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Street Value for Viagra
GREAT SALE PRICES INSIDE! From the front cover: Brett Halsey: Art or Instinct in Movies NEW TITLES by John B. Murray - $25 Brett Halsey is mainly known for his work in Alfred Hitchcock’s London - $25 spaghetti Westerns and Italian adventure films, Gary Giblin takes film fans on a tour of but also classics like Return of the Fly and Return London locations used in Hitchcock films. to Peyton Place. When one examines Hollywood Whether a world traveler or armchair tour- and European genre movies together, it becomes ist you will enjoy this guided tour. clear that Brett Halsey has fashioned an impres- sive body of work. Forgotten Horrors 4 - $25 by Michael H. Price and John Wooley Classic Cliffhangers: Vol. 2 FH4 picks up where FH3 left off and cov- by Hank Davis - $25 ers the years 1947 and 1948. Titles include Volume 2 also allows us to examine titles made series such as Jungle Jim, the Falcon and during the Golden Era. Beginning in 1941, our Philo Vance, etc. $25 coverage includes serial gems like The Adven- tures of Captain Marvel, The Perils of Nyoka, Good Movies: Bad Timing - $25 Spy Smasher. Secret Service in Darkest Africa, Author Nicholas Anez examines films that and The Crimson Ghost—1941-1955 displays were considered box office duds but upon some of the finest actors, stuntmen and directors reevaluation prove to be decent films. In- to grace the screen. cludes James Bond and Tarzan, Hollywood’s Top Dogs Mantan the Funnyman - $35 by Deborah Painter - $25 by Michael H. Price [Includes a CD] The dog hero has existed in motion pictures for A biography of the great Mantan Moreland, over 100 years. -
CABAEL, FELIPE, 73, of Mililani, Died Feb. 17, 2008
CABAEL, FELIPE, 73, of Mililani, died Feb. 17, 2008. Born in Kahuku. Computer electrical technician; U.S. Marine Corps master sergeant; lifetime member of the Disabled Veterans of America. Survived by sons, Laird and Mike; daughters, Cydonie, Jennifer Cabael-Erickson and Debbie Cabael-Smith; brothers, Ernesto and Alfredo; sister, Lolita Camit; grandchildren; great- grandchildren. Visitation 9 to 10 a.m. Tuesday at Hawaiian Memorial Park Mortuary; service 10 a.m.; burial 2 p.m. at Hawai'i State Veterans Cemetery. Aloha attire. Flag indicates service in the U.S. armed forces. [Honolulu Advertiser 7 March 2008] CABAG, MERCEDES T. MAHIN ABELLA, 91, of Pearl City, died Nov. 20, 2008. Born in ‗Ewa. Retired from Waipahu High School and Pearlridge Hospital. Survived by daughters, Edna Lagon and Laura Hood; son, Peter Mahin; nine grandchildren; 16 great-grandchildren; eight great-great-grandchildren. Visitation 9 a.m. Thursday at Our Lady of Good Counsel Catholic Church; Mass 10 a.m. Burial 1:30 p.m. at Mililani memorial Park. Lei welcome. Casual attire. Arrangements by Mililani Memorial Park & Mortuary. Flag indicates service in the U.S. armed forces. [Honolulu Advertiser 8 December 2008] Cabalar, Marcelino Cachola Sr., Feb. 1, 2008 Marcelino Cachola Cabalar Sr., 85, of Kapolei, a retired Ameron HCD spinner pipe operator, died in Hawaii Medical Center West. He was born in Ilocos Norte, Philippines. He is survived by children Estrellita Soria and Eddie and Marcelino C. "Masa" Cabalar Jr., Estrella C. Tavares and Edwina P. Sedeno; 17 grandchildren; and 20 great-grandchildren. Services: 10 a.m. Tuesday at Mililani Mortuary-Waipio, makai chapel. -
Coming Events
THE STYRENE SHEET VOL. 43, No.10 WWW.SVSM.ORG October 2009 A Publication of the Silicon Valley Scale Modelers, A chartered Chapter of International Plastic Modeler’s Society, USA branch. Editor’s Ravings – this month’s editor, Mick Burton Scary is as scary does. How eerily coincident that the latest issue of the IPMS/USA Journal showed up this week in my home mail, with lead editorial by Styrene Sheet Alumnus Chris Bucholtz including material which now informs my own effort here! Chris reflects on reasons not entirely obvious to many looking solely on as consumers of the Journal, as to why coverage of the recent USA Nationals in Columbus was not the main thrust of this Journal issue which does follow about two months after event occurred. Time and energy management dealing with the sheer volume of finished yet actually raw material. With a desire to produce a product of coverage at least equal in quality to that of the items in focus (namely the very lovely works in miniature and competition) Being delivered by folks who have far too much going on in their lives yet do this work too. Having been one of the crew members in the Judging and the Photography teams thus a witness to the truly monumental shoe horning of much quality effort into a tiny amount of time to deliver results, I know first hand what he was writing about. This month’s Sheet was on my responsibility roster when I left for Columbus. Seemed at the time a far away and far easier effort than it ended up, a reminder of how quickly many ever so small projects can suddenly add up to massive time/energy monsters hungry for more of both when you no longer have a bit of either to spare. -
“The Bride of Frankenstein” (1935) by Dr
Short Review: “The Bride of Frankenstein” (1935) by Dr. John L. Flynn Bride of Frankenstein, The (1935). Universal, b/w, 80 min. Director: James Whale. Producer: Carl Laemmle. Screenwriters: John Balderston and Willim Hurlbut. Cast: Boris Karloff, Colin Clive, Elsa Lanchester, Ernest Thesiger, Valerie Hobson, and Dwight Frye. The first of many Universal sequels following Whale’s classic, this was one of the few sequels that was actually superior to the original. After a brief prologue that pays homage to Mary and Percy Shelley, Lord Byron and their writing competition that inspired Frankenstein, the film picks up right where the original ended, with the monster (Karloff) dying in fire. But the monster did not die, and is soon out terrorizing the locals again. Dr. Praetorius (Thesiger) and his demented assistant Karl (Frye) pay Frankenstein (Clive) a visit, and soon the three are at work on a new creature (Lanchester). Not long after his “bride” is brought to life, the monster drops in to claim her, but she only has eyes for Frankenstein. Angered, the monster blows up the laboratory, and the usual conflagration consumes them all. “Bride” was clearly the most stylishly mounted production of the 1930's, and represents a high-water mark of the Golden Age of the American Horror Film. But it should be noted that the film title is really a misnomer and has contributed much to the confusion of the mad doctor's name with the monster. The title should have been "The Bride of the Monster of Frankenstein." Oh, well. Followed four years later by “Son of Frankenstein.” Copyright 2016 by John L. -
BEHP 0719 T RENÉE GLYNNE Transcript British Entertainment History Project – Interview No
BEHP 0719 T RENÉE GLYNNE Transcript British Entertainment History Project – Interview No. 719 26th January 2018 INTERVIEWEE – RENÉE ALMA GLYNNE INTERVIEWER – DARROL BLAKE Transcriber – Linda Hall-Shaw DARROL BLAKE: So, can you tell me your name and where you were born and when. RENÉE GLYNNE: I am Renée Alma Glynne, nee Renée Galler. I was born in Hackney in 1926 which was the year of The General Strike, of very nice parents, whose parents were living in Russia at the time of the pogroms and left in, say, 1890, something like that. Went from there, accidentally, to New York – I think they were meant to come here. They stayed in New York and then they did come to London and respectively had my parents. So sometimes I think I am Russian, but I grew up absolutely being an English child with no foreign languages around me or anything foreign. (TIME 01.09) DARROL BLAKE: And where was that? RENÉE GLYNNE: It began … I was born in Hackney overlooking Victoria Park. Very beautiful. Went down the drain later and is now up the drain. DARROL BLAKE: Did you have any ambitions when you were a young girl? Did you always want to go into the film business? RENÉE GLYNNE: Entertainment business, behind stage. I really wanted to be, probably, in the wardrobe of theatre or an ASM [Assistant Stage Manager]. And I knew that it was going to be theatre and I hadn’t really … I went to cinemas and saw films, but I never yearned to do movies. DARROL BLAKE: Was that in your family at all? (TIME 02.00) RENÉE GLYNNE: My two uncles were in very well-known bands. -
Marquetry on Drawer-Model Marionette Duo-Art
Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number -
Sunday Morning Grid 10/22/17 Latimes.Com/Tv Times
SUNDAY MORNING GRID 10/22/17 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) The NFL Today (N) Å Football Carolina Panthers at Chicago Bears. (N) 4 NBC Today in L.A. Weekend Meet the Press (N) (TVG) Figure Skating ISU Grand Prix: Rostelecom Cup. F1 Countdown (N) Å Formula 1 Racing 5 CW KTLA 5 Morning News at 7 (N) Å KTLA News at 9 In Touch Paid Program 7 ABC News This Week News News Jack Hanna Ocean Sea Rescue Wildlife 9 KCAL KCAL 9 News Sunday (N) Joel Osteen Schuller Mike Webb Paid Program REAL-Diego Paid 11 FOX Fox News Sunday FOX NFL Kickoff (N) FOX NFL Sunday (N) Football Arizona Cardinals vs Los Angeles Rams. (N) Å 13 MyNet Paid Matter Fred Jordan Paid Program 18 KSCI Paid Program Paid Program 22 KWHY Paid Program Paid Program 24 KVCR Paint With Painting Joy of Paint Wyland’s Paint This Oil Painting Milk Street Mexican Cooking Jazzy Julia Child Chefs Life 28 KCET 1001 Nights 1001 Nights Mixed Nutz Edisons Biz Kid$ Biz Kid$ Frank Sinatra: The Voice of Our Time Burt Bacharach’s Best 30 ION Jeremiah Youseff In Touch Law Order: CI Law Order: CI Law Order: CI Law Order: CI 34 KMEX Conexión Paid Program Fútbol Fútbol Mexicano Primera División (N) República Deportiva 40 KTBN James Win Walk Prince Carpenter Jesse In Touch PowerPoint It Is Written Jeffress K. -
American International Pictures Retrospective at the Museum of Modern Art
The Museum of Modern Art 50th Anniversary •JO NO. 47 FOR IMMEDIATE RELEASE AMERICAN INTERNATIONAL PICTURES RETROSPECTIVE AT THE MUSEUM OF MODERN ART The Department of Film of The Museum of Modern Art will present a retrospective exhibition of films from American International Pictures beginning July 26 and running through August 28, 1979. The 38 film retrospective, which coincides with the studio's 25th anniversary, was selected from the company's total production of more than 500 films, by Adrienne Mancia, Curator, and Larry Kardish, Associate Curator, of the Museum's Department of Film. The films, many in new 35mm prints, will be screened in the Museum's Roy and Niuta Titus Auditorium and, concurrent with the retro spective, a special installation of related film stills and posters will be on view in the adjacent Auditorium Gallery. "It's extraordinary to see how many filmmakers, writers and actors — now often referred to as 'the New Hollywood'—took their first creative steps at American International," commented Adrienne Mancia. "AIP was a good training ground; you had to work quickly and economically. Low budgets can force you to find fresh resources. There is a vitality and energy to these feisty films that capture a certain very American quality. I think these films are rich in information about our popular culture and we are delighted to have an opportunity to screen them." (more) II West 53 Street, New York, NY. 10019, 212-956-6100 Coble: Modernart NO. 47 Page 2 Represented in the retrospective are Martin Scorsese, Francis Ford Coppola, Woody Allen, Jack Nicholson, Annette Funicello, Peter Fonda, Richard Dreyfuss, Roger Corman, Ralph Bakshi, Brian De Palma, John Milius, Larry Cohen, Michael Schultz, Dennis Hopper, Michelle Phillips, Robert De Niro, Bruce Dern, Michael Landon, Charles Bronson, Mike Curb, Richard Rush, Tom Laughlin, Cher, Richard Pryor, and Christopher Jones. -
Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman. -
Female Empowerment in Little Red Riding Hood
TRACING DESIRE: FEMALE EMPOWERMENT IN LITTLE RED RIDING HOOD MICHAELA WEGMAN I identified with Little Red . I admitted to myself that I have felt hunted just like Little Red was by the wolf. —Laura Evans, “Little Red Riding Hood Bites Back” When we think of Little Red Riding Hood, we think of an innocent little girl skipping through the forest as she gathers flowers on her way to grandmother’s house. She is always followed by the Big Bad Wolf as he desires to make her his next meal. We tend to consider this a cautionary tale for children; few of us would examine it for sexual overtones, let alone think about Little Red Riding Hood as a temptress with sexual desires. But in many versions of this tale, Little Red is a feminine, empowered, and heroic character. Our precious Little Red Riding Hood has had a long journey through folklore and literature. She begins in oral traditions not with an iconic red riding hood, but as a plainly clothed little girl ready to take on the dangers of the forest. In all versions, regardless of her attire, Little Red sets out from her home and encounters the wolf. This encounter leads her to a rite of passage, a transformation from an innocent little girl to a woman. The tale warns young girls of the danger that lies out in the world, represented as the wolf. The wolf becomes a symbol of the lust of men and the danger he presents to young women. He threatens their virginity by tempting women to embrace their sexual desires. -
Monster Squad
The Monster Squad by Alek J. Talevich (Based on the 1987 original film) Working Draft Daschwah LABS Bellingham, WA (626) 590-4765 FADE IN EXT. SEATONVILLE HARBOR - NIGHT The brackish waters of a modest commercial marina, with rows of contract fishing and cargo trawlers hugging the concrete strip of the waterfront and warehouse blocks. Fog hangs low over the water. All's quiet on the night watch, save for the dinging of buoys and slow churn of the tides. INT. HARBORMASTER'S OFFICE The cluttered office of the Harbormaster, manned by a single operator: a night watchman in his late fifties. Hokey nautical memorabilia hugs the walls, a coffee pot brews, and the watchman reads from a dog-eared paperback while seated before several security monitors. NIGHT WATCHMAN (singsong) My father's a poor missionary… he saves pretty women from sin… The silhouette of a man moves across the monitors, unnoticed by the sentry; pacing from one screen to the next, along the perimeter fence. NIGHT WATCHMAN (still singing) … he'll save you a blonde for five dollars… Lord, how the money rolls in. The sentry flips a page, not noticing as the intruder nonchalantly LEAPS over the twelve-foot high fence without missing a step, vanishing from the security cameras' view. CUT TO: 2. EXT. SEATONVILLE HARBOR Leather dress shoes touch down on the corrugated steel roof of a warehouse, as the intruder is revealed: CHARLES RUEGER, somewhere in his forties, bespectacled, his expression haunted. Dressed in a threadbare overcoat and the dirty, ripped trappings of what was once a three-piece suit underneath. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.