CONNECT SELECT a Wide Selection of Interesting and Trending Stories – Rip ‘Em, Read ‘Em & Post ‘Em! MONDAY, January 18Th, 2021
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DVD Movie List by Genre – Dec 2020
Action # Movie Name Year Director Stars Category mins 560 2012 2009 Roland Emmerich John Cusack, Thandie Newton, Chiwetel Ejiofor Action 158 min 356 10'000 BC 2008 Roland Emmerich Steven Strait, Camilla Bella, Cliff Curtis Action 109 min 408 12 Rounds 2009 Renny Harlin John Cena, Ashley Scott, Aidan Gillen Action 108 min 766 13 hours 2016 Michael Bay John Krasinski, Pablo Schreiber, James Badge Dale Action 144 min 231 A Knight's Tale 2001 Brian Helgeland Heath Ledger, Mark Addy, Rufus Sewell Action 132 min 272 Agent Cody Banks 2003 Harald Zwart Frankie Muniz, Hilary Duff, Andrew Francis Action 102 min 761 American Gangster 2007 Ridley Scott Denzel Washington, Russell Crowe, Chiwetel Ejiofor Action 113 min 817 American Sniper 2014 Clint Eastwood Bradley Cooper, Sienna Miller, Kyle Gallner Action 133 min 409 Armageddon 1998 Michael Bay Bruce Willis, Billy Bob Thornton, Ben Affleck Action 151 min 517 Avengers - Infinity War 2018 Anthony & Joe RussoRobert Downey Jr., Chris Hemsworth, Mark Ruffalo Action 149 min 865 Avengers- Endgame 2019 Tony & Joe Russo Robert Downey Jr, Chris Evans, Mark Ruffalo Action 181 mins 592 Bait 2000 Antoine Fuqua Jamie Foxx, David Morse, Robert Pastorelli Action 119 min 478 Battle of Britain 1969 Guy Hamilton Michael Caine, Trevor Howard, Harry Andrews Action 132 min 551 Beowulf 2007 Robert Zemeckis Ray Winstone, Crispin Glover, Angelina Jolie Action 115 min 747 Best of the Best 1989 Robert Radler Eric Roberts, James Earl Jones, Sally Kirkland Action 97 min 518 Black Panther 2018 Ryan Coogler Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o Action 134 min 526 Blade 1998 Stephen Norrington Wesley Snipes, Stephen Dorff, Kris Kristofferson Action 120 min 531 Blade 2 2002 Guillermo del Toro Wesley Snipes, Kris Kristofferson, Ron Perlman Action 117 min 527 Blade Trinity 2004 David S. -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 20 BE MY BABY, The Ronettes Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 116 1963 Billboard: #2 DA DOO RON RON, The Crystals Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 112 1963 Billboard: #3 CHRISTMAS (BABY PLEASE COME HOME), Darlene Love Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 119 1963 Did not make pop charts To hear folks talk, Phil Spector made music out of a solitary vision. But the evidence of his greatest hits insists that he was heavily dependent on a variety of assistance. Which makes sense: Record making is fundamentally collaborative. Spector associates like engineer Larry Levine, arranger Jack Nitzsche, and husband-wife songwriters Jeff Barry and Ellie Greenwich were simply indispensable to his teen-art concoctions. Besides them, every Spector track featured a dozen or more musicians. The constant standouts were' drummer Hal Blaine, one of the most inventive and prolific in rock history, and saxophonist Steve Douglas. Finally, there were vast differences among Spector's complement of singers. An important part of Spector's genius stemmed from his ability to recruit, organize, and provide leadership within such a musical community. Darlene Love (who also recorded for Spector with the Crystals and Bob B. Soxx and the Blue Jeans) ranks just beneath Aretha Franklin among female rock singers, and "Christmas" is her greatest record, though it was never a hit. (The track probably achieved its greatest notice in the mid-eighties, when it was used over the opening credits of Joe Dante's film, Gremlins.) Spector's Wall of Sound, with its continuously thundering horns and strings, never seemed more massive than it does here. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Power of Attorney
Louisiana State University Law Center LSU Law Digital Commons Journal Articles Faculty Scholarship 2008 Power of Attorney Christine Corcos Louisiana State University Law Center, [email protected] Follow this and additional works at: https://digitalcommons.law.lsu.edu/faculty_scholarship Part of the Law Commons Repository Citation Corcos, Christine, "Power of Attorney" (2008). Journal Articles. 220. https://digitalcommons.law.lsu.edu/faculty_scholarship/220 This Article is brought to you for free and open access by the Faculty Scholarship at LSU Law Digital Commons. It has been accepted for inclusion in Journal Articles by an authorized administrator of LSU Law Digital Commons. For more information, please contact [email protected]. POWER OF ATTORNEY Christine A. Corcos * I. Opening Statements No doubt exists that the drama/farce 1 Ally McBeal , which ran on the Fox Television Network from 1997 to 2002 2, was a phenomenal success, at least during its middle years (1998-1999). 3 It sparked numerous fan websites in several countries 4 including one devoted to “fan fiction @5” (a genre in which devotees of a television series or film try their hands at writing scripts), various product spinoffs, 6 a series spinoff (Ally , a thirty minute version that * Associate Professor of Law, Louisiana State University Law Center. I wish to thank Darlene C. Goring, Associate Professor of Law, Louisiana State University Law Center, for her thoughtful reading of the manuscript and her cogent and helpful comments on its content and N. Greg Smith, Professor of Law, Louisiana State University Law Center, for helpful comments and discussion of ethical rules. -
A Report on the Litigation Lobby
CENTER FOR LEGAL POLICY AT THE MANHATTAN INSTITUTE C L P STREET NW A REPORT ON THE LITIGATION LOBBY 2010 A Message from the Director merica’s litigation-friendly legal system continues to im- law is, for the most part, crafted by state judges rather than en- A pose a heavy burden on our economy. The annual direct acted by state legislatures, these efforts have centered on ensuring cost of American tort litigation—excluding much securities liti- a friendly judiciary, whether appointed or elected. gation, punitive damages, and the multibillion-dollar settlement With business groups now fighting back against Trial Lawyers, reached between the tobacco companies and the states in 1998— Inc.’s longtime grip on state judiciaries, the litigation lobby has exceeds $250 billion, almost 2 percent of gross domestic prod- turned its attention to state legislatures, where it is not only block- uct.1 The indirect costs of excessive litigiousness (for example, the ing tort reforms but working to expand its portfolio of litigation unnecessary tests and procedures characterizing the practice of opportunities. Among other things, state legislators are authoriz- “defensive” medicine, or the loss of the fruits of research never ing new kinds of lawsuits, raising damage caps, and giving private undertaken on account of the risk of abusive lawsuits) are prob- lawyers authority to sue on behalf of the state. ably much greater than the direct costs themselves.2 Of course, the growth in federal regulation and law has made Of course, tort litigation does do some good, and it does deter it necessary for Trial Lawyers, Inc. -
In the Studio: the Role of Recording Techniques in Rock Music (2006)
21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio. -
The End of the Tour
Two men bare their souls as they struggle with life, creative expression, addiction, culture and depression. The End of the Tour The End of the Tour received accolades from Vanity Fair, Sundance Film Festival, the movie critic Roger Ebert, the New York Times and many more. Tour the film locations and explore the places where actors Jason Segel and Jesse Eisenberg spent their downtime. Get the scoop and discover entertaining, behind-the-scene stories and more. The End of the Tour follows true events and the relationship between acclaimed author David Foster Wallace and Rolling Stone reporter David Lipsky. Jason Segel plays David Foster Wallace who committed suicide in 2008, while Jesse Eisenberg plays the Rolling Stone reporter who followed Wallace around the country for five days as he promoted his book, Infinite Jest. right before the bookstore opened up again. All the books on the shelves had to come down and were replaced by books that were best sellers and poplar at the time the story line took place. Schuler Books has a fireplace against one wall which was covered up with shelving and books and used as the backdrop for the scene. Schuler Books & Music is one of the nation’s largest independent bookstores. The bookstore boasts a large selection of music, DVDs, gift items, and a gourmet café. PHOTO: EMILY STAVROU-SCHAEFER, SCHULER BOOKS STAVROU-SCHAEFER, PHOTO: EMILY PHOTO: JANET KASIC DAVID FOSTER WALLACE’S HOUSE 5910 72nd Avenue, Hudsonville Head over to the house that served as the “home” of David Foster Wallace. This home (15 miles from Grand Rapids) is where all house scenes were filmed. -
Views on Happiness in the Television Series Ally Mcbeal: the Philosophy of David E
QUT Digital Repository: http://eprints.qut.edu.au/ McKee, Alan (2004) Views On Happiness In The Television Series Ally Mcbeal: The Philosophy Of David E. Kelley. Journal of Happiness Studies 5(4):pp. 385- 411. © Copyright 2004 Springer The original publication is available at SpringerLink http://www.springerlink.com 1 Views on happiness in the television series Ally McBeal: the philosophy of David E Kelley Alan McKee Film and Television Queensland University of Technology Kelvin Grove QLD 4059 Australia [email protected] 2 Abstract This article contributes to our understanding of popular thinking about happiness by exploring the work of David E Kelley, the creator of the television program Ally McBeal and an important philosopher of happiness. Kelley's major points are as follows. He is more ambivalent than is generally the case in popular philosophy about many of the traditional sources of happiness. In regard to the maxim that money can't buy happiness he gives space to characters who assert that there is a relationship between material comfort and happiness, as well as to those that claim the opposite position. He is similarly ambivalent about the relationship between loving relationships and happiness; and friendships and happiness. In relation to these points Kelley is surprisingly principled in citing the sources that he draws upon in his thinking (through intertextual references to genres and texts that have explored these points before him). His most original and interesting contributions to popular discussions of the nature of happiness are twofold. The first is his suggestion that there is a lot to be said for false consciousness. -
The Wonder of Barbie: Popular Culture and the Making of Female Identity
Essays in Philosophy Volume 4 Issue 1 Feminine Politics in Popular Culture: The Article 3 Construction of Gender 1-2003 The ondeW r of Barbie: Popular Culture and the Making of Female Identity Lenore Wright Baylor University, [email protected] Follow this and additional works at: http://commons.pacificu.edu/eip Recommended Citation Wright, Lenore (2003) "The ondeW r of Barbie: Popular Culture and the Making of Female Identity," Essays in Philosophy: Vol. 4: Iss. 1, Article 3. Essays in Philosophy is a biannual journal published by Pacific nivU ersity Library | ISSN 1526-0569 | http://commons.pacificu.edu/eip/ Essays in Philosophy Essays in Philosophy A Biannual Journal Vol. 4 No. 1, January 2003 The Wonder of Barbie: Popular Culture and the Making of Female Identity The popular doll, Barbie, has evoked a steady stream of critical attention since her debut in 1959. Though Barbie serves primarily and properly as a toy for children, much of this attention has been generated by the secondary role she plays in popular culture—artifact of female representation. Barbie is no ordinary toy. She mimics the female form. She stands for woman within the games of make-believe in which children involve her. She functions as a tool for self-imagining. It is Barbie’s secondary nature as a representation of woman that creates special quandaries for feminist aestheticians, quandaries that are both cultural and philosophical.1 Included among the former are America’s attraction to public personas, the influence of the acting industry on female representation, and the tacit roles iconic figures play in shaping the attributes of female beauty. -
American Masculinity and Homosocial Behavior in the Bromance Era
Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication Summer 8-2013 American Masculinity and Homosocial Behavior in the Bromance Era Diana Sargent Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Recommended Citation Sargent, Diana, "American Masculinity and Homosocial Behavior in the Bromance Era." Thesis, Georgia State University, 2013. https://scholarworks.gsu.edu/communication_theses/99 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. AMERICAN MASCULINITY AND HOMOSOCIAL BEHAVIOR IN THE BROMANCE ERA by DIANA SARGENT Under the Direction of Patricia Davis ABSTRACT This study examines and reflects upon the current “bromance” culture that has emerged in American society and aims to conceptualize how media texts relate to masculine hegemony. Attention to current media portrayals, codes of conduct, rituals, homosocial interaction, and con- structions of masculinity in American culture is essential for the evaluation of the current era of American masculinity. Mediated portrayals present an ironic position on male closeness, dictate how men should behave towards women and other men, and create real life situations in which these mediated expectations are fostered and put into practice. Textual analyses of the films Superbad and I Love You, Man and the television series How I Met Your Mother were conducted, as well as an ethnographic study of cult film audiences of The Room to better understand mani- festations of homosocial environments in mediated texts and in real life settings. -
Production Notes
PUBLICITY CONTACTS LA NATIONAL Karen Paul Anya Christiansen Chris Garcia – 42 West (310) 575-7033 (310) 575-7028 (424) 901-8743 [email protected] [email protected] [email protected] NY NATIONAL Sara Groves – 42 West Tom Piechura – 42 West Jordan Lawrence – 42 West (212) 774-3685 (212) 277-7552 (646) 254-6020 [email protected] [email protected] [email protected] REGIONAL Gillian Fischer Linda Colangelo (310) 575-7032 (310) 575-7037 [email protected] [email protected] DIGITAL Matt Gilhooley Grey Munford (310) 575-7024 (310) 575-7425 [email protected] [email protected] Release Date: May 31, 2013 (Limited) Run Time: 92 Minutes For all approved publicity materials, visit www.cbsfilmspublicity.com THE KINGS OF SUMMER Preliminary Production Notes Synopsis Premiering to rave reviews at the 2013 Sundance Film Festival, THE KINGS OF SUMMER is a unique coming-of-age comedy about three teenage friends – Joe (Nick Robinson), Patrick (Gabriel Basso) and the eccentric and unpredictable Biaggio (Moises Arias) - who, in the ultimate act of independence, decide to spend their summer building a house in the woods and living off the land. Free from their parents’ rules, their idyllic summer quickly becomes a test of friendship as each boy learns to appreciate the fact that family - whether it is the one you’re born into or the one you create – is something you can't run away from. ABOUT THE PRODUCTION The Kings of Summer began in the imagination of writer Chris Galletta, who penned his script during his off hours while he was working in the music department of “The Late Show with David Letterman.” After some false starts in screenwriting, Galletta shunned his impulse to write a high-concept tentpole feature and craft something more character-driven and personal.