus, a character who demonstrated a pronounced change in temperament. (During the play’s celebrated first run in 1942-43, Henry was played by Montgomery Clift.) Don’s performance caught the eye of theatre and film director Joshua Logan, who quickly decided that Don was the perfect choice to play the raw, reckless Beauregard “Bo” Decker in his film version of William Inge’s hit play, Bus Stop. -
ACOUSTIC ALCHEMY and JESSE COOK
SEASON CERRITOS CENTER FOR THE PERFORMING ARTS 2011–2012 SEASON SPONSORS The City of Cerritos gratefully thanks our 2011–2012 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. SEASON YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at 562-916-8510. SEASON CERRITOS CENTER FOR THE PERFORMING ARTS THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. ENCORE Beth Anderson Rodolfo Chavez Bryan A. Stirrat & Associates Hedy Harrison-Anduha and Liming Chen Jose Iturbi Foundation Larry Anduha Wanda Chen National Endowment for the Susan and Clifford Asai Margie and Ned Cherry Arts Larry Baggs Frances and Philip Chinn Eleanor and David St. Clair Marilyn Baker Nancy and Lance Chontos Terry Bales Patricia Christie HEADLINER Sallie Barnett Richard Christy The Capital Group Companies Alan Barry Rozanne and James Churchill Charitable Foundation Cynthia Bates Neal Clyde Chamber Music Society of Dennis Becker Mark Cochrane Detroit Barbara S. Behrens Michael Cohn The Gettys Family Aldenise Belcer Claire Coleman Los Cerritos Center Yvette Belcher Mr. -
By Michael Mann FINAL DRAFT March 6, 1980
by Michael Mann FINAL DRAFT March 6, 1980 "I am cruising day and night in a brand new Caddy convertible. I'm wearing $150 slacks, silk shirts, $800 suits, a watch loaded with diamonds and a perfect 3 karat ring with no visible means of support. And you ask how I make a living? Baby, I am a thief." PLEASE NOTE THE FOLLOWING CHARACTERS' NAMES HAVE BEEN CHANGED IN THE SCRIPT: OLD NAME NEW NAME "WATTS" "BOREKSCO" "ANCEL" "BARCELL" "DR. YELLIN" "DR. SHELTON" (Sc. 67) "SAM MALTZ" "SAM GROSSMAN" "MALTZ SCRAPYARD" now becomes "GROSSMAN SCRAPYARD" 3/20/80 "THIEF" BLACK SCREEN. TILT DOWN TO: 1 EXT. STREET - FRANK - TWILIGHT 1 * The haze and rain of winter weather is incandescent. It RAINS. A little jumpy, he looks out at some- * thing. We don't know what. His hair is wet. * 2 OMITTED 2 * 3 CLOSER - FRANK 3 on the sidewalk watching from another angle. 4 OVER HIS SHOULDER - APARTMENT BUILDING 4 * across the street down the block. People coming * home from work race for doorways. As Frank watches, we don't know who he is. We don't know why he's looking at this building. CUT TO: 5 INT. BLACK ELDORADO - FRANK'S POV - SAME BUILDING 5 but pebbled by rain. He watches from inside the car, now. Closer. He gets out. THROUGH the pebbled WINDSCREEN we SEE him turn up the collar of his coat and enter. CUT TO: 6 INT. BUILDING - REAR SHOTS - FRANK - DAY 6 up stairs. CUT TO: 3/29/80 2. 7 INT. APARTMENT - VI - TWILIGHT 7 * BUZZER. -
Apocalypse Now
Sabrina Baiguera Università degli Studi di Bergamo Letteratura Anglo-americana LMI A.A. 2011/2012 Paolo Jachia’s Francis Ford Coppola: Apocalypse Now. Un’analisi semiotica , an intertextual reconstruction of the texts, of the cultural references that lie behind the film. Apocalypse Now (1979) Two versions: the orginal version (1979) and the extended version ( Apocalypse Now Redux: 2001 ), released in 2001. The film is set during the Vietnam war (the action takes place approximately in 1970) It tells the story of U.S. Army Captain Benjamin L. Willard who has the mission to proceed up the Nung river into Cambodia, find Colonel Kurtz and “terminate” his command, by whatever means available. Willard starts a journey up the Nung river on a PBR (Petrol Boat) with a four- man crew (Chef – a saucier; Chief – the chief of the boat; Clean – a 17 year- old young from Bronx; Lance – a professional surfer). Kurtz had deserted the U.S. Army to start his own private war in the middle of the jungle. There he is worshipped as a god by his own Montagnard army, but he has gone insane and his methods are “unsound”. The artistic dimension Source texts of Apocalypse Now : 1. Joseph Conrad’s novella Heart of Darkness (1899) 2. James G. Frazer’s The Golden Bough (1890) 3. Jessie Weston’s From ritual to romance (1920) 4. Goethe’s Faust (1808) 5. The Holy Bible 6. T.S.Eliot’s The Waste Land (1922) and The Hollow Men (1925) 7. Baudelaire’s The Albatross (1861) 8. The Doors’ The End Heart of Darkness (1899) “In the case of “Apocalypse,” there was a script written by the great John Milius, but, I must say, what I really made the film from was the little green copy of Heart of Darkness that I had done all those lines in.” (Coppola) Heart of Darkness was not credited as a source text when the film first came out. -
January 14, 1978 TT Waillif 41.4941
January 14, 1978 TT WAillif 41.4941 www.americanradiohistory.com (E-45450) A very special single from the Neil Simon film, The Goodbye Girl written and performed by DAVID GATES Available from Elektra Produced & arranged by David Gates 3 Logo Design Copyright ©1977 Metro -Goldwyn -Mayer Inc. and Warner Bros. Inc. www.americanradiohistory.com VOLUME XXXIX - NUMBER 35 - January 14, 1978 THE INTERNATIONAL MUSIC RECORD WEEKLY GOSH BOX GEORGE ALBERT President and Publisher EDITORIAL MEL ALBERT General Manager DAVE FULTON Editor In Chief A Glance At Radio '78 More markets are opening up for the soft -rock J. B. CARMICLE Radio, an interesting topic for any year, should format, which has proved highly successful in re- General Manager, Eást Coast not disappoint anyone in 1978, based on some con- cent years. While listenership is high, the question is East Coast Editorial tinuing trends as well as surprises. Passive re- "do those listeners buy records?" KEN TERRY, East Coast Editor PHIL DIMAURO search, automation, soft -rock formats, R&B and jazz Look for R&B stations to become even stronger. CHARLES PAIKERT are some of the items that will surely be interesting And the playlist preference for these stations ap- MARK MEHLER to watch. pears to be more album -oriented. West Coast Editorial It appears that the current rage of passive re- Jazz continues to explode and it appears that it ALAN SUTTON RANDY LEWIS search will continue to expand in the coming year, will capture airplay from AOR stations as well as the JEFF CROSSAN but some industry sources contend that its success devoted jazz airwaves. -
Evacuation Orders Falling Short
HURRICANE MICHAEL COPING FORUM TONIGHT LOCAL | A3 PANAMA CITY LOCAL & STATE | A3 CITY ASKS FEMA FOR 100 EMPTY TRAILERS Thursday, April 25, 2019 www.newsherald.com @The_News_Herald facebook.com/panamacitynewsherald 75¢ Evacuation orders falling short Hurricanes, wildfi res Bay County emergency man- beaches. where we were just beside fast-moving wildfires. present challenges agement chief Mark Bowen Traffic was flowing ourselves,” Bowen said. “We Zachary Byrd said he got for emergency offi cials and his employees watched smoothly when there should couldn’t move our population “not a word” to evacuate the live footage through tears. have been gridlock. to act.” a wildfire closing in on the By Jennifer Kay They weren’t looking at Bowen had ordered about It’s a problem Florida offi- California town of Paradise. and Paul Elias increasingly dire storm fore- 120,000 coastal residents cials face before every big He had signed up for every The Associated Press casts last October. They were to evacuate but only about storm, though they usu- warning system and previ- watching cameras trained 20,000 actually left, accord- ally have far more time ously got evacuation orders MIAMI — With Hurricane on Bay County’s three main ing to preliminary estimates than their counterparts in on his cellphone. But on the Michael strengthening as it evacuation routes lead- by county engineers. California, who need to evac- took aim at the Panhandle, ing away from sugar-white “There was this period uate residents threatened by See EMERGENCY, A11 TAFB housing repairs Sanctuary city jetting into high gear ban approved by state House By Zac Anderson notions of compassion to GateHouse Media the views of the Found- [email protected] ing Fathers and the family immigration stories of TALLAHASSEE — The many lawmakers. -
ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod
DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion. -
APOCALYPSE NOW REDUX Written by John Milius & Francis Ford
APOCALYPSE NOW REDUX Written by John Milius & Francis Ford Coppola FADE IN: EXT. A SIMPLE IMAGE OF TREES - DAY Coconut trees being VIEWED through the veil of time or a dream. Occasionally colored smoke wafts through the FRAME, yellow and then violet. MUSIC begins quietly, suggestive of 1968-69. Perhaps "The End" by the Doors. Now MOVING through the FRAME are skids of helicopters, not that we could make them out as that though; rather, hard shapes that glide by at random. Then a phantom helicopter in FULL VIEW floats by the trees-suddenly without warning, the jungle BURSTS into a bright red-orange glob of napalm flame. The VIEW MOVES ACROSS the burning trees as the smoke ghostly helicopters come and go. DISSOLVE TO: INT. SAIGON HOTEL - DAY A CLOSE SHOT, upside down of the stubble-covered face of a young man. His EYES OPEN...this is B.L. WILLARD. Intense and dissipated. The CAMERA MOVES around to a side view as he continues to look up at a ROTATING FAN on the ceiling. EXT. IMAGES OF HELICOPTERS - DAY They continue to fly slowly, peacefully across the burning jungle. The colored smoke comes and goes. Morrison continues with "The End". INT. SAIGON HOTEL - DAY The CAMERA MOVES slowly across the room...and we SEE WILLARD, a young army captain. He looks out the window to the busy Saigon street. WILLARD (V.O.) * Saigon...shit. I'm only in Saigon. Every time, I think I'm gonna wake up back in the jungle. He moves back to the bed, lies down. -
Child Sex Trafficking Is an Underground Economy That Thrives Here, and Everywhere
Child sex trafficking is an underground economy that thrives here, and everywhere. How can we help those who have been ignored for so long? {Story by J. David McSwane / Photography and video by Dan Wagner} Wearing only a sports bra and boxers, bruises on her back, the girl surged through the salon’s door. Her feet were bare and bleeding from the race over asphalt, her speech a frenzied heave as she spilled the secret of where she had been, what she had been doing. Camille Johnson’s daughter confirmed the unthinkable. For weeks, Johnson had searched these north Sarasota streets, knocking on doors in the early morning, shouting in the rain, asking about her missing 17-year-old daughter, Wa-Das Crowle (WAH-Dez CROU-lee). Everyone calls her Moe. It was beyond frightening that Moe’s whereabouts and activities had been a mystery, for in this segregated tract of Sarasota, news both good and bad spreads fast and far through blood ties and marriage and church circles that connect nearly everyone by one degree. In this neighborhood, the gossip collides at Johnson’s meager salon. Johnson, a tall woman, now seems diminutive against the darkness she strains to remember. She points to the Japanese sword in the corner, between the plastic cupboard and the partition. She endeavors to explain why she clutched the sword, why she confronted her daughter’s abusers. Two of her adult children, listening, gather the grandchildren and walk out into the night. “One day,” Johnson says, “she called and said that she was OK, and I didn’t need to look for her.