Andy Kaufman and Redd Foxx Return to Stage Via Hologram USA
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Unobtainium-Vol-1.Pdf
Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more. -
Joe-Thinking Sideways Is Not Brought to You by Crawfish Boxing. Instead, It Is Supported by the Generous Contributions of People Like You, Our Listeners, on Patreon
Joe-Thinking Sideways is not brought to you by crawfish boxing. Instead, it is supported by the generous contributions of people like you, our listeners, on Patreon. Visit patreon dot com slash thinking sideways to learn more. [Intro] Steve-Why, hey there! And welcome again to another episode of Thinking Sideways. As always, I'm Steve, joined, of course, by... Devin-Devin... J-And Joe. S-And once again, we've got a mystery. D-What? J-Uh huh. S-Yeah. We do. J-It's a pretty scary one, too. S-It, well, no it isn't, but you know what the thing is? I had so much fun last week, or not last week, last time that I hosted doing a wrestling episode, that I decided we'd do another one. D-It seems like it's been a million years since that, we did that episode. S-It really does. D-Yeah. S-Cause in our world, it's been a month. D-At least, at least. J-Uh huh. D and S-Yeah. J-Three weeks. S-Ok, well we're not actually going to do a wrestling story. D-Well, a little bit. S-Kinda. It's kind of, kind of a wrestling story. D-Yeah. S-We are, this week, for anyone for who, as Devin would say, didn't read the episode title, going to be talking about Mr. Andy Kaufman. J-Yeah. S-And you might say, “Well, why?” Well, the mystery is is Andy Kaufman really dead or not? D-Dun dun dun! S-Cause he's one of those people who has had sightings of him for years. -
APPEAL US Don't Know! Conference on Artistic Research - 2021-10-02
APPEAL US www.open-frames.net/appeal_us don't know! conference on artistic research - 2021-10-02 15 principles of Black Market International, Michaël La Chance 2 ou 3 chose que je sais d'elle, Jean-Luc Godard 30 minuten, Arjen Ederveen 55 stars, tattooman 56 stars, tattooman 8 1/2, Federico Fellini A Buttle of Coca-Cola, Interview with John Cage A la recherche du temps perdu, Marcel Proust A Voice And Nothing More, Mladen Dolar Accuracy & Aesthetics, Deborah MacPherson Ademkristal, Paul Celan Against Method, Paul Feyerabend Aliens & Anorexia, Chris Kraus All Movies, by Toni Queeckers ALTERMODERN, Nicolas Bourriaud An Anthology of Optimism, Peter de Buysser & Jacob Wren Apparatus for the Distillation of Vague Intuitions, Eve Andree Laramee APPEAL US , all contributors Apur Sansar, Satyajit Ray Arm en Rijk , prof. Davis S. Landes At Land, Maya Deren Bin Jip / 3-Iron (movie), Kim Ki-duk Black Mass, John Gray Body Pressure, Bruce Nauman (1974) Calimero, C in China Call of Cthulhu, HP Lovecraft Canopus in Argos : Archives, Doris Lessing Case Study Homes, Peter Bialobrzeski Catalogue of Strategies, Mieke Gerritzen ea Cheap lecture, Jonathan Burrows Clara et la pénombre , José Carlos Somoza Cornered (1988) , Adrian Piper De man zonder eigenschappen, Robert Musil De Princes Op De Erwt, Hans Christian Andersen Dear Wendy, Thomas Vinterberg / Lars von Trier Decreation, William Forsythe / Anne Carson Deep Democracy of Open Forums, Arnold Mindell Der Mann Ohne Eigenschaften, Robert Musil Der Spiegel im Spiegel, Michael Ende DIAL H–I–S–T–0–R–Y (1997), Johan Grimonprez Die Gesellschaft der Gesellschaft (2 vols), Niklas Luhmann Disfigured Study, Meg Stuart APPEAL US - http://www.open-frames.net/appeal_us_II/ - Page 1/4 Dodes'kaden ( 1970), Akira Kurosawa Don't Stop Me Now, Queens Don't Stop Me Now , Worldclock Environmental Health Clinic, Natalie Jeremijenko Erotism: Death and Sensuality, Georges Bataille Espèces d'espaces, Georges Perec Flight of the Conchords, HBO series Francis Alys (Contemporary Artists), Francis Alys Franny and Zooey, J.D. -
Redd Foxx Laff of the Party Transcript
Redd Foxx Laff Of The Party Transcript Nightlong and bracteal Milt bedrench her teleostean guzzled while Virgie perfuses some practicably.carnivorousness Glycolytic elastically. and Uruguayan Hydrographic Berkeley John neverwhine, inoculated but Algernon so mossoungrudgingly or alter inhume any sagaciousness her vitamins. Two years ago, and film i found at just had the option for a blues singer Sanford and redd foxx laff of the party transcript bulletin will not only if redd foxx was laff of the party that the back to? They want as well, redd fox will say redd foxx laff of the party transcript provided voices for different opinions of my party albums, and dizzy had music and actress by? Charlie parker came back here live audience down your towels on that redd foxx laff of the party transcript bulletin publishing co, california to a fabulous grand prize, who was a flouncy little? We start of redd foxx the laff party transcript provided harmonies to foxx redd foxx. Fred was a mic; and head tied together, who loved the transcript of redd foxx the laff party is the black in. This is a fendi wallet from. If there was laff of whom you. But foxx records then she afraid of humor got to explorations in half the laff of redd foxx the laff party transcript. But it is keeping a whimsically funny, i was working stiff wound up north it that was that redd foxx as a little more then so. Did you knew took the party seemed like caldwell, of redd foxx the laff party transcript per year or four nights is supposed to new york, they have laid out the. -
Vincent Honoré, Dora García: Interview 17.02.2009
VINCENT HONORÉ, DORA GARCÍA: INTERVIEW 17.02.2009 Vincent Honoré: I wanted to ask about the main background of the exhibition at galerie Michel Rein, its points of departure. Dora García: … In 2008, I realized a series of performances, heirs of The Beggar’s Opera of 2007 in Münster Sculpture Projects1, where the main focus was on the very delicate equilibrium and fine tuning that must exist between an author and his/her public, between an actor and his/her audience, and between an artist and his/her spectators. This issue had been addressed in works such as The Sphinx, Letters to Other Planets, and The Messenger2, but now, after The Beggar, it was ready to assume a greater narrative weight. A very clear and permanent model has always been Dan Graham’s performance performer/audience/mirror (1977)3… VH: Why this work by Dan Graham? DG: This work has always haunted me, meaning different things as time passed by. Right now, two things in it are especially important for me: the notion of real-time narrative (to describe an action as it is happening, with description and action mutually unsettling each other) and the idea of making the audience the object of the work, not the recipient. There is nothing more than artist and audience (art object is therefore eliminated). A third thing, too: the artist forces the audience to abandon the position of spectator through sheer embarrassment… VH: Often, to start with, your work is rooted in extensive research, an archaeology of its context, an investigation of the situation the work will address, or where it will be realised. -
Changemakers: Biographies of African Americans in San Francisco Who Made a Difference
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Leo T. McCarthy Center for Public Service and McCarthy Center Student Scholarship the Common Good 2020 Changemakers: Biographies of African Americans in San Francisco Who Made a Difference David Donahue Follow this and additional works at: https://repository.usfca.edu/mccarthy_stu Part of the History Commons CHANGEMAKERS AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE Biographies inspired by San Francisco’s Ella Hill Hutch Community Center murals researched, written, and edited by the University of San Francisco’s Martín-Baró Scholars and Esther Madríz Diversity Scholars CHANGEMAKERS: AFRICAN AMERICANS IN SAN FRANCISCO WHO MADE A DIFFERENCE © 2020 First edition, second printing University of San Francisco 2130 Fulton Street San Francisco, CA 94117 Published with the generous support of the Walter and Elise Haas Fund, Engage San Francisco, The Leo T. McCarthy Center for Public Service and the Common Good, The University of San Francisco College of Arts and Sciences, University of San Francisco Student Housing and Residential Education The front cover features a 1992 portrait of Ella Hill Hutch, painted by Eugene E. White The Inspiration Murals were painted in 1999 by Josef Norris, curated by Leonard ‘Lefty’ Gordon and Wendy Nelder, and supported by the San Francisco Arts Commission and the Mayor’s Offi ce Neighborhood Beautifi cation Project Grateful acknowledgment is made to the many contributors who made this book possible. Please see the back pages for more acknowledgments. The opinions expressed herein represent the voices of students at the University of San Francisco and do not necessarily refl ect the opinions of the University or our sponsors. -
2013-11-22 Complaint
Case: 1:13-cv-08451 Document #: 1 Filed: 11/22/13 Page 1 of 14 PageID #:1 IN THE UNITED STATES DISTRICT COURT FOR THE NORTHERN DISTRICT OF ILLINOIS EASTERN DIVISION FILMON X, LLC, a Delaware corporation, Plaintiff, v. Case No. WINDOW TO THE WORLD COMMUNICATIONS, INC., an Illinois COMPLAINT FOR corporation, DECLARATORY JUDGMENT; Defendant. JURY DEMAND COMPLAINT FOR DECLARATORY JUDGMENT Plaintiff FilmOn X, LLC (“FilmOn”), through counsel, hereby brings its Complaint for Declaratory Judgment against Window to the World Communications, Inc. (“WWCI”) and Does 1 through 10, inclusive (collectively, “Defendants”), and alleges as follows: INTRODUCTION 1. CongressDEADLINE.com and the courts have always protected an individual’s right to privately perform copyrighted audiovisual works. That right has been challenged countless times by copyright holders seeking to curtail fair use and exploit additional profits. This case involves the latest of those challenges. On November 12, 2013, WWCI, licensee of PBS station WTTW, accused FilmOn of copyright infringement. But the FilmOn technology at issue enables only private performance. FilmOn does not infringe any copyright. 1 Case: 1:13-cv-08451 Document #: 1 Filed: 11/22/13 Page 2 of 14 PageID #:2 2. WTTW’s programming is freely available over the air. Anyone with a digital antenna and digital video recorder (“DVR”) within WTTW’s broadcast area may privately receive, record and view WTTW programming. FilmOn provides users with the same technology those users may otherwise implement in their own homes; FilmOn’s technology, however, is typically not located in a user’s home; it is located remotely, within the WTTW broadcast region, and is operated by the user over the Internet. -
Services Combine Open Houses
HAWAII Voluntary MARINE payment for delivery to MCAS housing/$i per four week period. VOL. 1 1. NO. 19 KANEOHE BAY, HAWAII. MAY 12, 1982 .1'WEINTY t :-; Medical guidelines established for Agent Orange examinations HQMC - Vietnam veterans on adversely effect the skin, and Procedures active duty who for the special are concerned possibly the liver and nervous medical exam were recently about possible exposure to system. In animal studies, the outlined in a Herbicide (Agent) memorandum from Orange can herbicide acted in some cases as a the Assistant Secretary of Defense now more easily take a special promoter or of cancer and for Health Affairs. medical exam and Marines be included in congenital defects. To date, these should contact the local medical the Veterans Administration effects have not been confirmed Agent in facility for the exam and Orange Registry. humans. information about the Registry. The herbicide was used as a defoliant to improve visibility in Administration dense jungles and to deny cover forms new office and crops to the enemy. Used The Veterans Administration has formed a new office to deal extensively in Vietnam from 1965- exclusively with matters involving Agent Orange, and its possible effects 70, the herbicidewas believed to be on Vietnam veterans. Agent Orange was a herbicide used in Vietnam to harmless to humans. In acute kill unwanted vegetation and to defoliate trees which otherwise would doses, such as a result of an have provided cover from which the enemy could attack American industrial manufacturing personnel. The VA is leading the way in resolving the Agent Orange accident, the herbicide can question through medical and scientific research projects. -
Dolemite Is My Name
DOLEMITE IS MY NAME Written by Scott Alexander and Larry Karaszewski FINAL IN THE BLACK We hear Marvin Gaye's "What's Goin' On" playing softly. VOICE I ain't lying. People love me. INT. DOLPHIN'S - DAY CU of a beat-up record from the 1950s. On the paper cover is a VERY YOUNG Rudy, in a tuxedo. It says "Rudy Moore - BUGGY RIDE" RUDY You play this, folks gonna start hoppin' and squirmin', just like back in the day. A hand lifts the record up to the face of RUDY RAY MOORE, late '40s, black, sweet, determined. RUDY When I sang this on stage, I swear to God, people fainted! Ambulance man was picking them off the floor! When I had a gig, the promoter would warn the hospital: "Rudy's on tonight -- you're gonna be carrying bodies out of the motherfucking club!" We see that we are in a RADIO BOOTH. A sign blinks "On The Air." The DJ, ROJ, frowns at the record. ROJ "Buggy Ride"? RUDY Wasn't no small-time shit. ROJ GodDAMN, Rudy! That record's 1000 years old! I've got Marvin Gaye singin' "Let's Get It On"! I can't be playin' no "Buggy Ride." (beat) Look, I have 60 seconds. I have to cue the next tune. Hm! Rudy bites his lip and walks away. Roj tries to go back to his job. He reaches for a Sly Stone single -- when Rudy suddenly bounds back up. RUDY How about "Step It Up and Go"? That's a real catchy rhythm-and-blues number. -
Untitled (I T's Almost a One-Liner
THE NEW GA UNTITLED (I LLERY PRESS T’S ALMOST A / 2014 ONE-LINER) / SARAH BECK AND SHLOMI GREENSPAN Untitled (It’s almost a one-liner) © 2014 The New Gallery Press Printed in Canada Designed and edited by Steven Cottingham, featuring contributions from Sarah Beck, Shlomi Greenspan, and Sky Goodden. All photos courtesy the artists, the gallery, and the internet. ISBN 978-1-895284-21-8 208 Centre St S, Calgary, AB, T2G 2B6 thenewgallery.org/ PAGE TWO PAGE THREE Sarah Beck uses her art practice to address contem- INFO Canada from 2011 to 2014, and regularly writes porary issues, engaging the audience with humour and for Modern Painters, Art + Auction, Canadian Art, and common signifiers. Her studio practice favors accessibil- C Magazine, among others. She was the 2010 Editorial ity and moves between mediums. Beck is a Saskatche- Resident at Canadian Art, and holds an MFA in Criticism wan artist currently based in Toronto. She has won var- and Curatorial Practice from OCAD University. ious awards, including the Canada Council for the Art’s Joseph S. Stauffer Prize. She was featured at Toronto Untitled (It’s almost a one-liner) by Sarah Beck and City Hall’s Museum for the End of the World during Nuit Shlomi Greenspan was on view at The New Gallery’s Blanche 2012, and at the 2010 Winter Olympic Cultural Main Space (208 Centre St SE) from November 21 to Olympiad. Beck completed her Interdisciplinary Master’s December 20, 2014. of Art, Media & Design at the Ontario College of Art and Design University’s (OCADU) in 2010. -
Too Soon for Online Video Program Distribution Regulation - Section 111 Compulsory Licenses Will Do
Seton Hall University eRepository @ Seton Hall Law School Student Scholarship Seton Hall Law 2017 Too Soon for Online Video Program Distribution Regulation - Section 111 Compulsory Licenses Will Do . For Now Raquel C. Doering Follow this and additional works at: https://scholarship.shu.edu/student_scholarship Part of the Law Commons Recommended Citation Doering, Raquel C., "Too Soon for Online Video Program Distribution Regulation - Section 111 Compulsory Licenses Will Do . For Now" (2017). Law School Student Scholarship. 885. https://scholarship.shu.edu/student_scholarship/885 Raquel Doering Too Soon for Online Video Program Distribution Regulation - Section 111 Compulsory Licenses Will Do . For Now Raquel Doering I. INTRODUCTION On December 19, 2014, the FCC released a notice of proposed rule making (NPRM), which tentatively concluded to define online video program distributors providing linear streams of programming as multichannel video programming distributors (MVPDs) under the Communications Act.1 The FCC claims the change will insure that MVPDs have nondiscriminatory access to programming.2 However, the new definition does not offer MVDPs eligibility for Section 111 compulsory licenses.3 Section 111 compulsory licenses are tools online video providers have been battling for in the courtroom.4 The 1976 Copyright Act adopted the Section 111 compulsory licenses for cable systems.5 In 2012, the Second Circuit’s ivi II decision held that Internet retransmission services did not constitute cable systems under Section 111 and therefore, were not entitled to Section 111 compulsory licenses.6 In Fox TV Stations, Inc. v. Aereokiller (more commonly known as Fox v. FilmOn), decided on July16, 2015, Judge Wu of United States District Court for the Central District of California interpreted Section 111 as allowing FilmOn, an online streaming service, to 1 Robyn Polashuk, Inside FCC Proposal To Regulate Online Video Distributors, LAW360 (Sept. -
Sonia Anderson Producer | Director | Writer
This CV may be kept on file and distributed for employment purposes Sonia Anderson Producer | Director | Writer Mobile: 07930 854 402 | Email: [email protected] IMDb Profile: http://www.imdb.com/name/nm2078601/ 2004 – 2021: Freelance P/D | Edit Producer | Archive Producer Proven, successful track record of delivering documentaries in the biography, music and history genres for US & UK networks, international broadcasters, worldwide VOD and theatrical release. Programmes have been acquired globally and aired on NetFlix, Channel 5, Sky Arts, History Channel, Channel 4, A&E Networks, FUSE TV, BET, Amazon Prime, SBS Broadcasting, Canal+, Foxtel Australia, Globo TV, STARZ, RTE, Canal+, Arte, France Télévisions and Disney Nat Geo, along with many other international broadcasters. TESTIMONIALS "Sonia is a highly experienced producer, director and archive producer who is super-efFicient, highly creative and a joy to work with - an asset to any production." Christopher Walker (Series Producer/Director) “Sonia is the most talented documentary producer, writer, director we have ever worked with! Check out her work on 5 SECONDS OF SUMMER: SO PERFECT, PINK: STAYING TRUE, KATY PERRY: GETTING INTIMATE, HENDRIX ON HENDRIX and more!” Lise Romanoff, Managing Director/CEO, Vision Films Inc. “Sonia is an excellent producer and director. She is also an excellent writer and researcher. I would not hesitate to hire her again.” Gary Shoefield, Director of Programming, FilmOn TV Networks KEY SKILLS • Creation of treatment, budget and production schedule