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SUE BLAINEY, ACE Editor
SUE BLAINEY, ACE Editor PROJECTS Partial List DIRECTORS STUDIOS/PRODUCERS POWER BOOK III: RAISING KANAN Various Directors STARZ / LIONSGATE TV Season 1 Tim Christenson, Bart Wenrich Shana Stein, Courtney Kemp, Sascha Penn THE WALKING DEAD: WORLD BEYOND Michael Cudlitz AMC Season 1, Episode 7 Jonathan Starch, Matt Negrete THE GOOD LORD BIRD Albert Hughes SHOWTIME / BLUMHOUSE Limited Series O’Shea Read, Olga Hamlet STRANGE ANGEL David Lowery SCOTT FREE / CBS Pilot & Season 1 - 2 David Zucker, Mark Heyman WHAT IF Various Directors WARNER BROS. / NETFLIX Series Mike Kelley 13 REASONS WHY Various Directors PARAMOUNT TV / NETFLIX Season 2 Kim Cybulski, Brian Yorkey ANIMAL KINGDOM Various Directors WARNER BROS. / TNT Season 1 Terri Murphy, Lou Wells 11/22/63 Kevin MacDonald BAD ROBOT / HULU Series Jill Risk, Bridget Carpenter THE MAGICIANS Mike Cahill SYFY / Desiree Cadena, John McNamara Pilot Michael London MOZART IN THE JUNGLE Paul Weitz AMAZON Season 1 Caroline Baron, Roman Coppola Jason Schwartzman, Paul Weitz UN-REAL Roger Kumble LIFETIME Pilot Sarah Shapiro, Marti Noxon IN PLAIN SIGHT Various Directors NBC Season 3 Dan Lerner, John McNamara Consulting Producer Karen Moore HAPPY TOWN Darnell Martin ABC Season 1 Mick Garris Paul Rabwin, Josh Appelbaum John Polson André Nemec EASY VIRTUE Stephan Elliott EALING STUDIOS Toronto Film Festival Barnaby Thompson, Alexandra Ferguson THE HILLS HAVE EYES 2 Martin Weisz FOX / ATOMIC Co-Editor Wes Craven, Marianne Maddalena SIX DEGREES David Semel BAD ROBOT / ABC Series Wendey Stanzler J.J. Abrams, Jane Raab, Bryan Burke LOST Jack Bender ABC Season 2 Finale J.J. Abrams, Ra’uf Glasgow, Bryan Burke Nomination, Best Editing – ACE Eddie Awards Nomination, Best Editing – Emmy Awards HOUSE Greg Yaitanes FOX Series Keith Gordon Katie Jacobs, David Shore SIX FEET UNDER Kathy Bates HBO Series Migel Arteta Alan Ball, Alan Poul Lisa Cholodenko THE ADVENTURES OF PRISCILLA Stephan Elliott POLYGRAM QUEEN OF THE DESERT Al Clark, Michael Hamlyn Cannes Film Festival INNOVATIVE-PRODUCTION.COM | 310.656.5151 . -
The Polygram, April 25, 1924
CORE Metadata, citation and similar papers at core.ac.uk Provided by DigitalCommons@CalPoly v : . • ■ .. a, . -s__ _ . J / 916—Birthday Number— 1924 Tiie News School and Josh Spirit Box Is Is Poly’s Calling Best You Asset Volume IX , , SAN MMS OMISl'O, APRIL 25. PCI No. 15 ~ eFght y e a r s bu>! I' ROM FIRST POLYGRAM THE SCHOOL PLAY - - JL STAYING ROWER On Tuesday, April 2<r>t Ml HI, the Character Counts After much deliberation, the school (From the Placement Bureau) flnt- Polygram appeared on our cam- That you may develop the power to pus, It was only a small puper, being. Richard Cohden once asked h pluy was finally decided-upon. It Is to con- lie a snappy, Interesting one, entlfM stick, stick, to ydur word, stick to 8 by 11 in slzu, having four pages but ccrn from which he bought Roods, your ideals, stick to the right, stick no advertisements. However, It was "The Seven Keys to Huldpate," having "Why do you extend to me over plenty of action which cannot help but to your job. One of the most out a lively edition and the students were hold the audience's attention. It is standing characteristics which must insured that in time a real puper $2(10,000 worth of credit when you know that I urn worth only $10,000 in not a cheap production and must lie be corrected in our American boy* and would represent the school. Every girls is their desire to ehange and my own righ t?” backed by the whole student body. -
Volunteers Sought for New Youth Running Series
TONIGHT Clear. Low of 13. Search for The Westfield News The WestfieldNews Search for The Westfield News “I DO NOT Westfield350.com The WestfieldNews Serving Westfield, Southwick, and surrounding Hilltowns “TIME ISUNDERSTAND THE ONLY WEATHER CRITIC THEWITHOUT WORLD , TONIGHT AMBITIONBUT I WATCH.” Partly Cloudy. ITSJOHN PROGRESS STEINBECK .” Low of 55. www.thewestfieldnews.com Search for The Westfield News Westfield350.comWestfield350.org The WestfieldNews — KaTHERINE ANNE PORTER “TIME IS THE ONLY VOL. 86 NO. 151 Serving Westfield,TUESDAY, Southwick, JUNE 27, and2017 surrounding Hilltowns 75 cents VOL.88WEATHER NO. 53 MONDAY, MARCH 4, 2019 CRITIC75 CentsWITHOUT TONIGHT AMBITION.” Partly Cloudy. JOHN STEINBECK Low of 55. www.thewestfieldnews.com Attention Westfield: Open Space VOL. 86 NO. 151 75 cents Let’s ‘Retire the Fire!’ CommitteeTUESDAY, JUNE 27, 2017 By TINA GORMAN discussing Executive Director Westfield Council On Aging With support from the changes at Westfield Fire Department, the Westfield Public Safety Communication Center, the next meeting Westfield News, the Westfield By GREG FITZPATRICK Rotary Club, and Mayor Brian Correspondent Sullivan, the Westfield Council SOUTHWICK – The Open On Aging is once again launch- Space Committee is holding ing its annual Retire the Fire! another meeting on Wednesday at fire prevention and safety cam- 7 p.m. at the Southwick Town paign for the City’s older Hall. TINA GORMAN According to Open Space adults. During the week of Executive Director March 4 to 8, residents of Committee Chairman Dennis Westfield Council Clark, the meeting will consist of Westfield will see Retire the On Aging Fire! flyers hung throughout reviewing at the changes that have the City and buttons with the been made to the plan, including Sunny Sunday Skier at Stanley Park slogan worn by Council On Aging staff, seniors, and the new mapping that will be Kim Saffer of Westfield gets in some cross-country ski practice on a sunny community leaders. -
Samuelson Clinic Files Amicus Brief in Sony V. Cox
USCA4 Appeal: 21-1168 Doc: 29-1 Filed: 06/01/2021 Pg: 1 of 43 Case No. 21-01168 _____________________________________________________________ IN THE UNITED STATES COURT OF APPEALS FOR THE FOURTH CIRCUIT ____________________________________________________ SONY MUSIC ENTERTAINMENT, ET AL., Plaintiffs-Appellees, v. COX COMMUNICATION, INC. and COXCOM, LLC, Defendants-Appellants. (see full caption on inside cover) _____________________________________________________________ BRIEF OF AMICI CURIAE ELECTRONIC FRONTIER FOUNDATION, CENTER FOR DEMOCRACY AND TECHNOLOGY, AMERICAN LIBRARY ASSOCIATION, ASSOCIATION OF COLLEGE AND RESEARCH LIBRARIES, ASSOCIATION OF RESEARCH LIBRARIES, AND PUBLIC KNOWLEDGE IN SUPPORT OF DEFENDANTS- APPELLANTS AND REVERSAL ____________________________________________________ On Appeal from the U.S. District Court for the Eastern District of Virginia Case No. 1:18-cv-950-LO-JFA Hon. Liam O’Grady _____________________________________________________________ Mitchell L. Stoltz Corynne McSherry ELECTRONIC FRONTIER FOUNDATION 815 Eddy Street San Francisco, California 94109 (415) 436-9333 [email protected] Counsel for Amici Curiae (Additional counsel listed on signature page) USCA4 Appeal: 21-1168 Doc: 29-1 Filed: 06/01/2021 Pg: 2 of 43 SONY MUSIC ENTERTAINMENT; ARISTA MUSIC; ARISTA RECORDS, LLC; LAFACE RECORDS LLC; PROVIDENT LABEL GROUP, LLC; SONY MUSIC ENTERTAINMENT US LATIN LLC; VOLCANO ENTERTAINMENT III, LLC; ZOMBA RECORDINGS LLC; SONY/ATV MUSIC PUBLISHING LLC; EMI AL GALLICO MUSIC CORP.; EMI ALGEE MUSIC CORP.; EMI APRIL MUSIC INC.; EMI BLACKWOOD MUSIC INC.; COLGEMS-EMI MUSIC INC.; EMI CONSORTIUM MUSIC PUBLISHING INC., d/b/a EMI Full Keel Music; EMI,CONSORTIUM SONGS, INC., d/b/a EMI Longitude Music; EMI FEIST CATALOG INC.; EMI MILLER CATALOG INC.; EMI MILLS MUSIC, INC.; EMI UNART CATALOG INC.; EMI U CATALOG INC.; JOBETE MUSIC CO. -
Annual Financial Report and Audited Consolidated Financial Statements for the Year Ended December 31, 2007
Annual Financial Report and Audited Consolidated Financial Statements for the Year ended December 31, 2007 VIVENDI Société anonyme with a Management Board and Supervisory Board with a share capital of €6,406,087,710.00 Head Office: 42 avenue de Friedland – 75380 PARIS CEDEX 08 – FRANCE IMPORTANT NOTICE: READERS ARE STRONGLY ADVISED TO READ THE IMPORTANT DISCLAIMERS AT THE END OF THIS FINANCIAL REPORT. Annual Financial Report and Audited Consolidated Financial Statements for the Year Ended December 31, 2007 Vivendi /2 TABLE OF CONTENTS SELECTED KEY CONSOLIDATED FINANCIAL DATA........................................................................................................................................6 I – 2007 FINANCIAL REPORT ...............................................................................................................................................................................7 1 MAIN DEVELOPMENTS..............................................................................................................................................................................8 1.1 MAIN DEVELOPMENTS IN 2007......................................................................................................................................................................8 1.2 MAIN DEVELOPMENTS SINCE DECEMBER 31, 2007 ........................................................................................................................................11 1.3 TRANSACTIONS UNDERWAY AS OF DECEMBER 31, 2007 .................................................................................................................................11 -
The Rebirth of Slick: Clinton, Travolta, and Recuperations of Hard-Body Nationhood in the 1990S
THE REBIRTH OF SLICK: CLINTON, TRAVOLTA, AND RECUPERATIONS OF HARD-BODY NATIONHOOD IN THE 1990S Nathan Titman A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Dr. Simon Morgan-Russell, Advisor Dr. Philip Terrie ii ABSTRACT Simon Morgan-Russell, Advisor This thesis analyzes the characters and performances of John Travolta throughout the 1990s and examines how the actor's celebrity persona comments on the shifting meanings of masculinity that emerged in a post-Reagan cultural landscape. A critical analysis of President Clinton's multiple identities⎯in terms of gender, class, and race⎯demonstrates that his popularity in the 1990s resulted from his ability to continue Reagan's "hard-body" masculine national identity while seemingly responding to its more radical aspects. The paper examines how Travolta's own complex identity contributes to the emergent "sensitive patriarch" model for American masculinity that allows contradictory attitudes and identities to coexist. Starting with his iconic turn in 1977's Saturday Night Fever, a diachronic analysis of Travolta's film career shows that his ability to convey femininity, blackness, and working-class experience alongside more normative signifiers of white middle-class masculinity explains why he failed to satisfy the "hard-body" aesthetic of the 1980s, yet reemerged as a valued Hollywood commodity after neoconservative social concerns began emphasizing family values and white male responsibility in the 1990s. A study of the roles that Travolta played in the 1990s demonstrates that he, like Clinton, represented the white male body's potential to act as the benevolent patriarchal figure in a culture increasingly cognizant of its diversity, while justifying the continued cultural dominance of white middle-class males. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
Comcast Ex Parte of 11-4-14 in GN Docket 14-28
Comcast Corporation 300 New Jersey Avenue, NW Suite 700 Washington, DC 20001 202.379.7121 November 4, 2014 VIA ELECTRONIC FILING Marlene H. Dortch Secretary Federal Communications Commission 445 12th Street, S.W. Washington, DC 20554 Re: In the Matter of Protecting and Promoting the Open Internet, GN Docket No. 14-28; Framework for Broadband Internet Service, GN Docket No. 10-127 Dear Ms. Dortch: On October 31, 2014, Lynn Charytan, David Don, and the undersigned from Comcast, and Matthew Brill of Latham & Watkins LLP, met with Julie Veach and Matthew DelNero of the Wireline Competition Bureau and Stephanie Weiner and Claude Aiken of the Office of General Counsel regarding the above-captioned proceeding. Consistent with Comcast’s previous submissions in this docket, we explained that, in adopting new rules to protect and promote the open Internet, the Commission should follow the guidance of the D.C. Circuit in Verizon v. FCC by relying on Section 706 of the Telecommunications Act of 1996 as legal authority.1 In particular, although Comcast and other leading broadband providers have made clear that they have no plans to enter into commercial arrangements to prioritize any edge provider content within their broadband Internet access services, we emphasized that Section 706, as construed by the court, provides ample authority for the Commission to adopt a strong presumption against paid prioritization arrangements. We further noted that none of the Title II reclassification theories or hybrid Title II/Section 706 theories in the record would result in greater protections for consumers, even apart from their many other downsides. -
TIU S5E4 Transcript
The Liquid Workforce Krissy Clark: Hey it’s Krissy. This is the Uncertain Hour. If you’ve been listening to our whole season (which, if you’re not, you should), you’ll know the last few episodes have been about Jerry Vazquez, a former janitor who was not employed by the company whose name was on his uniform, or by the companies whose offices he cleaned. At one point most corporations, schools, churches - had their own in-house janitors who were their employees. Not so much anymore. And on today’s episode we’re looking at how did that come to be? Not just for janitors, but for so many people. Which is why Uncertain Hour producer Peter Balonon-Rosen and I sat down with a guy named Bryan Peña. Peter Balonon-Rosen: And Bryan told us how, decades ago, he worked beneath the bright fluorescent lights at a 7-Eleven in San Diego. BP: You wanna learn about people? You know that’s a great job to learn about people. Peter: Why do you say that? BP: Because you see people of all shapes, sizes and colors in different states. Peter: It was the early ‘90s and Bryan was paying his way through college, working the graveyard shift at 7-Eleven. He was majoring in economics, minoring in acting, so Bryan was fascinated with human behavior. And at 7-Eleven, he got to see that up close. BP: We'd have the guy who had no teeth who would buy 17 cans of easy cheese every Tuesday. Peter: OK BP: We had the guy who lived in back who would get donuts. -
CB-1978-04-01.Pdf
This is the twentieth anni- versary of Bobby Bare s first hit. It was “The All-American Boy,” and though the name on the label read Bill Parsons, the man who did the singing was Bare. After a long series of “straight” hits like “Detroit City” and “500 Miles (Away From Home)’ Bobby Bare fell in with Shel Silverstein and began having hits in the lighthearted, funky, narra- tive style that Bare originally in- vented on “The All-American Boy.” Last year Bare scored big with “The Winner.” This year he’s delivered a totally winning album... his first on Columbia... including the single “Too Many Nights Alone.” Listen to the new single and album and we think you’ll agree that the future looks Bare. “Bare*.’ KC 35314 Including the single “Too Many Nights Alone? The new Bobby Bare on Columbia Records and Tapes. "Columbia!’ ^ are trademarks of CBS Inc. © 1978 CBS Inc. VOLUME XXXIX — NUMBER 46 — April 1, 1378 THE INTERNATIONAL MUSIC RECORD WEEKLY G4SHBCK GEORGE ALBERT President and Publisher EDITORIAL MEL ALBERT General Manager Back To The Basics DAVE FULTON Clive Davis’ keynote address at the recent NARM we cannot afford for the human element to be miss- Editor In Chief convention contained a number of controversial ing.” J, B. CARMICLE statements that still have the industry buzzing. During the convention the president of a major General Manager, East Coast However, to dwell only on the controversies is a mis- record company told Cash Box that he didn’t have to East Coast Editorial take because the crux of Davis’ speech concerned spend millions of dollars to purchase a major artist KEN TERRY. -
Authorized Catalogs - United States
Authorized Catalogs - United States Miché-Whiting, Danielle Emma "C" Vic Music @Canvas Music +2DB 1 Of 4 Prod. 10 Free Trees Music 10 Free Trees Music (Admin. by Word Music Group, 1000 lbs of People Publishing 1000 Pushups, LLC Inc obo WB Music Corp) 10000 Fathers 10000 Fathers 10000 Fathers SESAC Designee 10000 MINUTES 1012 Rosedale Music 10KF Publishing 11! Music 12 Gate Recordings LLC 121 Music 121 Music 12Stone Worship 1600 Publishing 17th Avenue Music 19 Entertainment 19 Tunes 1978 Music 1978 Music 1DA Music 2 Acre Lot 2 Dada Music 2 Hour Songs 2 Letit Music 2 Right Feet 2035 Music 21 Cent Hymns 21 DAYS 21 Songs 216 Music 220 Digital Music 2218 Music 24 Fret 243 Music 247 Worship Music 24DLB Publishing 27:4 Worship Publishing 288 Music 29:11 Church Productions 29:Eleven Music 2GZ Publishing 2Klean Music 2nd Law Music 2nd Law Music 2PM Music 2Surrender 2Surrender 2Ten 3 Leaves 3 Little Bugs 360 Music Works 365 Worship Resources 3JCord Music 3RD WAVE MUSIC 4 Heartstrings Music 40 Psalms Music 442 Music 4468 Productions 45 Degrees Music 4552 Entertainment Street 48 Flex 4th Son Music 4th teepee on the right music 5 Acre Publishing 50 Miles 50 States Music 586Beats 59 Cadillac Music 603 Publishing 66 Ford Songs 68 Guns 68 Guns 6th Generation Music 716 Music Publishing 7189 Music Publishing 7Core Publishing 7FT Songs 814 Stops Today 814 Stops Today 814 Today Publishing 815 Stops Today 816 Stops Today 817 Stops Today 818 Stops Today 819 Stops Today 833 Songs 84Media 88 Key Flow Music 9t One Songs A & C Black (Publishers) Ltd A Beautiful Liturgy Music A Few Good Tunes A J Not Y Publishing A Little Good News Music A Little More Good News Music A Mighty Poythress A New Song For A New Day Music A New Test Catalog A Pirates Life For Me Music A Popular Muse A Sofa And A Chair Music A Thousand Hills Music, LLC A&A Production Studios A. -
RENTRAK Worldwide Film Distributors
RENTRAK Worldwide Film Distributors ABBREVIATED NAME FULL NAME 518 518 Media 757 7-57 Releasing 1211 1211 Entertainment 2020 2020 Films @ENT At Entertainment @MOV @MOVIE JAPAN +me +me 01 DIST 01 Distribution 104 FLM 104 Films 11ARTS Eleven Arts 120D 120 Degree Films 13DIST Les Films 13 Distribution 1A FLM 1A Films 1CUT 1st Cut 1M60FILM 1meter60 Film 1MRFM 1 More Film 1ST INDP First Independent 1stRUN First Run 21ST 21st Century 21ST CENT Twenty First Century Films 24BD 24 Bilder 24FRMS 24 Frames 2Corzn Dos Corazones 2GN 2nd Generation 2MN Two Moon 2ND GEN Second Generation Films 2RIVES Les Films des Deux Rives 2SR 2 Silks Releasing 35MI 35 Milim Filmcilik 360 DEGREE 360 Degrees Film 3DE 3D Entertainment 3ETAGE Productions du 3e Etage 3L 3L 3MONDE La Médiathèque des Trois Mondes 3RD WINDOW Third Window Fims 3ROS 3Rosen 41Inc 41 Inc 42FILM 42film 45RDLC 45 RDLC 4DIGITAL 4Digital Media Ltd 4STFM Four Star Film 4TH 4th & Broadway 4TH DIG 4TH Digital Asia 5&2 Five & Two Pictures 50TH 50th Street 5PM Five Points Media 5STR Five Star Trading 5STRET Five Star Entertainment 6PCK Sixpack-Film 791C 791 Cine 7ARTS Seven Arts Distribution 7FLR The 7th Floor 7PP 7th Planet Prods 7TH ART Seventh Art Production 8X 8X Entertainment A B FILM A.B. Film Distributors A. LEONE Andrea Leone Films A3DIST A3 Distribution AA AA Films AAA Acteurs Auteurs Associés (AAA) AAAM Arts Alliance America AAC Alliance Atlantis Communications AAM Arts Alliance Media Aanna Aanna Films AARDMAN Aardman Animations AB&GO AB & GO ABBEY Abbey Home Entertainment ABCET ABC Entertainment ABCF ABC-Films ABFI Absinthe Films ABH Abhi Films ABKCO ABKCO Films ABLO Ablo ABR Abramorama Entertainment ABS ABS-CBN ABSOLUT Absolut media ACADRA ACADRA Distribution ACAF Acacia Films Acajou Acajou Films ACCDIS Accatone Distribution ACCTN Accatone ACD Academy ACE Ace Films ACHAB Achab Film AchimHae Achim Hae Nori ACM Access Motion Picture Group ACME ACME ACOMP A Company ACONTRA A contracorriente ACROB Acrobate Films ACT/TDT Actions Cinémas/Théâtre du Temple ACTAEON Actaeon Film Ltd.