8560 Sunset West Hollywood, CA 90069
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Audacity Find Clipping
Audacity find clipping Continue See also: List of songs about California Wikimedia related to the song list article This is a list of songs about Los Angeles, California: either refer, are set there, named after a place or feature of a city named after a famous resident, or inspired by an event that occurred locally. In addition, several adjacent communities in the Greater Los Angeles area, such as West Hollywood, Beverly Hills, Santa Monica, Pasadena, Inglewood and Compton are also included in this list, despite the fact that they are separate municipalities. The songs are listed by those who are notable or well-known artists. Songs #s-A 10th and Crenshaw Fatboy Slim 100 Miles and Runnin' at N.W.A 101 Eastbound on Fourplay 103rd St. Theme Watts 103rd Street Rhythm Band 1977 Sunset Strip at Low Numbers 2 A.M. on Bobby Mulholland Drive Please, and Udenik 2 David Banner 21 Snoopstreet Trey Deee 26 Miles (Santa Catalina) at Four Preps 2 Nigs United 4 West Compton Prince 29th Street David Benoit 213 to 619 Adjacent Abstract. at Los Angeles Joe Mama 30 Piers Avenue Andrew Hill 319 La Cienega Tony, Vic and Manuel 34th Street in Los Angeles Dan Cassidy 3rd Base, Dodger Stadium Joe Kewani (Rebuilt Paradise Cooder) 405 by RAC Andre Allan Anjos 4pm in Calabasas Drake (musician) 5 p.m. to Los Angeles Julie Covington 6 'N Mornin' by Ice-T 64 Bars at Wilshire Barney Kessel 77 Sunset Strip from Alpinestars 77 Sunset Sunset Strip composers Mack David and Jerry Livingston 79th and Sunset Humble Pye 80 blocks from Silverlake People under the stairs 808 Beats Unknown DJ 8069 Vineland round Robin 90210 Blackbeard 99 miles from Los Angeles Art Garfunkel and Albert Hammond Malibu Caroline Loeb .. -
Public Politics/Personal Authenticity
PUBLIC POLITICS/PERSONAL AUTHENTICITY: A TALE OF TWO SIXTIES IN HOLLYWOOD CINEMA, 1986- 1994 Oliver Gruner Thesis submitted for the degree of Ph.D. University of East Anglia School of Film and Television Studies August, 2010 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior, written consent. 1 TABLE OF CONTENTS Introduction 5 Chapter One “The Enemy was in US”: Platoon and Sixties Commemoration 62 Platoon in Production, 1976-1982 65 Public Politics/Personal Authenticity: Platoon from Script to Screen 73 From Vietnam to the Sixties: Promotion and Reception 88 Conclusion 101 Chapter Two “There are a lot of things about me that aren’t what you thought”: Dirty Dancing and Women’s Liberation 103 Dirty Dancing in Production, 1980-1987 106 Public Politics/Personal Authenticity: Dirty Dancing from Script to Screen 114 “Have the Time of Your Life”: Promotion and Reception 131 Conclusion 144 Chapter Three Bad Sixties/ Good Sixties: JFK and the Sixties Generation 146 Lost Innocence/Lost Ignorance: Kennedy Commemoration and the Sixties 149 Innocence Lost: Adaptation and Script Development, 1988-1991 155 In Search of Authenticity: JFK ’s “Good Sixties” 164 Through the Looking Glass: Promotion and Reception 173 Conclusion 185 Chapter Four “Out of the Prison of Your Mind”: Framing Malcolm X 188 A Civil Rights Sixties 191 A Change -
City of West Hollywood Appendix J
R2, R3, R4 Multi-Family Survey Report City of West Hollywood Appendix J: 1986-87 Survey Context, prepared by Johnson Heumann Research Associates Appendices November 2008 ARCHITECTURAL RESOURCES GROUP Architects, Planners & Conservators, Inc. when a small group of citizens formed the West Hollywood Incorporation Committee. By November of that year, studies by the Local Agency Formation Commission confirmed that incorporation was indeed economically feasible. Tenants led by the Coalition for Economic Survival, homeowners concerned with planning issues and the gay community were among the leading advocates of cityhoog. Formal application was made on April 4, 1984. On November 4, 1984, by a 4:1 favorable margin, the voters approved incorporation . One of the new city's first tasks was to begin to draft a General Plan , the land use policy document for the municipality required· by State law. In January of 1985, the city began the process of preparing the Plan, noting that the physical environment, social character and quality of life within the City would be influenced by the General Plan. It was a stated goal to link land use and urban design, emphasizing the relationship between parcels and uses throughout the city. A reduction of density from those outlined in the West Hollywood Community Plan, .---- prepared before incorporated by the County of Los Angeles, was planned. As an i ntegral part of this planning process. the city of West Hollywood applied for c survey grant from the State Off ice of Historic Preservation in November of 1985 . 1.2 DEVELOPMENT HISTORY The area now known as West Hollywood has played a key role in t h e development of Los Angeles County west of Los Angeles . -
Mood Music Programs
MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine -
South Carthay PP Draft.Indd
South Carthay HPOZ Preservation Plan City of Los Angeles Adopted December 9, 2010 Preservation Plan Table of Contents Chapter 1: 5 Mission Statement Chapter 2: 7 Goals & Objectives Chapter 3: 9 Function of the Plan Chapter 4: 17 Context Statement Chapter 5: 21 Historic Resources Survey Chapter 6: 23 Architectural Styles Chapter 7 41 Residential Rehabilitation Chapter 8: 57 Residential Additions Chapter 9: 61 Residential In-fi ll Chapter 10: 71 Public Realm Chapter 11: 75 Defi nitions 3 4 Preservation Plan Chapter 1 Mission Statement acilitate the vitality of the district as a livable and sustainable Fneighborhood through the restoration, preservation and enhancement of structures, landscaping and natural features. 5 6 Preservation Plan Chapter 2 Goals & Objectives Goal 1 Preserve The Historic Character Of The Community Objective 1.1 Safeguard the character of historic buildings and sites Objective 1.2 Recognize and protect the historic streetscape and development patterns Objective 1.3 Ensure rehabilitation and new construction within the district complements the historic fabric Objective 1.4 Recognize that the preservation of the character of the district as a whole takes precedence over the treatment of individual structures or sites. Goal 2 Preserve The Historic Streetscape Objective 2.1 Encourage and maintain traditional front yards. Objective 2.2 Promote retention of historic landscape features Goal 3 Preserve The Historic Appearance Of Residential Structures Objective 3.1 Encourage retention of signifi cant architectural features Goal -
West Hollywood, California's Go-To-Guide to the City's Three
West Hollywood, California’s go-to-guide to the City’s Three Districts The Sunset Strip After decades of notoriety, the Sunset Strip continues to blaze its own path as a world-famous cultural landmark, setting trends in music, hotels, dining and shopping. This most famous stretch of Sunset Boulevard begins and ends in West Hollywood, and like the city it calls home, it is constantly breaking new ground and reinventing itself. Though it’s often been portrayed in movies like Sunset Boulevard, Almost Famous and Rock of Ages, visitors say that nothing compares to seeing the Sunset Strip up close and in person. Bordered on the west by Beverly Hills and on the east by Hollywood, this iconic 1.5 mile stretch of Sunset Boulevard features an array of world-class hotels, nightclubs, restaurants, shops and spas. Through the years, the Sunset Strip has seen it all, starting with the seedy glitz of the 1920s, when Prohibition fueled the rise of nightclubs and speakeasies. Because West Hollywood was not yet an incorporated city, this strip of Sunset Boulevard was lightly policed, making the Strip the perfect playground for the rebellious denizens of early Hollywood. By the 1940s, swanky nightclubs like Ciro’s, Trocadero and Mocambo reigned supreme, attracting A-list celebrity clientele like Marilyn Monroe along with less savory characters like gangster Bugsy Siegel, who called the Strip his stomping grounds. In the 1960s, the Sunset Strip became the major gathering place for the counterculture movement in Los Angeles. Janis Joplin, Jimi Hendrix and Jim Morrison were fixtures of the Strip and the surrounding West Hollywood landscape. -
West Los Angeles Rents Continue to Rise
Research & Forecast Report WEST LOS ANGELES | OFFICE Accelerating success. Q2 2019 >> West Los Angeles Rents Continue to Rise Key Takeaways Market Indicators | Relative to Prior Period > The average asking monthly rent for West Los Angeles Q2 2019 Forecast sustained its second straight quarter of $0.10 increases, Vacancy moving to $4.92 per square foot (PSF) full service gross Net Absorption (FSG). Construction > Demand recorded 315,900 square feet, the ninth straight Rental Rate quarter of positive absorption. > No new projects delivered from the under-construction pipeline. A total of 18 buildings remain in the pipeline. Summary Statistics | West Los Angeles, Q2 2019 > Investment activity maintained momentum with four Class A Class B All Classes properties trading, highlighted by Onni Group’s long-awaited Vacancy Rate 13.4% 9.4% 12.4% acquisition of Wilshire Courtyard. Change from Q1 ‘19 -40 +80 -60 > Leasing activity recorded 1,348,500 square feet, marking (Basis Points) six consecutive quarters of velocity exceeding 1.1 million Net Absorption* +208.5 +92.4 +315.9 square feet. Century City, Culver City and Beverly Hills drove Construction Completions* 0.0 0.0 0.0 velocity for the quarter. Under Construction* 1,273.5 694.6 1,968.1 *SF, Thousands West Los Angeles Office Market Asking Rents | West Los Angeles, Q2 2019 Vacancy in the West L.A. market dropped by 60 basis points from the previous quarter, driven by absorption gains in Class A Class B All Classes Santa Monica and Brentwood. High leasing activity from legal, Average Asking Rent $4.93 $4.27 $4.92 Change from Q1 ‘19 entertainment and consumer product tenants in Century City, +$0.07 +$0.06 +$0.10 Culver City and Beverly Hills will help maintain demand levels ($) through the rest of 2019 and into 2020. -
11-Unit Apartment Community Located in Beverlywood
2009 PREUSS ROAD 11-UNIT APARTMENT COMMUNITY LOCATED IN BEVERLYWOOD 1 CONFIDENTIALITY & DISCLAIMER All materials and information received or derived from KW Commercial its directors, officers, agents, advisors, affiliates and/or any third party sources are provided without representation or warranty as to com- pleteness , veracity, or accuracy, condition of the property, compliance or lack of compliance with applicable governmental requirements, developability or suitability, financial performance of the property, projected financial performance of the property for any party’s intended use or any and all other matters. Neither KW Commercial its directors, officers, agents, advisors, or affiliates makes any representation or warranty, express or implied, as to accuracy or completeness of the any materials or information provided, derived, or received. Materials and information from any source, whether written or verbal, that may be furnished for review are not a substitute for a party’s active conduct of its own due diligence to determine these and other matters of significance to such party. KW Commercial will not investigate or verify any such matters or conduct due diligence for a party unless otherwise agreed in writing. EACH PARTY SHALL CONDUCT ITS OWN INDEPENDENT INVESTIGATION AND DUE DILIGENCE Any party contemplating or under contract or in escrow for a transaction is urged to verify all information and to conduct their own inspections and investigations including through appropriate third party independent professionals selected by such party. All financial data should be verified by the party including by obtaining and reading applicable documents and reports and consulting appropriate indepen- dent professionals. KW Commercial makes no warranties and/or representations regarding the veracity, completeness, or relevance of any financial data or assumptions. -
Alan Silvestri
ALAN SILVESTRI AWARDS/NOMINATIONS EMMY NOMINATION (2014) COSMOS: A SPACETIME ODYSSEY Outstanding Music Composition for a Series / Original Dramatic Score and Outstanding Original Main Title Music WORLD SOUNDTRACK NOMINATION (2008) “A Hero Comes Home” from BEOWULF Best Original Song Written for Film* INTERNATIONAL FILM MUSIC CRITICS BEOWULF ASSOCIATION NOMINATION (2007) Best Original Score-Animated Feature GRAMMY AWARD (20 05) “Believe” from THE POLAR EXPRESS Best Song Written for a Motion Picture* ACADEMY AWARD NOMINATION (2005) “Believe” from THE POLAR EXPRESS Best Original Song* GOLDEN GLOBE NOMINATION (2005) “Believe” from THE POLAR EXPRESS Best Original Song* BRO ADCAST FILM CRITICS CHOICE “Believe” from THE POLAR EXPRESS NOMINATION (2004) Best Song* GRAMMY AWARD (2001) End Credits from CAST AWAY Best Instrumental Composition ACADEMY AWARD NOMINATION (1994) FORREST GUMP Best Original Score GRAMMY AWARD NOMINA TION (1994) “Feather” from FORREST GUMP Best Instrumental Performance GOLDEN GLOBE NOMINATION (1994) FORREST GUMP Best Original Score CABLE ACE AWARD (1990) TALES FROM THE CRYPT: ALL THROUGH Best Original Score THE HOUSE GRAMMY AWARD NOMINATION (1989) Suite from WHO FRAMED ROGER RABBIT? Best Instrumental Composition GRAMMY AWARD NOMINATION (1988) WHO FRAMED ROGER RABBIT? Best Album of Original Score Written for a Motion Picture GRAMMY AWARD NOMINATION (1985) BA CK TO THE FUTURE Best Instrumental Composition 1 The Gorfaine/Schwartz Agency (818) 260-8500 ALAN SILVESTRI GRAMMY AWARD NOMINATION (1985) BACK TO THE FUTURE Best Album of Original Score Written for a Motion Picture *shared nomination/award MOTION PICTURES RUN ALL NIGHT Roy Lee / Michael Tadross / Brooklyn Weaver, prods. Warner Brothers Jaume Collet-Serra, dir. RED 2 Lorenzo di Bonaventura / Mark Vahradian, prods. -
12Th National A&E Journalism Awards
Ben Mankiewicz Tarana Burke Danny Trejo Quentin Tarantino The Luminary The Impact Award The Visionary The Distinguished Award Award Storyteller Award 2019 TWELFTH ANNUAL Ann-Margret The Legend Award NATIONAL ARTS & ENTERTAINMENT JOURNALISM AWARDS LOS ANGELES PRESS CLUB 12TH ANNUAL National Arts & Entertainment Journalism Awards A Letter From the Press Club President Good evening and welcome to the 12th annual National Arts & Entertain- ment Journalism Awards. Think about how much the entertainment industry has changed since the Press Club introduced these awards in 2008. Arnold Schwarzenegger was our governor, not a Terminator. Netflix sent you DVDs in the mail. The iPhone was one year old. Fast forward to today and the explosion of technology and content that is changing our lives and keeping journalists busy across the globe. Entertainment journalism has changed as well, with all of us taking a much harder look at how societal issues influence Hollywood, from workplace equality and diversity to coverage of political events, the impact of social media and U.S.-China rela- tions. Your Press Club has thrived amid all this. Participation is way up, with more Chris Palmeri than 600 dues-paying members. The National Arts & Entertainment Journalism Awards have grown and changed as well. Tonight we’re in a ballroom in the Millennium Biltmore Hotel, but in 2008 the awards took place in the Steve Allen Theater, the Press Club’s old home in East Hollywood. That building has since been torn down. Our first event in 2008 featured a cocktail party with no host and only 111 entries in the competition. -
Frank's World
Chris Rojek / Frank Sinatra Final Proof 9.7.2004 10:22pm page 7 one FRANK’S WORLD Frank Sinatra was a World War One baby, born in 1915.1 He became a popular music phenomenon during the Second World War. By his own account, audiences adopted and idol- ized him then not merely as an innovative and accomplished vocalist – his first popular sobriquet was ‘‘the Voice’’ – but also as an appealing symbolic surrogate for American troops fighting abroad. In the late 1940s his career suffered a precipitous de- cline. There were four reasons for this. First, the public perception of Sinatra as a family man devoted to his wife, Nancy, and their children, Nancy, Frank Jr and Tina, was tarnished by his high-octane affair with the film star Ava Gardner. The public face of callow charm and steadfast moral virtue that Sinatra and his publicist George Evans concocted during his elevation to celebrity was damaged by his admitted adultery. Sinatra’s reputation for possessing a violent temper – he punched the gossip columnist Lee Mortimer at Ciro’s night- club2 and took to throwing tantrums and hurling abuse at other reporters when the line of questioning took a turn he disap- proved of – became a public issue at this time. Second, servicemen were understandably resentful of Sina- tra’s celebrity status. They regarded it as having been easily achieved while they fought, and their comrades died, overseas. Some members of the media stirred the pot by insinuating that Sinatra pulled strings to avoid the draft. During the war, like most entertainers, Sinatra made a virtue of his patriotism in his stage act and music/film output. -
Live on the Sunset Strip
robert landau Excerpt: Live on the Sunset Strip The street that made music history Robert Landau’s Rock ‘n’ Roll Billboards of the Sunset Strip was published in October 2012 by Angel City Press. Downloaded from http://online.ucpress.edu/boom/article-pdf/2/4/79/381413/boom_2012_2_4_79.pdf by guest on 28 September 2021 The Sunset Strip is that 1.7-mile stretch of Sunset Boulevard that is now part of the city of West Hollywood, connecting Hollywood on the east (where funky Laurel Canyon descends to Sunset and meets Crescent Heights) with Beverly Hills to the west (where Doheny Road climbs to the posh mansions of 90210-land). There are actually many Sunset Strips—versions that live in real time and space, and versions that live in our collective fantasy. The actual landscape of the Strip is typical of Los Angeles, featuring buildings of every imaginable architectural style, a look captured perfectly by artist Ed Ruscha in his 1966 book Every Building on the Sunset Strip. Outdoor advertising permeates the vista, ready to capture the attention of the steady stream of eyeballs that comes with continuously heavy traffic. Billboards of varying sizes are sandwiched between and above colorful hotels, restaurants, offices, gas stations, sleazy strip malls, and trendy retail shops. Now, thanks to digital technology, billboards engulf entire buildings and cover whole city buses, adding even more visual congestion to an already over- saturated urban scene. By day, the Sunset Strip was where the business of the music industry was conducted in the Sixties and Seventies. Both high-rise luxury offices and older, cottage-style buildings have long housed record companies, producers, talent scouts, business managers, personal managers, public relations executives, advertising agencies, design firms, and even a few film, photo, and recording studios.