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Marketing Lessons I Learned from Working with Kiss
MARKETING LESSONS I LEARNED FROM WORKING WITH KISS BY: MICHAEL BRANDVOLD Copyright 2011 Michael Brandvold Marketing • www.MichaelBrandvold.com "Quite eloquent. You're a powerful and attractive man." Gene Simmons Copyright 2011 Michael Brandvold Marketing • www.MichaelBrandvold.com CONTENTS • About • Acknowledgements • Testimonials • No Denying the Influence • All Press is Good Press • Love Me or Hate Me, Just Spell My Name Right • Wait for the Right Time • It’s All Branding • Everything You Do Will Not Succeed • Treat the Media with Respect • Listen to Your Fans You Work for Them • The Secret to Success is to Offend the Greatest Number of People • If You Don’t Ask For It You Won’t Get It • Separate Business and Pleasure • They Aren’t Afraid to Change Their Minds • The Takeaway • Contact Copyright 2011 Michael Brandvold Marketing • www.MichaelBrandvold.com ABOUT In both mainstream and adult entertainment, Michael Brandvold’s marketing talents, skills and savvy are vital assets that numerous companies rely upon to expand, prosper and operate effectively, efficiently and profitably in the online economy. Upon graduating from Mankato State University in 1987, Michael accepted the position of Director of Marketing with DKP Productions, an artist management firm in Chicago, before joining Red Light Records 1990, as National Radio Promotions manager. A self-taught master of HTML, Michael launched websites for Perris Records, Creative Communications, Sportmart, and Montgomery Ward. But it was KISS Otaku – his KISS fan site launched in 1995 – that would change his fortunes forever. In 1998, Gene Simmons of KISS discovered KISS Otaku and personally tapped Michael as the Director of Web Services at Signatures Network, a Sony/CMGi company, where he built-from-scratch, managed and grew KISSonline into a multi-million dollar enterprise with over of a half million visitors a month. -
Comics and War
Representations of war Comics and War Mathieu JESTIN Bettina SEVERIN-BARBOUTIE ABSTRACT Recounting war has always played a role in European comics, whether as an instrument of propaganda, heroisation or denunciation. But it is only in recent decades that the number of stories about war has proliferated, that the range of subjects, spaces treated and perspectives has increased, and that the circulation of stories across Europe has become more pronounced. For this reason, comic books feed into a shared collection of popular narratives of war just as they fuel anti-war representations. "“Everyone Kaputt. The First World War in Comic Books.” Source: with the kind permission of Barbara Zimmermann. " In Europe, there is growing public interest in what is known in France as the ‘ninth art’. The publishing of comic books and graphic novels is steadily increasing, including a growing number which deal with historical subjects; comic book festivals are increasing in number and the audience is becoming larger and more diverse. Contrary to received ideas, the comic is no longer merely ‘an entertainment product’; it is part of culture in its own right, and a valid field of academic research. These phenomena suggest that the comic, even if it is yet to gain full recognition in all European societies, at least meets with less reticence than it faced in the second half of the twentieth century. It has evolved from an object arousing suspicion, even rejection, into a medium which has gained wide recognition in contemporary European societies. War illustrated: themes and messages As in other media in European popular culture, war has always been a favourite subject in comics, whether at the heart of the narrative or in the background. -
Entering the Temple of the Lord
In the first Great Litany of the Divine Liturgy sincerity of our prayer. The lighting of a candle is writers and Fathers of the early Church and the we pray for those enter into the holy house of the also an offering to God and a sign of joy. Blessed canons of the Ecumenical councils (1:20; 6:90.) We Lord with “faith, reverence and the fear of God.” It Jerome remarks that “throughout all the churches are even instructed in the Liturgy, “Let us stand is with this attitude that we are to enter into the of the East, when the Gospel is about to be read, aright! Let us stand in fear! Let us attend, that we Temple of the Lord. The first thing we do when we tapers are lighted though it be broad daylight, not may offer the Holy Oblation in peace.” Standing is a enter the Church is make the sign of the Precious to scatter the darkness, but as a sign of joy; that sign of reverence and honour towards God. Just as and Life-giving Cross three times, each time under the symbol of bodily light, that Light may be we stand to honour an important person or victor making a bow from the waist (Gr. metanoia) and shown forth of which we read in the Psalter, ‘Thy in some contest so much more do we stand to saying: word, O Lord, is a lantern to my feet and a light honour God Who took on our human nature, 1. Thou hast created me, O Lord, have mercy! unto my paths.’” suffered and died for our sakes and triumphed over 2. -
Day Two LOTS 1446-1521 Page15 I446 GENE
'- I Day Two LOTS 1446-1521 Page 15 ~446 GENE SIMMONS Script of ELDER 1980 $488.75 1447 GENE SIMMONS KISS Press Kit from ELDER Album, 1981 $373.75 1448 KISS Costume Armbands GENE SIMMONS from ELDER Era, 1981 $460.00 1449 Costume GENE SIMMONS RDER I CREATUES OF NIGHTTour 1981-1983 $4600.00 1450 KISS Costume PAULSTANLEY ELDER Tour, 1981 $5 175.00 j452 KISS Belt PAUL STANLEY ELDER Era, 1981 $1 380.00 1453 Bodysuit ACE FREHLEY ELDER 1CREATURES OF NIGHTTour 11981·1983 $4312.50 ~454 KISS Costume ERIC CARR from ELDER Era. 1981 $2875.00 ~460 KISS Top GENESIMMONS ASYLUM Tour, 1985-1986 $632.50 1461 KISS Costume Coat GENE SIMMONS ASYLUM Tour, 1985-1986 $1 265.00 i1469KISS Costume Jacket PAUL STANLEY ASYLUM Tour, 1985-1986 $3.737.50 ~472 KISS Costume Pants PAUL STANLEY ASYLUM Tour, 1985-1986 $1 ,725.001 1482 KISS Poster DesiQnlayout , 1984 $46000., . :. ~'. ~ ~483 KISS Band Portrait from ANIMALIZE Era, 1984 $345.00 ~484 KISS Costume Shin Guards GENE SIMMONS ANIMALIZE Tour, 1984-1986 $747.50 ~485 KISS Vest GENE SIMMONS ANIMALlZE Tour, 1984-1985 $2.070.00 ;1489PAUL STANLEY KISS Guitar ANIMALlZE Tour. 1984-1985 $4.887.50 h490 KISS Right Case and Drum Accessories ERIC CARR ANIMALIZE Tour. 1984 $488.75 ~492 KISS Vest BRUCE KUUCKfrom ANIMALlZETour, 1984-1985 $1.265.00 11495KISS Backstage Access Only Sign, 1999 $488.75 h496 Advertisement Proof, 1999 $977.50 11499GENE SIMMONS Simmons Records Mini Guitar Display, 1989 $431.25 1501 GENE SIMMONS Certification Document, 1984 $402.50 h502 Tour Book Cover Artwork for 10th ANNIVERSARY Tour, Circa 1982-1983 $258.75 • i1503 KISS Platinum Express Card. -
British Library Conference Centre
The Fifth International Graphic Novel and Comics Conference 18 – 20 July 2014 British Library Conference Centre In partnership with Studies in Comics and the Journal of Graphic Novels and Comics Production and Institution (Friday 18 July 2014) Opening address from British Library exhibition curator Paul Gravett (Escape, Comica) Keynote talk from Pascal Lefèvre (LUCA School of Arts, Belgium): The Gatekeeping at Two Main Belgian Comics Publishers, Dupuis and Lombard, at a Time of Transition Evening event with Posy Simmonds (Tamara Drewe, Gemma Bovary) and Steve Bell (Maggie’s Farm, Lord God Almighty) Sedition and Anarchy (Saturday 19 July 2014) Keynote talk from Scott Bukatman (Stanford University, USA): The Problem of Appearance in Goya’s Los Capichos, and Mignola’s Hellboy Guest speakers Mike Carey (Lucifer, The Unwritten, The Girl With All The Gifts), David Baillie (2000AD, Judge Dredd, Portal666) and Mike Perkins (Captain America, The Stand) Comics, Culture and Education (Sunday 20 July 2014) Talk from Ariel Kahn (Roehampton University, London): Sex, Death and Surrealism: A Lacanian Reading of the Short Fiction of Koren Shadmi and Rutu Modan Roundtable discussion on the future of comics scholarship and institutional support 2 SCHEDULE 3 FRIDAY 18 JULY 2014 PRODUCTION AND INSTITUTION 09.00-09.30 Registration 09.30-10.00 Welcome (Auditorium) Kristian Jensen and Adrian Edwards, British Library 10.00-10.30 Opening Speech (Auditorium) Paul Gravett, Comica 10.30-11.30 Keynote Address (Auditorium) Pascal Lefèvre – The Gatekeeping at -
Kiss Your Brain!
KISS YOUR BRAIN! 1. Kiss Your Brain Chorus Kiss your brain! Kiss your brain! (Kiss fingertips, then touch head.) It’s something you can do. Kiss your brain! Kiss your brain! When you feel proud of you! You’ve done something you’ve never done before, You’re feeling good about it. You are thinking, “Good job, me!” (Pat yourself on the back.) And you want to shout it. So… Chorus You wrote a book all by yourself. (Pretend to write on palm.) You learned on the computer. (Pretend to type.) You played checkers with your mom, And you beat her! So… (Fist in air.) Chorus You can kiss your brain ‘cause you feel good. You can kiss your brain ‘cause you’re smart. You can kiss your brain ‘cause you’re learning. You can kiss your brain with a happy heart! So… Chorus Activities: Let children draw pictures of themselves doing something that makes them want to “kiss their brain.” Put them together to make a class book. 2. Twinkle Friends Twinkle, twinkle, little star. (Children face partner and gently touch and wiggle fingertips.) What a special friend you are. From your head to your toes, (Touch each other’s head, then toes.) We are special friends you know. (Hold hands and circle around.) Twinkle, twinkle, little star. (Children touch fingertips.) What a special friend you are. (Children hug.) Now, go find another friend, And we’ll twinkle once again… Now, take a little hike. Find another friend you like… Now we’ll sing one more time. Kiss Your Brain – Dr. -
A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form. Ralph Randolph Duncan II Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Duncan, Ralph Randolph II, "Panel Analysis: A Critical Method for Analyzing the Rhetoric of Comic Book Form." (1990). LSU Historical Dissertations and Theses. 4910. https://digitalcommons.lsu.edu/gradschool_disstheses/4910 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The qualityof this reproduction is dependent upon the quality of the copysubmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Media Website Contact List
MEDIA WEBSITE CONTACT LIST version: 8/2016 Outlet Name First Name Last Name Title Email Address Website Address Bleeding Cool Richard Johnston Editor-in-Chief [email protected] http://www.bleedingcool.com/ Comics Alliance Andrew Wheeler Editor in Chief [email protected] http://comicsalliance.com/ Comics Alliance Kevin Gaussoin Editor in Chief [email protected] http://comicsalliance.com/ Comic Book Resources Albert Ching Managing Editor [email protected] http://www.comicbookresources.com/ Comic Vine Tony Guerrero Editor-in-Chief [email protected] http://www.comicbookresources.com/ ComicBook.com James Viscardi Editor in Chief [email protected] http://comicbook.com/ Forces of Geek Erin Maxwell Reporter [email protected] http://www.forcesofgeek.com/ IGN Entertainment Joshua Yehl Comics Editor [email protected] http://www.ign.com/ ICV2 Milton Griepp Editor in Chief [email protected] http://icv2.com/ Newsarama Chris Arrant Editor-in-Chief [email protected] http://www.newsarama.com/ The Beat Heidi MacDonald Editor in Chief [email protected] http://www.comicsbeat.com/ Comicosity Matt Santori-Griffith Senior Editor [email protected] http://www.comicosity.com/ The Mary Sue Maddy Myers Editor [email protected] http://www.themarysue.com/ The Mary Sue Dan Van Winkle Editor [email protected] http://www.themarysue.com/ Multiversity Comics Brian Salvatore Editor-in-Chief [email protected] http://multiversitycomics.com/ Comic Crusaders [email protected] www.comiccrusaders.com/ Graphic Policy Brett Schenker Founder / Blogger in Chief [email protected] https://graphicpolicy.com/ THIS LIST OF CONTACTS IS DESIGNED TO BE A RESOURCE FOR PUBLISHERS TO HELP PROMOTE THEIR PROJECTS TO THE PUBLIC. -
2019-09-12-Pk-Fbd-Final.Pdf
PRESS KIT Brussels, September 2019 The 2019 Brussels Comic Strip Festival Brussels is holding its 10th annual Comic Strip Festival from 13 to 15 September 2019 From their beginning at the turn of the previous century, Belgian comics have really become famous the world over. Many illustrators and writers from our country and its capital are well- known beyond our borders. That is reason enough to dedicate a weekend to this rich cultural heritage. Since its debut in 2010, the Brussels Comic Strip Festival has become the main event for comics fans. Young and old, novices and experts, all share a passion for the ninth art and come together each year to participate in the variety of activities on offer. More than 100,000 people and some 300 famous authors gather every year. For this 2019 edition, the essential events are definitely on the schedule: autograph sessions, the Balloon's Day Parade and many more. There's a whole range of activities to delight everyone. Besides the Parc de Bruxelles, le Brussels Comic Strip Festival takes over the prestigious setting of Brussels' Palais des Beaux-Arts, BOZAR. Two places that pair phenomenally well together for the Brussels Comic Strip Festival. Festival-goers will be able to stroll along as they please, enjoying countless activities and novelties on offer wherever they go. From hundreds of autograph signings to premiere cartoon screenings and multiple exhibitions and encounters with professionals, ninth art fans will have plenty to keep them entertained. Finally, the Brussels Comic Strip Festival will award comics prizes: The Atomium Prizes, during a gala evening when no less than €90,000 will be awarded for the best new works from the past year. -
EXHIBITORS Exhibit Hall A3 Located on the Third Floor
EXHIBITORS Exhibit Hall A3 located on the third floor 262 2018 NCTE ANNUAL CONVENTION PROGRAM EXHIBIT HALL HOURS FRIDAY ....... 10:00 A.M.–6:30 P.M. SATURDAY ....... 11:00 A.M.–6:00 P.M. SUNDAY ....... 8:00–11:30 A.M. 442 30-Minute Shakespeare 340 Amplify 16815 Milltown Landing Road 55 Washington Street Brandywine, MD 20613 Brooklyn, NY 11201 www.30minuteshakespeare.com amplify.com Based on his twenty-years of experience as A pioneer in K–12 education since 2000, Amplify a Folger Shakespeare Library teaching artist, is leading the way in next-generation curriculum each of Nick Newlin’s eighteen “30-Minute and formative assessment. All of our programs Shakespeare” books offers several key scenes provide teachers with powerful tools that help from a play, with stage directions, to get them understand and respond to the needs of students up on their feet enjoying Shakespeare their students. through performance. 101 Annick Press 336 Abrams 15 Patricia Avenue 195 Broadway, 9th Floor Toronto, Ontario, Canada M2M 1H9 New York, NY 10007 www.annickpress.com www.abramsbooks.com Annick Press is committed to developing high- Founded in 1949, Abrams was the first US quality books that both entertain and challenge company to specialize in publishing art and young readers—from picture books to cutting- illustrated books. We continue to publish edge teen fiction and informative nonfiction for critically acclaimed art and popular culture all ages. works and children’s books ranging from middle 546 Arc Manor Custom Solutions grade to young adult fiction to picture books to PO Box 10339 board books. -
The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis
University of Alberta Telling Stories About Storytelling: The Metacomics of Alan Moore, Neil Gaiman, and Warren Ellis by Orion Ussner Kidder A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies ©Orion Ussner Kidder Spring 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-60022-1 Our file Notre référence ISBN: 978-0-494-60022-1 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers.