FALCON By: David A
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
REFLECTIONS the Newsletter of the Northwest Airlines History Center Dedicated to Preserving the History of a Great Airline and Its People
Vol.15, no.4 nwahistory.org facebook.com/NorthwestAirlinesHistoryCenter December 2017 REFLECTIONS The Newsletter of the Northwest Airlines History Center Dedicated to preserving the history of a great airline and its people. NORTHWEST AIRLINES 1926-2010 ______________________________________________________________________________________________________ THE REVIEWS ARE IN! These are just some of the comments which visitors (including crews from other airlines!) to the Northwest Airlines History Center have written in our guest book since we opened to the public on September 28 in our new location in the Crowne Plaza Aire MSP Hotel. We had to hit the ground running, with two major events scheduled back to back in early October. Stories and photos about our first two months of operation begin on page 4. From the Executive Director THE NORTHWEST AIRLINES Pardon us for saying over and over how great it is for HISTORY CENTER, Inc. the Northwest Airlines History Center Museum to be Founder Henry V. “Pete” Patzke 1925-2012 open again! It’s gratifying to see our daily visitor log filled in with the names and home states of apprecia- Museum: Crowne Plaza Aire MSP tive visitors, and their positive comments about the Hotel museum’s new look. The Crowne Plaza Aire Hotel Two Appletree Square caters to so many types of airline-related employees Bloomington MN 55425 and travelers that it comes as no surprise that many of 952-876-9677 these visitors are so appreciative of a museum that speaks to them, regardless of their airline affiliation. In October, we recorded 117 visitors; in our former Archives and Administration: 10100 location it took an entire year to record 112 visitors. -
Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms
Vanderbilt Journal of Entertainment & Technology Law Volume 16 Issue 2 Issue 2 - Winter 2014 Article 3 2014 Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation Carol M. Kaplan, Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms, 16 Vanderbilt Journal of Entertainment and Technology Law 297 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol16/iss2/3 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan* ABSTRACT In recent decades, studios that own film and television properties have developed business models that exploit the copyrights in those materials in every known market and in all currently conceivable forms of entertainment and merchandising. For the most part, uniform laws and parallel industry cultures permit smooth integration across formats. But theater is different. The work-made-for-hire provisions that allow corporations to function as the authors of the works they contract to create do not easily align with the culture and standard contract provisions of live theater. Conflicts arise when material that begins as a Hollywood property tries to make Carol M. -
Jean-Christophe Averty and His US TV Contemporaries
Document generated on 09/26/2021 9:04 p.m. Cinémas Revue d'études cinématographiques Journal of Film Studies The American Connection: Jean-Christophe Averty and his U.S. TV Contemporaries La filière américaine : Jean-Christophe Averty et ses contemporains d’outre-Atlantique Lynn Spigel La télévision… selon Jean-Christophe Averty Article abstract Volume 26, Number 2-3, Spring 2016 This essay explores the television productions of Ernie Kovacs and Charles and Ray Eames, analyzing their pioneering audio-visual experiments in the URI: https://id.erudit.org/iderudit/1039371ar American network broadcast system of the mid-century period. It examines DOI: https://doi.org/10.7202/1039371ar how their work with TV graphics, montage, collage, sound, video tricks and special effects relates to Jean Christophe Averty’s work in French TV in the See table of contents same period. It explores the “experimental spirit” across the Atlantic before the rise of video art per se, demonstrating how all of these early TV artists challenged dominant conceptions of what TV should be in their respective national and industrial contexts. Finally, it calls for more historical research on Publisher(s) and theoretical inquiry into the complex relationships between art, design and Cinémas commercial TV at mid-century. ISSN 1181-6945 (print) 1705-6500 (digital) Explore this journal Cite this article Spigel, L. (2016). The American Connection: Jean-Christophe Averty and his U.S. TV Contemporaries. Cinémas, 26(2-3), 173–197. https://doi.org/10.7202/1039371ar Tous droits réservés © Cinémas, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Gypsy Program
Page 1: RRCA Music Theatre Company Logo Proudly Presents Gypsy Logo Here A Musical Book by Arthur Laurents Suggested by the memoirs of Gypsy Rose Lee Music by Jule Styne Lyrics by Stephen Sondheim Produced for the Broadway Stage by DAVID MERRICK and LELAND HAYWARD Produced with special arrangement and the music and dialogue material furnished by TAMS-WITMARK MUSIC LIBRARY, INC., 560 Lexington Avenue, New York, New York 10022 April 17-20, 2008 Page 2 Act I Various cities throughout the U.S.A. Early 1920’s to the early 1930’s. Act I Scene 1: Vaudeville Theatre Stage, Seattle Let Me Entertain You Scene 2: Kitchen of a Frame House, Seattle Some People Scene 3: Road Between Seattle and Los Angeles Some People Reprise Scene 4: Backstage of a Vaudeville Theatre, Dallas Small World Scene 5: On Stage of a Vaudeville Theatre, Los Angeles Baby June and Her Newsboys Scene 6: Hotel Rooms, Akron Mr. Goldstone Little Lamb Scene 7: Chinese Restaurant, New York You’ll Never Get Away From Me Scene 8: Stage of Grantziger’s Palace, New York Dainty June and Her Farmboys Broadway Scene 9: Grantziger’s Office If Momma Was Married Scene 10: Theatre Alley, Buffalo All I Need is the Girl Scene 11: Railroad Platform, Omaha Everything is Coming Up Roses Act II Scene 1: Desert Country, Texas Toreadorabels Together Wherever We Go Scene 2: Backstage of a Burlesque House, Wichita You Gotta Get A Gimmick Scene 3: Backstage Corridor Scene 4: Backstage and On Stage: Wichita, Detroit, Philadelphia, Minsky’s Small World Reprise The Strip Scene 5: Louise’s Dressing room Scene 6: Bare Stage After the Show Rose’s Turn A Note from the Director Welcome to the show that many people call the Greatest American Musical. -
Where's My Magazine? Go First · Class
8OO1( REYIEWf letter from the editor HAYWIRE by Brooke Hayward Non.,Fiction, Bantam, 384 Pages, $2.50. Where's my magazine? Her mother was Margaret Sulla We've had calls and letters. In the last months, they've gotten increasingly insistant, sounding frustrated, disappointed or downright angry. They all ask van, the beautiful, throaty-voiced star the same question, "Why can't I get my Cinema Canada on time?" of Hollywood and Broadway. Her We don't know. Unless the Canadian postal service has decided to force father was Leland Hayward, the most Canadian editors under by simply not delivering our magazines. colorful and dynamic of theatrical It took a York professor seven weeks to get issue no. 44. It took all of Toron agents. She was the eldest of their to three weeks to get issue no. 45. The horror stories go on and on. three children, raised in a glittering We've called the post office. We've written. Last month, the excuse we got world of glamor, beauty, talent and was that, with the increase of postal rates, everyone and his uncle mailed at the privilege during the golden years of end of March and the system was overloaded. The month before, they told us Hollywood. But it was a world that that we had gotten the magazine into the post office too early. (The logic is, would inevitably be shattered by de . you see, that the first one into the depot ends up on the bottom of the pile by the end of the day and is, consequently, the last one out. -
GYPSY Sure to “Entertain” Audiences July 10-19 “Everything’S Coming up Roses” at the Benedum Center
FOR IMMEDIATE RELEASE Contact: Aja Jones 412-281-3973 ext. 224 [email protected] Images: Press Room User: pressroom Pswd: pittstadium GYPSY Sure to “Entertain” Audiences July 10-19 “Everything’s Coming Up Roses” at the Benedum Center Pittsburgh, PA ∙ July 2, 2015 – Join one-of-a-kind mother, Rose, and her two talented daughters as they search for fame in Pittsburgh CLO’s production of GYPSY, July 10-19 at the Benedum Center. This entertaining musical is complete with memorable performances, mother-daughter struggles and the hardships of show business life, all while set during the infamous vaudeville era. Featuring one show-stopping song after another such as “Everything’s Coming Up Roses,” “You Gotta Get a Gimmick” and “Let Me Entertain You,” GYPSY truly is “the greatest of all American musicals” (The New York Times). Based on the real-life memoirs of burlesque mega-star, Gypsy Rose Lee, GYPSY tells the story of the mother behind the curtain, Rose. Blinded by her own ambition, Rose pushes her two daughters to pave the way to stardom on vaudeville’s legendary circuit. Do not miss this “mother” of a big, Broadway musical! ABOUT THE CAST Kim Zimmer (Rose) attended Hope College for her undergraduate and continued her education at The American Conservatory Theatre in San Francisco. She’s best known for her portrayal of Reva Shayne on “Guiding Light” for which she received four Lead Actress Daytime Emmy® Awards along with 11 Nominations. Ms. Zimmer recently wrapped up her record-breaking tour with the First National Company of WICKED. Some of her favorite Regional and Off-Broadway credits include: Four Dogs and a Bone, Love, Loss, And What I Wore, Blood Brothers, Gypsy, Sunset Boulevard, Dirty Blonde, Curtains, Shirley Valentine and Lost Boy Found at Whole Foods. -
Edward R. Murrow
ARSC Study Guide: EDWARD R. MURROW STUDY GUIDE PROFILE Edward R. Murrow’s reporting on radio and television established what many journalists consider to be the professional standard for cultural and hard news reporting in the United States from the 1930s through 1960. Murrow began his career in broadcasting in World War II as CBS’s European Bureau director, earning international acclaim for his integrity and steadfastness as Nazi bombs fell on Great Britain during the London Blitz. His move into television broadcasting during the 1950s allowed him to pursue a number of controversial subjects, including the “See It Now” expose of Wisconsin Senator Joseph McCarthy. In a number of instances, such as the investigative newscast on the plight of migrant farm workers in Florida, Murrow’s reporting for CBS motivated progressive reforms, prompting him to remark late in his career that television, “can get a lot of things done.” The UCLA Film & Television Archive holds a number of materials documenting Murrow’s life and career available for research access on-site at the Powell Library. [This is only a partial list – consult the Archive Research and Study Center for additional titles] HEARST NEWSREEL Hearst Newsreel Footage. Edward Murrow, 1942 – 1954. Includes the following: “Pierre Huss, Central European Director International News Service, arrives home after years in Germany on the SS Excambion. Edward Murrow, CBS London correspondent, also on same ship tells of morale of British people. Overseas press club dinner, New York City. Senator Joseph McCarthy charges Murrow with Red ties, Murrow replies, New York City.” Study Copy: VA3912 M Hearst Newsreel Footage. -
Irving Stone Papers
http://oac.cdlib.org/findaid/ark:/13030/kt067nc3q6 No online items Finding Aid to the Irving Stone Papers Processed by Lisa de Larios, with assistance from Sarah Kanafani, Guadalupe Lugo, Christopher Martinez, and Martin Wells; completed by Mary Morganti. The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu © 2007 The Regents of the University of California. All rights reserved. Finding Aid to the Irving Stone BANC MSS 95/205 cz 1 Papers Finding Aid to the Irving Stone Papers Collection number: BANC MSS 95/205 cz The Bancroft Library University of California, Berkeley Berkeley, California Contact Information: The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu Processed by: Lisa de Larios, with assistance from Sarah Kanafani, Guadalupe Lugo, Christopher Martinez, and Martin Wells; completed by Mary Morganti. Date Completed: December 2003; revised August 2007 Encoded by: James Lake © 2007 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Irving Stone papers, Date (inclusive): 1923-1990s, Date (bulk): (bulk 1934-1989) Collection Number: BANC MSS 95/205 cz Creator: Stone, Irving, 1903-1989 Extent: Number of containers: 553 boxes, 34 oversize boxes, 37 oversize folders, and 3 v. -- not including an additional 11 boxes (numbered 554-564) of fragile, restricted originals for which archival photocopies have been substituted within the collection. Linear feet: 248 Repository: The Bancroft Library. -
In Some Sense, the Succession of Chapters in Any Critical Work Should
Copyright by Kyle Dawson Edwards 2006 The Dissertation Committee for Kyle Dawson Edwards certifies that this is the approved version of the following dissertation: Corporate Fictions: Film Adaptation and Authorship in the Classical Hollywood Era Committee: _________________________ Eric Mallin, Supervisor _________________________ Thomas Schatz, Co-Supervisor _________________________ Jerome Christensen _________________________ Michael Winship _________________________ Brian Bremen Corporate Fictions: Film Adaptation and Authorship in the Classical Hollywood Era by Kyle Dawson Edwards, BA; MA Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2006 Acknowledgements All of the members of my dissertation committee—Brian Bremen, Jerome Christensen, Eric Mallin, Thomas Schatz, and Michael Winship—have graciously provided their time and expertise. More importantly, they represent models of pedagogy and mentorship that will continue to benefit me far beyond the bounds of this project. In particular, I would like to thank my co-supervisors, Eric Mallin and Thomas Schatz. Eric’s early encouragement convinced me of the appeal and viability of this project and of my own ability to carry it out. Tom’s advocacy on my behalf has been constant, and he has worked tirelessly with me to bring this project to completion. The archival research that is such a crucial component of this dissertation would not have been possible without the generosity and guidance of the archivists and librarians of the various Libraries and Special Collections where I collected materials for this project. Specifically, I’d like to thank Steve Wilson, Ned Comstock, Barbara Hall, and Randi Hokett for their help in this regard. -
Auditorium Theatre Program; Dec. 8
Monday Thru Saturday, Dec. 8-13, 1952 Matinee Wednesday and Saturday LELAND HAYWARD presents Irving Berlin's "Call Me Madam" with ELAINE STRITCH KENT SMITH David Daniels - Terry .Taylor - Pat Harrington Ralph Chambers - Alexander Clark Jay Velie Music and Lyrics by IRVING BERLIN Book by HOWARD LINDSAY and RUSSEL CROUSE Directed by GEORGE ABBOTT Dances and Musical Numbers Staged by JEROME ROBBINS Scenery and Costumes Designed by RAOUL PENE DU BOIS Musical Conductor- PHIL INGALLS Orchestrations by DON WALKER Additional Orchestrations by JOE GLOVER Dance Music Arrangements by GENEVIEVE PITOT and JESSE MEEKER QUALITY REAL ESTATE SINCE 1907 After the Play ew York State Champagne 803 Union Trust Building FOR A TREAT BEFORE OR AFTER THE THEATRE SHRIMP LOBSTER CRABMEAT STEAKS CHOPS Dinner at the Clintonnaire makes every evening "out" one to be remembered. Whether you come before or after the theatre, you'll find tempting seafood delicacies. coud:eous service, and a lei- RESTAURANT surely, restful atmosphere . in Roch- 69-75 CLINTON AVE .. S. ester's finest restaurant. ... after the show ... or anytime you want good foo~ The Eggleston RESTAURANT 47 Clinton Ave. South Across from The Seneca MRS. SALLY ADAMS . ELAINE STRITCH (Neither the character of Mrs. Sally Adams nor Miss Elaine Stritc h resembles any other person alive or dead.) THE SECRETARY OF STATE . FAIRFAX BURGHER SUPREME COURT JUSTICE ...... ... .. OWEN COLL CONGRESSMAN WILKENS ....... .... ...... ........ PAT HARRINGTON HENRY GIBSON . WILLIAM DAVID KENNETH GIBSON . DAVID DANIELS SENATOR GALLAGHER RALPH CHAMBERS SECRETARY TO MRS. ADAMS JO FRANCIS BUTLER . WILLIAM HAIL SENATOR BROCKBANK . JAY VELIE COSMO CONSTANTINE . KENT SMITH PEMBERTON MAXWELL .... .. ........ ......... ... .. ...... ALEXANDER CLARK CLERK STANLEY SIMMONDS HUGO TANTINNIN . -
American Revolution Bicentennial Administration(1)
The original documents are located in Box 1, folder “American Revolution Bicentennial Administration (1)” of the Philip Buchen Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald R. Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 1 of the Philip Buchen Files at the Gerald R. Ford Presidential Library AMERICA AT THE MOVIES "The movies," writes Librarian of Congress the guilds and the many individual artists. Daniel J. Boorstin, "were an American in I am grateful to the American Film In vention which, more than any before, focused stitute, an independent non-profit organiza the vision of the world. And motion pictures tion serving the public interest which became the great democratic art, which was established by The National Endowment naturally enough, was the characteristic for the Arts in 1967 to advance the art American art." and preserve the heritage of film in America. It is for this reason that the American I am especially grateful to its Director, Revolution Bicentennial Administration in George A. -
The Courtesan and the Consort | New York Social Diary
The Courtesan and the Consort | New York Social Diary http://www.newyorksocialdiary.com/guest-diary/2016/the-courtesan-and-... GO SEARCH 1 of 21 1/5/2017 4:41 PM The Courtesan and the Consort | New York Social Diary http://www.newyorksocialdiary.com/guest-diary/2016/the-courtesan-and-... Friday, December 30, 2016 The Courtesan and the Consort Pamela Churchill Hayward Harriman. Photo by Horst. by Kitty Kelley Pamela Digby Churchill Hayward Harriman opened the front door of her Georgetown mansion. Pearls draped her freckled cleavage and reddish hair framed her milk-white face like a froth of ginger. “Please come in,” she said. “The White Roses are straight ahead.” Everyone grinned like fools. They had been standing outside 3038 N Street for some time, having paid $1000 to support “Democrats for the '80s,” better known as Pam PAC. Now they clomped into the house like peasants to the palace. “Does she really think we’re here to see the Van Gogh?” said one woman, whispering like a second-grader. In fact, Mrs. Harriman knew full well all were there as voyeurs just wanting a chance to rub up against a copper-bottomed courtesan who finally got one of the richest men in the country to marry her. But what did she care? They were paying her for the privilege. These paid events hosted by the Harrimans from 1980-1990 usually raised 2 of 21 1/5/2017 4:41 PM The Courtesan and the Consort | New York Social Diary http://www.newyorksocialdiary.com/guest-diary/2016/the-courtesan-and-..