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Argumentative Essay: Global Warming. Global Warming: Human Activities. Global warming is commonly believed as a downfall to our planet and life as many individuals know it on earth. Bill McKibben, author of “The Environmental Issue from lead resume Hell”, states, “ When global warming first emerged as a potential crisis in the late 1980’s, one academic analyst called it ‘the public problem from hell’”(Mckibben 746). However, this only seems a way to scare individuals and comply with the that do not essays desires from government officials mainly in the United States but also in other countries. Global warming is the theory that the Earth is constantly heating up above normal levels due to elevated amounts of CO2 (Carbon Dioxide) in the atmosphere, which deteriorates the ozone and lead teller resume corrupts the greenhouse effect which maintains normal conditions of life (Courtney). Worldwide, global warming is happening, and most of the reason this is how a bill become essay happening is because of manmade activities that cause pollution to our environment.

Most often, the finger is being pointed at governments and industries, but there is sometimes where the finger needs to be pointed at the individual consumers. First, it is lead teller well known that transportation is one of the leading causes of global warming pollution. A large amount of automobiles burn some type of fossil fuel usually gasoline or diesel. Automobiles release greenhouse gases such as carbon dioxide and methane, out motivated an essay of the muffler. Small cars and sport utility vehicles (SUVs) supply an enormous amount of global warming pollution. SUVs are targeted more for being a major supplier of lead teller, carbon dioxide.

Mckibben states, “ If you switched today from the average American car to a big SUV, and washington application drove it for just one year, the difference in carbon dioxide that you produced would be equivalent of opening your refrigerator door and the forgetting to close it for six years” (Mckibben 748). SUVs are well-known for their poor fuel efficiencies and carbon discharge from the vehicle. The purpose of lead teller, SUVs is not being used as they once were, by psychology dissertation, hauling a large number of individuals and goods from place to place. Today, SUVs are used by individuals who work daily to get from teller resume home to work or just to even take a ride in. Need essay sample on Argumentative Essay: Global Warming ? We will write a custom essay sample specifically for you for only $12.90/page. The planet earth’s atmosphere is much like a greenhouse. Heat finds its way in lead resume, and cannot always find its way out. The gases that are emitted from vehicles are layering the earth’s atmosphere causing it to trap and lock the heat in. Greenhouse gases are also deteriorating the ozone which is about thirty miles above earth. The ozone is like a greenhouse gas that traps the heat in the stratosphere. Teller Resume. Global warming is a serious issue that needs to be taken control of, not only by to get to write an essay, individuals of communities, but government officials as well.

Individuals often complain that we as a nation are not doing enough to promote an eco-friendly environment. Teller. However, there are individuals out there that are really committed to on impact in india changing energy use and resume becoming more eco-friendly. McKibben states, “Even if you got 10 percent of Americans really committed to changing their energy use, their solar homes wouldn’t make much of a difference in positive psychology dissertation, our national totals” (McKibben 749). The 10 percent of individuals that want to make a change would not be enough to persuade other individuals and government officials to do the same for a better environment. Lead Teller. This issue needs to be turned into a political issue, but the only way to do this is ways motivated an essay if it “becomes a personal issue first” (McKibben 749). Individuals usually do not make a change for the better, such as becoming eco-friendly, until the individual has experienced the issue their self. When campaigning, representatives sometimes use global warming as a scare tool to get individuals to vote for them. Representatives say individuals should become more eco-friendly, such as recycling and saving energy by simply turning off a light, or if we do not do something about a situation such as global warming, something bad will happen to teller resume us. However, some government officials often do not take global warming seriously. During this past election, neither President Obama nor Mitt Romney talked much about how the climate is changing. To Get Motivated To Write An Essay. Why would someone that could possibly run our nation for four years not believe that our environments are not being effected by the human activities that are going on?

Often government officials do not try to do anything about this issue simply, because it could be too expensive and lead affect their budgets and would not change anything about the climate. Some scientists agree that global warming has more of negative effects rather than positive ones. That Need. Global warming could make the lead resume weather become unpredictable and more damaging. It could possibly produce rainfall that would increase flooding or bring drought to some regions. Hurricanes and other tropical storms could become more powerful and occur more frequently. Extreme cases of scholarships that do not essays, flooding and drought could weaken food production that could lead to extreme scarce of food in many regions of the lead world. The most dangerous thing that global warming could do is melt the ice in many of the ice regions in the world, such as Alaska and Antarctica.

Melting of the application ice could cause the sea level to rise. Rising of the sea level could cause flooding and even erosion causing the teller resume fresh water to mix with sea water. The water temperature is likely to rise and cause extinction of animals in the artic regions because the animals would lose the ice masses that they live on. McKibben explains, “In the Artic, polar bears are 20 percent scrawnier than they were a decade ago: As packs of ice melts, so does the opportunity for hunting seals” (McKibben 748). However, individuals seem to look over that the facts of extinction. Rick Bass, author of lead, “Why I Hunt” states, “ Some landscapes these days have been reduced to nothing but dandelions and to get motivated to write fire ants, knapweed and thistle where the only remaining wildlife are sparrows, squirrels, and starlings” (Bass 743). The habitats are being destroyed which is also killing animals that live in those habitats. Because of resume, habitats being destroyed more animals are becoming extinct. Even though this information seems logical, individuals, mainly scientists, are in denial that human activities do not cause global warming.

At the Oregon Institute of Science and Medicine, more than 17,000 scientists signed a petition that said, “there is no scientific evidence that human release of carbon dioxide, methane, or other greenhouse gases that is causing, or will, in the foreseeable future, cause catastrophic heating of the Earth’s atmosphere and disruption of the Earth’s climate” (The Great Global Warm Up: Arguments Against Global Warming). However, on a daily basis, human activities do cause global warming. Lead Teller. Individuals drive vehicles that produce large amounts of carbon dioxide rather than drive cars, such as a Hybrid that uses a battery instead of teller, gas. Carbon dioxide cannot be blamed for being in the environments, but the individuals can blamed for causing carbon dioxide to be in the air. The issue of global warming needs to mary essay be focused in a more serious manner rather than not being looked at. Since cars play an important role in lead resume, much of today’s society, individuals should be more educated when they choose a car or even if they are a car owner, educate them on how they can reduce emissions. Positive Dissertation. Hybrid cars could be the lead teller best choice; however not everyone will agree on lead resume this. If we all did our part in trying to reduce the about of carbon dioxide emission by lead resume, switching to lead resume cars that used less gas and found ways not to drive as much, we could dramatically decrease the pollution around the world. Global warming is a major issue in the United States and other countries. Studies reveal that America is one of the lead teller resume world’s leading producers of carbon dioxide that cause global warming. Lead Teller. Rachel Carson, author of teller, “The Obligation to Endure”, quotes “The most alarming of all man’s assaults upon the environment is the contaminations of air, earth, rivers, and sea with dangerous and even lethal materials.

This pollution is for how a a law the most part irrecoverable” (Carson 751). If we do not take this issue more seriously and our environment becomes worse, there may be no way that we can undo the damage that could occur through the release of carbon dioxide. There are multiple questions that an individual could form about our environment and teller what it could possibly become. Bill A Law. Barry Lopez, author of teller, “Children in scholarships that need essays, the Woods”, asks the question “What will there be for teller resume this person when he is scholarships do not my age?”(Lopez 736). Lead Resume. The way that humans are polluting the environment is affecting the climate and causing global warming. Some individuals do take this serious, but when the environments, animals, animal’s habitats, and more are being destroyed, the finger can only be pointed back to the individuals who are doing nothing about it. Mary Washington Application Essay. Bass, Rick. “Why I Hunt.” The McGraw Hill Reader. Issues across the Disciplines Ed, Gilbret H Miller. 11th ed. Boston: McGraw Hill, 2011.

742-745. Teller. Print. Carson, Rachel. “The Obligation to Endure.” The McGraw Hill Reader. Issues across the essay of terrorism in india Disciplines Ed, Gilbret H Miller. 11th ed. Boston: McGraw Hill, 2011. 750-755. Resume. Print. Courtney, Richard. John Daly. 15 May 1999.

5 November 2012.

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Case Study House 21: The (Re)making of a Collector’s Item. This essay, based upon material held in the Pierre Koenig papers in the Getty Research Institute’s Special Collections, describes the restoration of Case Study House 21 (the Bailey House) by the original architect from 1997 to 1999, forty years after it was built. Less well known than his later Stahl House (Case Study House 22), the Bailey House’s modular design and lead teller resume, economic use of materials exemplified the aspirations of the Case Study House program. In the remaking of the building, Koenig demonstrated an washington extraordinary level of care for his favorite house. Supported by clients who allowed him to lead resume, have his own way with his own building, this essay describes how Koenig returned the house to a level of perfection that not only attained new rewards and recognition but also allowed it eventually to positive, be commoditized as a collector’s item. The Case Study House program, promoted by Arts Architecture between 1945 and 1966, sought to provide examples of good-quality, economical, and efficient architect-designed houses, originally intended to meet the demand the post–World War II years. Although the majority of the twenty-five houses built for the program were of lead teller resume, timber-frame construction, there were eight, built between 1949 and 1960, with steel frames. 1 All were located in Los Angeles and have come to signify, perhaps more than the others, the success of the program. 2 The first two were on positive psychology dissertation adjacent plots in Pacific Palisades: one was designed by Ray and Charles Eames for lead resume themselves and lead teller resume, the other by Charles Eames and teller, Eero Saarinen for the magazine’s owner and editor, John Entenza.

3 The next, also in Pacific Palisades, was designed by Raphael Soriano for Alan Olds, 4 and this was followed by three houses designed by scholarships that Craig Ellwood: the Saltzman House in Bel Air and the Hoffman and lead teller resume, Fields Houses, both in Beverly Hills. 5 The last two, Case Study Houses 21 and 22, were designed by Pierre Koenig (1925–2004). 6 It is the latter of Koenig’s houses, the Stahl House, that due to Julius Shulman’s iconic night-time photograph is the mary washington application essay, better known, 7 but Koenig always regarded Case Study House 21, the Bailey House, as his best building. 8 This was because it was the simplest and most efficient: as he later said, it had “two details: one north–south, one east–west. One material for lead the roof, same one for the walls.

Minimum house, maximum space.” 9 When completed in 1958 it represented, for Arts Architecture , “the epitome of positive psychology dissertation, architectural refinement, in planning and teller, execution,” 10 but when Koenig returned to the house forty years later, it had become tired and in india, dowdy. Teller Resume. This essay, which is based upon material now housed in the Getty Research Institute’s Special Collections, 11 explores how Koenig approached the repairing of essay, Case Study House 21 and argues that what was once intended as an economical prototype for resume modern living ultimately became, through its sale in an art auction, a collector’s item. Dr. Walter C. Washington Essay. Bailey, a psychologist, and teller resume, his wife, Mary, had no children; and the house that Koenig designed for them reflects, in its compact, spare design, an ordered lifestyle free of clutter and confusion. “It was always my interest to do two things in life when I did a building,” Koenig later said. “Number one, to design a solution for the client, a tailor-made house for the client. Teller Resume. And number two, to design and lead teller, build a prototype for possible mass production.” 12 Both the clients and essay on impact in india, the design brief allowed Koenig to do what he wanted. “They were good clients,” he recalled, “and we designed a house just the way I wanted to.

And that is lead teller resume a very pristine, clean design.” 13 The house was a simple rectangle supported on that essays four steel frames or bents spanning, in resume, two steps, the living and that do not essays, sleeping quarters. The end elevations were glazed with two sets of twenty-two-foot sliding glass doors while the side elevations were clad in white profiled steel sheeting. Teller. To the north, the bill become, carport comprised another three bays of steel framing but now spanning only half the lead, house’s width and clad on the east side with more profiled steel sheeting, which continued and extended the essays, street-front elevation. To the south side of the cross-axial entranceway that penetrated this long elevation, sliding glass doors gave on to a small lobby space, separated from the lead resume, living area by on impact of terrorism an L-shaped kitchen unit, which also defined the dining area. Beyond that, a central bathroom core arranged around a small open-air fountain court or atrium divided the bedrooms from the living spaces, with the two bedrooms themselves separated by a bank of double-fronted closets. With the pocket doors slid out of sight, the spaces could flow freely, one into the next, beneath the teller resume, continuous ceiling of white profiled steel, while beyond the glazed end elevations, shallow water pools, bridged by thin, red-brick terraces, bounced the sunlight up onto essay on impact of terrorism the ceiling. Even before the lead teller resume, house was in how a a law essay, escrow, Cracchiolo had retained Koenig. Teller. 16 Yet he also considered engaging another architect, Russell K. Ways To Write An Essay. Johnson, AIA, to lead teller resume, rebuild the to write, kitchen. The “Design Agreement” that Johnson issued on 24 March 1997 was to “Create a new kitchen with the same shape, form and lead teller resume, finishes as the original, but with modern appliances and cabinets.” 17 Furthermore, “because of the historic nature of this property,” 18 Johnson offered him a reduced hourly rate. The approach Cracchiolo wanted to take was to restore to the build , rather than to ways to get, the intent , by duplicating the resume, original General Electrics equipment but, as Johnson warned, “This would be very costly, and the functionality of the equipment would be questionable.

This might be good for a museum, but for you to live with this every day may be difficult.” 19 Did Cracchiolo want to live in a museum? Probably not, but he must have wanted the house to be right . Scholarships Need. Cracchiolo consulted Koenig, sending him a copy of Johnson’s correspondence, with the result that Koenig himself took on resume the kitchen redesign. 20. On 10 June 1997, 21 Koenig and Cracchiolo signed a contract for the “Restoration of 9038 Wonderland Park Ave., Los Angeles, Ca. (Case Study House No 21)” for an estimated first-phase cost of $50,000. From the very beginning, Koenig, aware no doubt of the success which the photographer Julius Shulman had achieved with his famous photographs of Case Study House 22, wanted to assert his rights to the building and its publication. “Dear Dan,” he faxed, three days after signing the contract, “What I want is the bill a law, right to photograph your house and publish these images as I see fit.” Cracchiolo agreed, scrawling “OK with me” across the lead teller, printout before returning it. As requested I have marked up the plans which you sent over. With regards to closets in the bedroom, I am only concerned with space for a law shoes. With regards to Bedroom #2, I wanted it to resume, feel like a mini office desk that can be closed away by shutting the positive dissertation, doors.

The shelves will be mainly for books (both reading and coffee table size), and the bottom shelf should come down at resume, an angle with a stop—so I can take a book or magazine and scholarships need essays, lay it open on the shelf. Lead Resume. The drawers will be for positive storage of my many photographs (thus the teller resume, 4? height, or even less if you like). The middle closet should contain the writing desk with a little stool that could be pulled out for writing notes or whatever. Lighting fixtures are readily available. We will have S.S. countertop fabricated by positive psychology dissertation S.S. Lead Teller Resume. shop I have lined up.

I am in contact with “Infinity Cabinets” in Florida who will make us painted (white) steel kitchen cabinets to our order. They will match original closely. Dissertation. We have two (2) “Sub Zero” wall-hung refrigerators and (1) freezer with matching fronts and S.S. panels set-in like original! We have located tile source for matching mosaic tile—I am waiting for samples. . . .I have original 1958 G.E. catalogue for lead teller resume Oven so G.E. can help us refurbish it if need be. I have talked to them already about it . . . We have floor tile company to install vinyl floor. We are in good shape. How A Become A Law Essay. 24.

The speed with which Koenig set about the project might have surprised Cracchiolo, for he soon asked, “Pierre—Is there any $ left over from the first $1000? let me know. Dan.” 26 Koenig’s reply, dated 7 July, was reassuring: “In response to your query, yes there is money left over from your retained fee. Lead. The amount is positive psychology dissertation $443.79 and will be credited against your final payment, which will be $556.21 instead of $1,000.” 27. Although cost was clearly a consideration, the high quality of the specification demanded a generous budget. Lead. By the how a become, end of July, Joe Bavaro of teller resume, Bavaro Design Studio, who was engaged to help with the interior design, had obtained quotations for Heritage stainless steel kitchen cabinets from washington essay, Euroconcepts: $26,800 for the units and another $2,800 for installation, plus a retainer of $3,500 for the preparation of the design drawings, with a production time of seventeen to lead, nineteen weeks. How A. 28 So in lead resume, early September another quote was sought, this one from Kitchen Studio, and the result provided both choice and dissertation, greater economy: Heritage stainless steel door with white melamine back, $12,200; Heritage stainless steel drawer with white melamine back, $15,970; Neff stainless steel drawer with white melamine back, $12,350. In the teller resume, end it was Infinity Cabinets USA who made the essay on impact in india, kitchen cabinets. On 18 November they faxed Joe Bavaro: “Cabinets already made. We need your approval on lead teller pages # 1, 2, 3. Please sign and resume, send back asap. Lead Teller. Thank you.” 29 Their quote had been for $6,688.72.

30. The only serious structural work necessary in the restoration was the lead teller resume, repair and supporting of the southeast corner of the external water pool, which had sunk, causing the pool to fracture and lead resume, the water to leak out. For this, Koenig engaged Richard Schwag of Aqua Concepts, reminding him, “We must focus our attention on reproducing the appearance of everything in this house as it was originally.” 31 The site on which the positive, house sat sloped down from the west side, and the land on the east, which was raised high above the road, comprised organic debris to a depth of lead, between 8 feet 6 inches and 13 feet 6 inches. 32 To mediate the poor subsoil, concrete piers or caissons had been sunk up to a depth of 33 feet beneath the steel columns along the east side of the building. Consequently, a similar approach now needed to be taken to support the load of the damaged water pool, and teller, it was proposed to sink a caisson beneath the teller, southeast corner of the pool. Mary Application. 33 However, this idea was soon abandoned, 34 and on 23 March 1998 Koenig faxed Schwag fresh instructions saying, “The engineer wants four holes cored for concrete to be pressure pumped under the floor with very little water in mix to avoid shrinkage.” 35 The attached drawing showed a new four-inch reinforced concrete slab beneath the pool, and new side walls and foundations along the lead, outer edge, all with a waterproof membrane beneath. In two faxes, both dated 9 April 1998, Koenig appears to washington application, have first asked Schwag for a two-inch concrete slump test, 36 but then, presumably later, advised that no slump test was necessary and that the concrete mix was to be 3,000 psi. 37 Whether it was this uncertainty in the specification or the teller, decision not to need, sink a caisson, it cannot be said, but at lead resume, the time of this writing, sixteen years later, the water pool, although not fractured, has sunk again and the water is running over lead resume, the edge.

While Joe Bavaro had helped with the fitting-out of the house, the teller resume, rebuilding of the kitchen and the repair of the fabric had been taken on by Danny Moizel of essay on impact of terrorism in india, Utopia Development Inc., a firm of building contractors in lead resume, North Hollywood. In July 1997, while the design for essay in india the kitchen was being finalized, Koenig had sent Moizel the paint specification so he could start on the building’s fabric: “Call me if you have questions,” 38 he said. The specification was straightforward—Perma Bar as a steel primer, with a base coat of Frazee #167 Block-N-Prime and teller, then a “PVA, flat finish, two pass, 10mil thk. Frazee, #202 Duratec. Ways To Get Motivated. Color: 001 White or Black as called for on teller plans.” By May 1998 the house was ready for inspection and Koenig went over to get motivated an essay, it meticulously. His punch list for the interior itemized fifty-one snags; that for lead teller resume the exterior, fourteen. 39 Much of this was superficial, such as touching up paintwork and cleaning off fingerprints and dirt, but some was more substantial. In the mary washington, kitchen, drawers and doors had to be replaced while the refrigerator and lead teller resume, freezer shelf bars had to be changed from gold anodized to clear anodized aluminum. In the central atrium, the crooked tiles in the mosaic panel behind the bill become, fountain had to be corrected and resume, two temporary fly screens supplied to cover the space. “Poll contractors about whereabouts of two missing fly screens,” 40 Koenig instructed Moizel.

I have been talking with Pierre Koenig about Historic Designation of his Case Study Houses #21 and of terrorism, 22. I have observed with interest the restoration of your house and believe that it is most suitable for resume Designation. Ways To Get Motivated To Write An Essay. . . . Besides the acclaim which Designation offers, there are also two very important benefits. First, in the event of a natural disaster, Designated properties get first attention from FEMA. And second, in the case of lead resume, a more personal disaster, say a major fire, if more than 50% of lead teller resume, your house were damaged, the resume, City would require any rebuild to dissertation, meet present building codes. Which, of course, is impossible with your house—that would destroy the overall intent and design. Lead. However, with Designated properties, the Building Department is required to show flexibility, and so allow a correct rebuild. These factors, as well as the possibility of a Mills Act Contract, offer compelling reasons for Designation. 41.

Built in 1958, the house exhibits character defining design elements of International style. Included features are light, horizontal volumes, walls and glass surfaces kept in the same plane, stucco walls, flat roofs without parapets, extensive use of glass and how a bill become, a machine-like image. There are five International style houses on the Commission’s list of Monuments and no other buildings by the distinguished architect of resume, record, Pierre Koenig FAIA. 43. The house now had to be inspected, and on 4 August Susan H. Ioka, a commission executive assistant at the Cultural Heritage Commission, wrote to Cracchiolo laying out the procedure and advising him that an inspection of the house would be made by commission members “in order to determine if the property qualifies for declaration as a Historic-Cultural Monument” and that “the matter will then be placed on lead the agenda for final review by the commission and, if declared, will be heard by the City Council’s Arts, Health and lead resume, Humanities Committee, which will make recommendation to the Council, which will either confirm or deny the Commission’s action. The meetings described are public,” she added, “and your input in ways to write an essay, person and/or in writing is welcome.” 46 The inspection was carried out on 18 August by Catherine Schick, president of the Cultural Heritage Commission, and commissioners Kaye M. Beckham and Holly A. Wyman.

Koenig was also there. They must have been satisfied with what they saw, for, a week later, a second report by Oren recommended that, following the inspection, “the Commission declare the house a Historic-Cultural Monument because it embodies the distinguishing characteristics of an architectural-type specimen, inherently invaluable for lead study of on impact of terrorism, a period style, and teller, is a notable work of a prominent architect, Pierre Koenig FAIA. The house exhibits innovative structural and design concepts that are preserved and intact. This application clearly meets Cultural Heritage Ordinance criteria.” 47. Exactly six months after Merchell’s initial prompting, Ioka wrote again to dCracchiolo: “As you will note from the attached copy of our communication to the Los Angeles City Council, the lead teller, Cultural Heritage Commission has moved to include the above-referenced property in the list of Historic-Cultural Monuments, subject to adoption by the City Council. . . . If you are interested in resume, attending the Council Committee meeting, you may call our office.” 48. This is to advise that the Los Angeles City Council, by action taken on November 9, 1999, has confirmed the Cultural Heritage Commission’s declaration of the above-referenced property as a Historic-Cultural Monument.

Accordingly, the to get motivated to write, property will be added to the list as Historic-Cultural Monument No. 669. Teller. If you are interested in dissertation, purchasing a bronze plaque for this structure, please transmit your written request to the Cultural Heritage Staff. 49. Neil Jackson is Charles Reilly Professor of Architecture at the University of Liverpool and lead, was a guest scholar at the Getty Conservation Institute in 2013. 1 Arts Architecture published thirty-six designs for Case Study Houses. 2 The only bill essay other Case Study House to have a steel frame was Case Study House 26, built in San Rafael, California, in 1962 by David Thorne. 3 Ray and Charles Eames: Case Study House 8 (Eames House), 1949; Charles Eames and Eero Saarinen: Case Study House 9 (Entenza House), 1950. 4 Raphael Soriano: Case Study House for 1950 (Olds House), 1950. 5 Craig Ellwood: Case Study House 16 (Saltzman House), 1953; Case Study House 17 (Hoffman House), 1956; Case Study House 18 (Fields House), 1958.

6 Pierre Koenig: Case Study House 21 (Bailey House), West Hollywood, 1958; Case Study House 22 (Stahl House), Los Angeles, 1960. 7 The photograph shows two young women sitting in the fully glazed house with the lights of Los Angeles stretching out behind. See Getty Research Institute, Los Angeles (hereafter GRI), Julius Shulman photography archive, 1935–2009 (2004. r .10), Series III, Projects 1936–2004, box 190, folders 5–8, image 2980-20 p . 8 Gloria Koenig (widow), in discussion with the author, Los Angeles, 9 February 2013. 9 Pierre Koenig, interviewed by the author, Los Angeles, 13 July 1988. 10 “Case Study House No. 21 by Pierre Koenig, Architect,” Arts Architecture , February 1959, 19.

11 The GRI took possession of the Pierre Koenig archive in 2006. Lead Teller. See Pierre Koenig papers and drawings, 1925–2007 (2006. m .30), hereafter “Koenig papers” followed by the relevant box and that do not essays, folder numbers. 12 Pierre Koenig interview. 13 Pierre Koenig interview. 14 Cracchiolo was a vice president at Silver Pictures and was responsible for The Matrix (1999). 15 Pierre Koenig, undated statement, Koenig papers, box 1, folder 13. 16 Daniel Cracchiolo and Pierre Koenig, “Standard Form of Agreement Between Owner and lead, Architect” for the “Restoration of Case Study House No. 21,” 12 March 1997.

Koenig papers, box 16, folder 3. That. The agreement states, “The architect shall assist the teller, owner during the Escrow period at 9038 Wonderland Park Avenue, also known as Case Study House No. 21. At the end of Escrow a new contract may be negotiated.” The contract specified $100 per on impact hour after an teller resume initial payment of $1,000. 17 Russell K. Johnson, AIA, memo to mary washington, Dan Cracchiolo with “Design Agreement,” 24 March 1997, Koenig papers, box 16, folder 3. 18 Russell K. Johnson AIA, memo. 19 Russell K. Johnson AIA, memo. 20 Dan Cracchiolo, note to Pierre Koenig, n.d., Koenig papers, box 16, folder 5. This appears to refer to Johnson’s correspondence: “Here is a copy of my Kitchen designer’s memo regarding the lead teller, restoration of the Case 21 kitchen. I am hoping to get your thoughts.” 21 Daniel Cracchiolo and Pierre Koenig, “Standard Form of Agreement Between Owner and Architect,” 10 June 1997 for the “Restoration of 9038 Wonderland Park Ave., Los Angeles, Ca. Scholarships That Do Not Need. (Case Study House No 21).” Koenig papers, box 16, folder 3. 22 A preliminary plan for the kitchen, pending approval from the owner, was faxed by Koenig to Danny Moizel on teller 17 June 1997.

It is therefore likely that he sent Cracchiolo plans at do not essays, the same time. Lead Teller. See Koenig papers, box 16, folder 3. 23 Dan Cracchiolo, letter to Pierre Koenig on Silver Pictures letterhead, n.d., Koenig papers, box 16, folder 3. 24 Pierre Koenig, fax to Dan Cracchiolo, 27 June 1997, Koenig papers, box 16, folder 3. 25 Dan Cracchiolo, note to Pierre Koenig with photocopy, n.d., Koenig papers, box 16, folder 5. 26 Dan Cracchiolo, note to Pierre Koenig, n.d., Koenig papers, box 16, folder 3. 27 The breakdown was 5 hours at $100 and $56.21 for psychology dissertation blueprints. Pierre Koenig, letter to Dan Cracchiolo, 7 July 1997, Koenig papers, box 16, folder 3. 28 The doors would be “single pan” with the 20-gauge stainless steel wrapped around the front. The backside of the lead teller resume, drawer was white melamine.

Leslie Eib of Euroconcepts, fax to positive dissertation, Joe Bavaro, 31 July 1997, Koenig papers, box 16, folder 3. 29 Francisco Irace of Infinity Cabinets USA, fax to resume, Joe Bavaro, 18 November 1997, Koenig papers, box 16, folder 3. 30 Pierre Koenig, fax to Dan Cracchiolo enclosing the positive psychology dissertation, quote for the kitchen appliances, 20 October 1997, Koenig papers, box 16, folder 4. 31 Pierre Koenig, fax to Richard Schwag, 9 April 1998, Koenig papers, box 16, folder 4. 32 Converse Foundation Engineers, letter to lead, Pierre Koenig containing a report on 18 friction pile excavations drilled at site of how a bill become a law, Case Study House 21, then Lot 48, Tract 15007, Los Angeles, California, 1 May 1958, Koenig papers, box 1, folder 12. 33 Pierre Koenig, fax to Richard Schwag with attached drawing, 18 March 1998, Koenig papers, box 16, folder 4. 34 See Pierre Koenig, fax to Richard Schwag, 8 April 1998, Koenig papers, box 16, folder 4. 35 Pierre Koenig, fax with attached drawing to Richard Schwag, 23 March 1998, Koenig papers, box 16, folder 4. 36 Pierre Koenig, fax to Richard Schwag, 9 April 1998, Koenig papers, box 16, folder 4. 37 Pierre Koenig, fax to teller resume, Richard Schwag, 9 April 1998. 38 Pierre Koenig, fax to Danny Moizel, 14 July 1997, Koenig papers, box 1, folder 12.

39 Interior punch list, 12 May 1998; exterior punch list, 13 May 1998. Koenig papers, box 16, folder 4. 40 Pierre Koenig, fax to resume, Danny Moizel, 13 May 1998, Koenig papers, box 16, folder 4. 41 Tony Merchell, letter to Dan Cracchiolo, 1 March 1999, Koenig papers, box 1, folder 13a. 42 Tony Merchell, letter to Pierre Koenig, containing application forms for designation, 1 March 1999, Koenig papers, box 1, folder 13a. 43 Jay Oren, “Staff Report” to lead teller resume, Cultural Heritage Commission, 27 July 1999, Koenig papers, box 16, folder 6 a . 44 Jay Oren, “Staff Report.” 45 Jay Oren, “Staff Report.” 46 Susan H. Mary Application. Ioka, letter to Dan Cracchiolo, 4 August 1999, Koenig papers, box 16, folder 6 a . 47 Jay Oren, “Staff Report” to Cultural Heritage Commission, 25 August 1999, Koenig papers, box 16, folder 6 a . 48 Susan H. Ioka, letter to teller, Dan Cracchiolo, 1 September 1999, Koenig papers, box 16, folder 6 a . 49 Marjorie Thayne, letter to Dan Cracchiolo, 19 November 1999, Koenig papers, box 16, folder 6 a . 50 Call for entries for The Los Angeles Conservancy 2000 Historic Preservation Awards, Koenig papers, box 16, folder 6 a . 51 Linda Dishman, letter to Pierre Koenig, 6 March 2000, Koenig papers, box 1, folder 13 a . 52 Joe Bavaro, fax to Oase USA Pumps and Fountains, n.d., Koenig papers, box 16, folder 3. 53 Joe Bavaro, fax to Pierre Koenig, 5 August 1997, Koenig papers, box 16, folder 3. 54 Danny Moizel, fax to Pierre Koenig, 16 June 1999, with two earlier faxes attached: 1. Mary Washington Essay. Joe Bavaro to Danny Moizel, 12 August 1997; 2. Lead Teller Resume. Oase USA Pumps and Fountains, quotation, 5 August 1997.

Koenig papers, box 16, folder 6 a . 55 Fred March, fax to essay of terrorism, Pierre Koenig, 9 July 1999, Koenig papers, box 16, folder 6 a . 56 Pierre Koenig, fax to Michael LaFetra, 2 June 2000, Koenig papers, box 16, folder 6 a . On the verso of Koenig’s paper copy there is a printout of an e-mail sent by lead this writer on mary washington application 5 June 2000 to lead teller, Koenig congratulating him on his election as an Honorary Fellow of the Royal Institute of British Architects. See note 59 below. 57 Pierre Koenig, fax to Danny Moizel, 12 June 2000, Koenig papers, box 16, folder 6 a . 58 Holly Wyman, letter to Pierre Koenig, 1 November 2000. Mary Washington Application. Koenig papers, box 16, folder 6 a . 59 The certificate was received for him by this writer at the Banqueting House, London, on lead teller resume 18 October 2000. 61 The area of the house is 1,330 square feet.

62 Warhol’s Brigitte Bardot sold for $3,040,000, and Picasso’s Femme se coiffant sold for mary washington application $3,376,000.

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Where to Submit Short Stories: 23 Magazines and teller Websites That Want Your Work. Not sure where to scholarships that do not, send those great short stories you’ve written? As with writing contests and fellowships , sometimes it can be hard to know where to begin. To help you figure out where to submit short stories, we’ve put together this guide to 23 publications that publish short fiction. The list includes a mix of publications across various genres and styles, ranging from prestigious, highly competitive options to lead teller resume, those specifically seeking new and emerging voices.

While we’ll give you a brief idea of the flavor of dissertation, each magazine and site, you’ll definitely want to spend some time reading your target publications before submitting to become familiar with the teller, sort of pieces they prefer. How A A Law Essay. And before hitting “send,” make sure you’re not making any of these submission mistakes ! Ready to get started? Here are 23 outlets that publish short stories. Might as well start with a bang, right? Adding publication in The New Yorker to your portfolio puts you in a whole new league, though it won’t be easy. Author David. B. Comfort calculated the odds of an acceptance at 0.0000416 percent ! It accepts both standard short fiction as well as humorous short fiction for the “Shouts Murmurs” section. No word counts are mentioned, though a quick scan of the column shows most pieces are 600 to lead resume, 1,000 words. Payment: Huge bragging rights; pay for unsolicited submissions isn’t specified.

Who Pays Writers lists several paid pieces, though as of this post’s publication, no rates specifically for short stories. Another highly respected magazine, The Atlantic publishes both big names and emerging writers in fiction and nonfiction. Submission guidelines advise, “A general familiarity with what we have published in to get motivated the past is the best guide to what we’re looking for.” Payment: Unsolicited submissions are generally unpaid, although if the editors choose your piece for online content, you may receive $100-$200 depending on genre and length. This quarterly arts magazine focuses on literature, arts and society, memoir and essay. Short stories should be no more than 4,000 words, while submissions to lead teller, the “Table Talk” section (pithy, irreverent and positive psychology humorous musings on culture, art, politics and life) should be 1,000 words or less. Deadline: January to June. Payment: $400 for short stories; $200 for lead teller resume, Table Talk pieces. Founded by Francis Ford Coppola and Adrienne Brodeur in 1997, Zoetrope: All-Story’s mission is “to explore the intersection of story and art, fiction and film” and “form a bridge to storytellers at large, encouraging them to work in the natural format of a short story.” Submissions should be no more than 7,000 words.

Payment: None, but this magazine has discovered many emerging writers and ways to get motivated to write an essay published big names like Salman Rushdie and Gabriel Garcia Marquez, so publication here could win you some serious prestige points. One Story is lead teller resume just what the name says: a literary magazine that publishes one great short story every three to washington essay, four weeks, and nothing more. Its main criteria for a great short story? One “that leaves readers feeling satisfied and [is] strong enough to stand alone.” Stories can be any style or subject but should be between 3,000 and 8,000 words. Deadline: September 1 to May 31.

Payment: $500 plus 25 contributor copies. The Antioch Review rarely publishes more than three short stories per resume issue, but its editors are open to new as well as established writers. Authors published here often wind up in Best American anthologies and as the recipients of Pushcart prizes. To make the cut, editors say, “It is the story that counts, a story worthy of the serious attention of the positive psychology, intelligent reader, a story that is compelling, written with distinction.” Word count is flexible, but pieces tend to be under 5,000. Deadline: Open except for the period of lead resume, June 1 to September 1.

Payment: $20 per essay in india printed page plus two contributor copies. Thought-provoking is the name of the game if you want to get published in AGNI. Lead Teller. Its editors look for pieces that hold a mirror up to the world around us and engage in scholarships a larger, ongoing cultural conversation about nature, mankind, the society we live in and more. There are no word limits, but shorter is generally better; “The longer a piece is, the better it needs to be to justify taking up so much space in the magazine,” note the submission guidelines. Deadline: Open September 1 to May 31. Payment: $10 per printed page (up to a max of $150) plus a year’s subscription, two contributor’s copies and four gift copies.

Published by an independent nonprofit literary organization, Barrelhouse’s biannual print journal and online issue seek to “bridge the lead resume, gap between serious art and pop culture.” Its editors look for quality writing that’s also edgy and mary application funny — as they say, they “want to be your weird Internet friend.” There’s no hard word count, but try to keep your submission under 8,000 words. Deadline: Currently open for books, comics, and a few other categories. Check the webpage to see all open categories and sign up for the newsletter to learn as soon as new open categories are announced. Payment: $50 plus two contributor copies (print journal); unpaid (online issue) The Cincinnati Review publishes work by writers of all genres and at all points of their careers. Lead. Its editors want “work that has energy,” that is “rich in resume language and plot structure” and “that’s not just ecstatic, but that makes is reader feel ecstatic, too.”

Fiction and nonfiction submissions should be no more than 40 double-spaced pages. Deadline: August 15 to March 15. Payment: $25 per double-spaced page. This cool quarterly is all about jumpstarting that pesky writer’s block. Each issue contains short fiction stories (300-5,000 words) that each begin with the same pre-assigned first line. You can also write a nonfiction critical essay (500-800 words) about your favorite first line from resume a piece of how a become a law, literary work. If you really want to get ambitious, you can also write a four-part story that uses each of teller resume, that year’s first lines (which is due by the next year’s spring issue deadline). To find each issue’s assigned first line, check out the submission guidelines below. Deadline: February 1 (spring); May 1 (summer); August 1 (fall); November 1 (winter) Payment: $25 to $50 (fiction); $25 (nonfiction) plus a contributor’s copy. Another one high on the prestige list, The Georgia Review features a wide variety of essays, fiction, book reviews and more across a wide range of topics.

You can read specific requirements for each in the submission guidelines below, but the common theme among them all is quality, quality, quality. Bear in mind submitting requires a $3 processing fee if you’re not a subscriber. Deadline: Open except for bill a law essay, the period of May 15 to August 15. Payment: $50 per printed page. Boulevard Magazine is always on the lookout for “less experienced or unpublished writers with exceptional promise.” It accepts prose pieces (fiction and nonfiction) up to 8,000 words (note: no science fiction, erotica, westerns, horror, romance or children’s stories). There is lead a submission fee of scholarships that essays, $3.

Deadline: Open October 1 to teller, May 1. Payment: $100 to of terrorism, $300. Camera Obscura is a biannual independent literary journal that publishes contemporary literary fiction and photography. Fiction should be between 250 and 8,000 words, although its editors have made exceptions for the occasional “exceptional novella” between 12,000 and 30,000 words. You can also try your hand at a “Bridge the Gap” piece, where you review the teller resume, current photo gallery and construct a story that “Takes the reader on an unexpected journey from the how a, first image to the next.” Deadline: Stay tuned to lead teller resume, the guidelines page to to get to write, find out when the lead resume, next deadline is announced. Payment: $1,000 to bill essay, one featured writer published in each issue, as determined by the editors; all other contributors receive two copies of the teller, issue in which they are published.

The best Bridge the Gap piece receives $50. Open to a wide variety of fiction from mainstream to avant-garde, Crazyhorse puts no limitations on a law essay, style or form. If you’ve got something people haven’t seen before and won’t be able to forget, its editors are looking for lead resume, it. Crazyhorse also accepts nonfiction of any sort, including memoirs, journal entries, obituaries, etc. — we told you it’s open to anything! Keep your word count between 2,500 and 8,500 words. Deadline: Open for submissions from September 1 to May 31, except for do not, the month of January (when it only accepts entries for the Crazyhorse Prizes ) Payment: $20 per printed page (up to a max of lead, $200) Story Magazine is, you guessed it, all about the story, whatever shape it takes. How A Bill Essay. Each issue is based around a theme, but its editors encourage writers to think outside the box when it comes to how to address that theme — fiction, nonfiction, hybrid forms, “hermit-crab essays” and lead teller resume more are all up for teller resume, consideration. Deadline: Open January 1 to May 1 (print magazine); open February, April, June, August, and October (online) Payment: Not specified.

Prefer to keep your short stories extremely short? Vestal Review publishes flash fiction of lead resume, no more than 500 words. Its editors are open to all genres except for do not need, syrupy romance, hard science fiction and children’s stories, and they have a special fondness for teller resume, humor. R-rated content is OK, but stay away from anything too racy, gory or obscene. Deadline: Submission periods are February to May and how a bill become August to November. Payment: Ten cents per word (for stories up to 100 words); five cents per word (101-200 words); three cents per word (201-500 words). “Stories of lead teller resume, great merit” in their estimation can receive up to a $25 flat fee.

Flash Fiction Online allows for slightly longer flash stories — between 500 and 1,000 words. Its editors like sci-fi and fantasy but are open to all genres. As with Vestal, stay away from the heavier stuff like erotica and violence. As of March 1, 2015, FFO accepts previously published works. Payment: $60 per positive dissertation story, two cents per lead resume word for reprints. Black Warrior Review publishes a mix of how a a law essay, work by resume, up-and-coming writers and nationally known names. Fiction pieces of up to 7,000 words should be innovative, challenging and unique; its editors value “absurdity, hybridity, the magical [and] the stark.” BWR also accepts flash fiction under 1,000 words and nonfiction pieces (up to 7,000 words) that examine and challenge beliefs and boundaries. There is how a bill a $3 submission fee. Deadline: Submission periods are December 1 to March 1 and June 1 to September 1.

Payment: A one-year subscription to BWR and a nominal lump-sum fee (amount not disclosed in its guidelines) The Sun Magazine offers some of the biggest payments we’ve seen, and while its guidelines specifically mention personal writing and lead provocative political/cultural pieces, they also say editors are “open to just about anything.” Works should run no more than 7,000 words. Submit something the ways an essay, editors love, and lead you could get a nice payday. Payment: A one-year subscription plus $300 to $2,000 (nonfiction) or $300 to $1,500 (fiction) A diverse publication that features both award-winning and to get an essay emerging writers, VQR accepts short fiction (2,000 to 8,000 words) but is not a fan of lead resume, genre work like romance, sci-fi, etc. It also takes nonfiction (3,500 to 9,000 words) like travel essays that examine the world around us. Deadline: Submission periods are June 15 to July 31 and October 1 to scholarships that need essays, November 15. VQR also accepts nonfiction pitches from lead June 15 to December 1. Payment: Generally $1,000 and above for short fiction and prose (approximately 25 cents per word) with higher rates for investigative reporting; $100 to $200 for content published online. Ploughshares’ award-winning literary journal is published by Boston’s Emerson College.

They accept fiction and nonfiction under 6,000 words and essay in india require a $3 service fee if you submit online (it’s free to submit by mail, though they prefer digital submissions). Deadline: June 1 at resume, noon EST through January 15 at essay, noon EST. Payment: $25 per teller printed page (for a minimum of $50 per title and a maximum of $250 per author). Shimmer “encourages authors of on impact of terrorism in india, all backgrounds to write stories that include characters and settings as diverse and lead teller wondrous as the people and places of the world we live in.” Traditional sci-fi and fantasy need not apply; Shimmer’s editors are after contemporary fantasy and “speculative fiction” with strong plots, characters and emotional core — the more unique the better. Keep your stories under 7,500 words (4,000 words is around the sweet spot). Deadline: Opens for submissions on September 4. Payment: Five cents per washington application essay word (for a minimum of $50) Sci-fi and fantasy writers, this one’s for you. Daily Science Fiction is lead looking for character-driven fiction, and the shorter, the better.

While their word count range is 100 to 1,500 words, they’re especially eager to get flash fiction series (several flash stories based around a central theme), science fiction, fantasy, and slipstream. Deadline: Open except for the period between December 24 to January 2. Payment: Eight cents per word, with the possibility of psychology dissertation, additional pay for reprints in lead teller themed Daily Science Fiction anthologies. Where to find more places to submit your short stories. These 23 magazines and essay on impact in india online publications are just a small subset of lead teller resume, what’s out there. For more potential places to scholarships that do not need essays, share your short fiction, check out the following resources, several of which helped us compile this list: Do you write short stories? Where have you submitted them? This post was originally published in May 2015.

We’ve updated it to reflect the most accurate information available. Kelly Gurnett runs the lead teller resume, blog Cordelia Calls It Quits and is growing her own freelance writing, editing and blogging empire day by scholarships need essays, day. Lead Teller. You can follow her on Twitter and Facebook and hire her services here. Want to sell more books? With tools that help with everything from formatting your Amazon description to finding more reviewers, Author Marketing Club can help you share your book with more readers.

I don’t write many short stories, so it’s no surprise I didn’t know most of the lead teller, outlets you listed. What is a surprise is that there are so many of them and that so many of them pay for short stories. That is a refreshing piece of news! Thanks for the list and for the additional resources. I’m glad you enjoyed the list, Carrie! TWL Assistant Editor. Great informtion to teller resume, know. I am new brand new!

So i need all the mary essay, help i can get. Lead Teller. Good luck to you! Thanks for posting this list. Washington Application Essay. A few of these publications are including on the market listings I usually frequent. I’m surprised to see that so many still charge a submission fee. I think to publish the story in New York Times magazine is teller resume a dream and honor for every writer.

Even though it’s not paid it has so many benefits. Well yes, i agree but its hard to get in. Lead Resume. So the lead teller, posibilites are…you wont get in. im looking for new ones too so do you know any? Thx! The fact that major magazines do not pay writers, solicitet or not, is an absolute disgrace.

Yes, you said it. I agree. The magazines get rich off the writers’ talent, imagination and labor. It is unjust. Another brilliant list, Kelly. Many thanks.

I’d add Slice because the pay is good: http://www.slicemagazine.org/submit-your-work/#.VV-JU0aX8dU and also Glimmer Train, whose standard category (no submission fee) is open until 31st May. They pay $700 for fiction: http://www.glimmertrain.com/standard.html. Thanks for sharing these great additions, Cathy! I just visited Glimmer Train. Teller Resume. They now have a reading fee of $16 for very short fiction (300-3,000 words) and $21 for fiction (3,000-20,000 words) stories. HA!I KNEW there was a reason I didn’t submit to Glimmer Train! I learned a long time ago that it’s the author who is lead teller resume supposed to mary, get paid. (Unless you’re into vanity…) Personally I have the idea (perhaps mistaken) that my time and effort is worthy of compensation.

I can see paying a nominal fee (the professional readers are also worthy of compensation), but at resume, the G.T. rate, you are paying them to read your work, with a minuscule chance of publication. Hey! Maybe instead of being a writer, I should be a publisher! I could charge each submission about $15 or $20, (G.T.’s rates) publish one story online, and make a mint! ;-D. Just an update on this, Glitter train currently says this on their submission page, “Contact us if the become, $2 ?processing ?fee is a hardship.

No one should be prevented from submitting their work for lack of teller, funds.” The actually submission page lists it at $18 but they do seem open to negotiating that. I’m fully of the belief that it is the author that should be getting paid but just passing along what I just saw on their site. It’s Glimmer Train not Glitter Train and application if you have no money they will skip the teller, charge or lower it so it is of terrorism a very fair site, ran by lead resume, decent women who actually give a hoot about decent writing. Mary Washington Application Essay. I haven’t submitted to them yet, but plan to. I like their web site and magazine. An excellent round up, though I’m astonished that The New Yorker doesn’t pay for short stories. We couldn’t find any information on teller resume, pay specifically for short stories. I’ve updated the entry with a link to the Who Pays Writers submissions for the magazine, and maybe readers can chime in if they know of pay for short stories.

TWL Assistent Editor. I’ve heard that The New Yorker does pay. Maybe that’s a rumor? Do you know for sure that they don’t? I bet they pay the how a essay, rich and lead stiff the poor. Spoken like a t. Spoken like a true Socialist. Thanks for checking in, Angie!

The New Yorker does pay for some pieces, but we haven’t seen any information about pay for short stories. I’ve updated the entry to be clearer, as well as a link to the Who Pays Writers entries for teller resume, the magazine. If any readers know whether the magazine pays for short stories, we’d love to know! TWL Assistent Editor. Another good place to lead teller, submit is Glimmer Train.

A couple of times a year, they also look for essay, new writers who haven’t yet published. Thanks for sharing! TWL Assistant Editor. While we don’t pay for submissions, we always accept short stories, poetry, chapters and more. We also run a few contests a year with a small entry fee and lead teller resume decent cash prizes and publication in to get the annual anthology. We are currently open for submissions. Lead Resume. Our guidelines and do not need all the good stuff can be found at http://eatsleepwrite.net/submissions. While you’re there check out the current contest and enter your piece! Thanks for sharing this opportunity, Stephanie!

TWL Assistant Editor. Great list with lots of options. It gets my creative juices flowing. Resume. Thanks for sharing! I’m glad you enjoyed it, Katherine! TWL Assistant Editor.

I’m the EIC of mary application, print magazine The Intentional. We are on lead, the lookout for great short stories, and we pay a little for them, too! Please check us out – http://www.theintentional.com. Thanks for sharing this opportunity, Kate! Tnx for posting. Thanks for the updates. Which sites deal with poetry as well. Great list of heavy hitters. These are terrific publications, but most of them are extremely tough to positive dissertation, crack and several only really consider agented submissions (even if their guidelines say otherwise). I think emerging writers should also submit to lead, smaller magazines that are open to work by scholarships need essays, unpublished or not-widely-published writers (like Fiction Attic!). As a NYT bestselling author with four novels and two story collections under my belt , I know that my chances of getting into the New Yorker, Atlantic Monthly, Zoetrope, or Boulevard are exceedingly slim.

Unpublished writers may find a home for their work at reputable, university-sponsored magazines, which are often run by MFA candidates and may be more serious about reading unsolicited, unagented submissions. Thanks for this nice list You really did very good efforts to collect this sites. It will helpful to everyone. We’d happily add Ruminate Magazine to this list! We pay $15 per 400 words and we don’t charge a submission fee. Teller. http://www.ruminatemagazine.com/ nice but what about on impact us who write articles….I do not have a place to publish articles. I am in newzealand.Can I still submit? Done and done. Fairly good morning’s work.

Writ the a story full all of cleverness and have subsequent sent it to lead teller resume, most of the above places. I’m not sure as I’ve done the thing quite right, but I’ve done a thing that gives me courage, and there’s rightness in that alone. Thanks for doing the research. Good luck with your empire. Need Essays. I hope you reign mos’ imperial. You’ve got the right sort of organized mind for lead, it, if you’ve nothing else. Great list: thorough and inspiring. I published an essay in that need essays skirt! magazine last year.

They pay $200 for a piece on a monthly theme; the staff are kind and helpful. Might need some help Steph. Lead Teller. I have written many essays and short real life snippets, in fact, I have enuf to put into a whole book but I don’t know what the heck to call all these stories!! Little snippets of true life stories, lots and lots of mary, them. I don’t know who to lead teller, submit to ways motivated to write, or how to go about all this. Yes, it can be daunting, sitting in teller resume front of an ocean of psychology dissertation, work, wondering how to get it out in resume the world. (Maybe the trick is lead teller resume allowing it to go!) I think what you’re describing is called a ‘Personal Essay’.

Try this site and see if anything excites you. Courage! Thanks for lead teller resume, this resource. Lead. Sadly a few places there are restricted to teller, residents of the USA only. I have a piece I’d like to send to The Sun for their Readers Write category. What do they pay for mary washington application, that? I know what they pay in the other sections, but Readers Write isn’t mentioned. Love going thru this list….lots of places to explore.

Thanks! I just got an teller resume, email from mary application The Sun in response to the question of whether they pay for lead teller, material you send them for the Readers Write section. The answer is “no” #128577; This from positive psychology dissertation Holly McKinney of The Sun: Thanks for writing. We don’t pay for pieces published in the Readers Write section. Resume. Authors receive 2 copies of the issue in how a become essay which their piece appears and a complimentary 1 year subscription. Office Manager, The Sun” Great info, thanks for sharing, Suzan!

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10 Resume Mistakes Keeping You From Getting a Job (And How to Fix Them) You#39;ve been sending out job applications for lead, months, but you haven#39;t heard back from any potential employers yet. You#39;re starting to think you#39;ll never get a job. If this sounds like you, don#39;t lose hope in essay of terrorism your job hunt a few changes to lead, your resume could make all the difference. Sometimes the smallest mistakes or omitted details can turn a great resume into another ignored and psychology dissertation deleted email. You can have all the qualifications and lead resume skills you need for the job, but hiring managers won#39;t see it if your resume raises red flags or isn#39;t accurately reflecting and highlighting what you have to offer. [10 Ways to positive, Make Your Cover Letter Stand Out ] We asked hiring managers and business owners what mistakes they frequently see on teller resume, resumes and how to fix them.

Before you send out another resume, make these 10 changes. Ways To Write An Essay. You might just get hired sooner than you think. List employment dates by month and lead teller year. Lead Resume. When headhunters or gatekeepers see dates on your resume that don’t include months, they automatically assume something’s wrong. If they suspect you’re hiding a gap in lead employment, they’ll assume the worst, and they’ll view you as dishonest for attempting to deceive them. If they’re busy, they’ll trash the resume instead of wondering what the gaps are about. Giacomo Giammatteo, owner and author, Inferno Publishing Company. Identify and delete irrelevant experience.

One resume mistake many people make is lead, that they feel obligated to include every job including part-time work that they#39;ve had since college. Lead Resume. For example, including that you were a #39;Subway Sandwich Artist#39; for three months is scholarships that do not, superfluous if you#39;re applying for lead teller resume, a technology job, unless of course the company#39;s technology improves the need, sandwich-making process. Including information like this shows laziness and a general lack of lead teller, understanding. Psychology Dissertation. Joshua Goldstein, co-founder, underdog.io. Get specific with data, statistics and examples.

If you#39;re going to boast about increasing sales or improving process efficiency, support these claims with real statistics and an explanation of how you accomplished these feats. When I read #39;improved department sales revenue#39; on a resume, I#39;m not convinced. Tyson Spring, co-founder and vice president of business development, Elever Professional. De-fluff your job descriptions. One of the lead resume, biggest mistakes I have seen in resumes floating around today is people amplifying their qualifications with fancy words. They are not lying on their resume, they are just turning a task they once completed into years of mary washington essay, experience. Once you sit down with them and lead utilize them in something practical, you quickly realize their resume was a lot of hot air and little practicality. [For example] being in charge of a company#39;s Facebook page for a few months is usually relayed on a resume as #39;Online Marketing Director.#39; Victoria Ley, president, FashionStork.

Words such as #39;strong#39;, #39;effective#39; and #39;motivated#39; are clichéd business buzz words that communicate very little about a candidate#39;s capabilities. Candidates who use these types of words stand out for dissertation, being mediocre and I quickly skip over candidates who use these words. Candidates who do not use repetitive words and have consulted a thesaurus to vary their word choice on a resume grab my attention. I like seeing candidates who have a high vocabulary and resume know how to properly employ their thoughts with unique distinction. Scholarships That Do Not Need Essays. Sandra Powers, hiring manager, Lawyer Reviews. Remove or replace your objective. A lot of people still include an objective on the resume, but having an objective can hurt more than it helps. You want to show the employer what you can do to help the company, not what you#39;re looking for from an employer. To fix this, you can either take out your objective completely, or replace it with a brief summary of your skills and abilities that can be an asset to the company. Sam Kim, founder, Define The Resume. Get rid of lead teller, obvious skills.

Microsoft Word, Excel and PowerPoint are no longer skills to call out on your resume. Positive Psychology. These days, employers assume that all good applicants have a working knowledge of the Office suite. Instead, use that space to highlight experience with more advanced technical tools in your sector, e.g., SQL, Google Analytics, Salesforce, Mixpanel and lead teller resume Adobe Creative Suite. To Get To Write An Essay. These skills are very compelling to employers and will help you stand out from other contenders. Maisie Devine, co-founder and CEO, Poacht. Resume. Make it more reader-friendly. Write a resume that has a clean, neat and simple-to-read layout. Many times people try to invent and do something new, but forget that employers read hundreds and thousands of resumes and want to quickly find what they are looking for. Hugo Pereira, product and digital strategist, Talentsquare. Resume. The mistake I see most job applicants make on their resume is not including any keywords from the lead teller resume, job description they are applying to.

If I have no way of matching their skills to lead, the skills in the job description, I cannot move that person forward in the process. Stephanie Lindquist, co-founder , The Love Your Job Project. List education information lower on the page. When moving beyond the entry- and intern-level position, schooling, education and teller resume GPA no longer need to be listed at lead resume, the top your experience should speak for itself. Hannah Landau, director of media, Post+Beam.

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Essay: Jazz, Gender and American Film. by Kristin McGee (2012) During the first decades of the resume, twentieth century, new forms of to get motivated mass media directly impacted the lead resume, cultural and racial landscape of America’s rapidly expanding cities. The emergence of a generalized mass culture depended upon the introduction of a number of technological developments supporting a nationally organized and interrelated network of media and entertainment including radio, film, recordings and various forms of theater, most notably vaudeville and musical theater. Scholarships That Do Not Need! Patronizing cultural events provided a potent forum within which American’s encountered each other in public spaces. Yet because metropolitan neighborhoods remained largely segregated, even after the great northern and western migrations, the panoply of races and ethnicities populating American cities were often separated within public entertainment venues. Teller Resume! It was within the decadent but affordable vaudeville theaters and do not picture palaces of the lead, 1910s and 1920s that Americans of a variety of ethnic backgrounds, male and female, first socialized and in india interacted in lead ways previously prohibited. While the convenience and uniformity of these media ensured Americans a nationalized popular culture industry intimately invested in the distribution of mass commodities, it was the how a, heavily racialized subject material of radio, recordings and films that most appealed to an expanding middle class. Ideas of race, blackness and popular music had been at the center of popular culture since the 1850s and especially as articulated and performed by the nationally organized minstrelsy groups traveling throughout the territories and to the metropolitan centers of the United States.

Blackface performances sometimes adopted the musical and comedic styles of minstrelsy and were later incorporated into vaudeville and radio programs like the highly popular radio show Amos and lead Andy . Essay On Impact In India! Indeed articulations of race, gender and sexuality, and especially when reconfigured from black expressive cultural forms, became one of the most prevalent subjects for musical films upon the introduction of sound to film in the mid-1920s. Ironically, this fascination with blackness positioned within American mass cultural texts, simultaneously betrayed the exclusion of African Americans from prominent positions within the music and film industry. Moreover, sensationalized cultural stereotypes favored by the industry further disavowed their continued inequitable and unjust treatment in American society. However, black actors, directors, producers and especially black musicians and dancers frequently contributed to sound films during the 1920s and teller 1930s despite the difficulties in obtaining these roles. Yet the more profitable roles performed by “star” white artists such as Ann Pennington frequently appropriated and borrowed black musical styles in bill their performances in vaudeville and film. 1920s examples include “coon” shouter and theatrical singer Sophie Tucker who honed her trade by imitating blues singers Bessie Smith and Ma Rainey, or blackface vaudevillian Al Jolson who frequently proclaimed his investment in black styles of lead singing and dancing. Indeed, the popularity of these media was heavily dependent upon the contributions of black, white and mixed-raced, -ethnic entrepreneurs, albeit in ways that perpetuated racial stereotypes and continued to exploit black creativity, resources and participation. The ability to simultaneously project images and sounds forever changed the narrative structures of film drama, as well as the mary, narrative relationship of music to film, which until the late 1920s was provided by live musicians in theater pit orchestras.

During the transition from silent film to sound film, many theater musicians feared that “canned” sound would ultimately replace live musicians. In 1928, one Variety story estimated that of 175,000 union musicians, over 75,000 drew salaries from the theaters alone. The same article speculated that in 150 U.S. towns with theaters recently wired for lead teller sound, over 50,000 musicians would be unemployed within the next two years. Ultimately, many lesser-known union bands did lose full-time theater engagements during the 1920s and dissertation 1930s. As professional classical musicians performed less frequently in film houses, popular musicians and jazz instrumentalists became more active, providing opening sets and variety style “stage acts” in combination with the new feature-length sound films. As talkies were first introduced in the late 1920s and early 1930s, film companies began rewiring movie house and leasing vaudeville theaters for showing privileges of feature-length films (Snyder 1989). The decline of lead teller vaudeville, not surprisingly, roughly corresponded with the addition of sound to films in the late 1920s. In an effort to compete with the new sound films, most big time vaudeville houses reintroduced the essay on impact, film/vaudeville combinations, which predated the picture palace phenomena be several decades.

During the 1930s, however, only the lead resume, larger movie palaces in application essay cities like New York and Los Angeles managed to continue financing the elaborate live entertainment presentations that began in the 1910s and peaked during the 1920s. During the Jazz Age (1920s), in an attempt to profit from the growing public taste for big band music, many Hollywood productions recruited the most popular jazz bands to record soundtracks for their “talking,” “singing,” and “dancing” films (Stowe 1998: 94-140). Lead! As the plushest theaters and cinema palaces were rewired with “talkie” sound equipment, they continued to accommodate live music performances of popular music. Thus these new “talking” films not only afforded more complex narrative and dialogue structures but also featured soundtracks of popular bands and cameo appearances by celebrated jazz personalities. One way to promote popular jazz bands entailed recording arrangements for a film’s soundtrack and then contracting these same bands to provide opening and intermittent music sets to these films. Initially sound film was exploited more for its potential in the short subject market than in the feature film industry, in part because these films presented fewer risks financially and were better suited to all types of abbreviated theatrical genres from music to mary washington application essay, comedy and dance. Thus, the initial creators of lead teller resume these short subject films explored a wide variety of material for their experimental works. Jazz, encompassing both popular song as well as cosmopolitan instrumental music, was ideally suited for ways to get motivated to write an essay sound film and could be cheaply produced by simply recording a song and then later filming the band pretending to play its own performance. Because popular music could be simultaneously marketed via recordings, radio and film, it was a natural progression that jazz and other forms of teller resume popular music became one of the first subject matters for these early sound films.

Filmed performances of popular music and jazz in early sound film implied the growing prominence of a middle class consciousness dependent upon the shared experiences afforded by lead resume mass culture. Filmed representations of lead jazz culture further positioned both normative and radical presentations of gender and sexuality as independent women entered the public sphere with growing prominence from the 1920s on. Early sound film directors cultivated the visual aesthetics of film and that do not particularly exploited female performers as well as presentations proffering the spectacle of race and sexuality. Four highly symbolic films: Al Jolson’s A Jazz Singer (1927), Bessie Smith’s St. Louis Blues (1929), Paul Whiteman’s King of Jazz (1930) and the Betty Boop cartoon series (1932-1939) uniquely mediated the modernist and utopian fantasies of resume assimilation and scholarships essays mass consumption while also formulating contemporary notions of femininity, masculinity and sexuality, each variously predicated upon the experiences of urban immigration and industrialization, the transformation of gender roles, and increased racial and cultural contact. Both Duke Ellington’s Black and lead teller resume Tan (1935) featuring a range of African American musical and dance stars including Freddie Washington and comedy duo Edgar Connor and Alex Lovejoy, and essay on impact in india the Paramount Betty Boop episode “I’ll Be Glad When You’re Dead You Rascal You” (1932) with Louis Armstrong and teller his orchestra, similarly perpetuated stratified gendered subjectivities, as well as essentialist images of African Americans while also highlighting the sheer verve, creativity and ingenuity of African American jazz age musicians, dancers and singers. During the 1910s and 1920s, prominent producers of girl acts constructed blackface numbers for their dancing women to how a become a law, link the increasingly mass produced and lead resume modern sexual spectacles of variety revues to the largely white, working-class and ‘autonomous’ male-culture of nineteenth century minstrelsy (Kibler). Further, the casting of similarly typed and largely nameless girls reinforced the patriarchy of modern vaudeville’s producers over ways to get an essay their docile and feminized subjects (Latham), much in the same way that blackface caricatures objectified black artists as primitive, emotive and lead teller resume inherently rhythmic beings. As chorus dancers and theatrical stars, African American performing women similarly responded to emerging and essay on impact vital trends drawing from the synergy of lead teller resume music and dance. As black musical theater became an international sensation, black performing stars like Josephine Baker and Valaida Snow, negotiated both modernist fantasies which mapped colonial desires for hyper-sexualized female subjects onto black women’s bodies, yet these same women ingeniously constructed complex on ways an essay, and off-stage personas to profit from an expanding attraction for black expressive culture (Brown).

The reception of these early chorus girl acts, black, white and mixed, critically informed the ways that all-girl bands later exploited racialized musical and resume physical signifiers to gain popularity and recognition on the nationally organized vaudeville circuits. From the psychology, late 1920s on, women increasingly contributed to the expanding mass culture industry in a variety of media including film, theater and eventually radio and resume television. During the how a bill become a law, Jazz Age, the appearance of all-girl bands in vaudeville and soundfilms significantly contributed to the popularity of new media such as film, which gained currency in part because of the widely successful and highly sexualized spectacles of ‘girl acts’ featured in vaudeville and variety revues. During the 1920s and 1930s, all-girl bands, more often than not, were promoted as the featured attraction of a picture house’s stage show. These vaudeville-style stage shows typically provided one to two hours of live entertainment before the lead resume, showing of feature-length films. Although rarely mentioned in on impact in india contemporary culture, jazz or film histories, there were dozens (if not hundreds) of teller extremely popular all-girl jazz bands, female singers, dancers and soloists active during the 1920s and 1930s including Ina Ray Hutton and lead teller resume Her Melodears, Hazel Scott, The Harlem Playgirls, The Dixie Sweethearts, Peggy Gilbert’s All-Girl Band and many more. Those all-girl bands satisfying the racist dictates of the entertainment market were embraced by big time promoters including Irving Mills, Florence Ziegfeld and William Morris to headline stage shows and variety revues.

When given the chance, prodigious performing women, as instrumentalists, dancers and all-around entertainers enthusiastically contributed to lead teller resume, some of positive psychology these first experimental short subject sound films. For example, during the 1920s and 30s, all-girl bands Ina Ray Hutton and her Melodears and lead teller resume the Ingenues appeared in Vitaphone, Pictoreels and Fox Movietone music shorts. The Jazz Age cultivated the scholarships that need, careers of multi-versatile African American theatrical women, many who made names for themselves as blues, jazz and ragtime singers or dancers. Celebrated performers including Josephine Baker, Bessie Smith, Valaida Snow, Ethel Waters and Billie Holiday, however, suffered promotional representations, which exaggerated an overtly sexualized “otherness” and tacitly implicated one’s social position as constitutive of the emotive and lead creative performative voice. The image of the hyper-sexualized, African American theatrical woman (as blues singers, jezebels, the tragic mulatto, jungle dancers, etc.) had so saturated public discourse, that by the 1940s, African American women responded in a number of ways including supporting increased censorship of racial stereotypes in Hollywood films, to policing African American performing women’s bodies in public leisure spaces (Carby), to participating in civic projects promoting race pride and “racial uplift.”

While there were dozens of prominent touring African American “girl” bands including the Harlem Playgirls and the Dixie Sweethearts, the International Sweethearts of Rhythm was the only predominantly black all-girl band to that do not need essays, record short subject films during the 1940s. Teller Resume! During the war independent black cast films and scholarships do not need soundies including Harlem Jam Session (1946) were introduced to entertain and teller resume boost the positive psychology, morale of black war workers and military personnel. Lead Teller! These black entrepreneurial films provided important opportunities for African American’s to denounce stereotypical roles promoted in in india Hollywood films. Resume! Through their film appearances and scholarships essays live performances, the Sweethearts clearly mitigated prior gendered and racialized characterizations by adopting a number of performative strategies, including formulating a repertoire built upon swing and blues in order to counter dominant white all-girl band aesthetics, which promoted feminized genres such as “sweet” and light classical. Public and popular support of lead resume mass-produced female sexual spectacles were later supported and reinforced during the 1940s by mary washington application essay the massive success and appeal of wartime pin-ups and lead teller resume sexy female bandleaders like the become essay, former burlesque and strip-tease artist Ada Leonard (Tucker). Popular representations of bandleaders and jazz singers as morally suspect and sexualized beings in feature-length Hollywood films such as Orchestra Wives (1942) and lead teller Ever Since Venus (1944) inspired and nourished such newly organized public, modern, and popular cultural performances.

The war effort also motivated contemporary myths regarding feminine musicianship by presenting female bands as wartime substitutes or collegiate groups (rather than professional touring musicians). When Johnny Comes Marching Home (1942) featuring Phil Spitalny’s All-Girl Orchestra is representative. In the context of mass-mediated filmic representations, producers of application essay popular culture demanded heavily streamlined representations of female sexuality in the service of public affirmations of lead teller male desire. These mass mediated gendered images did much to destabilize canonized jazz acts, such as the jam session, a site once dedicated almost exclusively to a masculinized conception of musical artistry, practice and sociality. Jazz’s post-war fall-out signified the general hardships incurred by jazz musicians who maintained successful performance and recording careers during the essay on impact of terrorism, 1930s and 1940s, but struggled during the more conservative McCarthy Era.

New domestic pastimes such as television watching, perpetuated old-fashioned strategies for promoting gendered musicalities. Television’s multi-generational presentational format and lead teller single sponsorship advertisements ultimately facilitated the how a bill a law, continued assimilation and increased homogeneity of American popular culture. In particular, the highly popular ‘vaudeo’ format from the post-war years through the late 1950s provided a forum for teller reinventing theatrical and film material from mary essay, vaudeville and variety (MacDonald). Resume! The newly televised variety revue genre reinforced the star system, albeit with preferences for mature Hollywood performers, whose televised images demanded informalized, domestic personas (Mann). These musical programs provided some of the only opportunities for female jazz women after the psychology dissertation, war. Indeed it was often those women including Hazel Scott, Lena Horne, Peggy Lee and Ina Ray Hutton, who had successfully navigated the changing landscape of mass culture and of jazz and popular music before and during the war, who were frequently selected as guests or hosts of variety television programs during the late 1940s and 1950s. Lead Teller! The resurgence of vaudeville and variety formats and their penchant for mixing musical, generational and positive gendered genres provided one strategy for television’s mass and lead teller largely middle class audiences.

These jazz women’s prior experience with other mass mediated forms including short subjects and feature-length films endowed them with a variety of essay in india techniques for successfully navigating television’s expanding mass audiences. The brief resurgence of all-girl bands and female jazz hosts during the 1950s suggested similar processes at work as those during the early 1940s, where women performed as all-girl spectacles in a variety review contexts favoring feminine glamour, swing, and “wholesome” vaudeville style acts. The short lived re-entry of all-girl bands into the public sphere through the heavily-mediated and visually-attuned medium of television spoke to women’s continued peripheralization as visual objects and feminine spectacles over creative musical subjects. Yet their continued success also suggested the skill, ingenuity, and rugged expertise of these performers. In all of their mediated forms, jazz women of the 1920s through the 1950s both resisted masculinist and sexist ideologies yet also reinforced heavily gendered stratifications in the most dominate media.

They resisted masculinist and sexist ideologies by asserting personal and musical agency; acting as creative subjects through their particular improvised performances and increased public presence, and developing their musical professionalism during national and international tours. Further, their expanded wage earning capabilities entitled them to lead teller, assert their professional personas against those of of terrorism their male colleagues. Yet they also and teller resume necessarily promoted newly emerging and constrictive gendered ideologies from the pejorative “triple threat” female persona to ways motivated to write an essay, widely circulated publicity campaigns depicting the “novelty of teller resume feminine uniformity”, residual Victorian representations evoking the washington application essay, “cult of white womanhood” or conversely, re-enacting the supposed “primitivist” sexual dispositions of lead teller resume urban blues women and jazz dancers. In a sense, black musical women became cultural referees, negotiating musical, racial, and gender boundaries to create a musical genre both prodigious and accessible within the dominant culture as well as the African American community. These women clearly recognized the values of the media industry, and in essay turn understood on a deeper level, how their unique modes of performing and creating were frequently appropriated, misunderstood, misrepresented or ignored all together in teller resume favor of imagined stereotypes, which facilitated their exclusion from the more financially profitable mass mediated forums. In the climate of a profoundly and consistently racist and segregated American culture, women re-enacted these highly popular and carefully constructed spectacles of femininity, sexuality and musical eroticism.

Clearly, jazz women of these decades consciously and sometimes reluctantly cooperated with media producers, bandleaders and music managers to ensure that their performances remained financially and commercially profitable. These heavily mediated gendered performances also ensured that all-girl bands successfully competed with the popular male jazz bands of the day and lead teller more importantly with the highly fetishized “all-girl” spectacles presented in film, variety revues, and vaudeville. It is no coincidence that the theme of Some Liked it Hot adopts visual mediums as its point of departure for examining women’s jazz. Indeed, the number of visual texts and lead resume especially films and televised variety programs featuring female jazz artists remains striking in contrast to the relatively few audio recordings produced of such groups and positive star performers. By emphasizing mass mediums like film and eventually television, which provided a significant structure for reifying, refashioning, and transforming public enactments of lead teller gender, race, and sexuality staged through American popular music and positive particularly jazz, one gains a broader picture of how women contributed to lead teller resume, the expansion of mass culture and to a uniquely American form of cultural identification in these four important decades. Bogle, Donald. 1980. Lead Resume! Brown Sugar: Eighty Years of America’s Black Female Superstars. New York: Da Capo Press . Bohlman, Philip V. and teller Ronald Radano.

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Kenney, William H. In India! 1986. “The Influence of Black Vaudeville on Early Jazz.” Black Perspectives in Music 14/3:233-248. Kibler, Alison. 1999. “The Corking Girls; White Women’s Racial Masquerades in Vaudeville.” Rank Women: Gender, Cultural Hierarchy in teller American Vaudeville. Chapel Hill: The University of scholarships do not essays North Carolina press, pp. 111-142.

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Black Music, White Business: Illuminating the History and Political Economy of Jazz. New York: Pathfinder. Latham, Angela J. 2000. Posing a Threat: Flappers, Chorus Girls, and Other Brazen Performers of the American 1920s. Washington Application! Hanover NH: New England Press. Lott, Eric. 1993. Love and teller Theft: Blackface Minstrelsy and Working Class Culture. New York: Oxford University Press. Lugowski, David M. 1999. “Queering the New Deal: Lesbian and Gay Representation in the Depression Era Cultural Politics of Hollywood’s Production Code.” Cinema Journal 38/2: 3-35.

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1998. Psychology Dissertation! Structures of the Jazz Age: Mass Culture, Progressive Education, and Racial Discourse in American Modernism . (The Haymarket Series). New York: Verso. Riis, Thomas L. 1989. Just Before Jazz: Black Musical Theater in New York, 1890 to 1915 . Washington D.C.: Smithsonian Institution Press. Roberts, Sherrie. 1993. Seeing Stars: Feminine Spectacle, Female Spectators, and World War II Hollywood Musicals . Chicago: The University of teller resume Chicago.

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2005. Migrating to the Movies: Cinema and Black Urban Modernity. Teller Resume! Berkeley: University of California Press. Stowe, David W. 1994. Swing Changes: Big Band Jazz in New Deal America . Of Terrorism! Cambridge, Mass.: Harvard University Press. Terenzio, Maurice, Scott MacGillivray and Ted Okuda. Lead Teller Resume! 1991. The Soundies Distributing Corporation of America: A History and Filmography . London: McFarland Company, Inc. Tucker, Mark. 1993. The Duke Ellington Reader.

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2001. “Posing as Black, Passing as White.” Playing the Race Card: Melodramas of washington Black and White From Uncle Tom to O.J. Simpson. Williams, Mary Lou. 1977. Liner Notes to Jazz Women: A Feminist Retrospective . New York: Stash Records. Yanv, Scott. Lead! 1987. “Rosetta Records: Women in Jazz.” Coda Magazine Feb/March: 10-11. “Musical Union Strong in essay but 150 U.S. Towns Where Minimum Enforceable—50,000 Out of Work” in Variety (22 August 1928: 24).

Some Liked It Hot - Jazz Women in Film and Television, 1928-1959.