El Chavo Del 8 En La Niñez, Educación Y Sociedad Latinoamericana Resonancias De El Chavo Del 8 En La Niñez, Educación Y Sociedad Latinoamericana / Victoria Parra

Total Page:16

File Type:pdf, Size:1020Kb

El Chavo Del 8 En La Niñez, Educación Y Sociedad Latinoamericana Resonancias De El Chavo Del 8 En La Niñez, Educación Y Sociedad Latinoamericana / Victoria Parra Resonancias de El Chavo del 8 en la niñez, educación y sociedad latinoamericana Resonancias de El Chavo del 8 en la niñez, educación y sociedad latinoamericana / Victoria Parra . [et al.] - Ciudad Autónoma de Buenos Aires : CLACSO, 2020. Libro digital, PDF Archivo Digital: descarga y online ISBN 978-987-722-620-1 1. Niñez. 2. Sociedades. I. Parra, Victoria. II. Friedrich, Daniel, ed. III. Colmenares, Erica Eva, ed. CDD 301.072 Otros descriptores asignados por CLACSO: Cultura Popular / Televisión / Estudios Culturales / Audiencias / Infancias / Espectáculos / Imaginarios / Novela / México / América Latina Corrección: Facundo Gómez Diseño interior: María Clara Diez Diseño de tapa: Pablo Amadeo Resonancias de El Chavo del 8 en la niñez, educación y sociedad latinoamericana Daniel Friedrich y Erica Colmenares (Eds. científicos) CLACSO Secretaría Ejecutiva Karina Batthyány - Secretaria Ejecutiva Nicolás Arata - Director de Formación y Producción Editorial Equipo Editorial María Fernanda Pampín - Directora Adjunta de Publicaciones Lucas Sablich - Coordinador Editorial María Leguizamón - Gestión Editorial Nicolás Sticotti - Fondo Editorial Resonancias de El Chavo del Ocho en la niñez, educación y sociedad latinoamericana (Buenos Aires: CLACSO, junio de 2020). LIBRERÍA LATINOAMERICANA Y CARIBEÑA DE CIENCIAS SOCIALES CONOCIMIENTO ABIERTO, CONOCIMIENTO LIBRE Los libros de CLACSO pueden descargarse libremente en formato digital o adquirirse en versión impresa desde cualquier lugar del mundo ingresando a www.clacso.org.ar/libreria-latinoamericana ISBN 978-987-722-620-1 Libro originalmente publicado con el título Resonances of El Chavo del Ocho in Latin American Childhood, School- ing, and Societies, 2017 (New York: Bloomsbury Press). © Consejo Latinoamericano de Ciencias Sociales | Queda hecho el depósito que establece la Ley 11723. No se permite la reproducción total o parcial de este libro, ni su almacenamiento en un sistema informático, ni su transmisión en cualquier forma o por cualquier medio electrónico, mecánico, fotocopia u otros métodos, sin el permiso previo del editor. La responsabilidad por las opiniones expresadas en los libros, artículos, estudios y otras colaboraciones incumbe exclusiva- mente a los autores firmantes, y su publicación no necesariamente refleja los puntos de vista de la Secretaría Ejecutiva de CLACSO. CLACSO Consejo Latinoamericano de Ciencias Sociales - Conselho Latino-americano de Ciências Sociais Estados Unidos 1168 | C1023AAB Ciudad de Buenos Aires | Argentina Tel [54 11] 4304 9145 | Fax [54 11] 4305 0875 | <[email protected]> | <www.clacso.org> Patrocinado por la Agencia Sueca de Desarrollo Internacional Índice Introducción ............................................................................................................................9 Daniel Friedrich y Erica Colmenares ¿Qué fue El Chavo del 8? .............................................................................................. 12 El Chavo como rizoma ................................................................................................ 17 ¿Cómo opera este libro? .............................................................................................22 Meseta I: Encuentros entre El Chavo y la niñez y escuela latinoamericanas ..........................................................................................................23 Meseta II: Encuentros entre El Chavo y sociedades y artefactos culturales latinoamericanos ....................................................................................24 Meseta III: Encuentros mediáticos mediados por El Chavo .......................26 Conclusión .......................................................................................................................27 Escuela, imaginarios pedagógicos e infancias latinoamericanas en El Chavo del 8 .....................................................................................................................................31 Nicolás Arata y Daniel Friedrich Esa vieja vaca sagrada ................................................................................................34 Un día en la escuela del Chavo ................................................................................36 Ecos, resonancias y espectros escolares ..............................................................48 Concepciones de niñez en la vecindad ........................................................................ 51 Victoria Parra Introducción ................................................................................................................... 51 Elenco ................................................................................................................................53 Escena uno: Imaginado la niñez desde la adultez...........................................55 Escena dos: Infancias en la vecindad del Chavo ..............................................59 Escena tres: Los niños y niñas como audiencia ...............................................66 Escena final .....................................................................................................................69 Escenas borradas .......................................................................................................... 71 “¡Aquí viene el Chavo del 8! Todo el mundo mirando la televisión”... ............75 Pensando la diferencia y la alteridad, la niñez y la educación .........................75 Ana Paula Marques de Carvalho y Rita de Cássia Prazeres Frangella El Chavo del 8 en los flujos culturales: imágenes culturales de la infancia .............................................................................................................................78 Actuando fuera de la infancia: casi lo mismo, pero no del todo ...............82 “Eso, eso, eso…” o ni esto ni lo otro: un pensamiento impredeci- ble sobre la infancia, la educación y el currículo ............................................88 De la novela picaresca a El Chavo del 8 ..............................................................................97 Carlos Aguasaco El nombre y su origen .............................................................................................. 100 Maestros, escuela, trabajo infantil y maltrato físico ...................................105 En conclusión ............................................................................................................. 114 Chespirito cruza fronteras: Encuentro entre El Chavo del 8 y Pepito en el exilio ............................................................................................................................. 119 Limarys Caraballo Humor e identidades en contextos transculturales ..................................... 121 Chespirito y Pepito como íconos culturales ....................................................123 Chespirito: entretenimiento y comentarios sociales en América Latina ...............................................................................................................................124 Pepito: humor y sarcasmo en la revolución y el exilio ................................126 Una investigación narrativa ..................................................................................128 Chespirito y Pepito a través de las fronteras culturales y nacionales ..130 Cuento de nostalgia, inocencia y buena voluntad ........................................132 Juegos de palabras y política ..................................................................................136 Clase social y pobreza ...............................................................................................138 Y ahora, ¿quién podrá defenderme?: cruzando fronteras .........................142 El Chavo del 8 como un “público íntimo” en Venezuela: ¿qué pasó con la Buena Vida? .............................................................................................................149 Erica Colmenares El auge de las políticas de liberalización económica en América Latina y la precariedad que las acompañó ...................................................... 153 Auge y caída del excepcionalismo venezolano .............................................. 155 El Chavo del 8 como sitio de identificación: escenas de crisis de la ordinariedad .................................................................................................................157 El Chavo del 8 como sitio de (falso) reconocimiento: apegos (crue- les) a las nociones de “Buena Vida” en tiempos precarios ........................ 160 El Chavo del 8 como sitio de experimentación y de forjamiento de nuevas formas de ajuste.....................................................................................164 Conclusión: ¿y ahora qué? .......................................................................................167 Problematizando las figuras de Estado, sociedad y sujeto educativo en la televisión de Chespirito ........................................................................................ 171 Ernesto Treviño Ronzón Presentación: problematizar lo común ............................................................. 171 Contextos de emergencia de la TV de Chespirito ..........................................175 Diseminación, interpelación y reinterpelaciones de Chespirito ............177 Atravesar la fantasía ..................................................................................................183 Producción cotidiana del Estado en tiempos de la TV familiar
Recommended publications
  • Chespirito" Surge De La Imaginación Del Director De Cine Sr
    El pasado 28 de noviembre de 2014 diferentes agencias de noticias de Latinoamérica y el mundo daban la noticia del fallecimiento del Sr. Roberto Gómez Bolaños a la edad de 85 años. La novedad llegaba a los oídos de millones de personas en todo el mundo causando un profundo dolor y tristeza. Actor, comediante, dramaturgo, escritor, guionista, compositor, director y productor de televisión, Gómez Bolaños fue muy bueno en todo lo que hizo. Su carrera fue iniciada como creador de publicidad en la década de los años cincuenta y fue esto que lo motivó a adentrarse en el mundo de la radio y la televisión. Fue un destacado guionista de películas y programas de la televisión mexicana. Su nombre profesional "Chespirito" surge de la imaginación del director de cine Sr. Agustín P. Delgado quien lo asemejaba con Shakespeare al escribir sus historias, además de la utilización de nombre de personajes con el sonido "Ch" y también su estatura, de ahí el diminutivo. A finales de la década de los sesenta la televisión Independiente de México le da la oportunidad de crear su propio programa, pues dos años antes había comenzado a escribir el guión de los programas de mayor audiencia de la televisora. Esta oportunidad hizo posible el comienzo de su carrera como actor. Chapulín Colorado y El Chavo fueron los dos personajes que marcaron su vida. En declaraciones a la prensa, Chespirito contaba haber conocido un limpiabotas al que después de haberle dado buena propina, salió corriendo a comprar una torta y en su prisa dejo un cuaderno desgastado que contenía en esencia lo que era su diario, éste fue el texto que dio inspiración a la creación de la serie televisiva más popular de todo México "El Chavo del 8".
    [Show full text]
  • UNIVERSIDADE FEDERAL DE UBERLÂNDIA Wilson Filho Ribeiro De Almeida a RISADA É UM TRIUNFO DO CÉREBRO
    UNIVERSIDADE FEDERAL DE UBERLÂNDIA Wilson Filho Ribeiro de Almeida A RISADA É UM TRIUNFO DO CÉREBRO Aspectos cômicos, filosóficos e literários de El Chavo e El Chapulín Colorado UBERLÂNDIA 2020 Wilson Filho Ribeiro de Almeida A RISADA É UM TRIUNFO DO CÉREBRO Aspectos cômicos, filosóficos e literários de El Chavo e El Chapulín Colorado Tese de Doutorado apresentada ao Programa de Pós-Graduação em Estudos Literários, da Universidade Federal de Uberlândia, como parte dos requisitos para obtenção do título de Doutor em Letras – Estudos Literários. Área de concentração: Estudos Literários Linha de pesquisa: Linha 3 – Literatura, Outras Artes e Mídias Orientador: Prof. Dr. Ivan Marcos Ribeiro UBERLÂNDIA 2020 Ficha Catalográfica Online do Sistema de Bibliotecas da UFU com dados informados pelo(a) próprio(a) autor(a). A447 Almeida, Wilson Filho Ribeiro de, 1985- 2020 A risada é um triunfo do cérebro [recurso eletrônico] : aspectos cômicos, filosóficos e literários de El Chavo e El Chapulín Colorado / Wilson Filho Ribeiro de Almeida. - 2020. Orientador: Ivan Marcos Ribeiro. Tese (Doutorado) - Universidade Federal de Uberlândia, Pós-graduação em Estudos Literários. Modo de acesso: Internet. Disponível em: http://doi.org/10.14393/ufu.te.2020.613 Inclui bibliografia. Inclui ilustrações. 1. Literatura. I. Ribeiro, Ivan Marcos,1975-, (Orient.). II. Universidade Federal de Uberlândia. Pós- graduação em Estudos Literários. III. Título. CDU: 82 Bibliotecários responsáveis pela estrutura de acordo com o AACR2: Gizele Cristine Nunes do Couto - CRB6/2091 Wilson Filho Ribeiro de Almeida A RISADA É UM TRIUNFO DO CÉREBRO Aspectos cômicos, filosóficos e literários de El Chavo e El Chapulín Colorado Tese de Doutorado apresentada ao Programa de Pós-Graduação em Estudos Literários, da Universidade Federal de Uberlândia, como parte dos requisitos para obtenção do título de Doutor em Letras – Estudos Literários.
    [Show full text]
  • De La Novela Picaresca a El Chavo Del 8
    City University of New York (CUNY) CUNY Academic Works Publications and Research City College of New York 2020 De la novela picaresca a El Chavo del 8 Carlos Aguasaco CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_pubs/810 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] De la novela picaresca a El Chavo del 8 Carlos Aguasaco La novela picaresca retrata el desarrollo y la consolidación del capita- lismo urbano en sociedades europeas y latinoamericanas. Narrada en primera persona y centrada en un nuevo tipo de subjetividad emergen- te, como un correlato de nuevas formas de producción, creó una nueva tipología textual similar a lo que ahora conocemos como autobiografía. Conceptos como el derecho a la propiedad privada, a formarse y expre- sar una opinión personal, a buscar la movilidad social, que ahora se con- sideran naturales o normales en las sociedades occidentales de nues- tros días, fueron muy novedosos para muchas personas en el siglo XVI. Desde su primera aparición, manifestada en El lazarillo de Tormes (1554), la novela picaresca se convirtió en la principal representación de un mundo cambiante que se había alejado de las relaciones de producción de tipo feudal y se movía hacia relaciones de producción y consumo de tipo capitalista, que acarreaban evidentes consecuencias ideológicas y estructurales como la posibilidad de alcanzar la movilidad social con base en la acumulación de capital y, eventualmente, el establecimiento de formas democráticas y representativas de gobierno.
    [Show full text]
  • The Mexican Film Bulletin Special Issue: Summer 2020
    THE MEXICAN FILM BULLETIN SUMMER 2020 ISSUE TThhee MMeexxiiccaann FF iillmm BBuulllleettiinn SSppeecciiaall IIssssuuee:: SS uummmmeerr 22002200 We're Back! (Sort Of) years of age. Óscar Chávez Fernández was born in Although at this point we're not ready to resume March 1935 in Mexico City. Chávez became "regular" publication, there will hopefully be two interested in acting, studying with Seki Sano and at the special issues of MFB in 2020, one in the summer and Instituto de Bellas Artes school. He also worked in our annual "Halloween Issue" at the end of October. radio, sang, and directed plays before making his Sadly, a number of film personnel have passed screen debut in Los away since our last issue (December 2019) and so we caifanes (1966). have a lot of obituaries this time. A number of these Chávez subsequently individuals are from a certain "generation" who began appeared in a number their film work in the 1960s or early 1970s-- Jaime of popular films, Humberto Hermosillo, Gabriel Retes, Pilar Pellicer, including the remake Aarón Hernán, Óscar Chávez, Héctor Ortega--and thus of Santa, but spent made films that are particularly well-remembered by much of his time on those of a certain age (like yours truly). [It also means music, along with that two or more of these people often worked on the political and social same film, as some of the reviews in this issue activism. In the mid- illustrate.] 1970s he was among The COVID-19 pandemic has strongly affected film the actors who formed the Sindicato de Actores and other entertainment industries.
    [Show full text]
  • Aguasaco, Carlos. ¡No Contaban Con Mi Astucia! México: Parodia Y Sujeto En La Serie De El Chapulín Colorado
    Aguasaco, Carlos. ¡No contaban con mi astucia! México: Parodia y sujeto en la serie de El Chapulín Colorado. México D.F.: Universidad Autónoma de Nuevo León, 2014. Print. 257 pp. ___________________________________________________ JOHN SINCLAIR UNIVERSITY OF MELBOURNE El Chapulín Colorado (The Red Grasshopper) was a long-running and internationally popular television series from Mexico in the 1970s. The lead character was played by the late Roberto Gómez Bolaños, otherwise known as Chespirito, who also wrote and directed the series. With his world-weary face, home-made costume, and hopeless incompetence, performing on over lit, stagey sets (albeit with occasional special effects), the eponymous anti-hero El Chapulín Colorado (hereafter CH, the logo on the character’s chest) was an extravagantly obvious parody of the super- hero genre, played out in a “Third World” setting. Symptomatic is the catch phrase that gives this book its title, “No contaban con mi astucia” (They didn’t count on my slyness) cried every time he avoids disaster or overcomes his enemies, which is only ever by bumbling luck rather than design. All this would be familiar to the very many Latin Americans, U.S. Latinos, and even Spanish who have seen El Chapulín Colorado on television in their countries over the last few decades. For anyone else, the author provides all the necessary contextual background, and more, including an account of how Gómez Bolaños came to develop the character, though not before he has laid out an elaborate theoretical infrastructure for the subsequent analysis. In what he calls Latin America’s “Jurassic Park of ideologies” (28), Aguasaco takes up an Althusserian approach, as inflected by writers such as Ernesto Laclau, but more markedly, by Juan Carlos Rodríguez, a sometime collaborator of Louis Althusser.
    [Show full text]
  • Bringing Latin America to Life with Films in the Classroom Harry E
    Social Education 71(4), pp 177–181 ©2007 National Council for the Social Studies Bringing Latin America to Life with Films in the Classroom Harry E. Vanden Mark Twain often observed that we, Americans, are not too aware of other and cuts from the City of God (Cidade cultures. A war critic, he reserved some of his best barbs for American ignorance de Deus) the first day. The former is a of foreign languages and cultures and the imperial endeavors of his day. Upon brilliant Chilean-made short that I hap- returning from traveling in Europe, he wrote, in The Innocents Abroad, “In Paris pened upon in the Museum of Modern they just simply opened their eyes and stared when we spoke to them in French! Art on a visit to New York. It skillfully We never did succeed in making those idiots understand their own language.” examines the reduction of modern life Twain was especially critical of U.S. imperial involvement in the Philippines and to the smallest unit—the silicon micro- attempts to suppress the Philippine Insurrection, writing in A Pen Warmed Up chip and the reduction of Chile’s old in Hell, “I am an anti-imperialist. I am opposed to having the eagle put its talons growth forests to one more exportable on any other land.” 1 commodity—the wood chip. These two “chips” are gracefully tied to the external One would hope that we as educa- such as Like Water for Chocolate or exploitation (the first chip is strongly tors could provide our students with (Pancho) Villa, the Latin American real- associated with Japan’s modernization a better understanding of other coun- ity would spring into their consciousness and the second fuels that country’s insa- tries and cultures than was the case and give them a means of connecting to tiable appetite for more wood-based when Mark Twain was pricking the a little known reality.
    [Show full text]
  • DOCUMENT RESUME Immigration and Ethnic Communities
    DOCUMENT RESUME ED 413 156 RC 021 296 AUTHOR Rochin, Refugio I., Ed. TITLE Immigration and Ethnic Communities: A Focus on Latinos. INSTITUTION Michigan State Univ., East Lansing. Julian Samora Research Inst. ISBN ISBN-0-9650557-0-1 PUB DATE 1996-03-00 NOTE 139p.; Based on a conference held at the Julian Samora Research Institute (East Lansing, MI, April 28, 1995). For selected individual papers, see RC 021 297-301. PUB TYPE Books (010)-- Collected Works General (020) -- Information Analyses (070) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS *Demography; Elementary Secondary Education; Employment; Ethnic Bias; Hispanic Americans; *Immigrants; Immigration; *Labor Force; Mexican American Education; *Mexican Americans; Mexicans; Migrant Workers; Politics of Education; *Socioeconomic Status; Undocumented Immigrants IDENTIFIERS California; *Latinos; *Proposition 187 (California 1994); United States (Midwest) ABSTRACT For over a decade, Latino immigrants, especially those of Mexican origin, have been at the heart of the immigration debate and have borne the brunt of conservative populism. Contributing factors to the public reaction to immigrants in general and Latinos specifically include the sheer size of recent immigration, the increasing prevalence of Latinos in the work force, and the geographic concentration of Latinos in certain areas of the country. Based on a conference held at the Julian Samora Institute(Michigan) in April 1995, this book is organized around two main themes. The first discusses patterns of immigration and describes several immigrant communities in the United States; the second looks in depth at immigration issues, including economic impacts, employment, and provision of education and other services to immigrants. Papers and commentaries are: (1) "Introductory Statement" (Steven J.
    [Show full text]
  • A Qualitative Analysis of the Social and Cultural Contexts That Shape Screen Time Use in Latino Families Living on the U.S.-Mexico Border
    University of Texas Rio Grande Valley ScholarWorks @ UTRGV Health and Biomedical Sciences Faculty Publications and Presentations College of Health Professions 2-22-2020 A qualitative analysis of the social and cultural contexts that shape screen time use in Latino families living on the U.S.-Mexico border Cristina S. Barroso University of Tennessee Andrew E. Springer Christopher Ledingham The University of Texas Rio Grande Valley Steven H. Kelder Follow this and additional works at: https://scholarworks.utrgv.edu/hbs_fac Part of the Mental and Social Health Commons Recommended Citation Barroso, Cristina S., Andrew E. Springer, Christopher M. Ledingham, and Steven H. Kelder. 2020. “A Qualitative Analysis of the Social and Cultural Contexts That Shape Screen Time Use in Latino Families Living on the U.S.-Mexico Border.” International Journal of Qualitative Studies on Health and Well-Being 15 (1): 1735766. https://doi.org/10.1080/17482631.2020.1735766. This Article is brought to you for free and open access by the College of Health Professions at ScholarWorks @ UTRGV. It has been accepted for inclusion in Health and Biomedical Sciences Faculty Publications and Presentations by an authorized administrator of ScholarWorks @ UTRGV. For more information, please contact [email protected], [email protected]. INTERNATIONAL JOURNAL OF QUALITATIVE STUDIES ON HEALTH AND WELL-BEING 2020, VOL. 15, 1735766 https://doi.org/10.1080/17482631.2020.1735766 A qualitative analysis of the social and cultural contexts that shape screen time use in Latino families living on the U.S.-Mexico border Cristina S. Barroso a, Andrew E. Springerb, Christopher M. Ledinghamc and Steven H.
    [Show full text]
  • 12-08-HR Haldeman
    Richard Nixon Presidential Library Contested Materials Collection Folder List Box Number Folder Number Document Date No Date Subject Document Type Document Description 12 8 7/21/1971Domestic Policy Memo From Deborah Sloan to Henry Cashen. RE: List of celebrities invited to the White House during the Nixon Administration. 14 pgs. 12 8 10/25/1971Domestic Policy Memo From Gordon Strachan to Haldeman. RE: Campaign strategy to utilize celebrities to help Nixon attain re-election on November 7, 1972. 1 pg. 12 8 10/20/1971Domestic Policy Memo From Haldeman to Fred Malek. RE: A scheduled meeting between the Attorney General and a group of entertainment industry leaders, in order to attain the names of celebrities who will be helpful in the campaign. 1 pg. 12 8 10/18/1971Domestic Policy Memo From Jeb Magruder to the Attorney General. RE: The use of celebrities as a means to maximize support for Nixon's campaign. 3 pgs. Monday, December 13, 2010 Page 1 of 7 Box Number Folder Number Document Date No Date Subject Document Type Document Description 12 8 10/12/1971Economy Memo From Charles Colson to Haldeman. RE: The limitations faced by the Nixon Administration concerning the aid of celebrities, and the solution being "active recruiting by a leading celebrity." 1 pg. 12 8 10/11/1971Domestic Policy Memo From Henry Cashen II to Charles Colson. RE: Progress made in attaining celebrity endorsements such as athletes; however, a lack of White House functions has limited actors and entertainers from participating. 3 pgs. 12 8 8/12/1971Domestic Policy Memo From Henry Cashen II to Donald Rumsfeld.
    [Show full text]
  • Productor No Identificado 2-2009R
    Código Titulo Interprete 1887 I AM NOT IN LOVE 10 CC 90447 CANDY EVERYBODY 10,000 MANIACS 114056 DON T TALK 10,000 MANIACS 110619 BICICLETAS 11 Y 20 100752 LA ULTIMA CENA 12 DISCIPULOS 83485 QUITATE TU PA PONERME YO 12 DISCIPULOS 114057 CONCIENCIA EN BABYLON 12 TRIBUS 111526 SIMON SAYS 1910 FRUITGUM COMPANY 111529 BROKEN WINGS 2 PAC 105717 CHANGES 2 PAC 101756 GET READY FOR THIS 2 UNLIMITED 93146 NO LIMIT 2 UNLIMITED 64847 MR PERSONALITY 20 FINGERS 81734 YOU ARE LIKE 20 FINGERS 99975 YOU GOTTA LIECK IT 20 FINGERS 81199 CUANTO MAS 20/20 114058 PUEDO VOLAR 20/20 110621 DONT TRUST ME 3 OH 3 113280 STARSTRUKK 3 OH 3 FT KATY PERRY 104573 ATTACK 30 SECONDS TO MARS 103505 FROM YESTERDAY 30 SECONDS TO MARS 114059 KINGS AND QUEENS 30 SECONDS TO MARS 100754 THE KILL 30 SECONDS TO MARS 114060 BACK WHERE YOU BELONG 38 SPECIAL 64848 CAUGHT UP IN YOU 38 SPECIAL 100755 Anything 3T 79883 STUCK ON YOU 3T 110622 DONT YOU LOVE ME 49 ERS 87745 CANDY SHOP 50 CENT 103506 AYO TECHNOLOGY 50 CENT FEAT JUSTIN TIMBERLAKE 101759 A NOCHE 5TA ESTACION 112253 DUELE 5TA ESTACION 114010 ENGAÑAME 5TA ESTACION 114028 MIRADAS 5TA ESTACION 97502 PENSANDO EN TI 5TA ESTACION 109580 QUE TE QUIERA 5TA ESTACION 111104 RECUERDAME 5TA ESTACION 114642 SIN FRENOS 5TA ESTACION 112911 TE QUIERO 5TA ESTACION 102701 ACUARIO 5TH DIMENSION THE 81903 CAMINANDO BAJO EL SOL 5TH DIMENSION THE 58853 LAST NIGHT I DID N GET TO 5TH DIMENSION THE 101765 NUNCA MI AMOR 5TH DIMENSION THE 112365 LINDA PRINCESA 5TO PISO 105725 MIRA COMO VA 5TO PISO 76067 DE NUEVO ABRAZAME 6 DEL VALLENATO LOS 104807 LA
    [Show full text]
  • Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. in Re
    Electronically Filed Docket: 14-CRB-0010-CD/SD (2010-2013) Filing Date: 12/29/2017 03:37:55 PM EST Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. In re DISTRIBUTION OF CABLE ROYALTY FUNDS CONSOLIDATED DOCKET NO. 14-CRB-0010-CD/SD In re (2010-13) DISTRIBUTION OF SATELLITE ROYALTY FUNDS WRITTEN DIRECT STATEMENT REGARDING DISTRIBUTION METHODOLOGIES OF THE MPAA-REPRESENTED PROGRAM SUPPLIERS 2010-2013 CABLE ROYALTY YEARS VOLUME I OF II WRITTEN TESTIMONY AND EXHIBITS Gregory O. Olaniran D.C. Bar No. 455784 Lucy Holmes Plovnick D.C. Bar No. 488752 Alesha M. Dominique D.C. Bar No. 990311 Mitchell Silberberg & Knupp LLP 1818 N Street NW, 8th Floor Washington, DC 20036 (202) 355-7917 (Telephone) (202) 355-7887 (Facsimile) [email protected] [email protected] [email protected] Attorneys for MPAA-Represented Program Suppliers December 29, 2017 Before the COPYRIGHT ROYALTY JUDGES Washington, D.C. In re DISTRIBUTION OF CABLE ROYALTY FUNDS CONSOLIDATED DOCKET NO. 14-CRB-0010-CD/SD In re (2010-13) DISTRIBUTION OF SATELLITE ROYALTY FUNDS WRITTEN DIRECT STATEMENT REGARDING DISTRIBUTION METHODOLOGIES OF MPAA-REPRESENTED PROGRAM SUPPLIERS FOR 2010-2013 CABLE ROYALTY YEARS The Motion Picture Association of America, Inc. (“MPAA”), its member companies and other producers and/or distributors of syndicated series, movies, specials, and non-team sports broadcast by television stations who have agreed to representation by MPAA (“MPAA-represented Program Suppliers”),1 in accordance with the procedural schedule set forth in Appendix A to the December 22, 2017 Order Consolidating Proceedings And Reinstating Case Schedule issued by the Copyright Royalty Judges (“Judges”), hereby submit their Written Direct Statement Regarding Distribution Methodologies (“WDS-D”) for the 2010-2013 cable royalty years2 in the consolidated 1 Lists of MPAA-represented Program Suppliers for each of the cable royalty years at issue in this consolidated proceeding are included as Appendix A to the Written Direct Testimony of Jane Saunders.
    [Show full text]
  • First Notice
    FINAL NOTICE UNCLAIMED FUNDS FROM BANCO POPULAR DE PUERTO RICO & POPULAR INC. The persons whose names appear below, are entitled to claim unclaimed as of June 30, 2021. This report includes amounts Unclaimed funds will be payable by Banco Popular de Puerto from Banco Popular de Puerto Rico and Popular Inc., the with balances of one hundred ($100) dollars or more not Rico and Popular Inc. until November 30th to the persons with amounts corresponding to funds unclaimed or abandoned for published in this notice. A copy of the report including all right to collect them. On December 10, 2021, all unclaimed more than five (5) years. The names that appear in this notice amounts will be available for public inspection in all Popular funds will be delivered to the Office of the Commissioner and are only those of the owners of accounts with balances of less Auto and Banco Popular de Puerto Rico branches. from the date of delivery all responsibility of Banco Popular de than one hundred ($100) dollars. A report has been sent to the Furthermore, it will be available in our website Puerto and Popular Inc. in relation to said funds will cease. Any Office of the Commissioner of Financial Institutions (the “Office www.popular.com. There are no publication fees against the claim after November 30th should be filed through the Office of of the Commissioner”) for Banco Popular de Puerto Rico and funds published in this notice. the Commissioner. Popular Inc., in compliance with applicable laws for amounts DEPOSIT ACCOUNTS ALMODOVAR GARCIA ISRAEL A SAN JUAN
    [Show full text]