DOCSLIB.ORG

Cush Box AUGUST 8, 1964

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Cush Box AUGUST 8, 1964 oddard he is receiving from the more than 600 Columbia people who attended the Lieberson, (center) president of Columbia Records, is obviously delighted with the standing ovation ibel's his 25th year as an executive with the 75 -year -old company next month. 1964 Convention last week. The couse of the outburst was the surprise salute to Lieberson who celebrates vo Columbia's v.p. of marketing who handled the anniversary festivities. of lieberson's closest friends and colleagues, Norman Adler (left/ exec. v.p. of Columbia and Bill Gallagher (right) ee page 6 for further details/. www.americanradiohistory.com E A HONEY OF A MONEY- MAKING HIT! 'A TASTE OFHONEY'443073 TONY BENNETT ON COLUMBIA RECORDS www.americanradiohistory.com Cash Box gee, Cash Vol. XXV-Number Box 48 August 8, 1964 FOUNDED BY BILL GERSH Cash Box (Publication Office) 1780 Broadway New York 19, N. Y.-10019 RECORD INDUSTRY (Phone: JUdson 6-2640) CABLE ADDRESS: CASHBOX, N. Y. 10E ORLECK, President and Publisher NORMAN ORLECK, Vice President GEORGE ALBERT, Vice President 1IUSIC-Editorial CONVENTIONS MARTY OSTROW, Editor -in -Chief IRA HOWARD, Editor IRV LICHTMAN, Editor DICK ZIMMERMAN, Editorial Assistant For product of merit BOB ETTINGER, Editorial Assistant to get an that develops when a label talks MIKE MARTUCCI, Editorial Assistant invaluable send-off on the JERRY ORLECK, Editorial Assistant road to merit, not price. There is great va- 1IUSIC-Advertising success, there must be a creation of lidity in the outcries of late of vari- I JERRY SHIFRIN, Director enthusiasm in its behalf from ini- ous label executives who have de- I NEIL BOGART -JOIN MACHINES and VENDING tial points of departure. clared that the industry has become MARTY TOOHEY, Director Granted that ED ADLUM that enthusiasm be- too price conscious and has over- ,RT DIRECTOR gins with product that one has faith looked an essential fact-disk buy- GEORGE GOLDMAN in. But, a label confronted with the ers purchase a disk for what's in it, ;IRCULATION simultaneous THERESA TORTOSA, Mgr. release of, let us say, not the price tag on it. It's the na- ;UROPEAN DIRECTOR 20 to 30 albums, ala a fall release tional record convention that so NEVILLE MARTEN schedule, is in the awesome posi- effectively reminds the trade of tion of apportioning enthusiasm to this. CHICAGO LEE BROOKS, Mgr. a great number of LP's, much of By bringing its line-up of dis- 29 E. Madison St., Chicago 2, Ill. (All Phones: FInancial 6-7272) which is usually worth the time and tribs together, a label is also in the effort of citing merits on an indi- enviable HOLLYWOOD position of being able to JACK DEVANEY, Mgr. vidual basis. attain close rapport between itself 6290 Sunset Blvd., Hollywood 28, Cal. (Phone H011ywood 5-2129) The problem, we feel, has been and its outlets. By establishing a resolved with great efficiency by team spirit, the distrib and his ENGLAND NEVILLE MARTEN the national sales convention. salesmen can identify more easily Dorris Land 9a New Bond St. On cursory inspection, these with the label and have more con- London, Wl, Eng. Tel: Hyde Park 2868 costly meetings may seem to be fidence in the label's ability to sup- OLLAND: PAUL ACKET, Theresiastraat 81a, nothing more than a time for re- port them in the challenging task The Hague, Holland, Tel: 070-722546 ERMANY: MAL SONDOCK, Amalienstrasse laxation and fun, an eagerly -await- of creating product demand. 28, Munich, Germany, Tel: 220197 'ALY: MARIO PANVINI ROSATI, Viale ed break in a long, hot summer of National conventions of recent Legioni Romane 5 Milan, Tel: 4073963 3ANDINAVIA: SVEN G. WINQUIST, Kagge- drooping sales. years have also tended to be a holmsvagen 48, Stockholm-Enskede, Sweden, Tel: 59-46 85 But, like the national conven- label's method of introducing rev- RANCE: ROGER SELLAM, 36 rue de Moscou, Paris, France, Tel: Laborde 8523 tions of our political parties, they olutionary concepts of merchan- USTRALIA: RON TUDOR, 8 Francis St., Healthmont, Victoria, Tel: 87-5677 work-even with all the hoopla as- dising and pricing, witness Colum- HLGIUM: FRANS ROMEYNS, Paul Hymanslaan, 8, Brussels sociated with both. bia Records' dramatic announce- 71.57.51 15, Tel: EXICO: ENRIQUE ORTIZ, Insurgentes Sur With adroit use of the electronic ments for the past two years. Here 1870 Mexico 20, D. F., Tel: 24-65-57 I,GENTINA: MIGUEL SMIRNOFF, Rafaela age (e.g. slides, films, etc.) and again, a label can create invaluable 3978, Buenos Aires, Argentina, 2AZIL: Tel: 69-1538 LUIS DE M. C. GUEDES, Rua Au- the "live" participation of major confidence between itself and the gusta 2110, sobre-loja, .61.38.13 Soa Paulo, Tel: artists, labels can instill in even conventioneers. LNADA: JOHN MURPHY, Montreal 1455 Drummond St., may not 25, Que., Can., Tel: (514) 845 3201 the most blase of distribs and The ultimate consumer -PAN: Adv. Mgr.: SHOICHI KUSANO Editorial Mgr.: Morihiro Nagata their salesmen what is often the be aware that a particular label has 466 Higashi-Oizumi Nerimaku, 'AIN: Tokyo host of held a national sales convention. FEDERICO HALPERN, Sagasta 23, true merit of a albums- Apartado 4025, Madrid, Spain SUBSCRIPTION a feat that is all but impossible But, we are sure that because of it, RATES $15 per year any- ere in the U. S. A. se postage Published weekly. Second by other methods of spreading he has been made aware of new paid at Bristol, Conn. Jopyright © 1964 by The Inc. Cash Box Publishing the word. product under the most favorable All rights reserved. Copyright under iIversal Copyright Convention. There is a healthy atmosphere of circumstances-enthusiasm. www.americanradiohistory.com Cash Box TOP 100 AUGUST 8, 1964 Position 8/1 7/25 Position 8/1 7/25 Position 8/1 7/25 1 A HARD DAY'S NIGHT 36 FARMER JOHN 71 AND I LOVE HER (Unart, Maclen-BMI) 1 1 (Venice-BMI) 19 20 (Maclen, Unart-BMI) 78 85 *B EATLES-Cop itol-5222 *PREMIERS-Worner Bros. -5443 *GEORGE MARTIN -United Artists -745 2 RAG DOLL MAYBE I KNOW IN THE MISTY MOONLIGHT (Saturday, Gavadima-ASCAP) 2 2 (Trio-BMI) 54 84 (4 Star Sales-BMI) 80 92 *FOUR SEASONS-Philips -40211 *LESLIE GORE -Mercury -72309 *JERRY WALLACE -Challenge -59246 EVERYBODY LOVES SOMEBODY 38 YOU'RE MY WORLD HAUNTED HOUSE (Sonds-ASCAP) 6 10 (Plan Two-ASCAP) 39 42 (Venice B Flat-BMI) 83 86 *DEAN MARTIN -Reprise -0281 / CILLA BLACK -Capitol -5196 GENE SIMMONS-Hi-2076 WHERE DID OUR LOVE GO LOOKING FOR LOVE INVISIBLE TEARS (Merna-BMI) 50 65 (Central-BMI) 84 97 (Jobete-BMI) 9 15 *CONNIE FRANCIS -MGM -13256 *RAY CONNIFF-Columbia-43061 *S U PR EM ES -Motown -1060 40 ANGELITO 75 SAILOR BOY 5 WISHIN' AND HOPIN' (Gil-Epps-BMI) 41 49 (Screen Gems, Columbia-BMI) 82 77 (Jonathon-ASCAP) 4 8 /;RENE & RENE -Columbia -43054 1:7CHIFFONS-Laurie-3262 *DUSTY SPRINGFIELD -Philips-40207 41 GOOD TIMES RINGO'S THEME (THIS BOY) 6 THE LITTLE LADY (FROM OLD (Kags-BMI) 20 17 (Unart, Maclen-BMI) 86 - PASADENA) *SAM COOKE-RCA-8386 *GEORGE MARTIN -United Artists -745 (Screen Gems, Columbia-BMI) 5 5 42 DO I LOVE YOU SAY YOU *JAN & DEAN -Liberty -55704 (Motherl Bertha, Hill & Range (T M -BMI) 90 1Ó0 7 ME 36 38 wRONNIE DOVE -Diamond -167 DANG *RON ETTES-Phi I les -121 (Tree-BMI) 7 7 78 IF I'M A FOOL FOR LOVING YOU 43 I HAVE BETTER *ROGER MILLER -Smash -1881 SHOULD KNOWN (Drury Lane, Beckie-BMI) 79 80 (Unart, Maclen-BMI) 51 72 *BOBBY WOOD -Joy -285 8 I GET AROUND B EATLES-Capitol-5222 WHEN YOU LOVED ME (Sea Of Tunes-BMI) 3 3 44 MY BOY LOLLIPOP *BEACH BOYS -Capitol -5174 (Hill & Ronge, Ron Bre-BMI) - _ (Nom-BMI) 24 14 'BRENDA LEE -Decca -31654 UNDER THE BOARDWALK *MILLIE SMALL -Smash -1893 (T.M.-BMI) 11 12 80 HELLO MUDDUH, HELLO *DRI FTERS-Atlantic-2237 45 I'M INTO SOMETHING GOOD (Screen Gems, Columbia-BMI) 49 57 FADDU H-'64 10 KEEP ON PUSHING '- EARL JEAN-Colpix-729 (Curtain Call-ASCAP) - -(/ALLAN SHERMAN-Warner Bros. -5449 (Curtom-BMI) 10 11 SELFISH ONE *IMPRESS IONS -ABC-10554 (Chev is-BMI) 77 100 I WANT YOU TO MEET MY BABY *JACKIE ROSS -Chess -1903 (Screen Gems, Columbia-BMI) - 11 THE GIRL FROM IPANEMA `EYDIE GORME-Columbia-43082 - (Duchess-BMI) 8 6 47 DON'T LET THE SUN CATCH *GETZ & GILBERTO -Verve -10322 IF I FELL YOU CRYING (Unart, Maclen-BMI) - - STEAL AWAY (Pacemaker-BMI) 76 16 *BEATLES -Capitol -5235 (Fame-BMI) 15 23 *GERRY & PACEMAKERS -Laurie -3251 83 IT'S A *JIMMY HUGHES -Fame -6401 KEEP COTTON CANDY WORLD I'LL YOU SATISFIED (Leo Feist-ASCAP) 89 90 PEOPLE SAY (Metric-BMI) 66 94 *JERRY WALLACE -Mercury -72292 (Trio--BMI) 16 48 -BILLY J. KRAMER & DAKOTAS -Imperial -66048 84 EVERYBODY *DIXIE CUPS -Red Bird -10-006 49 PEOPLE NEEDS SOMEBODY I WANNA LOVE HIM SO BAD (Chappell-ASCAP) 28 24 TO LOVE (Trio-BMI) 17 18 *BARBRA STREISAND -Columbia -42965 (Keetch, Caesar & Dino-BMI) 62 68 *JELLY BEANS -Red Bird -10-003 SHE'S THE ONE >SOLOMON BURKE -Atlantic -2241 C'MON AND SWIM (Liphilben-Chartbuster-BMI) 64 69 85 G.T.O. 25 *CHARTBUSTER-Mutual-502 (Buckhorn-BMI) 93 - (Toracrest-BMI) 34 *RONNIE & DAYTONAS-Mala-48l -,';BOBBY FREEMAN -Autumn -2 51 DON'T THROW YOUR LOVE AWAY 86 BABY COME HOME 16 I (Wyncote-ASCAP) 29 22 NOBODY KNOW *SEARCHERS -Kapp -593 (Rosewood-Day,Day, Bob Hilliard 12 (Maclen-BMI) 34 SCAP) 88 91 *PETER & GORDON-Capitol-5211 52 WORRY *RUBY & ROMANTICS -Kapp -601 (Ridge-BMI) 59 67 17 (YOU DON'T KNOW) HOW *JOHNNY TILLOTSON-MGM-13255 87 IT HURTS TO BE IN LOVE GLAD I AM (Screen Gems-Columbra-BMI) 95 - 53 NO ONE TO CRY TO ,`GENE PITNEY-Musicor-1040 (Roosevelt-BMI) 18 26 (Hill & Range-BMI) 60 83 *NANCY WILSON -Capitol -5198 *RAY CHARLES -ABC -10571 88 THANK YOU BABY 18 MEMPHIS (The Girls-BMI) 96 - 54 YOU'RE MY REMEDY *Sh irel les -Scepter -1278 (Arc-BMI) 13 4 (Jobete-BMI) 58 60 *JOHNNY RIVERS -Imperial -66032 MARVELETTES-Tamla-54097 89 FUNNY 19 (Just, Geneva-BMI) - - HANDY MAN YOU NEVER CAN TELL -:JOE HINTON -Back Beat -541 (Travis-BMI) 22 33 (Arc-BMI) - *DEL SHANNON -Amy -905 -CHUCK BERRY -Chess -1906 90 OUT OF SIGHT (Try Me-BMI) 20 SUGAR LIPS SWEET WILLIAM *JAMES BROWN -Smash -1919 (Tree-BMI) 21 27 (Budd-ASCAP) 81 - 91 I'M HAPPY JUST TO *AL HIRT -RCA -8391 *MILLIIE SMALL -Smash-1920 DANCE AIN'T SHE SWEET 57 BAD TO ME WITH YOU (Unart, Maclen-BMI) (Advance-ASCAP) 30 59 (Metric-BMI) 45 28 *B EATLES-Capitol-5234 *BEATLES-Atco-6308 *BILLY J.
Recommended publications
  • La Cenicienta En Las Artes Plásticas Y El Cine

    La Cenicienta En Las Artes Plásticas Y El Cine

    artículos La Cenicienta en las artes plásticas y el cine Eva María Ramos Frendo Universidad de Málaga PALABRAS CLAVE : Iconografía/ Cine RESUMEN En este trabajo hemos querido ampliar estudios anteriores en los que ana- lizábamos principalmente dos filmes, Rebeca y Jane Eyre, hallando en ambos unos prototipos femeninos que describíamos como Nuevas Cenicientas. En esta ocasión, hemos estudiado cómo este icono, la Cenicienta, ha sido recogido por la pintura, las ilustraciones de cuentos y el cine, partiendo de los cuentos originales de Perrault y los hermanos Grimm, para poder ver las aportaciones que realizan los artistas y la incidencia de los diversos estilos artísticos. ABSTRACT This work is the continuation of two previous studies in which we mainly analyzed films like Rebeca and Jane Eyre, where we found feminine archetypes called New Cinderella. Now, we have studied how this icon, Cinderella, appears in paintings, cartoons and in cinema, on the base of original fairy tales by Perrault and the Grimm Brothers’, in order to elucidate the contributions made by artists and the implication of the different artistic styles. La Cenicienta es un cuento de gran antigüedad cuyo origen hay que buscar- lo en oriente, donde inicialmente se difunde a través de la tradición oral. Esta difusión de los cuento verbalmente se debía a que en un principio la gente no sabía leer ni escribir, por lo que era muy común la reunión de la familia alrededor del fuego, donde los padres o abuelos narraban estas historias 1. Claro signo de esta procedencia oriental lo podemos apreciar en el elogio del pequeño pie de Cenicienta, algo que se solía considerar como un signo de virtud y belleza por parte de los chinos, además de la aparición de un zapato realizado en materiales preciosos.
  • 2021 Program

    2021 Program

    SPONSORS TITLE SPONSOR City of Seabrook LEGACY SPONSORS $50,000 Kevin Brady $10,000 Moody Bank | Tom Koger PLATINUM SPONSORS Bayway Auto Group Evergreen Environmental Services Chesapeake Bay Luxury Senior Living Tony Gullo City of Nassau Bay Meguiar’s Classic Cars of Houston UTMB GOLD SPONSORS Barrett-Jackson Marine Max Yachts Houston Edna Rice, Executive Recruiters McRee Ford Garage Ultimate MSR Houston Generator Exchange Paulea Family Foundation Golf Cars of Houston Ron Carter Clear Lake Cadillac Honda of Houston Star Motor Cars - Aston Martin John Ebeling Technical Automation Services Company Kendra Scott Texas Coast Yachts 6 | Concours d’ Elegance 2021 SPONSORS SILVER SPONSORS Associated Credit Union of Texas Georg Fischer Harvel Beck Design Glacier Pools & Spas Dean & Draper Insurance Company Hagerty Insurance Discover Roofing Hibbs-Hallmark Insurance Dockside Development & Construction LeafGuard Holdings Drilltec Patents & Technologies Co. Pfeiffer & Son Ltd. DriverSource Ranco Industries Frost Bank Reunion Court/12 Oaks - Clear Lake Galati Yacht Sales Shaw Systems Garages of Texas Temperature Solutions Gateway Classic Cars The Delaney at South Shore Geico Insurance Upstream Brokers Generator Supercenter BRONZE SPONSORS Art Jansen Rocking F Ranch - Janet & Dave Foshee Big 4 Erectors Rolli McGinnis Caru West Cargo Containers RV Insurance Solutions LLC John Wilkins South Land Title Lakeside Yachting Center Y.E.S. Yacht Equipment Maudlin & Sons Mfg. Co. Concours d’ Elegance 2021 | 7 CLUB CONCOURS TEXAS MATTRESS MAKERS $1,000 - $2,000 CLUB CONCOURS lub Concours is a new family, or entertain clients. You and unique feature will have exclusive access to the at Keels & Wheels Concours event, upgraded food Concours d’Elegance and beverage service, a private event.
  • U.S. Grant May Benefit 4 County Bus Lines Democrats Readying Economic

    U.S. Grant May Benefit 4 County Bus Lines Democrats Readying Economic

    The Daily Register VOL. 97 NO.145 SHREWSBURY, N. J. MONDAY, JANUARY 13, 1975 TEN CENTS U.S. grant may benefit 4 county bus lines NEWARK — Two commuter bus lines and two other bus were jointly announced yesterday by Sens. Clifford P. Case. panies, renovate them and lease them back to the companies: Coach Company, Somerset Bus Co.. Suburban Transit Corp.. lines that serve Monmouth County are eligible to benefit from R-N.J., and Harrison A. Williams, Jr., D-N.J., and Gov. Bren- New Jersey will also buy new buses and lease them to the Rockland Coaches, Real Transit Co.. West Huiiterdon Transit, one of two federal grants totaling $130.5 million the state has dan T. Byrne. The federal funds will be supplemented by $34 companies. and Maplewood Equipment Co received under the Urban Mass Transportation Capital Assis- million in state money, according to stipluations in the grants. The new buses will be equipped to serve the elderly and Transit buses — Klizabeth-Union-Hillside-lrvington Bus tance Program (UMTCAP). One of the two grants will provide approximately $76.5 handicapped with improved lighting, non-skid flooring, grab Line, Middlesex Bus Co., Passaic-Athenia Bus Co.. Plainfield The Asbury Park-New York Transit Corp., Asbury Park, million in federal funds for improvment to the Erie l.aik- Tails and, in some cases, stanchions. Transit, Watchung Mountain Transit. Marathon Bus Line. M and the New York-Keansburg-Long Branch Bus Co., Keans- awanna Railway. This grant will be supplemented by approxi- Additional assistance for the bus industry and riders in- & G Bus Co.
  • La Cenicienta Dossier Educativo Edita: Fundación “La Caixa”

    La Cenicienta Dossier Educativo Edita: Fundación “La Caixa”

    La Cenicienta Dossier educativo Edita: Fundación “la Caixa” Concepción de los contenidos y redacción de textos: Juanjo Grande Diseño: Whads/Accent © de la edición 2009, Fundación “la Caixa” © de los textos, los autores © de las fotografías: Antoni Bofill © de las il·lustraciones: Joan J. Guillén 2 Índice Introducción ..................................................................................................................................................4 La Cenicienta: un cuento para todos los públicos ..........................................................................4 Una historia que ya conocemos ..........................................................................................................6 01. La Cenicienta: una historia que ya conocemos ........................................................................6 02. La adaptación que veremos ...........................................................................................................9 El argumento .......................................................................................................................................9 La música ......................................................................................................................................... 10 El fagot .............................................................................................................................................. 11 El equipo ..........................................................................................................................................
  • Runnnig Order 2021 Master National Flights (Dogs Listed in Numeric Order)

    Runnnig Order 2021 Master National Flights (Dogs Listed in Numeric Order)

    Runnnig Order 2021 Master National Flights (Dogs Listed in Numeric Order) FLIGHT # DOGNAME OWNER BR SEX HANDLER Flight A A 1 Baby Blues Secret Weapon MH logan myers Lab F Ethan Corkren A 2 Bayou Desiard's Man In Black MH Justin Higdon Lab M Ronnie Lee A 3 Cramers Mapleridge Gauge Two Stella MH Craig Allen Cramer LAB F Jim Manson/Roger Fields A 4 Bally's Magazine Mogul MH Adam Bally, Cortney Bally Lab M Adam Bally A 5 Big Trax Angels Among Us MH Kathy Moss Lab F Jimmy Rodgers A 6 Vang's Lucky Buddy MH Angela Zeyfang Lab M Angela Zeyfang A 7 Coalcreek's To Live's To Fly MH Jeff Wyatt, Ethan Corkren Lab M Ethan Corkren A 8 Beckylou's Linc' To Beamer MH MNH L Dejohn/B De John Lab M Ronnie Lee A 9 Divine's Jazztime Blues Travler MH Daniel Divine Lab F Jim Manson/Roger Fields A 10 Moco's Straight Cash Homey MH Cory Kienow Lab M Adam Bally A 11 Black River's Paradise MH T BENNINGTON Lab F Jimmy Rodgers A 12 Manley's Golden Decoy MH Nathan Atkinson Lab M Ethan Corkren A 13 Prairie Creeks Ocean Under the Moon MH Keith Colburn Lab F Keith Colburn A 14 Big Rivers Rising Sun MH Justin Anderson Lab M Ronnie Lee A 15 Fields Of Fire She's A Mayday MH Roger Fields Lab F Jim Manson/Roger Fields A 16 Platte Valley's Royal Gem MH Ernie Meyer Lab F Adam Bally A 17 Mallard Runs Big Dude MH Jimmy Rodgers LAB M Jimmy Rodgers A 18 Shirley's Coal MH Hayes Shirley Lab M Ethan Corkren A 19 Prairie Creeks Bling Bling Baby MH Keith Colburn Lab F Keith Colburn A 20 Black Bayou's Grandslam MH D Russell Young Lab M Ronnie Lee A 21 Mamou's Blue Bayou Cajun MH RANCE GAMBLIN
  • Adoctrinamiento Literario Y Cinematográfico: La Caracterización De La Mujer En Tres Películas De Cenicienta”

    Adoctrinamiento Literario Y Cinematográfico: La Caracterización De La Mujer En Tres Películas De Cenicienta”

    Martínez Mateo, Roberto y Cristina Cañamares Torrijos. “Adoctrinamiento literario y cinematográfico: la caracterización de la mujer en tres películas de Cenicienta”. Estudios de Teoría Literaria. Revista digital: artes, letras y humanidades, marzo de 2021, vol. 10, n° 21, pp. 188-203. Adoctrinamiento literario y cinematográfico: la caracterización de la mujer en tres películas de Cenicienta1 Literary and Cinematic indoctrination: female characterization in three films versions of Cinderella Roberto Martínez Mateo2 Cristina Cañamares Torrijos3 Recibido: 13/12/2019 Aprobado: 27/08/2020 Publicado: 09/03/2021 Resumen Abstract Numerosos estudios sociolingüísticos Extensive research in sociolinguistics (Fairclough, 1995, 2003; Caldas-Coulthard and (Fairclough, 1995, 2003; Caldas-Coulthard and Coulthard, 1996; Taylor, 2003, Cohen et al. Coulthard, 1996; Taylor, 2003, Cohen et al. 2007) han puesto de manifiesto que los medios 2007) has disclosed that media, movies among de comunicación, entre ellos el cine, juegan un others, play an important role in supporting papel fundamental al apoyar la ideología prevailing language ideology and dominante en el uso del lenguaje y en la consolidating linguistic stereotypes. Today, for consolidación de estereotipos lingüísticos. En la the transmission and construction of messages, 1 This study was carried out as part of the research project FFI2017-85306-P (The Construction of Discourse in Children’s Picture Books, AMULIT), funded by the Spanish Ministry of Economy, Industry and Competitiveness. 2 Professor
  • SUPERGIRLS and WONDER WOMEN: FEMALE REPRESENTATION in WARTIME COMIC BOOKS By

    SUPERGIRLS and WONDER WOMEN: FEMALE REPRESENTATION in WARTIME COMIC BOOKS By

    SUPERGIRLS AND WONDER WOMEN: FEMALE REPRESENTATION IN WARTIME COMIC BOOKS by Skyler E. Marker A Master's paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science. Chapel Hill, North Carolina May, 2017 Approved by: ________________________ Rebecca Vargha Skyler E. Marker. Supergirls and Wonder Women: Female Representation in Wartime Comics. A Master's paper for the M.S. in L.S. degree. May, 2017. 70 pages. Advisor: Rebecca Vargha This paper analyzes the representation of women in wartime era comics during World War Two (1941-1945) and Operation Iraqi Freedom (2001-2010). The questions addressed are: In what ways are women represented in WWII era comic books? What ways are they represented in Post 9/11 comic books? How are the representations similar or different? In what ways did the outside war environment influence the depiction of women in these comic books? In what ways did the comic books influence the women in the war outside the comic pages? This research will closely examine two vital periods in the publications of comic books. The World War II era includes the genesis and development to the first war-themed comics. In addition many classic comic characters were introduced during this time period. In the post-9/11 and Operation Iraqi Freedom time period war-themed comics reemerged as the dominant format of comics. Headings: women in popular culture-- United States-- History-- 20th Century Superhero comic books, strips, etc.-- History and criticism World War, 1939-1945-- Women-- United States Iraq war (2003-2011)-- Women-- United States 1 I.
  • The Tales of the Grimm Brothers in Colombia: Introduction, Dissemination, and Reception

    The Tales of the Grimm Brothers in Colombia: Introduction, Dissemination, and Reception

    Wayne State University Wayne State University Dissertations 1-1-2012 The alest of the grimm brothers in colombia: introduction, dissemination, and reception Alexandra Michaelis-Vultorius Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the German Literature Commons, and the Modern Languages Commons Recommended Citation Michaelis-Vultorius, Alexandra, "The alet s of the grimm brothers in colombia: introduction, dissemination, and reception" (2012). Wayne State University Dissertations. Paper 386. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. THE TALES OF THE GRIMM BROTHERS IN COLOMBIA: INTRODUCTION, DISSEMINATION, AND RECEPTION by ALEXANDRA MICHAELIS-VULTORIUS DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2011 MAJOR: MODERN LANGUAGES (German Studies) Approved by: __________________________________ Advisor Date __________________________________ __________________________________ __________________________________ __________________________________ © COPYRIGHT BY ALEXANDRA MICHAELIS-VULTORIUS 2011 All Rights Reserved DEDICATION To my parents, Lucio and Clemencia, for your unconditional love and support, for instilling in me the joy of learning, and for believing in happy endings. ii ACKNOWLEDGEMENTS This journey with the Brothers Grimm was made possible through the valuable help, expertise, and kindness of a great number of people. First and foremost I want to thank my advisor and mentor, Professor Don Haase. You have been a wonderful teacher and a great inspiration for me over the past years. I am deeply grateful for your insight, guidance, dedication, and infinite patience throughout the writing of this dissertation.
  • La Cenicienta, 1817)

    La Cenicienta, 1817)

    LLaa CCeenniicciieennttaa GGiiooaacccchhiinnoo RRoossssiinnii ggiioo Vida y óperas de G. Rossini Argumento Momentos musicales Actividades para los pequeños Actividades para los mayores Figurines Materiales de soporte Ficha técnica Les voces de los personajes Los mejores momentoM.s musicalsAntònia Guardiet i Bergalló (2008) EEll aauuttoorr GGiiooaacccchhiinnoo RRoossssiinnii ggiioo Vida y óperas de G. Rossini El sentido del humor de G. Rossini La Cenerentola Ficha técnica Les voces de los personajes Los mejores momentos musicals M. Antònia Guardiet i Bergalló VViiiddaa yy óóppeerraass ddee GG... RRoossssiiinniii Gioacchino Rossini nació un 29 de febrero de 1792 ―año bisiesto!― en la ciudad italiana de Pésaro, en plena época de la Revolución Francesa, cuando las tropas de la República gala penetraron y se extendieron por muchas ciudades de Italia. La modesta família de Rossini se dedicaba a la música. Fue el hijo único de un trompetista de la banda local y de una cantante de ópera de segunda línea que, al no saber leer partituras, debía memorizar sus papeles operísticos. La escasa formación musical de los padres, motivó a éstos a propiciar a su hijo una adecuada educación musical. Gioacchino tenía muy buena voz. Desde muy joven mostró notables aptitudes musicales. De la mano de su madre pudo acceder a multitud de representaciones operísticas. A los 14 años fué admitido en la Academia Filharmónica de Bolonia, donde pudo estudiar música y consultar las obras de Mozart y Haydn. La Academia de Bolonia era el único lugar de Italia donde podían hallarse las partituras de ambos músicos alemanes. Su estudio le permitió mejorar sus nociones de lenguaje musical.
  • Invaders Sample.Pdf

    Invaders Sample.Pdf

    Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] These excerpts are intended as “writing samples” for the author of the articles presented. They are not intended for reuse or re-publication without the consent of the publisher or the copyright holder. ©2009 Robert G. Weiner. All rights reserved McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] The Invaders and the All-Star Squadron Roy Thomas Revisits the Golden Age Mark R. McDermott Introduction By the mid-1970’s, many fans of the “Golden Age” of comic books had grown up to become writers and ultimately editors for the comics publishers, sometimes setting the nar- rative histories for their favorite childhood characters themselves. ​Many of these fans-turned- pro produced comics series that attempted to recapture the Golden Age’s excitement, patriotic fervor and whiz-bang attitude. ​The most successful of these titles were produced by Roy Thomas, who fashioned a coherent history of costumed heroes during World War II, and rec- onciled the wildly inconsistent stories of the 1940’s with tightly patrolled continuity initiated with the “Silver Age” of the 1960’s. ​With The Invaders (1975-1979), Thomas focused on the hitherto unrevealed wartime exploits of Marvel Comics’ early mainstays Captain America, the Human Torch, and Prince Namor, the Sub-Mariner. ​In 1980, he moved to DC Comics and launched All-Star Squadron, which juggled the histories of the Justice Society of Amer- ica and nearly a hundred secondary characters.
  • Descargar En

    Descargar En

    Telenovelas en Perú Peculiaridades del género y análisis del quiebre en el proceso de producción Johanna Ahumada 87715 Comunicación Audiovisual Investigación Medios y Estrategia de la Comunicación 11/12/2019 1 Índice Introducción…...……………………………………………………………………………… 3 Capítulo 1. Introducción al mundo de la telenovela…..…………..……………………10 1.1 Nacimiento de la telenovela………………………………………………………...12 1.2 Características principales………………………………………………………… 15 1.3 Diferencias entre telenovela, serie y soap opera. ……………………………….19 Capítulo 2. Impacto de las telenovelas en América Latina…………………………...24 2.1 Influencia social, cultural y económica en América del Sur…………………….. 25 2.2 Impacto en la cultura popular internacional……………………………………….28 2.3 Éxitos que rompen barreras………………………………………………………..33 Capítulo 3. Readaptación de éxitos a nivel internacional……………………………42 3.1 Betty, de Colombia para el mundo………………………………………………...42 3.1.1 Fracaso de EcoModa………………………………………………………….46 3.2 Rebeldes sin fronteras …..………………………………………………………….47 3.3 Los Pells de viaje…….………………………………………………………………53 Capítulo 4. Perú y la telenovela…………………………………………………….……..59 4.1 Simplemente María: precedente histórico…………..…………………………….62 4.2 Años 90: época de oro de las telenovelas en Perú………………………………66 4.3 Éxitos peruanos……………………………………………………………………...71 4.4 Aguilar, Aranda y la explosión del rating……………………………………….…77 4.5 La era de las miniseries…………………………………………………………….81 Capítulo 5. Reformular la televisión peruana…………………………………………...86 5.1 Características infaltables…………………………………………………………..88 5.2 Estándar a nivel internacional………………………………………………………93 5.3 Visión hacia los nuevos formatos…………………………………………………..97 Conclusiones……………………………………………………………………………….102 Referencias bibliográficas…………………………………………………………..……108 Bibliografía……………………………………………………………………………….…110 2 Introducción El Proyecto de Grado (PG) presentado, catalogado como una Investigación, tiene como finalidad analizar de qué manera se puede reformular la producción de telenovelas en Perú para generar una industria con relevancia en el ámbito audiovisual.
  • Songs by Artist

    Songs by Artist

    Songs by Artist Title Title (Hed) Planet Earth 2 Live Crew Bartender We Want Some Pussy Blackout 2 Pistols Other Side She Got It +44 You Know Me When Your Heart Stops Beating 20 Fingers 10 Years Short Dick Man Beautiful 21 Demands Through The Iris Give Me A Minute Wasteland 3 Doors Down 10,000 Maniacs Away From The Sun Because The Night Be Like That Candy Everybody Wants Behind Those Eyes More Than This Better Life, The These Are The Days Citizen Soldier Trouble Me Duck & Run 100 Proof Aged In Soul Every Time You Go Somebody's Been Sleeping Here By Me 10CC Here Without You I'm Not In Love It's Not My Time Things We Do For Love, The Kryptonite 112 Landing In London Come See Me Let Me Be Myself Cupid Let Me Go Dance With Me Live For Today Hot & Wet Loser It's Over Now Road I'm On, The Na Na Na So I Need You Peaches & Cream Train Right Here For You When I'm Gone U Already Know When You're Young 12 Gauge 3 Of Hearts Dunkie Butt Arizona Rain 12 Stones Love Is Enough Far Away 30 Seconds To Mars Way I Fell, The Closer To The Edge We Are One Kill, The 1910 Fruitgum Co. Kings And Queens 1, 2, 3 Red Light This Is War Simon Says Up In The Air (Explicit) 2 Chainz Yesterday Birthday Song (Explicit) 311 I'm Different (Explicit) All Mixed Up Spend It Amber 2 Live Crew Beyond The Grey Sky Doo Wah Diddy Creatures (For A While) Me So Horny Don't Tread On Me Song List Generator® Printed 5/12/2021 Page 1 of 334 Licensed to Chris Avis Songs by Artist Title Title 311 4Him First Straw Sacred Hideaway Hey You Where There Is Faith I'll Be Here Awhile Who You Are Love Song 5 Stairsteps, The You Wouldn't Believe O-O-H Child 38 Special 50 Cent Back Where You Belong 21 Questions Caught Up In You Baby By Me Hold On Loosely Best Friend If I'd Been The One Candy Shop Rockin' Into The Night Disco Inferno Second Chance Hustler's Ambition Teacher, Teacher If I Can't Wild-Eyed Southern Boys In Da Club 3LW Just A Lil' Bit I Do (Wanna Get Close To You) Outlaw No More (Baby I'ma Do Right) Outta Control Playas Gon' Play Outta Control (Remix Version) 3OH!3 P.I.M.P.