DOCSLIB.ORG

Hands-Only™ CPR Branding Guidelines (Created February 2012)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hands-Only™ CPR Branding Guidelines (Created February 2012) DO NOT USE BEFORE JUNE 5, 2012 Hands-Only™ CPR Branding Guidelines (Created February 2012) Know disco? You can help save a life if you do. If you see a teen or adult collapse, call 9-1-1 and push hard and fast in the center of the chest to the beat of the classic disco song “Stayin’ Alive.” The American Heart Association’s Hands-Only CPR at this beat can more than double or triple a person’s chances of survival. Take 60 seconds and hustle to heart.org/handsonlycpr to learn how you can help save a life. The Graphic The preferred version of the Hands-Only™ CPR graphic consists of the following elements: 1. The American Heart Association CPR & First Aid logo in red and black. 2. The WellPoint™ Foundation logo (or market-specific HANDS-ONLY ™ logo for WellPoint brand) in red and blue. 3. A white dancing figure 4. The words “Hands-Only™ CPR” in two lines CPR in white. 6. A red background. 7. The hands only website, heart.org/handsonlycpr 8. The copyright words, “Saturday Night Fever © 1977 by Paramount Pictures Corp. All Rights Reserved.” The graphic is available in four-color process in color and in black and white. The graphic can be used in its entirety or elements of the logo can be used separately. Do not use the graphic where the dancing figure would appear smaller than 2″ vertically. The American Heart Association CPR & First Aid logo should never be used at a size Corp. All Rights Reserved. Night Fever © 1977 by Paramount Pictures Saturday smaller than ½″ vertically. Please refer to the guidelines on the following page ½″ heart.org/handsonlycpr when using the graphic as separate elements. ©2012, American Heart Association. Also known as the Heart Fund. 2/12DS5583 DO NOT USE BEFORE JUNE 5, 2012 Separating the Graphic You may separate the graphic to reconfigure it for different products, however, these elements must always be used together on the same page: 1. The American Heart Association 2. The WellPoint™ Foundation logo (or market-specific logo for WellPoint brand) 3. The dancing figure 4. The words “Hands-Only™ CPR” in two lines in white 5. The Hands-Only™ CPR website, heart.org/handsonlycpr 6. Saturday Night Fever © 1977 by Paramount Pictures Corp. All Rights Reserved. The AHA CPR & First Aid logo must not appear at a size less than ½″ vertically. The WellPoint™ Foundation logo must be sized proportionately to the AHA logo so that it always appears 25% smaller than the AHA CPR & First Aid logo. Below are thumbnail examples of correct sepration of the graphic. ™ ™ Push to the beat of HANDS-ONLY “Stayin’ Alive” • Help the American Heart Association train more people in lifesaving Hands-OnlyTM CPR. CPR • CPR can more than double a victim’s Push to the beat of chance of survival. heart.org/handsonlycpr “Stayin’ Alive” TWO STEPS TO SAVE A LIFE Push Saturday Night Fever © 1977 by Paramount Pictures Corp. All Rights Reserved. hard & Call 911 fast in the center of the chest Saturday Night Fever © 1977 by Paramount Pictures Corp. All Rights Reserved. heart.org/handsonlycpr Area of Non-Interference The area of non-interference around the AHA CPR & First Aid logo should equal the cap height of the “A” in the word “American.” This will ensure the logo is clearly visible in all presentations. This area is to be applied to all versions of the logo. The logo is available on the branding site, heart.org/branding. A A CPR & First Aid A A A A A CPR & First Aid A page 2 DO NOT USE BEFORE JUNE 5, 2012 Color Breakdown ™ HANDS-ONLY 100M 10C 100M 100Y 100M 100Y CPR 20K 80Y 100C 72M 18K 100K 70K Saturday Night Fever © 1977 by Paramount Pictures Corp. All Rights Reserved. Night Fever © 1977 by Paramount Pictures Saturday HANDS-ONLY ™ CPR 100K 60K Saturday Night Fever © 1977 by Paramount Pictures Corp. All Rights Reserved. Night Fever © 1977 by Paramount Pictures Saturday page 3.
Load more

Recommended publications
  • “From the Cracks in the Sidewalks of NYC”: The
    “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 by Elizabeth Healy Matassa B.A. in Italian and French Studies, May 2003, University of Delaware M.A. in Geography, May 2006, Louisiana State University A Dissertation submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy January 31, 2014 Dissertation directed by Suleiman Osman Associate Professor of American Studies The Columbian College of Arts and Sciences of the George Washington University certifies that Elizabeth Healy Matassa has passed the Final Examination for the degree of Doctor of Philosophy as of August 21, 2013. This is the final and approved form of the dissertation. “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 Elizabeth Healy Matassa Dissertation Research Committee: Suleiman Osman, Associate Professor of American Studies, Dissertation Director Elaine Peña, Associate Professor of American Studies, Committee Member Elizabeth Chacko, Associate Professor of Geography and International Affairs, Committee Member ii ©Copyright 2013 by Elizabeth Healy Matassa All rights reserved iii Dedication The author wishes to dedicate this dissertation to the five boroughs. From Woodlawn to the Rockaways: this one’s for you. iv Abstract of Dissertation “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 This dissertation argues that New York City’s 1970s fiscal crisis was not only an economic crisis, but was also a spatial and embodied one.
    [Show full text]
  • 2021 Dinner Theater Schedule
    2021 Dinner Theater Schedule “LAS VEGAS LIVE! WITH NICK COSTA”… (LAS VEGAS REVUE) October 1 – 12:00 p.m. Matinee and 7:00 p.m. Evening — ��������The sen- sational Nick Costa presents the hits of famous Las Vegas headliners like Tom Jones, Elvis Presley, Englebert Humperdinck, Frank Sinatra and others in a high-energy presentation of songs like “Can’t help Falling in Love,” “It’s Not Unusual,” “After the Lovin,” “My Way” and more! ORIGINAL MURDER MYSTERY OCTOBER 29 – 12:00 P.M. MATINEE/7:00 P.M. EVENING – A unique brand of audience interactive theater to help celebrate halloween. Enjoy a hilarious murder-mystery show and join the fun to solve who dunnit! (Specific title tba.) “UNTO US – THE NATIVITY STORY” If you wish to use your Voucher, please have it in hand December 3 -- 12:00 p.m Matinee/7:00 p.m. Evening – Join Mary and Joseph on their journey of faith as they experience the wondrous when you call to place your 2021 ticket purchase. events leading to Jesus’ birth in Bethlehem. An inspiring musical cel- ebrating the Christ of Christmas and the true meaning of our Savior’s ORIGINAL MURDER MYSTERY birth. A magnificent production with glorious music about the great- est Christmas story of all! The hit of the 2020 Christmas season. New February 12 – 7:00 p.m. Evening – A unique brand of audience scenes and songs in 2021! interactive theater to help celebrate Valentine’s Day. Enjoy a hilarious murder-mystery show and join the fun to solve who dunnit! (Specific “A SWINGIN’ “BIG BAND CHRISTMAS CONCERT”… Title TBA).
    [Show full text]
  • The Elusive Utopian Vision in Dance Films
    2015 HAWAII UNIVERSITY INTERNATIONAL CONFERENCES ARTS, HUMANITIES, SOCIAL SCIENCES & EDUCATION JANUARY 03 - 06, 2015 ALA MOANA HOTEL, HONOLULU, HAWAII THE ELUSIVE UTOPIAN VISION IN DANCE FILMS WOO, MISEONG YONSEI UNIVERSITY DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE Dr. Miseong Woo Dept. of English Language & Literature Yonsei University, South Korea. The Elusive Utopian Vision in Dance Films Synopsis: This paper is an attempt to analyze dominant patterns embedded in the dance films as a genre different from musicals and music videos. I attempt to read the optimistic closure of the narrative in dance movies made in Hollywood between the 1970s to the 2010s as a utopian vision derived from Western art and body philosophy. THE ELUSIVE UTOPIAN VISION IN DANCE FILMS Miseong Woo Associate Professor in Department of English, Yonsei University (Seoul, South Korea) [email protected] Hawaii University International Conference Jan.3-6, 2015, Honolulu, Hawaii Conference Presentation Paper The Elusive Utopian Vision in Dance Films Miseong Woo (Yonsei University) Why bother to analyze and find meaning when everyone knows dance films are meant for sheer entertainment? As Robin Wood pointed out, “genre cinema today—deprived of the sustaining base of the star/studio system, replaced by a set of businessmen sitting around a conference table asking ‘Well, what made the most money last year?’ and constructing a ‘package’ resembling it as closely as possible but going a little further—obviously survives only in an extremely debased and impoverished form” (310) 1 . From the audience’s perspective, the viewing pleasure of watching the dance movies is similar to watching music videos but with more developed dramatic stories that offer voyeuristic pleasure.
    [Show full text]
  • Selected Discography
    479 of 522 selected discography 6932 Lawrence / LOVE SAVES THE DAY / sheet The following discography lists all of the recordings referred to in Love Saves the Day. It provides basic information on the name of the artist, the title of the recording, the name of the label that originally released the recording, and the year in which the recording was first released. Entries are listed in alphabetical order, first according to the name of the artist, and subsequently according to the title of the recording. Albums are highlighted in italics, whereas individual album cuts, seven-inch singles, and twelve-inch singles are written in normal typeface. Abaco Dream. ‘‘Life and Death in G & A.’’ , . Area Code . ‘‘Stone Fox Chase.’’ Polydor, . Ashford & Simpson. ‘‘Found a Cure.’’ Warner Bros., . '.‘‘It Seems to Hang On.’’ Warner Bros., . '. ‘‘Over and Over.’’ Warner Bros., . '. ‘‘Stay Free.’’ Warner Bros., . Atmosfear. ‘‘Dancing in Outer Space.’’ Elite, . Auger, Brian, & the Trinity. ‘‘Listen Here.’’ , . Ayers, Roy, Ubiquity. ‘‘Don’t Stop the Feeling.’’ Polydor, . '. ‘‘Running Away.’’ Polydor, . Babe Ruth. ‘‘The Mexican.’’ Harvest, . Barrabas. Barrabas. , . '. ‘‘Wild Safari.’’ , . '. ‘‘Woman.’’ , . Barrow, Keith. ‘‘Turn Me Up.’’ Columbia, . Bataan, Joe. ‘‘Aftershower Funk.’’ Mericana, . '. ‘‘Latin Strut.’’ Mericana, . '. ‘‘Rap-O Clap-O.’’ Salsoul, . '. Salsoul. Mericana, . Bean, Carl. ‘‘I Was Born This Way.’’ Motown, . Beatles. ‘‘Here Comes the Sun.’’ Apple, . Tseng 2003.10.1 08:35 481 of 522 !. ‘‘It’s Too Funky in Here.’’ Polydor, . !. ‘‘Mother Popcorn (You Got to Have a Mother for Me).’’ King, . Brown, Peter. ‘‘Do Ya Wanna Get Funky With Me.’’ , . !. ‘‘Love in Our Hearts.’’ , . B. T. Express. ‘‘Do It (’Til You’re Satisfied).’’ Scepter, .
    [Show full text]
  • Saturday-Night-Fever.Pdf
    ® PHILADELPHIA, PENNSYLVANIA PLAYBILL.COM PLAYBILLVAULT.PLAYBILL.COMCOM PLAYBILLVAULT.COM 06-01 SatNightFever2_Live.indd 1 5/12/17 3:22 PM Dear Theatregoer, Welcome to Saturday Night Fever! I am so glad to have you as our guest for this incredible season finale. The energy this cast brings to the stage will make you want to get up and dance to the iconic music from the legendary Bee Gees. I’m thrilled to share this electrifying production with you. Next season the excitement continues on our Mainstage with a spectacular line-up. The 2017–18 season will begin with Broadway’s classic Tony Award-winning Best Musical A Funny Thing Happened On the Way to the Forum. You’ll meet Pseudolus, a crafty slave who struggles to win the hand of a beautiful, but slow-witted, courtesan for his young master. The plot twists and turns with cases of mistaken identity, slamming doors and a bevy of beautiful showgirls. I think this musical comedy is one of the funniest Broadway shows ever written, and I’m sure you’ll agree. During the holiday season we’ll look to a brighter “tomorrow” with one of the world’s best-loved musicals Annie. This Tony Award- winning Best Musical features some of the greatest musical theatre Photo: Mark Garvin hits ever written including “It’s the Hard Knock Life,” “Easy Street,” and “Tomorrow.” I’m excited to share this exciting production with you and your family, as Annie fills our hearts with joy! Our season continues with The Humans. This comedy won more than 20 Best Play awards in 2016, including the Tony Award.
    [Show full text]
  • Everything Began with the Movie Moulin Rouge (2001)
    Introduction Everything began with the movie Moulin Rouge (2001). Since I was so obsessed with this hit film, I couldn’t but want to know more about this particular genre - musical films. Then I started to trace the history of this genre back to Hollywood’s classical musical films. It’s interesting that musical films have undergone several revivals and are usually regarded as the products of escapism. Watching those protagonists singing and dancing happily, the audience can daydream freely and forget about the cruel reality. What are the aesthetic artifices of this genre so enchanting that it always catches the eye of audience generation after generation? What kinds of ideal life do these musical films try to depict? Do they (musical films) merely escape from reality or, as a matter of fact, implicitly criticize the society? In regard to the musical films produced by Hollywood, what do they reflect the contemporary social, political or economic situations? To investigate these aspects, I start my research project on the Hollywood musical film genre from the 1950s (its Classical Period) to 2002. However, some people might wonder that among all those Hollywood movies, what is so special about the musical films that makes them distinguish from the other types of movies? On the one hand, the musical film genre indeed has several important contributions to the Hollywood industry, and its influence never wanes even until today. In need of specialty for musical film production, many talented professional dancers and singers thus get the chances to join in Hollywood and prove themselves as great actors (actresses), too.
    [Show full text]
  • The Rebirth of Slick: Clinton, Travolta, and Recuperations of Hard-Body Nationhood in the 1990S
    THE REBIRTH OF SLICK: CLINTON, TRAVOLTA, AND RECUPERATIONS OF HARD-BODY NATIONHOOD IN THE 1990S Nathan Titman A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Dr. Simon Morgan-Russell, Advisor Dr. Philip Terrie ii ABSTRACT Simon Morgan-Russell, Advisor This thesis analyzes the characters and performances of John Travolta throughout the 1990s and examines how the actor's celebrity persona comments on the shifting meanings of masculinity that emerged in a post-Reagan cultural landscape. A critical analysis of President Clinton's multiple identities⎯in terms of gender, class, and race⎯demonstrates that his popularity in the 1990s resulted from his ability to continue Reagan's "hard-body" masculine national identity while seemingly responding to its more radical aspects. The paper examines how Travolta's own complex identity contributes to the emergent "sensitive patriarch" model for American masculinity that allows contradictory attitudes and identities to coexist. Starting with his iconic turn in 1977's Saturday Night Fever, a diachronic analysis of Travolta's film career shows that his ability to convey femininity, blackness, and working-class experience alongside more normative signifiers of white middle-class masculinity explains why he failed to satisfy the "hard-body" aesthetic of the 1980s, yet reemerged as a valued Hollywood commodity after neoconservative social concerns began emphasizing family values and white male responsibility in the 1990s. A study of the roles that Travolta played in the 1990s demonstrates that he, like Clinton, represented the white male body's potential to act as the benevolent patriarchal figure in a culture increasingly cognizant of its diversity, while justifying the continued cultural dominance of white middle-class males.
    [Show full text]
  • Changes in the Business
    Vol. 34 No. 9 DAEMEN COLLEGE, AMHERST, N.Y February 15, 1979 Changes In Da e m e n T h e a t r e M a j o r G a in s R ec o g n itio n The In R e g io n a l C om petition Helga Chmielowski, a Theatre playwrite competition. Five Business Arts major at Daemen, was hon­ plays were chosen from the re­ ored earlier this month during gion to be presented through this year’s Regional Nine staged readings. "The one play Theatre Festival. Helga was erne I read was rather pornographic” Department of the ten finalists chosen totake she laughed. “I could hardly read part in the Irene Ryan Compe­ some parts!” The winners of the Well, it’s that time of the tition held at Penn State. She competition will be announced in year again! Rumors just seem was required to perform two solo February. to be flying right at yew from auditions along? with One reading The experience alone was every direction. The Ascent’s with a p a rtn e r/^ meaningful to Helga. "The qual­ Carlton Lampkins been hearing various rumors a- Winner of tlie competition re­ ity shown in the competition was bout the Business Adminis­ ceived a $500 scholarship and the excellent. It was good to be in­ tration’s curriculum require­ opportunity to compete in the troduced to different schools of ments. We thought we’d check national conference in Washing­ thought in my Held. One rarely out a few just to see what’s ton where the top prize is full gets to meet other schools of Vice President Of REALLY happening.
    [Show full text]
  • The Recording Academy®
    ® The Recording Academy 3030 Olympic Blvd., Santa Monica, CA 90404 www.grammy.com Barry Gibb and stars perform "Stayin' Alive" on "Stayin' Alive": A GRAMMY® Salute To The Music Of The Bee Gees" "STAYIN' ALIVE: A GRAMMY® SALUTE TO THE MUSIC OF THE BEE GEES" TO AIR APRIL 16 ON CBS Andra Day, Celine Dion, DNCE, Nick Jonas, Tori Kelly, John Legend, Little Big Town, Demi Lovato, Keith Urban, and Stevie Wonder Pay Tribute To The Six-Time GRAMMY®-Winning Group; Bee Gees Legendary Co-Founder Barry Gibb To Perform Medley Of Timeless Hits SANTA MONICA, Calif. (March 21, 2017) — The Recording Academy®, AEG Ehrlich Ventures, and CBS celebrate the 40th anniversary of the landmark soundtrack to the film Saturday Night Fever with an all-star special— "Stayin' Alive: A GRAMMY® Salute To The Music Of The Bee Gees"—on Sunday, April 16 (8:00-10:00 PM, ET/ PT) on the CBS Television Network. GRAMMY® nominee Kelsea Ballerini, GRAMMY nominee Andra Day, singer/songwriter Jason Derulo, five-time GRAMMY winner Celine Dion , multi-platinum pop-funk band DNCE, GRAMMY nominee Nick Jonas, GRAMMY nominee Tori Kelly, 10-time GRAMMY winner John Legend, GRAMMY nominee Demi Lovato, two-time GRAMMY winners Little Big Town, three-time GRAMMY winners Pentatonix, GRAMMY nominee Thomas Rhett, GRAMMY winner Tavares, four-time GRAMMY winner Keith Urban, and 25-time GRAMMY winner Stevie Wonder pay tribute to six-time GRAMMY winners and Recording Academy Lifetime Achievement Award recipients the Bee Gees. Seven-time GRAMMY winner and Bee Gees co-founder Barry Gibb performs a selection of hits from Saturday Night Fever—Soundtrack, which won Album Of The Year at the 21st Annual GRAMMY Awards and (more) GRAMMY Salute To The Music Of The Bee Gees Page 2 was inducted into the GRAMMY Hall Of Fame® in 2004.
    [Show full text]
  • Masculinity, Sexuality, and Ethnicity in Saturday Night Fever
    Networking Knowledge: Journal of the MeCCSA Postgraduate Network, Vol. 4, No. 1 (2011) ARTICLE ‘A straight heterosexual film’: Masculinity, Sexuality, and Ethnicity in Saturday Night Fever STELIOS CHRISTODOULOU, University of Kent ABSTRACT Underpinning Saturday Night Fever’s representation of masculinity is a seeming paradox, exemplified in Pauline Kael’s disclaimer that ‘it’s a straight heterosexual film’ despite the obvious similarities to Scorpio Rising’s gay bikers. While Tony Manero is represented as a sexist, homophobic, and racist heterosexual man, he also indulges in the traditionally feminizing activities of disco dancing and self-grooming. This article explores the construction of Tony Manero’s masculinity by taking a closer look at these two activities and situating their cinematic representation in the American cultural context of the late 70s. In the case of disco, a distinction between disco’s gay origins and subsequent entry into mainstream culture explains Fever’s hetero-normative version of disco. The article subsequently turns the attention to the film’s grooming scene, which poses less easily redeemable challenges to Tony’s machismo through intertextual and contextual references to homosexuality. I extrapolate between possible explanations, drawing on Richard Dyer’s work on representation and the discourse on the 70s men’s liberation movement. In the article’s final section, I turn the attention to the connections between masculinity and ethnicity, examining how the 70s revival of ethnicity proposed a historically specific a model of the Italian-American man, unencumbered by the requirements of new masculinities. I argue that Fever replicates this model to infuse into the representation of Tony Manero styles and behaviours that would have otherwise signified homosexuality.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • Larry Perlman Transcription
    The Path and The Practice - Larry Perlman Transcription Alexis Robertson: Welcome to The Path and the Practice, a podcast dedicated to sharing the professional origin stories of the attorneys at Foley & Lardner LLP, a full service law firm with over 1,000 lawyers across the US and abroad. I'm your host, Alexis Robertson, Director of Diversity and Inclusion at Foley. In each episode of this podcast, you'll hear me in conversation with a different Foley attorney. You'll learn about each guest's unique background, path to law school, and path to Foley & Lardner. Essentially, you'll hear the stories you won't find on their professional bios, and of course, you'll learn a bit about their practice. Now, let's get to the episode. Alexis Robertson: Today, I'm speaking with Larry Perlman. Larry's a partner in Foley's Miami office, where he's a member of the firm's Labor and Employment Practice Group. I'm beyond thrilled to have Larry on the show because he is a good friend of mine. But as you'll soon hear, the reason he's on the show is not just because he's my friend, but because he had an incredibly interesting path to law. You see, before Larry was a lawyer, he was a doctor. That's right. He was a practicing internal medicine physician who left medicine to attend law school. In this episode, you'll hear Larry share about his path to medicine, what he did as a doctor, and how and why he made the difficult decision to leave his medical practice.
    [Show full text]