Rock 'N' Roll Sound Tracks and the Production of Nostalgia Author(S): David R
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Celebrations Press PO BOX 584 Uwchland, PA 19480
Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 1 year for only $29.99* *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. Subscribe online at www.celebrationspress.com, or send a check or money order to: Celebrations Press PO BOX 584 Uwchland, PA 19480 Be sure to include your name, mailing address, and email address! If you have any questions about subscribing, you can contact us at [email protected] or visit us online! Cover Photography © Garry Rollins Issue 67 Fall 2019 Welcome to Galaxy’s Edge: 64 A Travellers Guide to Batuu Contents Disney News ............................................................................ 8 Calendar of Events ...........................................................17 The Spooky Side MOUSE VIEWS .........................................................19 74 Guide to the Magic of Walt Disney World by Tim Foster...........................................................................20 Hidden Mickeys by Steve Barrett .....................................................................24 Shutters and Lenses by Mike Billick .........................................................................26 Travel Tips Grrrr! 82 by Michael Renfrow ............................................................36 Hangin’ With the Disney Legends by Jamie Hecker ....................................................................38 Bears of Disney Disney Cuisine by Erik Johnson ....................................................................40 -
Contract Law: New Media and Old Licenses
Loyola of Los Angeles Entertainment Law Review Volume 6 Number 1 Article 8 1-1-1986 Contract Law: New Media and Old Licenses Richard Alan Martin Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Richard Alan Martin, Contract Law: New Media and Old Licenses, 6 Loy. L.A. Ent. L. Rev. 115 (1986). Available at: https://digitalcommons.lmu.edu/elr/vol6/iss1/8 This Notes and Comments is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. CONTRACT LAW: NEW MEDIA AND OLD LICENSES It was not so long ago that few people had heard of video cassette players for the home, let alone laser disc players.' With technology ex- panding so rapidly the courts have had to decide whether new forms of media, such as video cassettes and video discs, should be included under license agreements that were created before these media were developed. The court held in Platinum Record Co., Inc. v. Lucasfilm, Ltd.2 that where a license agreement can be fairly read to include exhibition by means of newly developed or unforeseen media, it is the burden of the licensor3 to negotiate exceptions to the rights granted to the licensee.4 The court also ruled that motion pictures are exhibited when shown to an audience on a movie or television screen and therefore, video cassettes and video discs are a means of exhibition rather than something unre- lated to exhibition.5 In January 1973, Lucasfilm, Ltd. -
Famous Movie Quotes Ii
FAMOUS MOVIE QUOTES II ( www.TriviaChamp.com ) 1> "Eat your food, Tina!" is a famous quote from which film? a. Napoleon Dynamite b. Rushmore c. Meet The Tenenbaums d. Juno 2> "I love women! I respect them so much I completely stay away from them!". Name the comedy film. a. 40 Year Old Virgin b. Not Another Teen Movie c. American Pie d. Scary Movie 3> The quote "A dirty mind is a terrible thing to waste." comes from which film? a. American Graffiti b. Ferris Bullers Day Off c. American Pie d. Steel Magnolias 4> "After all, tomorrow is another day" is spoken by Vivien Leigh in which film? a. The Apartment b. Gone With the Wind c. All About Eve d. Some Like it Hot 5> "Apollo Creed vs. the Italian Stallion. Sounds like a damn monster movie." is a line from which famous boxing movie? a. Rocky b. Cinderella Man c. Ali d. Raging Bull 6> The quote "Cinderella story. Outta nowhere. A former greenskeeper, now, about to become the Masters champion." comes from which film? a. Beetlejuice b. Caddyshack c. Ghostbusters d. Groundhog Day 7> "Even the smallest person can change the course of the future.” is a famous quote from which series of movies? a. Star Wars b. The Lord of the Rings c. Twilight d. Star Trek 8> "Hello. My name is Inigo Montoya. You killed my father. Prepare to die." Name the movie. a. Predator b. Terminator c. The Princess Bride d. Die Hard 9> "I am completely operational, and all my circuits are functioning perfectly." Name the Sci-Fi Film. -
Electronic Labyrinth: THX 1138 4EB
Electronic Labyrinth: THX 1138 4EB By Matthew Holtmeier Considering at least one “Star Wars” film has been released every decade since the 1970’s, this epic science fic- tion franchise likely jumps to mind upon hearing the name George Lucas. Avid filmgoers might think, instead, ‘Industrial Light and Magic,’ which has contributed to the special effects of over 275 feature films since it was founded by Lucas in 1975. Either way, Lucas’s penchant for the creation of fantastic worlds has radi- cally shaped the cinematic landscape of the past 40 years, particularly where big Dan Natchsheim as a character known simply as 1138 attempts budget films are concerned. Like many to escape a dystopian future society. Courtesy Library of filmmakers since the growth of film schools Congress Collection. in the 60’s, he started with a student film, however: “Electronic Labyrinth: THX1138 The Yardbirds, “I know. I know.” As the Gregorian 4EB” (1967). “Electronic Labyrinth” provides a strik- chant of The Yardbirds track begins, the camera ingly different vision of what the cinematic medium is tracks across an extreme close up of electronics capable of, particularly when compared to the mod- equipment, revealing the technocracy of the future. ern fairytales of the “Star Wars” films. It too has a The rest of the film will oscillate between the ‘operators’ science fictional setting, but one without heroes or of this technocracy, and THX 1138’s attempted escape princesses, and instead delves into the dystopian from the smooth, featureless white walls of a com- potential of technology itself. Giving vision to a world pound, presumably a world without desire. -
IPG Spring 2020 Rock Pop and Jazz Titles
Rock, Pop, and Jazz Titles Spring 2020 {IPG} That Thin, Wild Mercury Sound Dylan, Nashville, and the Making of Blonde on Blonde Daryl Sanders Summary That Thin, Wild Mercury Sound is the definitive treatment of Bob Dylan’s magnum opus, Blonde on Blonde , not only providing the most extensive account of the sessions that produced the trailblazing album, but also setting the record straight on much of the misinformation that has surrounded the story of how the masterpiece came to be made. Including many new details and eyewitness accounts never before published, as well as keen insight into the Nashville cats who helped Dylan reach rare artistic heights, it explores the lasting impact of rock’s first double album. Based on exhaustive research and in-depth interviews with the producer, the session musicians, studio personnel, management personnel, and others, Daryl Sanders Chicago Review Press chronicles the road that took Dylan from New York to Nashville in search of “that thin, wild mercury sound.” 9781641602730 As Dylan told Playboy in 1978, the closest he ever came to capturing that sound was during the Blonde on Pub Date: 5/5/20 On Sale Date: 5/5/20 Blonde sessions, where the voice of a generation was backed by musicians of the highest order. $18.99 USD Discount Code: LON Contributor Bio Trade Paperback Daryl Sanders is a music journalist who has worked for music publications covering Nashville since 1976, 256 Pages including Hank , the Metro, Bone and the Nashville Musician . He has written about music for the Tennessean , 15 B&W Photos Insert Nashville Scene , City Paper (Nashville), and the East Nashvillian . -
The Godfather, Part II
RANCIS FORD COPPOLA (Detroit, Michigan, 7 April 1939) has directed 30 films, among them Megalopolis 2005, John Grisham's The Rainmaker 1997, Bram Stoker's Dracula 1992, The Godfather: Part III 1990, Tucker: The Man and His Dream 1988, Gardens of Stone 1987, Peggy Sue Got Married 1986, The Cotton Club 1984, Rumble Fish 1983, The Outsiders 1983, One from the Heart 1982, Apocalypse Now 1979, The Conversation 1974, The Godfather 1972, The Rain People 1969, and Dementia 13 1963. He received Best Director Oscar nominations for Godfather Part III, Godfather Part II (won), Apocalypse Now, The Godfather; Best Picture nominations for Godfather Part III, Godfather Part II (won), Apocalypse Now, The Conversation, American Graffiti; Best Screenplay nominations for Apocalypse Now, Godfather Part II (won), The Conversation, The Godfather (won), and Patton November 30, 2004 (IX:14) (won). GORDON WILLIS ( 28 May 1931, Queens, NY) has shot 31 films. His colleagues call him the “Prince of Darkness” for his astonishing ability to get gorgeous scenes out of underexposed negatives. He did all three Godfather films, as well as many of Woody Allen’s films. Some of his films are The Devil's Own 1997, Malice 1993, Presumed Innocent 1990, Bright Lights, Big City 1988, The Purple Rose of Cairo 1985, Broadway Danny Rose 1984, Zelig 1983, A Midsummer Night's Sex Comedy 1982, Pennies from Heaven 1981, Stardust Memories 1980, Manhattan 1979, Annie Hall 1977, The Drowning Pool 1975, The Parallax View 1974, Bad Company 1972, Klute 1971, Little Murders 1971, End of the Road I970 and others. He received Oscar nominations only for The Godfather: Part III and Zelig 1983. -
HH Available Entries.Pages
Greetings! If Hollywood Heroines: The Most Influential Women in Film History sounds like a project you would like be involved with, whether on a small or large-scale level, I would love to have you on-board! Please look at the list of names below and send your top 3 choices in descending order to [email protected]. If you’re interested in writing more than one entry, please send me your top 5 choices. You’ll notice there are several women who will have a “D," “P," “W,” and/or “A" following their name which signals that they rightfully belong to more than one category. Due to the organization of the book, names have been placed in categories for which they have been most formally recognized, however, all their roles should be addressed in their individual entry. Each entry is brief, 1000 words (approximately 4 double-spaced pages) unless otherwise noted with an asterisk. Contributors receive full credit for any entry they write. Deadlines will be assigned throughout November and early December 2017. Please let me know if you have any questions and I’m excited to begin working with you! Sincerely, Laura Bauer Laura L. S. Bauer l 310.600.3610 Film Studies Editor, Women's Studies: An Interdisciplinary Journal Ph.D. Program l English Department l Claremont Graduate University Cross-reference Key ENTRIES STILL AVAILABLE Screenwriter - W Director - D as of 9/8/17 Producer - P Actor - A DIRECTORS Lois Weber (P, W, A) *1500 Major early Hollywood female director-screenwriter Penny Marshall (P, A) Big, A League of Their Own, Renaissance Man Martha -
The Transom Review April, 2005 Vol
the transom review April, 2005 Vol. 5/Issue 1 Walter Murch About Walter Murch Walter Murch has been honored by both British and American Motion Picture Academies for his picture editing and sound mixing. In 1997, Murch received an unprecedented double Oscar for both film editing and sound mixing on The English Patient (Anthony Minghella), as well as that year's British Academy Award for best editing. Seventeen years earlier, he had received an Oscar for best sound for Apocalypse Now ( F. Coppola), as well as British and American Academy nominations for his picture editing. He also won a double British Academy Award in 1975 for his film editing and sound mixing on The Conversation (F. Coppola), was nominated by both academies in 1978 for best film editing for Julia ( F. Zinnemann), and in 1991 received two nominations for best film editing from the American Academy for the films Ghost (J. Zucker) and The Godfather Part III (F. Coppola). Among Murch’s other credits are: picture editing for The Unbearable Lightness of Being (P. Kaufman), Romeo is Bleeding (P. Medak), First Knight (J. Zucker), The Talented Mr. Ripley (A. Minghella), and K-19: The Widowmaker (K. Bigelow). His most recent credit is for Cold Mountain (Anthony Minghella) for which he received an Academy Nomination for Editing, and British Academy Nominations for Editing and Sound Mixing. He is currently working on Jarhead for director Sam Mendes. The film, from the novel by Anthony Swofford, will be released in November 2005. He has also been involved in film restoration, notably Orson Welles’s Touch of Evil (1998), Francis Coppola’s Apocalypse Now Redux (2001), and Thomas Edison's Dickson Experimental Sound Film (1894). -
American Punk: the Relations Between Punk Rock, Hardcore, and American Culture
American Punk: The Relations between Punk Rock, Hardcore, and American Culture Gerfried Ambrosch ABSTRACT Punk culture has its roots on both sides of the Atlantic. Despite continuous cross-fertiliza- tion, the British and the American punk traditions exhibit distinct features. There are notable aesthetic and lyrical differences, for instance. The causes for these dissimilarities stem from the different cultural, social, and economic preconditions that gave rise to punk in these places in the mid-1970s. In the U. K., punk was mainly a movement of frustrated working-class youths who occupied London’s high-rise blocks and whose families’ livelihoods were threatened by a declin- ing economy and rising unemployment. Conversely, in America, punk emerged as a middle-class phenomenon and a reaction to feelings of social and cultural alienation in the context of suburban life. Even city slickers such as the Ramones, New York’s counterpart to London’s Sex Pistols and the United States’ first ‘official’ well-known punk rock group, made reference to the mythology of suburbia (not just as a place but as a state of mind, and an ideal, as well), advancing a subver- sive critique of American culture as a whole. Engaging critically with mainstream U.S. culture, American punk’s constitutive other, punk developed an alternative sense of Americanness. Since the mid-1970s, punk has produced a plethora of bands and sub-scenes all around the world. This phenomenon began almost simultaneously on both sides of the Atlantic—in London and in New York, to be precise—and has since spread to the most remote corners of the world. -
Kanaka 'Ōiwi Critical Race Theory Historical and Educational Context
FEATURING MARINA TYQUIENGCO SHIRIN FOZI KIRK SAVAGE NICOLE F. SCALISSI CAITLIN FRANCES BRUCE NIK CRISTOBAL CHRISTIANA MOLLDREM HARKULICH HÉCTOR CAMILO RUIZ SÁNCHEZ PAULINA PARDO GAVIRIA ROSA DE FERRARI PATRICIA DOCUMET HAZEL BATREZCHAVEZ AARON HENDERSON MEGHAN KOZAL CECELIA IVY PRICE JEZEBETH ROCA GONZALEZ NICK SIMKO ANNIKA JOHNSON JACQUELINE LOMBARD GOLNAR YARMOHAMMAD TOUSKI LILY BREWER REBECCA GIORDANO BENJAMIN OGRODNIK Presenting Race Institutional Contexts and Critiques CONTEMPORANEITY historical presence in visual culture Volume 7, Fall 2018 Cover Images (Clockwise from top): Caitlin Frances Bruce, Orion, Steel Worker, Aerosol paint on wall, 2017, Rankin, Pennsylvania. Copyright: Caitlin Frances Bruce. Gregg Deal, White Indian, January 29, 2016. Denver Museum of Art, Denver, CO. 2016. Photos by Kelsey Huffer. Courtesy of Gregg Deal. Detail from J.M. Design Studio, “Prototype #3 A Wall of Artists Redrawing Borders” from The Other Border Wall Proposals (2017). Digital scanned image of ink drawing on paper, text. 8 ½ X 11 in. Collection of J. M. Design Studio. Vol 7, No 1 (2018) | http://contemporaneity.pitt.edu Presenting Race: Institutional Contexts and Critiques / i-iv Marina Tyquiengco Commentaries Race-ing the Museum: Two Years Later / 1-4 Shirin Fozi and Kirk Savage “An Imagined Border of Safety, Humanitarian Relief, and Creativity”: / 5-16 J.M. Design Studios Other Border Wall Project Nicole F. Scalissi Articles Hemispheric Conversations: Exploring Links between Past and / 17-26 Present, Industrial and Post-Industrial through -
Of Music. •,..,....SPECIAUSTS • RECORDED MUSIC • PAGE 10 the PENNY PITCH
BULK ,RATE U.S. POSTAGE PAID Permit N•. 24l9 K.C.,M •• and hoI loodl ,hoI fun! hoI mU9;cl PAGE 3 ,set. Warren tells us he's "letting it blow over, absorbing a lot" and trying to ma triculate. Warren also told PITCH sources that he is overwhelmed by the life of William Allan White, a journalist who never graduated from KU' and hobnobbed with Presidents. THE PENNY PITCH ENCOURAGES READERS TO CON Dear Charles, TR IBUTE--LETTERSJ ARTICLES J POETRY AND ART, . I must congratulate you on your intelli 4128 BROADWAY YOUR ENTR I ES MAY BE PR I NTED. OR I G I NALS gence and foresight in adding OUB' s Old KANSAS CITY, MISSDURI64111 WI LL NOT BE RETURNED. SEND TO: Fashioned Jazz. Corner to PENNY PITCH. (816) 561·1580 CHARLES CHANCL SR. Since I'm neither dead or in the ad busi ness (not 'too sure about the looney' bin) EDITOR .•...•. Charles Chance, Sr. PENNY PITCH BROADWAY and he is my real Ole Unkel Bob I would ASSISTING •.• Rev. Dwight Frizzell 4128 appreciate being placed on your mailing K.C. J MO 64111 ••. Jay Mandeville I ist in order to keep tabs on the old reprobate. CONTRIBUTORS: Dear Mr. Chance, Thank you, --his real niece all the way Chris Kim A, LeRoi, Joanie Harrell, Donna from New Jersey, Trussell, Ole Uncle Bob Mossman, Rosie Well, TIME sure flies, LIFE is strange, and NEWSWEEK just keeps on getting strang Beryl Sortino Scrivo, Youseff Yancey, Rev. Dwight Pluc1cemin, NJ Frizzell, Claude Santiago, Gerard and er. And speaking of getting stranger, l've Armell Bonnett, Michael Grier, Scott been closely following the rapid develop ~ Dear Beryl: . -
Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2012 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 James M. Maynard Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the American Film Studies Commons, American Literature Commons, and the American Popular Culture Commons Recommended Citation Maynard, James M., "Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967". Senior Theses, Trinity College, Hartford, CT 2012. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/170 Psychedelia, the Summer of Love, & Monterey-The Rock Culture of 1967 Jamie Maynard American Studies Program Senior Thesis Advisor: Louis P. Masur Spring 2012 1 Table of Contents Introduction..…………………………………………………………………………………4 Chapter One: Developing the niche for rock culture & Monterey as a “savior” of Avant- Garde ideals…………………………………………………………………………………...7 Chapter Two: Building the rock “umbrella” & the “Hippie Aesthetic”……………………24 Chapter Three: The Yin & Yang of early hippie rock & culture—developing the San Francisco rock scene…………………………………………………………………………53 Chapter Four: The British sound, acid rock “unpacked” & the countercultural Mecca of Haight-Ashbury………………………………………………………………………………71 Chapter Five: From whisperings of a revolution to a revolution of 100,000 strong— Monterey Pop………………………………………………………………………………...97 Conclusion: The legacy of rock-culture in 1967 and onward……………………………...123 Bibliography……………………………………………………………………………….128 Acknowledgements………………………………………………………………………..131 2 For Louis P. Masur and Scott Gac- The best music is essentially there to provide you something to face the world with -The Boss 3 Introduction: “Music is prophetic. It has always been in its essence a herald of times to come. Music is more than an object of study: it is a way of perceiving the world.