PRICES REALIZED DETAIL - Hollywood - Summer 2016 Auction 83, Auction Date
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Comiccon 2018 Held October 20-21, 2018
Metrics Associated with the ComicCon 2018 Held October 20-21, 2018 Prepared by: David Nash Research and Data Manager John Meroski Chief Executive Officer October 26, 2018 Contents i. Introduction ii. They Identified Themselves as… iii. Where Were They From? ▪ Overview ▪ By State, County and City iv. How Did They Find Out About Event? v. Survey Requirements ▪ Requirements ▪ Information Provided vi. Bureau Generated Publicity vii. Public Relations Recap viii. Occupancy Comparison ix. Summary 2 Introduction • All data was collected by the ComicCon staff. • The ComicCon management estimated 10,000 attendees prior to the event. • The agreed upon minimum number of completed surveys needed was 370. • The final number of submitted surveys was 145. • Using the 10,000 attendees, the Confidence Interval for this presentation with a 145 Sample Size is +/- 8.08%. Because of the size of the sample the Confidence Interval is below the “best practice” of +/- 5.00%. 3 Introduction • Surveys were collected at the following times (blue shaded area indicates event is in progress): Completed Completed Completed Time Time Time Surveys Surveys Surveys Thursday, Oct 18, 2018 Saturday, Oct 20, 2018 Sunday, Oct 21, 2018 3-4 p.m. 2 8-9 a.m. 1 10-11 a.m. 0 Total Collected Day 1 2 9-10 a.m. 1 11 a.m.-12 Noon 0 10-11 a.m. 0 12-1 p.m. 0 11 a.m.-12 Noon 1 1-2 p.m. 11 12-1 p.m. 8 2-3 p.m. 0 1-2 p.m. 19 3-4 p.m. 1 2-3 p.m. -
Major Museum and Solo Gallery Exhibitions of Gordon Parks on View This Spring
Major Museum and Solo Gallery Exhibitions of Gordon Parks on View This Spring The Addison Gallery of American Art, The Nelson-Atkins Museum of Art, and The Museum of Modern Art Among Institutions to Feature Gordon Parks Pleasantville, NY, February 25, 2020 – The Gordon Parks Foundation collaborates on a range of national and international exhibitions this spring. Featuring significant works by Parks and providing insight on his multifaceted practice, the Spring 2020 exhibitions range from photographs of Muhammad Ali at The Nelson-Atkins Museum of Art to a presentation highlighting new Parks acquisitions at The Museum of Modern Art (MoMA). The season also includes solo gallery exhibitions and presentations at The Gordon Parks Foundation Gallery in Pleasantville, New York, as well as group exhibitions at The Jewish Museum and Princeton University Art Museum. The Foundation’s year-round and wide-ranging programming reflects its commitment to supporting and producing artistic and educational initiatives that advance the legacy and vision of Gordon Parks, who is recognized as one of the most significant photographers of the 20th century, as well as a writer, musician, and filmmaker. “We’re delighted to follow a series of incredible museum exhibitions this past fall with an equally strong and exciting roster of exhibitions and programs in spring 2020,” said Peter W. Kunhardt, Jr., Executive Director of The Gordon Parks Foundation. “These major exhibitions, including those that highlight recent museum acquisitions of Parks’ works, advance the -
JFK Characters
Page 1 JFK Characters As you start reading about the JFK John Abt assassination, you quickly realize that there are thousands of people involved John Abt was a lawyer for the Communist party. in one way or another. Keeping track of When LHO was arrested in Dallas, he asked for Abt who’s who gets to be a challenge. to represent him. LHO wasn’t a communist or That’s why I created this list of some of marxist, but he pretended to be as part of his CIA the major (and minor) players in the undercover assignment. Asking to have Abt as his complex story. It is designed to give lawyer was intended to be a signal to his you a quick idea of the most relevant intelligence handlers that his cover was still intact facts about each of the characters and that he was still playing along. He wanted his listed, and it is intended as a quick handlers to know that they could count on his reference tool. (However, just reading silence. down the list of characters is one way to get a lot of information about the events of November 22, 1963, in Juan Adames Dallas, Texas.) Juan Adames provided information to HSCA It is by no means complete, as that is (House Select Committee on Investigations) beyond my scope. But I do plan to keep investigator Gaeton Fonzi, working in Miami. adding characters as I learn more Adames told Fonzi about Bernardo Gonzales de about the death of JFK. Torres Alvarez (de Torres), who had been working for CIA since 1962. -
Issue 15 Inspired by L.A
OTIS COLLEGE OF ART AND DESIGN MAGAZINE SPRING 2014 in this issue: 04 - ALUMNI AND FACULTY ISSUE 15 INSPIRED BY L.A. 06 - KEEPING IT SIMPLE AND FRESH: MEG CRANSTON 18 - OTIS REPORT ON THE CREATIVE ECONOMY: 1 IN 10 JOBS IN CA I remember L.A. as blackety-black shadows cast from brutalist blocks that take the history of architecture and reduce and contain it silently, like lunary tombs or Aztec temples morphed into Fome-Cor® cartoons. This kind of light makes decisions easier, more black and white. Good-vs-bad, pure-vs- impure, aspiration-vs-collapse, determined grim optimism-vs-self-indulgent despair. The suggestion of an old Hollywood mono- lithic black-and-white movie set encourages self-invention and self-consciousness as you make your way down an imaginary long white staircase. There’s not another living soul on the set and the spotlight is on you, wiping out any flaw or imperfection, hallucinating yourself into who you wanna be … exactly how I remember it … forward Fashion designer Rick Owens (’81) moved from L.A. to Paris in 2003. 01 03 05 06 1. George Maitland Stanley (’24) 2. Kent Twitchell (’77 MFA) 3. Judithe Hernández (’74 MFA) 4. Insung Kim (’97) 5. Robert Irwin (’50) 6. Hillary Jaye (’90) Muses Fountain, Hollywood Bowl Harbor Freeway Overture mural, New Spring, mural for the Expo Line for Hunt Design Associates The Central Garden, The Getty for Sussman/Prezja & Co. 1938 1993 Terminus Station in Santa Monica, Identity and wayfinding program Center, 1997 Wayfinding and bus graphics Photo courtesy: Hollywood Bowl opening in 2016 for downtown L.A. -
Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America. -
Introduction
NOTES INTRODUCTION 1. Nathanael West, The Day of the Locust (New York: Bantam, 1959), 131. 2. West, Locust, 130. 3. For recent scholarship on fandom, see Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture (New York: Routledge, 1992); John Fiske, Understanding Popular Culture (New York: Routledge, 1995); Jackie Stacey, Star Gazing (New York: Routledge, 1994); Janice Radway, Reading the Romance (Chapel Hill: University of North Carolina, 1991); Joshua Gam- son, Claims to Fame: Celebrity in Contemporary America (Berkeley: Univer- sity of California Press, 1994); Georganne Scheiner, “The Deanna Durbin Devotees,” in Generations of Youth, ed. Joe Austin and Michael Nevin Willard (New York: New York University Press, 1998); Lisa Lewis, ed. The Adoring Audience: Fan Culture and Popular Media (New York: Routledge, 1993); Cheryl Harris and Alison Alexander, eds., Theorizing Fandom: Fans, Subculture, Identity (Creekskill, N.J.: Hampton Press, 1998). 4. According to historian Daniel Boorstin, we demand the mass media’s simulated realities because they fulfill our insatiable desire for glamour and excitement. To cultural commentator Richard Schickel, they create an “illusion of intimacy,” a sense of security and connection in a society of strangers. Ian Mitroff and Warren Bennis have gone as far as to claim that Americans are living in a self-induced state of unreality. “We are now so close to creating electronic images of any existing or imaginary person, place, or thing . so that a viewer cannot tell whether ...theimagesare real or not,” they wrote in 1989. At the root of this passion for images, they claim, is a desire for stability and control: “If men cannot control the realities with which they are faced, then they will invent unrealities over which they can maintain control.” In other words, according to these authors, we seek and create aural and visual illusions—television, movies, recorded music, computers—because they compensate for the inadequacies of contemporary society. -
The Cultural Histories of Bettie Page Merchandise Circulation
UC Irvine UC Irvine Previously Published Works Title From AIDS-era Queer Icon to Sanitized Nostalgic Property: The Cultural Histories of Bettie Page Merchandise Circulation Permalink https://escholarship.org/uc/item/6wg6x5sk Journal Film Criticism, 42(2) ISSN 2471-4364 Author Freibert, Finley Publication Date 2018-11-14 DOI 10.3998/fc.13761232.0042.203 Peer reviewed eScholarship.org Powered by the California Digital Library University of California From AIDS-era Queer Icon to Sanitized Nostalgic Property: THe Cultural Histories of Bettie Page MercHandise Circulation 11/26/18, 10)56 AM From AIDS-era Queer Icon to Sanitized Nostalgic Property: The Cultural Histories of Bettie Page Merchandise Circulation Finley Freibert Volume 42, Issue 2: Film and Merchandise , November 2018 DOI: http://dx.doi.org/10.3998/fc.13761232.0042.203 [http://creativecommons.org/licenses/by-nc-nd/4.0/] Abstract The merchandising of Bettie Page since the mid-20th century has evinced her diverse cultural associations at a variety of historical moments. Yet from a contemporary standpoint, the historical narratives prompted in the licensing of her name and image flatten her past into a palatable emblem of 1950s pin-up culture. In this article, I interrogate the ways Page’s image has been mobilized since the 1950s. I propose a cultural biography of Bettie Page attuned to her queer communitarian circulation in order to counter the nostalgic sanitation of her image since the 1990s. In November of 2017, several media industry and gay press news outlets announced that Violet Chachki, drag performer and 2015 RuPaul’s Drag Race season seven champion, would front an advertising campaign for a Bettie Page-inspired lingerie line by London-based brand Playful Promises. -
Glitter Text
All That Glitters – Spark and Dazzle from the Permananent Collection co-curated by Janine LeBlanc and Roger Manley Randy and Susan Woodson Gallery January 23 – July 12, 2020 Through the ages, every human society has demonstrated a fascination with shiny objects. Necklaces made of glossy marine snail shells have been dated back nearly 135,000 years, while shiny crystals have been found in prehistoric burials, suggesting the allure they once held for their original owners. The pageantry of nearly every religion has long been enhanced by dazzling displays, from the gilded statues of Buddhist temples and the gleaming mosaics of Muslim mosques and Byzantine churches, to the bejeweled altarpieces and reliquaries of Gothic cathedrals. As both kings and gods, Hawaiian and Andean royalty alike donned garments entirely covered with brilliant feathers to proclaim their significance, while their counterparts in other cultures wore crowns of gold and gems. High status and desirability have always been signaled by the transformative effects of reflected light. Recent research indicates that our brains may be hard-wired to associate glossy surfaces with water (tinyurl.com/glossy-as-water). If so, the impulse drawing us toward them may have evolved as a survival mechanism. There may also be subconscious associations with other survival necessities. Gold has been linked to fire or the sun, the source of heat, light, and plant growth. The glitter of beads or sequins may evoke nighttime stars needed for finding one’s way. The flash of jewels may recall an instinctive association with eyes. In jungles as well as open grasslands, both prey and predator can be so well camouflaged that only the glint of an eye might reveal a lurking presence. -
The Flintstones (1960-1966), About a “Modern Stone-Age Family,” Was The
Columbia Pictures) to develop a prime-time animated series. They worked out the concept of parodying current situation comedies, especially The Honeymooners and Father Knows Best, with the twist of setting them in a different historical era. Cartoonists Dan Gordon and Bill Benedict had the idea to use a Stone Age setting (although the Fleischer Studios pro- duced a similar series of Stone Age Cartoons back in 1940). The concept was bought by ABC, and premiered Sept. 30, 1960. Voiced by Alan Reed, Jr. (Fred Flintstone), Mel Blanc (Barney Rubble), Jean VanderPyl (Wilma Flintstone) and veteran actress Bea Benaderet (Betty Rubble), The Flintstones finished the season in the Nielsen ratings’ top 20, and won a number of industry awards, including the Golden Globe, and an [email protected] Emmy nomination for best comedy series of 1960-61. A clear appeal of the series lays in its parody of sitcom for- mula plots, and there are elements of satire in the way modern consumer conveniences are turned into sight gags. One of the show’s favorite gags was to have cameos by Stone Age versions of modern celebrities (Ann Margrock, Stony Curtis, etc.). The most popular gimmick was Wilma’s pregnancy, ending with the February 1963 “birth” of their little girl, Pebbles. The next season the Rubbles adopted Bamm-Bamm, a little boy of incredible strength and a one- word vocabulary. By the fifth and sixth seasons, the show began to use more storylines aimed at kids, with new neighbors the Grue- somes (a spin on The Munsters and The Addams Family), and magical space alien The Great Gazoo (Harvey Korman). -
Advanced Labor Topics 2015
The Florida Bar Continuing Legal Education Committee and the Labor and Employment Law Section Advanced Labor Topics 2015 COURSE CLASSIFICATION: ADVANCED LEVEL May 29 - 30, 2015 Live Presentation: Ritz Carlton Sarasota 1111 Ritz-Calton Drive • Sarasota, FL 34236 Course No. 1859R CLE Publications of The Florida Bar Expert guidance to best serve the needs of those practicing Law in Florida Stay current with the latest developments in Florida by consulting CLE Publications from The Florida Bar. Written by veterans of the Florida Courts, these publications offer Business Law expert advice shaped by the special consideration of Florida law. Our titles are now avaialble in eBook format, for easier access and Estate Planning & portability. Administration Family Law Expanding your library with Jury Instructions eBooks? Make optimal use of your research time with LexisNexis® publications for The Florida Bar in portable eBook format. Access our extensive list of titles from leading attorneys and expert Real Property Law authors—on your schedule and on the device of your choice. For the latest listing of titles, go to: www.lexisnexis.com/flaebooks. Rules of Procedure Order Today! Trial Practice www.lexisnexis.com/flabar Call toll-free 800.533.1637 Did you know that you can receive a 20% DISCOUNT on future updates for these publications? Call 800.533.1637 and learn how easy it is to save 20% by becoming a subscriber under the Automatic Shipment Subscription Program and to obtain full terms and conditions for that program. SATISFACTION GUARANTEE: Examine and return your publication(s) within 30 days of receipt, at your expense, for a full credit of the advertised price, less shipping and handling fees, and any other discount credits. -
DINNERS ENROLL TOM SAWYER.’ at 2:40
1 11 T 1 Another Film for Film Fans to Suggest Gordon tried out in the drama, "Ch.!« There Is dren of Darkness.” It was thought No ‘Cimarron’ Team. Janet’s Next Role. in Theaters This Week the play would be a failure, so they Photoplays Washington IRENE DUNNE and ^ Wesley Ruggles, of the Nation will * fyJOVIE-GOERS prepared to abandon It. A new man- who as star and director made be asked to suggest the sort of agement took over the property, as- WEEK OP JUNE 12 SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY cinematic history in 1931 In “Cimar- Stopping picture In which little Janet Kay signed Basil Sydney and Mary Ellis "Bit Town Olrl." "Manneouln." "Manneouln." are to be "Naughty Marietta" "Haughty Marietta" "Thank You. Ur. ron," reunited as star and Chapman. 4-year-old star dis- to the leads and Academy "alfm*83ifl£L'‘ Jon Hall in Will Rogers in Will Rosen in and ‘•The Shadow of and "The Shadow of Moto.” and "Ride. recently they scored a Broad- " director of a Paramount to Sth »nd O Sts. B.E, "The Hu-rlcane." "The Hurricane." _"David Harum "David Harum."_Silk Lennox."_ Silk Lennox." Ranter. Ride." picture covered by a Warner scout, should be way hit. This Lad in } into in the Rudy Vailee Rudy Valle? in Rudy Vallee in Myrna Loy. Clark Oa- Myrna Loy. Clark Oa- Loretta Yoon* in go production early fall. next seen on the screen. Miss So It Is at this time of Ambassador •■Sm* "Gold Diggers in "Gold Diggers in "Oold in ble and ble Chap- only yea# DuE*niBin Diggers Spencer Tracy and Spencer Tracy "Four Men and a The announcement was made after man the 18th «nd OolumblA Rd. -
Read Renato Casaro's Biography
RENATO CASARO SCENERY Since its inception, film poster painting was considered a "minor art" but it had a great, even cultural, impact and a profound effect on the emergence of a new collective imagination, to such an extent that cinema won over the masses, bringing success to new legends and narratives. This phenomenon exploded in Europe and Italy in particular after the Second World War as people, eager to forget the recent past, felt the need to cultivate a more worldly and modern attitude, thanks in part to the widespread love of cinema which was in constant evolution, creating a new mass culture based primarily on visual images. Most people were drawn by what they saw on the screen but the images which spilled out of the dark cinemas onto the roads and towns in the shape of posters and flyers could be found everywhere in towns, cities and provinces. The cinematographic text, namely the film, was now accompanied by a huge amount of other material, commonly known as ‘paratext’ (flyers, posters and advertising), which often had a greater effect on people’s imagination than the film itself, creating icons and popular legends. Soon the so-called major arts realised the potential of these dynamics, especially the nouveau réalisme movement founded by art critic Pierre Restany. One of its followers was the German artist Wolf Vostell, who probably invented décollage, the practice of tearing posters from the walls and turning them into works of art, a technique which was also used by Jacques Villeglé and Mimmo Rotella in Italy. There has always been a certain amount of overlap between major arts and minor arts, but there is no doubt that thanks to this unusual and prolific short circuit, the works of minor arts, like film posters, have physically entered the halls of the major arts through the front door; this phenomenon exploded with Pop Art and continues even today.