Voices of Change an Anthology of Extraordinary People Who Have Changed Our World
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Marilyn Monroe, Lived in the Rear Unit at 5258 Hermitage Avenue from April 1944 to the Summer of 1945
Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2015-2179-HCM ENV-2015-2180-CE HEARING DATE: June 18, 2015 Location: 5258 N. Hermitage Avenue TIME: 10:30 AM Council District: 2 PLACE: City Hall, Room 1010 Community Plan Area: North Hollywood – Valley Village 200 N. Spring Street Area Planning Commission: South Valley Los Angeles, CA Neighborhood Council: Valley Village 90012 Legal Description: TR 9237, Block None, Lot 39 PROJECT: Historic-Cultural Monument Application for the DOUGHERTY HOUSE REQUEST: Declare the property a Historic-Cultural Monument OWNER(S): Hermitage Enterprises LLC c/o Joe Salem 20555 Superior Street Chatsworth, CA 91311 APPLICANT: Friends of Norma Jean 12234 Chandler Blvd. #7 Valley Village, CA 91607 Charles J. Fisher 140 S. Avenue 57 Highland Park, CA 90042 RECOMMENDATION That the Cultural Heritage Commission: 1. NOT take the property under consideration as a Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.10 because the application and accompanying photo documentation do not suggest the submittal warrants further investigation. 2. Adopt the report findings. MICHAEL J. LOGRANDE Director of Planning [SIGN1907 [SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE] Ken Bernstein, AICP, Manager Lambert M. Giessinger, Preservation Architect Office of Historic Resources Office of Historic Resources [SIGNED ORIGINAL IN FILE] Shannon Ryan, City Planning Associate Office of Historic Resources Attachments: Historic-Cultural Monument Application CHC-2015-2179-HCM 5258 N. Hermitage, Dougherty House Page 2 of 3 SUMMARY The corner property at 5258 Hermitage is comprised of two one-story buildings. -
SUPPLEMENTS 92373 01 1-240 R2mv.Qxd 7/24/10 12:06 AM Page 193
92373_01_1-240_r2mv.qxd 7/24/10 12:17 AM Page 225 SUPPLEMENTS 92373_01_1-240_r2mv.qxd 7/24/10 12:06 AM Page 193 Note: It is very likely that this letter was written at the beginning of 1956, during the filming of Joseph Logan’s Bus Stop, when Paula Strasberg worked as Marilyn’s coach for the first time. 92373_01_1-240_r2mv.qxd 7/24/10 1:16 AM Page 194 92373_01_1-240_r2mv.qxd 7/24/10 12:07 AM Page 195 Dear Lee & Paula, Dr. Kris has had me put into the New York Hospital—psychiatric division under the care of two idiot doctors—they both should not be my doctors. You haven’t heard from me because I’m locked up with all these poor nutty people. I’m sure to end up a nut if I stay in this nightmare—please help me Lee, this is the last place I should be—maybe if you called Dr. Kris and assured her of my sensitivity and that I must get back to class so I’ll be better prepared for “Rain.” Lee, I try to remember what you said once in class “that art goes far beyond science.” And the scary memories around me I’d like to forget—like screaming woman etc. Please help me—if Dr. Kris assures you I am all right—you can assure her I am not. I do not belong here! I love you both. Marilyn P.S. forgive the spelling—and there is nothing to write on here. I’m on the dangerous floor!! It’s like a cell can you imagine—cement blocks. -
Investing in Music How Music Companies Discover, Nurture and Promote Talent
Investing in MusiC How music companies discover, nurture and promote talent Investing In Music 2012 contents 1 Introduction by Plácido Domingo 2 Commentary by Frances Moore and Alison Wenham 3 Section One: The Cycle of Investment 4 Section Two: Dicovering and Signing Talent 16 Section Three: Nurturing Talent 18 Section 4: Promoting Talent 3 2012 Investing In Music introduction by Plácido Domingo, Chairman of IFPI Other collaborations are also possible, for example between the artist and a management company. But all these efforts to promote music depend on the protection of the copyrights and intellectual property of the musicians and the producers of the music. Without such protection, investment will not be forthcoming. Collaboration and investment are defining qualities of the music industry and play a vital role in helping artists pursue their career. Of course, the digital era has brought dramatic changes, but I do not believe it has made the investors in music any less important. Even in the age of the internet, where self-publishing is so much easier for artists than in the past, technology alone I am fortunate to have had a career of more than 50 years in cannot ensure an artist’s work is heard and appreciated. music. I have worked with people of exceptional artistic talent That is why artists continue to work in partnership with record and I continue to work today to try and help young musicians companies, management and others to develop their careers fulfil their ambitions and creative potential as opera singers. and bring their music to the widest possible audience. -
Festivités Du 14 Juillet Concert Et Feu D'artifice
© Mairie de Toulouse – P. Nin Festivités du 14 juillet Concert et feu d’artifice Conférence de presse – Lundi 25 juin à 14h30 Contact presse : Aline Degert Maugard [email protected] t. 05 67 73 88 41 / 07 86 52 56 53 Conférence de presse - Festivités du 14 juillet 2018 2 Sommaire Présentation Un 14 juillet au bord de l’eau Le concert avec NRJ Tour p. 4-8 Le feu d’artifice p. 9 Les manifestations dans la ville Festivités le 13 juillet p. 10-11 Spectacle au Casino Barrière p. 12 Programme complet et Infos p. 13-14 Conférence de presse - Festivités du 14 juillet 2018 3 Le 14 juillet, fête nationale, est désormais à Toulouse un grand moment de ren- dez-vous à la Prairie des Filtres qui offre son cadre unique au spectacle visuel et sonore proposé par la Mairie de Toulouse et ses partenaires en soirée. Un concert réunira des artistes très populaires sur la scène des bords de Garonne avant le traditionnel et très attendu feu d’artifice. La journée alliera solennité du défilé militaire et convivialité du spectacle pour les seniors. Auparavant, la célébration de la fête nationale débutera le 13 juillet dans le quartier Reynerie et sur les allées Paul Sabatier, avec animations pour les enfants, feu d’artifice, apéritif concert et bal des sapeurs-pompiers. Ces festivités qui se clôturent depuis plusieurs éditions à la Prairie des Filtres rassemblent pour le concert et le feu d’artifice quelque 300 000 spectateurs. Conférence de presse - Festivités du 14 juillet 2018 4 § UN 14 JUILLET AU BORD DE L’EAU Au programme, sur la Prairie des Filtres 19h-22h30 : Le concert avec NRJ Music Tour Martin Solveig Martin Solveig est un DJ, producteur, auteur-compositeur-interprète français. -
Etude Musique Juin 2013 Format
Panorama de l’offre musicale sur les chaînes nationales de la télévision gratuite Caractéristiques générales de la programmation (2007-2012) Juin 2013 Sommaire Introduction 3 1. Le périmètre des chaînes offrant de la musique 5 1.1. Les chaînes de la télévision gratuite 5 1.2. Les chaînes musicales 6 1.3. Le service public 6 2. Le périmètre des émissions musicales 7 3. Evolutions constatées depuis 2007 8 3.1. Evolution entre 2007 et 2012 de l’offre musicale globale (ensemble de la diffusion) 8 3.2. L’offre de programmes musicaux en 2012 (ensemble de la diffusion) 11 3.3. Evolution entre 2007 et 2012 de l’offre musicale diffusée en première partie de soirée (20h30/23h) 13 3.4. Les programmes musicaux diffusés entre 20h30 et 23h00 en 2012 17 4. Les observations des éditeurs et des professionnels de la musique 21 4.1. Le contexte général 21 4.2. Les éditeurs et producteurs de programmes audiovisuels 21 4.2.1. Le constat des éditeurs 21 Les chaînes dites « généralistes » 2 Les chaînes musicales 23 4.2.2. Le constat des producteurs de programmes audiovisuels 24 Les producteurs d’œuvres audiovisuelles musicales 24 Les producteurs d’émissions de télévision autres que les œuvres audiovisuelles 24 4.3 Les acteurs de la filière musicale 28 Le rôle prescripteur de la télévision 28 L’offre et l’exposition des programmes musicaux 28 Eléments de synthèse 30 Annexes 33 Introduction En vertu de la loi du 30 septembre 1986 relative à la liberté de communication, le Conseil supérieur de l’audiovisuel a pour mission de veiller au pluralisme et à la diversité culturelle, de veiller à la qualité des programmes et au développement de la création, tout en favorisant l’exercice de la liberté éditoriale des éditeurs de services audiovisuels. -
As Pin-Ups Contemporâneas: Dos Moldes Da Moda Ao Modo De Vida
UNIVERSIDADE FEDERAL DE MINAS GERAIS FACULDADE DE LETRAS Tânia Maria de Oliveira Gomes AS PIN-UPS CONTEMPORÂNEAS: DOS MOLDES DA MODA AO MODO DE VIDA. UM ESTUDO SOBRE ÉTHOS , ESTEREÓTIPOS E IDEOLOGIA EM BLOGS COM TEMÁTICA RETRÔ Belo Horizonte 2017 Tânia Maria de Oliveira Gomes AS PIN-UPS CONTEMPORÂNEAS: DOS MOLDES DA MODA AO MODO DE VIDA. UM ESTUDO SOBRE ÉTHOS , ESTEREÓTIPOS E IDEOLOGIA EM BLOGS COM TEMÁTICA RETRÔ Tese de doutorado apresentada ao Programa de Pós- Graduação em Estudos Linguísticos da Faculdade de Letras da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Doutor, sob a orientação da Profª. Drª. Glaucia Muniz Proença Lara. Área de Concentração: Linguística do Texto e do Discurso Linha de Pesquisa: Análise do Discurso (2B) Belo Horizonte Faculdade de Letras - UFMG 2017 Ficha catalográfica elaborada pelos Bibliotecários da Biblioteca FALE/UFMG Gomes, Tânia Maria de Oliveira. G633p As pin-ups contemporâneas [manuscrito]: dos moldes da moda ao modo de vida: um estudo sobre éthos , estereótipos e ideologia em blogs com temática retrô / Tânia Maria de Oliveira Gomes. – 2017. 312 f., enc. : il., grafs., color. Orientadora: Glaucia Muniz Proença Lara. Área de concentração: Linguística do Texto e do Discurso. Linha de pesquisa: Análise do Discurso. Tese (doutorado) – Universidade Federal de Minas Gerais, Faculdade de Letras. Bibliografia: f. 298-305. Anexos: f. 306-309. Apêndices: f. 310-312. 1. Análise do discurso – Teses. 2. Retórica – Teses. 3. Blogs – Teses. 4. Moda – Teses. 5. Semiótica – Teses. I. Lara, Glaucia Muniz Proença. II. Universidade Federal de Minas Gerais. Faculdade de Letras. III. Título. -
Articlecharlton.Pdf
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Performing gender in the studio and postmodern musical Author(s) Charlton, Michael Publication date 2012 Original citation Charlton, M. (2012) 'Performing gender in the studio and postmodern musical', Alphaville: Journal of Film and Screen Media, 3 (Summer 2012). doi: 10.33178/alpha.3.02 Type of publication Article (peer-reviewed) Link to publisher's http://www.alphavillejournal.com/Issue%203/HTML/ArticleCharlton.ht version ml http://dx.doi.org/10.33178/alpha.3.02 Access to the full text of the published version may require a subscription. Rights © 2012, the Author(s) http://creativecommons.org/licenses/by-nc-nd/3.0/ie/ Item downloaded http://hdl.handle.net/10468/1448 from Downloaded on 2021-10-01T03:48:25Z 1 Performing Gender in the Studio and Postmodern Musical Michael Charlton, Missouri Western State University Abstract: This essay explores two distinct historical periods in the Hollywood musical through a Butlerian reading of gender as a performance. The two example films from the studio era, Howard Hawks’ Gentlemen Prefer Blondes (1953) and the restored version of George Cukor’s A Star is Born (1954), are contextualised not only within the studio system but through the constructed star personae of their leads—Marilyn Monroe and Judy Garland. Baz Luhrmann’s Moulin Rouge! (2001) and Rob Marshall’s Chicago (2002), the two example films from the twenty first century, are contextualised within a Jamesonian post-modern aesthetic and as examples of the non-studio, non-star filmic text as act of nostalgia. -
Analise Da Ruptura Da Submissão Feminina No Cinema Da Década De Cinquenta, Incorporadas Nas Personagens De Marilyn Monroe1
Analise da ruptura da submissão feminina no cinema da década de cinquenta, incorporadas nas personagens de Marilyn Monroe1 SANTOS, Tássio2 FERREIRA, Maria de Fátima3 Universidade Federal do Recôncavo da Bahia Resumo: O papel midiático nas décadas de 50 e 60 não era meramente o de entreter uma burguesia conformista pertencente ao mundo social pós-guerra. A revolução eletrônica contemplou a mídia com um forte poder de formação cultural e subjetivo, como a influência que exercia nos padrões cotidianos das populações urbanas e a produção intensa de questionamentos sobre a feminilidade em função do doméstico. Portanto, o presente trabalho propõe resgatar a importância dos meios de comunicação preocupados em transmitir o comportamento dos jovens não-conformistas de diversas idades. Essa pesquisa é uma análise da ruptura da submissão feminina no cinema americano, a partir do novo foco que a mulher ganha nas representações cinematográficas. Será analisado a postura, comportamento e aparência das personagens representadas pela atriz Marilyn Monroe, seu pioneirismo em comunicar a sensualidade feminina na mídia e sua inserção no mundo que antes era considerado dos homens. Foi possível perceber que o protagonismo de Marilyn Monroe, além de inspirar a sociedade em outros campos, reforçou a discussão sobre o “ser mulher” na época. Palavra-chave: Mídia; cinema; feminismo; Marilyn Monroe Introdução Dentre a vasta produção do cinema hollywoodiano na década de 1950, assistimos películas que transmitiram filmes protagonizados por consagradas estrelas. Entre elas estava Marilyn Monroe, uma atriz que começava a trilhar sua carreira na área cinematográfica. Seu expressivo lado feminino e sua valorização corporal a legitimaram como um símbolo sexual e de consumo da época. -
Marilyn Monroe Crime Scene Photos Marilyn Monroe
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Coloring Norma Jean
Coloring Norma Jean By Brian Duggan This screenplay may not be used or reproduced for any purpose including educational purposes without the expressed written permission of the author. 115 Washington Ave. Seymour, CT 06483 475-243-6794 [email protected] FADE IN: EXT. OCEAN BEACH - SURFLINE - DAY Swooping down from a cloudless blue sky we pass thunderous surf crashing on the sugary white sand of Fire Island. We pass a deeply tanned man in a tiny bikini bottom. He holds a fishing rod and glass beer bottle. A red ribbon cinches his blond ponytail. The distant sound of fifties popular music in barely audible above the surf. BEACH BLANKET A MAN and WOMAN kiss. He removes her bikini top to toss it playfully in midair. The shapely woman stiffens at his touch to push him away. MAN Baby, you can't stop now. Twisting protectively, her hands hide her breasts. WOMAN I said no. It's broad daylight. He distracts her with a kiss to loosen the knot on her bikini bottom. It falls. MAN But, the beach is deserted. This wasn't a nickle ride to Far Rockaway I coughed up a paycheck for us to be on Fire Island. He tosses her bikini bottom skyward. WOMAN I said no! MAN I waste a weeks pay on a dame who changes her mind? Damn it honey, you promised. 2. WOMAN You're such a cry baby. EXT. BEACH - SURFLINE - DAY Tiny waves flow on a sandbar where children shovel sand into plastic buckets. A MOTHER sits in a canvas beach chair. -
1 Performing Gender in the Studio and Postmodern Musical Michael
1 Performing Gender in the Studio and Postmodern Musical Michael Charlton, Missouri Western State University Abstract: This essay explores two distinct historical periods in the Hollywood musical through a Butlerian reading of gender as a performance. The two example films from the studio era, Howard Hawks’ Gentlemen Prefer Blondes (1953) and the restored version of George Cukor’s A Star is Born (1954), are contextualised not only within the studio system but through the constructed star personae of their leads—Marilyn Monroe and Judy Garland. Baz Luhrmann’s Moulin Rouge! (2001) and Rob Marshall’s Chicago (2002), the two example films from the twenty first century, are contextualised within a Jamesonian post-modern aesthetic and as examples of the non-studio, non-star filmic text as act of nostalgia. In contrasting these historical periods, the essay posits that the studio musical was, in fact, always already “post-modern” in its fragmentation of narrative in favour of the star performance, which constructs the gendered persona of the star. In addition, it is suggested that the sub-textual subversion of traditional female roles within the studio star performance is in many ways more effectively critical of gender conventions than the intentionally parodic aesthetics of Luhrmann and Marshall. In this essay I draw on the work of Judith Butler to explore the formation of gender identity in two distinct historical periods in the Hollywood musical. I take two examples from the studio era, Gentlemen Prefer Blondes (Howard Hawks, 1953) and the restored version of A Star Is Born (George Cukor, 1954), to illustrate the gender politics associated with the role of the constructed star persona, in this case Marilyn Monroe and Judy Garland. -
My Week with Marilyn – Eine Filmanalyse
My Week With Marilyn – Eine Filmanalyse Filmanalyse Irene Ma, HSLU D&K, 3D Animation Inhaltsverzeichnis Kapitel Seite Die Ikone Marilyn Monroe ................................................................................................................................................ 2 – 3 „My Week With Marilyn“ – Der Film ................................................................................................................................. 3 Die Sequenz ....................................................................................................................................................................... 4 Die Kamera ........................................................................................................................................................................ 4 – 6 Das Licht und die Farben ................................................................................................................................................. 7 -8 Der Dialog und die Musik ................................................................................................................................................. 9 Das Fazit ............................................................................................................................................................................. 10 1 Filmanalyse Irene Ma, HSLU D&K, 3D Animation My Week with Marilyn, Simon Curtis (2011) Eine Filmanalyse Diese Arbeit behandelt eine Sequenz aus dem britischen Film „My Week with Marilyn“, der 2011