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City of Hood River Transportation System Plan, Amended 2021
City of Hood River Transportation System Plan DRAFDRAFT Prepared for Prepared by City of Hood River October 2011 (AMENDED APRIL 2021) Hood River Transportation System Plan Prepared for: City of Hood River Oregon Department of Transportation October 2011 (Amended April 2021 - Figure 5 error correction July 29, 2021) This project was partially funded by a grant from the Transportation Growth Management (TGM) Program, a joint program of the Oregon Department of Transportation, and the Oregon Department of Land Conservation and Development. This TGM grant is financed, in part, by federal Safe, Accountable, Flexible, Efficient Transportation Equity Act: A Legacy for Users (SAFETEA-LU), local government, and State of Oregon Funds. The contents of this document do not necessarily reflect views or policies of the State of Oregon. Page ii Hood River Transportation System Plan Acknowledgements The October 2011 report was prepared through the collective effort of the following people: City of Hood River Cindy Walbridge, Planning Director Kevin Liburdy, Senior Planner Gary Lindemyer, Construction Inspector Oregon Department of Transportation Sonya Kazen, Senior Planner Avi Tayar, PE Development Review Team Leader Kristen Stallman, Scenic Area Coordinator Consultant Team John Bosket, DKS Associates Garth Appanaitis, DKS Associates Kristen Svicarovich, DKS Associates Rory Renfro, Alta Planning + Design Elliot Akwai-Scott, Alta Planning + Design Darci Rudzinski, Angelo Planning Group Shayna Rehberg, Angelo Planning Group Justin Healy, Real Urban Geographics -
Kcfringe2013online.Pdf
WELCOME to FRINGE Welcome to the 9th annual Kansas City Fringe Festival! Thanks to our amazing group of over 200 volunteers we are able to produce the KC Fringe Festival — an eleven day celebration of all things art in Kansas City. The Board of Direc- tor and Committee of Operations includes more than 20 volunteers that work year round to make this Festival happen. All of these volunteers I consider family — the Fringe Family. A growing community that comes together to work, support and promote artists of all genres. Here in KC we host one of the most diverse Fringes in existence. We provide space for ANY artist of ANY genre to present their work — as long as we have room for them! The KC Fringe Festival continues to get bigger and better each year. This year the Festival presents 134 art- ists/groups performing 363 shows along with the Fruck! (That’s the Fringe Art Truck) We have developed a diverse and huge audience that continues to grow each year. KC Fringe has truly become Kansas City’s Premiere Arts Festival and is a key component of Kansas City’s grow- ing reputation as America’s Creative Crossroads. I trust that most of you know that the Fringe is an unjuried, uncensored arts Festival and therefore unpredictable! We pro- vide artists the freedom to explore and experiment, freedom to develop without predetermined outcomes, freedom to chal- lenge assumptions and freedom to take a creative leap that will shape our world in years to come. We thank our Strategic Partners — Samuel Bennett with the William T Kemper Foundation, Commerce Bank, Trustee, RareWire and VML Inc. -
Building Continuing Drama Shows a UK Exchange for Drama Professionals Running Soaps, Telenovelas and Long Running Series
Building Continuing Drama Shows A UK Exchange for Drama Professionals running Soaps, Telenovelas and Long Running Series Soaps are Continuing Dramas and a massive powerhouse for any TV channel in terms of the high viewing figures and engaging returning audience. A specialised programme, which MediaXchange has been running since 2016, addresses the creative process through meetings with your counterparts in the UK. Send the key creative team from your ‘Soap’ to spend time with writers, producers and TV channel executives of leading British Soaps and Continuing Dramas to analyse and explore the writing, long term planning and production process so key to long running success. Add the option for a continuing drama specialist to visit your full writing team at your home base to workshop on story planning and strategies for improving collaboration. Rationale We appreciate the challenges, faced by the studio and channel executives, the producers and writers, in maintaining the number of episodes and high rating storylines when working with year round series which run weekly or 3-5 days per week. We hope you will see what we have termed the Soaprunner Exchange as a useful tool in supporting the creative team behind your show. The UK is a particularly strong producer of ‘continuing dramas’ and ‘drama serials’ with each of the principal broadcasters airing more than long running show, whether one-hour or half hour, in primetime and daytime slots. It is a natural utilisation of the resources at our disposal to propose an exchange of processes between a successful show from Europe and shows from the same genre in the UK. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
River City Bank Consent to Receive
RIVER CITY BANK CONSENT TO RECEIVE ELECTRONIC COMMUNICATIONS & ONLINE BANKING TERMS AND CONDITIONS Consent to Receive Electronic Communications This document includes consumer disclosures required under the Electronic Fund Transfer Act and its implementing Regulation E. Defined terms in this document are provided under the “Online Banking Terms and Conditions” section, below. If you choose not to agree by clicking the “Decline” button below, you will not be eligible to enroll in online banking. Your decision to select “Decline” below will not limit our ability to otherwise communicate with you electronically, to the extent not prohibited by applicable law. Electronic Records. By clicking the “Accept” button at the bottom of this document, you understand and agree to be bound by the terms and conditions of the Online Banking Terms and Conditions, and to your receipt of the Access Agreement in electronic form, as well as the following communications (collectively referred to herein as “Communications”) regarding your Accounts: This Consent; Online Banking Terms and Conditions (the “Access Agreement”). The Access Agreement contains the terms and conditions governing the online banking services offered by the Bank to you, including electronic fund transfers to or from your designated accounts. It also contains information that the Bank is required to disclose under the Electronic Funds Transfer Act and it’s implementing Regulation E. Any change in terms, as well as terms and consumer disclosures pertaining to additional features of the online banking services, and special notices applicable to the Access Agreement. This includes consumer disclosures and special notices that applicable laws and regulations require the Bank to provide to you, from time to time. -
The Roots of Animation in Kansas City by Ron Green T the Turning Point of the a Recent Disney Movie “Saving Mr
JCHS Journal — Summer 2014 15 The Roots of Animation in Kansas City By Ron Green t the turning point of the A recent Disney movie “Saving Mr. Banks,” Tom Hanks (who plays Walt Disney) recalls Kansas City boyhood memories. Ever been to Kansas City, Mrs. Travers? Do you know Missouri at all? It’s mighty cold there in the winters. Bitter. My dad, Elias Disney, he owned a newspaper delivery route in Kansas City. Thousand papers. Twice daily. Morning and evening edition. Walt Disney drawing at his Laugh-O-Gram animation studio. Elias, he was a tough Star, Walt would hang around the Gray) decided to form their own businessman. A save-a-penny staff cartoonists. They would give commercial art shop The Iwerks- anywhere you can type of fella so him old drawings, which he would Disney studio. he wouldn’t employ any delivery take home for study and practice. boys, he just used me and my big This first studio was located in brother Roy. Disney’s fascination with “…an unused bathroom in the animation intensified. In 1919, at headquarters of the National Harsh as this experience was for age 17, he took an art apprentice Restaurant Association” located at the young boy, the work ethic it job at the Pesmen-Rubin the southeast corner of 13th and established would serve Walt Commercial Art Studio, a studio Oak Streets. They later moved Disney well when he set out to within the Gray Advertising their studio to the Railway make his mark in the animation Company at 14th and Oak in Exchange Building located at the world. -
Bbc Week 15, 8
BBC WEEK 15, 8 - 14 April 2017 Programme Information, Television & Radio BBC Scotland Press Office BBC Media Centre (Scotland) BBC iPlayer (Scotland) BBC Scotland BBC Scotland on Facebook @BBCScotland on Twitter General / Carol Knight Hilda McLean Jim Gough Julie Whiteside BBC Alba THIS WEEK’S HIGHLIGHTS TELEVISION & RADIO / BBC WEEK 15 _____________________________________________________________________________________________________ TUESDAY 11 APRIL A Family Divided NEW BBC Two Scotland FRIDAY 14 APRIL – GOOD FRIDAY Landward NEW BBC One Scotland _____________________________________________________________________________________________________ Viewers outside Scotland can access BBC One Scotland on Sky 141 (HD) & 951, Freesat 108 (HD) & 960, Virgin Media 108 (HD) & 862. BBC Two Scotland can be viewed on Sky 142 (HD) & 970, Freesat 970. BBC ALBA is on Sky 143, Freesat 110, Virgin Media 188, Freeview 8 (Scotland only). BBC Radio Scotland can be accessed on Sky 0116, Freesat 712, Freeview 719 (Scotland only). BBC One Scotland, BBC Two Scotland and BBC ALBA are also available on the BBC iPlayer bbc.co.uk/iplayer & BBC Radio Scotland on bbc.co.uk/radioscotland EDITORIAL 2017/ BBC WEEK 15 _____________________________________________________________________________________________________ She’s back…Jacqueline Leonard returns to River City as Lydia Murdoch A familiar face from River City’s past returns to Shieldinch this year when Jacqueline Leonard reprises her role as Lydia Murdoch, the estranged wife of local gangster Lenny. Last seen in 2010, Lydia left in fear of reprisal from Lenny [Frank Gallagher] having tried to frame him for the death of his son Ewan, who accidentally fell to his death from scaffolding. Lydia will return to the streets of Shieldinch when their daughter Amber [Jenny Hulse] turns to her for much-needed motherly emotional support. -
KANSAS CITY GOES to the MOVIES from Watching Movies to Making Movies – Kansas City Has Done It All
KANSAS CITY GOES TO THE MOVIES From watching movies to making movies – Kansas City has done it all KANSAS CITY GOES TO THE MOVIES From watching movies to making movies – Kansas City has done it all Kansas City has enjoyed a rich and rewarding relationship with the movies ever since motion pictures were introduced around the turn of the twentieth century. From the 1897 showing of three short films at the Coates Opera House1 to the megaplex theaters that dot the metropolis today, Kansas Citians have embraced the movies. The city and its history have been portrayed in films like Kansas Citian native Robert Altman’s Kansas City (1996) and Ang Lee’s Civil War historical drama, Ride With The Devil (1999). Today, filmmakers to come to the nation’s heartland to screen their movies to audiences before they open across the nation, while the Kansas City Film Commission strives to bring new business to the region by encouraging filmmakers to take advantage of local locations and talent by shooting their films here in the first place.2 Movies are glamour, hard work, compelling stories, and big business. And throughout the years, Kansas City has had its fair share of all of these. MOTION PICTURES – POPULAR ENTERTAINMENT AND CITY PROMOTION At the turn of the 19th century, live performances and vaudeville were big draws in theatres across the nation. That began to change with the advent of the motion picture. When the Coates Opera House showed “The Black Diamond Express,” and two other short films by the Lumieres Cinematography Co. -
The Comedy Unit, and a BBC Scotland Television Series, River City (BBC, 2002-Date)
CORE Metadata, citation and similar papers at core.ac.uk Provided by Glasgow Theses Service Creative Industries Policy and Practice: A Study of BBC Scotland and Scottish Screen Lynne Alison Hibberd BA (Hons), MPhil Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Glasgow Faculty of Arts and Humanities Centre for Cultural Policy Research Department of Theatre Film and Television Studies December 2008 © Lynne Alison Hibberd 2008 2 Abstract This thesis examines creative industries policy in film and television in Scotland. It explores the impact that different approaches to creative industries policy have on creative practice in two media industries, BBC Scotland and Scottish Screen, and reflects on how each of these bodies articulates its role as a „national‟ institution. BBC Scotland is the Scottish branch of the UK‟s largest public service broadcaster, while Scottish Screen exists on a far smaller scale, to serve the screen industries in Scotland. The thesis examines the role of BBC Scotland in sustaining the creative economy and contributing to the cultural life of Scotland. The study of Scottish Screen examines a key early aim of the agency, that of establishing a national film studio. The work investigates the connections between UK and Scottish levels of creative industries policy in light of the debates over the future of public service broadcasting and the Scottish Executive‟s cultural policy framework. The study outlines how ideas of cultural creativity and its economic significance have developed, charts how these ideas have affected policy debate, and explores the extent to which devolution has affected film and television policy. -
Re-Imagine Laugh-O-Gram Center for Animation & Innovation
re-imagine Laugh-O-Gram Center for Animation & Innovation BNIM The preparation of this report was financed in part by a grant from the US Economic Development Administration. Distribution and sponsorship of this grant was by the Mid-America Regional Council. 1 Executive Summary Part 1 - analysis 7 Disney’s Legacy 10 Vision 12 Market Potential 16 Education Potential 18 Business Potential 20 Community Potential 22 Historic Potential 24 Asset Map 26 Stakeholder Engagement Part 2 - Imagine 30 Key Spaces 34 Business Plan 36 Operation Plan 38 Project Impact 40 Community Support 42 Anchor Tenants Part 3 - Action 46 Recommendations 48 Timeline 51 Appendix BNIM re-imagine Laugh-O-Gram Center for Animation & Innovation All Images © DISNEY ENTERPRISES, INC. RE-IMAGINE Laugh-O-Gram Center for Animation & Innovation EXECUTIVE SUMMARY Occupied in 1922 by a young Walt Disney, the McConahy Building WHY HERE? was home to some of the greatest pioneering animators, and the Walt Disney’s first animation studio was located on the second birthplace of the most universally recognized animated character floor of this building, and it was here that he was inspired to of all time. This feasibility analysis represents decades of tireless create the character who became Mickey Mouse. The power of work in the preservation of the Laugh-O-Gram Studio, the this story is fundamental to the success of this redevelopment memory of Walt Disney and the history of animation. Thank You project, as this largely untold history will be a draw to community Walt Disney, Inc. began the process years ago and is currently members, children of all ages, animation and creative media guiding the rehabilitation efforts for the historic Laugh-O-Gram storytellers, and Disney enthusiasts. -
Iain De Caestecker
www.hamiltonhodell.co.uk Iain De Caestecker Talent Representation Telephone Christopher Farrar +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Television Title Role Director Production Company ROADKILL Duncan Nock Michael Keillor The Forge/BBC Douglas Peterson US Geoffrey Sax Drama Republic (Younger) MARVEL'S AGENTS OF S.H.I.E.L.D. Series 1-7 Leo Fitz Joss Whedon/Various Marvel Studios/ABC THE SECRET OF CRICKLEY HALL Percy Joe Ahearne BBC YOUNG JAMES HERRIOT James Herriot Michael Keillor BBC Nominated for Best Actor, Scottish BAFTA Awards, 2012 THE FADES Paul Farren Blackburn BBC Winner of Best Drama Series, BAFTA Television Awards, 2012 LIP SERVICE Darren Various BBC RIVER CITY Stuart MacGregor Various BBC TAGGART Davey Kincaid Morag Fullerton SMG UNCLE DAD Bradley Jim Shields SMG CORONATION STREET Adam Barlow Various Granada TV ROCKFACE Dan Various BBC MONARCH OF THE GLEN Angus Simon Massey Ecosse Films Film Title Role Director Production Company Bad Robot / Paramount OVERLORD Chase Julius Avery Pictures LOST RIVER Bones Ryan Gosling Warner Bros. NOT ANOTHER HAPPY ENDING Roddy John McKay Synchronicity Films Nominated for the Best Film Actor Award, Scottish BAFTA Awards, 2013 FILTH Ocky John Baird Filth Productions Ltd IN FEAR Tom Jeremy Lovering Big Talk Productions Brocken Spectre Jockey Mutch SHELL Adam Scott Graham Ltd THE COMEDIAN Lad Tom Shkolnik The Bureau LAID OFF Tommy Zam Salim BBC Films 16 YEARS OF ALCOHOL Young Frankie Richard Jobson Oxygen Productions -
Full House Turn Over and Start the Jackpot Fun! Members
PLAYER CODE: 2018 3471 D EYES DOWN FOR A FULL HOUSE TURN OVER AND START THE JACKPOT FUN! MEMBERS Emma Quinn GRAPHIC DESIGN With thanks: Claire McKenzie, Robert Wilkinson, Katrina Bryan, Jonny Fiori, Michael Howell, the current 3rd year RCS Musical Theatre students, Duncan Anderson, Andrew Panton, Traverse Theatre, Black Light, DM Audio, The Tron Theatre, The Royal Lyceum Theatre Edinburgh, Royal Conservatoire of Scotland, the Technical Department of Edinburgh International Festival, Sharon Burgess and all at Assembly, National Theatre of Scotland, Duncan Hendry and Ian Ross of Festival City Theatres Trust, John Stalker and Anne McCluskey of Music & Lyrics Ltd, The Harp & Castle, Wilkies Bar & Lounge, Anderson’s Bar, The Cameo Bar, Karen and Katy Koren, Iain McFadden, Iain Lindsay, Ailish Oldfield, Eleanor Scott, Joanna Susskind, Sally & James McFarlane, Catherine Devereux & Eddie and Celtic Dragon Trading Ltd. A very special thanks to Jakob van der Berg and everyone at Gala Bingo Meadowbank, Edinburgh. Credits: Shareen Nanjiani, Sally Reid DOUBLE DELIGHT WRITERS’ NOTE When Jemima and Jude approached us about writing a show set around the theme of BINGO, it was too good an idea to turn down. Sticky carpet. Check. Calls of two little ducks 22. Check. Puns about balls falling. Check. That was until we went and started to research what the Bingo was really like (as opposed to our ideas of what we thought it was). It’s fast, furious, stressful and it’s a bloody good night out. It made us think, wouldn’t it be good to try and write a show that shared those same characteristics.