DOCSLIB.ORG

1999 Annual Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1999 Annual Report CYNMAGYELBLK BC Walt Disney Co. 12/13/99 FC 94673 3 CYNMAGYELBLK IFC Walt Disney Co. 12/11/99 IBC 94673 1 BOARD OF DIRECTORS CONTENT LISTING Reveta F. Bowers 1,3,5,6 Thomas S. Murphy 3,4 1 Member of Audit Review Committee Head of School Former Chairman 2 Member Capital Stock Committee Center for Early Education Capital Cities/ABC,Inc. 3 Member of Compensation Committee 4 Member of Executive Committee Financial Highlights 1 Management’s Discussion and Analysis 44 5 Member of Executive Performance 4 1,2 Letter to Shareholders 2 Consolidated Statements of Income 54 Roy E. Disney Leo J. O’Donovan, S.J. Subcommittee of the Compensation Vice Chairman President 5 Committee Financial Review 10 Consolidated Balance Sheets 55 The Walt Disney Company Georgetown University 6 Member of Nominating Committee Theme Parks and Resorts 14 Consolidated Statements of Cash Flows 56 Michael D. Eisner 4 Sidney Poitier 3,5 Attractions 15 Consolidated Statements of Chairman and Chief Executive Officer Chief Executive Officer Disney Regional Entertainment 20 Stockholders’ Equity 57 The Walt Disney Company Verdon-Cedric Productions, Ltd. Walt Disney Imagineering 22 Notes to Consolidated Financial Statements 58 Judith Estrin1 Irwin E. Russell 4 Walt Disney Studios 24 Quarterly Financial Summary 69 Chief Technology Officer and Attorney at Law Buena Vista Music Group 31 Selected Financial Data 70 Senior Vice President Management’s Responsibility for Cisco Systems, Inc. Robert A.M. Stern Media Networks 32 Senior Partner Broadcast Networks 33 Financial Statements 71 Stanley P. Gold 3,5,6 Robert A.M. Stern Architects Cable Networks 36 Report of the Independent Accountants 71 President and Chief Executive Officer Publishing 37 Board of Directors and Shamrock Holdings, Inc. Andrea L. Van de Kamp6 Chairman, Sotheby’s West Coast Consumer Products 38 Corporate Executive Officers 72 Sanford M. Litvack2 Internet and Direct Marketing 42 Vice Chairman Raymond L. Watson1,3,4 The Walt Disney Company Vice Chairman The Irvine Company Ignacio E. Lozano, Jr.1,3,5 Chairman Gary L. Wilson2,6 Lozano Communications Chairman Northwest Airlines Corporation George J. Mitchell 1,2,6 Special Counsel Verner, Liipfert, Bernard, McPherson and Hand DIRECTORS EMERITUS Caroline Leonetti Ahmanson E. Cardon Walker Chairman Emeritus Former Chairman and Chief Executive Officer Federal Reserve Bank of San Francisco The Walt Disney Company Richard A. Nunis Former Chairman Walt Disney Attractions CORPORATE EXECUTIVE OFFICERS Michael D. Eisner Peter E. Murphy Chairman of the Board and Chief Executive Officer Senior Executive Vice President and Chief Strategic Officer FINANCIAL HIGHLIGHTS The Walt Disney Company and Subsidiaries Roy E. Disney Thomas O. Staggs Vice Chairman of the Board Senior Executive Vice President and Chief Financial Officer (In millions, except per share data) 1999 1998 1997 CAGR(3) Sanford M. Litvack Louis M. Meisinger Vice Chairman of the Board Executive Vice President and General Counsel Revenues $23,402 $22,976 $22,473 2% Operating income(1) 3,231 4,079 4,312 (13%) PRINCIPAL BUSINESSES Net income(1) (2) 1,368 1,890 1,886 (15%) Diluted earnings per share(1) (2) 0.66 0.91 0.92 (15%) ABC Group Go Network Cash flow from operations 5,588 5,115 5,099 5% Robert A. Iger, Chairman and President, Walt Disney Steven M. Bornstein, Chairman Stockholders’ equity 20,975 19,388 17,285 10% International Stephen H. Wadsworth, President Book value per share 10.18 9.46 8.59 9% Disney Consumer Products Walt Disney Attractions (1) Barton K. Boyd, Chairman Judson C. Green, Chairman 1999 results exclude a gain from the sale of Starwave Corporation of $345 million and restructuring charges of $132 million. Andrew Mooney, President Paul S. Pressler, President 1998 results exclude a $64 million restructuring charge. 1997 results exclude the impact of a $135 million gain on the sale of KCAL (2) 1999 results also exclude equity in Infoseek loss of $322 million Disneyland Paris Walt Disney Studios (3) Compound annual growth rate 1997 to 1999 Gilles Pelisson, Chairman and Chief Executive Officer Joseph E. Roth, Chairman, The Walt Disney Studios Peter Schneider, President, The Walt Disney Studios ©1999 The Walt Disney Company 72 1 CYNMAGYELBLK 72 Walt Disney Co. 12/13/99 1 94673 6 LETTER TO SHAREHOLDERS MANAGEMENT’S RESPONSIBILITY FOR REPORT OF INDEPENDENT ACCOUNTANTS FINANCIAL STATEMENTS To the Board of Directors and Stockholders of Management is responsible for the preparation of the company’s con- The Walt Disney Company solidated financial statements and related information appearing in this report. Management believes that the consolidated financial state- In our opinion, the consolidated balance sheets (page 55) and the ments fairly reflect the form and substance of transactions and that related consolidated statements of income (page 54) and cash flows the financial statements reasonably present the company’s financial (page 56) and of stockholders’ equity (page 57) present fairly, in all position and results of operations in conformity with generally material respects, the financial position of The Walt Disney Company accepted accounting principles. Management also has included in and its subsidiaries (the company) at September 30, 1999 and 1998, the company’s financial statements amounts that are based on esti- and the results of their operations and their cash flows for each of mates and judgments which it believes are reasonable under the the three years in the period ended September 30, 1999, in confor- To Disney Owners and Fellow Cast Members: and, in the past decade, we have enhanced our library with 17 circumstances. mity with accounting principles generally accepted in the United The independent accountants audit the company’s consolidated animated films, 265 live-action films, 1,252 animated television States. These financial statements are the responsibility of the financial statements in accordance with generally accepted auditing company’s management; our responsibility is to express an opinion Last year, I mused about the changing of the seasons. This year, episodes and 6,505 live-action television episodes. standards and provide an objective, independent review of the fair- on these financial statements based on our audits. We conducted our I’d like to discuss the changing of the decades, and the accom- ness of reported operating results and financial position. audits of these statements in accordance with auditing standards panying changes that are taking place in our company. Of This enormous expansion reflected a two-fold corporate strategy: The Board of Directors of the company has an Audit Review generally accepted in the United States, which require that we Committee composed of seven non-management Directors. The course, we’re also changing centuries and millennia, but generally (1) to build the greatest entertainment asset base in the world and plan and perform the audits to obtain reasonable assurance about Committee meets periodically with financial management, the inter- whether the financial statements are free of material misstatement. speaking I believe that a 10-year block of time is about as (2) to simultaneously create the greatest entertainment product nal auditors and the independent accountants to review accounting, An audit includes examining, on a test basis, evidence supporting the far out as any CEO ought to write about in his annual report ... in the world. The first aspect of this strategy is what our Disney control, auditing and financial reporting matters. amounts and disclosures in the financial statements, assessing the although I am willing to bet that Disney will still be doing Decade was all about, and it was achieved. The second aspect – accounting principles used and significant estimates made by man- agement, and evaluating the overall financial statement presentation. very well come January 1, 2100! the creation of great entertainment product – is ongoing and We believe that our audits provide a reasonable basis for the opinion will always be fundamental to our company. expressed above. The last ten years comprised a spectacular decade for Disney. Unfortunately, in financial terms it ended on a down note, with So, now we enter the first decade of the 21st century with a PRICEWATERHOUSECOOPERS LLP revenues for 1999 increasing only 2 percent to $23.4 billion and strategy that is four-pronged: (1) revitalizing underperforming operating income declining 21 percent, to $3.2 billion. On the areas (that’s a euphemism for developing new strategies for other hand, in creative terms, the decade ended strongly, with Home Video and Consumer Products), (2) achieving greater Los Angeles, California our company’s entertainment product continuing to attract wide profitability from existing assets (that’s corporate speak for November 22, 1999 audiences around the world. vigilant and continued efforts at controlling costs and improving efficiency which in itself is corporate speak for worrying about Back in 1990, my optimism for the coming 10 years was reflected the bottom line more aggressively), (3) capital-efficient initiatives at a press conference during which we outlined (slightly tongue- to drive long-term growth (which really means growing our in-cheek) what we were calling “The Disney Decade.” At that existing companies in smart ways at the lowest possible cost) SUPPLEMENTAL INFORMATION event, I laid out our company’s plans, which included the con- and, of course, (4) continued development of creative, innovative struction of new theme parks in Orlando, Anaheim, Tokyo and and engaging products (in other words, continuing to be Disney). STOCK EXCHANGES OTHER INFORMATION Paris; the addition of more than 20,000 new hotel rooms on our Disney Group common stock and go.com common stock are listed for A copy of the company’s annual report filed with the Securities and Exchange Commission (Form 10-K) will be furnished without properties; and the revitalization of feature animation, with the Your company is really in excellent health despite the short-term trading on the New York Stock Exchange under the ticker symbols DIS and GO, respectively.
Load more

Recommended publications
  • GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
    Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months.
    [Show full text]
  • Racism and Stereotypes: Th Movies-A Special Reference to And
    People’s Democratic Republic of Algeria Ministry of Higher Education and Scientific ResearchResearch Larbi Ben M’h idi University-Oum El Bouaghi Faculty of Letters and Languages Department of English Racism and Stereotypes: The Image of the Other in Disney’s Movies-A Special Reference to Aladdin , Dumbo and The Lion King A Dissertation Submitted in Partial Fulfillment of the Requirements for the D egree of Master of Arts in Anglo-American Studies By: Abed Khaoula Board of Examiners Supervisor: Hafsa Naima Examiner: Stiti Rinad 2015-2016 Dedication To the best parents on earth Ouiza and Mourad To the most adorable sisters Shayma, Imène, Kenza and Abir To my best friend Doudou with love i Acknowledgements First of all,I would like to thank ‘A llah’ who guides and gives me the courage and Patience for conducting this research.. I would like to express my deep appreciation to my supervisor Miss Hafsa Naima who traced the path for this dissertation. This work would have never existed without her guidance and help. Special thanks to my examiner Miss Stiti Rinad who accepted to evaluate my work. In a more personal vein I would like to thank my mother thousand and one thanks for her patience and unconditional support that facilitated the completion of my graduate work. Last but not least, I acknowledge the help of my generous teacher Mr. Bouri who believed in me and lifted up my spirits. Thank you for everyone who believed in me. ii ا ا أن اوات ا اد ر ر دة اطل , د ه اوات ا .
    [Show full text]
  • SALE RESULTS: PRINTS and MULTIPLES 26-27 April
    RESULTS | NEW YORK | 27 APRIL 2016 | FOR IMMEDIATE RELEASE SALE RESULTS: PRINTS AND MULTIPLES 26-27 April 2016 SALE TOTAL: $11,592,500 JASPER JOHNS (B. 1930), Flags I, screenprint in colors, on J.B. Green paper, 1973 Estimate: $800,0000-1,200,000 Price Realized: $1,685,000 NEW WORLD AUCTION RECORD FOR A PRINT BY THE ARTIST New York—Christie’s announces strong results for the two-day and three session sale of Prints and Multiples which took place from April 26-27 at Christie’s New York. The sale beat the initial estimate totaling $11,592,500 with 86% sold by lot and 91% sold by value. Record prices were set for artists Jasper Johns, Keith Haring, Frank Stella, Andy Warhol, and Ellsworth Kelly. There was active bidding through all three channels—live, online, and phone—with global representation across buyers. Richard Lloyd, International Head of Prints and Multiples, comments, “Strong prices were achieved for works across the 20th-century, led by Jasper Johns, Flags I, setting a new world auction record for a print by the artist. Significant results were also realized for Roy Lichtenstein, Keith Haring, and a notable 100% sell-through of works by Andy Warhol.” The top lot of the sale was Jasper Johns (B. 1930), Flags I, screenprint in colors, 1973, realizing $1,685,000, setting a new world auction record for his Flags I series and for any printed work by the artist. Previous artist record for a printed work: Jasper Johns (B. 1930), Untitled, which sold for $1,565,000 at Christie’s New York, November 2015.
    [Show full text]
  • An Analysis of Hegemonic Social Structures in "Friends"
    "I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season.
    [Show full text]
  • Northeasthistoricfilmcarlson 39
    NortheastHistoricFilmCarlson 1/29 Please review the Application Guidelines for details about the information requested in this proposal. Fields marked with an asterisk are required. Eligibility To be eligible for a Digitizing Hidden Collections grant in 2016, applicant projects must meet the following requirements: Minimum allowable request for 2016: $50,000 Maximum allowable request for 2016: single-institution projects: $250,000 / collaborative projects: $500,000 Minimum allowable project term: 12 months Maximum allowable project term: single-institution projects: 24 months / collaborative projects: 36 months Projects must begin between January 1 and June 1, 2017 Single-institution projects must be completed by May 31, 2019 Collaborative projects must be completed by May 31, 2020 Is this a collaborative project? Yes/No Yes What is the size of the request? NOTE: The minimum acceptable request in this program, for all projects, is $50,000. Single-institution projects can request no more than $250,000. Collaborative projects can request no more than $500,000. Amount Requested $322,092 Provide the proposed project length in whole months, and list the project start and end dates. NOTE: All projects must begin between January 1 and June 1, 2017. The minimum project length, for all projects, is 12 months. Single-institution projects can last up to 24 months and must end by May 31, 2019. Collaborative projects can last up to 36 months and must end by May 31, 2020. Project length (months) 18 Project Start Date 01/01/2017 Project End Date 06/30/2018 NortheastHistoricFilmCarlson 2/29 A note regarding principal investigators: An individual may not be named as a principal investigator (PI) on more than one proposal, and may not serve as PI on two funded projects simultaneously.
    [Show full text]
  • NCA All-Star National Championship Wall of Fame
    WALL OF FAME DIVISION YEAR TEAM CITY, STATE L1 Tiny 2019 Cheer Force Arkansas Tiny Talons Conway, AR 2018 Cheer Athletics Itty Bitty Kitties Plano, TX 2017 Cheer Athletics Itty Bitty Kitties Plano, TX 2016 The Stingray All Stars Grape Marietta, GA 2015 Cheer Athletics Itty Bitty Kitties Plano, TX 2014 Cheer Athletics Itty Bitty Kitties Plano, TX 2013 The Stingray All Stars Marietta, GA 2012 Texas Lonestar Cheer Company Houston, TX 2011 The Stingray All Stars Marietta, GA 2010 Texas Lonestar Cheer Company Houston, TX 2009 Cheer Athletics Itty Bitty Kitties Dallas, TX 2008 Woodlands Elite The Woodlands, TX 2007 The Pride Addison, TX __________________________________________________________________________________________________ L1.1 Tiny Prep D2 2019 East Texas Twisters Ice Ice Baby Canton, TX __________________________________________________________________________________________________ L1.1 Tiny Prep 2019 All-Star Revolution Bullets Webster, TX __________________________________________________________________________________________________ L1 Tiny Prep 2018 Liberty Cheer Starlettes Midlothian, TX 2017 Louisiana Rebel All Stars Faith (A) Shreveport, LA Cheer It Up All-Stars Pearls (B) Tahlequah, OK 2016 Texas Legacy Cheer Laredo, TX 2015 Texas Legacy Cheer Laredo, TX 2014 Raider Xtreme Raider Tots Lubbock, TX __________________________________________________________________________________________________ L1 Mini 2008 The Stingray All Stars Marietta, GA 2007 Odyssey Cheer and Athletics Arlington, TX 2006 Infinity Sports Kemah,
    [Show full text]
  • Fact Book 2004 Fact Book 2004
    Fact Book 2004 Fact Book 2004 Table of Contents Welcome Letter 2 Management Executive Team 4 Board of Directors 4 Operations Media Networks Profile 6 Business 7 Key Dates 8 Fast Facts 10 Data 13 Studio Entertainment Profile 22 Business 22 Key Dates 23 Fast Facts 25 Data 27 Parks and Resorts Profile 34 Business 34 Key Dates 35 Fast Facts 40 Data 42 Consumer Products Profile 48 Business 48 Key Dates 49 Fast Facts 51 History 55 Financials Income Statements 73 Balance Sheets 76 Cash Flows 78 Quarterly Statements 2004 80 Quarterly Statements 2003 82 Financial Ratios 85 Stock Statistics 86 Reconciliations 87 1 Fact Book 2004 Welcome to The Walt Disney Company Fact Book 2004 The Walt Disney Company’s Fact Book 2004 profiles the company’s key business segments and performance, and highlights key events from throughout the company’s 81 year history. The Walt Disney Company strives to be one of the world’s leading producers and providers of quality entertainment and information. Our investment in new content and characters as well as building, nurturing and expanding our existing franchises, gives us an advantage to strengthen and reinforce the affinity that consumers have with our brands and characters across all of our business segments. By growing operating income, improving returns on capital and delivering strong cash flow, the company strives to provide long-term value to Disney’s shareholders. Disney enjoys competitive advantages that underpin all of our successes, both financial and creative. In the long run, we prosper from the inventiveness of our film, television, and other programming; our ability to connect with our audiences; the use of technological advances to enhance our products; the opportunity to delight people around the world with our toys, clothing and other consumer products; and the ability to surprise our Guests with magical experiences at the parks, cruise lines and resorts.
    [Show full text]
  • Disney Magic Becomes a Little Less Magical and a Little More
    University of Hawai‘i at Hilo HOHONU 2019 Vol. 17 majority of Disney films often bequeath the antagonist of Disney Magic Becomes a Little the storyline with a non-American accent, exemplified Less Magical and a Little More by Shere Khan’s British accent in The Jungle Book. The protagonists of the films, like Mowgli in The Jungle Book, Discriminatory are almost always portrayed with the Standard American Kaleigh Anderson accent. It has been a common pattern within Disney’s animated features that characters who speak with non- Storytelling is a crucial part for humankind as well Standard American accents are portrayed as outsiders, as in oral history. Movie adaptations have also become and are selfish and corrupt with the desire to seek or a key ingredient in relaying certain messages to people obtain power. This analysis is clearly displayed in one of of all ages. However, children watching movies and Disney’s most popular animated feature films, The Lion absorbing stories are susceptible and systematically King. In this Hamlet-inspired tale, the main characters’ exposed to a standard (or specific) language ideology accents bring attention to which characters fall into by means of linguistic stereotypes in films and television the “good guy” versus “bad guy” stereotype. Simba, shows. These types of media specifically, provide a the prized protagonist in the film, and Nala, his love wider view on people of different races or nationalities interest, both speak Standard American dialects. Through to children (Green, 1997). Disney films, for instance, linguistic production, Simba’s portrayal as the Lion King are superficially cute, innocent and lighthearted, but translates an underlying message to children viewers through a deeper analysis , the details of Disney movies that characters who are portrayed as heroes or heroines provide, a severe, and discriminating image.
    [Show full text]
  • 102 Dalmatians Mike Goodridge in LOS ANGELES
    REVIEWS 102 Dalmatians Mike Goodridge IN LOS ANGELES Dir: Kevin Lima. US. 2000. 100min. Prod co: Walt Disney Pictures. Worldwide dist: Buena Vista/BVI. Prod: Edward S Feldman. Scr: Kristen Buckley, Brian Regan, Bob Tzudiker, A/on/' White, from a story by Buckley, Regan and the novel The One Hundred And One Dalmatians by Dodie Smith. DoP: Adrian Biddle. Prod des: Assheton Gorton. Ed: Gregory Perler. Music: David Newman. Main cast: Glenn Close, laon Gruffudd, Alice Evans, Tim Mclnnerny, Gerard Depardieu, Ian Richardson, Timothy West, Jim Carter. Walt Disney Pictures has blazed the trail in the area of brilliant animated movies that can be enjoyed by children as well as the accompanying parents (the Toy Story movies, Tarzan, Aladdin), but its live-action films traditionally have failed to duplicate that magic. 102 Dalmatians, for example, is so dumb- ed down not only from the 1961 animated classic but even wards dogs in the first movie, but is let out on probation from the charmless 1996 live-action version, that it will delight thanks to a new therapy that has made her love dogs JHer pro- only the youngest of children. bation officer (Evans) owns several dalmatians and is highly That is where marketing comes in, and Disney's lavish suspicious of Cruella's investment in a dilapidated dogs' home campaign for this lame sequel-cum-remake should — unde- run by a kindly dog lover (Gruffudd). servedly — score a resounding hit at the box office worldwide. Of course, De Vil's new leaf does not last for long. She Families will flock to see the continuing adventures of Cruel- is soon up to her old tricks; stealing dalmatians to make her la De Vil, drawn by the hype and the unfulfilled promise of a perfect fur coat and enlisting French furrier (Depardieu) to fun-filled holiday adventure.
    [Show full text]
  • Southern Comfort
    FROM THE NATIONAL ALLIANCE FOR MUSICAL THEAtre’s PresideNT Welcome to our 24th Annual Festival of New Musicals! The Festival is one of the highlights of the NAMT year, bringing together 600+ industry professionals for two days of intense focus on new musical theatre works and the remarkably talented writing teams who create them. This year we are particularly excited not only about the quality, but also about the diversity—in theme, style, period, place and people—represented across the eight shows that were selected from over 150 submissions. We’re visiting 17th-century England and early 20th century New York. We’re spending some time in the world of fairy tales—but not in ways you ever have before. We’re visiting Indiana and Georgia and the world of reality TV. Regardless of setting or stage of development, every one of these shows brings something new—something thought-provoking, funny, poignant or uplifting—to the musical theatre field. This Festival is about helping these shows and writers find their futures. Beyond the Festival, NAMT is active year-round in supporting members in their efforts to develop new works. This year’s Songwriters Showcase features excerpts from just a few of the many shows under development (many with collaboration across multiple members!) to salute the amazing, extraordinarily dedicated, innovative work our members do. A final and heartfelt thank you: our sponsors and donors make this Festival, and all of NAMT’s work, possible. We tremendously appreciate your support! Many thanks, too, to the Festival Committee, NAMT staff and all of you, our audience.
    [Show full text]
  • Vinyl Theory
    Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3.
    [Show full text]
  • CHILDRENS Dvds – As of JULY 2014
    CHILDRENS DVDs – as of JULY 2014 CHILDREN'S TITLES (including Parent Collection) NRA Abraham Lincoln PG Ace Ventura Jr. pet detective (SDH) NRA Action words, volume 1 NRA Action words, volume 2 NRA Action words, volume 3 NRA Activity TV: Magic, vol. 1 TV-PG Adventure time: The complete first season (2v) (SDH) TV-PG Adventure time: Fionna and Cake (SDH) G Adventures in Zambezia (SDH) NRA Adventures of Bailey: Christmas hero (SDH) NRA Adventures of Bailey: The lost puppy NRA Adventures of Bailey: A night in Cowtown (SDH) G The adventures of Brer Rabbit (SDH) NRA The adventures of Carlos Caterpillar: Litterbug TV-Y The adventures of Chuck & friends: Bumpers up! TV-Y The adventures of Chuck & friends: Friends to the finish TV-Y The adventures of Chuck & friends: Trucks versus wild TV-Y The adventures of Chuck & friends: When trucks fly G The adventures of Ichabod and Mr. Toad (CC) G The adventures of Milo and Otis (CC) G Adventures of Pinocchio (CC) PG The adventures of Renny the fox (CC) NRA The adventures of Scooter the penguin (SDH) PG The adventures of Sharkboy and Lavagirl in 3-D (SDH) NRA The adventures of Teddy P. Brains: Journey into the rain forest NRA Adventures of the Gummi Bears (3v) (SDH) PG The adventures of TinTin (CC) NRA Adventures with Wink & Blink: A day in the life of a firefighter (CC) NRA Adventures with Wink & Blink: A day in the life of a zoo (CC) G African cats (SDH) PG Agent Cody Banks 2: destination London (CC) PG Alabama moon G Aladdin (2v) (CC) G Aladdin: the Return of Jafar (CC) PG Alex Rider: Operation stormbreaker
    [Show full text]